Ismail Kadalai's novel 'Who brought back Durundina' holds an important position in Albanian literary history through its unique mythological narrative and political metaphor. The academic community is concerned about its mythological color and political implications in national identity and ideological construction. Kadalai utilized the mythological element of "oath" to create a symbol of Albanian cultural identity. Ali Aliu analyzed the spiritual connotation of the "Bessa" myth and legend, believing that it reflects the moral order and collective identity of the Albanian nation. Ke Jing explores how novels reveal Albania's predicament in the midst of Eastern and Western religious forces through character development. The French editor's preface emphasizes that the image of Durundina metaphorically represents Albania's desire for the outside world. These studies indicate that the novel shapes Albania's national identity through mythological elements, showcasing its cultural positioning in the process of modernization. However, the academic community has paid insufficient attention to the detective novel style of novels. Kadalai's other works also adopt the narrative framework of detective novels, parodying and subverting traditional detective novels. Stefano Tanni and Michael Holqvist proposed the narrative features of anti detective novels. Postmodern writers use detective novels to create works, expanding and subverting the narrative possibilities of traditional detective novels through the form of anti detective novels. Tanny referred to this type of work as "anti detective fiction," while Holquist defined it as "metaphysical detective fiction. Anti detective novels respond to postmodernism's questioning of certainty by subverting the structure of traditional detective novels. The metaphysical detective novels have changed the structure and reader roles of detective fiction, transforming it from a recreational reading material to a metaphysical philosophical exploration. Who brought back Durundina "combines the characteristics of these two types of novels, not only reflecting a distinct anti detective narrative style in form, but also adopting a philosophical approach of" breaking first and then establishing "to construct Albanian national beliefs through suspenseful cases based on mythological materials. This construction enriches literary expression and solidifies the foundation of the country based on the local concept and belief of "Bessa" at the practical level. This article will combine Tanni's theory of "anti detective novels" and Holquist's theory of "metaphysical detective novels" to explore how Kadalai subverts the narrative structure of traditional detective novels and completes the literary construction of Albanian national beliefs between "anti" and "mystery". Through the analysis of the case materials, detective images, and narrative structure in the novel, this article will reveal how Kadalai uses anti detective narrative techniques to deconstruct the literary characteristics of traditional detective novels, while also displaying profound philosophical connotations of "mystery" charm. With the narrative power of literary works, Kadalai relied on the myth of vows to reshape national identity and construct cultural beliefs.

The 'reverse' of case setting: using myths and legends as the subject of unsolved cases

Explored how Kadalai transformed Albanian mythology and legends into suspenseful material in "Who brought back Durundina" and subverted traditional detective novels. Kadalai constructs a supernatural and illogical mystery through elements of the resurrection of the deceased and the death of a mother and daughter in mythological legends, conveying aesthetic values. At the same time, he introduced historical content to explore the fate of the Albi Principality before the Ottoman invasion.

The 'Anti' of Detective Images: The Contradiction and Conflict between Rationality and Irrationality

Explored the contradictions and conflicts of Captain Steth as a detective character in Kadalai's novels. Steth is entrusted with the mission of investigating cases, but his role is different from that of traditional detectives. He becomes a witness to the failure of reason and a tool for constructing national identity and beliefs. The name Stes is not common in Albanian and symbolizes the psychological pressure of investigation and the tense atmosphere of the story. His investigation is not only a pursuit of facts, but also a profound questioning of the boundaries between reason and faith, reality and mystery. Steth initially attempted to solve the mystery in a rational way, but behind the supernatural mystery lies a moral belief deeply rooted in national culture. His motive for investigating the case became complex, influenced by the pull of the case itself and the hidden emotions in his heart. As the investigation deepened, Steth was gradually engulfed by the power of myth, and the testimony of the cemetery administrator and the intervention of religious forces gradually undermined the rational logic of the case. The "answer" to the case did not reveal the truth, but instead exacerbated the inner conflicts that arose during the investigation by Steth. He failed to fulfill the duties of an excellent detective, nor did he reveal the truth and rebuild order, but was caught up in the interweaving of faith, emotion, and reality. The ending of the novel is marked by the "failure" of Steth's investigation, as he throws out the illogical conclusion to the audience, plunging the reader into a new maze of detective self contradiction.

The 'reverse' of narrative structure: a text that is open in a closed environment

Explored the uniqueness of the narrative structure in Kadalai's novel 'Who brought back Durundina'. Unlike traditional detective novels, Kadalai creates suspense through textual gaps, breaking the reader's omniscient perspective and extending the mystery of the case until the last moment. At the beginning of the novel, a permanent textual gap is formed, guiding readers to focus on the puzzle of "who brought back Durundina". As the investigation progressed, Kadalai revealed the "truth" of the case in chapters five and six, but the ending went against common sense and reopened the narrative. The detective ultimately overturned the truth he had deduced, his reputation was ruined, and he vanished from the world, leaving behind unsolved mysteries. At the end of the novel, the reader's reading experience is pushed to its peak, liberated from passive reading, and everyone can be Constantine. While deconstructing rational endings, Kadalai constructs an irrational ending, making the novel open.

The Profound Meaning of Philosophy: The Breakthrough and Establishment of National Beliefs

Cardalay employs anti detective narrative techniques in "Who brought back Durundina", subverting the rational reasoning mode of traditional detective novels and endowing the work with philosophical implications and a "mysterious" charm. The failure of the Stes investigation demonstrates the victory of Albanian national beliefs. The answers to cases in novels do not rely on physical evidence logic, but are built on the continuation of collective beliefs. Kadalai broke free from the constraints of Eastern European socialist realism and introduced a modern style, writing anti detective novels as a national identity. Faced with Albanian national identity anxiety, he deconstructed traditional rational logic, reshaped national narratives, and established a spiritual pillar of national beliefs. The dark atmosphere created by the novel corresponds to Albania's closed foreign policy at that time. Kadalai is committed to shaping national ideology and emphasizes that Albania should find ways to rebuild itself. He attempted to confirm the core of national beliefs and establish spiritual symbols that transcend political reality. Steth attempted to explain supernatural phenomena using modern policing methods, but was troubled by the authenticity of ethnic myths, and the investigation fell into a dilemma. His rational reasoning was disrupted by dreams, emotions, and beliefs, and ultimately swallowed up by the case. His conclusion that 'Constantine brought back Durundina' subverted the pursuit of objective truth in detective novels and declared the concession of reason in the face of Albanian traditional beliefs. Kadalai's anti detective narrative completes the reconstruction of Albanian national identity between destruction and establishment. Constantine returned in accordance with his oath, ostensibly rebelling against religious traditions, but actually returning to the Balkan oath culture. This myth emerged in the Stess investigation, transcending modern rational narratives and becoming the only acceptable 'truth'. Stes initially hoped to find a rational foundation for the Albanian nation and break free from the constraints of traditional beliefs, but found that it was the national beliefs that were denied by reason that constituted the true spiritual cornerstone of Albania. He had to admit that reason could not replace national beliefs, and could only seek the foundation of national beliefs within the framework of myths and legends. Deeper establishment of 'reality' - how Albania can re-establish a national system as noble as' faith and righteousness' in the swing between the East and the West, reshape national identity through the power of traditional culture, and establish a strong national identity by maintaining Albanian virtues. Stes' 'failure' symbolizes the victory of Albanian national beliefs. Faced with the impact of modernization in the external world, Albania must find a balance between traditional beliefs and modern values. Kadalai uses folk legends to shape the image of the Albanian nation as a "faithful and righteous" person, and investigates the truth of the ethnic group through a narrative structure of "crime investigation case solving". He overturned rational answers, established the unbreakable nature of irrational beliefs, and established national identity here. At the end of the novel, Steth asks the crowd what Albanian faces are, whether they cater to or oppose evil, disfigure and wear new masks for survival, or preserve ancient facial features. This is Kadalai's question about the future path of the Albanian nation - whether to submit to the outside world or to uphold its own traditions. The myths of Constantine and Durundina have become witnesses of Albanian national identity, declaring the ultimate establishment of national identity. Kadalai proposed to maintain the "ancient" ethnic identity and seek the original ethnic roots. The words "face" and "mask" in Stes' mouth respectively represent Albania's "national identity" and the characteristics of being irrelevant to the essence of the nation and following the trend. The legends of Constantine and Durundina prove that the Albanian people have had a tradition of "faithfulness" since ancient times. Stes called on the people to abandon masks and return to their roots. Kadalai condensed the image of Albanian civilization into text through anti detective narrative techniques, finding an unshakable inner essence for this ethnic group located in the border area between the East and the West, and establishing an eternal image of Albanian national beliefs. Although Steth attempted to unravel the truth of the case by constructing, destroying, and reconstructing multiple hypotheses, Constantine's oath remained intact, and his mythology was closely linked to the fate of the nation, eliminating any possibility of alternative solutions. Kadalai awakens Constantine from his grave, making him fulfill his vow to reshape his national faith in the struggle between death and life. This narrative strategy of "breaking first and then establishing" has made "Who brought back Durundina" not only a subversive detective novel, but also a literary allegory related to Albanian national identity.

5 Conclusion

Analyzed the subversive parody of traditional detective novels in Kadalai's novel "Who brought back Durundina", constructed supernatural suspense cases through Albanian mythology, and demonstrated the rational and irrational conflicts of detective images, as well as the gaps and filling of narrative structures. The novel uses anti detective techniques to explore the construction of ethnic beliefs, establishing Albanian national identity on the basis of "faith and righteousness", making myths and legends the foundation of the country, and showcasing the inherent nature of ethnic groups in the border area between the East and the West.