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Catalogo Giornate Del Cinema Muto 2011
Clara Bow in Mantrap, Victor Fleming, 1926. (Library of Congress) Merna Kennedy, Charles Chaplin in The Circus, 1928. (Roy Export S.A.S) Sommario / Contents 3 Presentazione / Introduction 31 Shostakovich & FEKS 6 Premio Jean Mitry / The Jean Mitry Award 94 Cinema italiano: rarità e ritrovamenti Italy: Retrospect and Discovery 7 In ricordo di Jonathan Dennis The Jonathan Dennis Memorial Lecture 71 Cinema georgiano / Georgian Cinema 9 The 2011 Pordenone Masterclasses 83 Kertész prima di Curtiz / Kertész before Curtiz 0 1 Collegium 2011 99 National Film Preservation Foundation Tesori western / Treasures of the West 12 La collezione Davide Turconi The Davide Turconi Collection 109 La corsa al Polo / The Race to the Pole 7 1 Eventi musicali / Musical Events 119 Il canone rivisitato / The Canon Revisited Novyi Vavilon A colpi di note / Striking a New Note 513 Cinema delle origini / Early Cinema SpilimBrass play Chaplin Le voyage dans la lune; The Soldier’s Courtship El Dorado The Corrick Collection; Thanhouser Shinel 155 Pionieri del cinema d’animazione giapponese An Audience with Jean Darling The Birth of Anime: Pioneers of Japanese Animation The Circus The Wind 165 Disney’s Laugh-O-grams 179 Riscoperte e restauri / Rediscoveries and Restorations The White Shadow; The Divine Woman The Canadian; Diepte; The Indian Woman’s Pluck The Little Minister; Das Rätsel von Bangalor Rosalie fait du sabotage; Spreewaldmädel Tonaufnahmen Berglund Italianamerican: Santa Lucia Luntana, Movie Actor I pericoli del cinema / Perils of the Pictures 195 Ritratti / Portraits 201 Muti del XXI secolo / 21st Century Silents 620 Indice dei titoli / Film Title Index Introduzioni e note di / Introductions and programme notes by Peter Bagrov Otto Kylmälä Aldo Bernardini Leslie Anne Lewis Ivo Blom Antonello Mazzucco Lenny Borger Patrick McCarthy Neil Brand Annette Melville Geoff Brown Russell Merritt Kevin Brownlow Maud Nelissen Günter A. -
The Myth of the City in the French and the Georgian Symbolist Aesthetics
The International Journal of Social Sciences and Humanities Invention 5(03): 4519-4525, 2018 DOI: 10.18535/ijsshi/v5i3.07 ICV 2015: 45.28 ISSN: 2349-2031 © 2018, THEIJSSHI Research Article The Myth of the City in the French and the Georgian Symbolist Aesthetics Tatia Oboladze PhD student at Ivane Javakhisvhili Tbilisi State University, Tbilisi, Georgia,young-researcher at Shota Rustaveli Institute of Georgian Literature ―Modern Art is a genuine offspring of the city… the city The cultural contexts of the two countries were also different. created new images, here the foundation was laid for the If in the 19th-c. French literature the tendencies of literary school, known as Symbolism…The poet’s Romanticism and Realism (with certain variations) co-existed consciousness was burdened by the gray iron city and it and it was distinguished by paradoxes, striving towards poured out into a new unknown song‖ (Tabidze 2011: 121- continuous formal novelties, the beginning of the 20th c. was 122), - writes Georgian Symbolist Titsian Tabidze in his the period of stagnation of Georgian culture. Although in the program article Tsisperi Qantsebit (With Blue Horns). Indeed, work of individual authors (A.Abasheli, S.Shanshiashvili, in the Symbolist aesthetics the city-megalopolis, as a micro G.Tabidze, and others) aesthetic features of modernism, model of the material world, is formed as one of the basic tendencies of new art were observable, on the whole, literature concepts. was predominated by epigonism1. Against this background, in Within the topic under study we discuss the work of Charles 1916, the first Symbolist literary group Tsisperi Qantsebi (The Baudelaire and the poets of the Georgian Symbolist school Blue Horns) came into being in the Georgian literary area. -
Georgian Country and Culture Guide
Georgian Country and Culture Guide მშვიდობის კორპუსი საქართველოში Peace Corps Georgia 2017 Forward What you have in your hands right now is the collaborate effort of numerous Peace Corps Volunteers and staff, who researched, wrote and edited the entire book. The process began in the fall of 2011, when the Language and Cross-Culture component of Peace Corps Georgia launched a Georgian Country and Culture Guide project and PCVs from different regions volunteered to do research and gather information on their specific areas. After the initial information was gathered, the arduous process of merging the researched information began. Extensive editing followed and this is the end result. The book is accompanied by a CD with Georgian music and dance audio and video files. We hope that this book is both informative and useful for you during your service. Sincerely, The Culture Book Team Initial Researchers/Writers Culture Sara Bushman (Director Programming and Training, PC Staff, 2010-11) History Jack Brands (G11), Samantha Oliver (G10) Adjara Jen Geerlings (G10), Emily New (G10) Guria Michelle Anderl (G11), Goodloe Harman (G11), Conor Hartnett (G11), Kaitlin Schaefer (G10) Imereti Caitlin Lowery (G11) Kakheti Jack Brands (G11), Jana Price (G11), Danielle Roe (G10) Kvemo Kartli Anastasia Skoybedo (G11), Chase Johnson (G11) Samstkhe-Javakheti Sam Harris (G10) Tbilisi Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Workplace Culture Kimberly Tramel (G11), Shannon Knudsen (G11), Tami Timmer (G11), Connie Ross (G11) Compilers/Final Editors Jack Brands (G11) Caitlin Lowery (G11) Conor Hartnett (G11) Emily New (G10) Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Compilers of Audio and Video Files Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Irakli Elizbarashvili (IT Specialist, PC Staff) Revised and updated by Tea Sakvarelidze (Language and Cross-Culture Coordinator) and Kakha Gordadze (Training Manager). -
Sogdian Merchant Scripts
Postcolonial Text, Vol 8, No 2 (2013) Rebecca Gould Sogdian Merchant Scripts Teresa didn’t want to go. She had too much to worry about, too many distractions. She preferred to let her pain incubate, to let it fester. So when her elderly neighbor Beatrice woke her up, shortly past midnight, to celebrate Easter and share a boiled egg, as red as blood, she was both irritated and bemused. What kind of person bangs on their neighbor’s door in the middle of the night to share an egg? she wondered to herself. When Beatrice informed her that her son wanted to show her Old Tbilisi, and to introduce her to the history and culture of the city where he had been born and raised, Teresa agreed. But she was less than pleased. “I’m leaving for America the next day,” she warned her neighbor, “So I’ll have to finish early.” Beatrice shook Teresa’s hand before she parted that night, winked slyly, and insisted she take another egg. “I’ll be gone that day,” Beatrice added before she parted, “But you and Irakli will have fun.” All that month, Teresa had been cooped up in her apartment. Meditating. Mostly about a man she had never met, but whom she knew better than her own soul. They shared in common a passion for certain obscure subjects, like Arabic epigraphy and Persian paleography. More than that, they shared expertise in the peculiar annotations that itinerate Sogdian merchants of early modern Central Asia made on Arabic manuscripts, in a handwriting all their own. -
The Theory of the Café Peripheral: Laghidze's Waters and Peripheral
189 ARTICLES Paul Manning The Theory of the Café Peripheral: Laghidze’s Waters and Peripheral Urban Modernity Theories of the Cafй Central. One of the most celebrated writings on cafйs in general is Polgar’s Theory of the Cafй Central [1926], essentially a feuilleton-manifesto written from within the world of the eponymous Viennese cafй. The theory is not surprising: the cafй expresses a certain kind of modern urban public sub- jectivity. I am only interested in the title. Why does the Cafй Central need a theory? And what kind of theory would a Cafй Peripheral need? A cafй like, for example, Laghidze’s Cafй, a soft drink cafй in Kutaisi, and later Tbilisi, throughout the twentieth century expressed Georgia’s aspirations for European urban modernity. However, since it was located in a periphery and not the metropole, it could not help but express the deeply felt absence of the very modernity it sought to express. An in- carnation here and now of an urban modernity better instantiated elsewhere, it is constantly threatened by its physical situation on the periphery. There are actually a lot of ‘theories of the Cafй Central’, taking ‘cafй central’ in a wider sense: cafйs that happen to occur in places stereo- typically thought to be central to self-con- Paul Manning gratulatory social imaginaries like ‘European Trent University, urban modernity’. In much postwar social Peterborough [email protected] theory, such public places for commensal No 7 FORUM FOR ANTHROPOLOGY AND CULTURE 190 drinking, what Ellis elsewhere calls ‘archi tectures of sociability’ [Ellis 2008], are emble matic of the tenor of interaction characte - ristic of modern urban public life in general: The early coffee-house was associated with a certain kind of social interaction — what sociologists call a sociability — of which the distinctive feature was an egalitarian and congenial mode of conversation. -
Georgia Poetry 20Th Century
World Poetry Map Georgian www.citylore.org Translations © Irma Ratiani and Catherine Fletcher World Poetry Map Georgian www.citylore.org Vazha Pshavela WHY WAS I CREATED HUMAN? (Song) Why was I created human? Why did I not come as rain— Forever living as Cloudbeads, suspended vapor, Earthbound As cold snow or dew? My Maker wouldn’t have sentenced me To a cruel, damnable fate! He’d have embraced me As his child and cradled me— I’d have little reason To feel constantly afraid. Basking instead in sunshine I’d have been death’s frustration; To both Earth and the heavens I could’ve laid my claim. Joy’d have filled me as I witnessed Mountains and valleys turn to green; Flowers’ anthers, stigma, petals Flooded with my own essence. By opening my heart-breast At each sunrise, each sunset I’d make the wilting landscape Quicken with budding energy. Though chilled as rain and flakes, Hope’s fire would remain within Translations © Irma Ratiani and Catherine Fletcher World Poetry Map Georgian www.citylore.org Translations © Irma Ratiani and Catherine Fletcher World Poetry Map Georgian www.citylore.org And my death to life would then Metamorphose—awakening And caressing the nape Of nature, renewed once again. Translations © Irma Ratiani and Catherine Fletcher World Poetry Map Georgian www.citylore.org Translations © Irma Ratiani and Catherine Fletcher World Poetry Map Georgian www.citylore.org Titsian Tabidze SELF-PORTRAIT With Wilde’s profile… blue eyes, A grey-haired infanta hides in the mirror. Kissing armpits quickly tires me; Waves burn me and often muss my hair. -
Democratic Republic of Georgia (1918-1921) by Dr
UDC 9 (479.22) 34 Democratic Republic of Georgia (1918-1921) by Dr. Levan Z. Urushadze (Tbilisi, Georgia) ISBN 99940-0-539-1 The Democratic Republic of Georgia (DRG. “Sakartvelos Demokratiuli Respublika” in Georgian) was the first modern establishment of a Republic of Georgia in 1918 - 1921. The DRG was established after the collapse of the Russian Tsarist Empire that began with the Russian Revolution of 1917. Its established borders were with Russia in the north, and the Mountainous Republic of the Northern Caucasus, Turkey, Armenia, and Azerbaijan in the south. It had a total land area of roughly 107,600 km2 (by comparison, the total area of today's Georgia is 69,700 km2), and a population of 2.5 million. As today, its capital was Tbilisi and its state language - Georgian. THE NATIONAL FLAG AND COAT OF ARMS OF THE DEMOCRATIC REPUBLIC OF GEORGIA A Trans-Caucasian house of representatives convened on February 10, 1918, establishing the Trans-Caucasian Democratic Federative Republic, which existed from February, 1918 until May, 1918. The Trans-Caucasian Democratic Federative Republic was managed by the Trans-Caucasian Commissariat chaired by representatives of Georgia, Azerbaijan and Armenia. On May 26, 1918 this Federation was abolished and Georgia declared its independence. Politics In February 1917, in Tbilisi the first meeting was organised concerning the future of Georgia. The main organizer of this event was an outstanding Georgian scientist and public benefactor, Professor Mikheil (Mikhako) Tsereteli (one of the leaders of the Committee -
Rebecca Gould CV
Rebecca Gould Assistant Professor, Literature Division of Humanities Yale-NUS College RESEARCH INTERESTS Comparative literature (Persian, Russophone, Arabic), poetics, Islamic legal and rhetorical theory, Islamic Caucasus, methodologies of comparison, political theory, political geography, translation, postcoloniality EMPLOYMENT 2012- Assistant Professor, Literature, Yale-NUS College. EDUCATION 2011 Ph.D. Columbia University (distinction), Institute for Comparative Literature and Society & Middle East, South Asian, & African Studies, Dissertation: The Political Aesthetic of the Medieval Persian Prison Poem, 1100-1200. 2003 M.A. Graduate Center, City University of New York. Comparative Literature (Persian, Russian, & Anglophone Literatures). 1999 B.A. University of California, Berkeley (distinction in general scholarship; departmental citation for outstanding undergraduate accomplishment). Comparative Literature and Slavic. AWARDS, GRANTS, FELLOWSHIPS NATIONAL AND INTERNATIONAL COMPETITION 2014-5 Research Grant, The Harry Frank Guggenheim Foundation 2014-5 Senior Fellowship, Central European University, Institute for Advanced Study 2014-16 Visiting Fellowship, Heidelberg Centre for Transcultural Studies, Institute for Advanced Studies, University of Heidelberg (twelve-month fellowship, to be used between 2014 and 2016) 2011-16 Polonsky Fellow, Van Leer Institute for Advanced Studies, Jerusalem (in residence only for 2011-12) 2011 Bernadotte E. Schmitt Grant, American Historical Association 2011-15 Harper-Schmidt Fellowship in the Humanities, -
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Phasis 10 (II), 2007 Ketevan Gardapkhadze (Tbilisi) THE ARGONAUTICA IN THE WORKS OF GEORGIAN SYMBOLISTS Symbolism as a literary trend entered Georgia at the outset of the 20th century. In 1915 it was established in institutional terms, when a group of young poets formed a new literary order called ‘Blue Horns’. It was the period when Georgian artistic consciousness became extremely feeble. Shabby imitations of the 19th century great authors brought almost to nonsense the literary life of the country. The new generation found it impossible to follow the path. The only way for them to fulfill their inherent vocation and calling was Symbolism.1 The members of the Blue Horn shared completely the aesthetic principles of Symbolism, provided arguments for the necessity of establishing this trend in Georgia, looked for national foundation to build Symbolism on, tried to combine western European, Russian and Georgian outlooks, and give an original, peculiar character to Georgian Symbolism. ‘We must shape our Georgian profile’, Titsian Tabidze wrote, ‘the basic experience of being a Georgian is our primary requirement. It should imply our temperament, our sensibility, our image. We will unite the sharpness of the West and the sunny relaxation of the East.’2 This very original property of Georgian Symbolism underlay the reception of ancient culture by Georgian Symbolists. I will dwell only on one point of the comprehensive topic called the reception of ancient culture in the works of Georgian Symbolists. This point is the cycle of Argonautic myths. For French and Russian Symbolists, the Argonautica was the source of symbolic figures with strong passions and unforgettable events. -
International Students Guide
INTERNATIONAL STUDENTS GUIDE Caucasus University CAUCASUS UNIVERSITY 1 CONTENTS W E L C O M E ............................................................................................................................. 3 Facts and Figures About Caucasus University (CU) ...................................................................... 6 Campus History And Location .......................................................................................................8 Accommodations ........................................................................................................................... 9 Your First Few Days .................................................................................................................... 10 Practical Information .................................................................................................................... 10 Visa ........................................................................................................................................... 10 Residence Permit .......................................................................................................................11 Traveling Options ...................................................................................................................... 11 Budgeting .................................................................................................................................. 12 Health & Insurance ......................................................................................................................13 -
The Figurative Language of Soviet Power and Georgian Literature
Bela Tsipuria The Figurative Language of Soviet Power and Georgian Literature Abstract: The Soviet language of power can be seen as a set of basic, universal codes with the special connotation of referring to major principles of Soviet ide- ology or social/political goals prioritized by the Communist Party. This language was developed in political discourse by the Party’s leading ideologists, and imple- mented within cultural/literary discourse. Ideological principles were often met- aphorized and implemented in canonical texts: speeches by Party leaders, cen- trally developed poems and songs, epic novels. After this, the codes were used in all the national cultures/languages of the USSR. Through the bearers of the ideol- ogy – bigger and smaller Party leaders, poets, prose writers, and songwriters – the messages of power were communicated to the Soviet people. Based on Georgian material, this article discusses the spread of one of the main metaphors related to the multinational composition of the USSR – the metaphor of the “united broth- erly family of the nations.” The metaphor carried not only a political meaning but also a hidden agenda of suggesting to Sovietized nations both views and verbal formulations, and how to deal with the existing political reality and the domi- nance of the Russian centre. In this sense, it was an imperial metaphor, related to the national question and the centre–periphery model of the USSR. Keywords: Georgian literature, metaphors/language of power, national question, Soviet ideology The Soviet totalitarian -
The Montage Rhetoric of Nordahl Grieg's Interwar Drama
humanities Article The Montage Rhetoric of Nordahl Grieg’s Interwar Drama Dean Krouk Department of Scandinavian Studies, University of Wisconsin-Madison, Madison, WI 53706, USA; [email protected] Received: 1 October 2018; Accepted: 10 October 2018; Published: 15 October 2018 Abstract: This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusses Grieg’s writings on Soviet theater from the mid-1930s. Grieg embraced innovative aspects of Soviet theater at a time when the greatest period of experimentation in post-revolutionary theater was already ending, and Socialist Realism was being imposed. The article briefly discusses Grieg’s controversial pro-Stalinist, anti-fascist position, before concluding that Vår ære og vår makt represents an important instance of Norwegian appropriation of international modernist and avant-garde theater. Keywords: theater; modernism; avant-garde; Norwegian literature 1. Introduction The dramatist, poet, and novelist Nordahl Grieg was in many ways the most internationally oriented Norwegian writer of the first half of the twentieth century. He sailed around the world in late adolescence (in the years after the First World War), he studied at Oxford in the early 1920s, and he published travelogues from Greece and China in the late 1920s.