1 TYPE of EXPERTISE: Comparative Literature Studies, Literary
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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. -
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. -
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, -
Georgia's Philosophical Landscape
Georgia’s Philosophical Landscape – Spiritual Foundations and Perspectives Anastasia Zakariadze, Irakli Brachuli ANNALS of the University of Bucharest Philosophy Series Vol. LXVI, no. 1, 2017 pp. 135 –154. GEORGIA’S PHILOSOPHICAL LANDSCAPE – SPIRITUAL FOUNDATIONS AND PERSPECTIVES ANASTASIA ZAKARIADZE 1, IRAKLI BRACHULI 2 Abstract This article discusses the main trends of Georgian philosophy: its basic principles and perspectives, the importance of the Western, especially the European cultural heritage, and the Georgian contribution to the history of ideas in a global perspective. Metaphysical questions of cognition, truth, identity, virtue and value, wisdom and power, as well as issues of ethical, social, political and aesthetic values, phenomenological, philosophical-theological and linguistic research are central to Georgian philosophy and exemplify its continuing relevance vis-à-vis the Western tradition in its broadest sense. Although philosophical ideas in Georgia rarely matured into a well-balanced, self- sufficient system, one may distinguish as original conceptions some ideas of Christian Neo-Platonism and Aletheological Realism . Keywords: Georgian philosophy, European standard of philosophizing, Christian Neo-Platonism and Aletheological Realism, phenomenological-existential research, linguistic turn, philosophical-theological studies. I. Anthim the Iberian and Name-Symbols in Georgia. In Lieu of an Introduction One of the central figures of Romanian and Georgian cultures, “a great person of the epoch of [the] Enlightenment and a great humanist” 3 1 Professor at Ivane Javakhishvili Tbilisi State University. Email: [email protected]. 2 Associate professor at Ivane Javakhishvili Tbilisi State University. Email: [email protected]. 3 This issue is recently precisely analyzed by a group of Georgian philosophers, in Zakariadze, A. -
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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. -
Shalva Nutsubidze, Was a Member of the Group of Several Scholars Whose Joint Efforts Re- Sulted in the Creation of the University
PHILOSOPHY IN GEORGIA: FROM NEOPLATONISM TO POSTMODERMISM ivane javaxiSvilis saxelobis Tbilisis saxelmwifo universiteti anastasia zaqariaZe irakli braWuli filosofia saqarTveloSi: neoplatonizmidan postmodernizmamde IVANE JAVAKHISHVILI TBILISI STATE UNIVERSITY ANASTASIA ZAKARIADZE IRAKLI BRACHULI PHILOSOPHY IN GEORGIA: FROM NEOPLATONISM TO POSTMODERMISM This research discusses the main tendencies of Georgian philo- sophy: its basic principles and perspectives, the importance of the Western, especially the European cultural heritage, and the Geor- gian contribution to the history of ideas in a global perspective. Metaphysical issues of cognition, truth, identity, virtue and value, wisdom and power; problems of ethical, social, political and aes- thetic character, as well as phenomenological, philosophical-theo- logical and linguistic research, are central to Georgian philosophy and exemplify its continuing relevance vis-À-vis the Western tradi- tion in its broadest sense. Although philosophical ideas in Georgia rarely matured into a well-balanced and self-sufficient system, as original conceptions one may distinguish some ideas of Christian Neo-Platonism and Alethological Realism. The volume is dedicated to the 100th anniversary of Ivane Javakhishvili Tbilisi State University. Scientific Editors: Cornelia B. Horn Basil Lourie On the cover there is a portrait sketch of Niko Pirosmani (Nikala) by Pablo Picasso. One of the most influential artists of modernity was never personally acquainted with the early XX cen- tury Georgian primitivist painter, but he knew his works. Pirosma- ni posthumously rose to prominence. Ivane Javakhishvili Tbilisi State University Press, 2018 ISBN 978-9941-13-732-7 C O N T E N T S Acknowledgements ............................................................ 7 Editorial Preface ................................................................ 8 In Lieu of an Introduction ............................................... 11 1. Ioane Petritsi and Georgian Neoplatonism .............. -
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 -
LZA Vēstis a Daļa, 2017. Gada 2. Numurs
LZA LOCEKĻU KORESPONDENCE VIsLIeLāKā dIVdesMITā gadsIMTa žēLasTīBa Vatikāna Otrajam koncilam — 51 Zbigņevs Stankevičs [email protected] Atslēgas vārdi: Baznīca, koncils, evaņģelizācija, atjaunotne, skaidrošana, dialogs, kopība Vatikāna Otrā koncila teksti un mācība pareizi jāskaidro Latvijas kontekstā līdz ar katolisko Baznīcu. Kardināla Racingera intervija 1985. gadā palīdz izcelt sekojošas atziņas: gala dokumentu lasīšana palīdzētu atklāt koncila patieso garu. Koncils bija pravietisks, jo palīdz risināt pašreizējās problēmas. Baznīcas kustības un grupas, liturģiskā reforma, ticības dilogs dažādos līmeņos pauž tiekšanos pēc svētuma un dziļāku izpratni par Baznīcu kā noslēpumu un kopību. Baznīcas atjaunotne ir vērsta uz evaņģelizāciju un atbilstošām attiecībām ar pasauli. Koncila dokumenti ir saistīti savā starpā un to pastorālā nozīme nav šķirama no doktrinālās nozīmes. Baznīcas locekļiem jāpārdomā sava attieksme pret koncilu, iesaistoties liturģijā, Dieva Vārda novērtēšanā, misijā un tuvībā cilvēkiem ar žēlsirdības darbu veikšanu. 2016. gada 8. decembrī apritēja piec- na Otrā koncila dokumentiem, lai pareizi desmit viens gads, kopš darbu beidza Va- intepretētu šā Koncila mācību Latvijas tikāna Otrais koncils. Šogad šī koncila do- kontekstā un elpotu līdzi ar visu katolisko kumenti tiek izdoti latviešu valodā. Tas Baznīcu: “Šodien aizstāvēt īsto Baznīcas katoliskajai Baznīcai Latvijā ir ļoti būtiski, Tradīciju nozīmē aizstāvēt Koncilu. Tā ir arī jo palīdzēs saprast, kāpēc Vatikāna Otrais mūsu vaina, ja mēs reizēm (kā “labējiem”, -
Mutsali by Givi Margvelashvili: the Aesthetics of Post-Modernism and the Problem of Deconstruction of the Classical Texts
Nana Gaprindashvili, Nino Aptsiauri, Mari Simonishvili Nana Gaprindashvili Nana Gaprindashvili was born in 1958. She studied at Belarus State and Tbilisi State Universities. In 1980 she graduated from Tbilisi State University, majoring in Philology. In 1985 she defended her candidate dissertation and obtained a scientific degree of Candidate of Philology; in 1993 she defended her doctoral dissertation and became Doctor of Philology. In 2000 Nana Gaprindashvili became a Professor. She is the author of five monographs, five course books and up to 85 scientific articles; Nana Gaprindashvili is a Professor at the Faculty of Humanities at Ivane Javakhishvili Tbilisi State University. The spheres of her interest are: Translation Studies, Comparative Literature, Rhetoric, Literary Theory, and Issues of Georgian spelling. Mutsali by Givi Margvelashvili: The Aesthetics of Post-modernism and the Problem of Deconstruction of the Classical Texts Abstract: Mutsali by Givi Margvelashvili one of the most interesting works in European post- modernism is a great example of how Georgian sources (Aluda Ketelauri by Vazha-Pshavela and Merani by Nikoloz Baratashvili) become interwoven in the western discourse. Hence, the deconstruction of the classical literary text, one of the most important characteristics of post- modern aesthetics, becomes apparent in Mutsali. Keywords: Mutsali by Givi Margvelashvili, Aluda Ketelauri by Vazha-Pshavela, Merani by Nikoloz Baratashvili, Deconstruction of Texts, Postmodernism Post-modernism, which has become a natural phenomenon for the developed society, enables the modern society to be seen or understood within the framework of post-modern philosophy. Thus, post-modernism has become a universal category of the XX century, expressing the “spirit of the era”. -
Editorial Board
Phasis 13-14, 2010-2011 Manana Garibashvili (Tbilisi) ANCIENT MOTIFS IN THE WORKS OF GEORGIAN SYMBOLISTS When I decided to work on this topic, I knew in advance that the sources would not be numerous. However, I believe that the period nevertheless deserves special attention as it is here that Georgian poetry becomes familiarized with ancient names and motifs. The traces of close cultural relations of the Georgian tribes with the ancient world are lost in the depths of centuries. However, they are not easy to discern in the classical Georgian poetry, which belongs to a much later period. If The Knight in the Tiger Skin may offer some parallels with the ancient world – through vigorous efforts at that – the later Georgian poetry cannot be „blamed‟ of the same: both the poets and the audience are absolutely detached from the ancient world and know almost nothing about it. The poetry of the Revival makes no mention of even a single name either from mythology or from history, which has always been quite the opposite in the European poetry. The only exclusion is Davit Guramishvili‟s Merry Summer, which opens with the struggle of winter and spring, which proceeds against the following names: “[He] had assigned Evros as the commander against Cecia; the latter was followed by Lipsi Zepiros Phoinix, Borias, Notos. Summer had Cecia as the commander, where Evros stood idle. He was followed by Argestes, Apil, ergast, Thrascias Livontos.”).1 Guramishvili may seem to be using some Russian source; however, this is not so as all the names are borrowed from Sulkhan Saba Orbeliani‟s Lexicon, specifically, the entry for “wind”, while Sulkhan Saba Orbeliani must have been the only person in Georgia having an access to ancient sources.