SoTa rusTavelis erovnuli samecniero fondi Shota Rustaveli National Science Foundation aRniSnuli proeqti ganxorcielda SoTa rusTavelis erovnuli samecniero fondis finansuri mxardaWeriT. winamdebare publikaciaSi gamoTqmuli nebismieri mosazreba ekuTvnis avtors da, SesaZloa, ar asaxavdes fondis Sexedulebebs. This project has been made possible by financial support from the Shota Rustaveli National Science Foundatin. All ideas expressed herewith are those of the author, and may not represent the opinion of the Foundation itself”. www.rustaveli.org.ge ufaso gamocema 2 iv. javaxiSvilis saxelobis Tbilisis saxelmwifo universiteti Iv. Javakhishvili Tbilisi State Univertity SoTa rusTavelis qarTuli literaturis instituti Shota Rustaveli Institute of Georgian Literature VI saerTaSoriso simpoziumi literaturaTmcodneobis Tanamedrove problemebi Sua saukuneebis literaturuli procesebi. saqarTvelo, evropa, azia eZRvneba `vefxistyaosnis“ pirveli beWduri gamocemis 300 wlisTavs VI International Symposium Contemporary Issues of Literary Criticism Medieval Literary Processes. Georgia, Europe, Asia Dedicated to 300th Anniversary from the first printed publication of Shota Rustaveli’s Poem „The Knight in the Panther's Skin“ Tezisebi • Theses Institute of Literature Press 3 UDK(uak)821.353.1.091(063) S-93 redaqtori irma ratiani saredaqcio kolegia: maka elbaqiZe irina modebaZe miranda tyeSelaSvili Editor Irma Ratiani Editorial Board Maka Elbakidze Irine Modebadze Miranda Tkeshelashvili mxatvari nodar sumbaZe © SoTa rusTavelis qarTuli literaturis instituti, 2012 © Shota Rustaveli Institute of Georgian Literature, 2012 ISBN 978-9941-0-4715-2 4 Sinaarsi ZAZA ABZIANIDZEA Georgia, Tbilisi To Make More Precise Semantics and Symbolism of Rustaveli’s “Tiger”...................................................................29 zaza abzianiZe saqarTvelo, Tbilisi rusTavelis `vefxis~ semantikisa da simbolikis dasazusteblad...............................................................29 R. AKAVOV Republic of Dagestan, Makhachkala Medieval Epistolografic Tradition as the Backbone Principle in Formation of National Fiction.....................................................................31 Р. АКАВОВ Республика Дагестан, Махачкала Средневековая эпистолографическая традиция как системообразующий принцип в формировании национальной художественной литературы........................................................................31 GIORGI ALIBEGASHVILI Georgia, Tbilisi Toward the History of Writing Materials, Education and Science in Medieval Georgia..................................................32 giorgi alibegaSvili saqarTvelo, Tbilisi saweri masalebis, ganaTlebisa da mecnierebis istoriisaTvis Sua saukuneebis saqarTveloSi................................32 I.L. BAGRATION-MUKHRANELI Russia, Moscow Researches on SH. Rustaveli and Georgian Church in the Archive of the Kiev Teological Academy.............................................34 И.Л. БАГРАТИОН-МУХРАНЕЛИ Россия, Москва Материалы о Ш. Руставели и Грузинской церкви в архивах Киевуской духовной академии...................................34 5 A.V. BAKUNTSEV Russia, Moscow Medieval Narrative Tradition in the I. A. Bunin’s Creation.......................................................................................36 А.В. БАКУНЦЕВ Россия, Москва Cредневековая нарративная традиция в творчестве И.А.Бунина............................................................36 NINO BALANCHIVADZE Georgia, Tbilisi Headgear (Head Adornment) – the Moral or Cultural-Historical Essence......................................................38 nino balanCivaZe saqarTvelo, Tbilisi qudi(Tavsamkauli) _ kulturul-istoriuli Tu zneobrivi arsi......................................38 TAMAR BARBAKADZE Georgia, Tbilisi The Interpretation of the Vepkhistqaosani’s Author and Images of Protagonists in Modern Georgian Lyrics.......................................................40 Tamar barbaqaZe saqarTvelo, Tbilisi `vefxistyaosanis~ avtorisa da gmirTa saxeebis interpretacia Tanamedrove qarTul lirikaSi..............................................................40 NAIRA BEPIEVI, NINO POPIASHVILI Georgia, Tbilisi The Knight in the Panther’s Skin in the Osetian Folklore...........................42 n. bepievi, n. popiaSvili saqarTvelo, Tbilisi `vefxistyaosani~ osur folklorSi.....................................................42 TINATIN BOLKVADZE Georgia, Tbilisi The Ways of Information Variety and the Problem of Ethos in “The Knight in Panther’s Skin” ......................................................44 6 TinaTin bolqvaZe saqarTvelo, Tbilisi informaciis gaSlis xerxebi da eTosis sakiTxi `vefxistyaosanSi~...................................................44 LYUDMILA BORIS Russia, Moscow Western Russian Monastery in the Village of Derman as a Monument of the Middle Ages..............................................46 Л.А. БОРИС Россия, Москва Западнорусское средневековье на примере Дерманского монастыря...............................................................46 KONSTANTINE BREGADZE Georgia, Tbilisi German Translations of the Sunny Night of the “Knight in the Panther Skin”....................................................................48 konstantine bregaZe saqarTvelo, Tbilisi `vefxistyaosnis~ mziani Ramis strofis germanuli Targmanebi.............................................................48 LEVAN BREGADZE Georgia, Tbilisi Two Parables of “The Knight in the Panther’s Skin” and the Dialectic of Rustaveli..........................................................................51 levan bregaZe saqarTvelo, Tbilisi `vefxistyaosnis~ ori parabola da rusTavelis dialeqtika......................................................................51 RŪTA BRŪZGIENĖ Lithuania, Vilnius Medieval Musical Literary Genres in the Lithuanian Poetry of the 20th Century............................................................53 РУТА БРУЗГЕНЕ Литва,Вильнюс Средневековые музыкально-литературные жанры в литовской поэзии ХХ века...........................................................53 7 ANASTASIA BUGRIJ Ukraine, Kiev Medieval West European Code in the Novel “ The Green Knight” by I. Murdoch.................................................................54 АНАСТАСИЯ БУГРИЙ Украина, Киев Код западноевропейского средневековья в романе А. Мердок «Зеленый рыцарь» ....................................................54 IA BURDULI Grail and the Name of Rose in the Minnesingers’ Paradigms.................................................................................55 ia burduli graali da vardis saxeli minezingerul paradigmebSi.....................................................................55 TAMAR CHIKHLADZE Georgia, Tbilisi From Medieval Book Repository to Virtual Library....................................56 Tamar CixlaZe saqarTvelo, Tbilisi Sua saukuneebis wignTsacavebidan virtualur biblioTekebamde.................................................................56 EKA CHIKVAIDZE Georgia, Tbilisi Negation in the Knight in the Panther’s Skin................................................59 eka CikvaiZe saqarTvelo, Tbilisi uaryofa „vefxistyaosanSi.......................................................................59 RAMAZ CHILAIA Georgia, Tbilisi “The Knight in the Panther Skin” as an Artefact..........................................60 ramaz Wilaia saqarTvelo, Tbilisi vefxistyaosani rogorc artefaqti...................................................60 8 NATELA CHITAURI Georgia, Tbilisi Some of Victor Nozadze’s Reflections on the Vepkhistqaosani......................................................................................63 naTela Citauri saqarTvelo, Tbilisi viqtor nozaZis zogierTi mosazreba `vefxistyaosnis~ Sesaxeb.....................................................63 EKA CHKHEIDZE Georgia, Tbilisi “The Knight in the Panthers’ Skin” in Postmodern Era..............................65 eka CxeiZe saqarTvelo, Tbilisi `vefxistyaosani~ postmodernizmis epoqaSi......................................65 MAIA CHOLADZE Georgia, Tbilisi Secularisation of Love in the German Tale of Chivalry and Its Transformation in Musical Romanticism ......................................................................................67 maia WolaZe saqarTvelo, Tbilisi siyvarulis sekularizacia germanul saraindo romanSi da misi transformacia musikalur romantizmSi ...........................................................................67 RUSUDAN CHOLOKASHVILI Georgia, Tbilisi Interrelatedness of Deity of Tar- Young and “The Knight in the Panthers’ Skin”................................................................69 rusudan ColoyaSvili saqarTvelo, Tbilisi RvTaeba tar-Wabukisa da `vefxistyaosnis~ tarielis urTierTmimarTebis Sesaxeb................................................69 ILONA ČIUŽAUSKAITĖ Lithuania, Vilnius Traces of Medieval Culture in the Translations of Sigitas Geda............................................................................71 9 NINO DOLIDZE Georgia, Tbilisi “Tbilissian Maqāma”al-Harīrī .......................................................................72 nino doliZe saqarTvelo, Tbilisi al-hariris `Tbilisuri makama~..............................................................72 KETEVAN ELASHVILI Georgia, Tbilisi Lash of Tariel – the Symbol of Power.............................................................74 qeTevan elaSvili saqarTvelo, Tbilisi tarielis maTraxi _ viTarca Zalauflebis simbolo.............................................................74 MAKA ELBAKIDZE, IRMA RATIANI Georgia, Tbilisi Honour and Honesty: The Heroic Ideal