The Myth of the City in the French and the Georgian Symbolist Aesthetics
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Again: Vowels Or Colors? by Victor Ginsburgh &Stamos Metzidakis
Athens Journal of Philology - Volume 6, Issue 4 – Pages 225-234 On Rimbaud’s "Vowels," Again: Vowels or Colors? † By Victor Ginsburgh & Stamos Metzidakis Arthur Rimbaud’s sonnet Vowels presents a poetic vision based ostensibly on a quasi- psychedelic or synesthetic experience. It has inspired writers, critics, painters, and singers for over a century mainly because of its often obscure form and content. From the first verse of the text, for instance, the author juxtaposes each of the normal five French vowels printed in capital letters with what appears to be a random choice of an "appropriate" color. As a result, the majority of readers assume that these colors somehow correspond, semantically speaking, to the selected vowels. In making such connections, however, our poet suggests that his specific fusion of basic colors and sounds is capable of generating not just one but multiple significations, be they religious, erotic, aesthetic, even anthropological. Yet the poem itself - an irregular French sonnet - already derives much of its obscurity from another odd feature: the faulty order of French vowels used by Rimbaud: A to O instead of A to U or Y. Formal explanations are often cited to justify this so-called "mistake." This paper demonstrates that his poem hides a different interpretation of the words used to expand upon these sound/color combinations. After all, vowels are metonymically linked to sounds, since they constitute the minimal elements of the latter. Contemporary linguists have discovered, however, that in almost all languages, colors come in the same fixed order of words - Black, White, Red, Green and Blue - that Rimbaud proposes. -
Prenesi Datoteko Prenesi
From War to Peace: The Literary Life of Georgia after the Second World War Irma Ratiani Ivane Javakhishvili, Tbilisi State University, Shota Rustaveli Institute of Georgian Literature, 1 Chavchavadze Ave, Tbilisi 0179, Georgia [email protected] After the Second World War, political changes occurred in the Soviet Union. In 1953 Joseph Stalin—originally Georgian and the incarnate symbol of the country— died, and soon the much-talked-about Twentieth Assembly of the Communist Party of the Soviet Union headed by Nikita Khrushchev followed in 1956. In Georgia, Khrushchev’s speech against Stalin was followed by serious political unrest that ended with the tragic events of March 9th, 1956. It is still unclear whether this was a political event or demonstration of insulted national pride. Soon after that, the Khrushchev Thaw (Russian: Ottepel) occurred throughout the Soviet Union. The literary process during the Thaw yielded quite a different picture compared to the previous decades of Soviet life. Under the conditions of political liberalization, various tendencies were noticed in Georgian literary space: on the one hand, there was an obvious nostalgia for Stalin, and on the other hand there was the growth of a specific model of Neo-Realism and, of no less importance, the rise of women’s writing. Keywords: literature and ideology / Georgian literature / World War II / Khrushchev thaw / Soviet Union Modifications of the Soviet regime Georgian literature before the Second World War was by no means flourishing. As a result of the political purges of the 1930s conducted by Soviet government, the leading Georgian writers were elimi- nated. -
Byron's Reception in Georgia
1 THE RECEPTION OF BYRON IN EUROPE In Two Volumes Edited by Richard A. Cardwell Continuum Press, London – New York, 2004 Volume II, Chapter 21: LIBERTY AND FREEDOM AND THE GEORGIAN BYRON Innes Merabishvili At the age of twenty one Lord Byron published his famous satire English Bards and Scotch Reviewers where he set out the plans of his first journey: Yet once again, adieu! Ere this the sail That wafts me hence is shivering in the gale; And Afric’s coast and Calpe’s adverse height, And Stamboul’s minarets must greet my sight; Thence shall I stray through beauty’s native clime Where Kaff is clad in rocks, and crown’d with snows sublime. Here Kaff denotes the Caucasus, but under 'beauty’s native clime' Byron meant Georgia, the country that is situated between the Black Sea and the Caspian Sea, bordering with Armenia, Azerbaijan, Turkey, Chechnya, Ossetia, Ukraine and Russia. Thus, being located on the crossroads of Asia and Europe, the history of Georgia has been marked by intensive interactions with other cultures and nations which, when not aggressors, were generally welcomed. In the same way Georgia welcomed Byron. By the time of Lord Byron’s intended journey across the Caucasus, Georgia had obtained peace through the patronage of the Russian Empire. In 1801 Russia abolished the Kartl-Kakhetian kingdom, which had been a Russian protectorate since 1783 and formally incorporated it into the Russian Empire. The Russian patronage, though politically oppressive, opened huge prospects to Europe and to its great men and writers. Georgia was firmly linked with Russia but this was never a one-sided connection. -
Georgian Symbolism: Context and Influence
International Journal of Applied Linguistics & English Literature E-ISSN: 2200-3452 & P-ISSN: 2200-3592 www.ijalel.aiac.org.au Georgian Symbolism: Context and Influence Tatia Oboladze* Ivane Javakhishvili Tbilisi State University, Tbilisi, Georgia Corresponding Author: Tatia Oboladze, E-mail: [email protected] ARTICLE INFO ABSTRACT Article history In the 1910s in the Georgian literary area the first Symbolist group TsisperiQantsebi (The Blue Received: November 18, 2017 Horns) comes into being, with a clearly defined purpose and aesthetic position, which implied Accepted: January 27, 2018 renewing the Georgian literature and including it into the Western context. Desiring to expand Published: March 01, 2018 the thought area and to modernize Georgian literature, Georgian Symbolists rested on the Volume: 7 Issue: 2 philosophical and worldview principles of French Symbolism. Georgian Symbolism appears Advance access: February 2018 as an original invariant generated from the French Symbolist aesthetics, which is unequivocally national. Conflicts of interest: None Funding: None Key words: Georgian Symbolism, Georgian Modernism, The Blue Horns In 1916, when European, namely French Symbolism in also by their public activities performed an enormous role fact was a completed project, the first Symbolist literary in the process of Europeanization of Georgian literature and group Tsisperi Qantsebi (The Blue Horns)1 came into being transformation of Georgia into a cultural centre, in general. in Georgia. Young poets united to achieve a common objec- The socio-political and cultural context of France of the tive, which implied restoring the artificially broken connec- 19th c. and Georgia of the early 20th c. were totally different. tion of Georgian literature with the Western 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. -
Thomas De Waal the Caucasus
THE CAUCASUS This page intentionally left blank THE CAUCASUS AN INTRODUCTION Thomas de Waal 1 2010 1 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offi ces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2010 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data de Waal, Thomas. The Caucasus : an introduction / Thomas de Waal. p. cm. Includes bibliographical references and index. ISBN 978-0-19-539976-9; 978-0-19-539977-6 (pbk.) 1. Caucasus Region—Politics and government. 2. Caucasus Region—History. 3. Caucasus Region—Relations—Russia. 4. Russia—Relations—Caucasus Region. 5. Caucasus Region—Relations—Soviet Union. 6. Soviet Union—Relations—Caucasus Region. I. Title. DK509.D33 2010 947.5—dc22 2009052376 1 3 5 7 9 8 6 4 2 Printed in the United States of America on acid-free paper To Zoe This page intentionally left blank Contents Introduction 1 1. -
Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide -
6. Imereti – Historical-Cultural Overview
SFG2110 SECOND REGIONAL DEVELOPMETN PROJECT IMERETI REGIONAL DEVELOPMENT PROGRAM IMERETI TOURISM DEVELOPMENT STRATEGY Public Disclosure Authorized STRATEGIC ENVIRONMENTAL, CULTURAL HERITAGE AND SOCIAL ASSESSMENT Public Disclosure Authorized Public Disclosure Authorized Public Disclosure Authorized Tbilisi, December, 2014 ABBREVIATIONS GNTA Georgia National Tourism Administration EIA Environnemental Impact Assessment EMP Environmental Management Plan EMS Environmental Management System IFI International Financial Institution IRDS Imereti Regional Development Strategy ITDS Imereti Tourism Development Strategy MDF Municipal Development Fund of Georgia MoA Ministry of Agriculture MoENRP Ministry of Environment and Natural Resources Protection of Georgia MoIA Ministry of Internal Affairs MoCMP Ministry of Culture and Monument Protection MoJ Ministry of Justice MoESD Ministry of Economic and Sustaineble Developmnet NACHP National Agency for Cultural Heritage Protection PIU Project Implementation Unit PPE Personal protective equipment RDP Regional Development Project SECHSA Strategic Environmental, Cultural Heritage and Social Assessment WB World Bank Contents EXECUTIVE SUMMARY ........................................................................................................................................... 0 1. INTRODUCTION ........................................................................................................................................... 14 1.1 PROJECT CONTEXT ............................................................................................................................... -
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. -
From Poe to Rimbaud: a Comparative View of Symbolist Poetry
ARTS & HUMANITIES From Poe to Rimbaud: A Comparative View of Symbolist Poetry William Pietrykowski*, Dr. Elizabeth Renker Department of English Though geographically isolated from each other in the latter half of the Nineteenth Century, Walt Whitman, Edgar Allan Poe, and their French contemporaries, Charles Baudelaire, and Arthur Rimbaud, worked analogously to revolutionize poetic representation. Baudelaire and Rimbaud worked in the Symbolist tradition, while Whitman and Poe stood together in the United States as revolutionary poetic thinkers. While French civilization created the social and artistic contexts for Symbolism, French Symbolists probably appropriated much of their formally artistic ideas from Poe and Whitman. Most critics agree Poe was most likely more influential to the formation of Symbolist thought, while Whitman’s force is a bit unclear. Aligning Baudelaire and Poe, as analogous artists, and Whitman and Rimbaud, From Poe to Rimbaud, a Comparative View of Symbolist Poetry will defend American importance in the formation and development of French Symbolist poetry. Introduction Between the 1850’s and the 1870’s, an early Symbolist aesthetic emerged in the French literary and artistic scenes. Charles Baudelaire, considered by many the father of French Symbolism, defines modern art in “L’Art Philosophique” (1869) as “[Creating] a magic containing at once the object and the subject, the outside world of the artist and the artist himself” (qtd by Erkkila 56). This definition, as indicative of the way Symbolists viewed aesthetics, suggests that Symbolist art takes into account three main factors: the artist’s external world, the artist’s internal world, and a less tangible but important “magic” which bonds the two.