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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, -
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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. -
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 -
World Bank Document
SFG2732 Public Disclosure Authorized THE STRATEGIC ENVIRONMENTAL, SOCIAL AND CULTURAL HERITAGE ASSESSMENT OF THE REGIONAL DEVELOPMENT AND TOURISM DEVELOPMENT STARTEGIES OF SAMTSKHE-JAVAKHETI AND MTSKETA-MTIANETI Public Disclosure Authorized Third Regional Development Project Public Disclosure Authorized Public Disclosure Authorized December, 2016 Abbreviations GNTA Georgia National Tourism Administration EIA Environnemental Impact Assessment EMP Environmental Management Plan RDS Regional Development Strategy RTDS Regional Tourism Development Strategy MDF Municipal Development Fund of Georgia MoA Ministry of Agriculture MoENRP Ministry of Environment and Natural Resources Protection of Georgia MoCMP Ministry of Culture and Monument Protection MESD Ministry of Economic and Sustaineble Developmnet NACHP National Agency for Cultural Heritage Protection PIU Project Implementation Unit RDP Regional Development Project SECHSA Strategic Environmental, Cultural Heritage and Social Assessment WB World Bank Contents EXECUTIVE SUMMARY ............................................................................................................................... 1 1. INTRODUCTION ................................................................................................................................... 12 1.1 THIRD REGIONAL DEVELOPMENT PROJECT (RDP III) ..................................................... 12 1.2 REGIONAL AND SECTORAL CONTEXT: RDS AND RTDS FOR SAMTSKHE- JAVAKHETI AND MTSKHETA-MTIANETI REGIONS .................................................................. -
IMPORTANT: You Must Read the Following Disclaimer Before Continuing
IMPORTANT: You must read the following disclaimer before continuing. The following disclaimer applies to the attached prospectus (the “Prospectus”) and you are therefore advised to read this carefully before reading, accessing or making any other use of the attached Prospectus. In accessing the Prospectus, you agree to be bound by the following terms and conditions, including any modifications to them from time to time, each time you receive any information from us as a result of such access. You acknowledge that this electronic transmission and the delivery of the attached Prospectus is confidential and intended only for you and you agree you will not forward, reproduce or publish this electronic transmission or the attached Prospectus to any other person. The Prospectus and the offer when made are only addressed to and directed at persons in member states of the European Economic Area (“EEA”) who are “qualified investors” within the meaning of Article 2(1)(e) of the Prospectus Directive (Directive 2003/71/EC) (the “Prospectus Directive”) (“Qualified Investors”). In addition, in the United Kingdom (“UK”), this Prospectus is being distributed only to, and is directed only at, Qualified Investors (i) who have professional experience in matters relating to investments falling within Article 19(5) of the Financial Services and Markets Act 2000 (Financial Promotion) Order 2005, as amended (the “Order”) and Qualified Investors falling within Article 49 of the Order, and (ii) to whom it may otherwise lawfully be communicated (all such persons together being referred to as “relevant persons”). This Prospectus must not be acted on or relied on (i) in the UK, by persons who are not relevant persons, and (ii) in any member state of the EEA other than the UK, by persons who are not Qualified Investors. -
Integration/Expansion, Georgian-Russian Cultural Relationship in 1910-1980S
Dr. Mzia Chikhradze Senior Research Fellow at G. Chubinashvili National Center for the Research of Georgian Art History and Monuments Protection Integration/Expansion, Georgian-Russian Cultural Relationship in 1910-1980s In 1918 after Georgia’s declaration of independence from Russia an interesting and quite peculiar culture derived there, which was preceded by concrete historical and political events. In the beginning of XX century the tremendous cataclysms happened in Russia – the revolution and civil war ruined the foundations of cultural life of the creative society there. Russian intelligentsia and aristocracy overwhelmed by “broken dreams” immersed themselves into “the mist of uncertainty" and driven with hopes for future moved from icy Russia to independent Georgia. I.e. after involvement of Russia in the civil war creative forces there found themselves being under the Soviet Terror. They had to find the way out for their physical and intellectual survive, that was how Georgia became shelter for them. In 1922 Titsian Tabidze wrote in “Barricade” newspaper: “Russia three years ago – was something phantasmagoric. Some astral dust was snowing as frozen icicles in Russia then. Devastation brought by the civil war, freezing cold of the Arctic Ocean, hunger reaching the extents of mystery and blood-thirsty Cheka. Thrown away emigrants uttered unspeakable things under the inhuman terror … Cultural people used to kiss the land in Tbilisi right before us and cry when seeing the light of electric lamps… Most of all . Vasili Kamenski sitting in a pleasantly warm café was crying and could not stop telling with Russian Khlysts veracity about Moscow nightmares and cold, when humans were valued less than animals.” For the people survived that hell Georgia became the paradise and Tbilisi for them was like ”an oasis in desert and attracted them, who tried escape the storms of the war and the revolution”. -
JSC Georgian Oil and Gas Corporation
IMPORTANT: You must read the following disclaimer before continuing. The following disclaimer applies to the attached prospectus (the “Prospectus”) and you are therefore advised to read this carefully before reading, accessing or making any other use of the attached Prospectus. In accessing the Prospectus, you agree to be bound by the following terms and conditions, including any modifications to them from time to time, each time you receive any information from us as a result of such access. You acknowledge that this electronic transmission and the delivery of the attached Prospectus is confidential and intended only for you and you agree you will not forward, reproduce or publish this electronic transmission or the attached Prospectus to any other person. The Prospectus and the offer when made are only addressed to and directed at persons in member states of the European Economic Area (“EEA”) who are “qualified investors” within the meaning of Article 2(1)(e) of the Prospectus Directive (Directive 2003/71/EC) (the “Prospectus Directive”) (“Qualified Investors”). In addition, in the United Kingdom (“UK”), this Prospectus is being distributed only to, and is directed only at, Qualified Investors, (i) who have professional experience in matters relating to investments falling within Article 19(5) of the Financial Services and Markets Act 2000 (Financial Promotion) Order 2005, as amended (the “Order”) and fall within Article 49 of the Order, and (ii) to whom it may otherwise lawfully be communicated (all such persons together being referred to as “relevant persons”). This Prospectus must not be acted on or relied on (i) in the UK, by persons who are not relevant persons, and (ii) in any member state of the EEA other than the UK, by persons who are not Qualified Investors. -
100 Years of Diplomatic Service of the Republic of Azerbaijan
100 years of diplomatic service of the Republic of Azerbaijan Elmar MAMMADYAROV, Foreign Minister of the Republic of Azerbaijan 100 years of the Republic of Azerbaijan’s diplomacy: upholding national interests at the crossroads of epochs and regions 9 July 1919, the Government of the Azer- Despite living at a junction where the interests of baijan People’s (Democratic) Republic global superpowers converged and often overtly col- On(ADR) adopted a temporary instruction lided, the Azerbaijani people always showed a strong on the secretariat of the Ministry of Foreign Affairs. determination and steadfast will to uphold its freedom. According to a Decree of President of the Republic of This demonstrates a continuity of the traditions of state- Azerbaijan Ilham Aliyev dated 24 August 2007, this date hood and the fact that it is embedded in national con- was taken as the basis for the establishment of the Day sciousness. Emphasizing this, the Founding Father of of employees of the Diplomatic Service of Azerbaijan. the modern Azerbaijani State Heydar Aliyev said in an One century separates us from atime when the ADR address to young people in 2001, “Our greatest historic was taking its first steps in the international arena. It was achievement is the acquisition of state independence.” an incredibly hectic century which encompassed the In essence, the past hundred years have become collapse of former empires which perished in the fire the annals of the formation and development of mod- of World War One, Azerbaijan’s state independence in ern Azerbaijani statehood. It should be noted that the the form of the first republic in the Muslim East, the loss Republic period of our history did not arise in a vacuum of this independence, seven decades within the USSR, – itwas organically prepared by all of its predecessors.