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Newsletter No 19 2014
KestonKeston NewsletterNewsletter No. 19, 2014 Albanian Orthodox cathedral – the Resurrection of Christ – in Tirana, capital of Albania Religious Persecution in Albania: the Greek Minority and Orthodoxy by Maria Panayiotou The most repressive Communist regime in this area feel that their identity has been in Eastern Europe was that of Albania, violated because their territory has fre- where religious persecution was targeted quently been invaded by other nations, towards all religious denominations. Communist rule lasted from 1944-1990 Also in this issue: and for over 40 years the country suffered under the iron fist of Enver Hoxha. Be- Theological Education in the fSU. p.10 cause of its prolonged political isolation, The Memory Keepers, Past and Future . p.22 Albania has been the least known country Gorbachev and the Church after 25 Years p.27 of Eastern Europe. It is situated in the Tengiz Abuladze’s Film Repentance . p.37 Balkans, a highly volatile area where few Appeal from Ukrainian Evangelicals . p.41 borders have any long-term historical justification or permanence. Many nations Home News . p.44 Keston Newsletter No 19, 2014 thus contributing to the explosive nature of the area. It is bordered by Monte- negro and Serbia in the north and north- west, by the former Yugoslav Republic of Macedonia in the east, and by Greece in the south and southeast. Albania has three main reli- gions – Islam, Or- thodoxy and Ca- tholicism – with a population of 3,255,891 (1993): according to official figures 60% are Muslim, 30% Orthodox, and 10% Catho- lar resistance and foreign interference lic. -
World Theatre Day 2018
World Theatre Day 2018 Tuesday 27 March, 19h30 | Maison de l‘UNESCO, Salle 1 Musical performance by Jean-Jacques Lemêtre Theatrical Surprise directed by Simon McBurney with Serge Nicolai, Olivia Corsini, Jacques Martial actors of the Théâtre du Soleil company Evening hosted by the clown duo „Les Diptik“ avec Isabelle Huppert With the presence of: Journée Mondiale du Théâtre 2017 Asia PacificAvec la présence d‘Isabelle Huppert, Ram Gopalauteure BAJAJ, du message India de la Journée Mondiale du Théâtre 2017 Arab countries Maya ZBIB, Lebanon Europe Simon MCBURNEY, United Kingdom The Americas Sabina BERMAN, Mexico Africa Werewere-Liking GNEPO, Ivory Coast 3 Content Welcome to the World Theatre Day Celebration 2018 Welcome to the World Theatre Day Celebration 2018 3 UNESCO and ITI 5 International Theatre Institute 6 World Theatre Day 7 Message from the Director-General of UNESCO 8 Message Authors 10 Message Authors 2018 Simon McBurney, United Kingdom 12 Werewere-Liking GNEPO, Ivory Coast 15 Sabina BERMAN, Mexico 16 Ram Gopal BAJAJ, Indie 17 Maya ZBIB, Lebanon 18 Dear message authors, of the creation of a cultural organization whose Ladies and gentlemen; focus was on artistic, educational and humanistic World Theatre Day Message 2018 by Simon McBurney 20 values. It was created to build bridges between all World Theatre Day Message 2018 by Werewere-Liking GNEPO 22 Welcome to the World Theatre Day Celebration nations, especially over the Iron Curtain. Under the World Theatre Day Message 2018 by Sabina BERMAN 26 2018 at UNESCO. leadership of Sir Huxley and the British playwright World Theatre Day Message 2018 by Ram Gopal BAJAJ 28 and novelist J.B. -
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). -
25.Format.Hum-SHAKESPEARE's TYRANTS from TEXT to STAGE
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 5, Issue 11, Nov 2017, 197-202 © Impact Journals SHAKESPEARE’S TYRANTS: FROM TEXT TO STAGE MANANA GELASHVILI 1 & KHATIA GAGNIDZE 2 1Professor, Institute of West European Languages and Literature, Faculty of Humanities, IvaneJavakhishviliTbilisi State University, Tbilisi, Georgia 2Research Scholar, Institute of West European Languages and Literature, Faculty of Humanities, IvaneJavakhishvili Tbilisi State University, Tbilisi, Georgia ABSTRACT The aim of the present article is to study the transformation, which Shakespeare's text undergoes from original into translation and finally for the stage adaptation; namely the interpretation of Shakespeare’s famous tyrants (Richard III, Claudius, King Lear, Julius Caesar) by an acclaimed Georgian theatre director Robert Sturua (b. 1938) at The Rustaveli Theatre, Tbilisi. For this purpose four plays by Shakespeare “King Lear”, “Richard III”,“Hamlet” and “Julius Caesar” have been studied. A comparative analysis of the original text and the translation as well as the text of the staged performance reveals the main tendencies apparent in the interpretation. The scenic adaptations of the Shakespeare's plays show that Shakespeare’s highly suggestive text often becomes a means to discuss political problems and represent the currents issues of the Soviet and Post-Soviet period: the dictatorial state, the perversion of power. At the same time stage directing endeavours -
Film Education (Levan Koghuashvili, Maia Gugunava, Tato Kotetishvili) 139 1001 Ingredients for Making Films from Nana Jorjadze 146
~ editors letter ~ The year of 2015 started with our becoming members of the Creative Europe, while by the end of the year, with the purpose of supporting the cinema industry, Geor- gian government introduced a cash rebate system, we have been working on since 2009. I believe both of these initiatives will make a huge contribution to the develop- ment of our industry. 1 In 2016, movies of different genres will be released. It is notable that three feature films among those are directed by women. Projects we are currently working on are very important. We have announced new types of competitions on script development, including comedy and children’s movies, adaptation of Georgian prose of the 21st century, scripts dedicated to the 100th anniver- sary of Georgia’s independence, and animation. Winners are given long- term work- shops by European script doctors, so 2016 will be dedicated to the script development. The young generation has become active in the field: we had premieres of six short films and a short film by Data Pirtskhalava “Father” was the winner of the main prize in this category at Locarno International Film Festival. Other films – “Ogasavara”, “Fa- ther”, “Exit”, “Preparation”, “The First Day” – are also participating at different festivals. Masters of Georgian cinema are also making films side-by-side with the young genera- tion. I have to mention a film by Rezo Esadze “Day as a Month” with its extraordinary nar- rative structure and visualaspect, which will take its noteworthy place in our film collection. One of the most important goals this year will be to return Georgian cinema heritage from archives in Moscow and design a suitable storage facility for it. -
View Work Across the Sector
PROF ROSS BROWN BA Job title Emeritus Professor of Sound Orcid ID 0000-0002-7918-9867 <img width="510" height="638" alt="Portrait of Professor Ross Brown" typeof="foaf:Image" class="img u-w-full" decoding="async"/> PROFILE I am best known for my books on the dramaturgy of sound and theatre aurality. I was a professional sound designer, theatre musician and composer in the 1980s/90s and founded the sound design course at Central, one of the first of its kind in the world. I was one of the first to reframe professional artistic practice as research and submit to the Research Assessment Exercise (1996), thus helping to lay the foundation for the establishment of Central’s research department. I was also part of Central’s senior academic leadership team from 2002 in a number of roles, including Dean and, most recently, Interim Principal (2020). I retired at the end of 2020 and was honoured to be made Emeritus Professor in March 2021. I am married to a primary school headteacher and live in South London with a dog called Badger and a record collection that is getting out of control. I was a home-counties, state grammar schoolboy in the 1970s. I played in bands, read the New Musical Express avidly, spent my school dinner money on gigs and vinyl and was good at art. I was supposed to aspire to Oxbridge but my heroes went to art college, so after a foundation at Farnham I went to Newcastle Poly, because it was as far away from Guildford as you could get. -
Saqartvelos Inteleqtualuri Sakutrebis Erovnuli Centris Saqpatentis Perioduli Gamocema Saqartvelo Gamodis Sam Tvesiiertxel © Saqpatenti, 2014
gazafxuli SPRING #7 2014 saqarTvelos inteleqtualuri sakuTrebis erovnuli centris saqpatentis perioduli gamocema saqarTvelo gamodis sam TveSiIerTxel © saqpatenti, 2014 PERIODICAL PUBLICATION OF NATIONAL INTELLECTUAL PROPERTY CENTER OF GEORGIA “SAKPATENTI” GEORGIA PUBLISHED QUARTERLY dabeWdilia saqpatentis poligrafiaSi PRINTED AT SAKPATENTI PUBLISHING HOUSE mis.: 0179, Tbilisi, nino ramiSvilis q. 31 ADDRESS: 0179 TBILISI, NINO RAMISHVILI STR. 31 © SAKPATENTI, 2014 tel.: (+995 32) 291-71-82 TEL.: (+995 32) 291-71-82 www.sakpatenti.org.ge [email protected] Tavmjdomaris sveti CHAIRMAN’S COLUMN Dear Reader, 26 April is the World Intellectual Property Day. The World Intellectual Property Organization (WIPO) celebrates this date since 2001 and every year defines the theme and slogan of the day. This year the World Intellectual Property Day is dedicated to cinematography Zvirfaso mkiTxvelo, and, respectively, to the people working in this field, 26 aprili inteleqtualuri sakuTrebis msoflio who indeed deserve universal admiration by their work. dRea. am dRes inteleqtualuri sakuTrebis msof And the slogan Movies – A Global Passion, selected by lio organizacia (ismo) 2001 wlidan aRniSnavs da WIPO for this day, is very accurate. yovelwliurad gansazRvravs masTan dakavSirebul Cinematography has always been a sensitive and re Tematikasa da slogans. wels es dRe mieZRvna kine levant issue for Georgia. At the Georgian Film Archives matografias da, Sesabamisad, am sferoSi moRvawe ada numerous films are preserved which have gained mianebs, romlebic Tavisi SemoqmedebiT marTlac sa international recognition as the best directing, acting, yovelTao aRtacebas iwveven. Zalian zustia am dRisTvis SerCeuli sloganic _ „kino _ sayovelTao aRtaceba“. artistic or musical works. It is extremely important that kinematografiis Tema yovelTvis Zalian mgrZno this high standard of Georgian cinematography was biare da aqtualuri iyo saqarTvelosTvis. -
Everywhere, Even in Africa
1 IDZE N Marika Bakuradze with EVERYWHERE, EVEN IN AFRICA MERAB NI 2 It was April when I was first sent the script from Munich and called to casting. Filming was due to begin the following January, and when I looked over the script and saw the long strings of letters that are so characteristic of German texts, I became nervous. I felt there was no way I would be able to mem- orize it all in such a short time, and I decided instantly to refuse the part. However, my agent pointed out to me that for Caroline – the film’s director – my case was not unusual since a precedent had been set in a previous film of hers, Beyond Silence, “Nowhere in Africa”. Shooting movie. 2001 which had been made under similar circumstanc- es with the French actress Sylvie Testud. Testud’s character had been completely overdubbed in post-production, and if necessary my role would be handled in the same way. Hearing the voice of another in place of my own has always been, and remains to this day, one of the things I find most unpleasant and intolerable. When I saw Nowhere in Africa for the first time and heard somebody else’s voice I was devastated. Only twice over the course of the entire film can my real voice be heard: once when I speak English and once when I talk in the local African language, Kiswahili. Eventually, though, my agent won me over and I 3 went for an interview. The first round went well and the director asked to see me again. -
European Journal of Literature, Language and Linguistics Studies
European Journal of Literature, Language and Linguistics Studies ISSN: 2559 - 7914 ISSN-L: 2559 - 7914 Available on-line at: www.oapub.org/lit doi: 10.5281/zenodo.3370556 Volume 3 │ Issue 2 │ 2019 NIKOS KAZANTZAKIS AND GEORGIA Tinatin Darakhvelidzei PhD. Candidate, The Saint Andrew The First Called Georgian University, Tbilisi, Georgia Abstract: Exactly a hundred years has passed since Nikos Kazantzakis,-a Greek writer, humanist and philosopher travelled in Georgia for the first time, but his impressions and emotions about travelling in Georgia three times, which are described in his creation, still remain as interesting things for the Greek researchers and historians. The journey of the writer coincided with the advent of the bold and historical hardship when Georgia gained three years of independence from the Russian Empire and subsequently became the victim of the annexation of Bolshevik Russia again. This is also the period when the history of Georgia and Greece coincided, because of historical cataclysms happened at that time in the region. This is the period when ethnic people of the Ponto origin who were expelled from Turkey gathered in Georgia, particularly in Batumi in anticipation of returning to their historical homeland,-Greece. Exactly Nikos Kazantzakis was turned out the first and the last, as a civil servant, head of the repatriation program of the Ponto Greeks and he was sent to Georgia by this mission. It was his first touch with Georgia and in spite of the two-week’s business trip which was full of responsibilities, the writer got fascinated by Georgia and had traveled twice for a long time in this country. -
Anthology of Georgian Poetry
ANTHOLOGY OF GEORGIAN POETRY Translated by VENERA URUSHADZE STATE PUBLISHING HOUSE «Soviet Georgia» Tbilisi 1958 PREFACE Nature and history have combined to make Georgia a land of poetry. Glistening peaks, majestic forests, sunny valleys, crystalline streams clamouring in deep gorges have a music of their own, which heard by the sensitive ear tends to breed poetic thought; while the incessant struggle of the Georgians against foreign invaders — Persians, Arabs, Mongols, Turks and others — has bred in them a sense of chivalry and a deep patriotism which found expression in many a lay, ballad and poem. Now the treasures of Georgian literature, both ancient and modern, are accessible to millions of our country's readers for they have been translated into many languages of the peoples of the Soviet Union. Except for the very few but beautiful translations of the Wardrops almost nothing has been translated from Georgian into English. The published works of Marjory Wardrop are — "Georgian Folk Tales", "The Hermit", a poem by Ilia Chavchavadze (included in this anthology), "Life of St. Nino", ''Wisdom and Lies" by Saba Sulkhan Orbeliani. But her chief work was the word by word translation of the great epic poem "The Knight in the Tiger's Skin" by Shota Rustaveli. Oliver Wardrop translated "Visramiani". Now, I have taken the responsibility upon myself to afford the English reader some of the treasures of Georgian poetry. This anthology, without pretending to be complete, aims at including the specimens of the varied poetry of the Georgian people from the beginning of its development till to-day. I shall not speak of the difficulties of translating into English from Georgian, even though it might serve as an excuse for some of my shortcomings. -
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 -
Caucasus Studies 2
IMER - INTERNATIONAL MIGRATION AND ETHNIC RELATIONS MIGRATION IMER - INTERNATIONAL CAUCASUS STUDIES 2 STUDIES CAUCASUS I m Caucasus Studies 2 INTERNATIONA • ER Caucasus Studies 2 LANGUAGE,Caucasus Studies HISTOR 2Y AND CULTURAL IDENTITIES IN THE CAUCASUS l m LANGUAGE, HISTORY AND CULTURAL RE ETHNIC AND IGRATION Edited IDENTITIES by Karina Vamling IN THE CAUCASUS l The internationalEdited by conferenceKarina Vamling Language, History and Cultural Identities in the CU AND HISTORY ANGUAGE, Caucasus, 17-20 June 2005, hosted by the School of International Migration LANGUAGE, HISTORY AND CULTURAL and Ethnic Relations (IMER) at Malmö University (Sweden), brought together IDENTITIES IN THE CAUCASUS Caucasian and Western schoolars with diverse disciplinary backgrounds – l social anthropology, linguistics, literature, social psychology, political science ATIONS – who focus on the Caucasus in their research. The present volume is based on Papers from the conference, papers from this conference. June 17-19 2005, Malmö University l TURA Edited by Karina Vamling l IDENTITIES IN THE CAUCASUS THE IN IDENTITIES MALMÖ UNIVERSITY MALMÖ 2009 SE-205 06 Malmö Sweden m www.mah.se MALMÖ UNIVERSITY A ISBN 978-91-7104-088-6 2010 lmö SE-205 06 Malmö Sweden www.mah.se ISBN 978-91-7104-088-6 Caucasus Studies 1 Circassian Clause Structure Mukhadin Kumakhov & Karina Vamling 2 Language, History and Cultural Identities in the Caucasus. Papers from the conference, June 17-19 2005. Edited by Karina Vamling 3 Conference in the fields of Migration – Society – Language 28-30