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ყურადღება

მიმდინარეობს ვებ-გვერდის რეკონსტრუქცია

ნიკოლოზ ბარათაშვილის გარდაცვალების 170 წლისთავისადმი მიძღვნილი საერთაშორისო სამეცნიერო კონფერენცია

 


19 დეკემბერს თბილისის ივ/ჯავახიშვილის სახ.უნივერსიტეტში ნიკოლოზ ბარათაშვილის გარდაცვალების 170 წლისთავისადმი მიძღვნილი საერთაშორისო სამეცნიერო კონფერენცია გაიმართა.საერთშორისო კონფერენციის ორგანიზატორები არიან  თსუ ,სანკტ-პეტერბურგის უნივერსიტეტი და "საზოგადოება ცოდნის"  უმაღლესი სასწავლებელი


ივანე ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტი

IVANE JAVAKHISHVILI TBILISI STATE UNIVERSITY

 

ნიკოლოზ ბარათაშვილის გარდაცვალების 170 წლისთავისადმი მიძღვნილი საერთაშორისო სამეცნიერო კონფერენცია

 

International Scientific Conference Dedicated to Nikoloz Baratashvili the 170th Anniversary of the Death

 

 

 

პროგრამა და თეზისები/Program and Abstracts

 

დეკემბერი19 December

თბილისი 2015 Tbilisi

 

საერთაშორისო სამეცნიერო კონფერენციის ორგანიზატორები:

ივანე ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტი

სანკტ-პეტერბურგის უნივერსიტეტი

საზოგადოება "ცოდნის" უმაღლესისასწავლებელი

 

კონფერენციის სამეცნიერო კომიტეტი:

პროფესორი ლადო მინაშვილი, თსუ

პროფესორი თამარ შარაბიძე, თსუ

პროფესორი  ნუგზარწერეთელი, საზოგადოება "ცოდნის" უმაღლესისასწავლებელი 

პროფესორი პოლ ბრონვილი, მონრეალის უნივერსიტეტი

პროფესორი თამარ პაიჭაძე, თსუ

პროფესორი ნინა გელმანი, სანკტ-პეტერბურგის უნივერსიტეტი

დოქტორანტი ანა დოლიძე, თსუ

 

რეგლამენტი:

მოხსენება პლენარულ სხდომაზე -20 წუთი

მოხსენება სექციის სხდომაზე -15 წუთი

დისკუსია - 5 წუთი

სამუშაო ენები: ქართული, რუსული ინგლისური

 

19დეკემბერი 2015

თბილისი

 

Organizers of the International Scientific Conference:

Ivane Javakhishvili Tbilisi State University

University of St. Peterburg

Tsodna Society

 

Conference Scientific Committee:

 

Prof. LadoMinashvili, TSU

Prof. Tamar Sharabidze, TSU

Prof. NugzarTsereteli ,TSU, „Tsodna Society

Prof. Pol Bronvil, University of Monreal

Prof. Tamar Paichadze, TSU

Prof. Nina Gelman, University of St.Peterburg

Master of Philosophy, Anna Dolidze, TSU

 

Time limit:

Presentation at the plenary session – 20 minutes

Presentation at a section meeting – 15 minutes

Participation in discussions – 5 minutes

 

Working languages: Georgian, English, and Russian.

 

19 December 2015

Tbilisi

დეკემბერი19 December

 

ივანე ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტი

IVANE JAVAKHISHVILI TBILISI STATE UNIVERSITY

 

 

 

 

(ილია ჭავჭავაძის გამზ. N1, თსუ-ის I კორპუსი,206-ე აუდიტორია

1 Ilya Chavchavadze Avenue, TSU 1st Building, auditorium No206)

 

 

 

 

 

12.00 – 12.30

 

კონფერენციის მონაწილეთა რეგისტრაცია

Registration of the Conference’s Participants

13.00 -14.00

კონფერენციის გახსნა

შესავალი სიტყვა _ ივ. ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტის ჰუმანიტარულ მეცნიერებათა ფაკულტეტის დეკანის მოვალეობის შემსრულებელი _ ნანა გაფრინდაშვილი; თსუ პროფესორი _ ლადო მინაშვილი.

Opening of the Conference

Opening Remarks _  Iv. Javakhishvili Tbilisi State University, Faculty of Humanities Acting Dean _ Nana Gaprindashvili; TSU Professor Lado _ MP.

 

პლენარული სხდომა/ Plenary Session

 

(ილია ჭავჭავაძის გამზ. N1, თსუ-ის I კორპუსი,206-ე აუდიტორია

1 Ilya Chavchavadze Avenue, TSU 1st Building, auditorium No206)

 

სექციის თავმჯდომარე _ პროფესორი ლადო მინაშვილი

Chairperson – Prof. Lado Minashvili

1.      თამარ შარაბიძე, თსუ _ ნიკოლოზ ბარათაშვილის საზოგადოებრივი მოღვაწეობა/Tamar Sharabidze,TSU _ Nikoloz Baratashvili social activities;

2.      ლადო მინაშვილი, თსუ _ პავლე ინგოროყვა ნიკოლოზ ბარათაშვილის პოლიტიკური თვალსაზრისის შესახებ/ Lado Minashvili, TSU _ P. Ingorokva about politicalview of N.Baratashvili;

3.      ეკა ვარდოშვილი, თსუ _ ნიკოლოზ ბარათაშვილი და მსოფლიოს პოეზია/ Eka Vardishvili, TSU _ Nikoloz Baratashvili and Word Poetry          

 

 

 

 

 

14.30 -16.00

 

Section I სექცია

სექციის თავმჯდომარე _ პროფესორი თამარ პაიჭაძე

Chairperson – Prof. Tamar Paichadze

 

1.      თამარ პაიჭაძე, თსუ _ რომანტიკული ლიტერატურის გავლენისათვის ქართულ სიმბოლისტურ დისკურსზე/Tamar Paichadze, TSU _ For Influence of Romantic Literature in the Georgian Symbolist Discourse;

2.      ნანა გონჯილაშვილი, თსუ _  ღიმილი, როგორც სიამოვნების ფიზიკური გამოხატულების, მხატვრული სახე შუა საუკუნეების ქართულ საერო ლიტერატურაში/Nana Gondjilashvili, TSU _ Smile as a physical expression of pleasure, artistic ture in Ceorgian national literature of middle ages;

3.      ლევან ბებურიშვილი, თსუ _ პიროვნების ცნების გაგებისათვის ვაჟა-ფშაველას შემოქმედებაში /Levan Beburishvili _Understanding of the concept of personality in Vazha Pshavela’s creative writings;

4.      მარი წიკლაური, თსუ _ ნიკოლოზ ბარათაშვილისა და  ვაჟა-ფშაველას              შემოქმედებითი სიახლოვე /Mari Tsiklauri, TSU_ Related spirits Nikoloz Baratashvili and vazha-pshavela;

5.      თამაზ ვასაძე, თსუ _ ბარათაშვილის „ხმა იდუმალის“ ინტერპრეტაციისათვის / Tamaz Vasadze,TSU _,, Mysterious Voice " by BaratashviliFor Interpretation

6.      ნინო წერეთელი, თსუ _ ვლადიმერ პოლეტაევი ნიკოლოზ ბარათაშვილის  „მერანის“თარგმანის შესახებ  / Nino  Tsereteli, TSU _Vladimer Polettaev  about  the translation of   Nikoloz Baratashvili”s  poem  “ Merani”

 

 

16.00 – 18.00

Section II სექცია

სექციის თავმჯდომარე _ პროფესორი ინგა მილორავა

Chairperson – Prof. Inga Milorava

1.      პოლ ბრონვილი, მონრეალის უნივერსიტეტი  _ ლიტერატურული ტექსტი და სცენური განხორციელება/Paul D. Brownbill ,Montreal State University_ The Literary Text and Scenographic Body;

2.      იულია გალატენკო, ნაციონალური კვლევითი უნივერსიტეტი (მოსკოვი) _ უმბერტო ეკოს რომანის, „ნულოვანი ნომრის“, თარგმანი რუსულ ენაზე: „ინტერპრეტაცია და ზეინტერპრეტაცია“/Юлия Галатенко, Национальный исследовательский университет  (Москва) _ПЕРЕВОД РОМАНА У.ЭКО «NUMERO ZERO»НА РУССКИЙ ЯЗЫК: ИНТЕРПРЕТАЦИЯ И СВЕРХИНТЕРПРЕТАЦИЯ“;

3.      გიორგი უგულავა, თსუ  _ პანელიზმის იდეა არისტოფანეს გვიანდელ კომედიებში / Giorgi Ugulava, TSU _ Panhellenismus in Aristophanes Late Comedies;

4.      დავით წოწკოლაური, თსუ _ ისტორიული მოვლენებისა და ეპიკური მხატვრული სახეების ურთიერთკავშირის ღირებულებითი ბუნების შესახებ/David Tsotskolauri _ Abaut Value Nature of Historical Events and Epic Artistic Figures Relations;

5.      რუსუდან ცანავა, თსუ _  სიმბოლოსა და ნიშნის ფუნქცია ეპიკურ ტექსტში/Rusudan Tsanava, TSU _ The Function of Symbol and Sign in an Epic Text;

6.      ანა დოლიძე, თსუ _ სიზმარი, როგორც მწერლის მხატვრული მეთოდის განმსაზღვრელი კონსტანტინე გამსახურდიას „მთვარის მოტაცების“ მიხედვით/ Anna Dolidze, TSU _ Dream,  Determination as Writer’s Artistic Method by Konstantine Gamsakhurdia According to "Stealing the Moon.”

 

 

16.00 – 18.00

Section IIIსექცია

სექციის თავმჯდომარე _ პროფესორი რუსუდან ცანავა

Chairperson – Prof. RusudanTsanava

 

 

1.      ინგა მილორავა, თსუ _ დრო-სივრცული მოდელები ნიკოლოზ ბარათაშვილის პოეზიაში/ Inga Milorava, TSU _  Time-Spatial models Nikoloz Baratashvili's poetry;

2.      ვალერი გრიბი, კრაკოვის პედაგოგიური უნივერსიტეტი (პოლონეთი) _ ინტერპრეტაცია, როგორც მხატვრული ტექსტის თარგმანის მთავარი ამოცანა/Валерий  Гриб _А. Краковский педагогический университет (Польша) _ Интерпретация как основная задача перевода художественного текста;

3.      ინგა სანიკიძე, თსუ _ ნიკოლოზ ბარათაშვილი _ „ცისა ფერს“ (სემანტიკური ანალიზი / Inga Sanikidze, TSU _ NNikoloz Baratashvili – Heaven Color (Sematic analysis);

4.      მანანა კაშია, თსუ _ ლიტერატურული ტექსტი და „ქმედითი სცენოგრაფია“/Manana Kashia, TSU _ Literary Text and  “Acting Scenography”;

5.      ქრისტინე იაკობიძე, თსუ_ ლიტერატურული პერსონაჟის ლინგვოპერსონოლოგია / Kristine Iakobadze, TSU _ Linguistic Personality of Literary  Character;

 

6.      ეკატერინე ნავროზაშვილი, თსუ - გრიგოლ ფერაძის ჟურნალი „ჯვარი ვაზისა“ / Ekaterine Navrozashvili, TSU – Grigol Peradze’s Journal  Jvari Vazisa (the“Vine Cross”)

 

 

Abstracts

 

LevanBeburishvili

 

Understanding of the concept of personality in VazhaPshavela’s creative writings

 

In the Georgian literature it is duly noted that VazhaPshavela displays the special tendency for portraying the characters of the distinguished personality. This circumstance stimulated some of the authors to start discussions about the individualistic nature of the writer’s conception.  This point of view is the topical issue even today.  According to some of the authors, VazhaPshavela, having been influenced by the liberal ideology, raised the rights of the individual above the rights of the society. Therefore, it is interesting how the writer understands the issue of the essence of a personality and his purpose and if the actions of his characters are determined by the individualistic motivations.

VazhaPshavela doesn’t find the individual and society, whose interests are in the continuous conflict, to be the opposed parties from the outset, but he regards them as the organic wholeness which can’t exist without each other.  Vazha Pshavela’s characters do not tend to be different from others, to be separated from the socius and confine themselves only to their own  and individual space.  If in some cases they behave differently from the society, this is not based on the predetermined aim – to be distinguished from others, but it is conditioned by the situation and motivated by the highest moral aims. The different behaviour  is the result and not aim.The ethically neutral individualism existing beyond the kindness and evil, the individualism as an original phenomenon has no moral values for Vazha Pshavela. The writer is charmed by the strong personal will of serving kindness. Vazha is well aware of the danger of degeneration of individualism, which is free from the social responsibility, into egoism.

According to Vazha Pshavela the human being can sacrifice everything (including his life) for the society, except his own personality, i.e his moral belief, because the perfect society is based on the personal origin and if there is not the possibility of revealing the personality, the  ideal society cannot exist there.  No social objectives are worth having the personality obliterated and its spiritual unity destroyed.  According to VazhaPshavela’s literary writings being a personality is considered to be the primary mission and moral objective of the human being. And preserving the personality means being devoted to the moral values, which have been consciously or intuitively experienced and acknowledged by the human. VazhaPshavela’s literary characters would prefer to be killed as personalities rather than to extend their biological existence at the price of concession of honour and belief.

 In a word, VazhaPshavela relies on the Christian understanding of the personality, according to which “Personality – this is the rise of the human being above his own nature”  (Vladimir Lossky). Actually, the heroes of Vazha’s writings always strive for taking place “forever above themselves” and to this extent, they rise over their own nature – they can refuse the natural requirement of staying alive because of the moral beliefs.

 

Paul D. Brownbill

 

The Literary Text and Scenographic Body

This paper theorisesthe potential for the creation of performance spaces that merge scenography, audience and space. Through a theoretical engagement with Meyerhold’s notion of the spectator as the “fourth creator” this paper will suggest that in practice audience and scenography could collude and collide.

This investigation focuses on the visual and spatial dimensions of scenography as a new way of capturing and theorising the experience of the immersive performance space. It will examine the way in which the conventional ‘frontal’ viewing of theatre is, in both our thinking and our practice,  pervasive and limiting, and, following McAuley’sUbersfeld-influenced suggestions of space as a theatrical signifier, suggest a shift in the way in which scenographic principles are applied to the creation of and engagement with the performance space.  By immersing the spectator/audience in the performance space the immediate and personal exchange between the performer and audience is enhanced and supported by a scenography which is inseparable from the performance event.

Scenography works as an agent of exchange, so it has to be possible to negotiate between audience, space and performer if the very architecture of the performance space is one that offers a shift from the frontal viewpoint, and instead presents possibilities for an immersive and encompassing one.

In its immersive nature, the scenographic body could provide a still point in a turning world.

 

 

Anna Dolidze

Dream,  Determination as Writer’s Artistic Method by KonstantineGamsakhurdia According to "Stealing the Moon.”

Dream as a psychological product, this is special circumstance of mind unconscious and soul it is make a leading function in the modernist literature, which is based on theoretical principles of intelligence, showing extraordinary situation in mind and soul unconscious and spirit devaluation of the mind role and Unconscious cognition advantage.In this process, the assimilation of typical issues and processing are beginning by the writers, who studies European culture  and the same time The theoretical principles of modernism ( Robakidze , Gamsaxurdia).

"Stealing the Moon" was widely shown the analysis of dreams; we can conclude that the Dream in KonstantineGamsakhurdia’s creation has multi-meaning:1. It is provoking narrative (The dream of Tamari after losing cross); 2.opening humans spiritual world, expressing remorse (Tarash Dreams Tarbes after killing);3. Implementing human’s essential dream (Tamar and Tarash sinless Dreams); 4. Predict (Tamara's dream before his death, Arzakan mother dreams of Nebuchadnezzar's dream);

The meaning of the dreaming artistic function transferring to each other and a dream has a several function. However, Konstantin Gamsakhurdia, as a writer, diversification of the dream of artistic functions is not standout from the previous writers; these artistic functions were given in the works of writers of the 19th century. KonstantineGamsakhurdia created Dreams are distinguished them from the peculiarities of reflection. They are characterized as realistic narration, as well as moving into realistic unreal; They are dominated by the impulsion of fictitious abstraction; To identify the Subjective symbol by the dreamy event and the hidden mind putting in the subject_ black Doves, Green Horse, Maternal cross;

Symbolized by space and time, and sacralized (emkhvaris death in a dream); Dream there are mythical elements putting into Dream by author and he present their artistic interpretation; He shows the national issues in the general philosophical aspect (by Nebuchadnezzar's dreams of destroying Bolshevism it shows in continued volatility aspects);

Representing the dream of artistic reflection of the peculiarities, KonstantineGamsakhurdia not fit within the framework of realism and he appears modernist writer himself. Our conclusion is made based on the analysis of the dream, because the writer is free when he is reflecting this process, he is not limited by the totalitarian regime, because the dream is a reality in the surreal situation and its perception is different from the real reception world.

 

ЮлияГалатенко

 

ПЕРЕВОД РОМАНА У.ЭКО «NUMEROZERO»НА РУССКИЙ ЯЗЫК:

«ИНТЕРПРЕТАЦИЯ И СВЕРХИНТЕРПРЕТАЦИЯ»

 

В докладе анализируется перевод на русский язык последнего из опубликованных

романов  современного  итальянского  писателя  Умберто  Эко  «Нулевой  номер»  (U.  Eco«NumeroZero»,  2015,  переводчик  –Елена  Костюкович).  Исследуются  основные

переводческие  приемы,  связанные  с  привнесением  в  текст  оригинала  дополнительных смыслов,  аллюзий  и  коннотаций  (переводческие  неологизмы,  замена  намеренно повторяющегося  слова  оригинала  на  синонимы  в  переводе,  смена  регистров повествования), а также приемы, связанные со «смыслоудалением» (потеря смыслов при излишне «буквальном переводе», опускание при переводе отдельных слов, выражений и даже  крупных  элементов  текста).  Разбираются  примеры  эмоционального  внедрения переводчика в текст оригинала (понижение и повышение градуса эмоций, выраженных в тексте  оригинала).  Зачастую  анализируемые  приемы  –эторезультат  намеренного решения переводчика, но иногда они являются ненамеренными и обусловлены различием культурных и  иных  контекстов  автора  текста и его переводчика. Делается выводо том, что  переводчик  –это  соавтор,  художник  текста,  вносящий  в  оригинал  свои интерпретации,  порождая  тем  самым  новые  смыслы,  не  подразумевавшиеся  автором оригинала.

 

 

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Валерий Гриб

 

ИНТЕРПРЕТАЦИЯ КАК ОСНОВНАЯ ЗАДАЧА ПЕРЕВОДА

ХУДОЖЕСТВЕННОГО ТЕКСТА

 

В  современных  условиях  глобализации  перевод  является  одним  из  важнейших

факторов  создания  межкультурной  коммуникации,  взаимопонимания  между  народами,

возможностью  культурного  обмена  достижениями  во  всех  отраслях  науки,  искусства,

техники  и  т.д.  В  связи  с  этим  в  центре  внимания  исследователей  все  чаще  оказывается проблема  перевода  и  интерпретации  текста,  поскольку  всякий  перевод  так  или  иначе несет  на  себе  отпечаток  определенных  процессов  толкования,  разъяснения  и  является «вторичным»  текстом  по  сравнению  с  оригиналом.  Поэтому  проблемы  интерпретации текста  являются  актуальными  и  своевременными.  Цель  нашей  статьи    проблема исследования видов художественных переводов и сравнительный анализ русскоязычных вариаций английского фольклорного стихотворения «ThisisthehousethatJackbuilt».На  основе  статьи  можно  сделать  такие  выводы.  Перевод  невозможен  без понимания  и  интерпретации  текста.  Наиболее  эффективной  моделью  перевода художественного  текста  является  герменевтическая  модель  перевода  (Э.Р.  Насанбаева, 2013),  при  этом  задача  переводчика  не  только  максимально  точно  передать художественно-эстетическую  ценность  оригинала,  но  и  создать  полноценный художественный  текст  на  языке  перевода.  Перевод  должен  полностью  передавать  идеи, сохранять  стиль  и  манеру  изложения,  читаться  так  же  легко,  как  и  оригинальные произведения (А. Тайтлер, 1790).

 

14

 

Что  же  касается  перевода  стихов,  то  здесь  возможны  многие  варианты:  отпрозаического  пересказа  оригинального  текста  на  другом  языке  до  написания  нового

произведения по мотивам прототипа с элементами унаследования либо парафраза.

Таким  образом,  все  зависит  от  знания  и  опыта  переводчика,  его  стиля  и  цели,

умения читать между строк и интерпретировать текст как единое целое.

 

 

Nana Gondjilashvili

Smile as a physical expression of pleasure, artistic ture in Ceorgian national literature of middle ages

According to Georgian mid- century aesthetics, divine love is expression-idea of love and a poetry topic is a creature love which is imitation of a divine love.  According to this aesthetic category of pleasure is considered within the scale of “two worlds”.  Creature love is determined only by the neighbor love which includes love towards the sweetheart and friend and is expressed in two senses of perception – hearing (poetry, sweetheart’s voice or story) and sight (vision face to face, dream, thinking about meeting). When friend are talking about the sweetheart it is so pleasant that it can even cure. A smile is a tangible expression of pleasure.  In this respect mid-ages national literature is beyond the principles Dogmatic Christianity – aesthetic ideal is expressed in perfect beauty and smile instead of tortured body and shadowed face. 

Kristine Iakobadze

Linguistic Personality of Literary  Character

The paper was accomplished at the junction of three rapidly developing areas of modern language studies: speech genre theory, lingvopersonology and the theory of natural writing. The author propose a definite approach to the description of a particular linguistic personality of literary  character- based on individual’s genre awareness and genre framework of written texts produced by «a naïve author». The paper introduces the concept personage personality as an instance of «linguistic personality». The genre-like characteristic features of their so-called «fiction» and «journalistic» texts can be categorized as genroids. The article is regarding linguoculture in contemporary scientific paradigm, special attention is given to interdisciplinary connections with related schools of thought – culture studies, ethnolinguistics, intercultural communication, linguo-country studies, ethnopsycholinguistics. It is the interdisciplinary status of linguoculture that reveals interaction with other subjects and at the same time defines its peculiar, specific features. Linguoculture position among humanities is clearly described and determined. Linguoculture is regarded as a scientific discipline with its own subject and object of study. Synthesis of scientific knowledge is in focus, as it is, on the one hand, the feature of contemporary scientific paradigm; on the other hand, it requires description of both common and different signs of linguoculture..

 

 

 

 

Manana Kashia

Literary Text and  “Acting Scenography”

It is important to note that the most difficult, yet successful project of the Georgian theatre was to find a common language for theatre creators and audiences who had no common language. I would like to look at the design work of MirianShvelidze, which established the style for the "acting scenography" I would argue that his location is always generalized scene, yet it is so familiar to Georgian audiences that it does not need to be represented on stage, and the burden of scenography is set on the costume, characters and mis-en-scene.  I would also like to look at MirianShvelidze’s work for Shakespears plays, which captured ingeniously the deterioration and destruction of human characters by him use of a mixture of styles, and body deformation – at the time where the Georgian project moved onwards from the integrative creation of a common language to its division into several groups, communities, tribes and cultures.  

 

 

Inga Milorava

Time-Spatial models NikolozBaratashvili's poetry

 

NikolozBaratashvili artistic time and space becomes one of the spiritual mood expressions. In general, a feature of time-space, separate Chronotope and spatial models, as well as the time of the form. All artistic work combines the spiritual processes, attitudes, feelings, expressive function. But NikolozBaratashvili, as a romantic poet,in time and space of their own, turning point of individual gaze through the prism  and he gives conceptual meaning in the verse. For Nikolozi time-space characteristic of particular spatial models isMountain, the city, the river, the desert.Some special features of the spatial model of a certain connection of the segment: For example Mtatsmina(,,Getting Dark on Mtatsminda '') is a solid model, with its clear-cut signs that the poet,, spiritual friend '', or the reflection of the spirit, the soul which he came it is strong. The action will not be repeated as often as time; this model will always be the poet’s soul sign and consolation.

It is also important to understand the direction of movement of the poetic sense of space and freedom of thought in terms of graphics. The careering of Merany starts form the earth and gradually it reaches up with the “stars.” The discourse of this vertical movement you can see in Mtatsminda “Heavenly Dwelling”However, it is clear that people are not able to reach the last point, as well as the understanding of the essence of existence, but Upward Movement is the same importance as the human action in the world, “because the men…”Opposition  down '' -,, up '' is understood like this: downstairs, is the vanity of earthly space, air,, '' - the heavenly station will be overcome with empty feelings.That is why the movement of all cases in this direction –going form down to up,  which clearly fits into the space ,,vertical human '', so the spiritual man by the recovery and utilization of the concept.in the reduction and utilization concept by the spiritual human.

Desert Model Baratashviliis part of his spiritual landscape, and the time does not harm him. Those faces, which arise in the desert it disappear at once (very strong, timely sequence) it devaluation and disappear by not for time but also life “I have found a temple”And in this case it is particularly important to separate the empirical parameters of time and of life.  Life is not the flow of time, but also the emotional and moral points of the turns are presented and are fully abstractive. 

It is important to understand the historical time-space by Baratashvili, which are different from lyric and it already mean to near with real event it protects the chronological framework and parameters but here is not excluded subjectivity, too.

 

 

 

lado Minashvili

P. Ingorokva about politicalview of N.Baratashvili

 

The contribution of Paul Ingorokvaisbigin  N. Baratashvili life and work in terms of research. It is notable  hisviews  about the poems "The fate K'art'li» and poem «the Tomb of King Irakli» .

As far as P. Ingorokva’sworks do not containsuchschemes, judgments, opinions, locked in itself, which 'takes no longer to develop, and as hesays, somethings, "maybesome of them are controvercial’’. It isalsothanks to the greatscientist, hisworkwith us live, live beside us, to think and research, and invitedthem to introduce new controversy us to draw conclusions.Great scholar of meritisthathisworks live with us, theychallange us to think and research and theygive stimulus to debatewiththem in a new conclusions ; Theirgreatestinfluential power is in it.

Ekaterine Navrozashvili

GrigolPeradze’sJournal  JvariVazisa (the“Vine Cross”)

As NugzarPapuashviliindicates, the activity of 20th-century Georgian political emigration has not become the object of special study so far, especially for ecclesiastical circles which existed in various countries of the west Europe in the same epoch.

In this regard, it is interestingfor usGrigolPeradze’s activity as one of the prominent figures of emigration. After the foundation of Saint Nino’s Church in France and organization of the Georgian parish (1931), he began to issue an academic annual called JvariVazisa(the“Vine Cross”). The author and editor of it was GrigolPeradze himself. A total of four issues of this journal were published (I- 1931, II-1932, III-1933, IV-1934).

It should be mentioned that subject matter ofthe journal JvariVazisa was diverse. In the research process we have singled out: epistles – the epistle of Patriarch Basil III of Constantinople, the letters of Catholicos-Patriarch Kalistrate I; the sermons of G.Peradze –delivered during the first Georgian Orthodox liturgy in Paris on May 31, 1931 and the Christmas homily of 1932, scholarly researches – that show the editor’s broad outlook. In his works Peradze studies the texts of various epochs and different content – BesikGabashvili’s unpublished poem, the image of Saint George in the world and Georgian literature, offers a detailed description of the unknown manuscript “The Chronicle of 18th-century Monastery of John the Baptist”. The subject of separate consideration is the cycle of the Lord’s Prayerinterpretation and the original creationof the priestmartyr– the poem “Cherubim Hymn”.

Of particular importance for us is Peradze’s translation of King Solomon’s Song of Songs published in the second issue of the journal which according to the inscription appeared to have been translated by Peradze from the Ancient Hebrew.

The translator offers some interesting views on the content of the text, as well as the title selected by his option and on the establishment between the books ofthe Old Testament "Song of Solomon".

Despite the fact that only few issues of the journal were published, we can say withconviction that on a path leading to preservation ofone’s own identity,G.PeradzeJvariVazisa occupies very special and an honored place in the history of Georgian emigration

 

Tamar Paichadze

For Influence  of Romantic Literature in the Georgian Symbolist Discourse

 

It is a fact that we must search for the origins of the extraordinary features in Georgian classic literature; naturally the question if Georgian modernists had an ancestor in Georgian national artistic environment takes us to romantism… The Georgian symbolists answer was ambiguous at that time and is the same today from literature critics.  As it is known in culturological researches symbolism is also called “neoromantism”.  Here we meet its historic and attitude relation with European romantism schools’ traditions, although in Georgia the given attitude is different:  as long as symbolism was not Georgian phenomenon and had a century distance from Georgian romantic school their connection existed more on the level of historic memory.  Georgian symbolists were also less aware of the base in creative ideology of Georgian romanticists.  This explains their various attitudes to romantic poetry:  they accepted only some of his poems and recognized only Baratashvili as representative of Georgian romantism in general.  Still, intercultural influences are apparent; world romantism schools’ artists and their creative image-symbols became closer to Georgian symbolists, which even in dualist philosophy interpretation was recognized in Georgian theories of transcendentalism and spiritual unrest cultivation.

If we speak about literature preamble of modernism ideology in Georgia we have to go through shorter chronology – only two decades in order to discuss VazhaPshavela’s creative biographies, as silhouettes of modernistic thinking are clearly seen in their artistic discourses. 

 Still, we must look for associations and parallel images “radically to the left” from Georgian modernist ideology, in European direction.

 

Inga Sanikidze

NikolozBaratashvili – Heaven Color

(Sematic analysis)

In General it must be said that in the artistic expression the understanding of comic knowledge is never based on empirical understanding and also the simple analysis of material events and objects. The creator goes into depths of the material things. He operates his inner artistic intuition and he prepares the contents to access the others consciousness which is felt by him.

References in this process only to convey the language becomes a flat surface.In Literature to give this process it becomes in a flat lingual, where the creative freedom is directly proportional to the flexibility of the language and there is a full commitment for realization of Lexical-grammatical mean.

Language is the product of whole thinking and its fragmented parts of separate linguistic signals (first word). Therefore the most important role in the artistic word is discussion of vocabulary, the observation of its semantic form and study of the content of the load, which the individual writer from his world-view adds of the lexical unit.

The continuity of development of Georgian literary language never meant uniformity of thought and verbal material. The value of classic writer is his innovative offers.  In this sense, we believe that the poetry language  Nikoloz Baratashvili is original. The world itself, which creates the specific era.

N. Baratashvili verse “heaven color” strongest metaphor is announced (in a broad sense) blue' color, which is almost nothing was left of his material existence, and which is “fated” for nonhomogeneous semantic understanding.In the “Blood cold” body settled the blue with mysteries (“ swear to get in love with another color”).

 On the one hand, the depth, anxiety, passion, pain and suffering expectations coming into the reader's knowledge of the world.On the other hand, it is feeling of eternal, infinite, divine unreachable, this artistic tone is poetic_ `madness' expressed with lexical-semantic.

The fact is that N. Baratashvili This concept is in deep wrapped in an aesthetic face it is properly selected.It broadening reader's diapason and precipitated dominant thought in his consciousness himself.  Otherwise it would be hard to imagine the Romantic “blue color”eruption in the symbolist’s language (“blue  memoir”, “blue smile” - Galaktioni), in which it contain more artistry, however, cannot be obviate already felt contextual paradigm.

 

Tamar Sharabidze

NikolozBaratashvili social activities

 Nikoloz Baratashvili is still known to the public as an unlucky genius, a poet and not as a public figure.However, to look at that period _ the little, but the situation out of the country he is quite active in social activities _ Baratashvili appears in some places as leader, in some places as a participant.

the article says, in which the poet was taking part in a public meetings and endeavors. These include: 1)literary circle, where Baratashvili was one of the initiator. The youth gathered here discussing the Georgian literature and history, they were planning to foundation the Georgian magazine and theater. He was translating foreign literature and the he was sharing translation of the group members. In the literary circle, they were reading their works and it was estimated by them, it promoted the development of young creative talents; Baratashvili was taking part in litera. 2) Baratashvili participated in the drafting of the literary almanac, where his poems were entered; The members of this circle this almanac presented to MananaOrbeliani; 3)It appears that Baratashvili participated in the founding of the private friends of the library. D. Kipiani, who spearheads this case, the poet has entered the list of the founders; 4) Baratashvili collaborated with the St. Petersburg Academy of Science. He supposedly inventoried the Georgian manuscripts which was scattered in the families and making their covers for the Russian Academy of Sciences; 5) Baratashvili and several of his relatives were planning to re-write the history of scientific studies based on the documents.  He was offered to work in scientific involvement from St. Petersburg (Michael Baratashvili letter);6)NikolozBaratashvili had a flair for assessing historical events, which indicates his poem "The fate of Kartli".

      presented Material it is clear that the poet was not only driven by the spiritual experiences, but he is involved all social activities, which exist in his time there.May be, he is not the organizer of these activities, as often they want to demonstrate, but it is one of the participants, and is quite active as well. Lack of organizer talent does no decreases anything to Baratashvili’s personality. On the contrary, it is unimaginable to consider in one person his Exciting spirit and deliberate action of organizer.

 

RusudanTsanava

The Function of Symbol and Sign in an Epic Text

The paper dwells on theoretical aspects of the relationship between symbol and sign. The difference between signs/images and symbols can be illustrated through the icon and painting antithesis (Lotman). The main distinction consists in the practical and unambiguous value of sign vs the implicational power of symbol, capable of conveying mixed, conflicting messages. I will focus on the so-called archetypal symbols that paradigmatically exist prior to the creation and independently from a particular text. These symbols penetrate the writer’s memory from the collective cultural memory and revive  in a literary text.

Misunderstanding and misinterpretation of symbols is rooted in the confusion of the symbol with sign. I will try to explain the difference by means of linguistic and semantic analysis – by evoking the Ancient Greek sema‘sign’, which in epic texts appears in regular correlation with noeo“I think”, “I perceive”. The adequate interpretation of divine signs is the main factor determining a character’s success or failure. Due understanding of semacan sometimes lead to the perception of a symbol. Relevant passages will be cited from the Homeric Iliad and Odyssey and Hesiod’s Works and Days to illustrate the differences between these two concepts. In fact, it can be argued that the Greek poetry itself is sema requiring noesis from the reader.

The paper presents theoretical conclusions which I believe are relevant in terms of poetic analysis in general.

 

Mari Tsiklauri

Related spirits NikolozBaratashvili and vazha-pshavela

Two  greatgeorgian poets - NikolozBaratashvili  and  Vazha-Pshavela  reveal  the related creative thinking - the main tendency of their  conception is civically motivated.

 In his early ages,whilebeeing a studens at Gori pedagogical seminary, Vazha-Psavela read  an essay about Baratashvili, in which he ignored the opinion about the resemblance of  these two poets.He thinks, that  the heroes of Byron couldn't find the right solution from frustration because of their isolation from the society, while Baratashvili's  rider,a socially oriented person, felt, that a person's life without society is aimless and fruitless. Vazha-Psavela thinks, that only civically motivated action  is  worthy and reverend.

Baratashvili's the most popular verse "Merani" and Vazha-Psavela's "What has made me a man"  express the desire to overcome all kinds of obstacles and gain immortality. Both authors aim to reach it through  serving near relation and the universe. NikolozBaratashviliwrites  that  the "fateful steed shall leave dark fate behind" his action, Vazha-Pshavela   wants "to come as a rain" in order "to pour from above into the world drying out".

 

Nino  Tsereteli

Vladimer Polettaev  about  the translation of   Nikoloz Baratashvili”s  poem  “ Merani”

The Georgian readers were not satisfied with the translations of N. Baratashvili’s “Merani”. The contest announced during the period of the poet’s jubilee vividly revealed, that it was difficult to present to a reader an interpretation, which  corresponded to the original. V. Poletaevbelieved, that Pasternak had translated Baratashvili’s poetry excellently. However, “The only exception was “Merani”. It did not show, that “Merani” was the soul, which ran away from the destiny. Poletaev’s observations revealed, that he connected N. Baratashvili’s “Merani” with M. Lermontov’s “Sailing ship”. However, he found out the basic difference - the opposition of Lermontov’s despair and Baratashvili’s rebel soul - and saw the victory of the latter. Poletaev believed, that Lermontov and Zhukovski could make precise translations of “Merani”, which  waited for the interpreter having a spiritual closeness, talent and great mastery. Poletaev searched for an appropriate standard for translating

 

 

David Tsotskolauri

Abaut Value Nature of Historical Events and Epic Artistic Figures Relations

 

In the article is given try to find out how the epic poets study many qualities many qualities established in historic being and how they transform them by artistic valuables. From this point of view are discussed two creatures of Georgian writing “The fate of Kartli” by N.Baratashvili and “Snake Eater” by Vazha-Pshavela.

Romantic poet N.Baratashvili used as creative source the concrete historical news in King Erekle II era, and realistic creator Vazha-Pshavela’s artistic thinkink understood the being of the ancient tribal community life and mythic-religious  beliefs.

The both poets revealed that by using the artistic sources and literary directions different from each other, in has to establish the cognitive understanding of perfect epic poetic masterpieces of the world-nature being and joint comprehensive value assessment.    ND

 

 

 

GiorgiUgulava

Panhellenismus in Aristophanes Late Comedies

 

Last years of 5th century were crucial for the all Hellenic world. 27 years long Peloponnesian war made it clear the crisis of Polis system. Athens and Sparta, two strongest powerhouses of the Polis world has not got any more to play role of leader in the Hellenic world. In crisis time it became actual in all the Hellenic world to make reforms and to create such political system, which guaranteed peaceful and successful coexistence of Hellenic world. From the start of 4tg century between philosophers, thinkers and politicians exactly Panhellenimus was the idea to solve the crisis with. It should be marked, that in this aspect the Fiction literature is far away given political reality and Panhellenismus for the first time was expressed in Aristophanes plays. Discussing the literature of this age, as a cultural monument, it gives us important notes about political life of this period.

Aristophanes, one of the greatest writer of Athenian political comedy during all his creative work always mentioned and mirrored different political, social and economic aspects of Athenian life. From about 416 B. C. it hast started the new era in his creative life: He cares less in his  comedies about innerpolis problems and is concentrated about Panhellenic questions. It is first time when the Panhellenic motives appear in the literature.

 My talk analyzes the plays (“The Birds’, The Frogs”, “Lysistrata”, “Thesmophoriazusae”), which mirror Panhellenic motives and questions and shows conceptually how Aristophanes saw to solve the crisis and the ways of future development of Hellenic world.

 

EkaVardoshvili

NikolozBaratashvili and World Poetry

 

Romanticism as a global event is deeply reflected in literary and cultural life of the people of the world. For the first time the term – world poetry was used in the poetry of romanticists; Johann Wolfgang von Goethe was the first who made use of the concept – the world literature, Ferdinand Brunetieri speaks of joint European literature in his scientific works, Ilia Chavchavadze brought the term – Europeanism in Georgia.

Despite the fact that N. Baratashvili is a national poet the character of his works stand next to modern European artists.

In the scientific literature parallels can be drawn between NikolozBaratashvili’s “Merani” and Adam Mickiewicz’s “Faris”. Except common cultural and historic background, concrete facts and disposition of the writers, these two poems have a number of poetic coincidences. For example, “Faris” means “a rider” in Arabian, in one of the autobiographical manuscript of N. Baratashvili the original title of “Merani” – “Desperate rider” is kept. N. Baratashvili’s “Merani” and A. Mickiewicz’s “Faris” in Georgian and European literature can be connected with the issue of “the Saint rider” the originalof which St. Giorgi, who comes from European culture to Georgian Christianity and who is the highest ideal of “Saint Rider”. And to chivalrous ideals of the Middle Ages, in some respects, we can remember “The Knight in the Panther’s Skin” or Senkevich’s “Crusaders”.

N. Baratashvili wrote “Merani” in 1842. Rene Francois Armand wrote his famous “Ride” in two decades after “Merani” was written that comes close to the brilliant poem.We do not know if the French poet knew the poem of Georgian genius. We assume that the poem is written on the same ordinary subject asBaratashvili’s.

The subject matter of “Faris” is the subject of the world’s literature, as well as of “Renunciation”.

 

TamazVasadze

,, Mysterious Voice " byBaratashviliFor Interpretation

In Baratashvili verse, mysterious voice, "is represented not only in mysterious, unknown sound that disturbs the lyrical hero's spiritual life, but also is carried out this phenomenon’s essence of clarification attempt. 

The attempt failed, because supposition that inner voice is conscience voice is critically judged and rejected. Denial is based on the traditional conscience understanding _ conscience is punitive force of immorality, the wickedness of the human spiritual suffering. But there is a wider sense of conscience that under existentialism is developed by Heidegger and has gained considerable influence on twentieth-century thought.

According to this understanding, conscience is the inner instance, which encourages people to live a life of their own, and not imposed from the outside; Find its true essence, the self, and establish his personal originality and don’t exist blind as the anonymous "they" do exist; the worm of conscience shows to human that specifically he has lost by itself, cannot carry on a real human being, the true self. E. Fromm's opinion, conscience is our true “I” sound, which is directed towards to live productively, harmoniously and fully develop, or indeed become something that we can imagine in our possibilities”. Baratashvili intuitively feels, understands the phenomenon of conscience such contents, But the poet’s understanding is canceled the general recognition of mining of traditional solid conscience.

However, this should not hinder us to see that inner strength, which torture baratashvili’s lyrical character by his own individual call, destination and failure, it is definitely conscience.