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ქართული ლიტურგიკული ჰიმნოგრაფიის ისტორიიდან

Author(s): Lela Khachidze / Language(s): Georgian Issue: 4/2022

"Lenten Triodion" translated and edited by George the Athonite is one of the most important monuments of ancient Georgian writing. It contains a treasury of Byzantine and Georgian hymnography - numerous hymns, the authors of which are the outstanding representatives of the Christian Church and culture. Its classic, extensive redaction was created in 1056-1059 and has been preserved in numerous manuscripts. In this paper, we have revealed and studied a new redaction of this collection. The research is based on scholarly publications, Georgian manuscripts, as well as their photocopies and electronic versions. Particularly important in this regard is the Georgian manuscript of the Athonite collection - Ath.59 and the manuscript Paris. Georg. 5 held at the National Library of Paris. As a result of the research, the following circumstances have been revealed: The unique, extensive "Lenten Triodion" under George the Athonite's redaction, which has no analogue, was preceded by a short recension of this collection, which is preserved in the mentioned Athos manuscript; This redaction contains a much smaller number of hymns; The masterpiece of Christian poetry - "The Great Canon" of St. Andrew of Crete and the texts of biblical odes have been preserved in the earlier translations; The elements of "minor doxology" are systematically found in it, which were typical only at the beginning of George the Athonite’s activity; The component (the "Presentation") characteristic for later collections is found only a few times; These circumstances testify to the fact that "Lenten Triodion" is one of the first monuments translated from Greek by George the Athonite, on which he worked for a long time.

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გივი მარგველაშვილის ,,კაპიტანი ვაკუში” (გოგლიმოგლის სემანტიკა და ონტოლოგიური სივრცის ანალიზი)

Author(s): Mari Simonishvili / Language(s): Georgian Issue: 3/2021

Givi Margvelashvili is a victim of two dictatorships, Nazism and Communism, he is a double emigrant, his multifaceted work is created on the border of two cultures, two different worldviews. He started writing at the age of 30, when after leaving the Saxenhausen concentration camp, he found himself in a completely foreign environment, in his historical homeland, and his aunt's family was connected to the old life with only German. "From the past, only language was selected for him, language was a living part of a deprived life, which no one could take away except time. At the same time, his memory and talent faced unprecedented resistance ”(Margvelashvili 2018: 216). On the one hand, the work on German-language literature, and on the other hand, the literary disagreement that Margvelashvili showed against the current regime, increasingly formed the basis for saying that "language and theme choose the writer" (emphasis added Naira Gelashvili) and not vice versa. "Captain Vakushi" is a text created in the early period of Givi Margvelashvili's work, it is autobiographical and is a genre of historical novel. The object of our attention this time is the first volume of this work. The writer tells us about the period, how Western culture digs into a number of peculiarities of Nazi existence and what is the current reality seen through the eyes of an immigrant. Obviously, Margvelashvili's style of play is preserved in this text as well, and the author often conveys the message grotesquely, with a kind of cynicism and allegory, with metaphorical charges. The excursion of the novel is led by a teenager Givi Margvelashvili, the principle of historicism is preserved, the facts are found for a real basis, the facts are conveyed ironically and the face of totalitarian regimes is identified by metaphorical subtexts.

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ბიბლიური მეფე დავითი და ქართველი მწერლები (V – XVIII საუკუნეები)

Author(s): Murad Mtvarelidze / Language(s): Georgian Issue: 2/2021

Biblical King Davit is especially popular in ancient Georgian literature. On the one hand, Georgian writers paraphrase his works, which is important, but even more interesting is the fact that in relation to this biblical king, important issues are reflected in the works of Georgian writers, such as the idea of the biblical origin of Georgian kings, symbolic consideration of Davit as Christ the Father, scrambling of Davit and Giant, as well as the metaphors "Davit’s Harp", "Davit's Precepts", "Davit's City", "Davit's Garden". For Georgian writers, Biblical Davit remains an exemplary hero, so when they talk about this or that character, they try to explain their actions with the examples of Davit's life or the aims of his thought, and thus determine the peculiarities of the character or action of this or that character. Strengthening of the royal dynasty of the Bagrationi made the legend of their biblical origin even more actual. Later, with the strengthening and prosperity of the country, this idea acquired more popularity, which was manifested in almost all the ascending stages of the development of Georgian literature. The article shows that the myth has traveled successfully from century to century and on the one hand gave the Georgian kings a sense of specialness, and on the other hand, Georgian writers from this ancestral dynasty used this moment along with their positive aspects to describe this or that historical figure. After the conquest of Georgia by Russia (1801) when the monarchy was abolished in Georgia and the country lost its national independence, this myth was gradually forgotten. Davit Knar, along with his sling, immediately gained popularity in Georgian heraldry. Since the Georgian kings considered themselves the descendants of the biblical Davit, this important element was reflected on the coat of arms of the Bagrationis as a symbol of devotion to the Bible and a kind of permanent and uninterrupted union with it. The metaphor "Davit's harp" in some cases refers to the harp of Davit Psalm-chanter in the literal sense, and is sometimes understood as a psalm chant, as well as the use of this metaphor as a measure to determine the fictional level of this or that work. As for the "Davit’s Precepts", it is a kind of allegorical collocation and primarily considers the views of the prophet Davit on this or that issue. From this point of view, the attitude to Davit’s precepts established by a remarkable Georgian poet of the 18th century, Davit Guramishvili is worth considering. When talking about the origin of the Virgin Mary and Jesus Christ with Georgian authors or translated monuments, primarily attention is drawn to the term that Davit eulogizes Christ in advance; he prophesies the birth of the Messiah and sings hymns to him. The quotation of Davit's hymns traces the whole of the old Georgian secular or historical writing. For Georgian writers, the important episodes of the life of the biblical King Davit are exemplary, which they refer to when necessary, and his thoughts - a guide, which occupies an important part in the life and work of this or that literary or historical hero.

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საბჭოთა ცენზურა და გურამ გეგეშიძის მხატვრული პროზა (რომან „ხმა მღაღადებლისას“ და მოთხრობა „ჟამის“ მიხედვით)

Author(s): Ana Gogilashvili / Language(s): Georgian Issue: 2/2021

The tragic event of 1921 marked another painful page in the history of Georgia and many authors have described these episode of our country’s life. Ilia Chavchadze says that the function of a writer is to awake the nation in hard times. Many Georgian writers took upon themselves this mission during the Soviet regime. However, it was often the equivalent of death. Guram Gegeshidze is a writer who worries about his country. His novel “Voice of the Outcryer” (1982) and story “epoch” (1984) describes several episodes of the historical processes in Georgia. After Stalin's death, from the 1950s to the 1980s, writers were no longer awaiting a death for criticizing the Soviet regime, but still were victims of harassment and arrest. For example, we can name the stories of Guram Dochanashvili and Chabua Amirejibi. Therefore, we think that in 1982and 1984, the publication of a novel and a story by Guram Gegeshidze loaded with anti-Soviet ideology, "Voice of the Outcryer" and “epoch”, required great courage on the part of the writer. Several important paradigms are noted in the works under consideration, including the concept of a father with a national spirit and his son, Kaplan and Nestor Vardanidze, which in our paper is considered to echo the epoch and is analyzed in the context of establishment of the Soviet Union. Also noteworthy is the Undiladze clan, ideologically opposed to the Vardanidze clan, which the author portrayed as a symbol of betrayal and immorality. The murder of Jambakur Vardanidze, who came out of the church and was dressed in white, is presented as an allegory of the murder of God and holiness by the Bolsheviks in our work. Guram Gegeshidze's emphasis on the gliding blood on read flag is another visible example of the author's attitude towards the bloody Soviet regime.

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საუნივერსიტეტო განათლება და ეროვნული პოლიტიკა სამცხე-ჯავახეთში

Author(s): Merab Beridze / Language(s): Georgian Issue: 1/2023

More than thirty years have passed since South Georgia, Akhaltsikhe, Akhalkalaki has been living with university life. From the 70s of the 20th centuries, Tbilisi State University and its young scientists headed towards the south. Even the most long-distanced village was penetrated by young energy.The capital rediscovered Meskheti, which has always been a symbol of patriotism and national identity, the origins of Georgian culture.In 1990, Akhaltsikhe, as a branch of Iv. Tbilisi State University was established. Along with it, by one order, eight educational units were established in different parts of Georgia.Only Akhaltsikhe has withstood the test of history, which has survived to this day as the State University of Samtskhe-Javakheti. It is located in two geographical area - Akhaltsikhe and Akhalkalaki and it continues the ancient educational traditions that accompanied with Meskheti throughout history.The university was established as a regional educational institution and it has the ambition to create the future of Samtskhe-Javakheti together with the regional administration. New jobs appeared and this was connected with university establishment. This process continues.Non-Georgian graduate students study together with Georgians at the university. Armenian youths go through a one-year state program, after which it is no longer a problem for them to study in the state language and get a relevant specialty. That is why Samtskhe-Javakheti State University has a special importance in the process of learning the state language and integration of national minorities with the state. As a result of all this, the state language performs its function in non-Georgian-speaking administrative institutions, where university graduates have already employed in regional management bodies.The university contributed to the development of many fields that were critical in the 90s of the 20th centuries, therefore the development of the higher institution, the creation of new specialties and directions is related to the requirements of the region. The role of the university in the development of various fields of art, literature and publishing activities is also important in Meskheti.

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Трансформация на образа на чинка във вярванията на съвременните грузинци (Според устни разкази и архивни текстове)

Author(s): Marine Turashvili / Language(s): Bulgarian Issue: 4/2023

In the present article we examine mythological legends on imps, belonging to a specific genre of Georgian folk prose. They are new and have occupied their autonomous place in Georgian folklore since the 80s of the XIX century. During investigation we used the methods of secondary analysis and comparison. We used the texts of oral histories comparing them with published texts and with those kept in the Folklore Archive of Shota Rustaveli Institute of Georgian Literature. Oral histories are also recorded during our field-work in 2009 and kept as video materials in the mentioned archive. Unpublished archival materials contain the beliefs of the “low mythology” that have universal character. Mythological narratives on imps are based on real stories that are later transformed into unknowable events by folk imagination. In order to gain an understanding of this folk character, it is necessary to consider a number of key questions. These include: where do they try to meet people, how do they look – in terms of their appearance – when they are activated, how do they relocate, what is their function, what kind of relations do they have with human beings, and how can people get rid of them. In addition, it is important to consider the modern people’s attitude towards this character. Their habitation is proximate to that of humans, in narrow gorges, dark, abandoned and jinxed locales. They meet people in uninhabited places, attempting to intimidate them, but as the area becomes settled, they leave. In popular imagination, the imp is a diminutive malevolent spirit, resembling a man’s offspring. It may also take the form of a wild animal. They emerge from the second half of October to the middle of November, posing a significant threat to people, even causing madness. If a man knows how to get rid of a chinka, the chinka cannot cause harm; if not, a man will become ill for a long time or up to the end of his life. Imps are afraid of fire. If anybody threatens him with a firebrand, the imp immediately runs away. In modern language, the name of this mythological figure is used for the description of a quick, astute, nimble person. The investigation revealed that the imp of the third generation, an evil spirit, left a lasting impression on the population and continues to be a topic of interest to this day. The research demonstrated that texts on imps are accompanied by a narrator’s synoptic marking.

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Грузинските народни поговорки и афоризмите на Шота Руставели

Author(s): Lia Karichashvili / Language(s): Bulgarian Issue: 4/2023

Folklore is regarded as one of the sources of Shota Rustaveli’s worldview. The folk wisdom was reflected in the Knight in the Panther’s Skin as emanation of the national consciousness and being and, at the same time, general cultural paradigms that occur in the literature of various nations. In Rustaveli’s narrative the folk wisdom is frequently accompanied formula “it is said” that emphasizes old age of the idea, its oral widespread nature and anonymity. Many Rustaveli’s aphorisms are very close to the folk proverbs with their ideas though they are formulated with Rustaveli’s eloquence. The semantic and stylistic closeness of Rustavelian aphorisms and folk proverbs evidences that along with the brilliant education of his time, Rustaveli had deep folk wisdom. It is due to this reason that the source of some aphorisms is folk sayings. At the same time, a number of Rustaveli‘s aphorisms became the basis of folk saying.

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Шедьовърът на Руставели – ренесансова поема или средновековен роман?

Author(s): Yordan Lyutskanov / Language(s): Bulgarian Issue: 4/2023

The article introduces to the late medieval romance in verse Vepkhistq’aosani by Shota Rustaveli – the central artefact in Georgian cultural self-awareness and the top item of ‘high’ Georgian cultural export. It briefly presents its narrative content, indicating the correlation of two plot-lines (initially through enframing, after some point though horizontal interlacing). It briefly introduces to the main fluctuations and 20th-century tendency in translating the work’s title, interpreting the fluctuations as indicative of aesthetic differences, and the tendency as an indication of the ‘cultural market’ success of the Soviet-Georgian (in its ideological and aesthetical basis –a Stalinist and socialist-realist) image of Rustaveli’s masterpiece. It presents two influential to dominant claims of Georgian Rustvelology – that the work is a poema (and not a novel/romance) and that it displays, at least partially, Renaissance outlook and poetics, – considering these claims as tools (1) of Soviet “Culture Two” to allot a proper place to Georgian nation within the alternative modernity of the USSR and its premodern background-under-construction, and (2) of Soviet-Georgian cultural nationalism to define a usable past in post-Soviet conditions; and (3) as beliefs. It revitalises the option to contextualise the work of Rustaveli (and, indirectly, Georgian cultural identity) in non-Eurocentric terms, providing some factographic and theoretic clues from the field of macrohistory (J. Abu-Lughod et al.) and a methodological one from sociology of arts (P. Bourdieu).

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