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SLOVENSKÝ PREKLAD GOETHEHO FAUSTA V RUKOPISNEJ POZOSTALOSTI KAROLA STRMEŇA

Author(s): Ján Čakanek / Language(s): Slovak Issue: 04/2021

Of the Slovak translations of Goethe’s Faust, the fragmentary translation by Karol Strmeň from the late 1940s or early 1950s is completely outside the academic discourse. Until now, it has lain unnoticed in the Literary Archive of the Slovak National Library as part of the author’s extensive manuscript estate transferred from the USA. The absence of its critical reflection has caused a rupture in the continuous mapping out of the Faustian translations in Slovakia and created an illusion of the unwavering status of Móric Mittelmann Dedinský’s representative translation from the 1960s. The main aim of this study is to approach the personality of Karol Strmeň through the prism of extratextual factors (the socio-historical context, the subject of the translator, a political gesture and a political event) and to determine the extent of their influence on Strmeň’s translation poetics. The latter will be analysed by employing a method of strict comparison of the structural and aesthetic dominants of the translation with Johann Wolfgang Goethe’s original.

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European Discourse in the “Transitional Period” of the Georgian Literature

Author(s): Tamar Vephkhvadze / Language(s): English Issue: 2/2022

The “Transitional period” occupies a special place in the history of old Georgian Literature. It is at this time, at the turn of the XVIII - XIX centuries, when the great changes in the political or spiritual life of the Georgian nation are marked, which have radically changed the public life of the Georgians and, to some extent, the consciousness as well. These changes were followed by the greatest literary event of the XIX century, Georgian Romanticism, the chronologically preceding period of which the socalled “Transitional period” coincides with the existence of a directly preced-ing literary phenomenon of Romanticism in Europe, known as “Preromanticism”. Therefore, this period is a kind of “preparatory” stage for Romanticism and, quite logically, is considered as “Preromanticism”. Representatives of Georgian “Preromanticism” and later Georgian Romanticists of the XIX century translated and in-troduced to the public the works of Voltaire, Rousseau, Cornell, Racine, Lafontaine, Hugo, Mickiewicz, Heine, Derzhavin, Pushkin, Lermontov and others.

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When Literary Space Parts Ways with Physical Geography: Substitutions by Aksyonov and Morchiladze for the Missing Islands of the Black Sea

Author(s): Eyüp Özveren / Language(s): English Issue: 24/2023

Among the most important factors that differentiate the fortunes of the Black Sea and the Mediterranean comes the role the islands played in history as nodes of connectivity between the networks of islands. Within the Mediterranean context, they connected islands with the landmasses, as well as lands surrounding it with one another. There are two sets of Mediterranean islands, one consisting of the larger and better connected ones such as Sardinia, Sicily, Malta, Crete, Rhodes and Cyprus, and the other, of archipelagos, of which the Aegean is the paradigmatic example. By contrast, their conspicuous absence in the Black Sea became a formidable obstacle in an already notoriously inhospitable sea. Put differently, the Black Sea is a Mediterranean minus the islands that made almost all the difference. The Black Sea has only very few and singular islands, like the Snake (Zmiinyi) Island, and the fewer of them are inhabited by only a very small number of people. In any case, the few islands of the Black Sea disappear from sight in maps because of the scale effect, as they are quite small by geographical conventions. There remains thus no puzzle to intrigue our minds, and physical geography can count them out. Be that as it may, small islands can be notoriously maverick, and force themselves on sight from time to time, as has been the case with the Serpent Island off the Danube delta during the current Russia-Ukraine war. When islands become a bone of contention for Great Powers, their visibility increases unexpectedly

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Cultural Concepts in the Turkish Translation of „The Knight in the Panther’s Skin“

Author(s): Nona Nikabadze,Öztürk Gül Mükerrem / Language(s): English,Georgian Issue: 1/2024

The present work is a critical analysis of Shota Rustaveli's poem "The Knight in the Panther’s Skin" translated into Turkish by Professor Bilal Dindar and Assistant Professor Zeinelabidin Makas. We will present comparison of the original and translated texts of "The Knight in the Panther’s Skin"."The Knight in the Panther’s Skin" is one of the remarkable monuments of medieval literature. "The Knight in the Panther’s Skin" is an epic work containing lyrical passages, the story of which takes place in Arabia and India. We often find cultural-specific concepts in the target language, the translator tries to adapt the lexical units in the original text to his own culture. These cultural concepts are: sun, moon, devil, wine drinking.We used the following methods during the research: Corpus Linguistic research method, which is relevant in modern humanitarian studies. The use of this method allows to quickly and efficiently process a large amount of empirical material, which simplifies the research process. We have also used method of linguoculturological analysis. Modern linguoculturology studies are of a comparative-contrastive nature, because the national specificity and universality of the concepts are particularly clearly revealed when comparing the materials of two or more languages. According to the linguocultural analysis, we will study the cultural concepts in two different cultural texts, which will help in the detailed description of the cultural concepts expressed in the linguistic process.

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Cultural Heritage of Europeism in Georgian Publicist and Artistic Texts

Author(s): Marine Sioridze,Ketevan Svanidze / Language(s): English Issue: 2/2024

Due to historical ill-fate, Georgia found itself cut off from European civilization and culture for a long time. The catastrophe caused by the fall of Constantinople in the 15th century placed Georgia under an aggressive Islamic siege, posing a mortal threat to the existence of its nation-state and at the same time cutting the spiritual and cultural arteries that historically connected Georgia with Europe. The process of “re-Europeanization” (Siradze, 2008, p. 213) was first systematically revealed in the Georgian writing of the so-called “transitional century” (the turn of the 18th-19th centuries) and spread in all spheres of life throughout the 19th century. It should be emphasized that for our leaders, Europeanism was essentially not a matter of social-cultural orientation or vector, but the return of Georgian culture to its native bosom, native living and mental space, the restoration of the natural path of development. The 19th century saw great interest in Europe and its literature. The term "Europeanism" has been established since the 1850s. As for the content of the term itself, when defining the essence of Europeanism, we rely mainly on the point of view of Friedrich Nietzsche that Europe, as a term denoting culture, refers to those peoples who have a common past with the Greek and Roman civilizations, in the form of the Bible and Christianity. If we take into account Nietzsche’s definition and compare it with the history of Georgia, it is easy to see that we really have reason to call ourselves Europeans. First of all. The present work is aimed at studying and fully presenting the history of European-Georgian relations; the role and significance of translation, journalism and fiction in bringing Georgia closer to Europe; the turning of the viewpoint of Georgian society towards European ideals and the struggle for the establishment of the cultural traditions of Europeanism.

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თანამედროვე ტრაგედია და მისი ქართული იმპლიკაციები

Author(s): Irma Ratiani / Language(s): Georgian Issue: 25/2024

The aesthetics of late realism and early modernism brought about great changes in the world literature, including the canon and dynamics of the genre of tragedy. Among the fundamental changes revealed in the tragedies of this period, the following deserve special mention: • Transformation of the epicenter of the tragedy from “hero” to “victim”; • Weaving the history of tragedy into everyday life; • Activation of taboo topics; • Transformation of tragic pathos. The pioneer of these changes is Henrik Ibsen (1828-1906), who is rightly considered the founder of Modern tragedy. Ibsen took the tragic stories out of the walls of palaces and luxurious interiors and transferred them to everyday life. Ibsen's characters explore a contradictory world full of lies, hypocrisy and forgery, only to discover that, despite their opposition, they, as human beings, are part of this world and, by inheritance, carry the destructive code themselves. August Strindberg, John Millington Saing, Gerhart Hauptmann, Anton Chekhov, Luigi Pirandello are successfully working in the same direction, developing the tragic theme of "sinful reality" and human self-isolation in it. The process of shifting the focus from the hero to the victim was also reflected in Georgian writing. This metamorphosis was first reflected in the work of the genius author of the late realism era, Vazha-Pshavela – “Snake Eater”. The main subject of Vazha-Pshavela's attention is a person, an individual who exists in the conditions of a certain society, i.e. objective environment and tries to establish himself in it as an individual person. As a result, he finds himself in fatal conflict with society. This new perspective of vision expressed in Vazha-Pshavela's texts, coupled with the concept of decadence, represents a direct path to Georgian modernism in parallel with European writing, where the era of modernism is already shining on the horizon. This trend was continued with great success in the work of another Georgian classic writer David Kldiashvili, who was able to read the tragic code of his time, when in the midst of social distress and acute spiritual crisis, it was not death, but life, that made human tragedy. Besides, Kldiashvili was famous for an indeep stylistic use of satire and humor. Satire and humor diluted in tears became one of the most important levers of David Kldiashvili's writing. In Kldiashvili's dramaturgy, humor acquired an almost medieval depth of parody (Rabelais, Cervantes) and a reviving (lost values) function. Kldiashvili's humor represented the aesthetic reverse of the dramatic, tense, often tragic, re-opening the social life dilemmas of ordinary people, the extremity of their situation, the crisis of relationships. Kldiashvili’s characters are forced to live in lies and illusions, hoping to somehow survive. However, in most cases, illusions are shattered, and this shattering leads to tragic consequences. David Kldiashvili's two plays – "The Misfortunes od Darispan" and "Irene's Happiness" – premiered European modern tragedy in Georgian national dramaturgy. The dramatism of those texts is determined by the reality reflected in them: the extreme social poverty of the dying class – the petty nobility, economic, spiritual and intellectual destruction, the crisis of relations. "The Misfortunes od Darispan" is a modern tragedy, bordering on, but not equal to, the pathos of Shakespeare’s tragicomedies: Kldiashvili’s play stylistically – with a synthesis of the tragic and comic, as well as with an emphasis on the grotesque-comic and philosophical laughter – carries a pro-Shakespearean spirit, however, conceptually it meets the aesthetic requirements of its era and remains the Georgian analogue of the tragedy of Ibsen, Chekhov and other founders of the modern drama. "Irene's Happiness" is devoid of the genre of tragi-comedy and stands as a serious drama. The central character of the play – Irene, with her strong character and sense of dignity, is related to the gallery of "strong women" created by Lope de Vega and Tirso de Molina. Irene fully understands her plight, learns the tragedy of her own pseudo-happiness and even struggles to save herself, but – in vain. The writer moves the physical death of the character to the background – Irene dies spiritually. Although the third text of Kldiashvili discussed in the article – "Samanishvili's Step-Mother" – is not a play, we believe that its interpration is quite appropriate in terms of the fragile model of Modern tragedy and Lessing's Theater of sympathy. In this text, the regenerative function of parody is implemented, against the background of strengthening the function of the reader. The reader/viewer observes not only the fate of the heroes, representatives of a certain social stratum – an impoverished principality – but also the actions and consequences arising from this misfortune, and goes through the most difficult phases of ethical transformation: on the one hand, the reader/viewer sympathizes with the character, on the other hand , he reflects on the character's degraded moral obligations, and finally – the reader/viewer is reborn. This path leads not to Aristotelian fear and pity, but to Lessingian compassion.

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მოქმედებს თუ არა გველის შხამი სოციალისტურ რეალიზმზე?

Author(s): Hayate Sotome / Language(s): Georgian Issue: 25/2024

In 1927, philosopher Serge Danelia published an article of criticism “VazhaPshavela and Georgian Nation,” in which he discussed the poet Vazha-Pshavela’s conception and representation of nature. Among the topics discussed in this article, Danelia’s interpretation of the poem “Snake Eater” is of particular interest to us. To answer a question of why the snake poison did not work on the protagonist Mindia as soon as he ate snake meat, he offers the explaination that the meat was boiled and so the effect of poison was slowed down. This interpretation, of course, strikes us as excessively realistic. Where did this attitude come from? How much does Danelia’s account reflect the tendency of social realism of that time? Danelia thought that Vazha-Pshavela represented nature as an endless circle, as opposed to the historical process, which moves in the direction of progress. Further, for Vazha, nature is not to be measured by the good and evil of the events that occur in nature, but by its beauty. In Vazha’s understanding, this beauty is woven into the fabric of nature itself and exists independent of human judgment. This conception of a transcendentally beautiful, ahistorical nature, Danelia claims, belongs to an Eastern, paganistic worldview, which he poses as an anthithesis to the Western, Christian conception of “history.” This criticism can be explained by dialectical materialism. According to the scholar, Vazha’s representation of nature in “The Snake Eater” is fundamentally realist. The only reality that exists for the poet is indepentent nature. However, he criticizes, the poem also mixes a folktale into the realistic framework. Therefore, two different motifs, paganism and Christianity, are mixed in the work, which he regards as illogical; this destroys the any consistency in the poem’s plot line or framework. According to this argument, he rejected the poem and regarded it as a “weak” work. This is an inadequate and unsuccessful reading, even giving credit to the value of his dialectical materialist analysis of Vazha’s conception of nature. Danelia’s criticism shows a forced application of the conventions of realism to “The Snake Eater” supposedly, as demanded by the period and, from this point of view, ignores or denies the magical element in the poem. However, today the concept of materialism again attracts our attention under the name of “new materialism.” While his evaluation of the poem is flawed, a part of Danelia’s argument, in which he criticised the critic K’it’a Abashidze’s understanding of Vazha-Pshavela as a symbolist poet, is convincing and invites more careful discussion.

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Translating the Title of Vep’xis-Tq’aosani (‘(The /Some)one in an Ounce’s skin’ / ‘The Panther-clad one’) in Foreign Languages, Before and After 1937: the Mark of ‘Culture 2’ or of Socialist Realism?

Author(s): Yordan Lyutskanov / Language(s): English Issue: 25/2024

The work was written in 16-syllable rhymed quatrains, most likely around year 1200, or, according to marginal views of prominent scholars, later, in the 1230s (Korneli Kekelidze (K’ek’elidze 1979: 74–75)), ca. 1250 or even in the 14th or 15th c. (according to changing opinions of Sergo Kakabadze and Niko Marr (K’ak’abadze 1924: 121–122, 148 ff.)). The earliest manuscript that contains the whole work is from 1646. The work was printed for first in 1712 in Tbilisi. In the 17th c., additions (three major narrative episodes and several minor ones) were considered part of the work, even though their post-cedence and even exact authorship was known (Arabuli 2004: 8-10). The status of two special fragments, namely, the ‘Prologue’ and the ‘Epilogue’ of the work, has been a matter of contention up to nowadays (Arabuli 2004: 15-17, 150).

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ეპიდემია ქართულ პროზასა და კინემატოგრაფში: დავით კლდიაშვილისა და ვაჟა-ფშაველას მოთხრობების ეკრანიზაციები

Author(s): Lela Tsiphuria / Language(s): Georgian Issue: 25/2024

The paper discusses the changes and the forms of adaptation of the literary text suggested by the filmmaker. Two texts chosen for the analysis are related to the Georgian experience of the epidemic, depicted from two different perspectives: Miqela (1904) by David Kldiashvili and Cholera Saved Me (1892) by Vazha-Pshavela. Kldiashvili’s short story served as a basis for the film Miqela (1964) adapted and directed by Eldar Shengelaia; while the plot of Vazha-Pshavela’s short story was used by the scriptwriter and film director Pavle Charkviani in his film Some Troubles Are Helpful (1984). The paper deals with the issue of turning literary texts into works of synthetic art, which is essentially related to intermediality. The interpretation of prose within film/audiovisual art is one of the topics interrelating literary studies and film studies. Georgian cinema and the world cinematograph are known for a large share of screenings among samples, which provides rich material suitable for the discussion. While the prose texts by Georgian writers are interpreted within audiovisual art, the verbal representative system of the literary primary source is transformed into the language of audiovisual art. The constituent parts of the literary texts - the characters, and dialogues – are transformed into audio text. David Kldiashvili’s short story is one of the most dramatic among his works, depicting the life of the elderly man, Miqela, who is left hopeless against the epidemic. His naive understanding of Christian religious views on death and eternity makes his belief system primitive and, eventually, merciless to his grandson. His prejudices define the superstitions of the elderly man and his fellow villagers, popular ideas about life and death influence their decisions and actions. In the short story, the Orthodox priest tries to explain to Miqela, how ungrounded superstitions are his ideas and fears about misfortune, and how unacceptable are they in modern times. However, Miqela's thoughts are dominated by the feeling of obedience to the ‘deity’, although his and his fellow villagers' ideas about ‘deity’ are far away from the subjects of Christian teaching. The early 1960s, when the film was directed by Eldar Shengelaia, were declared by the Soviet propaganda as the years of construction of ‘Great Communism’. The end of the period of totalitarianism was more than ten years behind, the process of de-Stalinization is still ongoing, but the Russian centre still required adherence to communist principles: religion, faith, church, priest – could be represented only in a negative context. The characters of the priests in Georgian films are shown in adverse or just comic light. The story about the superstition described by Davit Kldiashvili, a classic writer, was the best material for the consequent film of Soviet times to depict the ‘darkness’ of the past. In general, Georgian arts and cinema of the 1960s fully shared this pathos, and many films of the period had a critical view of the past. Eldar Shengelaya's Miqela, with its pathos of whistleblowers of superstition, is opposing the pathos David Kldiashvili’s works, where the warmth, love and compassion towards his own characters prevail. At the same time, Eldar Shengelaya’s film Mikela is the first attempt to represent the psychological aspect of Davit Kldiashvili's work. Vazha-Pshavela’s short story Cholera Saved Me was written in 1892 when the cholera epidemic spread all over the Russian Empire. At that time, the genius writer himself had recently suffered from anthrax, which damaged his right eye, and his health deteriorated. Against this background, the story written about cholera is surprisingly optimistic. In the short story, fear gives courage to the young couple and surpasses happiness, while the people of the mountain village flee to the forest from the impending epidemic. Pavle Charkviani filmed Some Troubles are Helpful in 1984. The script for the film was based on Vazha-Pshavela's short stories Cholera Saved Me, Darejani and A Picture of the Pshav’s Life. Two different visions of the epidemic, and different plots: Miqela turned into a monster due to the depression caused by time; on the other hand, the beautiful young couple find happiness regardless of the time. While facing death from the spreading disease, different approaches are seen in literary texts and films: the pessimism in David Kldiasvili’s/Eldar Shengelayas’s works gives rise to cruelty and even crime; while the optimism in Vazha-Pshavela’s/Pavle Charkviani’s works leads to fulfilment and happiness. Screenings of Georgian prose played an important role in forming the phenomenon of Georgian cinema. The authority of great writers and the legitimacy of literary material allowed film directors to understand not only the past but also the present. The theme of the epidemic, which was considered a part of the past during the creation of the screenplays, no longer occupied a central place in the films. Instead, the film directors follow the writers' ideas and understand the film's problems in a moral dimension. The lessons given by literature and film was supportive for Georgian audiences in the troubled situation caused by the world pandemic of the 2020s. Where will this experience lead us, what path will the world choose, and in what form will the pandemic become a source of inspiration for writers and directors – these questions still have to be answered.

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გიორგი ლეონიძის შემოქმედების ლექსიკური თავისებურებანი

Author(s): Pheride Sanaia / Language(s): Georgian Issue: 7/2023

Giorgi Leonidze’s poetry is distinguished by its interesting content. as well as the peculiarities of composing a phrase. The study enables us to observe intricate processes underlying linguistic changes, the influence of internal, as well as external factors on the language structure. The author used not only literary names but also folk ones that undoubtedly contributed to enriching the lexical fund of the Georgian language and in this regard Giorgi Leonidze played a huge part. The poems are characterized by a specific syntactic structure. Vocabulary is the most changeable part of a language which immediately reacts to events of the outer world. New words and meanings constantly enter the vocabulary of a language. Some syntactic-stylistic peculiarities of Giorgi Leonidze’s poetry are expressed by a special word order. The author used not only literary names but also folk ones that undoubtedly contributed to enriching. The lexical fund of the Georgian language and in this regard Giorgi Leonidze played a huge part. Giorgi Leonidze presented an amazing range of colors with the exemplary art of word painting and the adjectives in different degrees of comparison derived from the said colors. In the work the great master represents the characters and the surroundings with the colors perceived in his own ways but the most important fact is that the spiritual condition and personality of a character is often realized in colors and the reader is impressed.

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მზითვის „ვეფხისტყაოსანი“

Author(s): Murad Mtvarelidze / Language(s): Georgian Issue: 7/2023

Every nation has such treasures that embody its face, identity, character and spirituality. For Georgians, "The Knight in the Panther’s Skin " is a combination of all these. For centuries, it has been teaching us Georgians what kind of people we should be, how to behave in this or that situation, how to withstand and overcome trials, what moral criteria to live by. That's why the Georgian nation called " The Knight in the Panther’s Skin " the second "Bible". "The Knight in the Panther’s Skin " in a way defined the path that Georgia should follow in the following centuries, it, as a mirror and as a torch, illuminated the path for the Georgian nation on the one hand, and on the other hand, like a mirror, it showed all the life events that they should guide. "The Knight in the Panther’s Skin" overcame time, it rose above all eras, authorities, all kings and rulers and became the face of the nation. When a Georgian wants to present himself, he first of all recalls Shota Rustaveli and his unique creation. The Georgians of all times deeply believed that “The Knight in the Panther’s Skin” was the miraculous book that could light up the native fire in his heart, awaken them and prepare them for battle. That's why "The Knight in the Panther’s Skin" occupied a great place in the life of the Georgian nation. to illustrate this in the presented article, we will talk about the importance given to the tradition of giving this poem as a dowry in ancient Georgia, which was established centuries ago and continues to this day.

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რენესანსის რეცეფცია ქართულ ლიტერატურაში (რევაზ სირაძე „ქართული რენესანსული კულტურის პრობლემისათვის“)

Author(s): Marine Tsertsvadze / Language(s): Georgian Issue: 7/2023

The paper discusses the issue of how scholar Revaz Siradze interprets the reception of the Renaissance in Georgian literature, because the understanding of the Renaissance in Georgian literature (and not only in Georgian literature) is often equated with restoration-rebirth of the fallen. The word - Recepto is the transfer of social-cultural forms that emerged in another country and era by a given society (in this case - Georgian) and bringing them into compliance with their own requirements. To clarify this point, we looked for the definition of renaissance and reception in foreign word dictionaries and textbooks of literary theory.

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შტეფან ცვაიგი ქართულ-უცხოურ კულტურათა შორის ურთიერთობათა ჭრილში

Author(s): Tamar Gogoladze,Ketevan Barbakadze / Language(s): Georgian Issue: 7/2023

In the 20th century, several foreign writers and novelists emerged on the global literary stage, including Romain Rolland, Henri Barbusse, and Stefan Zweig. People avidly read about their works. In the realm of Georgian culture, the writings of Stefan Zweig (1881–1942) were widely read and appreciated. 1927 can be considered as the starting point for its translation into Georgian. Stefan Zweig's works, such as "Amok" and "Fear," were initially translated from an intermediate language by Leli Japaridze (1895–1934). Later, Grigol Robakidze translated them directly from German, which sparked his profound interest in the life and work of the renowned Austrian writer. L. Japaridze's first translations ("Amok" and "Fear") were also criticized by Platon Kikodze in his publication "Stefan Zweig," ("Amok Translation by L. Japaridze, Publication "Shroma", Tbilisi, 1927). This criticism not only evaluated the quality of the translation from the Russian language but also questioned the work of the author himself, Stefan Zweig, labeling him as a "pure bourgeois and decadent" writer. However, this did not deter Georgian translators from undertaking the task of translating Stefan Zweig's work. His novels were translated. This process turned out to be especially important for the period after the 1940s of the 20th century. It was emphasized by notable individuals such as Vakhtang Betsukeli, Eliso Betsukeli, Otar Khutsishvili, Nona Kalandarishvili, Karlo Jorjaneli, and Archil Ebralidze. Interest in Stefan Zweig continues even in the 21st century. (Tinatin Didebulidze) The translations of Stefan Zweig have been added to the list of classic masterpieces published by the World Literature Series. Zweig's translations (Vol. 76 of the first series) were preceded by an extensive letter by Karlo Jorjaneli about the writer's work, titled "Boundless Humanism." After L. Japaridze's initial translation, Kote Marjanishvili's silent film "Amok" (1927) was released, which received a negative response from the critics of "Singer of the Proletariat." Stefan Zweig's connection to personal meetings is linked to L. Tolstoy's centenary celebration of writers in Moscow. This was followed by T. Tabidze's "Days of Tolstoy" and Grigol Robakidze's letter of the same name in the "Mnotobi" magazine in 1928. Friendship started there, and the correspondence continued for years. The purpose of the article was not only to describe the history of publications and meetings, but also to present and analyze the reception process. This process was primarily influenced by the translations into the Georgian language, which led to the writer's popularization among generations of readers.

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რელიგიური მსოფლმხედველობა აკაკი წერეთლის ლექსში „ცოდვილის სინანული“

Author(s): Dali Betkhoshvili / Language(s): Georgian Issue: 7/2023

The poetry of Akaki Tsereteli is not limited only by one problem, he puts up more than one problem in each work, highlighting the wide range of vision of the author, related to the problems of both earthy and eternal life, demonstrating the depth of Akaki’s conceptual view. The poem “ Regret of a sinner” has the great place in the poetry of Akaki Tsereteli, discussing the depth of God from the spiritual prospective, the truth of the virtue which will take place in the earthy life, where the sin and evil are ruling.. in order to avoid the sin, it is necessary to understand by a human what is wrong in the earthy life and go towards the truth. The poem by Akaki Tsereteli is the proof for it. When the reader introduces with the poem “The Regret of a sinner” first of all the biblical philosophy of the poet is noticable. Akaki Tsereteli teaches the human to remember the teaching of the God, the love towards Him defining existance of the world, the kindness and evil, overcoming of the sin, what is achieved through love to the God, through following his teaching and fulfilment of virtues. The poem “Regret of a sinner” demonstrates that the earthy life is false, treacherous, evil and full of sins… but, at the same time, he understands the sins and has the desire to return to God for asking pardon. The sin always accompanied to the earthy life, it is the only test for a human, it demonstrates the way of distinguishing kindness and evil, makes to look at own spiritual world, supporting to understand the sin, it is the most important step towards the regret, mixed with the tears and prayer. The regret prepares the way to the kindness, make sinner perfect what is possible only through divine deeds. The grief of Akaki is hidden in every artistic word, first of all, it is divine, which is made by the human living on the earth with its modest lifestyle, as Akaki was the messenger of the God on this world to announce about the kindness. In order to fulfil this mission, the regret helps him, as it supports him in approximation to the God, to the hope, it helps people to change their lives into spiritual, their gradual rise from the earth. The way moving towards the God is a narrow path, full of grief and danger, where you need to go carefully not to miss the way towards the God. Akaki Tsereteli by the poem “The Regret of the Sinner” connects the transient world to the eternal one, between a human and God, evil and kindness, as this linkage produces the idea of the life. Such stage of life makes the life of a human interesting in this world.

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ქართული ხალხური ბალადის - „თავფარავნელი ჭაბუკი“ - რეფლექსია გურამ დოჩანაშვილის მოთხრობაში „თავფარავნელი ჭაბუკი“

Author(s): Nino Gogiashvili / Language(s): Georgian Issue: 7/2023

At the end of the short story The Lad from Tavparavani Guram Dochanashvili' writes: "I dedicate this story to the peasantry - the author of Georgian folk poetry", which confirms that the inspiration of his text is not a Greek folk myth, but only the Georgian ballad. Guram Dochanashvili's short story The Lad from Tavparavani is compositionally complete literary representation of the folk ballad. The hermeneutic and comparative study of the text reveals that the main character created by the writer is represented right by the mythological sacredness and the primordial fullness of the myth. With the intertexts of folklore word of mouth and the unmistakable feelings experienced by the writer, Guram Dochanashvili tells us about the brilliant Triad, the idea of the divine trinity and its stepby-step transformation: word (God) - folklore (people) - literature (poet). The story is based on the idea of approaching the creative God and the paradigm for the development of this idea involves the dynamics of the Triad mentioned above. The Lad from Tavparavani follows a difficult, but true path leading him to the light. In the story, a direct way of approaching the divine and the sacred through speech, poetry, and art is emphasized; In Guram Dochanashvili's The Lad from Tavparavani, as I have mentioned above, there is a whole bunch of Georgian folk word of mouth: here we can see samples of romantic, as well as labor, harvesting, mourning and household folklore. In the text, one of the most important themes of the “Great” literature is highlighted once again - the relationship between society and a person different from society. For the author, "Dolabi" is a literary concept that he needs for exposing the ruthlessness of people. The folk ballad of The Lad from Tavparavani evokes a great emotion and a lot to think about; Guram Dochanashvili's literary reflection and interpretation is one of the best ways to read it. The story includes deep and mystical layers from an existential point of view, the extension of which considers many possible options and interpretations; the presented paper is an attempt of one of those.

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ბიბლიურ-ქრისტიანული პარადიგმები ნოდარ დუმბაძის რომანში „თეთრი ბაირაღები“

Author(s): Giorgi Khorbaladze / Language(s): Georgian Issue: 7/2023

The presented paper is a part of the complex study process of Nodar Dumbadze’s work; We have discussed other works of the writer from different perspectives, and considering certain circumstances (the problems of incorrect interpretation) we specifically focused on the novel “The White Banners”. This time, our goal is to present the other side of the novel “The White Banners” from a different angle and highlight the biblical-Christian paradigms that clearly or covertly exist in the work, which will give us the opportunity to understand the novel more deeply and at the same time, present it in the form of an essay as an interesting analysis of one particular aspect, as well as one of the most important components of a complex study.

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წინადადების წევრთა ასიმილაციისა და დეტერმინაციის მოდელი გურამ დოჩანაშვილის რომანში „ლოდი ნასაყდრალი“

Author(s): Mariam Koberidze / Language(s): Georgian Issue: 7/2023

The present article analyzes the cases of syntactic assimilation and determination of sentence members in Guram Dochanashvili's novel "Lodi Nasaqdrali" (Stone of Former Temple). The writer uses lexical transformation and changing the logical-grammatical function of the sentence to describe events or facts. During syntactic assimilation, the word class changes its grammatical role on the basis of analogy and synonymy. As a result of syntactic assimilation, a word that has left its lexical-morphological class loses its syntactic relationship, the role of those morphemes that no longer have an independent meaning in the new situation weakens, but at the same time, they can keep the peculiarity that does not interfere with the new constructive situation. Parallels with historical persons or events are presented by the addition of nouns, the existence of adjectives, numerals, pronouns, the transition of the verb from the coordinating order to the subordinate order, the transition of the adverb into the adjective and conjunction. As a source of assimilation, the author often uses the lexical units formed by the active rotation sign (forced, additional, auditory, outgoing ...), where the rotation sign performs the function of a derivative. When changing word classes, it is important to convert different types of words into subordinate or coordinating elements. They create a relationship between each other and appear as syntactic level units. One of the ways to establish this relationship is auxiliary parts of speech. The actual syntactic subordination between words is very often influenced by the position of the subordinate member in relation to the dominant one. When changing the class of words in the structure of the sentence, the relationship is sometimes broken, the subordinate member is attached to the dominant word and establishes a semantic relationship with another main member. Such a case can be considered the weakening of the semantic connection of the attributive limiter with the limiter and the relationship with the verb-listener. Determination of members of the sentence is one of the characteristics of Guram Dochanashvili's style.

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THE TITLE AS A CONTENT - CONCEPTUAL DETERMINANT OF THE LITERARY TEXT AND ITS TRANSFORMATION IN THE GEORGIAN LANGUAGE

Author(s): Maia Bolashvili,Nana Mazmishvili / Language(s): English Issue: 7/2023

The first attempt to analyze the title was made in the 20s and 30s of the XXth century and it was founded by the famous Russian esthete and literary scholar Krzhizhanovsky, (Krzhizhanovsky, 1931) with his program work "Poetics of the Title", in which the main, fundamentally important postulates of the title and its relation to the text are formulated. The most important statement that the author makes is the assertion that "a book is a fully expanded title and a title is a whole text reduced to two or three words. In addition to this postulate, (Krzhizhanovsky, 1931: 4) discusses and brings to the fore a number of issues related to the title, the scientific research of which does not lose its relevance even today. In his opinion, "the title is an indicator of the author's style and artistic thinking". The connection between the title and the ideological-thematic essence of the work may be of different depth. In the special literature, it is indicated that there are two forms of relationship between the title and the text: explicit and implicit. Explicit interrelation is superficial and involves distant repetition, which is formed not only by the text itself, but also by the subtext of the work. According to Richard Sawyer's (Sawyer, 1993) classification, titles define the style and genre of a literary text. They give us information about whether this or that text is historical, romantic or autobiographical, etc. Titles can also have a "nominal" role, which serves to identify only one specific actor or place in the literary text, e.g. "Pamela", "Romeo and Juliet", "Madame Bovary", "Tristan and Isolde". Titles of a literary texts determine the context and the concept of the literary text as they contain stylistic device and expressive means such as allusion and idiomatic expressions which are very often hidden in the titles, particularly when we analyze the literary works of modernism and their understanding is very important in the translating process as they arise some problems for a translator to properly render them in a target language (TL) from a source one (SL). The present study deals with the translation of one of the greatest and prominent, the XXth century modernist writer’s,- D. H. Lawrence’s translation of some short story titles in the Georgian language and their analyzes in the context of modern theories of equivalence of translation. It reveals those problems and their solutions which usually occur while translating the specific titles of literary texts full of different kinds of stylistic devices, particularly in the context of intertextuality.

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ქართული ხალხური ზღაპრების ტრადიციული ჟანრობრივი კლასიფიკაციის ჩვენეული რეპრეზენტირებული პარადიგმა და ხალხური „კუჭიას“ აკაკისეული ვერსია

Author(s): Gabriel Tagauri / Language(s): Georgian Issue: 8/2024

In Georgian scientific studies, numerous remarks and analyses have been made on Georgian folk and literary tales. This preceding work presents an effort to synthesize and enrich existing publications. This research aims to delve into the linguistic study of Georgian folk and literary tales through comparative textual analysis, as well as to uncover lesser-known facets of renowned Georgian authors today. The uniqueness and distinction of the Georgian fairy tale is emphasized, showcasing its importance as a valuable phenomenon that is intriguing, complex, and deserving of caution, to ensure its authentic preservation and dissemination within the fabric of society. Due to the observations noted herein, we find ourselves obliged to engage in a meticulous examination, classification, and analytical synthesis of long-standing tales, to contribute to their rigorous reintegration into both scientific discourse and everyday literary considerations, naturally alongside other genres. Predominantly recognized in their completed form, Georgian fairy tales have been less explored in terms of their creative processes, formation and development specifics, including their intricate internal form and the artistic and linguistic tools uniquely employed by both known and unknown Georgian authors during the creation process. The paramount scientific value and novelty of this dissertation lie in its transformed paradigm of traditional classification of Georgian tales. Utilizing historical-comparative, typological, textual, and descriptive research methodologies, this dissertation is devoted to elucidating the complex, refined, and structured process of folk and literary tale creation. It is intended for specialists in the field as well as for a broad audience interested in the subject matter. Fairy tales represent the oldest form of contemplation, encapsulating both the cognitive and material evolutionary stages of humanity. They provide rich insights into ancient civilizations, as vividly perceived and dissected in their narratives, thereby becoming a cultural acquisition of knowledge-seeking intellectual societies. It can be asserted that such texts invariably preserve a historical trajectory. Consequently, fairy tales vividly depict the evolving societal moral principles, spiritual values, ethical virtues, illuminations of intellect (technological advancements), and most importantly, the wise anticipation of the future. Through fairy tales, contemporary readers acquaint themselves with the perspective of "pre-culture cultures," i.e., how nature was perceived and adapted to by humanity in various degrees. Therefore, discussing fairy tales from a specific vector, even if it is folkloric, is justified because they simultaneously represent cultural, historical, scientific, philosophical, religious, mystical, psychological, and socio-cultural phenomena. It is intriguing to view fairy tales as true exponents of pre-history, pre-literature, pre-science, and pre-religion (religion as doctrine) eras. Georgian fairy tales had no specific genre prerequisites and were meant to inculcate moral and ethical values in people, irrespective of their gender, age, faith, ethnicity, or viewpoints. Thus, the Georgian folk fairy tale, if it may be termed so, was also imbued with a universal missionary function, serving the spread of overarching humanistic ideals within a knowledge-seeking cultural society. We believe that to better understand the modern world, it's crucial to delve deeper into the primordial world since, often, the standing on a developmental step reveals more secrets than the apparent, real, and visible. Following these observations, ancient civilizations can freely be considered the key to modernity. The non-material or material cultural relics of Sumerian-Babylonian, Egyptian, Greek, and Iberian-Colchian epochs-cultures, upon viewing and scientific study, naturally provoke a foundational doubt that the human being, fighting for survival and adapted to hunting in the wilderness, was at a higher stage of development and possessed a far richer social network (socalled Internet) than today’s daily user of the same. The critical analysis of the subject forces us to also consider that technical-innovative achievements dazzled humanity and gradually distanced it from nature, which, in turn, incited a more pronounced and robust self-operational capability in homosapiens. Based on all mentioned above, we must redeclare our personal commitment to the fairy tale, as a mysterious repository of knowledge: posing the question - What is a fairy tale? And answering it ourselves: A fairy tale is an immortal example of self-activity and a marvelous listener to nature.

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ფუტურიზმის მნიშვნელობა და ქართული კონტექსტები გლობალურ ჭრილში

Author(s): Mariam Lazarashvili / Language(s): Georgian Issue: 8/2024

The article "The Importance of Futurism and Georgian Contexts in a Global Perspective" is one of the first attempts to scientifically study futurism as a current and its influences in the world literary spaces. The article describes the importance of futurism, the historical, political, social, philosophical and literary prerequisites for its creation and spread, the area of its influence throughout the world. Italian, as well as Russian, Ukrainian, French and Georgian literary spaces with branches of futurism are reviewed. It is from an international point of view that the course has been seen and evaluated, characteristic features, chronology of spread and importance for Georgian literary spaces have been highlighted. The role, evolution, meaning, aesthetics and poetics of futurism are characterized both by the work of its inspiration Filippo Tommaso Marinetti and by at least one prominent representative of the mentioned countries. Futurism penetrated Russia early, several branches appeared here, the main one of which was ego-futurism, and its prominent representative was I. They were Severianin. Futurism was widespread in Ukrainian literature as well, where M. Semenko and M. Bazhan especially seized the current and turned it into their own handwriting. We see attempts to spread futurism in France as well, however, despite the initial success, the current cannot take a foothold in France in its conceived forms. Filippo Marinetti and Tristan Ttsara were introduced to Georgia by "H2SO4 " and "41" magazines. It was these names that Georgian youths followed and their imagination was swept away by the electric wave of Russian and European avant-garde. The article is a kind of key to the current, understanding and understanding process, to highlight its real influences and it is intended for both the faculty of philology and those interested in the issue.

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