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Peculiarities of Painted Pottery Depicting Birds in Georgia in the 12th-13th Centuries
No full textჩვენი ქვეყნის ტერიტორიაზე მოპოვებული არქეოლოგიური მასალა არა მარტო წინაქრისტიანულ, არამედ ქრისტიანულ ეპოქაშიც კერამიკული ნაკეთობების მრავალრიცხოვნებით ხასიათდება. თიხა თავისი განსაკუთრებული თვისებების და ადვილად ხელმისაწვდომობის გამო ადამიანის ყურადღებას უხსოვარი დროიდან იპყრობდა. ამჯერად შემოვიფარგლებით ჭურჭლით. რომელიც ძირითადად წარმოდგენილია ფრინველის გამოსახულებიანი მოხატული ჯამებით. ისინი XII-XIII სს. განეკუთვნება. ნაშრომზე მუშაობის მოტივაცია იმანაც განაპირობა, რომ რიგი მკვლევარი თიხის ჯამებზე გამოსახულ
ფრინველებს ხოხბად წარმოისახავს. კვლევის შედეგად დამტკიცდა რომ შუასაუკუნეების ხოხბისგამოსახულებიან მოჭიქურებულ ჯამებს ახასიათებს დახვეწილობა, ჭურჭლის კედლის სითხელე, სიმსუბუქე, თვითმყოფადი ფორმა, დამზადების მაღალი ტექნოლოგიური დონე. ამ პერიოდის ნიმუშებში ნათლად ჩანს გამოყენებული თიხის სტრუქტურა, ერთგვაროვნება, ფერი, მორგვზე დამზადების კვალი. განსაკუთრებული აღნიშვნის ღირსია ზედაპირის მოხატულობა, გრაფიკული ნახატი, ფერი, ფუნჯის სახასიათო მონასმი, დეკორის მომგებიანი მდებარეობა, კომპოზიციური გადაწყვეტა, სემანტიკა (შინაარსი), იმ პერიოდის სხვა მხატვრობის დარგებთან და კულტურებთან სიახლოვე.Archaeological material excavated on the territory of our country is characterized not only by the pre-Christian, but also by the Christian era with an abundance of ceramic products. Clay has attracted people's attention since time immemorial due to its special properties and ease of access. This time we will restrict ourselves to dishes. These are mainly drawn amounts with the image of a bird. They are XII-XIII centuries. Belongs. The motivation to work on the work was also related to the fact that a number of archaeological researchers depict birds on clay pots as pheasants. This is the result of studies that have proven that glazed jugs in the shape of medieval pheasants are distinguished by their sophistication, fluidity of ceramic walls, lightness, original design (shape), and high technological level of production. It is the result of research that has proven that medieval pheasant glazed Bowl are characterized by sophistication, pottery wall fluidity, lightness, original design (form), high technological level of production. The samples of this period clearly show the structure of the clay used, the uniformity, the color, the traces of making on the mortar. Special mention should be made of the surface painting, graphic drawing, color, characteristic character of the brush, advantageous location of the decor, compositional solution, semantics (content), proximity to other painting fields and cultures of that period
ფენტეზის ჟანრული თავისებურებები (ჯ. როულინგის, ჯ.რ.რ მარტინის და ჯ.რ.რ ტოლკინის ნაწარმოებთა მიხედვით)
No full textწინამდებარე ნაშრომში განხილულია ფენტეზის ჟანრის მხატვრული თავისებურებები სამი მწერლის: ჯოან როულინგის, ჯონ ტოლკინის და ჯორჯ მარტინის მრავალტომიან საგებზე დაყრდნობით („ჰარი პოტერის თავგადასავალი,“ „ბეჭდების მბრძანებელი,“ „ყინულისა და ცეცხლის სიმღერა“).
ნაშრომში გაანალიზებულია ისეთი საკითხები, როგორიცაა რელიგიისა და მისტიკის როლი ფენტეზის სამყაროში, ძალაუფლების და მისკენ სწრაფვის თემა. გამოთქმულია ვარაუდები ნომენკლატურის საკითხში სავარაუდო წყაროების თაობაზე და განმარტებულია პერსონაჟთა საკუთარი სახელები, გეოგრაფიული ტოპონიმები და ავტორთა მიერ გამოგონილი ორიგინალური ლექსიკური კომპოზიტები.
თავში სახელწოდებით „ისტორია და დღევანდელობა“ გამოვლენილია ისტორიული პარალელები რეალობასა და ფენტეზის სამყაროს შორის. ნაჩვენებია, რომ ჯორჯ მარტინი საგაში არსებული პარალელები, მაშინ როცა ტოლკინი მსგავს პარალელებს მაქსიმალურად გაურბის, ხოლო როულინგის სამყაროში ჩვეულებრივი კალენდარი მოქმედებს და ნაწარმოების მოქმედებაც რეალურ დროში ვითარდება. განხილულია კავშირი დღევანდელობასთან. გამოკვეთილია, თუ რა პოზიციებს აფიქსირებენ ავტორები მთელ რიგ აქტუალურ საკითხებზე: თავისუფლება, დისკრიმინაცია სქესის, აღმსარებლობის თუ სოციალური სტატუსის ნიშნით, ადამიანის საბაზისო უფლებები.
ნაშრომის ვრცელი ნაწილი ეთმობა თხრობის დამაჯერებლობის საკითხს. ხაზგასმულია, თუ რა საშუალებებით იქნა მიღწეული ავტორთა მიერ შემოთავაზებული თითოეული ალტერნატიული, გამოგონილი სამყაროს თვითმყოფადობა და როგორ მოხერხდა, რომ მათ არა მხოლოდ შეექმნათ მკითხველში რეალურობის ილუზია, არამედ საკმაოდ დიდხანს შეენარჩუნებინათ კიდეც ეს განცდა.
ნაშრომის ბოლო თავში, დარგის სპეციალისტთა თეორიულ ნაშრომებთან გავლებული პარალელების მეშვეობით, გაანალიზებულია ფსიქოლოგიური პორტრეტები, როგორც სიახლე ფენტეზის ჟანრისთვის, რომლის დინამიკაც, როგორც აქამდე ითვლებოდა,
შეიძლება ნაკლებად აძლევდეს მწერალს ამ კუთხით დიდი წიაღსვლების საშუალებას. საბოლოო ჯამში, ნაშრომში კომპარატივიზმისა და დესკრიფციის მეთოდების გამოყენებით, გამოვლინდა მსგავსება-განსხვავებები სამი ავტორის წერის სტილსა და მსოფლმხედველობაში.The present work discusses the artistic features of the fantasy genre based on the voluminous sagas of three writers: Joan Rowling, John Tolkien and George Martin ("The Adventures of Harry Potter," "The Lord of the Rings," "A Song of ice and fire"). From different angles. Each chapter provides extensive answers to such questions as, for example, the role of religion in these works, what is the contribution of mysticism, how the theme of power and aspiration to it is covered in each of the
analyzed texts. Assumptions about possible sources in the issue of nomenclature are expressed and characters' proper names, geographical toponyms or original lexical composites invented by the authors are explained.
The chapter titled "History and the present" reveals historical parallels between reality and George Martin's saga, while Tolkien avoids such parallels as much as possible, while in Rowling's world there is a familiar calendar and the events unfold in real time. The connection with the present is discussed. The opinions of the authors are stated on a number of topical issues: freedom and slavery, discrimination on the grounds of gender, religious belief or social status, basic human rights. Quite an extensive part of the work is devoted to the question of persuasiveness, which is very important for fantasy because of its specificity. The mentioned texts have been studied in the present work in terms of logical correctness, shortcomings are clearly indicated, if any. It is emphasized by what means the originality of each of the alternative, fictional worlds proposed by the authors was achieved, how they were made self-sufficient and how they managed not only to create the illusion of reality in the reader, but also to maintain this feeling for quite a long time. In the last chapter of the work, through the parallels drawn with the theoretical works of specialists in the field, psychological portraits are analyzed as a novelty for the fantasy genre, the dynamics of which, as it was previously believed, may give the writer little opportunity (space or time) in this regard.
Finally, in the work, using the methods of comparison and description, similarities and differences in the writing style and worldview of the three authors were revealed
Modern Aspects of Chronic Rhinosinusitis Treatment
No full textIn this work, we discuss the development of a new method of immunogenesis and treatment of infectious and infectious-allergic chronic sinusitis and its effectivness, based on new targeted methods of immunocorrection, taking into account the severity of the inflfl ammatory process, current complaints and duration. 52 patients were under observation. The results of treatment with an aerosol of recombinant interferon αа-2Ь (in the form of Gripferon drops) in different types of chronic rhinosinusitis were studied. It has been shown that aerosol therapy with Gripferon gives promising results – subjective condition of patients and rhinoscopic and endoscopic data, as well as improvement of nasal olfactory function and regulation of mucociliary clearance, which indicates the effectiveness of this method of treatment
Socio- and Applied Linguistic Peculiarities of Using L1 in Georgian Educational Discourse
No full textThere are three major theoretical and conceptual frameworks for studying language behaviors in educational discourse: structural, sociolinguistic, and applied linguistics. Not many previous research studies have used the mixed approach model, which is a combination of sociolinguistic and applied linguistic methods of studying lecturers’ language behaviors - namely code-switching, code-mixing, and translaguaging.
Thus, we reached the following research questions:
1. Which language behavior dominates in Georgian EFL context?
2. What are the sociolinguistic functions of code-switching, code-mixing and translanguaging in the Georgian educational discourse?
3. What are the applied linguistic functions of code-switching, code-mixing and translanguaging in the Georgian educational discourse?
Classroom language behaviours can be examined from various viewpoints such as form, location, patterns, and functions of code-switching, code-mixing, and translanguaging themselves. In this article, we aim to classify the sociolinguistic and applied linguistic functions of the above-mentioned language behaviours
Frequency and Types of Traumas in Khevsureti according tothe Fossil Material of the High and Late Middle Ages
No full textThe traditions and the reflection of the traumatism associated with them, described in the ethnological literature, are clearly visible on the studied bone material of the High and Late Middle Ages, obtained in Khevsureti. Among Khevsurs in the late Middle Ages, there are mainly intravital injuries, after which a person lived for decades, as evidenced by multiple injuries inflicted on some skulls at different times. When determining the probable objects that caused these traumas, blunt-solid and sharp-cutting objects were identified. In 8 cases, injuries were caused by both types of objects, in 4 cases, only by blunt objects, and in the remaining 7 cases, only by sharp-cutting ones. The traumas are mainly localized in the forehead, then on the crown, temple, occiput and face. They are observed both on the right and on the left sides, however, most of them are located on the left, suggesting that the person facing the enemy was wounded by the opponent’s right hand. In 12 cases, combined injuries are observed both on the right and on the left sides, in one case, only on the right, and in the remaining 6 cases, only on the left. A detailed study of the skulls revealed traces of medical manipulations, particularly, trepanation in 4 cases. They were located in the areas of the temple, crown and occiput. Judging by the types and sizes of the skull injuries, the cause of death in six cases should have been precisely a cranial trauma. Of the 22 skulls dating back to the High Middle Ages, traces of trauma were found on 6 skulls. Three skulls showed injuries inflicted during life, and another 3 had traumas inflicted by blunt-solid objects shortly before death, which should have been the cause of death. In one case, the object had to be both blunt-solid and sharp, and in the remaining 5 cases only blunt-solid. Here, too, the injuries are localized mainly in the forehead, and then in the temples and face. In contrast to the skulls dating from the late Middle Ages, most of the injuries in this series occur on the right side. In all eras, human life is the most valuable, and, despite the severe injuries found on the skulls, Khevsuretian traditional healers spared no effort and knowledge to save people who were on the verge of death. Traces of bravery and courage of Khevsurs are clearly seen on the bone anthropological material. Cranial traumas were detected in 27.2 % and 59.4 % of cases on the skulls of the High and Late Middle Ages, respectively. The fencing tradition, widespread in Khevsureti, reduced the average age of death by 2-1.5 years. The average age of death of the population of the Late Middle Ages is lower than that of the population of the High Middle Ages. The individual average age of those who died without injuries is the highest in the High
Middle Ages, which is a reality and can be clearly seen from both the minimum and maximum ages. According to materials obtained in Georgia, the average age of death in the High and Late Middle Ages is significantly lower than that of the Khevsurs of the corresponding periods, which is explained by the customs of the local group and its adaptation to the environment. It is also important that traces of injuries were found only on the skulls of men, which indicates that Khevsurs did not show aggression towards women and children and did not use violence against them
Artistic and Semantic Aspects of Graphic Images of the Mghvimevi Cave
No full textRecent studies of prehistoric art of the rocks on the territory of Georgia, which is represented by geometric and figurative images engraved, carved and ochre painted, also known as petroglyphs, are a cause of increasing social interest, for that reason, alongside archeological studies, multidisciplinary researches are being conducted. When tracing back the beginnings of discovery of artistic and semantic meanings encapsulated in petroglyphs, special value is given to the artefacts the significant part of which was found in the West Georgia, mostly Imereti region (Sagvarjile, Gvarjila rock, Taro rock, Deviskhvreli, Sakazhia, Djrutchula, Ortvala Klde - the so-called two- eyed rock, Satsurblia, Dzudzuana, Oondo, Bneli the so-called dark rock) and Abkhazia (Agtsa, Aphiancha, Khupinipshakhva the so-called cold cave). The object of our study is a rather bizarre engraving found in a picturesque place of Mghvimevi cave, which dates back to the Upper Paleolithic Age. The discovery was made near Chiatura, road heading to Sachkhere, on the
right riverbank of Rvr. Kvirila on the elevated massif of limestone cliffs. A sketch made by the XIX century French traveler DuBois De Montperreux not only conveys with photographic precision the view of Mghvimevi
cave and monastery constructions erected on the cliff, but also the mystic ambiance of the site. As if, Montperreux had an insight about supernatural powers of the site. Graphic images engraved with specific handaxes in the 7 grottos of Mghvimevi cliff massif were discovered on quite prolonged 40-meter and 8 to 9 meter wide bulge of the 5th cave, its central and northern areas. lithic tools, with which the petroglyphs were carved and scraped are analogous to the tools of the same era in different countries. Presently, this example of most ancient art is being gradually covered by calcite and therefore is on the verge of disappearance. Although, precisely the stalagmite crust enables the calculation and attribution of the graphic images to the Upper Paleolithic Age. The identification of the age of the Mghvimevi cave is also made possible.
through comparison of the petroglyphs attributed to the same period of time from around the world: France, Spain, Mediterranean, predominately Italy and also, so-called France’s North African archaeological sites. On the walls of the Mghvimevi cave about ten, very schematic geometric figures are present on the uneven surface, with deeply carved, sharply clear imagery and gently scraped strokes. Here and there one can observe repeatedly made carves. Straight, horizontal or diagonal intercrossing lines create crosses, nets, so-called beam segments, sometimes parallel strokes are tilted toward each-other creating a triangular “sketch”. It was by comparison of the Mghvimevi cave graphic images with the analogous ones from the Upper Paleolithic Age of the above-mentioned countries and sites, mostly Southern France, Northern Spain, Eastern part of the Mediterranean and through revealing of similarities between them that it became evident, they are far from being meaningless and accidental. In fact, each graphic image is a certain meaningful symbol or an index. The art of Mghvimevi cave deserves special attention due to the variety and diversity of the expression forms of a cross symbol. The sacredness of its semantic magnitude has remained intact for centuries, despite the fact that the cross symbol may signify different meanings, whether in new or ancient religions. The symbols present in Mghvimevi cave: different types of cross shapes, also a dot, an oval-shape notch, circle and intercrossing lines, so-called beam segments, all refer to an astral universe and more precisely the solar symbols. The indication of this is that from the above-mentioned symbols, the dot, the oval and the circle hollows point out to the roundness of the Sun and also to its static state. The diagonally intercrossed lines, the so-called beam segments embody sunbeams, whilst cross is meant to underline one of the most significant features of this celestial body-motion. The moving process of the sun was depicted by a human mostly by different combination of short carved lines, highlighting the most significant moments of the celestial body during its appearance in the sky – sunrise, zenith and sundown and further integrating them into one image. Similar to this, yet another petroglyph of a cross was discovered in one of the caves of so-called Dark Rock (Bneli Klde). The equally-armed cross, carved on an argillite stone was discovered in Tsona cave in the Middle Paleolithic layer and is ascribed to Neanderthal art. Prolonged bone pendant discovered in Dzudzuana cave, which is attributed to the Upper Paleolithic Age materials is also decorated with carvings placed one above the other. It is well worth mentioning that each of the above-mentioned symbols bear the protective AKA apotropaic functions as they are meant to ward off evil spirits, therefore they embrace magical aspects and point out to the mascot role of the pendant. The almost ubiquitous appearance of the cross symbols in the Upper Paleolithic Age underlines its universalism. The symbols of cross are found in France; La Ferrassie, Abri Cellier, Lascaux, Chauve, La Roche-Cotard caves. In Italy; Romanelli (AKA Castro), Grotta del Ciovetto caves. North Africa; South Germany; The cross most similar to Georgian is found in Tata, Hungary’s hunters’ settlement. On the oval shaped stone engraved is a cross with equal arms, which, alike its Georgian relative from Tsona cave was extracted from the Mousterian layer and is also a piece created by Neanderthal. The inner wall of the Agtsa grotto (Abkhazia, near village Anukhua), which is the closest analogue to the Mghvimevi cave, being attributed to the Upper Paleolithic Age, covered with lines and strokes creates a rather unusual spectacle. The fact that Mghvimevi is a typical monument of an Upper Paleolithic Age is reassured by the likelihood with petroglyphs found not only on the territory of Georgia but in other countries as well. By their comparison to Mghvimevi, what is revealed is a structural similarity of carves on the wall And all of this, in its turn, should point out to the fact that, all of the cave art monuments that include wall paintings, evolved on the grounds of similar beliefs and perceptions. Through study of the caves with the analogous petroglyphs throughout the world, it was deducted, that those must have been sacred sites, where worshiping ritual took place to please natural forces and to achieve desirable
course of events by means of magic. It is believed, that according to belief system of a prehistoric human, through undergoing those rituals he’d achieve fertility. A cross, as an image of the Sun was not its conditional symbol or an index it was its icon. To conclude there was no distinction between the myth and or reality. Therefore, an image was not a conditioned sign or a symbol it was an absolute reality and was far from being schematic and abstract. It was an icon. The painted, carved, engraved images were literal objects and by depicting them, a prehistoric human had no intention of creating an aesthetic phenomenon, the image surpassed aesthetical categories. For that reason, it was pure magic and not an artistic creative act. But because in the end an image was created, it automatically would fall into a category of a fine arts at its primal stage It is only fair to conclude that petroglyphs of the Mghvimevi cave, easily fall into category of fine arts, due to many of their peculiar characteristics. It is indeed rare, to find such a degree of schematics and concise geometricity as in images found in the cave. Although, the carvings in this case are in the first place distinguished by the utmost ascetic, conditional expression of forms. And yet, at the same time, it is exactly the point that the thought presented in such a form is the “binding” and unifying element of this chaotic composition. The significance of Mghvimevi cave does not end there. It extends from the remote past into a future, for the reason, that it is most likely a major source of artistic motifs and themes native to Georgian art. Moreover, the roots of Georgian mythology and cosmogony are also to be sought here
