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The Corpus Nazianzenum and the Corpus Dionysiacum in the Georgian Literary Tradition
No full textThe CD and the CN, the two most significant works of late antiquity, are connected with the name of a famous Georgian scholar of the Black Mountain (the Antioch region), Ephrem Mtsire (Ephrem the Minor). He was a monk on the Black Mountain from the 1070s to the end of the 1090s, residing at the monastery of St Symeon the Younger on the Miraculous Mountain. He was the abbot of the monastery at Kastana from 1091. The Antioch region, where multi-ethnic and multilingual peoples had cohabitated for centuries, had created at that time a favorable background for the exchange of ideas and concepts that had a considerable influence on Ephrem Mtsire in terms of enhancing his intellectual development. He had translated the most important Byzantine works from Greek into Georgian and played a significant role in the development of various genres of Georgian ecclesiastic literature.
The last quarter of the eleventh century is marked by a significant development in the history of medieval Georgian culture: an intellectual trend, called Hellenophilism in contemporary scholarship, appeared in the Georgian literary tradition. The Hellenophile method of translation – transferring every detail and each nuance of the source text into translation – was already in use in the early so-called pre-Athonite epoch (fifth–tenth centuries), especially in translations of the books of the Bible. However, the attempts of early translators were not based on theoretical concepts, they worked without having any translation methodology in mind. By contrast, the Hellenophile method of translation employed in the eleventh-century Black Mountain literary school had a firm theoretical basis that was reflected in Ephrem Mtsire’s colophons and prefaces to his works. Moreover, the Hellenophilism of this epoch touched not only the Georgian translation methodology and Georgian literary language, but also the whole of Georgian culture and scholarly perception. Besides the formation of the concept of ad verbum translation, it played a big role in systematic translation of works of various genres (e.g. works of scholastic and dogmatic theology, commentaries) that, hitherto, had been rarely translated into Georgian, and in shaping the medieval Georgian manuscript – creating Georgian manuscripts along the same lines as the Greek.
The aim of my article is to show what impact the introduction of a Hellenophile translation technique and new genres have had on the Georgian manuscript? How did the concept of verbatim translation affect the literary triangle: text – manuscript – reader? The analysis of the CD and the CN rendered into Georgian in the Hellenophile epoch enables us to elucidate this issue.
Gregory the Theologian’s sermons had been translated into Georgian several times before Ephrem Mtsire. At the end of the eleventh century, Ephrem, at first, filled a gap by translating those sermons of Gregory that had not been translated hitherto, and then he translated Gregory’s sixteen liturgical sermons that had been previously translated by Georgian translators. In addition, he rendered into Georgian the Commentaries of the tenth-century Byzantine scholar Basilius Minimus on Gregory’s sixteen liturgical sermons and the PseudoNonnos’ Mythological Commentaries (explanations of the allusions to Greek mythology made by Gregory in his sermons), appending them to the collection of the sixteen liturgical sermons. This is the collection we have in mind when speaking about the CN in this article.
As for the CD and Commentaries on it, they were translated by Ephrem for the first tim
მწვანე ტექნოლოგიების როლი ბიზნესის წარმატებასა და ქვეყნის ეკონომიკურ განვითარებაში
No full textწინამდებარე ნაშრომი მოიცავს საერთაშორისო გამოცდილების გაცნობას, მწვანე ტექნოლოგიების აღწერას, მათი ბიზნეს სექტორში დანერგვისა და წარმატების მისაღწევად, ქვეყნის ეკონომიკური განვითარებისათვის, ეკოლოგიური უსაფრთხოების დაცვის პირობებში. ნაშრომში ავტორთა ჯგუფი განიხილავს, თუ როგორ შეიძლება მწვანე ტექნოლოგიების ინტეგრაცია ბიზნეს პროცესებში, გრძელვადიანი მდგრადი განვითარების, პროდუქტების ხარისხის გაუმჯობესების, ახალი სამუშაო ადგილებისა და ეკონომიკური სარგებლიანობის ზრდის უზრუნველსაყოფად, გარემოსდაცვითი ზიანის მინიმიზაციის პირობებში
,,დასწავლის უნარის დარღვევის მქონე მოსწავლეთა წერითი უნარების თვისებრივი კვლევის პრაქტიკული შედეგები თელავის მუნიციპალიტეტის საჯარო სკოლების მაგალითზე“
No full textPractical Results of a Qualitative Study of the Writing Skills of Students with Learning Disabilities on the Example of Public Schools in the Telavi Municipality. In teaching, along with various academic skills, the development of students' writing skills plays an important role. The purpose of our study was to study the problems associated with the writing skills of students with learning disabilities in grades V-VI. Subsequently, we sought to identify a methodology that could mitigate these challenges while facilitating the development of this crucial functional skill among students.
First of all, it was important to choose/identify schools in Telavi district where fifth-grade students with learning disabilities were enrolled. To determine their initial level and assess their academic skills after the intervention, we administered the MWRATR test, which is validated in Georgia. Subsequently, we processed and analyzed the pre and post-test MWRATR results of students with learning disabilities.
The culmination of our qualitative research comprises the collection and analysis of data from six cases involving students with learning disabilities. Hence, the analyzed data is not interchangeable. Our objective was to identify positive trends within the target group resulting from the implementation of a self-regulation strategy. Through the analysis of pre- and post-studies conducted by the Ministry of Education and Science on Students with Learning Disabilities, it was observed that while the deviation indicator from the norm of development remained consistent across all students, there was an increase in the number of raw scores for all children. This progression was clearly evident in the diagram, indicating promising progress and potential
The Problems of the Theatre of the Absurd in the Latest Georgian Theatre
No full textსაქართველოში აბსურდის თეატრით, თუ სხვა მე-20 საუკუნის მეორე ნახევარში შექმნილი მიმდინარეობებით - პოსტდრამატურგია, ახალი ტექსტუალობები, სახეში მოხლილი დრამატურგია და ასე შემდეგ - დაინტერესება საბჭოთა კავშირის დაშლის შემდეგ, 1990-იანი წლებიდან იწყება. საბჭოთა კავშირში შემავალ რესპუბლიკებში, ფაქტობრივად, აკრძალული იყო და არ იდგმებოდა არც ეგზისტენციალისტი, არც აბსურდისტი და, მით უმეტეს, არც მოგვიანებით შექმნილი მიმდინარეობების წარმომადგენელთა პიესები. დამოუკიდებლობის პერიოდიდან მოყოლებული, საქართველოში არა მხოლოდ იდგმება ანტიდრამას მიკუთვნებული პიესები, არამედ ახალი თაობის ქართველი დრამატურგები პიესების წერისას იყენებენ აბსურდსა თუ სხვა მიმდინარეობებისთვის დამახასიათებელ ხერხებს. უახლეს ქართულ თეატრში სხვადასხვა თაობის რეჟისორები ინტენსიურად დგამენ აბსურდისტ დრამატურგთა ნაწარმოებებს. წინამდებარე სტატიაში შევეცდები, დავადგინო: თუ რატომ იდგმება დღეს ასე ხშირად ქართულ თეატრში აბსურდის თეატრის წარმომადგენელთა პიესები მაშინ, როცა ეგრეთ წოდებულმა აბსურდის თეატრმა დეკადანსი 60-იანი წლების ბოლოსკენ განიცადა, ზოგი მისი ინოვაცია შთაინთქა თეატრის ძირითად მიმართულებაში (თუმცა, მზად იყო შემდგომი ექსპერიმენტებისთვის), ზოგიერთმა ავტორმა მონახა ახალი მიმართულება, ხოლო სხვებმა გააგრძელეს იმავე ამპლუაში ყოფნა. დასმული პრობლემის გასაანალიზებლად ბოლო ხუთ წელიწადში ქართული თეატრის ფიცარნაგებზე განხორციელებულ რამდენიმე წარმოდგენას განვიხილავ, კერძოდ კი: ახალგაზრდა რეჟისორის, საბა ასლამაზიშვილის დადგმულ ედვარდ ოლბის „ზოოპარკის ისტორიას“ (2019), სემუელ ბეკეტის რობერტ სტურუასეულ „თამაშის დასასრულს“ (2020), ისევ სემუელ ბეკეტის „ო, ეს ბედნიერი დღეები“ გიორგი აფხაზავას ინტერპრეტაციით (2022) და ზურა გეწაძის სპექტაკლს ეჟენ იონესკოს „მარტორქებს“ (2023). ვფიქრობ, გაანალიზებული სპექტაკლები უპასუხებს ჩემ მიერ დასმულ კითხვას. დასკვნის სახით კი ვიტყვი, რომ აბსურდისტ დრამატურგთა პიესებში ასახული პრობლემატიკა დღესაც ძალიან აქტუალურია არა მარტო საქართველოში, არამედ მთელ მსოფლიოში. დღეს დედამიწის მოსახლეობის უდიდესი ნაწილი ომშია ჩართული. ძალაუფლების მოსაპოვებლად სხვადასხვა სახელმწიფო ან შიდა ომებს აწარმოებს, ან სხვა სახელმწიფოებს ებრძვის პოლიტიკური თუ ეკონომიკური ზეგავლენის, ტერიტორიული გაფართოების, სასარგებლო წიაღისეულზე ხელმისაწვდომობის და კიდევ უფრო გამდიდრების მიზნით. დღეს, 21-ე საუკუნეში, ისევ არსებობს ძალადობა, ჩაგვრა, დისკრიმინაცია, მონობა, სეპარატიზმი, გენდერული უთანასწორობა; დღეს ისევ არსებობს რელიგიური ფანატიზმი, პოლიტიკურ პირთა ფეტიშიზაცია, კერპების შექმნა ან/ და „კერპთაყვანისმცემლობა“; ისევ არსებობს მონური ფსიქოლოგია, მასობრივი ისტერიები და ასე შემდეგ; დღეს მოაზროვნე ინტელექტუალი ისევ მარტოსულად, გაუცხოებულად, „მტრულ სამყაროში“ გადმოგდებულად გრძნობს თავს; ადამიანი ისევ ეძიებს ჭეშმარიტი არსებობის საზრისს; დღეს, ადამიანს ისევ აქვს სამყაროს აბსურდულობის განცდა.In Georgia, interest in the theater of the absurd and other trends created in the second half of the 20th century—post-dramaturgy, new textuality, in-youth dramaturgy, etc.—began after the collapse of the Soviet Union in the 1990s. Among the playwrights of the so-called theater of the absurd, the plays of Eugène Ionesco, Samuel Beckett, and Edward Albee are most often staged. This, of course, was caused by the existence of Soviet censorship. Plays by the representatives of existentialists, absurdists, and even more so of later trends were banned and were not staged in the republics of the Soviet Union. Since the period of independence, anti-dramatic plays have not only been staged in Georgia; moreover, dramatists of a new generation of Georgians use techniques characteristic of absurdity or other directions in their plays. In the latest Georgian theater, directors of different generations intensively stage the works of absurdist playwrights. In addition to Beckett, Ionesco, and Albee listed above, they also turned to other playwrights. In the present article, I will try to determine why plays by representatives of the theater of the absurd are so often staged in the Georgian theater today, while the so-called theater of the absurd was in decline by the end of the 1960s. Some of its innovations were absorbed into the main directions of the theater (although they were ready for further experiments); some authors saw a new direction, while others continued in the same spirit. To analyze the problem, I will consider several performances realized on the stage of the Georgian theater over the past five years. In particular: Edward Albee’s „The Zoo Story“ staged by the young director Saba Aslamazishvili (2019), Samuel Beckett’s „Endgame“ directed by Robert Sturua (2020), Samuel Beckett’s „Happy Days“ interpreted by Giorgi Abkhazava (2022), and Eugène Ionesco’s „Rhinoceros“ staged by Zura Getsadze (2023). In 2019, the young director Saba Aslamazishvili staged The Zoo Story in the Meskheti Theatre. By that time, there were already several interesting performances based on the same play on the stages of Georgian theaters. What was outstanding and/or original about the interpretation of the almost novice director? The director used a polystylistic technique in the production, combining techniques of the theater of the absurd with forms of other theatrical directions. While watching the play, you would recognize documentary-interactive, naturalistic, realistic, expressionist, existential, epic, or non-epic theater techniques. He used Shakespeare’s famous phrase „All the world’s a stage“ to unite all these trends, but he also put irony into it. The director and the actors intensified the theme of homosexuality in the play and brought it to the fore. The problems that troubled Albee in the 60s are extremely relevant today: rejection of the different, hypocrisy, unforgiveness, incompatibility with society, alienation, loneliness, the search for the essence of life, and love. According to the director’s concept, the audience became not only a witness but also a direct participant in the story of Peter and Jerry. Beckett’s Endgame is a performance realized in the theatrical language, style, and form of Robert Sturua. Robert Sturua starts working on the play with text analysis, editing, and montage. Endgame is based on the same principle. He translated the play together with Nino Kantidze. In the so-called stage text, the director included excerpts from Revelation (bible), „Waiting for Godot“, and also added a few of his phrases. Despite these edits, Sturua preserved the rhythmicity, musicality, and rhythmical sound of Beckett’s text. In a performance, unlike a play, the same texts and actions are not repeated as often as with Beckett. Sturua enhanced the soul-crushing, inescapable, unending atmosphere of the play. This made the feeling of the apocalypse even more vivid and terrifying. Sturua created a deep, philosophical-existential farce, morality, and sometimes a carnival atmosphere on stage. Sturua’s performance begins and ends with the appearance of Christ. In this way, the director ties together the plot, message, form, and structure of the play. In the finale, Clov shoots Christ with the same hunting rifle he wanted to use to kill Hamm. The Son of God, who appeared as a savior, was again condemned to death by mankind. According to Robert Sturua’s interpretation, Endgame is a warning to mankind, an apocalypse that, in form, goes beyond a monodrama, morality, carnival, interactivity, epic and non-epic. In 2022, Giorgi Abkhazava staged Samuel Beckett’s Happy Days in his chamber theater. The director reduced the 42-page work to 7 pages, shortened and edited the text, and brought some of the characters mentioned in the play to life on stage (for example, Mr. and Mrs. Shower). Despite these changes, Beckett’s main point remained. Giorgi Abkhazava became a kind of directorauthor of Happy Days. Gia Kancheli’s musical phrases, created in different periods and not included in the works, define the style of the performance and create the mood. It is this music that evokes associative comparisons with Fellini’s extravaganza. In both the play and the performance, the main acting character is Winnie, Nino Gachechiladze; Tsotne Maisuradze’s Willie is a supporting character; and the revived Mr. and Mrs. Shower of Giorgi Tenadze and Tata Metskhovrishvili represent the carnival masks of people’s theater. Nino Gachechiladze’s Winnie is a tragic, tragic character. Winnie, conveying the thoughts and feelings of a person deprived of the sense of life, is the axis of the play—expressing the absurdity of the existing world. Based on the sarcastic-humorous title of the play, the main message of Giorgi Abkhazava’s performance is Becketian. Despite everything, life goes on, no matter how absurd it is. In 2023, Zurab Getsadze implemented the project of the Theater Development Fund in the Sukhumi Drama Theater—Ionesco’s Rhinoceros. The director scrupulously follows the author’s text. However, he changed the title of the play and called the play Rhinoceroses. The main message of the director and the creative team is that despite all the difficulties, alienation, and loneliness, Homo sapiens has to maintain his humanity in the crowd, deprived of the ability to think, with slave psychology, turned into rhinoceroses. Otherwise, one becomes a big, fat animal, a rhinoceros with a big mouth and a small brain, who does not care at all about understanding the essence of life and is driven only by animal instinct. Zura Getsadze’s play harmoniously combines drama, sarcastic humor, and comic elements. At the beginning of the article, I raised an interesting issue: Why are the plays of the playwrights of the theater of the absurd being staged with such frequency in the Georgian theater today? I think the analyzed plays will answer this question. In conclusion, I will say that the problems depicted in the plays of the absurdist playwrights are still very relevant today, not only in Georgia but throughout the world. Today, most of the world’s population is engaged in war. To gain power, different states either wage internal wars or fight other states for political or economic influence, territorial expansion, access to mineral resources, and further enrichment. Today, in the 21st century, there is still violence, oppression, discrimination, slavery, separatism, and gender inequality. Today, there is still religious fanaticism, fetishism of political figures, creation of idols, and/or „idolatry“. Today, there is still slave psychology, mass hysteria, etc. Today, the thinking intellectual still feels lonely, alienated, and thrown into a „hostile world“. Today, one is still searching for the meaning of true existence. Today, one still has a feeling of the absurdity of the world
Coli-ბაქტერიოფაგის ლიზისური აქტივობის განსაზღვრა
No full textThe standard system has been elaborated for the control of lytic activity of the commercial series - active coli- bacteriophage and respective stable E. coli strains' collection. Special investigations were carried out with an aim to obtain polyvalent bacteriophage, which should comply with the requirements for the standard preparations. While passing of the active phage on the highly reproducible standard strain the coli-bacteriophage phage-lysate was obtained. With an aim to preserve its basic properties the phage-lysate has been lyophilized. The 20% Difco-peptone was used as the stabilizer. The lyophilized bacteriophage completely satisfies the parameter standards for biological preparations: it has high lytic activity, wide range of action, and thermal resistance. These properties are reliably preserved for the period of three years. It was shown experimentally that the lyophilized cultures could be used for evaluation of the lytic activity in bacteriophages. The identical phage-sensitivity was revealed in both lyophilized- and agar-cultures
Introduction to Qualitative Research Methods
No full textეს წიგნი წარმოადგენს საგულდაგულოდ შერჩეულ ნაწყვეტების თარგმანებს ისეთი ცნობილი მეცნიერების ნაშრომებიდან, როგორებიც არიან ჯონ კრისუელი, დონატელა დელა პორტა, მაიკლ კიტინგი და სხვები. თითოეული ამონარიდი გთავაზობთ ამ ავტორების მიერ შესაბამის სფეროებში შემოტანილი ღრმა იდეებისა და გამოცდილი მეთოდოლოგიების პირველადი გაცნობის საშუალებას. ჩვენი მიზანია მათი გამოცდილება უფრო ხელმისაწვდომი გავხადოთ ფართო აუდიტორიისთვის. იმედი გვაქვს, რომ ეს კრებული არა მხოლოდ გაამდიდრებს თქვენს ცოდნას, არამედ შთაგაგონებთ სრულად შეისწავლოთ ამ ავტორების ნაშრომები ორიგინალ ენაზე.კრებული შედგენილია აჭარის განათლების, კულტურისა და სპორტის სამინისტროს მხარდაჭერი
Some Samples of the Temple Architecture of the Historical Basiani Region
No full textFirst of all, it should be noted that the present letter includes the research of one part of the material culture monuments of the historical Basiani region, currently in Eastern Turkey (Fasinler, Kofrukoy) - samples of megalithic, cyclopean construction. We note here that the aim of the work is the primary, scientific presentation of the material identified by the expedition team. Part of the material found by us as a result of field-expedition works is published for the first time - thus, an attempt of scientific study is attached to it in the form of historical-cultural analysis of the region, scientific annotation of cultural monuments and their classification-dating. The issues raised within the research, conclusions, attempts to date and classify the monuments are obviously primary in nature and require future study.
In the Basiani region (Turkey), within the scope of the expeditions, we traced more than two dozen monuments of megalithic culture, although the present letter will present an attempt at scientific analysis of only about ten of them. A large part of the mentioned monuments have been destroyed almost to the ground, which complicates the possibility of a more or less complete scientific reasoning about them. Monuments with plans that have survived in a relatively complete form were selected for the study - it was by taking into account planning features, construction techniques and materials that the typological differences of the given cyclopean construction were highlighted. Different types of planning, construction techniques and materials allow us to more or less determine the time range of the construction of monuments. It is important that a complete study of the mentioned monuments is impossible without archaeological excavations. Nevertheless, the art-scientific analysis of the presented group of monuments gave us important results, which became even clearer in the light of historical research. By analyzing the historical sources and studying the morphology of the monuments, it was possible to determine the general time range of the construction of this large group of almost destroyed buildings
