275 research outputs found
THE FIRST POLISH RESEARCHER AND TRANSLATOR OF SHOTA RUSTAVELI’S POEM
No full textThe appeal of Polish writers to Shota Rustaveli’s poem was a
much more ambiguous phenomenon than an appeal to the text of
the great poet. Rustaveli became a kind of symbol of a country with
an ancient culture. In the 19th century, when literary and cultural
contacts between many peoples had just started to take on a permanent
character, such an understanding of the whole country through
its supreme genius was natural.
In 1833, in Telescope was published the article “Shota Rustaveli,
Georgian Poet”, which for a long time was considered as the first
personal article in the Russian press. It noted that Pyotr Dubrovsky
had translated it from Polish, the author himself was not named. Some information from the biography of Rustaveli was widespread
in people’s mind. They were reflected even in the literary
monuments of the Renaissance - in “Rostomiani” and “Iosebzilihaniani”.
However, in addition to the mysterious awareness of the author,
his work attracts attention from many other sides. It contains
a sincere interest in the poem and the role of Rustaveli in Georgian
society: “The Poem of Vepkhistkaosani” is written using Shairi poems.
This kind of poetry consists of quatrains with the same rhymes.
The author of the article compares Rustaveli’s poem with “Furious
Roland” by Ariosto and with “Jerusalem Liberated” by Torquato
Tasso, with the poems of Ossian. Such a comparison was apparently
necessary for the European reader; it gave him a certain cultural reference
point, incorrect in its typological basis, but giving an idea of
the scale of the phenomenon.
After that, the content of the poem is retold on one page and
rather imprecisely. We can say that the retelling does not represent
an independent value. However, the comments are distinguished by
a subtle understanding of the meaning of the poem, or rather, its
role in Georgian culture.
For a long time it was believed that the author of the article
was the famous Polish Arabist Alleksandr Khodzko (1804-1891). The
research was carried out by many and almost simultaneously. The
solution was made by professor from Wroclaw, literary historian Waclaw
Kubatsky. The author notes that “it is not difficult for a researcher
of Polish romanticism to point out the original of this pioneering
Russian study” (Kubatsky 1969: 283). His Polish text appeared in Vilno
(Vilnius) in 1830 in the “Lithuanian Calendar for 1831” published by
Ippolit Klimaszewski. The essay is titled “Shota Rustaveli, Georgian
poet”. Further, Kubatsky retells an article already known in Russian.
It is surprising why the authorship of Rdultovsky was not discovered
by an orientalist of the same level as Jan Reichman, who
more than once wrote that there are many mysteries in Georgian-Polish relations. According to Prof. L. Menabde, K. Rdultovsky had to refer
to the original, to the “Vakhtangov” edition of “Vepkhistkaosani”
and comments to it (Rustaveli 1712), although there is no information
about the knowledge of the Georgian language by Rdultovsky. It can
be assumed that he was assisted by someone from the Orientalists’
circle of Vilno, many members of which knew Georgian
Teoria i pràctica arquitectònica georgiana contemporània: el llegat de Shota Bostanashvili
No full textShota Bostanashvili (1948-2013), arquitecto y pionero en el desarrollo de la poética de la arquitectura, fue un teórico cultural. Su filosofía se centró en un discurso arquitectónico que aborda específicamente la arquitectura y el juego lingüístico, y la semiótica de la arquitectura. El objetivo de este artículo es identificar los temas que sustentan su filosofía de la arquitectura y su legado en relación con sus contemporáneos. Este documento se basa en fuentes primarias, incluidos los edificios, monumentos y publicaciones de Bostanashvili, junto con material inédito del Archivo Shota Bostanashvili (Tbilisi). También se hace referencia a secuencias de video de la transmisión pública de Georgia, conferencias y otras fuentes. Este documento concluye identificando hitos sobresalientes en el legado de Bostanashvili, tanto a nivel pragmático como teórico. El primero se relaciona con la poética y la metapoética de la arquitectura, mientras que el segundo se correlaciona con la arquitectura como una experiencia espiritual individual única y con la poética del espacio como parte de la historia cultural más que con la fenomenología. Optó por la arquitectura de papel como un modo de expresión abstracta y poética para abordar la educación en diseño de arquitectura. Este artículo profundiza en los márgenes de la historiografía arquitectónica europea normativa. Es la primera en documentar en detalle el legado de Shota Bostanashvili, un destacado arquitecto, académico, escultor y poeta georgiano que apenas se conoce en los países occidentales, lo que pone de relieve su impacto en la teoría de la arquitectura.Shota Bostanashvili (1948-2013), arquitecte i pioner en el desenvolupament de la poètica de l'arquitectura, va ser un teòric cultural. La seva filosofia es va centrar en un discurs arquitectònic que aborda específicament l'arquitectura i el joc lingüístic, i la semiòtica de l'arquitectura. L'objectiu d'aquest article és identificar els temes que sustenten la seva filosofia de l'arquitectura i el seu llegat en relació amb els seus contemporanis. Aquest document es basa en fonts primàries, inclosos els edificis, monuments i publicacions de Bostanashvili, juntament amb material inèdit de l'Arxiu Shota Bostanashvili (Tbilisi). També es fa referència a seqüències de vídeo de la transmissió pública de Geòrgia, conferències i altres fonts. Aquest document conclou identificant fites excel·lents en el llegat de Bostanashvili, tant a nivell pragmàtic com teòric. El primer es relaciona amb la poètica i la metapoètica de l'arquitectura, mentre que el segon es correlaciona amb l'arquitectura com una experiència espiritual individual única i amb la poètica de l'espai com a part de la història cultural més que amb la fenomenologia. Va optar per l'arquitectura de paper com una manera d'expressió abstracta i poètica per abordar l'educació en disseny d'arquitectura. Aquest article aprofundeix en els marges de la historiografia arquitectònica europea normativa. És la primera a documentar en detall el llegat de Shota Bostanashvili, un destacat arquitecte, acadèmic, escultor i poeta georgià que amb prou feines es coneix en els països occidentals, el que posa en relleu el seu impacte en la teoria de l'arquitectura.Shota Bostanashvili (1948-2013), a practicing architect and a pioneer in developing the poetics of architecture, was a cultural theorist. His philosophy centered around an architectural discourse specifically addressing architecture and linguistic play, and the semiotics of architecture. The objective of this paper is to identify the themes underpinning his philosophy of architecture and his legacy relative to his contemporaries. This paper is based on primary sources including Bostanashvili’s buildings, monuments, and publications together with unpublished material from the Shota Bostanashvili Archive (Tbilisi). Reference is also made to video footage from the Georgian Public Broadcast, conferences, and other sources. This paper concludes by identifying outstanding milestones in Bostanashvili’s legacy, both on a pragmatic and a theoretical level. The former relates to the poetics and metapoetics of architecture whilst the latter correlates to architecture as a unique individual spiritual experience and to the poetics of space as part of cultural history rather than phenomenology. He opted for paper architecture as a mode of abstract and poetic expression to approach architecture design education. This paper delves into the margins of normative European architectural historiography. It is a first in documenting in detail the legacy of Shota Bostanashvili, an outstanding Georgian architect, academic, sculptor, and poet who is barely known in Western countries, thereby highlighting his impact on the theory of architecture.The author would like to express his gratitude to architect Tina Sirbiladze for granting him access to the Shota Bostanashvili Archive and permission to reproduce some of its photos and drawings in this publication, and to Zina Jorbenadze for helping him obtain important details on Georgian publications not available online. The author would like to thank David Caruana for his valuable comments on an earlier version of this paper.Peer Reviewe
Longitudinal associations between Identity processes and goal engagement and disengagement: Directionality of effects and correlated change
No full textsponsorship: The first author is supported by Grant No.YS17_36 from the Shota Rustaveli National Foundation (Georgia). (Shota Rustaveli National Foundation (Georgia)|No.YS17_36)status: Publishe
Motivation and psychological need fulfillment on the pathway to identity resolution
No full textsponsorship: The first author is supported by Grant No. YS17_36 from the Shota Rustaveli National Foundation (Georgia). (Shota Rustaveli National Foundation (Georgia)|YS17_36)status: Publishe
Report of the 2022 Basiani Monuments Research Expedition
No full textსაკვლევი ექსპედიცია ჩატარდა შოთა რუსთაველის ეროვნული სამეცნიერო ფონდის მიერ 2019 წელს გამოცხადებული სახელმწიფო სამეცნიერო საგრანტო კონკურსში – “ფუნდამენტური კვლევებისათვის სახელმწიფო სამეცნიერო საგრანტო კონკურსის“ – გამარჯვებული პროექტის – „ბასიანი - მატერიალური კულტურის ძეგლების ორენოვანი ბეჭდური და ონლაინ კატალოგი“ [NFR – 19 – 12539] – ფარგლებში. პროექტი ხორციელდება საქართველოს კულტურისა და ტურისტული რესურსების კვლევის ცენტრის მიერ.
ექსპედიციის ანგარიში მოამზადეს: პროფესორმა თეიმურაზ ხუციშვილმა (ხელმძღვანელი), ნოდარ არონიშიძემ, დავით გაჩეჩილაძემ, ბებურ გოზალიშვილმა, ანა იმედაშვილმა, შალვა კოღუაშვილმა, პროფესორმა დავით მაისურაძემ, ლევან წიქარიშვილმა.
კონსულტანტები: ისტორიის მეცნიერებათა დოქტორი, პროფესორი კახა შენგელია; ისტორიის მეცნიერებათა დოქტორი, პროფესორი თეიმურაზ ჯოჯუა; არქეოლოგიის მეცნიერებათა დოქტორი, პროფესორი სამი პატაჯი (თურქეთი).
ანგარიში იბეჭდება შოთა რუსთაველის ეროვნული სამეცნიერო ფონდის დაფინანსებით.
მასალა დალაგებულია აღწერილი ძეგლების დასახელების მიხედვით, ანბანური რიგით.
ფოტოსურათები, რომლებზეც არ არის მითითებული კუთვნილება ან ავტორი, გადაღებულია საექსპედიციო სამუშაოების დროს.
ავტორთა ჯგუფის მიერ 2012-2019 წლებში თურქეთის რესპუბლიკაში ჩატარებული 30 ექსპედიციის ანგარიშები ქვეყნდებოდა 2015 წლიდან.The research expedition was conducted the frame of the winner project – "Basiani - bilingual printed and online catalog of material culture monuments" [NFR – 19 – 12539] which was announced by Shota Rustaveli National Science Foundation of Georgia (SRNSF) in 2019 within state scientific grant competition - Scientific Research of Material and Spiritual Heritage of Georgia Aboard.
The project is being implemented by Research Center of Georgian Culture and Tourism Resources.
The expedition report was prepared by: Professor Teimuraz Khutsishvili (the head), Nodar Aronishidze, David Gachechladze, Bebur Gozalishvili, Ana Imedashvili, Shalva Koghuashvili, Professor Davit Maisuradze, Levan Tsikarishvili.
The consultants: Dr. of Philosophy in History, Professor Kakha Shengelia; Dr. of Philosophy in History, Professor Teimuraz Jojua; Dr. of Archaeology Sami Pataci (Turkey).
The expedition report is printed by Shota Rustaveli National Science Foundation of Georgia funding. The material is sorted alphabetically by the names of the described monuments.
Photos that are not indicated the owner or the author are taken during the expedition work.
The reports of 30 expeditions conducted by the group of authors in the Republic of Turkey in 2012-2019 have been published since 2015
Classical Literature and the Retroaction of Socialist Ideology—The Sovietization of a Medieval Georgian Epic Poem and Its Mysterious Author
No full textShota Rustaveli, presumed author of the medieval Georgian epic poem vepkhistqaosani (The Knight in the Panther\u27s Skin), was one of the most celebrated cultural and historical figures in Soviet Georgia. However, not much is known about Rustaveli apart from his work. In this essay, I argue that a series of policies under the Soviet government transformed Rustaveli into a national symbol of Georgia, but the celebration of Rustaveli and his poem scarcely deviated from the ideological guidelines of the Soviet state. In discussing the impact and legacy of the Soviet promotion of Rustaveli, I purport to highlight the national in form, Socialist in content guiding principle of the Soviet cultural policy in the Soviet non-Russian borderlands
Differential prefrontal response to infant facial emotions in mothers compared with non-mothers.
No full textA considerable body of research has focused on neural responses evoked by emotional facial expressions, but little is known about mother-specific brain responses to infant facial emotions. We used near-infrared spectroscopy to investigate prefrontal activity during discriminating facial expressions of happy, angry, sad, fearful, surprised and neutral of unfamiliar infants and unfamiliar adults by 14 mothers and 14 age-matched females who have never been pregnant (non-mothers). Our results revealed that discriminating infant facial emotions increased the relative oxyHb concentration in mothers' right prefrontal cortex but not in their left prefrontal cortex, compared with each side of the prefrontal cortices of non-mothers. However, there was no difference between mothers and non-mothers in right or left prefrontal cortex activation while viewing adult facial expressions. These results suggest that the right prefrontal cortex is involved in human maternal behavior concerning infant facial emotion discrimination
<Originals>When Women Go to Cinemas: Depictions of Women's Cinema-Going Experiences in the Works of Yoshiya Nobuko, 1920s-1930s
No full text日本映画研究では，映画作品において，どのように女性が描かれているかに関心が集まる一方で，作品を鑑賞する女性観客が，映画をどう受容したかの問題については，あまり注意が払われてこなかった．女性観客は映画館を訪れ，映画を見るという営みを通じて，なにを考え，なにを想像したのだろうか．映画館での映画鑑賞とは，女性にとってどのような経験だったのだろうか．本論は，小説家・吉屋信子が執筆したテクストの読解をもとに，これらの問いにアプローチするものである．戦前・戦後を通じて活躍し，女性読者を中心に大衆的人気を博した吉屋信子は，とりわけ1920・30年代に執筆した小説において，女性，とくに都市部の中・上流階級の女性が映画館に赴くシーンを頻繁に描いた．これらの小説は，女性の映画経験を，女性自身が残したテクストからうかがえる，貴重な資料である．そこで，本論では，1920・30年代の女性にとって，映画館に赴き映画を見るという行為がどのような意味を持ったのか，吉屋信子の小説の読解を通じて明らかにすることを目指す．当時，女性の活動を厳しく管理しようとする家庭にとって，映画館は監視の目が行き届かない，潜在的に危険な空間だとされた．それにもかかわらず，女性は映画館へと積極的に出かけ，家庭の外での活動の領域を拓いていった．そして，女性は映画館という新たな領域において，家庭に管理されない異性愛的な恋愛や，女性同士の親密で同性愛的な関係など，社会的な規範とは別の生き方を想像・実践した．映画館は女性にとって，家庭の外で活動し，社会が要請する規範に対して，異なる生き方を取ることが可能な場だったと結論した．In the field of Japanese film studies, the relationship between women and cinema during the 1920s and 1930s has largely been examined by focusing on women's representation on screen, frequently overlooking the experiences of female audiences in cinemas. This article explores the reception of films by Japanese female audiences and the experiences cinemas provided for women in this era, through an analysis of the writings of the renowned female author, Yoshiya Nobuko. Yoshiya's works often depict scenes in which female characters visit cinemas, offering invaluable insights into the cinema-going experiences of women from their own perspective. In the 1920s and 1930s, cinemas were perceived by patriarchal families as hazardous environments that could undermine their authority to regulate and control women's activities, leading to strict restrictions on women's visits to cinemas. Despite these limitations, women regularly frequented cinemas and watched films, thus expanding their spheres of activity. Furthermore, within these newly established spheres, women engaged in activities that challenged the societal norms of the time, including heterosexual dating, which was prohibited by their families, and intimate homosexual relationships among women. This article concludes that cinemas served as venues that enabled women to act beyond the confines of domestic life and engage in activities divergent from prevailing social norms
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