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s e m i o t i k as e m i o t i k as e m i o t i k as e m i o t i k as e m i o t i k asamecniero Jurnalisamecniero Jurnalisamecniero Jurnalisamecniero Jurnalisamecniero Jurnali
semiotikis da Teoria da istoriasemiotikis da Teoria da istoriasemiotikis da Teoria da istoriasemiotikis da Teoria da istoriasemiotikis da Teoria da istoria
e n i s a d a l i t e r a t u r i se n i s a d a l i t e r a t u r i se n i s a d a l i t e r a t u r i se n i s a d a l i t e r a t u r i se n i s a d a l i t e r a t u r i ss e m i o t i k as e m i o t i k as e m i o t i k as e m i o t i k as e m i o t i k a
filologiis mecnierebaTadoqtori, saq. mecnierebaTaakademiis g. wereTlis sa-xelobis aRmosavleT-mcodneobis institutiswamyvani mecnieri Tanam-Sromeli.ZiriTadi Sromebi:ZiriTadi Sromebi:ZiriTadi Sromebi:ZiriTadi Sromebi:ZiriTadi Sromebi:qarTvelur enaTa tipo-logiis sakiTxebi; Con-ceptual Representations ofthe Verb Forms Creation(on the Georgian Data);Semantics and Typology ofYes/No particles (on theGeorgian data); ZiriTadisemantikuri rolebiskonceptualuri warmod-gena da situaciis lin-gvisturi struqturireba.interesTa sfero:interesTa sfero:interesTa sfero:interesTa sfero:interesTa sfero:sintaqsur konstruqcia-Ta tipologia, kognitiu-ri lingvistika, sainfor-macio struqturebi, qar-Tvelur enaTa gramati-kuli sistema da misi ti-pologiuri Tavisebure-bebi.
(5) megobarTan mivedi, magram saxlSi ar damxvda.(6) megobarTan mivedi, oRond saxlSi ar damxvda.(7) megobarTan mivedi, Tumca saxlSi ar damxvda.(8) megobarTan mivedi, xolo is saxlSi ar damxvda.(9) megobarTan mivedi, saxlSi ki ar damxvda.(10) megobarTan mivedi da is saxlSi ar damxvda.
zemoT warmodgenil magaliTebSi dapirispireba gamoxatuliasxvadasxva kavSiriT. rogorc vxedavT maT ZiriTadi Sinaarsi erTnairiaqvT, gansxvavebulia mxolod ‘kontrastis’ saxe. winadadebebidalagebulia kontrastis/dapirispirebis xasiaTisa da xarisxiscvlis mixedviT _ (10)-dan (5)-mde kontrasti sul ufro daufro Zlieria, ufro metad aris xazgasmuli winadadebebs Soriskontrastuli dapirispireba; SeiZleba iTqvas, rom es kavSirebikontrasts sxvadasxva xarisxiT gamoxataven.
miuxedavad imisa, rom da da Tu kavSirebi, orive, arada-pirispirebuli kontrastuli gaerTianebis gamosaxatavad SeiZlebaiyos gamoyenebuli, maT Soris funqciuri sxvaoba mainc didia:
da majgufebeli kavSiria da misi umTavresi funqcia dakavSirebaa_ mas SeuZlia nebismieri saxis erTgvari wevrebisa Tu winadadebebisgaerTianeba. Sedegad miRebuli gamonaTqvami WeSmariti iqneba mxolodda mxolod im SemTxvevaSi, rodesac gaerTianebul SemadgenelTaganyoveli iqneba WeSmariti. Tu kavSiric aerTianebs erTgvar wevrebsaTu winadadebebs, magram iseT SemTxvevaSi, rodesac gaerTianebulSemadgenelTagan erT-erTi mainc aris WeSmariti. ase rom, SeiZlebaiTqvas, rom da kavSiri Seesabameba formaluri logikis koniunqcias,xolo Tu _ diziunqcias.
Tu xSiria SekiTxvebSi, sadac fokusTa SesaZlebeli variantebisraodenoba SemosazRvrulia; magaliTad:
am funqciiT Tu kavSiri seleqciur, kontrastul fokuszeaorientirebuli maSin, rodesac da kavSiriT gaerTianebul Semad-genlebian kiTxvaze pasuxi moiTxovs mTlianad azris dadasturebasan uaryofas:
(16) AA: nika wers da kiTxulobs? P BB-1: ki.
pasuxi ki gulisxmobs, rom nika orive moqmedebas asrulebs:kidec wers da kidec kiTxulobs; xolo pasuxi ara gvatyobinebs,rom nika an arc erT moqmedebas ar asrulebs (e.i arc wers da arckiTxulobs), an erT-erTs mainc asrulebs, amitom amomwuravi pasuxiam kiTxvaze unda iyos dazustebeli:
(18) nino cekvavda da nika mReroda.Aaqve SevecdebiT Tu kavSiris funqciur gamijvna-gansxvavebis
warmoCenas an - an macalkevebeli kavSirisagan: Cveulebriv, Tu-sdros gaerTianebul SemadgenelTagan orive an erT-erTi maincWeSmaritia; magaliTad:
(19) didi Tu patara TavgamodebiT muSaobda (vaJa.). Aaq igulisxmeba, rom yoveliyoveliyoveliyoveliyoveli _ didic da patarac, anu orive
erTad, muSaobda TavgamodebiT. (gansxvavebiT da kavSiriT gaerTianebisasigulisxmeba, rom yvela _ yvela _ yvela _ yvela _ yvela _ didi da patara muSaobda). gansxvavebuliviTarebaa (an) _ an kavSiriT gaerTianebul SemadgenlebTan:
(20) an dRes mogvardeba yvelaferi, an xval.aq igulisxmeba, rom mxolodmxolodmxolodmxolodmxolod erT SemTxvevaSi (an dRes, an xval)
mogvardeba yvelaferi. (Sdr: dRes Tu xval yvelaferi mogvardeba _
rusudan asaTiani, TinaTin janeliZe
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niSnavs, rom nebismiernebismiernebismiernebismiernebismier dRes (an dRes, an xval) SeiZleba mogvardesyvelaferi.)
amdenad, SeiZleba iTqvas, rom maSin, rodesac Tu kavSiri Seesabamebalogikur diziunqcias (resp. +[erTi mainc]), kavSiri an _ an fardialogikis e. w. gamomricxavi diziunqciisa (resp. +[mxolod erTi]);xolo orive upirispirdeba da kavSirs, romelic logikis koniuqciisSesabamisia (resp. _[erTi mainc]; anu +[yvela]).
(29) Zalian moiwyina, tirils ki ar apirebda (ak. wer.).(30) zamTari iyo, bavSvs ki qudi ar exura (ak. wer.).(31) erTi sacekvaod wavida, xolo meorem dasveneba gadawyvita.
A (ak. wer.)(32) nadiris xorciT ZaRlebs asuqebdnen, xolo tyavs
amarilebdnen da axmobdnen (m. jav).amdenad, diferencialuri niSani +/_[sawinaaRmdego] asaxavs
kavSirebis funqciur sxvaobas _ gaaerTianon da daupirispironSemadgenlebi imgvarad, rom warmoaCinon am dapirispirebissawinaaRmdego an arasawinaaRmdego xasiaTi.
(41) wvims, magram ar quxs.sapirispirod, oRond da Tumca kavSirebi aseTi molodinis
SesaZleblobas gaxazaven:(42) wvims, Tumca ar quxs.(43) wvims, oRond ar quxs.
am SemTxvevaSi, ramdenadac wvimis dros xSiria quxilic, mosaubreimgvarad aRwers situacias, rom afiqsirebs am zogadi molodinissawinaaRmdego viTarebas. SesaZlebelia mosaubrem airCiosgansxvavebuli strategia da yuradReba ar gaamaxvilos aRniSnulmolodinze. maSin gveqneboda gansxvavebuli winadadeba:
(44) wvims, magram ar quxs.vnaxoT am saxis sxva magaliTebic:
miuxedavad imisa, rom Tumca da oRond funqciurad Zalianhgvanan erTmaneTs, mainc moxda am kavSirebSi funqciuri sxvaobisgamovlena. isini TiTqmis yovelTvis enacvlebian erTmaneTs, magramaris konstruqciebi, sadac oRond kavSiri molodinTan erTadgamoxatavs mosaubris Zlier survilsa an SiSs, rom misi molodiniSeiZleba ar gamarTldes.
M (48) modi, oRond ar daigviano! M (49) modi, Tumca ar daigviano!oRond kavSiris Tumca-Ti Canacvlebam (49) winadadebaSi mogvca
gansxvavebuli Sinaarsi: mosaubre afrTxilebs msmenels, ar daigvianos,maSin rodesac (48) winadadebaSi gamoxatulia mosaubris Zliersurvili da/an SiSi imisa, rom saubris adresati SeiZleba dagvianebiTmovides. vnaxoT am saxis sxva magaliTebic:
(50) Sen oRond imecadine, am saqmes me mivxedav. (51) ivarjiSe, oRond Zalian nu gadaiRlebi. (52) SegiZlia gaemgzavro, Tumca ara mgonia, gaqceviT saqmes
è ñòðóêòóðà ÿçûêà. Ìîñêâà: “Ïðîãðåññ”. 241-267.asaTiani 2007:asaTiani 2007:asaTiani 2007:asaTiani 2007:asaTiani 2007: Asatiani R. The Main Devices of Foregrounding in the
Information Structure of Georgian, The 6th International Symposium onLLC, Tbilisi-2005. Balden D.ten Cate&Henk W. Zeevat (Eds). Springer.21-31. 2007.
urTierTobis arxi da kodi _ zepiri,werilobiTi, satelefono, kompiuteruli;simRera, Jesti, mimika; urTierTobis ena dastili da sxva (iakobsoni 1975:193).
iakobsonma komunikaciis Teoriaze dayr-dnobiT gansazRvra enisa da metyvelebis fun-qciebis sistema. man gamoyo sami universaluri
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funqcia nebismieri enisTvis nebismier istoriul epoqaSi. esenia:Setyobinebis (urTierTobis) funqcia, eqspresiul_emociuri funqciada maregulirebeli funqcia. iakobsoni maregulirebeli funqciiskerZo SemTxvevad ganixilavs enis(metyvelebis) fideistur(magiur)funqcias, ramdenadac sityvieri magiis adresati_Tanamosaubre,gramatikuli II piri ki ar aris, aramed uxilavi III piri, SesaZloa,es aris umaRlesi Zala.
enis fideistur(magiur) funqcias avlens Selocvebis ena, romelicgansakuTrebuli semiotikuri sistemaa. enobrivi niSani aq amJRavnebsarakonvenciur xasiaTs, rac imas niSnavs, rom sityva sagnis pirobiTiaRmniSvneli ki ar aris, aramed misi uSualo nawilia. elene blavatskaiaamis Sesaxeb Tavis `saidumlo doqtrinaSi~ miuTiTebs: niSanigamoxatavs sagans, sagani (faruli an okulturi) aris niSnis Tviseba.sityvis warmoTqma niSnavs, gamoixmo azri da gaxado igi arsebuli.okultur samyaroSi adamianis metyvelebis potenciuri magnetizmiaris yovelgvari gamovlinebis sawyisi. sagani CvenTvis aris is,radac sityva qmnis mas, rodesac asaxelebs. sityva (zmna) an TiToeuliadamianis metyveleba, maTTvis sruliad gaucnobiereblad, warmoadgensgandidebas an SeCvenebas. Ddiax, sityvebi an keTilSemoqmedni arian, an_ boroteulni, an _ momwamlavi, an _ janmrTelobis momtanni(blavatskaia 1998:129).
rogorc aRvniSneT, Selocvebis ena avlens magiur funqcias. aqniSani upiroboa. niSnis arakonvenciuroba cnobierebis TavdapirvelfideizmSi ki ar devs, aramed adamianis fsiqikaSi samyaros asaxvispirvelad sinkretizmSi. es aris logikur-azrovnebamdeli azrovnebisfundamenturi maxasiaTebeli. aseTi iyo pirvelyofili adamianisazrovneba~ (meCkovskaia 1998:42).
sityvis arakonvenciuri gageba damaxasiaTebelia bavSvTa fsiqo-logiisaTvis _ `sityva igivdeba saganTan~ (Cukovski). magaliTad,pirvelklaselma SeiZleba CaTvalos, rom winadadebaSi: aq dgas oriskami da erTi magida~ _ sul sami sityvaa, an rom sityva kanfeti~_ tkbilia. maSasadame, niSnis arakonvenciuroba niSnisa da aRsaniSnis,sityvisa da sagnis, sagnis saxelisa da sagnis arsis igiveobriobayofila.
rogorc specialistebi aRniSnaven, jadosnuri da wminda sityvebisrwmena dakavSirebulia Tavis tvinis marjvena naxevarsferosmuSaobasTan, gansxvavebiT marcxena naxevarsferos meqanizmebisagan,romelic ganapirobebs inteleqtualur_logikuri da abstraqtuliinformaciebis miRebas da gadacemas. marjvena naxevarsfero pasuxs
enis fascinaciuri (magiuri) funqcia da nislis semiotika
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agebs adamianis fsiqikuri cxovrebis grZnobiT_emociur mxareze.Tavis tvinis marjvena naxevarsferoSia agreTve `moTavsebuli~aracnobieri da gaucnobierebeli procesebi. aseT viTarebaSi niSnisarakonvenciurobis fenomeni gvevlineba ZiriTad fsiqologiur-semiotikur meqanizmad, romelic qmnis enasTan fideisturidamokidebulebis SesaZleblobas. es is marcvalia, romlidanacamoizrdeba rwmena jadosnuri da wminda sityvebisadmi. EenobriviniSnis upiroboba ama Tu im formiT gansazRvravs enis da-mokidebulebas miTologiur_religiur cnobierebasTan.
iakobsoni enis magiur funqcias `anaTesavebs~ enis esTetikur(poetur) funqciasTan. Ggarkveuli azriT, es marTlac asea. enispoeturi funqcia ar aris orientirebuli teqstis Sinaarsze. Ppoeziamsmenels(mkiTxvels) ganacdevinebs amaRlebul grZnobas. zegavlenamiiRweva ritmis, riTmis, sityvaTa gansakuTrebuli rigis,metaforulobis da a. S. meSveobiT. magaliTad, galaktionis `qariqris, qari qris, qari qris, foTlebi miqrian qardaqar... xeTa rigs,xeTa jars rkalad xris... sada xar, sada xar, sada xar?~ _ msmenelzezemoqmedebs ara mxolod Sinaarsis meSveobiT, mniSvnelovania agreTvemusikaloba, bgerwera, ritmi, striqonebis Sinagani vibracia...
magiur sityvasa (Selocvebi) da poetur metyvelebas saerToaqvs kidev erTi niSani: adresatze fascinaciuri zemoqmedeba, racgulisxmobs darwmunebis maRal xarisxs, STagonebas, mojadovebas~,magram poezia, Cemi azriT, amas akeTebs Zaldautaneblad, bunebrivad,SemoqmedebiTad, adresatis winaswari momzadebis gareSe, maSin, rocaSelocvebis ena ZiriTadad avtomatizebuli teqstia da ara Semoq-medebiTi, savsea kliSeebiT, gabundovanebuli sityvebiTa da gamoTqmebiT_ abrakadabrebiT; Selocvebis enis mxatvruloba banaluria,gansxvavebulia komunikaciuri situaciis konteqstic. Selocvebisdros adresati (e. w. SemkveTi) mzad aris `STagonebisaTvis~ daSesaZloa, Semlocvelze metad sjera Selocvis sityvebis azrisa(amis modelia Tanamedrove fsiqoTerapiis praqtika), amitomgamolocvis teqstis bundovaneba da abrakadabrebis ti pisgamonaTqvami misTvis mxolod saSualebaa sasurveli mdgomareobismiRebisa; rac Seexeba poetur metyvelebas, mas praqtikuli mizaniara aqvs. maSasadame, poeziasa da magias Soris gansxvaveba aRematebamaT Soris naTesaobas.
mdgomareobaSi, raTa moxdes avtorisa da mkiTxvelis Sexvedra. raxerxebiTa da saSualebebiT aRwevs amas mxatvruli sityva, SeuZliaTu ara mkvlevars im idumali kanonebis moxelTeba, romlebic namdviladarsebobs teqstSi, magram ar devs zedapirze da SeumCnevelia, rogorunda gaizomos leqsis zemoqmedebis xarisxi, misi energia _ eskvlevis sagania!
rodesac poeturi teqsti metaforulia, mxatvruli saxeebiTdatvirTuli, maSin vambobT, rom zegavlenas axdens swored amgvarimxatvruloba, magram rodesac teqsti daclilia metaforulobisaganda mxolod ubralo sityvaTa sinTezia, maSin? aseT SemTxvevaSiiakobsoni saubrobs “gramatikis poeziaze”, rodesac aqtualizdebagramatikuli kategoriebi da qmnis garkveul tropulobas..., Tumcaamgvari mtkicebulebac SeiZleba sadavo gaxdes.
poezia mignebuli sityvis~ xelovnebaa, magram ras niSnavs mig-nebuli sityva” da rogor vzomavT am mignebulobas? Cven mxoloddroSi da droiT Sefasebuli mxatvruli teqstebi viciT, TumcaaseT SemTxvevaSic zegavlenis meqanizmi Bbundovani rCeba.
enis esTetikuri (poeturi) funqcia orientirebulia aRqmismTlianobaze, anu zemoqmedebas axdens enis ara erTi romelime, aramedmTeli misi komunikaciuri SesaZleblobebi. aseT niSans umbertoeko, morisis msgavsad, uwodebs ikonur niSans~ (eko 2004:89). misiazriT, poeziaSi lingvisturi niSani iqceva erTgavr `stimulTavelad~, esTetikuri veli ki imgvaradaa struqturirebuli, rom misasaxsnelad sakmarisi ar aris ubralo moqmedebebi, romlebic,magaliTad, referenciuli Setyobinebis aRqmisTvis iqneboda sakmarisi.
Sesabamisad, poeturi enis aRqmis amgvari rTuli meqanizmi teqstiswakiTxvis mraval SesaZleblobas aCens, radganac aRqma subieqturiprocesia da ganpirobebulia mravali faqtoriT, maT Soris, aRmqmelisSinagani mdgomareobiT da sxva.
erTi da igive niSani poetur teqstSi da Cveulebriv, pragmatulmetyvelebaSi mniSvnelovnad gansxvavebulia. enis esTetikuri funqciaenis SemoqmedebiTi potencialis gamovlenaa da im SemTxvevaSic ki,rodesac poetur teqstSi ar aris metafora, sityva, rogorc ikonuriniSani, araviTar SemTxvevaSi ar igivdeba lingvistur niSanTan, romelicsxva diskursebSi gamoiyeneba (magaliTad, bunebis movlenebi: wvima,Tovli, qari, nisli.... poeziaSi da meteorologiur prognozebSisaerTod gansxvavebul konteqstebSia).
rogorc aRvniSneT, enis esteTikuri funqcia gulisxmobs`mistikur~ da magiur~ doneebsac da rac ufro maRalmxatvrulia
enis fascinaciuri (magiuri) funqcia da nislis semiotika
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nawarmoebi, miT ufro izrdeba amgvari zemoqmedebis xarisxi. amitomaris, rom kargi leqsis mosmenisas msmenels eufleba dumili dasityvebiT emocias ver gamoxatavs garkveuli periodi. Aambobs, romam striqonebma gaabrua~, gaTiSa~, Tavbru daaxvia~, daamunja~, enawaarTva~ da sxva.
am mdgomareobas mistikis enaze waSla~ hqvia, anu Cveulebrivicnobierebis erTgvari dabindva~, dacarieleba~.... anu, Cveulebrivenaze: esTetikuri siamovnebis miReba.
poezia _ es aris sityvebis gziT da sityvebis meSveobiT `du-milis~ mopoveba. WeSmariti poezia is aris, romelic dumils badebs.`poeti _ aris mistikosi wamierad, xolo mistikosi _ poetimaradiulad~ (oSo rajniSi).
n i s l i s p o e t i k an i s l i s p o e t i k an i s l i s p o e t i k an i s l i s p o e t i k an i s l i s p o e t i k a
SemomxedeT, me mze var dagadavwie nislis farda,axal gazafxulad movel,rom vaxaro uflis yana.
ori ukiduresobis karg nimuSs gvaZlevs amerikeli mweralifantastikisa da mistikis JanrSi: stiven kingi(igive riCard baxmani)prozaul nawarmoebSi: nisli (The Mist) da brazilieli mweralipaulo koelio romanSi: rio piedras napirze Camovjeqi da avtirdi(By the River Piedra I Sat Down and Wept).
...me marad minda viyialo am qveyanaze, Tu Cems suls gaToSavsCrdiloeTis nisli, saqarTveloSi ki bevria mze da cis naWeri... ~
amgvari magaliTebi msoflio literaturaSi mravladaa daniSandoblivia, rom nislinislinislinislinisli erTsa da imave dros aris sikvdilisada sicocxlis, keTilisa da borotis, dadebiTisa da uaryofiTisaRmniSvneli. is aris koncepti, romelic mravalinterpretaciissaSualebas iZleva.
aleqsandre abaSeli ki sikvdilis win daweril leqsSi erTgvaradajamebs ganvlil `nislian gzas~ da afasebs, rogorc mogzauri,romelic amaod daSvra:
xandaxan fiqri damburavs,vwevar da ar meZineba.vityvi cxovrebis samduravsda cremli damedineba.gzas rom gavxedav nislians,Cavqrebi, CaviSritebi:gzaze rom yria, visia,frTamotexili Citebi?........................................................verafers gavxdi mzisakenmudam xelebis aSveriT,rac guls undoda, isa vqmen,magram amaod davSveri!
rogorc vxedavT, qarTul poeziaSic nisls Tavisi gza aqvs,Tavisi poetika da Tavisi uRrmesi semiotika. is qmnis sakuTarzRapars da sakuTar siuJets. Nnisli damogzaurobs poetidan poetSi,striqonidan striqonSi, teqstidan teqstSi... is gaivlis Semoqmedgulebs da sulebs... anda, samudamod rCeba maTSi. nisli TviTonwyvets, saiT wavides da es Tviseba mas daaqvs poeziaSic. is ar arisyvela poetis stumari, yvelas ar wyalobs, mxolod rCeulebs darCeulTagan mxolod erTeulebi aRweven Tavs da ai, swored maSindgeba sulis mistikuri gasxivosneba _ iniciacia...
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nislis arsi da idea kargad aqvs gaxsnili erT Tanamedroveavtors, nika jorjanels, leqsSi mgzavroba nislSi~, romlis srulvariantsac aqve gTavazobT:
`naRvliani sivrce Ria./ bardnis. Ddazrnen ekal_bardni./ Zveli droisTeTri dRea./ Zveli drois cidan bardnis./ Tvali nislSi lamis gadnes,/veRarafris mWvreti. TviTon/ nisli velze zantad gadis./ eSiniaT Rrublebscidan/ ucnauri Camovardnis./ winaT TeTrze rboda Savi./ axla ukveTeTris ronins/ vxedav Savze, gaiSala/ usagnobis mTqmeli foni./ waiSalnenmidamoni./ gaqrnen kvamlni, sakvamurni./ gaTanabrda yvela done./ alalbedadgakvalulma/ gzam, romelic marTmevs Rones,/ veRarasgziT moarida/ Tavinisls da gaqra isev./ yvelaferi momxdaridan/ erTi raRac rCeba _nisli./ magram mainc, magram visi/ anda risi bolo aris/ is? ra cxadisdasawyisi?/ vin wers am, vTqvaT, memuarebs?/ neba risi asaxvisa/ aRarafradagdebs fiqrs da/ aigivebs sivrces amgvar/ landTan, jvars ki, RmerTo, _iqsTan?/ uceb me Tu meZeb, aq var~/ mesmis xvalis. Mmesmis, magram/ is arunda yofiliyo/ aq. vWvret masSi Wmunvis sagans:/ gacrecili profiliRa/damrCenia saxisagan./ nisls SignT var. Cem SigniT ki/ nislis msgavsiaris raRac./ sinamdvilev, Semirigdi,/ minaxule zogjer aqac./ Sens kedelzefermkrTal laqas/ warmovadgen xvalis Suqze./ nu ifiqreb, rom drogamyavs./ nu ifiqreb, radgan ukve/ xval arafers namdvils ar hgavs/ dRe,romelSic vsunTqav jerac./ imdenad xar sinamdvile,/ ramdenadac Cemigjera./ naxav: nislSi vinadireb/ kurdRlis msgavsad mxtom da mcire/gasasvlelze gareT _ SenSi./ magram vici, avacileb/ yvela tyvias da SenSegSlis/ Cemi srola sasacilo,/ Cemi xvalis sveli cecxli./ ...xvaleSivar. is ki TiTqos/ ver gebulobs, rad viqeci,/ moxvedrili masSi. midgas,/fiqrobs suli da aRmiTqvams/ Tavissave bolos keTils./ meaTased misvamskiTxvas, Tu ra garsi gavikeTe./ miRimis da pasuxs iTxovs.../ gzebi, gzebi,gamirbian./ erTaderTis gayolebiT/ oriv mxares xramebia./ nela_nela,daRonebiT,/ SeferxebiT, dayovnebiT,/ uxalisxod, ara nebiT/ msresen nislisvagonebi.../ vmadlob xvales, Tu iqneba/ da cocxali vegonebi.~
am striqonebSi mTavri personaJi nislia, avtori ki nislsSerTulixmaa, romlis nebeloba gadafaruli da dakargulia... yvelaferiwaSlilia, gaTanabrebuli... areulia droc... avtori `xvale~-danmoTqvams, iq aris... Tumca is xvalec arafers namdvils ar hgavs...daxatulia qaosi, daaxloebiT Canasaxis~ mdgomareoba, romlidanacwuTi wuTze unda moxdes dabadeba... dabadeba axal garsSi, axalcnobierebaSi... ra daibadeba am qaosidan? axali nisli dagaurkvevloba, Tu sicxade da sinamdvile.... es jer ar Cans, Tumcagarkveuli miniSnebebi ismis `Canasaxis~ xmaSi: `fiqrobs suli daaRmiTqvams Tavissave bolos keTils~.
Ïåòåðáóðã.meCkovskaia 1meCkovskaia 1meCkovskaia 1meCkovskaia 1meCkovskaia 1998:998:998:998:998: Í . Á . Ìå÷êî âñêàÿ, ßçûê è ðåëèãèÿ, Ìîñêâà.grgrgrgrgreimasi...2007:eimasi...2007:eimasi...2007:eimasi...2007:eimasi...2007: À. Æ. Ãð å é ìàñ, Æ. Ôîíòàíèé, Ñå ì è îòèêà ñòðàñòåé,
bizantieli avtorebis mixedviT, garegnuli, esTetikuri mSvenierebafaseulia mxolod saRvTosTan, transcendenturTan damokidebulebaSi.mSvenier Sinaarss mSvenieri forma unda Seesabamebodes. wm. grigolismixedviT, iseve rogorc sxva wm. mamebis mixedviT, mSvenierebis cnebaqristianTaTvis sityvebSi ki ar aris, aramed WvretaSia, saRvToideaSia (to; kavllo~ hJmin ejn qewriva// - Gr. Naz. Carmen II, 1, n. 39, v. 51.PG 37, col. 1333). mSvenierebis cneba romelic elinisturi ritorikisTeoriebisagan aris namemkvidrevi, aq warmodgenilia Tavisi axali,qristianuli gagebiT. klasikur TeoriebSi mas hqonda garegnuliritorikuli formis mSvenierebis mniSvneloba. aq ki mas aqvstranscendenturi mSvenierebis mniSvneloba.4
2 Mayer (ed.), Psellos, Ad Pothum = A. Mayer, Psellos’ Rede über den rhetorischen Characterdes Gregorios von Nazianz, in: Byzantinische Zeitschrift, 20, 1911, S. 48-60. Migne (ed.),Psellos, Characteres = Michael Psellos, Characteres Gregorii Theologi, Basilii Magni, S.Joannis Chrisostomi et Gregorii Nysseni. PG 122, col. 901-908.3 ix. V.V. Bjqkov, *stetika pozdney antiqnosti, M., 1981, s. 231-232. evropulesTetikaSi ki (renesansis periodis Semdgom) gavrcelda silamazis oden esTetikuri_ piTagorelebTan SemuSavebuli, nawilTa proporciis principze damyarebuli,mSvenierebis viwro cneba, romelsac agreTve didi ewoda (W. Tatarkiewicz, TheGreat Theory of Beauty and its Decline, in: The Journal of Aesthetics and Art Criticism,Winter, 1972, p. 165-180).4 grigol RvTismetyveli iyo erT erTi pirveli wminda mama, romelmac poeturadgaiazra es Teoriuli cnebebi Tavis leqsSi, e.w. Ars Poetica-Si, xolo TeoriuladmogvianebiT ganixila ZiriTadad miqael fselosma. ix. K. Bezarashvili, ‘TheInterrelation between the Classical Literary Form and Christian Contents Interpreted byGregory the Theologian in his Poem ‘On his Own Verses’, in: Motivi e forme della poesiaChristiana Antica tra Scrittura e tradizione Classica, XXXVI Incontro di studiosi dell’anticità cristiana, Roma, 3-5 maggio, 2007 (Studi Ephemeridis Augustinianum, 108),Institutum Patristicum Augustinianum (Roma, 2008), 281-292.
“Sairoba pirveli” da “mijnuroba pirveli” rom saRvTo xedviT“gasagoni” da Sesamecnebelia (“kvla mijnursa mijnuroba uyvardesda gamoscnobdes”, “sacodnelad Zneli gvari”), aRniSnuli iyosamecniero literaturaSi25 (aseve ganmartavda mas vaxtang VI-c26).rusTaveli rom icnobs sulier xedvas, amas cxadyofs Semdegi taepebi:“qali mzebr uWvrets yovelTa cnobiTa ze-mxedveliTa” (45); “anuaris brZeni vinme maRali da maRlad mxedi” (1184) da misT.
brZenis saqme xdeba saRvTo siyvarulis, saRvTo mSvenierebisWvreta da Semecneba. brZeni rusTavelTan ewodeba saRvTo sibrZnis21 Sdr. “mas erTsa mijnurobasa...” Sdr. movno~ = ei|~ = prwto~ (erTaderTi = erTi= pirveli). s.v. movno~ = ei\~. I.X. Dvoreckiy, Drevnegreqesko-russkiy slovar>,t. I-II> Moskva, 1958.22 G.W. Lampe, A Patristic Greek Lexikon, Oxford, 1968, s.v. to; kavllo~.23 gansazRvreba “pirveli” am mniSvnelobiT SeiZleba vixmaroT yvela saRvTocnebis mimarT, raTa ganvasxvavoT igi saerosagan.24 G.W. Lampe, A Patristic Greek Lexikon, s.v. ajgavph.25z. gamsaxurdia, “vefxistyaosani” inglisur enaze, gv. 94, 98. termini “gamgoneoba”Semmecneblobas, goniseul mWvretelobas (noevw) niSnavs ioane petriwTan, romlisterminologiis gavlena rusTavelze, rogorc vTqviT, dasmulia samecnieroliteraturaSi (e. WeliZe, ioane petriwis cxovreba da moRvaweoba, I , “religia”,3-4-5, 1994, gv. 115-116; werili II, “religia”, 1-2-3, 1995, gv. 79).26 “saRmrTo sibrZnisa” da “soflis saqmis” Tu “usjuloTa sjulis” dapirispirebisSesaxeb ix. SoTa rusTaveli, vefxistyaosani, vaxtangiseuli gamocema, 1712 w., Tb.,1975, gv. sJz.
mSvenierebis cneba bizantiur, Zvel qarTul esTetikaSi da rusTavelTan
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matarebels (iseve rogorc sibrZne ewodeba masTan saRvTo sibrZnes_”sibrZnisaa erTi dargi” da sxv.). igi ewodeba mociqulebs (“brZenTauTqvams siyvaruli, bolod misi ar-waxdoma” _ 1544. Sdr. I kor. 13,8), wminda mamebs (“am saqmesa dafarulsa brZeni divnos gaacxadebs”- 1492) da misT. brZnoba da saRvTos baZva magaliTadaa dasaxulipoemaSi. avTandili tariels gamudmebiT axsenebs brZenTa Segonebebs.prologSive saRvTo siyvarulis baZva (“marT masve hbaZven”),igulisxmeba, rom pavle mociqulis analogiiT aris dasaxelebuli(“SeudegiT siyuarulsa da hbaZevdiT suliersa mas” _Sdr. I kor.14, 11; 4, 16; 11, 1; galat. 4, 18). mijnuris erT-erT niSnadac sibrZneadasaxuli siturfesTan erTad (“mijnursa Tvalad siturfe hmarTebsmarT viTa mzeoba, sibrZne, siuxve, simdable ...”). saRvTos baZva alegoriissafuZveli xdeba Sua saukuneebis poemaSi.
amgvarad, Wvreta, xedva, Teoria qristianuli RvTismetyvelebisada esTetikis mixedviT dakavSirebulia saRvTo sibrZnesTan, saRvTosiyvarulTan, saRvTo sikeTesa da mSvenierebasTan da mis baZvasTan,misiT tkbobasTan. axla vnaxoT, Tu rogoraa mSveniereba gaazrebuliavTandilis anderZSi. gavixsenoT misi erTi strofi, romelictarielis daxmarebis miznis gamo aris rostevanisadmi naTqvami:
`raca RmerTsa ara swaddes, ara saqme ar iqmnebis.mzisa SuqTa ver mWvreteli ia xmebis, vardi Wnebis;TvalTa turfa saWvreteli ucxod radme eSvenebis;me viT gavZlo umisoba, an sicocxle viT meTnebis”.
“ar daviwyeba moyvrisa” da misT. rom saRvTo siyvarulsukavSirdeba da anderZSic mociqulTa sityvebTan erTad arismoxmobili, gasagebia qristianuli msoflmxedvelobiT, magram raaris “mzisa SuqTa Wvreta” an TvalisaTvis iSviaT mSvenierebaddasaxuli “turfa saWvreteli”? oden metaforis doneze igi niSnavsSemdegs: rogorc mzea macocxlebeli mSvenieri ia-vardisaTvis,sicocxlis sixarulisa da sisrulisaTvis, aseve sulieri naTeliamacxovnebeli adamianisaTvis, romelic mas sikeTis qmniT da siyvaruliTmoefineba. avTandilic cdilobs siyvaruliT gamoacocxlos tarielisumzeod damWknari suli. anda kidev, vaxtang VI-is ganmartebis mixedviT,“mzis Suqad tariels xdis, iad Tavis Tavs ambobs, umisod gaZlebisSeuZleblobas ambobs”.27 dafaruli saRvTo Sinaarsis mixedviT kiigi imas unda niSnavdes, rom mxolod saRvTo siyvaruli da naTeliakeTilSobilebs amqveyniur Tundac srulyofil da unaklo sagnebsda movlenebs da aniWebs maT WeSmarit sicocxles da ukvdavebas(“mzisa SuqTa ver mWvreteli ia Wknebis, vardi xmebis”). siwmindis,cocxali gancdis gareSe, aramiwieri zeciuri idealis gareSe ver
27vefxistyaosnis vaxtangiseuli gamocema, gv. tlÀ.
qeTevan bezaraSvili
43
iqneba mSvenieri adamianis cxovreba. umisod irgvliv mxolodsicariele, sicive, usicocxloba da mowyenilobaa. bibliuri egzegetikarom movixmoT da wm. mamebs mivmarToT, es aris suli wmidis madli.swored es siyvaruli da suliwmidis madli aklda xuT qalwuls,romelTac sasufevlis kari daexSoT, Tumca maT qalwuleba unaklodhqondaT damarxuli, anu yovelgvari amqveyniuri saTnoeba aRsrulebulihqondaT (mT. 25, 1).
mxolod saRvTosTan wilnayari amqveyniuri siyvarulia ukvdavi,cxoveli, srulyofili da mSvenieri. amitom aris igi SemecnebisaTvisiSviaT da uxrwnel mSvenierebad dasaxuli “turfa saWvreteli”.aRar gavagrZelebT imaze saubars, rom avTandilis anderZSi pavlemociqulismieri siyvarulisa da sxva saRvTo cnebebis gamoyenebaaSkaraa da Seswavlili.
rogorc zemoT vTqviT, Wvretis, xedva-Teoriis cnebamfilosofiidan qristianul msoflmxedvelobaSi, saRvTo SemecnebaSigadainacvla. sulieri xedviT Sesamecnebeli gaxda saRvTo sibrZne,naTeli, siyvaruli da mSveniereba. zemoT vnaxeT, rom mSvenierebadiwoda siyvarulic da saRvTo Semecnebac cal-calke (klimentialeqsandrielisa da grigol RvTismetyvelis mixedviT). magram sa-yuradReboa, Tu ra patristikuli safuZveli aqvs avTandilis anderZSimociqulTa siyvarulis koncefciis kavSirs “turfa saWvretelTan”?
mivmarToT, mag., maqsime aRmsarebels. “netari goneba, _ ambobs igi,_ ukan moitovebs ra yovelive [nivTiers], dausruleblad tkbebasaRvTo mSvenierebis [xilviT]” (Max. Conf. charit. I, 19. PG 90, 964 D7). “siyvaruli (hJ ajgavph. i. 10, 9) is karia, romliTac Semavaliwmida-wmidaTaSi Sedis da Rirsi xdeba iyos samefo da wmidasamebis miuRweveli mSvenierebis (…kai; tou` ajprosivtou kavllou~ th`~aJgiva~ kail basilikh`~ Triavdo~) mWvreteli” (PG 91, 404 A 1-10).
aseTi interpretacia ara mxolod SesaZlebelia, aramed arsebobskidevac arsebobis aranaklebi uflebianobiT, vidre is Tvalsazrisia,romlis SeTavazebasac Cven vcdilobT mkiTxvelisaTvis. ramdenadacinterpretacias saqme aqvs mxolod gagebasTan da ara WeSmaritebasTan,Tundac pirveli am ukanasknelis wina piroba iyos, amdenad azrispluralizmi da interpretaciebis simravle savsebiT misaRebi Cans.
mamuka biWaSvili
51
maT SeuZliaT mSvidobiani Tanaarseboba. naivuri Tvalsazrisi,miuxedavad im xiblisa, rac yvelafer martivs gaaCnia, Cveni azriT,moikoWlebs “daviTianis” rigi pasaJebis gagebisas. ufro rTulfragmentebs rom Tavi davaneboT, romelTac qvemoT SevexebiT, rodesac“daviTiani” avtobiografiad gvaqvs gaazrebuli da, am dros gvesmis:
“Tumca brma var kidev vxedav qveynad Cemze ufro brmaTa” (1.wigni
a.; g. 61)
unda CavTvaloT Tu ara avtoris es sityvebi misi sibrmavisutyuar sabuTad? an ramdenad seriozulad unda davinteresdeT imkacis vinaobiT poetis mwife yanas rom miparvia?
“midis-modis es sofeli qartexilTa zRvisebr Relavs
ukan dasdevs dro da Jami, mis naqselavs qsovs da sTelavsis mWle kaci cels ras aqnevs, rasa sTibavs, rasa scelavs?amad vswunob sawuTrosa, sul bnelia, rsac elavs!
(1.wigni a.; mb. 261)
wminda enobrivi TvalsazrisiT, nawarmoebis metnaklebi sisruliTkvlevaze raime pretenziis gareSe, SeuiaraRebeli TvaliTac kargadCans, rom “daviTiani” Zalze rTuli struqturisaa da araerTsemantikur Sres gulisxmobs. ramdenadac Cven daviT guramiSvilisda “daviTianis” identobis sakiTxs vsvamT, unda yuradReba mivaqcioTimas, rom sirTulis mxriv yvelaze ufro gamorCeuli isev saxeli“daviTia”. batoni revaz siraZe sabavSvo msoflio literaturisbiblioTekis seriiT gamocemuli “daviTianis” winasityvaobaSiSeniSnavs, rom “davTianSi” d. guramiSvilis mier sakuTari “me”samgvaradaa gaazrebuli: pirovnuli “me” (me – daviT guramiSvili),erovnuli “me” (me – qarTveli) da zogadadamianuri “me” ( me, daviTguramiSvili – adamiani) (5.25). avtoriseul am sam “daviTs” SegviZliadavumatoT igive saxeliT araerTgzis moxseniebuli bibliuri daviTi.Tanac maTi poeturi saxeebi ganuwyvetliv da TiTqmis SeumCnevladgadadian erTmaneTSi imgvarad, rom maTi mkveTri gamijvna nawarmoebis(ara semantikuri, aramed ufro) poeturi sazrisis rRvevis gareSeZalze rTulia. aqve, uTuod, unda gaviTvaliswinoT isic, rom daviTguramiSvili qarTul saero mwerlobaSi erT-erTi yvelaze ufroreligiuri avtoria. es mxolod imaSi ki ar vlindeba, rom ispraqtikulad TiTqmis mTeli axali aRTqmis galeqsvas cdilobs,aramed imaSic, Tu rogor cdilobs amis gakeTebas guramiSvili.“daviTianis” pragmatika, anu enobrivi TamaSis is wesebi, romlebicnawarmoebis sworad wakiTxvis winapirobaa, aucileblobiTgulisxmoben bibliur igavur enas, romelic mocemul momentSi undagavmijnoT poeturi sxismetyvelebisagan. bibliuri igavis ena
gvinda poeturi enis TamaSze gavavrceloT yvelaferi is, rasacfinki sasceno gaTamaSebaze mogviTxrobs. miT ufro rom oriveSemTxvevaSi sam-sami elementi gvaqvs:
finki 1finki 1finki 1finki 1finki 1988:988:988:988:988: Ý.Ôèíê. Î ñ í î â í û å ô å í îì å íû ÷åë îâå÷åñêî ãî áûòèÿ. Âêí. Ïðîáëåìà ÷åëîâåêà â çàïàäíîé ôèëîñîôèè. Èçä. «Ïðîãðåññ».Ìîñêâà 1988.
sakuTari istoriis filosofia germa-nelma romantikosma poetma da filosofosmanovalisma (fridrix fon hardenbergi, 1772-1801) gadmosca Tavis poetur ciklSi “Ramishimnebi” (“Hymnen an die Nacht”), kerZod mexuTehimnSi. novalisis istoriis filosofiismixedviT kacobriobis istoria sam etapadaadayofili:
Die romantische Geschichtsphilosophie in den“Hymnen an die Nacht” von Novalis.
Zur Hermeneutik der 5. Hymne
Die Auffassung der Weltgeschichte, die Novalis in seinen Hymnen an dieNacht, und zwar in der 5. Hymne darstellt (Novalis 1981: 161-173), kann alseine einheitliche geistige Geschichte der Menschheit verstanden werden. ImUnterschied zu der Auffassung der Geschichte als einer mechanischen Mischungder verschiedenen Epochen und der unterschiedlichen kultureller Räume wirddie Weltgeschichte bei Novalis eher als spirituelles Phänomen aufgefasst, undnicht als Summe chronologisch geordneter historischer Tatsachen. Daher ist esnicht zufällig, dass der romantischen Geschichtsphilosophie von Novalis nicht diereal-historische Wirklichkeit als historische Quelle zugrunde liegt, sondern einemythisch-mystische Wirklichkeit: In seiner Geschichtsphilosophie erscheint dieWeltgeschichte in zwei spirituellen Formen – einerseits der altgriechische Mythos,andererseits die christlich-eschatologische Offenbarung (Geburt, Tod undAuferstehung Christi). Aber die benutzte Quelle selbst wird der romantisch-dichterischen Interpretation unterzogen, sie wird von Novalis auf der Grundlageseiner romantisch-dichterischen Tropenlehre umgearbeitet, in der die Phasen dergeistigen Entwicklung der Menschheit codiert sind. Aufgrund dieser dichterischenInterpretation der Weltgeschichte (bzw. der Geschichte der Menschheit) wird inden Hymnen die neue Mythologie des romantisch verstandenen Individuumsentworfen. Die Quelle dient als Stoff für das Projekt „X-stentum”, für denromantischen Entwurf eines freien Christen, eines modernen Menschen, der diereligiöse Freiheit ausübt, gemäß einer freiheitlichen, individuellen (bzw.dichterischen) Auffassung des Christentums. Das meint in sich eine freieTathandlung im Fichteschen Sinne - “Merke auf dich selbst…”, einen individuellen,unmittelbaren Bezug zu Gott, ohne jeglichen Vermittler, also auch ohne Vermittlungder Kirche. Darin besteht die eigentliche rationale Mystik von Novalis, vonder sein ganzes Werk durchdrungen ist, und in besonderem Maße die Hymnen.Sich auf diesen Weg zu begeben ist die individuelle Aufgabe für jedenromantisch inspirierten modernen, postmodernen, postpostmodernen etc.Menschen.
Der spirituellen Geschichtsphilosophie von Novalis in der 5. Hymne folgendwird die Weltgeschichte, bzw. die Geschichte der Menschheit, in drei Phaseneingeteilt:
romantizmis istoriis filosofia novalisis “Ramis himnebSi”...
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1. Phase – Der existenzielle Monismus: Das Zeitalter der “Kindheit”der Menschheit, oder das mythisch-paradiesische Dasein innerhalb dergöttlichen Dimension (die Epoche der Herrschaft der Sinne). Während dieserkindlich-naiven Existenz befand sich die Menschheit in der Nähe zu Gott, derMensch verstand sich als ein Element der Schöpfung, als Teil der Natur. In der 5.Hymne wird dieses kindlich-paradiesische Dasein durch die mythologischenVorstellungen des alten Griechenlands symbolisiert. Mit dem in den Hymnendargestellten Bild des altgriechischen Mythos wird zugleich die antike Welt imAllgemeinen charakterisiert.
2. Phase – Der existenzielle Dualismus: Die Existenz der Menschheitinnerhalb der historischen Dimension. Der nicht-historischen, mythologischenExistenz der Menschheit folgt das Zeitalter des “Erwachsenseins” – also dieeigentliche historische Epoche, die Epoche der Herrschaft von Vernunft. In dieserPeriode beginnt der Prozess der Individualisierung der Menschheit, ihrEmanzipationsprozess: Der Mensch entfernt sich von Gott, grenzt sich von derNatur ab und findet sich im Rahmen einer empirischen Realität, innerhalb dererer aber sterblich ist. Der Mensch erreicht die Freiheit auf Kosten der Aufhebungeiner nichtfreien, aber ewigen Existenz in der transzendenten, paradiesischenDimension. Hier entsteht der Dualismus der Menschheit, das eigentlicheEntweder-Oder: Einerseits die ewige, unendliche, jedoch nichtfreie Existenz inder göttlichen Dimension, andererseits die freie, aber endliche, vergänglicheExistenz innerhalb der empirischen Wirklichkeit. Der Übergang der Menschheitvon der mythisch-paradiesischen Realität zur historischen, Entfernung vomgöttlich-paradiesischen Dasein wird in der 5. Hymne durch daspoetische Symbol des Todes versinnbildlicht. Der Tod ist hier als Zeichen fürdas existenzielle Verhängnis der Menschheit zu verstehen, das die existenzielleAngst verursacht. Außerdem wird in der 5. Hymne auf den folgenschwerenÜbergang vom Transzendenten zur Empirie, vom Unendlichen zum Endlichen,vom Himmlischen zum Irdischen, auch durch folgende Formulierung hingewiesen:“die dürre Zahl und das strenge Maß”. Zahl und Maß, das sind die Attribute desanalytischen Verstandes, wodurch er die sichtbare, empirische Realität erschließenund begreifen kann. Der Verstand bzw. die Vernunft ist jedoch nicht fähig, dietranszendente Wirklichkeit zu erfassen, in der allein die Menschheit die Freiheiterringen kann. Die Formulierung Zahl und Maß kann als Anspielung auf daszeitgenössische aufklärerische Zeitalter verstanden werden, also auf jene Epoche,die die Herrschaft der Vernunft und des Verstandes besiegelte. Mit dieserFormulierung macht Novalis seine eigene Haltung zum zeitgenössischenaufklärerischen Geist deutlich, der alles Irrationale, Mystische überwinden will.Ganz ähnlich wird im bekannten Gedicht von Novalis “Wenn nicht mehr Zahlen
konstantine bregaZe
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und Figuren…” auf eine Erweiterung und Ergänzung der Aufklärung hingewiesen(Novalis 1981: 406).
3. Phase – Die existenzielle Synthese: Das sogenannte GoldeneZeitalter, das neue Jerusalem (die spirituelle Epoche). Diese Entwicklungsstufein der geistigen Geschichte der Menschheit fängt mit der Offenbarung des Logosin der empirisch-historischen Wirklichkeit an, beginnt also mit Geburt, Tod undder Auferstehung des Gottes Sohnes – Jesus Christus. Die 3. Phase führt zurAufhebung des existenziellen Dualismus der Menschheit. Der Prozesswird von Christius selbst exemplarisch vollzogen, indem er “den alten Tod” (alsodas ontologisch-poetische Zeichen für das existenzielle Verhängnis und dieexistenzielle Angst des Menschen) mit dem “neuen Tod” undder drauf folgenden Auferstehung überwindet. Das Geheimnis der Auferstehungund die Teilhabe daran ist die neue ontologische Perspektive, wodurch dieMenschheit in jedem einzelnen Individuum das Unendliche erwerben und dieverlorene himmlisch-paradiesische Existenz wiedergewinnen kann. Christus istdie Synthese, die der Menschheit und dem Einzelnen die freie und zugleichunsterbliche, unendliche Existenz verleiht und somit die Menschheit in eineneue ontologische Dimension führt, in das göttlich-paradiesische Dasein.
In der Perspektive der geschichtsphilosophischen Konzeption von Novalisentsteht in der 3. Phase der geistigen Entwicklung der Menschheit eine spirituelleSynthese aus der Antike, die in der 5. Hymne durch den altgriechischen Mythossymbolisiert wird, und dem neuen christlichen Zeitalter. Diese Synthese mag ausempirisch-historischer Sicht unmöglich sein, aber die poetische Einbildungskraftvon Novalis (“die freie poetische Erfindung”) und die auf dieser Grundlagekonzipierte Geschichtsphilosophie lassen eine solche Projektion zu: Demnachsind für Novalis, im Unterschied zu Friedrich Schiller (“Die GötterGriechenlands”), die Antike und das Christentum eine einheitliche spirituelleGanzheit. In der 5. Hymne kommt diese spirituelle Ganzheit in der poetischenGestalt des Sängers und in seine Apostelweg zum Ausdruck, denn er zieht ausdem heidnischen alten Griechenland nach Palästina, um dort dem neugeborenenJesuskind zu huldigen. Hier wird er zum Nachfolger von Christus und ziehtschließlich weiter nach Indostan (bzw. ins Morgenland), um dort mit der Poesiedie Erscheinung von Jesus Christus in der endlichen empirischen Wirklichkeit zuverkünden.
Diesbezüglich bemerkt Gerhard Schulz, daß es bei diesem Zug des Sängersum die Vereinigung der Religionen und damit um eine Weltreligion gehe (Schulz2001: 637). Ich denke aber, es geht hier weniger um eine Vereinigung derReligionen. Über diese reflektiert Novalis in den betreffenden Aufzeichnungen(Novalis 1977-1988: II, 272; III, 579), aber nicht hier in der 5. Hymne. Vom
romantizmis istoriis filosofia novalisis “Ramis himnebSi”...
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Text her lässt sich jedenfalls davon nichts erschließen. Der Text der Hymne besagtetwas anderes: er erzählt von der führenden Rolle des Christentums in der geistigenEntwicklung der Menschheit, worauf der Wallfahrtsweg des Sängers symbolischhinweist. Beachten wir: Der heidnische Sänger zieht vom Hellas nach Palästina,um dort den Christlichen Glauben anzunehmen. Danach zieht der christianisierteSänger ins Morgenland, um dort mit dem poetischen Wort Christus zu verkünden.Der Weg, den der Sänger vollzieht, ist der poetisierte Apostelweg. Ich denke,dieser Zusammenhang ist von Anfang an auffallend. Der ganze Weg des Sängerssteht also unter dem Zeichen von Christus. Daher ist es nicht zufällig, daß beiNovalis die Wende, der Beginn der neuen und letzten Stufe (das goldene Zeitalter,die existenzielle Synthese) in der geistigen Geschichte der Menschheit, mit dempoetisch aufgefassten christlichen Gott, mit dem poetisierten Christusbild verbundenwird (und nicht mit einer utopischen Herstellung der Weltreligion). Davonausgehend kann bei Novalis in der 5. Hymne von einem Projekt der Weltreligionkeine Rede sein. Indem Novalis mit dem historischen Stoff romantisch-ironisch umgeht unddie historischen Tatsachen aus eigener Sicht umarbeitet, erreicht er in der 5.Hymne aufgrund seiner poetischen Einbildungskraft die Fiktionalisierung derempirischen Weltgeschichte. So gibt es für Novalis in der Weltgeschichte keineWidersprüche, keine unterschiedlichen historischen Epochen und kulturellenRäume, sondern die Menschheitsgeschichte wird von ihm als ein spirituelles Ganzesaufgefasst, in dem es keine geistige Zerrissenheit gibt. In ihrem Zentrum steht fürNovalis Jesus Christus.
Bibliographie
Novalis 1977-1988: Schriften. Die Werke Friedrich von Hardenberg;hrsg. von P. Kluckhohn und R. Samuel, in 4 Bdn und 1 Begleitband, 3.Aufl., Stuttgart.
Novalis 1981: Werke in einem Band, hrsg. von H-J Mähl, Carl HanserVerlag, München/Wien.
Schulz, Gerhard 2001: Kommentar zu den Hymnen an die Nacht; in: Novalis,Werke, hrsg. und kommentiert von G. Schulz, 4. Aufl., Verlag C. H. Beck,München/Wien.
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d a n a r T id a n a r T id a n a r T id a n a r T id a n a r T i
adamianis mexsierebis daxasiaTebisasgamoyofen mis Semdeg funqciebs: informaciisdagrovebis, amocnobis, moZiebis da gamoZaxebis(kubriakova et al.1996: 11-12). kognitologTagansakuTrebul interess iwvevs is enobrivierTeulebi, romlebic freimuli ti piskognituri struqturebis aqtivacias iwveven(kubriakova et al. 1996: 12-13). dakvirvebam
Unquiet flows the NevaOops! There goes Linda Blandford (March 4) choosing politely to overlook
how few denizens of culturally-benighted Los Angeles can pick up on the referencemade by that city’s L’ermitage hotel to Leningrad’s museum.
Perhaps it would be equally polite of me to pass over the fact that L’ermitagein Leningrad stands by the River Neva - whereas three sentences earlier theerudite Ms Blandford erroneously has the Neva flowing through Moscow.
John Western,Temple University, Philadelphia
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moyvanili sagazeTo werili (dabeWdilia rubrikis Letters to theeditor – qveS) warmoadgens Sorisdebul oops-is werilobiT diskursSigamoyenebis saintereso nimuSs. avtoritetuli inglisurenovanileqsikonebisa da informantebis monacemebis Tanaxmad Sorisdebulioops araoficialuri registrisaTvis, ZiriTadad zepirmetyvelebiTidiskursisTvis aris damaxasiaTebeli. man SeiZleba gamoxatosindividis gaoceba, wuxili, erTgvari mobodiSeba moulodneli, xSiradindividis mouqnelobiT gamowveuli marcxis gamo (gansakuTrebiTraime nivTis dagdebis SemTxvevaSi). oops gamoiyeneba agreTve Secdomisgasworebisas, magaliTad warmoTqmiTi Secdomis (esec xom garkveulitipis marcxia) an Secdomaze yuradRebis gasamaxvileblad, imisxazgasasmelad, rom es uneblied moxda.
moyvanil werilSi oops amaxvilebs redaqtorisa da mkiTxvelisyuradRebas `The Guardian Weekly~-s 1984 wlis 4 martis nomerSigamoqveynebul linda blendfordis publikaciaSi daSvebulgeografiul Secdomaze – publikaciaSi moskovi moxseniebuliarogorc nevaze gaSenebuli qalaqi. amiT aixsneba zemomoyvaniliwerilis saTauri `Unquiet flows the Neva~. diskursis markerisfunqciiT naxmari oops romelic werilis pirvelsave abzacSi gvxvdeba,i pyrobs adresatis yuradRebas da auwyebs mas garkveuli tipismarcxis Sesaxeb. es qmnis oops-iT ganxorcielebuli ostensuriqmedebis informaciis pirvel bazisur Sres. marcxis ti pisdakonkreteba (am SemTxvevaSi es aris reportioris Secdoma) werilSixdeba. Sesabamisad oops-iT ganxorcielebuli ostencia rele-vanturobis garantiis matarebelia. igi adresantis intenciis –miuTiTos Secdomaze da ganmartos igi – implikacias Seicavs. oops-is meSveobiT werilis me-2 abzacSi mocemuli eqsplicituri ganmartebaufro TvalsaCino xdeba, es ki uadvilebs mkiTxvels Setyobinebisinterpretacias. sayuradReboa, rom oops aRniSnul werilSi asrulebserTgvari Semarbilebeli zRudis (hedge) funqcias. werilSi Cansavtoris ironia magaliTad linda blendfordis mimarT naxmarepiTetSi the erudite Ms. Blandford, oops-is gamoyenebiT ki (rogorcaRiniSna, oops uneblie, SemTxveviT Secdomas gulisxmobs) xdebaironiis Serbileba. moyvanil magaliTSi oops globaluri markeria,is teqstis Semkvreli enobrivi erTeulia – misi meSveobiT aRniSnulisagazeTo teqsti amyarebs mimarTebas rogorc eqstralingvistur,aseve lingvistur konteqstTan; erTi mxriv, oops warmoadgens reaqciaswinare diskursze (gazeTis wina gamoSvebaSi dabeWdil publikaciaze)da am mxriv moyvanili sagazeTo werili warmoadgens ufro farTo
– Ëóêöèé, íåìåäëåííî îòêðîéòå! ×òî çà ðåáÿ÷åñòâî! - æèðíûìãî ë îñ îì â çûâàë èç êîðèäîðà Ñîë îä î â í è êîâ , ïðåäñåäàòåëü ññóä í î -êðåäèòíîãî òîâàðèùåñòâà «Äîáðûé ñàìàðÿíèí». - Ìû ñëîìàåì äâåðü!
Ëî ì àéòå, âàøå ñòåïåíñòâî, óñìåõ í óëñÿ Êî íñòàíòèí Ëüâîâè÷, ñòî ÿïåðåä âûñîêèì ñòàðèííûì çåðêàë îì. Äâåðü äóá î âàÿ, ñêî ð î í å ï îääàñòñÿ.À äî ïîëóíî÷è îñòàåòñÿ âñåãî òðè ìèíóòû. Êàêèõ-òî òðè ìèíóòû, èâåê çàêî í÷èòñÿ. Âìåñòå ñ íèì çàêî í÷èòñÿ è îòñòàâ í îé øòàáñ-ðîòìèñòðËóöêèé ïîãóáëåííûé ñòðàñòÿ ì è è ìà ì î í î é . Áóäü ïðîêëÿò òî ò äåíü è÷àñ, êî ãäà î í , ëþáè ì åö ì îñêî âñêèõ ðåïîðòåðîâ, ãåðîé Àáèñññèíñêî éêà ì ïà íèè , ñ îãëàñèëñÿ ñòàòü óïðàâëÿþùèì ýòî é ï îäëîé êó ï å÷åñêî éëàâî ÷êè . Ï îëüñòèëñÿ íà æàë î âàíüå, òðåõýòà æ í û é îñîáíÿê, õî ð î ø è éâûåçä. Ëó÷øå áû îñòàëñÿ â ïîëêó - ãëÿäèøü, ýñêà ä ð î í îì á û óæåêî ì à í ä î âàë...
Óâ û, äåâÿòíàäöàòûé âåê íåóì îë è ì î îòñ÷èòûâàë ñâî è ï îñëåä í è åñåêóíäû. Ñàì æå Êî íñòàíòèí Ëüâîâè÷ ýòî è ä îêàçàë - íåäåëþ íàçàä,í à ð îæäåñòâå íñêî ì á àëó â Àíãëèéñêî ì ê ë óáå . Øåë î áû÷ íûé âí û í å ø í å ì ñåçî í å ñ ï î ð î òî ì , êî ãäà í à÷íåòñÿ äâàäöàòûé âåê -ñëåäóþùåé çèìîé, ñ 1901 ãîäà, èëè æå íûíåøíåé, 1 ÿíâàðÿ 1900-ãî...
moyvanili nawyveti warmoadgens moTxrobis sawyiss monakveTs,romelSic Tavidanve gamoikveTeba kontrasti or gansxvavebul samyaros– raindul, oficruli Rirsebis epoqas – me-19 saukunesa dapragmatul, damdeg me-20 saukunes, da mTavari gmiris xedviT masTanasocirebul vaWrukanaTa wress Soris. warsulis dabrunebaSeuZlebelia, mTavari moqmedi piri, lucki mwvaved aRiqvams warmavalidrois majiscemas, daundobel dros veraferi ver SeaCerebs damasTan erTad Cabardeba warsuls me-19 saukunesTan asocirebulifaseulobani, masTan erTad Cabardeba warsuls luckis, rogocpirovnebis is nawili, romelic am faseulobebiT cxovrobda.ususuroba warmavali drois winaSe, ganuxorcielebeli ocnebebi dagegmebi da amiT miyenebuli tkivili da sinanuli – yovelive amanmTavari moqmedi piri TviTmkvlelobis mcdelobamde miiyvana, yovelivees aris Caqsovili Sorisdebul óâû-Si, romelic qmnis aRniSnulimonakveTis moduss, mkiTxvels karnaxobs im tonalobas, romelSicunda iqnas wakiTxuli moTxrobis es nawili. sayuradReboa, romóâû asocirdeba poetur, mxatvrul da naklebad yofiT metyvelebasTan,
bartleti 1932:bartleti 1932:bartleti 1932:bartleti 1932:bartleti 1932: Bartlett F. C., Remembering : A Study in Experimentaland Social Psychology, Cambridge: CUP 1932.
van deiki 1van deiki 1van deiki 1van deiki 1van deiki 1986:986:986:986:986: van Dijk, Prejudice in discourse: An analysis of ethnicprejudice in cognition and conversation. Amsterdam,1986.
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kubrkubrkubrkubrkubriakova iakova iakova iakova iakova et al. 1996: Êóáðÿêî âà Å.Ñ., Äå ìüÿ íêîâ Â.Ç,, Ïàíêðàö Þ.Ã., Ëóçèíà Ë.Ã., ñ Êðàòêèé ñëîâàðü êîã íèòèâ íûõ òåðì è í î â,Ì î ñ ê â à,1996.
minski 1minski 1minski 1minski 1minski 1975:975:975:975:975: Minski M., “ A framework for representing knowledge’, in:(ed..) Winsto, P.H., “The Psychology of Computer Vision”, New York:McGraw-Hill.1975.
sperbersperbersperbersperbersperberi,i,i,i,i, uilsoni 1 uilsoni 1 uilsoni 1 uilsoni 1 uilsoni 1986:986:986:986:986: Sperber D., Wilson D., Relevance:Communication and Cognition, Oxford: Basil Blackwell, 1986.
taneni 1taneni 1taneni 1taneni 1taneni 1979:979:979:979:979: Tannen D., What’s in a frame? Surface evidence for underlyingexpectations , in ( ed,) R. O. Freedle 1979.
filmori 198filmori 198filmori 198filmori 198filmori 1982: Fillmore Ch. J., Frame Semantics//Linguistics in the morningcalm; Selected papers from the SICOL, Seoul,1982.
Senki,Senki,Senki,Senki,Senki, abelsoni 1 abelsoni 1 abelsoni 1 abelsoni 1 abelsoni 1977:977:977:977:977: Schank R. C., Abelson R.P., Scripts, plans, goals,and understanding: An inquiry into human knowledge structures, Hillsdale(N.J.), 1977
Carniaki 1975:Carniaki 1975:Carniaki 1975:Carniaki 1975:Carniaki 1975: Charniak E., “Organization and inference in a frame-likesystem of common-sense knowledge” in: (eds.) R.C.Schank and B.I. Nash-Webber, 1975.
heizi 1979heizi 1979heizi 1979heizi 1979heizi 1979::::: The Logic of Frames , in (ed,) D. Metzig 1979.
òîðãî â û é ä îì Ãðàíä, 1999.simboloTa leqsikoni: simboloTa leqsikoni: simboloTa leqsikoni: simboloTa leqsikoni: simboloTa leqsikoni: Ñëîâàðü ñèìâîëîâ. http://simbols.ru/havierhavierhavierhavierhavieri 1i 1i 1i 1i 1983:983:983:983:983: Xavier Leon-Dutour. Dictionari of the New Testament: French
SemoqmedisaTvis es sabediswero riskicaa im sazogadoebaSi, ro-melsac, sazogadod, istoriul gamocdilebiT mocemulobaSiupiratesad uZevs (ga)Tavisufleba, rogorc procesi da araTavisufleba, rogorc mdgomareoba. aman ki ucnauri sazogadoebrivieTika Camoayaliba – uReli moraluria, amdenad savaldebuloc, radganpoziciurad mxolod masTan (uRelTan) SeiZleba gaformde. gardaamisa, es pozicia uflebas ar gitovebs darCe pirispir, marto(gnebavT uRelTan) – es xom koleqtiuri poziciaa, sadacpasuximgebloba yvelasia da aravisi..
marTalia, am „poziciur gaformebaSi” politikuri uRl(eb)isagangaTavisuflebis Suasaukuneobriv-feodaluri paTosi dResac(saubedurod) uadgilo ar aris (Siga da gare politikur realiaTagaTvaliswinebiT...), magram am paTosma imTaviTve (vgulisxmobT 80-90-ian wlebs) saSiSi stereotipuli ganvrcoba SeiZina, racgamoixateba realuri Tavisuflebis siZulvilSi, radgan igi ko-leqtiuri poziciuri midgoma ki aRaraa, aramed piradi, individualurimdgomareoba, romelSic pasuxismgeblobis xazi mxolod pirovnebazegaivlis..
piradi pasuxismgebloba pirad Sexedulebebze gadis, piradiSexedulebebi – pirad gamocdilebasa da istoriaze, aq ki CixSiSevdivarT, radgan CvenSi jer kidev dominanturi iyo (da garkveuladdResac rCeba) istoriis orgvari „narativi” – sxvisi istoria da
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eris istoria; mudmivad „gadavwerT”, vimeorebT, vizepirebT xolmean erTs, an meores, an – xan erTs, xan – meores (aseT SemTxvevaSi„namdvili teqstic” SeiZleba daikargos da misi wamkiTxvelic).es ki imas niSnavs, rom raRac udavod Seicvleboda, imitom, rom...unda Secvliliyo! (istoriasa da Tanamedroveobas „sqolioSi” maincunda gakeTeboda „piradi komentarebi”...), mxolod SemoqmedebiTadgadaazrebulma piradma gamocdilebam SeiZleba azidos yveladawerili Tu dauwereli teqsti, mxolod ase SeiZleba gaTavisuflebagavlenaTa da ZaladobaTa yovelgvari uxamsobisagan!
rogoric Cvena varT, Cveni samSobloc iseTia. Tu raimea CvensxelSi, es samSoblos bedia. misi bedi yvelaze mTavaria, radgan igiCveni bedicaa. erTica da meorec iTxovs ukeTesi iyos, Tu bedma arisurva da am „bedkrulma qveyanam” yvela omi windawinve ar waago!..
literatura, xelovneba sazogadoebis Tavisuflebis testi iyoyovelTvis (diax, literatura da xelovneba da ara rusuli bazebisada ama Tu im xelisuflebis winaaRmdeg brZola, romelTagangaTavisuflebis pirovnul-moqalaqeobrivi pasuxismgeblobiTi poziciaiseve saeWvoa, rogorc 70%-iani Tanxmobisa da erTsulovnebissafuZveli natoSi Sesvlaze...).
Tavisufleba, ga-Tavisufleba, erTi mxriv, kliSeebisagan,stereotipebisagan, meore mxriv, mwvervalebisagan, romelic isevetotalurad batonobs azrovnebis Tavisuflebis xarisxze, rogorcpirveli da ara nakleb axdens cnobierebis uzurpaciasa da stagnacias,qarTuli literaturuli perspeqtivis sarisko gamowveva aRmoCnda,metic, igi gardauvalic iyo. es gamowveva sakmao gabedulebiTa daepataJurobiT iqna miRebuli.
Cveni saubris sagans ar warmoadgens am gamowvevis yvelakulturuli da mxatvruli waxnagis analizi. Tumca, „Txrobisparodiuli modusi” qarTuli postmodernistuli literaturisglobalur amocanaTa gasaRebia, mTeli teqstualuri sivrcis simZimiscentric.
magram aq umal erTi uxerxulobis winaSe aRmovCndiT: rocaliteratura msoflmxedvelobrivi sakiTxis „ilustracia” dastrategia xdeba, igi meorad mniSvnelobas iZens, am dros Tavadliteratura, mxatvruli sityva, rogorc fenomeni „ikargeba” damisi konotaciuri mniSvneloba xdeba pirveladi. garda amisa aqliteraturuli procesebis sruli masStabic fragmentulia daarasruli da garkveul tendenciaTa moniSvnis farglebs ar scildeba...
magram burWulaZis romanebSi es ironiuli desakralizacia mTelisiuJeturi da simboluri planiT groteskis ganviTarebas iZens,rac gamoixateba SemdegSi: yofierebis absurdulobayofierebis absurdulobayofierebis absurdulobayofierebis absurdulobayofierebis absurduloba (politikur-ideologiuri SinaarsiT gansakuTrebulad aqtualizebuli romanSi„saxareba virisa” mweralTa kavSiris krebis saxiT, romelzecganixileboda galaktionis arasabWoTa sizmrebi. „sabWoTa mweraliunda xedavdes meqanikur sizmrebs,romelic savse iqneba bednierisakolmeurneo cxovrebiT”saxreba virisa”.gv85)..), kulturul-kulturul-kulturul-kulturul-kulturul-sulier da yofierebis RirebulebiT korelatTa gaTiSvasulier da yofierebis RirebulebiT korelatTa gaTiSvasulier da yofierebis RirebulebiT korelatTa gaTiSvasulier da yofierebis RirebulebiT korelatTa gaTiSvasulier da yofierebis RirebulebiT korelatTa gaTiSva(((((„..romeliRac meorexarisxovan moTxrobaSi gamoyenebulSorisdebulze rom daicav kaci sakandidatos amaze mamuliSvilurisaqme raRa gindaT.”..„saxareba virisa”102 an „..wamovwvebodi leRvisCeroSi da aRarafers aRar vifiqrebdi. aramed gavakeTebdi imas,rasac Cemi winaprebi akeTebdnen, anu yovelgvari fiqris gareSeavuwyobdi bunebas fexs...” „mineraluri jazi”gv135), TviTironiaTviTironiaTviTironiaTviTironiaTviTironia(„...ara mgonia sakuTari Tavis iseTi metkbe da nebuke sxvaca naxoT,me rom var”... „mineraluri jazi” 9), xalxur da literaturulxalxur da literaturulxalxur da literaturulxalxur da literaturulxalxur da literaturulidiomaTa da mxatvrul saxeTa miznobrivi kalkireba-idiomaTa da mxatvrul saxeTa miznobrivi kalkireba-idiomaTa da mxatvrul saxeTa miznobrivi kalkireba-idiomaTa da mxatvrul saxeTa miznobrivi kalkireba-idiomaTa da mxatvrul saxeTa miznobrivi kalkireba-parodirebaparodirebaparodirebaparodirebaparodireba („(„(„(„(„ase vnebiT, ase JiniT da amgvari gatacebiT mgonimarto zevsi aWdobda ukvdav tuCebs neqtriani Tasis kideze...”„saxarba virisa” gv.67, „...muram uneblied gulamoxvinCviT daiwyo
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askecad cremlTa dineba”, „mineraluri .jazi”130 „...CemTvis dResaviTaris naTeli, Tumca amavdroulad sulerTia ras ityvis CemzeSTamomavloba, magram vici STamomavlobisTvis araa sulerTi rasvetyvi me mas,” „mineraluri jazi”gv.142), simulakrebi religiursimulakrebi religiursimulakrebi religiursimulakrebi religiursimulakrebi religiurda filosofiur Teda filosofiur Teda filosofiur Teda filosofiur Teda filosofiur Temebze (mebze (mebze (mebze (mebze (imTaviTve jer Tavad saTauri romanisa„saxareba virisa”; „...ra vqna, Zvelebur yaidaze gaxlavargazrdili,mtkiced mwams ,rom raJams adamis Ze ufals ganudgeba,bunebriv rids dakargavs wmindanTa mimarT, xatebs, mamaTa salocavsSemurtlavs da Seaginebs da sakuTri bedis mowyobas TviTon anuufalTan SeTanxmebis gareSe Seecdeba, zustad emaSin waxdeba misisaqme....aq SeiZleba Semomedaon, zemoT ar iyo, rom cinikosobdi,odenqristes kvarTma da ciskris locvam rogor unda dagvicvaso?Tumca es mxolod adasturebs Cems azrs. qvesknelis yovlismnTqmelida musris gamvlebi WiaRuebis kerZi Seviqne,da Seviqnebi kidec, amisdardi Tu geqnebaT, Cemo batonebo,odnav gadaWarbebuli an zemoT TumeTqvas, an axla Tu vambobde. xan mwams, xan eWvis Wia mxravs. egrea,adamieni var da araferi adamianuri ar meucxoeba..” „mineralurijazi” gv.127-128 an – „...gulaxdilad rom mogaxsenoT sul mTladgamotvinebulxarT Tu marTla ggoniaT, rom me am kiTxvaze gipa-suxebT.ise, miniSnebiT, SemiZlia miganiSnoT, sad unda daazustoT:pasuxi ix. „jadosnuri mTa”, Tavi meeqvse, „cvlilebani” ,.Tumca kiminda gagafrTxiloT,rom sul amaod daSvrebiT da mocdebiT, TuzemoTa TavSi marTla CaixedavT, rameTu igive iqneba, Tuki aristotelesmetafizikas, anda imave metafizikaze darTul Toma aqvineliskomentarebs im imediT CaabulbulebT, rom rasme gaigebT...” „mineralurijazi” gv134).
avtoris niRabSi mTlianad an nawilobriv reducirebuli ironiisazrobrivi ukufenaa. da roca mwerali ambobs „me ar vici rogoriwereba kargi wigni,” es unda niSnavdes imas, rom man ar icisrogor unda moeqces, ra uyos am sicarieles – itiros Tu icinos!groteskis saSualebiT avtori dualisturad wyvets emociuri daracionaluri recefciis sakiTxs, riTac erTsa da imave drosuzrunvelyofs aRqmis demokratiasac, Txrobasa da impliciturmkiTxvels Soris komunikaciuri aqtis warmatebulobas da aseveavtoris niRbis ironiul, damcinav orazrovnebas, romelic miemarTebaklasikuri „gulubryvilo” aRqmisaken (aRmqmelisaken), stereotipuliwakiTxvisaken (wamkiTxvelisaken), ris molodinsac avtori Riad,ironiulad adasturebs xolme Tavis SemoqmedebaSi.
yovel droSi, epoqaTa zRvarze, tradiciiTa da warsuliTepigonobasa da auTvisebel siaxleTa mimbaZvelobas Soris arcTudidi adgili rCeboda xolme WeSmariti siaxleebisaTvis, anu istoriisrealuri dasrulebisa da Semdeg axal formebSi misi kvlavaRdgenisaTvis... SeiZleba vilaparakoT da vikamaToT imis Sesaxebac,arsebobs Tu ara saqarTveloSi postmodernistuli realoba, romelicmoiTxovda literaturuli procesebis kursis iseT cvlilebas,romelic bolo periodis qarTul sinamdvileSi postmodernistuliTeoriisa da praqtikis talRis agorebas mohyva... amJamad imisganxilva, arsebobs Tu ara saqarTveloSi iseTi „yofiereba”, romelicgansazRvravda postmodernistul cnobierebas, Tu piriqiT, daromlisganac bunebrivad daibadeboda axali literaturuliproduqti, arc warmoadgens Cveni saubris sagans.
faqtia, arsebobs da iqmneba literatura, romelic cdilobsdaarRvios dro-sivrculi lokali, werisa da aRqmis stereotipi.
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Sesabamisad, Teoriuli da kritikuli recefcia erTaderTi gzaa amprocesisa da misi Sedegebis WeSmariti TviTRirebulebis dadge-nisaTvis.. am TvalsazrisiT ki saTqmeli jer kidev bevria dawyebuliliteraturuli ierarqiebisa da reputaciebis dadgena-gansazRvridan,damTavrebuli gemovnebisa da literaturuli cxovrebis problemebiT...
wigniSi eseebi, Tb., 1989.Tanamedrove...Tanamedrove...Tanamedrove...Tanamedrove...Tanamedrove... 1999: Ñ î â ð å ì å í í îå çàðóáóæ í îå ëèòåðàòóðîâåäå íèå Ì . ,
1999.iurkovi 2001:iurkovi 2001:iurkovi 2001:iurkovi 2001:iurkovi 2001: Ñ.Å. Þðêî â , Ï îñ ò ì îäåðíèçì : ï ð è áëèæåíèå ê àíòè-
ì è ðó; Ì àòåðèàëû í àó ÷ í î é êî íôåðå íöèè 11. î êòÿáðÿ 2001 ã. Ñåðèÿ“Symposium”, âûïóñê 16. ÑÏá, 2001.
nicSe 1993:nicSe 1993:nicSe 1993:nicSe 1993:nicSe 1993: nicSe f. ase ityoda zaraTustra, Tb., 1993.wifuria 2008:wifuria 2008:wifuria 2008:wifuria 2008:wifuria 2008: wifuria b.postmodernizmi; ix;literaturis Teoria
k u l t u r i s s e m i o t i k ak u l t u r i s s e m i o t i k ak u l t u r i s s e m i o t i k ak u l t u r i s s e m i o t i k ak u l t u r i s s e m i o t i k a
marginalobis filosofiur ganazrebas win uswrebda am fenomenisasaxva da ganmtkiceba xelovnebaSi – a. kamius `ucxo~, beketis`godos molodini~, e. ioneskos martorqebi~, selinjeris da kepotes,v. kafkas, J-p. sartris nawarmoebebi da sxva.
msoflio omebma da revoluciebma naTlad warmoaCines, rommarginaloba nebismieri adamianisTvis sruliad bunebrivi da
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mosalodneli mdgomareobaa. e. gidensis azriT, Tanamedrove kacobriobaukve ara imdenad progresisa da sayovelTao keTildReobisken iRwvis,risi imedic dakarguli aqvs, aramed riskebis Semcirebisken, imitomrom kargad aqvs gacnobierebuli normis~ myisiereba da mowyvadoba.
srulebiT kanonzomieria, rom marginaloba gamoyenebadi gaxdaara marto sociologiaSi, aramed kulturis filosofiaSi. kontrkul-turis fenomenebi sxva araferia, Tu ara marginalobis aRzeveba daZiriTadi kulturis tolfasovani statusis damkvidrebis mcdeloba.marginalobis filosofiuri cneba axasiaTebs sxvadasxva kulturulifenomenebis specifiurobas da vrceldeba dominirebuli diskursisgareT. is ar ewereba azrovnebis gabatonebul paradigmaSi. sworedmarginaluri amzeurebs kulturis magistraluri mimarTulebiswinaaRmdegobebsa da paradoqsebs. baxtinis azriT, kultura xor-cieldeba kulturaTa sazRvarze. mqadageblebi da xelovanebimidrekilni arian marginalobisa da liminarobisken.
Amdenad, marginaluri Rebulobs progresulis mniSvnelobasayalibebs ra kontrkulturas. avstrieli istorikosi da kulturisTeoretikosi Eernest hans gombrixi amtkicebs, rom yvelaferi, rasacdRes uwodeben Tanamedrove xelovnebas, amoizarda daukmayofi-leblobis grZnobidan. sul ufro metad aRiareben, rom XX saukunisxelovneba da mTlianad kultura marginaluria.
rodesac vlaparakobT marginalizaciaze, rogorc Tanamedrovekulturis erT-erT umniSvnelovanes maxasiaTebelze da misi rogorckontr-kulturis efeqtze, srulebiTac ar vgulisxmobT, rom Tavadkulturis Semoqmedni arian socialuri marginalebi. marginaluriamaTi xedva, midgomebi, marginaluria maTi gemovneba. sainteresoa raiwvevs am gansxvavebuli Rirebulebebis gaCenas da damkvidrebas. ratomuCndeba xelovans moTxovnileba Secvalos arsebuli kanonebi, stili,arsi. ueWvelia, rom novatorobis~ am aqts, moTxovnilebas didwiladiwvevs Cveulis, kargad Camoyalibebulis, mravaljer gameorebulismoyirWeba da amis Sedegad warmoqmnili mowyenilobis gancda.
filosofosTa umravlesoba mowyenilobis fenomens ganixilavsrogorc borotebas, Tumca aseTi Sefaseba maSinve mexamuSeba, ra wamsvixseneb oblomovs an germantebisken moseirne svans, prustis romanisgmirs.
SemTxveviTi ar aris, rom valter beniaminovi apirebda mowyeni-lobaze wignis daweras. mowyeniloba xom gaugebrobaSi arsebuliadamianis grZnobaa da swored am gaugebrobidan gamosvlis surviligvibiZgebs gaazrebisa da Semoqmedebisken. mowyenilobaze werda bevrifilosofosi da mwerali dawyebuli paskalidan, damTavrebuli iseTiTanamedrove mwerlebiTa da filosofosebiT, rogoricaa kamiu ankortasari. solomonis amaoebac sxva araferia, Tu ara mowyenilobis
Ffernando pessoa ase wers mowyenilobaze: mowyeniloba - imdenadeqstremaluri grZnobaa, rom misi damarcxeba ar SeiZleba TviTmkvlelobisaqtiTac ki, es SesaZlebelia martooden raRac SeuZleblis gziT,martooden iseTiT, rac saerTod ar arsebobs bunebaSi~.
swored am moZlierebuli mowyenilobiT Tanamedrove cxovrebaSiaixsneba Tanamedrove adamianis miswrafeba garTobisaken, sainteresos~Ziebisken, rac meorexarisxovnad xdis WeSmariti Rirebulebebiskenswrafvas. am fenomenis gamoxatulebaa sayovelTaod gavrcelebulimasobrivi kultura, romelic inteleqtualTa yuradRebasacimsaxurebs, Tundac maT es uaryon. masobrivi kultura xom sworedTavisi cvalebadobiT, myisierebiT, siWreliT gamoirCeva, Tavisi mudmiviganaxlebiT. masobrivi kulturis erT-erT umniSvnelovanes da Zalianpopularul saxeobas warmoadgens moda, top-modelebis monawileobiTdidi defile, rac warmoadgens `axlis mudam dabrunebas~, valterbeniaminovis sityvebiT. roca vsaubrobT modaze, upirveles yovlisavgulisxmobT swored mis sanaxaobriv mxares, romelic yvelazemetad tansacmlis warmodgenaSi warmoCindeba, magram Tanabrad SeiZlebavilaparakoT modaze nebismier sxva sferoSi – avtomanqanebi, aveji,samkaulebi, telefoni da a.S.
modis nimuSi rogorc movlena ar saWiroebs gansakuTrebulxarisxs, is unda iyos axali, yovelTvis axali. uwyvetad undaiqmnebodes axali sagnebi, obieqtebi da stilebi. modasTan dasazogadod mas-kulturasTan dakavSirebiT Cndeba reklamis cneba.Tavad reklamac masobriv kulturas miekuTvneba didwilad. reklamaaucilebelia masobrivi kulturis obieqtis gasasaReblad, gasayidad.amisTvis reklama cdilobs warmoaCinos reklamirebadi obieqtisgansakuTrebuloba, Tavisebureba, xarisxi. xSirad bevr reklamirebadobieqts reklama enacvleba da reklama cxovrobs damoukideblad,rogorc erTi raRac sfero, romelic sxva sferoebTan erTadsazogadoebas gars axvevia. sazogadoebaSi, sadac umTavresi roliinformacias miekuTvneba, da es informacia v. beniaminovis TqmiT,gamudmebiT unda ganaxldes, gamocdilebis aqciebma fasi dakarges~.informacia da arsi ki Zalian gansxvavebuli cnebebia. Tanamedroveadamianis cxovreba mowyenilobis gadalaxvaa, romelmac is Seipyro,imis Semdeg, rac gauCnda bevri Tavisufali dro.
kulturis filosofiiT dainteresebuli adamianebisTvissainteresoa swored mowyenilobis mesame da meoTxe tipi. egzis-tencialuri mowyeniloba SeiZleba gaCndes gamocdilebis simcirisgamo. am mowyenilobis gadalaxvis mcdelobisas adamiani eZebs sulufro da ufro axal SegrZnebebs imis magivrad, rom TandaTanobiTmiiRos gamocdileba.
adamiani, romelic realur cxovrebaSi ver poulobs kmayofilebas,romelic gulgacruebulia da amdenad mowyenili, qmnis gamogonilsamyaros. mowyeniloba stimuls aZlevs SemoqmedebiT aqtiobas. xSiradswored xelovnebaSi hpovebs adamiani wonasworobas da harmonias.bevri mwerali da moazrovne miiCnevs, rom mowyeniloba rCeulTasuls axasiaTebs da naklebadaa cnobili mdabioebisTvis. ase miiCnevenleopardi, Sopenhaueri, kirkegori, nicSe da sxvebi. nicSe miiCnevs,rom mowyeniloba win uswrebs kreatiul, SemoqmedebiT moqmedebas.SemoqmedebiTi naturis adamianebisTvisaa damaxasiaTebeli mowyeniloba,martivi da mdabio naturebi ki cdiloben moicilon igi, gaeqcnenmowyenilobas. nicSesTvis adamiani Tavs ganamtkicebs imiT, rom Tavsganixilavs Tanamedrove samyaroSi rogorc sixaruls. es sixaruliiswrafvis maradisobisken, magram es maradisoba cirkularulia daara wrfivi. maradisoba axlaa. mowyenilobas misi gadalaxvisSemTxvevaSi sixarulis motana SeuZlia. magram es sixarulizeadamianuria, maSin rodesac mowyeniloba adamianuria, metismetadadamianuri. magram mowyenilobis gadalaxva yvelas ar SeuZlia, Tumcayvelam unda scados.
miuxedavad imisa, rom nicSes egzistencialistebs ver mivakuTvnebT,SesamCnevi gaxdeba erTgvari paralelizmi Tu maT naazrevs mowyenilobisgaazrebis kuTxiT ganvixilavT, nicSesa da egzistencialistebisTvalsazrisiT adamianze. kamius mowodeba, rom adamiani aujanydesubedurebebs _ sikvdils, avadmyofobas, sinacisfres, mowyenilobas _enaTesaveba nicSeseul zeadamianisken swrafvas, xolo sartris ideaadamianis unarze gaakeTos `swori~ arCevani da ar darCes mcdaricdunebebis msxverpli, swored mowyenilobis daTrgunvis gzaa.
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mowyenilobaze saubrisas aucileblad Cndeba ironiis Tema.mowyenilobaSi TiTqosda araferi komikuri ar aris, magrammowyenilobisas gaaqtiurebuli gaazrebisa da analizis procesebiueWvelad ironiasac Seicaven. Tavis TavSi Caflul adamians arSeiZleba ar hqondes ironia. niSandoblivia romantikosTa gan-sakuTrebuli ironia, rodesac awmyoTi, realurad dRes arsebuliTgulgacruebulebi da mowyenilebi isini cxovrebis arss, mSveniersda keTils eZeben warsulSi, Soreul qveynebSi, velur bunebaSi.ironiiTaa gamsWvaluli sartris piesa `daxuruli WiSkari~ (`huitclos~). cvlileba da siaxle arRvevs erTferovnebas da jojoxeTisxva araferia, Tu ara Cven TviTon, rodesac cudi, yalbi arCevanisSedegad, samudamo mowyenilobas vimkiT, rodesac Tvalis xamxamisunaric ki dakargulia da aRmoCndeba, rom xamxami es Tvalis dasvenebaa,sixalisea, Svebaa.
mowyenilobis fenomeni metad arsebiTia semuel beketisTvis damiuxedavad imisa, rom mxatvrul nawarmoebebSi, piesebSi is am sityvasTiTqmis ar iyenebs, mowyenilobis Tema misTvis umTavresia da bevrinawarmoebisTvis ganmsazRvrelic. misi adreuli ese prustze~ sworedmowyenilobas exeba. Tavis ganTqmul piesaSi `godos molodinSi~mowyenilobis komikurobas aRwers, es mowyenilobis komediaa.
`xelovneba – es STagonebuli simartivea~, komunikacia SeuZlebeliada nebismieri xma, sityva matyuaraa, is gulgrilia imis mimarT,rasac ambobs. yvela velodebiT didi patiebis dRes, raRac diaddRes, magram dadgeba ki es dRe?
mowyeniloba ganimarteba aq rogorc personaluri arsisararseboba. adamians araferi darCenia, garda imisa, rom elodosaxali arsis gaCenas, povnas. magram es lodini usasruloa da uSedego.
sainteresoa, rom egzistencializmis da absurdis ganviTarebaukavSirdeba axali grZnobebis, realobebis, SegrZnebebis, Tvalsazrisebis,axali Rirebulebebis ganviTarebas. Tu wina saukuneebSi mowyeniloba(da marginaloba) rogorc problema, rogorc mniSvnelovani da xSiradadamianis qcevis, qmedebis ganmsazRvreli gancda arc ganixileboda,egzistencializmi swored mowyenilobis fenomenis analizs axdens,Tumca ki TiTqosda uSualod es ar aris misi mTavari mizani. magramganixilavs ra egzistencias, arsebobas, rogorc ZiriTad cnebas,ganmsazRvrels adamianis sicocxlis arsisa, egzistencializmi gverdsver uvlis mowyenilobis fenomens.
haidegeris TvalsazrisiT, arsebobs mowyenilobis sxvadasxvasaxeebi, dawyebuli zedapirulidan da damTavrebuli egzisten-cialuriT.
haidegers surs gaaRviZos mowyeniloba, romelic SeiZleba Tvlemdes,rac Zalian saSiSia, imitom, rom is am SemTxvevaSi Rebulobs sxvadasxva
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formas, moZraobs droSi da maSin, rodesac Cven TiTqosda vebrZviTmas, is iZinebs~ da masTan erTad iZinebs filosofosobis ganwyoba,ganazrebis ganwyoba. es damangreveli Zalaa da amitom saWiroagaRviZeba. unda gaviRviZoT, raTa movaxdinoT Cveni SesaZleblobebisrealizeba. anu haidegeric frangi egzistencialistebis msgavsadmiiCnevs, rom SesaZlebelia da aucilebeli mowyenilobis gadalaxva.
mowyenilobaze msjelobisas xSirad saubroben mis damangrevelbunebaze. Sopenhaueri laparakobs imaze, rom mowyenilobam SeiZlebamiiyvanos adamianebi TviTmkvlelobamde an koleqtiur TviTmkvle-lobamde. magram xom ar xdeba es raRac ciklis, raRac `proeqtis~dasrulebis, srulyofis Sedegad, rogorc ki raRac `proeqti~sruldeba, aRwevs Tavis srulyofas, iwyeba mowyeniloba, romelicangrevs yovelive Cveuls da damdgars.
aq unda SevniSnoT, rom socialuri marginalizacia da kulturulimarginalizacia gansxvavebuli fenomenebia. kontrkulturis SemoqmedisrulebiTac ar aris aucilebeli, rom iyos socialuri marginali.socialuri marginalizacia mZime xvedria. albaT did winaaRmdegobebsejaxeba isic, vinc gansxvavebul Rirebulebebs iziarebs kulturis,xelovnebis sferoSi, magram aseTi marginalizacia ar aris damakninebeli,
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is ar axdens pirovnebis stigmatizacias da TandaTanobiT lum-perizacias. Tu socialuri marginali or kulturul Tu socialurerTianobas Sorisaa, maT zRvarzea da orivesgan gariyuli, marginali,romelic axal stils qmnis xelovnebisa Tu azrovnebis sferoSi,sruliad mowyvetilia ZiriTadi kulturis sistemas; is cnobierademijneba mas, imitom rom ar iziarebs am kulturuli sistemisideebs. socialuri marginali ki ar emijneba ZiriTad kulturas,aramed mas uWirs arCevani. is ar aris protestanti, is msxverpliaori sxvadasxva sistemisa, romelTac is erTdroulad nawilobrivmiekuTvneba da iziarebs. meore mxriv, bolomde ver esadageba misgandamoukidebeli mocemulobis gamo. SemoqmedebiTi potencialiTswored is adamiani xasiaTdeba, vinc mTlianad uaryofs wamyvan,centralur paradigmas.
krkrkrkrkristeva 1isteva 1isteva 1isteva 1isteva 1974:974:974:974:974: Êðèñòåâà Þ. «Ðåâî ë þ ö è ÿ ï îýòè÷åñêî ãî ÿçûêà.Àâàíãàðä êî í ö à XIX âåêà. Ëî òðåà ì î í è Ì àëëàðìå» Ì . 1974
naSenis naSenis naSenis naSenis naSenis morfemul-grafemuli trans-formacia naSnaSnaSnaSnaS/enad enad enad enad enad ar aris mxolod enobriviTamaSi, axali konotacia, koncepti, an semantema;gnebavT, enis areva, - diseminacia, an semiozisi.
saqme is gaxlavT, rom naSnaSnaSnaSnaS/eniT eniT eniT eniT eniT warmod-genilia iseTi ram, rac erTdroulad ma-terialuria, - naSenianaSenianaSenianaSenianaSenia da amave dros - enaaenaaenaaenaaenaa,niSanianiSanianiSanianiSanianiSania, erTicaa, meorec da arcerTia, raRacsxvaa; aRmniSvnelia, romelsac ori aRsaniSniaqvs da orive usxlteba.
asec SeiZleba vTqvaT: naSnaSnaSnaSnaS/enad enad enad enad enad warmod-genilia sityvis da sagnis, logosis da te-losis Tanamyofoba, - enis materialurobada materiis enobaenobaenobaenobaenoba (metyveleba, ritorika) -S/enobaenobaenobaenobaenoba. enis materialurobaSi vgulisxmobTimas, rac TargmanSi ikargeba. “sityvierisxeuli ar gvemorCileba, rom sxva enaSi gada-vitanoT” [derida 2000: 268].
SoTa bostanaSvili:SoTa bostanaSvili:SoTa bostanaSvili:SoTa bostanaSvili:SoTa bostanaSvili:saqarTvelos teqnikuriuniversitetis arqiteq-turis fakultetis sruliprofesori; arqiteqturissaerTaSoriso akademiisprofesori; poeti.ZiriTadi Sromebi:„arqiteqturis poetika”;„Tbilisis ritualebis sa-saxle”; “sazRvrebis kon-fliqti da urbanuli kon-fliqtis sazRvrebi”; “uri-dod da uderidod”; “pro-toposti, anu gavTend-i”.interesTa sfero:filosofia, filologia,literatura.
daviT bostanaSvili:daviT bostanaSvili:daviT bostanaSvili:daviT bostanaSvili:daviT bostanaSvili:arqiteqtori. stu-s arqi-teqturis doqtoranti.ZiriTadi Sromebi:“arqiteqtura da xelisuf-leba”,“arqiteqturis semio-logia”, “casaxle”interesTa sfero:kulturologia, lingvis-tika, literatura.
naSnaSnaSnaSnaS/eniTeniTeniTeniTeniT aRniSnulia da warmodgenilia isic, rac erTdrouladaris da arc aris; is, rac Tavis myofoba-armyofobaSi adasturebsTavis inter-esse-obas, yofna-aryofnas Soris myofobas Soris myofobas Soris myofobas Soris myofobas Soris myofobas - sainte- sainte- sainte- sainte- sainte-resoobasresoobasresoobasresoobasresoobas, polisemanturoba-diseminaciis erTdroulobas. am niSniTgvagondeba platonis “qora”. “qora ar ganekuTvneba arc eidosissaxeobas, arc mimesisis saxeobas” [derida 1998: 145]. J. deridas daarqiteqtor p. eizenmanis erToblivi wigni “Chora L Works” enobriviTamaSia qorasa da qorals Soris.
ise, arc arqiteqturaarqiteqturaarqiteqturaarqiteqturaarqiteqtura aris erTi batonis msaxuri termini(terminus - laT. sazRvris mcveli). arqiteqturaSi, arqiteqturaSi, arqiteqturaSi, arqiteqturaSi, arqiteqturaSi, konteqstiskvalobaze, vgulisxmobT, rogorc naSens (kedeli, saxli, qalaqi) damis aRkazmulobas, ise profesias; xelovnebis an/da saxalxo meurneobisdargs; zogadad ki, wesrigis romelime sivrcis mowyobis dagegmviswess, koncefcias, gegmas, struqturas da misT.
bolo xanebSi arqiteqtura arqiteqtura arqiteqtura arqiteqtura arqiteqtura metismetad metaforuli (metaphora- gadatana, gadasvla) gaxda da im gadasasvlelad gadaiqca, romliTacwesrigis sxvadasxva sivrceebi erTmaneTs ukavSirdebian (“peres-rtoikis” arqiteqtura, axali evropis arqiteqtura da sxva). ase,rom arqiteqturaze saubrisas SegviZlia naSnaSnaSnaSnaS/eniT eniT eniT eniT eniT (da í à ø eniTeniTeniTeniTeniT)vilaparakoT. “Cveni” eniT saubari ki metakritikis (da semiotikis)movaleobaa. misi valia “ara is, rom ‘aRmoaCinos’ namuSevarSi TuavtorSi raime ‘dafaruli’, ‘Rrma’ da ‘saidumlo’ rac aqamde SeumCnevelidarCa, ... aramed mxolod miusadagos misi periodis ena ... kritikulidiskursi - rogorc, ufro metad, logikuri diskursi - sxva araferia,Tu ara tavtologuroba: is mTlianad metyvelebaSi gamoixateba,Tumca mTel Tavis arss dayovnebaSi aTavsebs, ... kritikuli ‘dasabuTeba’,Tuki aseTi arsebobs, damokidebulia saTanadoobaze, ara aRmoaCinosgansaxilveli namuSevari, aramed sapirispirod, ramdenadac SesaZlebeliadafaros is sakuTari eniT” [barti 1963]. naSnaSnaSnaSnaS/eniTeniTeniTeniTeniT laparaki sworedaseT dayovnebuldayovnebuldayovnebuldayovnebuldayovnebul da sakuTarsakuTarsakuTarsakuTarsakuTar enasenasenasenasenas warmoadgens. naS naS naS naS naS/enis enis enis enis enis neografizmifukos azrsac adasturebs, rom “damwerlobis pirveladobaeWvgareSea” [fuko 2004: 79]. da erTic: naSnaSnaSnaSnaS/eniTeniTeniTeniTeniT laparaki is laparakia,romlidanac ar SegviZlia gamovitanoT saboloo ganaCeni, magrammniSvnelobs da afarToebs Cvens warmodgenebs. ai yovelive is, racSeexeba naSnaSnaSnaSnaS/enis enis enis enis enis prezentacias da mis semiotikur damkvidrebas.
SeniSvna: winamdebare teqstSi naS/enis naS/enis naS/enis naS/enis naS/enis saxeliT imuSavebs Tavadena im enis Sesaxeb, romelmac ukve moixelTa naSeni. aseTi ena gaxlavTarqiteqturis istoria, Teoria da poetika.
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aqvs Tu ara arqiteqturas sakuTari ena, mere varkvioT; axla kivaRiaroT, rom xuroTmoZRvruli refleqsiebi, tradiciulad,sametyvelo da grafikuli eniT aris davalebuli, _ diskursi danaxazia misi metaena.
aqve unda SevniSnoT, rom naSnaSnaSnaSnaS/enis enis enis enis enis gavlenis sferoebi SezRudulianaTesaobiTi (isisisisis), moqmedebiTi - (iTiTiTiTiT) da viTarebiTi (adadadadad) brunvisniSnebiT.
naSeni, naSeni, naSeni, naSeni, naSeni, rogorc saxeli (saxelobiTi brunva) enas ver atrialebs,verafers mogviTxrobs (moTxrobiTi brunva); arc miReba aqvs(micemiTi brunva) da arc subieqt-obieqtia, visac, an rasac SeiZlebamivmarToT. samagierod, “hyavs” didi sanaTesavo, moqmedebs da cvlisviTarebas.
enis da literaturis mravalsaukunovani gamocdileba SeiZlebaxuroTmoZRvrebaSi gadavitanoT da arqiteqturis poetikaarqiteqturis poetikaarqiteqturis poetikaarqiteqturis poetikaarqiteqturis poetikavuwodoT xuroTmoZRvrebasmoZRvrebasmoZRvrebasmoZRvrebasmoZRvrebas (am sityvis etimologiuri mniSvnelobiT),im teqstebs, romlebic trdiciulad warmogvidgenen naSenis arss –koncefcias da ideologias; ganixilaven naSenis esTetikis sakiTxebs:kompozicias, metrul-ritmul sistemebs, proporciebs, simetrias,perspeqtivas, orderul sistemas da misT.
metakulturis epoqaSi arqiteqturis poetika es aris refleqsiaTavad poetikaze, mis mier Se/quCebulquCebulquCebulquCebulquCebul teqstebze (rogorc naSenze,aseve nawerze) da saerTod samyaroze, sagnebsa da movlenebze, rogorcartifaqtebzeartifaqtebzeartifaqtebzeartifaqtebzeartifaqtebze. am gagebiT arqiteqturis poetika dRes – es arisarqiteqturis metapoetikaarqiteqturis metapoetikaarqiteqturis metapoetikaarqiteqturis metapoetikaarqiteqturis metapoetika , an /da n aS / e n is poetika .n aS / e n is poetika .n aS / e n is poetika .n aS / e n is poetika .n aS / e n is poetika .literaturaTmcodneobis analogiiT warmovadgenT mas sam nawilad:
arqiteqturis poetikis manifestiarqiteqturis poetikis manifestiarqiteqturis poetikis manifestiarqiteqturis poetikis manifestiarqiteqturis poetikis manifestiSeiZleba aswavlo mxolod is, Tu rogor unda iswavlos.Cemi Zalisxmeva mimarTulia arqiteqturaSi miTis da poetis
dasabruneblad, rac gulisxmobs humanitaruli azrovnebis primats– es ki bunebasTan da adamianurobasTan dabrunebas niSnavs, imisgaTvaliswinebiT, rom XX saukune ukve moxda.
memkvidreobisadmi pativiscema xels ar uSlis imis aRiarebas,rom kultura barieria, igi qmnis azrovnebis stereotips, romelicunda davZlioT.
arqiteqturis ,,geni” iracionaluria da mowodebulia marTossivrce simboloebiT da niSnebiT.
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niSani da naSeni nangrevis poetikas gvimxels, - rom Soreulida axali qaosis saSeni masalac arqiteqturaa.
arqiteqtura xelovnebaa da meTodur yalibebs ar emorCileba.arqiteqtura xelovnebaa – es ki gamorCeuli unaria gamoxato
emociebi da gaaRviZo sxva adamianebSic – es niSnavs SeinarCunobavSvoba da TamaSis azarti; gaocebisa da aRtacebis unari; gaocebisaimiT, rac Sens garSemoa da rasac TiTqos pirvelad xedav; aRtacebisaimiT, rom yofna saocrebaa da xilva dResaswauli.
xelovneba aris is, rac realobas aklia, rasac is malavs darac misganve unda ga/movityuoT. iqneb realoba arafers malavs daubraloa.., da xelovneba realobaze “akidebuli danaSaulia”.
arqiteqtura xelovnebaa – es ki is samefoa, sadac arisjebian dogmatebisa da kanonis darRvevisaTvis, sadac ar isjebiandiqtatis, Tavxedobis, intrigebisa da provokaciebisaTvis, radganmSvenierebas amkvidreben. mSvenierebis wyaro ki empiriuli sinamdvilismiRmaa, moklebulia sargeblianobas da uangaro siamovnebas iwvevs.
niSanTa sferoSi saqmianoba sam saxeobad sam saxeobad sam saxeobad sam saxeobad sam saxeobad warmodgeba:1. niSanTSewyobaniSanTSewyobaniSanTSewyobaniSanTSewyobaniSanTSewyoba (-SexamebaSexamebaSexamebaSexamebaSexameba), moicavs naratiul nairgvarobebs:
semionika)semionika)semionika)semionika)semionika).4. semionikasemionikasemionikasemionikasemionika - es aris mecniereba axali niSnebis Seqmnis Sesaxeb.axali niSnebis Seqmna da maTi Setana praqtikaSi ukve semiurgiissemiurgiissemiurgiissemiurgiissemiurgiis
saqmea.ismis kiTxva: ra potenciali da ra meTodebi arseboben axali
niSnebis aRmosaceneblad?aq uadgilo ar iqneba goeTes gaxseneba: “pirvelad iyo saqme” da
Tu es asea, maSin semiurgia demiurgia;semiurgia demiurgia;semiurgia demiurgia;semiurgia demiurgia;semiurgia demiurgia; arqiteqtoric, Tu isdemiurgia, misi saqmea semiurgia. am konteqstSi arqiteqtura aRmniSvnelformad warmodgeba, magram ras aRniSnavs is? aris ki masSi mocemulimniSvneloba? ra aris is, rac misi “daweris” SesaZleblobas qmnis?iqneb arqiteqtura arafersac ar aRniSnavs da Tavad gvevlineba“Tavdapirvelad”, saxelis maZieblad, aRsaniSnad?
Semdegi publikaciebi swored am kiTxvebze pasuxebis ZiebasmieZRvneba. aq ki gasaziarebelia is azri, rom niSanTSemoqmedebissistemuri SesaZlebloba umTavresad internetTan iqneba dakav-Sirebuli. “mxolod qseli, rogorc mTlianoba, aris niSanSemoqmedebisamocanaTa Tanazomadi .., rom kulturis SemoqmedebiT sferoebSiTandaTan met adgils daiWers niSnebis gaCena [epSteini 2004: 654].
sainteresoa, da iqneb damajerebelic, azri imis Sesaxeb, romdroTa viTarebaSi niSanTSemoqmedni (çíàêî äàòåëè) aranakleb rolsSeasruleben sazogadoebaSi, vidre kanonTSemoqmedni (çàêî í îäàòåëè).am fiqris mizezia is, rom kanoni zRudavs yvelas saerTo aucileblobiT,axali niSani ki uqmnis TviTgamovlenis axal saSualebebs. Tu am
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azris perifrazs gavakeTebT, maSin samomavlod menaSeneebs meniSnenimenaSeneebs meniSnenimenaSeneebs meniSnenimenaSeneebs meniSnenimenaSeneebs meniSneniar Camouvardebian. asea Tu ara es, sxva saqmea, erTi ki cxadia, romyovel axal sityvasTan erTad Cndeba axali azri, axali naSenismolodini da axali niSaniniSaniniSaniniSaniniSani - saswaulisaswaulisaswaulisaswaulisaswauli. diax, niSani saswaulia.“niSani - niSi, gina saswauli, niSani somxuria, saswauli - qarTuli”[saba 1991: 595].
“azrovneb - niSnavs xelaxla Seqmna ena” [epSteini 2004: 655],xelaxla Seqmna saswauli. is radikaluri transformaciebicsaswaulia, rasac bolo aTwleulebSi xuroTmoZRvrebis ena ganicdis.aq mxedvelobaSi gvaqvs arqiteqturis S/enebis aRrevaenebis aRrevaenebis aRrevaenebis aRrevaenebis aRreva marketingisenasTan.
marketingis semiurgiuli sfero “brendingi” da “kreativi”dakavebulni arian ra axali sasaqonlo niSnebis SeqmniT (sityvieri,saxviTi, bgeriTi), xSirad faraven arqiteqturis tradiciul enas,laparaks ar acdian, pirSi uvardebian da sityvas awyvetineben. aseTiaraTavazianobis magalTebia reklamebiT gadatvirTuli fasadebi.maTi Semtevi energia miswvda iatakqveSeTSi gaxiznul xuroTmoZR-vrebasac - metros. Cvens qalaqSi, axali saukunis dasawyisamde,arqiteqturis ukanaskneli mohikani metros gvirabiani sadguriiyo. reklamam da bilbordma es salaparako Rruc dauxSoxuroTmoZRvrebas.
Cvens sinamdvileSi axali arqiteqtura Tavisi bolSevikuriodiseis dasawyisSia, barbarosul stadiaSia. kulturis da istoriisgamocdilebidan gamomdinare, axali drois (x)uroTuroTuroTuroTuroTmoZRvrebismeTodebi daixveweba, s zeena? albaT gaocdebian kidec, roca Seityoben,rom samyaros pirvelsaxe daewyoba da Sedegad minis amreklavizedapirebisa da reklamebis sivrceSi moveqceviT, rogorc ityvianqva qvaze ar darCeba. gansxeulebuli mediagansxeulebuli mediagansxeulebuli mediagansxeulebuli mediagansxeulebuli media - iqneb es arisxuroTmoZRvrebi qva da niJara iyo, - kvrivi da fuRuro - vnaxoT,vuyuroT...
rac Seexeba reklamebis pragmatikul WrilSi ganxilvas, aq mravalifaqtori (rogorc verbalur, ise ara-verbalur doneze) iyris Tavs.reklamis umTavresi funqcia aris myidvelis darwmuneba iyidos esaTu is produqti. Tumca garda am ZiriTadi funqciisa, mas SeiZlebaqondes sxva funqciebic, rogoricaa garToba, informireba, gafTxilebada sxv. swored am funqciebis warmatebulad ganxorcielebisaTvisdid mniSvnelobas iZens iseTi ara-verbaluri faqtorebi, rogoricaareklamis dizaini, musika, feri, xati, indeqsi, simbolo. niSnis cnebaarsebiTia reklamis elementebis sworad gasagebad. garda amisa,arsebobs kidev ori sakvanZo cneba – presupozicia da relevanturoba– radgan swored maTi meSveobiT xdeba reklamis mier imaze metiinformaciis gadacema, vidre reklamaSi eqspliciturad gadmocemuliinformaciaa. am mxrivac, rogorc inglisuri, ise qarTuli reklamebisanalizma gviCvena, rom yvela es niSani SeiZleba aRviqvaT rogorcglobaluri kodi, Tumca reklamis sworad interpretaciaSesaZlebelia mxolod lokaluri kodis gaTvaliswinebiT.
statiaSi naTqvamia, agreTve, rom gaziarebuli unda iqnas inglisurienis rogorc lingva frankas mier akumulirebuli gamocdileba.inglisuri reklamis teqnika unda iqnas aRebuli rogorc globalurisareklamo kodi, Tumca, amasTanave, mxedvelobaSi unda iqnas miRebulikulturis specifikidan gamomdinare Taviseburebebi.
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GLOBAL AND LOCAL CODES IN ADVERTISING
Advertising is an important aspect of communication – who iscommunicating with whom and why, in what kind of society and situation, throughwhat medium. Advertising is not only an important business dimension, but anintegral aspect of communication in our modern globalized world, which focuseson issues from a range of fields including pragmatics of intercultural discourse.Some very creative minds come up with seductive combinations of sound, imageand words, but tests show that we often don’t remember the brand beingadvertised.
The article deals with the study of Georgian advertisement catchphrasesand slogans, mainly for pharmaceutical products and bank services, to comparethem with existing studies of English advertisements by different linguists in orderto state some common linguo-pragmatic features which will make it possible toidentify global and local codes in advertising. I will focus on the analysis of thegrammatical structure as a verbal representation of the advertising language, andthe role of some non-verbal features, such as colours, image and symbol in theinterpretation of the message of advertisements.
The language of advertising must be a language of immediate impact andrapid persuasion. It must bring the advertised produce into attention, stress itsqualities in the most attractive way, clearly outline the reason for buying it, and,preferably, leave a memorable echo of what has been said about the productringing in the reader’s/listener’s/viewer’s mind. Advertisements do differ amongstthemselves according to the purpose for which they are designed, the medium inwhich they are presented and the places in which they are found. But there arenearly always certain linguistic features present in any advertisement that serve tomark it very clearly for what it is.
The linguistic features include a basically simple grammatical structure,especially as regards the sentences, most of which are short and many of which,in dispensing with anything that is not absolutely necessary, manage to work veryeffectively without parts that would be considered essential in normal writtenusage. In this respect Leech uses the term ‘disjunctive style’ as contrasted to‘discursive style’ (under the word ‘style’ he means ‘a variety of language the useof which is governed by contextual features other than the identity of the speaker/writer’ i.e. ‘register’). According to Leech (Leech 1963:257), ‘disjunctive style’,( i. e. grammatically very simple language), is generally found in situations wherea high degree of grammatical organization would be uneconomical and redundant.This is generally so in the case of advertisements.
As for the sentence structures used in the language of advertising we meet alltypes of sentences (simple, compound, complex), as well as minor sentences,which do not have a verb used in advertising because information is put across tothe consumer in a very brief manner (e.g. a cool mint gel; Tqveni da Tqveni
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pirmSos saimedo damcveli; dRe tkivilis gareSe! TBC Card – metiTavisufleba!; and incomplete/elliptical sentences, e.g. Help! gtkiva? sesxisesxisesxisesxisesxiespresoespresoespresoespresoespreso – swrafad da giraos gareSe; yvelgan aversiaversiaversiaversiaversi, aversiaversiaversiaversiaversiTvenTvis! tkivilidan – Svebamde ... 15 wuTi.
It is very frequent to use a series of short sentences for impact on the reader.This impact is especially clear at the beginning of a text, often using bold or largetype for the headline or slogan to capture the attention of the reader. e.g.gayidvebis lideri!gayidvebis lideri!gayidvebis lideri!gayidvebis lideri!gayidvebis lideri! moxerxebulia xmarebaSi. saimedo. op-moxerxebulia xmarebaSi. saimedo. op-moxerxebulia xmarebaSi. saimedo. op-moxerxebulia xmarebaSi. saimedo. op-moxerxebulia xmarebaSi. saimedo. op-timalurtimalurtimalurtimalurtimaluri kompleqtacia.i kompleqtacia.i kompleqtacia.i kompleqtacia.i kompleqtacia.; TBC BROKER – CAPITAL +, etc .
Many sentences consist of constructions which could usually only occur as asubordinate part of a sentence, but which become independent items in thelanguage of advertising. e.g. umoklesi gza tkivilis dasamarcxeblad!Zlieri, swrafi, usafrTxo! saxalxo banki: depozitebis aqcia - 17weli damoukideblobidan.
Another very common grammatical feature of advertising language is thelarge number of imperative verbs: daamarcxeT tkivili 15 wuTSi! SexvdiTgazafxuls alergiis gareSe! daiviwyeT stresi, gaRizianeba dadaRliloba! dazogeT dro, gaimartiveT gadasaxadi. depoziti“pozitivi” … miiReT maqsimaluri pozitivi.
Thus, all the above features of grammatical structure in advertisements canbe viewed as a global code in the advertising language. Furthermore, as advertisingnormally emphasises the positive side of a product avoidance of negatives isanother common feature, which can be regarded as a global code as well. In thematerial of my analysis negative sentences were practically not encountered.
Language has a powerful influence over people and their behaviour. This isespecially true in the fields of marketing and advertising. The choice of languageto convey specific messages with the intention of influencing people is vitallyimportant.
Visual content and design in advertising have a great impact on the consumer,but it is language that helps people to identify a product and remember it. Thetarget audience also puts its own meaning into certain words. Different peoplesometimes interpret language in different ways. That is where understanding themeaning in the context becomes most relevant and the principle of localinterpretation is understood as the local code of the advertising language ( whichI deal with in my article: The Role of Context and Vocabulary in Advertising,saenaTmecniero Ziebani, t. XXVIII, 2008).
The unusual aspects of language that are sometimes found in advertising canbe fruitfully considered to be examples of “artful deviations”. As an illustration ofthis P. Sells and S.Gonzalez bring the following two examples.
VW ad (Rolling Stone, May 23, 2002): re-tuned. re-conditioned. heck,it’s been re-everything-ed. Out of the blue, “to re-everything” would be hard
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to interpret, but in the context provided by the advertisement, its meaning isclear.
In Cointreau (In Style, August 2002) a blend, “Be Cointreauversial”.Besides the main function of advertising – persuading the addressees to buy
– it may have other functions as well, such as amusing, informing, misinforming,worrying, warning. It is the complex interaction of society, its culture, values andbeliefs of those people who make and experience it. Advertisements provokesocial, moral and aesthetic judgments ranging from the most positive to the mostnegative. (Cook 2001)
Despite the peculiarities characteristic to the language of advertisingeverybody agrees that advertising is ordinary communication, and advertisinglanguage – ordinary language, and that the ideas from linguistics and semioticsthat have been applied in many domains of language and cultural behavior carryover directly to the analysis of advertising.
Besides structural, semantic and stylistic features characteristic to theadvertisements on the verbal level, which we consider as a global code, there arealso other, non-verbal features crucial for understanding and interpreting themeaning of advertisements, such as the sound/music, image, sign, colour etc.
The concept of a sign is fundamental to understanding the meaningful elementsin an advertisement. Beyond this, there are two key concepts, namely,presupposition and relevance which are important because they allow us to seethe primary means by which advertisements can communicate much moreinformation than what is explicitly presented in them. Presuppositions are a crucialpart of advertising as they can cause the reader to consider the existence ofobjects, propositions, and culturally defined behavioral properties.
If we refer to C. S. Peirce’s (1960) three categories of denoting expressionsor objects – icon, index, and symbol, in an advertisement any image of theproduct is an icon, representing the product more or less accurately. An index isgenerally quite culturally-bound, representing something by association, thoughthere are globally accepted indexes. e. g. in TBC ad for quick consumer loans aclock indicates to the swiftness of actions, or a picture of a field full of flowers inanti-allergic drug ads, etc. These indexical components of advertisements haveconnotations, which typically connect the advertisement to a larger cultural context.
Symbols need little illustration; everyone can easily think of company symbols.e.g. globally recognized McDonald’s “Golden Arches” is, of course, originallyindexical from the name. In terms of cultural significance, a company is well-served if its symbol becomes an index – a signifier which goes beyond what itdirectly signifies to some larger association. The symbol, too, may come to beindexical over time. This represents a very strong cultural establishment of thesymbol, and may be a very powerful marketing tool. (e. g. the Lion in BOG ads,a red cherry for the mobile operator – Bali, as well as its Georgian initial letter B– b b b b b which graphically looks like a cherry).
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One of the most important functions of an advertisement, besidesinformativeness, is persuasion. Different types of advertising may have differentproportions of informative and persuasive content. Hermerén (Hermerén 1999)observes that even informative content may be persuasive, for example if it indicatessuperior performance of some product. In order for a communication to bepersuasive, the reader must accept some or all of its emotional content, and todo that, the reader must have a reason for doing so. Hermerén distinguishesamong the following kinds of power through which an advertisement may have apersuasive influence:
• reward power: the product promises some positive benefit.• coercive power: the product is presented upon pain of threat or
punishment.• referent power: the message associated with the product fits into the
reader’s value system.• expert power: the product is presented by an expert.• star power: the product is associated with a celebrity figure (the latter is
added by P. Sells, S. Gonzalez).Colours contribute a great deal to the advertisements. The color choices
advertisers make are more than aesthetic decisions; colors have been known toaffect (and reflect) a person’s mood or emotions, current style trends and culturalbeliefs and symbols, as well as represent personalities. Colour choices can alsocorrespond to levels of salience. Besides, Colours carry some message to thereaders/viewers of the advertisements. e.g. in Georgian bank advertisements everybank has its clearly recognizable colours: e.g. BOG (Bank of Georgia) – orange(they were first in Georgia to make intensive use of the colour for advertisingpurposes). Besides dominating orange colour in their office facades or interiors,they have orange credit cards, their logo is an orange lion, there are even orangecabs in the city. Paint company Glidden suggests a very interesting interpretationof colours. According to them, orange is the color of autumn, spice, form anddesign. In bright tones, orange is jovial, cheerful and playful. Deepened, it becomesexotic and exciting. If orange is your choice, you have abundant energy with aneye for structure and organization. Your social nature finds you surrounded byfamily and friends. The latter meaning is undoubtedly considered in the symbol ofAldagi-BCI Insurance Company. Likewise, People’s Bank’s colour is red,the single most dynamic and passionate color, symbolizes love, rage and courage.Demanding attention, red has great emotional impact. Those who select red areaggressive, impulsive and strive for success. TBC has cool and constant tealindicating stability and resistance to change. If teal is your favorite color, you area sensitive individual, and have excellent taste. Optimistic and trusting, you havea high degree of faith and hope, easily trusting others. VTB Bank and BasisBank choose the color of tranquility, blue, cool, soothing and orderly. The colorof royalty, blue brings comfort and serenity to our lives. If you choose blue, you
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have a basic need for a calm, harmonious, and tension-free existence. Capable,conservative and sensitive to others, you make a loyal and trustworthy friend.PSP Pharmaceutical Company uses green – the color of life, and representsfreshness, security, and tranquility. Green creates an atmosphere that is calm andrestful, and characterizes the intense power of nature. If you select green, youseek stability, balance and persistence. You are a moral and affectionate individual.
Perhaps the creators of these companies’ images had some of these featuresin mind when they made their choices. Besides, these companies are easilyremembered and easily recognized by their colour. Thus, colour can also beregarded as a global code of advertising. However, it can also carry some culturespecific features and become at the same time a local code, as is the case withthe colours of Bank Republic (black, red and white), which, besides the globalmeaning that these colours carry, for a Georgian they are also the colours of thefirst National Flag of Independent Georgia (though we have a different flag now).
Thus, the results of the study of the language of advertising proved that theexperience accumulated by the English language (which serves as a lingua franca)should be shared; the English language and the techniques and features used inEnglish advertising can be considered as a global code, though some culture-specific features constituting the local code should also be taken into considerationfor successful creation of advertisements.
Bibliography:
Cook, G. 2001: The Discourse of Advertising. Routledge.Hermerén, L. 1999: A Study of the Language of Advertising. Lund University
Press.Leech, G. N. 1963: Disjunctive Grammar in British Television Advertising. Studia
Neophilologica. A journal of Germanic and Romance Philology. vol. XXXV.No. 2.
Peirce, C.S. 1960: Collected Papers of Charles Sanders Peirce, Volume 2.C. Hartshorne.
Sells, P. Gonzalez, S. 2002: The Language of advertising. http://www.stanford.edu/class/linguist34/index.htmhttp://www.gliddenpaint.com/Ideas_Inspiration/psychology_of_color.html
izabela petriaSvili
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gia joxaZe
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(meore werili)
adamianis sxeulia mizezi senis gavrcele-bisa, _ ityvis miSel fuko Tavis ,,klinikisdabadebaSi”. metic: seni sxeulis meSveobiTvlindeba, sxeulSi awydeba sivrces, romelsacgansxvavebuli konfiguracia aqvso [fuko1998:8-9] da Sua saukuneTa evropis medicinacyvelaze did gamocdilebas infeqciurdaavadebebTan brZolaSi SeiZens.
am xanis gamaukacurebeli epidemia SaviWiri iyo, romliTac ganixvna da daixSo SuasaukuneTa karibWe.
gareuli cxovelebisa da frinvelebis STanTqmis Semdeg, dauokebelmaSimSilma adamianebi aiZula, mZoric eWamaT da iseTi rameebic CaedinaT,risi Tqmac qronografs Zrwolas hgvrida. evropa lamis kanibalizmsdaubrunda. amas Tan erTvoda antihigienurobac. romis papma klimentIII-m gamosca brZanebuleba, romlis Tanaxmadac kviraobiT araTubanaoba, piris dabanac ki ikrZaleboda, rom aRaraferi vTqvaTsaxarebiseuli epizodis vulgarizebul gagebasa da gavrcelebaze:farisevelTa kiTxvas qristem xom ase upasuxa: ,,xeldaubanlad Wamaar bilwavs kacs!” (maTe, 15, 2-20). yinvam (,,mcire gamyinvareba”) kidevufro gaamZafra dasavleT evropaSi Seqmnili antisanitaruli viTareba:civi wyliT dabana arc Tu momxiblavi aqti gaxldaT [kirianovi2002:9]. sadac SimSilia, iqvea sneulebac. gamosakvebad daZrulimigracia yovelTvis epidemiebs imkis. 1087 wels germaniasa dasafrangeTSi Savi Wiris epidemiam ifeTqa. 1089 wels safrangeTSi,germaniaSi, inglissa da skandinaviaSi pirvelad gamoCnda axali seni,e.w. ,,wminda cecxli” _ cxeleba. 1092 wels aRnusxulia pirutyvisada adamianis didi sikvdilianoba. 1094 wels Wiri moedo germanias,safrangeTs, niderlandebs... 1147 wlis jvarosnuli laSqrobis drosSimSilma da sneulebam gaanadgura germanelTa laSqris didi nawili.erTi anonimi avtoris TqmiT, cocxlebi ar kmarodnen mkvdrebisdasamarxad. 1212 wlis bavSvTa jvarosnulma laSqrobam _ anuSimSilma da avadmyofobam _ aTobiT aTasi ymawvilis sicocxleimsxverpla. XIII saukuneSi SimSili mZvinvarebs poloneTSi, safrangeTSi,livoniaSi, avstriaSi, moraviaSi, CexeTSi... adamianebi Wamen katebs,ZaRlebs, cxenebs, cxedrebs, Sxamian mcenareebs... [kirianovi 2002:9].mudmivad daunayrebelma suldgmulma dakarga fizikuri winaaR-mdegobis unari, ramac Tavisi roli Seasrula im gaukacurebaSi,romelic 1384 wlis did Jamianobas mohyva. cxedarTa simravlisgamo maT damarxvaze zrunva amao movaleobad iqca. erT-erT yvelazekatastrofulad miiCneven ,,Savi sikvdilis” (Wiri da misi Tanamdevidaavadebebi) epidemias XIV saukunis Sua xanebSi. metropoliaTamosaxleobis naxevarze meti gawyda _ mTel dasavleT evropaSi 26milionze meti adamiani daiRupa [le gofi 2000:104; 221].
seni sikvdilTan gaigivda. cocxlebisa da micvalebulebissamyaroTa urTierToba dairRva. aikrZala samgloviaro procesiebida ceremoniebi. micvalebulebs saxlis win yridnen. dasaflavebisrituali saerTod ar axsovdaT, an misi usazRvrod damcrobili
Sua saukuneebSi popularulia hipokrates siZis, polibiosise.w. ,,oTxi siTxis Teoria”: adamianis sxeuli Seicavs sisxls, balRams,yviTelsa da Sav naRvels. es gansazRvravs sensac da sijansaResac.amasTan, sruli sijansaRe maSinaa SesaZlebeli, roca siTxe _xarisxobriv-raodenobrivad _ urTierTproporciulia da erTmaneTTansaukeTesod Sezavebuli. seni maSin Cndeba, Tu romelime siTxe anZalian mravldeba, an Zalian mcirdeba da sxvebs gamoeyofa. sneuldebaara mxolod is adgili, saidanac esa Tu is siTxe ukuiqceva, tanjva
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da tkivili ganicdeba im adgilasac, sadac siTxe grovdeba, risSedegadac Zlieri sacobi warmoiqmneba.
samxreTitalieli alkmeon krotonelis (daax. 500 w. Cv. w-mde)azriT, janmrTeloba miiRweva sinotivis, simSralis, siTbos, simwaris,sitkbosa da sxva maxasiaTeblebis TanabarTavsebadobiT. erT-erTisgaZliereba, gansakuTrebiT _ siTbosa an simSralis momateba _daavadebas iwvevs. maT Sobs sakvebis gadaWarbebuli doziT miRebaan piriqiT _ SimSili. seni ibudebs sisxlSi, Zvlis tvinsa da TavistvinSi. sens xandaxan garegani mizezebi _ wyali, adgil-garemo, sevdada sxva misTanani _ ganapirobebs. janmrTeloba yovelive zemoTCamoTvlilis SeTanadebaa.
JorJ diubi Tavis wignSi ,,mamakacuri Sua saukuneebi” aRniSnavs,rom XII saukunemde feodalur kulturaSi saerTod ar iCendneninteress sxeulis satanjvelisadmi, yovel SemTxvevaSi es naklebadaRelvebdaT. amas ganapirobebda cxovrebiseuli pirobebis sisastikeda sirTule, Sua saukuneTa ideologiis samxedro-mamakacuri xasiaTi.aqac bibliuri safuZvlis anarekli sxivdeba: Semcdar evas RmerTiase sjis: ,,satanjvels gagimravleb da gagiZneleb orsulobas. tanjviTSob Svilebs”. adams ki eubneba: ,,pirofliani Wamde purs, vidremiwad miiqceode”. amgvarad, pirveli adamianebi ara mxolod mokvdavnigaxdnen, aramed _ tanjulnic. mamakacis xvedri Sromaa, qalisa _tanjva. raki qalisTvis tkivilia niSandoblivi, mamakacma is aradunda Caagdos. mamakaci ar itanjeba, yovel SemTxevevaSi, amas argamoxatavs. winaaRmdeg SemTxvevaSi, is diacis mdgomareobamde ecema.Tumc, ase mxolod XII saukunemde fiqroben. Semdeg tkivils araTugamoxataven, ganadideben kidec.
sxeulma Rirebuleba SeiZina. hubert romanelis sityvebic amisdasturia: igi mouwodebda sulier Zmebs, ar gamoefitaT sxeuli daar ugulebelyoT higiena, radgan es asustebs adamians da qedmaRladaqcevs. sxeuli yovelTvis sulieri miznebisaTvis unda gamoviyenoT,Tumc, mis misaRwevad tanjva da daTmena aucilebeli ar ariso.
Sua saukuneTa medicinas unda vumadlodeT trepanacias, motexilkidurTa Casmas, analuri fistulebisa da buasilis operirebas.Sua saukuneebis qirurgebs SeeZloT sisxldenis SeCereba mowviT,magnitis meSveobiT sxeulidan ucxo metalebis amoReba, WrilobisSekerva. farmakologia spirtisa da vercxliswylis gamoyenebiTgamdidrda. spirti swored am dros aRmoaCines da antiseptikursaSualebad aqcies.
XIII saukunes ganekuTvneba sxeulis gakveTis praqtika. eklesiaspirdapir arasodes aukrZalavs es aqti. is mxolod kuboTa amoTxrisada cxedarTgatacebis winaaRmdeg reagirebda. Tumc, sxeulis gakveTasufro imisTvis mimarTavdnen, rom galenis esa Tu is debulebadaedasturebinaT: mokled, sxeuls jer ,,kiTxulobdnen” da SemdegRaWvretdnen [le gofi, triuoni 2008:105-117].
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seni da salmoba
Sua saukuneTa saqarTveloSi Zalze mkrTalad, magram mainc CansTiTqmis sinonimuri samedicino aqtivoba: qsenoni gelaTis monasterTan(varaudoben, rom gelaTis akademiaSi iswavleboda medicina), varZiisafTiaqi, sasneulo vanis qvabebSi, Targmnili samedicino literatura...i. javaxiSvilis miTiTebiT, ,,uZlur-myofni”, ,,dasneulebulni” da,,sneulni” ,,sasneuloSi” Tavsdebodnen, sadac maT ,,mesneule” _erTgvari mowyalebis Zma uvlidaT. sxvaTa Soris, didi mecnieridasabeWdad amzadebda kidec monografias ,,adamianis janmrTelobada janmrTelobisaTvis mzrunveloba Zvel saqarTveloSi” [javaxiSvili1984:55-56]. samwuxarod, ar viciT, Sesrulda Tu ara i. javaxiSvilisganzraxva.
arsebobs erTi beletristuli Canaweric: qarTuli medicinismkvlevar m. SengeliasTan saubarSi akademikos g. wereTels uxsenebiaerTi arabuli wyaro, romliTac TiTqos dasturdeboda TbilisSiTamaris dros arsebuli ,,SesaniSnavad mowyobili samefo (saxel-mwifo) saavadmyofo” [Sengelia 1985: 29-30]. am wyaros bedi CvenTvisucnobia.
JamTaaRmwerlis ,,aswlovan matianeSi”, romelic XIII saukunissaqarTvelos saukeTeso wyaroa, adamianebi, ZiriTadad, imitom avaddebian,rom uRvTod moiqcnen. aseTi midgoma bunebrivia Sua saukuneebisaTvisda qarTuli teqsti gamonakliss ratom unda warmoadgendes?! magrammainc gvikvirs, rom ar ayovnebs RvTis sasjeli da sens da salmobasTiTqmis myisieri sikvdili mosdevs: Tavisi Zis _ daviTis monRolebTanmefed dasamtkiceblad gamgzavni rusudani ,,tkiviliTa da uzomomwuxarebiTa Seicveboda”, mogvianebiT _ ,,tkbilisa SvilisaTvis mwaredileoda da dasneulebuli gardaicvala tfiliss”, Tanac, TviTonvehyvedrida Tavs, ,,ra igi yo Zmiswulsa Tvissa daviTs zeda, viTareqsoria hyo” [qarTuli proza 1982:323-324].
JamTaaRmwerlis Tanaxmad, tkivili da seni RvTis iaraRia uRvToTadasasjelad _ rusudanis sneulebaca da sikvdilic daviT laSa-giorgis Zisadmi gamovlenilma misma usamarTlo damokidebulebamgamoiwvia.
iseTi STabeWdileba iqmneba, rom aq umizezod aravin avaddeba.cxadia, aq ar igulisxmeba samedicino mizezi: imdroindel qarTvelelitas ukve ZaluZs xojayofilis ,,wigni saaqimois” qarTuliTargmanis wakiTxva da warmodgenac aqvs, ra daavadebas ra udevssafuZvlad... magram Sua saukuneobriv sqemaSi Teologiur debulebas_ yvelafris mizezi RmerTia _ es epistema STaunTqavs.
JamTaaRmwereli daavadebas ramdenime saxeliT moixseniebs: ,,seni”,,,sneuleba”, ,,salmoba” (satkivari). seni SeiZleba iyos ,,mcire”(msubuqi daavadeba), ,,boroti” (mZime daavadeba), ,,mware”, rac albaT,mwvave tkivils ukavSirdeba... gvxvdeba aseTi formac: ,,salmoba rame”(gaurkveveli seni), Tumc qarTul teqstSi TiTqmis yvela senigaurkvevelia. JamTaaRmwerlisTvis mniSvnelovani is ki ar aris, Tura daavadeba Seeyara ama Tu im istoriul personaJs, aramed is, romswored is daavadda, vinc daaSava.
kidev ratom aris TiTqmis yvela seni ucnobi da saxeldaudebeli?SesaZloa, aq saqme gvqondes imis sawinaaRmdego viTarebasTan,
razec miSel fuko wers Tavis ,,klinikis dabadebaSi”.Sua saukuneTa saqarTveloSi avadmyofs jer kidev ar aRiqvamen
subieqtur simptomTa matareblad. seni jer kidev ar qceula Secnobisobieqtad. eqimi sens ki ar xedavs, aramed warmoidgens mas. ar Canssaeqimo diskursi. tkivili jer kidev neitraluri codnaa. am idumalkonfiguracias ena saerTo, ufro sworad, jerac daunawevrebeliterminiT ixseniebs [fuko 1988;8-9]. amitom, jobs, sneuleba bibliurimetaforiT SeiniRbos. vTqvaT _ aseTiT: ,,seni igi sodomelTa dasalmoba gomorelTa moiwia”... [qarTuli proza 1982:365]. amas erTi
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ideologiuri mizani aqvs: unda damkvidrdes, rom yvela seni ukeTurqmedebas mosdevs. misi saerTo saxelia ,,seni igi sodomelTa dasalmoba gomorelTa”. sodomisa da gomoris metafora imdenadveZrwolismomgvrelad unda axmiandes, ramdenadac _ qristianTaSemafxizleblad.
Tu es msjeloba odnav mainc axlos dgas simarTlesTan, arc isunda gagvikvirdes, rom mTel aswlovan matianeSi sul ramdenimesenia metnaklebad determinebuli. ZiriTadad, es muclis sneulebania_ ,,salmoba muclisa”. kuW-nawlavis daavadebani marTlac farTodmosdeboda imdroindel evropas. rogorc zemoTac aRvniSneT, esSeiZleba yofiliyo muclis tifi an dizenteria. i. javaxiSvils es,,sisxas magvar muclis daavadebad” (sisxa _ dizenteria) miaCnda,Tumc, danamdvilebiT amis garkveva, albaT, mainc SeuZlebelia[javaxiSvili 1982: 86-87]. muclis tifi jer kidev ZveliberZnebisTvis iyo cnobili. hipokrate da galeni aRwerdnen amdaavadebis mZvinvarebas berZenTa da romaelTa armiebSi. termini,,tific” (typhus), rac qarTulad ,,nisls” niSnavs, hipokratesSemoRebulia. es termini Zvelad yvela im daavadebas aerTianebda,romlebsac Tan cieb-cxeleba sdevda. tifs nawlavuri baqteria _salmonela avrcelebs: gamaRizianebeli organizmSi dabinZurebulproduqtsa da wyalTan erTad aRwevs. imaves Tqma SegviZliadizenteriazec: isic uZvelesi droidanvea cnobili. dizenteriisinfeqciis wyaro daavadebuli an baqteriamatarebeli adamiania, romelicgamoyofs dizenteriis mikrobebs. daavadebas buzic avrcelebs.dizenteriis mikrobebi tifis mikrobebis msgavsadve xvdebaorganizmSi.
samwuxarod, es qrestomaTiuli cnobebi imis garkvevaSi naklebgvexmareba, Tu kerZod ra daavadeba iyo ,,salmoba muclisa”, romelsacasi wlis ganmavlobaSi ara erTi istoriuli personaJi mousravs.
,,muclis salmobiT” arian avad daviT laSa-giorgis Zeca damisi vaJi giorgic. es ukanaskneli avadmyofobas ise gauTangavs,TiTqmis mkvdari hgonebiaT: ,,idva uxmrad, uZravad, sulTaaRmomfSvinveli...” amosunTqvasac Zlivs axerxebdao.
amave senSeyrili daviT laSa-giorgis Ze eqimebs ver ganukurnavTda ,,cxedriT” (sakaciT) wamouyvaniaT. mamaca da Svilic am daavadebasumsxverplia [qarTuli proza 1982:365;377].
TaviT ferxadmde...” [qarTuli proza 1982:401]. Znelia am aRweriTdaavadebis zustad dadgena, ise ki, cnobilia, rom arRun yaeni (1284-1291) dambladacemuli gardaicvala.
yazan yaenic ,,dasneulda seniTa muclisaTa da mokvda”.vaxtang III ,,muclis salmobiT” gardacvlila.ucnobi seniTaa avad sargis jayeli.vaxtang daviT narinis Zes ,,mcire ram seni Sehyria”, Tumc, am
daviT laSa-giorgis Ze ,,mkurnalTa ver uZles kurnebad” an,,ver gankurnes mkurnalTa” [qarTuli proza 1982:377;366]. wmindaTeologiur-ideologiuri motivebis garda, es samedicinoTvalsazrisiTac gasagebia: tifis klinikac XIX saukuneSi aRiwerada dizenteriis mikrobic imave periodSi aRmoaCines.
amrigad, SeiZleba iTqvas, rom XIV saukunis qarTuli teqstisrulad emsgavseba Sua saukuneTa evropis istoriul dokumentebs,rogorc samedicino codnis, ise _ ideologiuri wyobis Tval-sazrisiT. an es marTlac ase iyo, an swored ase unda aRweriliyo.
literatura literatura literatura literatura literatura
Sengelia 1985: Sengelia 1985: Sengelia 1985: Sengelia 1985: Sengelia 1985: m. Sengelia, renesansi da Zveli qarTuli medicina,Tbilisi
javaxiSvili 1984: javaxiSvili 1984: javaxiSvili 1984: javaxiSvili 1984: javaxiSvili 1984: i. javaxiSvili, Txz., t. VI, TbilisijavaxiSvili 1982:javaxiSvili 1982:javaxiSvili 1982:javaxiSvili 1982:javaxiSvili 1982: i. javaxiSvili, Txz., t. III, Tbilisi
gia joxaZe
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s e m i o t i k i s T e o r i as e m i o t i k i s T e o r i as e m i o t i k i s T e o r i as e m i o t i k i s T e o r i as e m i o t i k i s T e o r i ad a i s t o r i ad a i s t o r i ad a i s t o r i ad a i s t o r i ad a i s t o r i a
ïðàãì àòè÷åñêèé è ëèíãâî êóëüòóðîëîãè÷åñêèé àñïåêòû. Ì., 1996.maslovamaslovamaslovamaslovamaslova 20012001200120012001: Ì à ñ ë î âà Â. À. Ëèíãâî êóëüòóðîëîãèÿ. Ì., 2001.maslova 2004maslova 2004maslova 2004maslova 2004maslova 2004: Ì à ñ ë î âà Â. À. Ââåäåíèå â êîãíèòèâíóþ ëèíãâèñòèêó,
Ì., 2004.mixalCuki 1mixalCuki 1mixalCuki 1mixalCuki 1mixalCuki 1997:997:997:997:997: Ì è õàëü÷óê È. Ï. Êî í ö å ï òóàë ü í û å ì îäåëè â
ñå ìàíòè÷åñêî é ðåêî íñòðóêöèè (èíäîåâðîïåéñêî å ïîíÿòèå “çàêî í ” )// ÈÀÍÑËß. Ò. 56, ¹4, 1997.
neroznaki 1neroznaki 1neroznaki 1neroznaki 1neroznaki 1998:998:998:998:998: Íåðîçíàê Â. Ï . Îò êî í ö å ï òà ê ñëîây: ê ïðîáë å ì åô è ë îë îãè÷åñêî ãî êî í ö å ï òóàëèçì à / /  î ïð îñ û ô è ë îë î ã è è èì å òî äèêè ïðå ï îäàâà í èÿ è í îñòðàííûõ ÿçûêîâ. Îìñê, 1998.
stepanovi 1stepanovi 1stepanovi 1stepanovi 1stepanovi 1997:997:997:997:997: Þ. Ñ. Ñòåïàí îâ . Êî í ñ òàíòû: ñëîâàðü ðóññêî éêóëüòóðû. Îïûò èññëåä î âà í è ÿ . Ì., 1997.
konceptis cneba lingvokulturologiaSi
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giorgi SavguliZe
semiotikidanfilosofiisaken
franguli struqturizmis warmomadge-nlebi, ikvleven sinamdvilis erT romelimekonkretul mxares, _ es iqneba eTnologia,fsiqologia, xelovnebaTmcodenoba, mecnierebisistoria, Tu literaturaTmcodneoba,Tanamedrove sazogadoebis zogadi problemebiaisaxeba struqturalistur koncefciebSida unda iTqvas, rom kacobriobis mierdagrovili codnisadmi struqturalisturimidgoma, codnis, mecnierebis xiluli teqstismiRma arsebuli jerac aqamde uxilaviteqstis TeTri sicarielis danaxvasemsaxureba (fuko). aqve isic unda aRvniSnoT,rom struqturalistebi upirispirdebiancodnis imgvar gagebas, rogoric Camoayalibaklasikuri epoqis racionalisturma mimar-Tulebam. erTis mxriv, maTi koncefciebiSeicavs kritikas klasikuri racionalizmismniSvnelovani debulebisa da meores mxriv,ayalibeben Semecnebis sruliad axal vels.aseTi winaaRmdegobrivi damokidebulebaklasikuri evropuli racionalizmisadmigvidasturebs da migvaniSnebs neoraciona-listuri koncefciis rTul xasiaTze.
mecniereba, rogorc Teoriuli codnisforma, flobs im xerxebsa da saSualebebs,romlebic gamoimuSavebs sakuTar refleq-sias da masze dayrdnobiT axdens winarecodnis safuZvlebis gaazrebas da agebs axalicodnis vels.
struqturalistebis azriT, mecnierebasSeuZlia dagvanaxos, rom adamianuri cnobiereba
ar daiyvaneba mxolod racionaluri azrovnebis donemde, rom istoriiswarsul periodebSi, epoqebSi SenivTebulia raRac maradcocxalispecifika, romelic Tanamedrove mecnierebam ki ar unda CaaxSos,aramed unda moaxdinos misi rekonstruireba. es procesebi ar ariswinaswargansazRvruli da erTmniSvnelovnad determinirebuli, romlisekonomikur-materialuri da sulieri faqtorebi urTierTzemoqmedebenda mudmivad warmoSoben am procesebs.
struqturalisturi moZRvrebis konstruqcia, romelic TiTqmis`msoflmxedvelobriv~ donemde iqna ayvanili, iZleva sakmaod STambeWdavsuraTs, romlis sruli da gaformebuli saxiT CamoyalibebadakavSirebulia k. levi-strosis, J. lakanis, r. bartis da m. fukossaxelebTan. k. levi-strosis, rogorc eTnologis mTavari kritikissagans warmoadgens evropocentrizmi; mecnierebis istorikosis m.fukosaTvis _ evolucionisturi progresizmi; fsiqolog J.lakanisaTvis _ raciocentrizmi; literaturaTmcodne r. bartismTavari Tema ki _ aqronizmia (dros gareSe mdgomi esTetikuriRirebulebebi da idealebi).
meore jgufi, romelsac Jak lakani Taosnobda, froidizmisperspeqtivaSia moqceuli da kvleva-Ziebas awarmoebda fsiqiurdaavadebaTa problemebze dayrdnobiT. f. Satles aqac mxedvelobaSiaqvs konkretuli Sedegebi da uars ambobs maT ganzogadebaze.
mesame jgufma Seqmna Zalze sxvadasxvanairi Sromebi, romelTaSoris yvelaze cnobili da marTebulia miSel fukosa da rolanbartis ideebi~ (Satle 1967). kritikosi am jgufis mimarT SedarebiTlmobierebas iCens da mouwodebs maT nicSeanuri `filosofiurikeTilsindisierebisaken~ da gatkepnili gzisagan ganze gadgomas.
meoTxe jgufi, marqsisti struqturalistebisa lui alTuserisTaosnobiT, cdilobda dialeqtikuri materializmis moZRvrebisganviTarebas. f. Satle levi-strossa da alTusers Soris aTavsebsmoris godelies, romelic miznad isaxavda istoriuli materializmisCarCoebis gafarToebas.
Jan pol sartris azriT, `fuko, adamianebs awvdis imas, rasacisini saWiroeben: eklektikur sinTezs, sadac rob-griie,
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struqturalizmi, lingvistika, tel-keli~ da lakani rig-rigobiTgamoyenebulia istoriuli ganWvretis (reflexion historique)SeuZleblobis dasamtkiceblad~ (deqsi 1967). Jan pol sartricdebao, _ ambobs deqsi, _ rodesac igi struqturalizms (miSelfuko) istoriis Praxi-is uaryofas swamebs. yvela mecnierebas oriSemadgeneli nawili aqvs: pirveli, umTavresi, struqturebis gamoyofada, meore, maTi gardaqmnisa da erTimeoreSi gadasvlis Seswavla.suraTis gasamartiveblad, SeiZleba iTqvas, pirvel moments ikvlevsmiSel fuko, meore momenti ki sartris filosofiis mizidulobiscentrs warmoadgens. magram es ori momenti, pier deqsis azriT,erTimeores ki ar gamoricxavs, aramed avsebs. deqsis TvalsazrisiT,fukos damsaxureba isaa, rom igi aRadgens istoriul manZils,distancias, saukuneTa cvlaSi eZebs evropuli azrovnebis ZiriTadstruqturebs.
struqturalizmiT gamowveul paeqrobaSi TviT struqturalizmiscneba gaxda dasadgeni. sartri mas negatiur elfers aniWebs dasisxlis Segubebas (stase) amsgavsebs istoriis ganviTarebisstruqturalistur interpretacias. pier deqsi emxroba piaJesgansazRvrebas, romlis Tanaxmad `Cvens winaSea cnebaTa sami didikategoria: struqturebi anu organizaciis formebi; funqciebi,struqturebi anu organizaciis formebi; funqciebi,struqturebi anu organizaciis formebi; funqciebi,struqturebi anu organizaciis formebi; funqciebi,struqturebi anu organizaciis formebi; funqciebi,raodenobriv an energetikul RirebulebaTa wyaro daraodenobriv an energetikul RirebulebaTa wyaro daraodenobriv an energetikul RirebulebaTa wyaro daraodenobriv an energetikul RirebulebaTa wyaro daraodenobriv an energetikul RirebulebaTa wyaro damniSvnelobani (mniSvnelobani (mniSvnelobani (mniSvnelobani (mniSvnelobani (significations)~ )~ )~ )~ )~ (deqsi 1967).
struqturalizmTan mimarTebaSi sagulisxmoa cnobilifilologis norTrop frais sityvebi, romelic semantikurigamokvlevebis Sesaxeb Semdegs werda: CemTvis, ra Tqma unda, cnobilia,rom axla viTardeba axali tipis boboqari (igulisxmeba XX saukunis60-iani wlebi) da friad bundovani inteleqtualuri moRvaweoba...amasTan urTierTkavSirSi aRmoCndnen erTmaneTisagan iseTi dacilebulicodnis dargebi, rogorebicaa: uZvelesi istoria da maTematika, logikada sainJinro saqme, sociologia da fizika. yvela im wigns, romelSices axali ideebia gadmocemuli, daaxloebiT ise Sevcqeri, rogorcmose mis win mTaze movlenil RmerTs _ krZaluli SiSiT~ (veimani1975).
* * *erTis mxriv, sakmaod damuSavebuli meTodis arsebobam da meores
aRniSnul sakiTxTan dakavSirebiT, sainteresoa frangulistruqturalizmis warmomadgenlis cvetan todorovas mosazreba.igi Tavis wignSi `poetika~ (todorova 1975) gvTavazobs struq-turuli meTodologiis gamoyenebis gziT axleburad iqnes agebulimecniereba literaturis Sesaxeb. mas miaCnia, rom literaturulimasalis kvlevisadmi biografiuli midgoma aranair mecnierulRirebulebas ar warmoadgens da amdenad igi literaturaTmcodneobissferos ar unda ganekuTvnebodes. aseTi daskvnidan gamomdinare,todorova erTmaneTisagan ganasxvavebs da asaxelebs litera-turaTmcodneobis Seswavlis or ufro SesaZlo variants: pirvelivarianti literaturuli teqstis rogorc aseTis Seswavlaa. aseTSemTxvevaSi, literaturuli nawarmoebi warmoadgens erTaderTobieqts da kvlevis saboloo mizans, aq mocemulia misi interpretacia.meore SesaZlo varianti gulisxmobs calkeuli nawarmoebebisganxilvas, rogorc romelime abstraqtuli struqturis gamovlineba.
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am SemTxvevaSi analizis obieqti xdeba ukve ara calkeuli nawarmoebebi,aramed misi jgufebi. mkvlevari miiswrafvis saerTo kanonebisdadgenisaken, romelTa mixedviT aigeba nawarmoebi. aseT midgomas,todorovas azriT, SeiZleba vuwodoT mecnieruli kritika, vinaidanaq, am SemTxvevaSi, urTierTTan mezobloben gamokvlevebi fsiqologiasada fsiqoanalizSi, sociologiasa da enTologiaSi, filosofiasa daistoriul mecnierebebSi. am gamokvlevebSi uaryofilia lite-raturuli nawarmoebis avtonomiuroba, romelic ganixileba rogorcliteraturuli kanonzomierebebis gare fsiqologiis, sazogadoebrivicxovrebis an e.w. adamianis sulis~ sferos sakuTreba. am SemTxvevaSi,todorova Tvlis, rom mkvlevaris amocanas warmoadgens mxatvrulinawarmoebis azris asaxva am miznisaTvis romelime ufro Rrma enazeSerCeuli gamonaTqvamis saxiT. mxatvruli nawarmoebis kvlevaemsgavseba amoSifvras an Targmnas, vinaidan mkvlevaris winaSe nawarmoebimocemulia rogorc `raRac~ da misi mizania, amocanaa gaSifros am`raRacis~ poetikuri kodi, imis mixedviT, Tu rogori buneba gaaCniaam raRacas~, _ filosofiuri, fsiqologiuri, socialuri Tu kidevromelime sxva. amisda mixedviT, ganxiluli tipis kvleva SeiZlebamivakuTvnoT codnis Sesabamis sferoebs. aseTi xasiaTis gamokvlevebs,todorovas azriT, mecnierebaze pretenzia aqvT imdenad, ramdenadacmaT obieqtebs warmoadgenen sxvadasxva mecnierebebSi ganwesrigebulikanonebi (fsiqologiuri, sociologiuri da sxva) da ara calkeulifaqtebi, romliTac xdeba am kanonTa ilustrireba.
literaturuli masalisadmi midgomis es ori varianti,todorovas azriT, ar aris SeuTavsebadi, piriqiT, isini avsebenkidec urTierTs, magram imisda mixedviT, Tu raze keTdeba ZiriTadiaqcenti, yovelTvis SeiZleba iTqvas, Tu romeli dominirebs am orivariantidan.
literaturaTmcodneobis am formiT gagebisaTvis, da kidev ufronaTeli rom gaxdes sakiTxi, SevexebiT lingvisturi filosofiisprofesoris mamuka biWaSvilis poetikas `Sagrenis tyavis meoremxares~ (biWaSvili 1996). mecnieri balzakis novelidan exeba teqsts,romelic gamosaxuli gaxldaT Sagrenis tyavis erT mxares, Tu me`Tu me`Tu me`Tu me`Tu memflob, yovelives mflobeli iqnebi. magram Seni cxovrebamflob, yovelives mflobeli iqnebi. magram Seni cxovrebamflob, yovelives mflobeli iqnebi. magram Seni cxovrebamflob, yovelives mflobeli iqnebi. magram Seni cxovrebamflob, yovelives mflobeli iqnebi. magram Seni cxovrebaCemi iqneba. RmerTma ase ineba. isurve da Seni survilebiCemi iqneba. RmerTma ase ineba. isurve da Seni survilebiCemi iqneba. RmerTma ase ineba. isurve da Seni survilebiCemi iqneba. RmerTma ase ineba. isurve da Seni survilebiCemi iqneba. RmerTma ase ineba. isurve da Seni survilebiSens cxovrebas Seufarde. es cxovreba aq aris. yoveli SeniSens cxovrebas Seufarde. es cxovreba aq aris. yoveli SeniSens cxovrebas Seufarde. es cxovreba aq aris. yoveli SeniSens cxovrebas Seufarde. es cxovreba aq aris. yoveli SeniSens cxovrebas Seufarde. es cxovreba aq aris. yoveli Senisurvilis mixedviT me iseve Sevmcirdebi, rogorc Seni dReebisurvilis mixedviT me iseve Sevmcirdebi, rogorc Seni dReebisurvilis mixedviT me iseve Sevmcirdebi, rogorc Seni dReebisurvilis mixedviT me iseve Sevmcirdebi, rogorc Seni dReebisurvilis mixedviT me iseve Sevmcirdebi, rogorc Seni dReebiSemcirdebian...~Semcirdebian...~Semcirdebian...~Semcirdebian...~Semcirdebian...~ (balzaki 1952: 65-301). misgan gansxvavebiT mecniersainteresebs tyavis meore mxaris sruliad ucnobi Sinaarsi, anu is,razedac migvaniSnebs xiluli teqstis TeTri sicariele~ (fuko).
am miznis ganxorcielebisaTvis mkvlevari mimarTavs semiotikuristruqturisaTvis damaxasiaTebel triadas: aRmniSvneli (designati),aRmniSvneli (designati),aRmniSvneli (designati),aRmniSvneli (designati),aRmniSvneli (designati),aRsaniSni (denotati) da niSani (sazrisi anu mniSvneloba).aRsaniSni (denotati) da niSani (sazrisi anu mniSvneloba).aRsaniSni (denotati) da niSani (sazrisi anu mniSvneloba).aRsaniSni (denotati) da niSani (sazrisi anu mniSvneloba).aRsaniSni (denotati) da niSani (sazrisi anu mniSvneloba).mocemuli sqemis mixedviT Sagrenis tyavze gamosaxuli citata arkvevstyavis mflobelis prioritets da enobriv sistemaSi warmoadgensaRmniSvnels.aRmniSvnels.aRmniSvnels.aRmniSvnels.aRmniSvnels. sqemis meore elementi _ aseT SemTxvevaSi, TavadSagrenis tyavi aRsaniSnisaRsaniSnisaRsaniSnisaRsaniSnisaRsaniSnis funqcias asrulebs. dasaZebni rCeba amori elementis reduqciis produqti _ sazrisi.sazrisi.sazrisi.sazrisi.sazrisi. amis Semdgom,mamuka biWaSvili kvlav mimarTavs `Sagrenis tyavidan~ kidev erTfragments, romelic poetikis dasawyisSi citirebuli pasaJiskomentars warmoadgens. moxuci sovdagari Semdegnairad uxsnis rafaelde valentens tyavis erT mxares CaWedili warweris sazriss: axla`axla`axla`axla`axlaminda oriod sityvaSi adamianuri cxovrebis didi saidumlominda oriod sityvaSi adamianuri cxovrebis didi saidumlominda oriod sityvaSi adamianuri cxovrebis didi saidumlominda oriod sityvaSi adamianuri cxovrebis didi saidumlominda oriod sityvaSi adamianuri cxovrebis didi saidumlogagimxiloT. adamiani iSriteba or instiqturad SesrulebulgagimxiloT. adamiani iSriteba or instiqturad SesrulebulgagimxiloT. adamiani iSriteba or instiqturad SesrulebulgagimxiloT. adamiani iSriteba or instiqturad SesrulebulgagimxiloT. adamiani iSriteba or instiqturad SesrulebulaqtSi, romelic aSrobs misi arsebobis wyaroebs. ori sityvaaqtSi, romelic aSrobs misi arsebobis wyaroebs. ori sityvaaqtSi, romelic aSrobs misi arsebobis wyaroebs. ori sityvaaqtSi, romelic aSrobs misi arsebobis wyaroebs. ori sityvaaqtSi, romelic aSrobs misi arsebobis wyaroebs. ori sityva
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gamoxatavs sikvdilis am ori mizezis yovel formas: surviligamoxatavs sikvdilis am ori mizezis yovel formas: surviligamoxatavs sikvdilis am ori mizezis yovel formas: surviligamoxatavs sikvdilis am ori mizezis yovel formas: surviligamoxatavs sikvdilis am ori mizezis yovel formas: survilida Zala... aq, Tqva man maRali xmiT da Sagrenis tyavzeda Zala... aq, Tqva man maRali xmiT da Sagrenis tyavzeda Zala... aq, Tqva man maRali xmiT da Sagrenis tyavzeda Zala... aq, Tqva man maRali xmiT da Sagrenis tyavzeda Zala... aq, Tqva man maRali xmiT da Sagrenis tyavzemiuTiTa, aq Zala da survilia SeerTebuli. aqaa TavmoyrilimiuTiTa, aq Zala da survilia SeerTebuli. aqaa TavmoyrilimiuTiTa, aq Zala da survilia SeerTebuli. aqaa TavmoyrilimiuTiTa, aq Zala da survilia SeerTebuli. aqaa TavmoyrilimiuTiTa, aq Zala da survilia SeerTebuli. aqaa TavmoyriliTqveni socialuri ideebi, Tqveni gadaWarbebul survilebi,Tqveni socialuri ideebi, Tqveni gadaWarbebul survilebi,Tqveni socialuri ideebi, Tqveni gadaWarbebul survilebi,Tqveni socialuri ideebi, Tqveni gadaWarbebul survilebi,Tqveni socialuri ideebi, Tqveni gadaWarbebul survilebi,Tqveni TavSeukavebloba, Tqveni sixaruli, romelic adamiansTqveni TavSeukavebloba, Tqveni sixaruli, romelic adamiansTqveni TavSeukavebloba, Tqveni sixaruli, romelic adamiansTqveni TavSeukavebloba, Tqveni sixaruli, romelic adamiansTqveni TavSeukavebloba, Tqveni sixaruli, romelic adamiansklavs, Tqveni mwuxareba, romelic sicocxles amZafrebs, imitom,klavs, Tqveni mwuxareba, romelic sicocxles amZafrebs, imitom,klavs, Tqveni mwuxareba, romelic sicocxles amZafrebs, imitom,klavs, Tqveni mwuxareba, romelic sicocxles amZafrebs, imitom,klavs, Tqveni mwuxareba, romelic sicocxles amZafrebs, imitom,rom tkivili SeiZleba cxare siamovneba iyos da sxva araferi...rom tkivili SeiZleba cxare siamovneba iyos da sxva araferi...rom tkivili SeiZleba cxare siamovneba iyos da sxva araferi...rom tkivili SeiZleba cxare siamovneba iyos da sxva araferi...rom tkivili SeiZleba cxare siamovneba iyos da sxva araferi...da ra aris sigiJe Tu ara survilis da Zalis siWarbe~da ra aris sigiJe Tu ara survilis da Zalis siWarbe~da ra aris sigiJe Tu ara survilis da Zalis siWarbe~da ra aris sigiJe Tu ara survilis da Zalis siWarbe~da ra aris sigiJe Tu ara survilis da Zalis siWarbe~(balzaki 1952).
CvenTvis mniSvnelovania fsiqo - so-cialuri da lingvistikuri problematikisgadakveTis is wertili, rasac qcevisa dacxovrebis wesis metyvelebaSi gamoxatva hqvia.
sakiTxi interdisciplinuria da xan-grZliv auditoriul kvlevas emyareba.
gamosakvlev masalas Seadgens fono-skopiuri eqspertizisaTvis sakvlevadwarmodgenili audio da video masala.(konkretuli magaliTebis moyvana gamo-sakvlevi masalis specifikidan gamomdinare,ar moxdeba.)
visaubrebT zogad da konkretul niSnebzesakvlevi masalis konkretizaciis gareSe.
iv. javaxiSvilis sa-xelmwifo universitetiszogadi da gamoyenebiTienaTmecnierebis kaTedrisdoqtoranti, poeti(literaturul konkurs`wero~s(2008) I premiismflobeli) eleqtro-nuli literaturulibiblioTekis lib.ge_s Ta-n a a vtori , litera -turuli Jurn alis“l’il” redaqtori,araerTi literaturuliproqtis avtori daTanaorganizatori, ramde-nime samecniero da li-teraturuli publi-kaciisa da erTi poeturikrebulis _ Sokoladi”_ avtori.interesebi interesebi interesebi interesebi interesebi – yvelaferi,rac ki enis -YyofierebissaxlSi cxovrobs,niSani – Seqmnis procesSida Semdeg...…
176 diana anfimiadi
gamokvleuli masala da diqtorTa metyvelebaze dakvirveba,gamokvleuli masala da diqtorTa metyvelebaze dakvirveba,gamokvleuli masala da diqtorTa metyvelebaze dakvirveba,gamokvleuli masala da diqtorTa metyvelebaze dakvirveba,gamokvleuli masala da diqtorTa metyvelebaze dakvirveba,gvaZlevs im varaudisa da higvaZlevs im varaudisa da higvaZlevs im varaudisa da higvaZlevs im varaudisa da higvaZlevs im varaudisa da hi poTezis dayenebis SesaZleblobas,poTezis dayenebis SesaZleblobas,poTezis dayenebis SesaZleblobas,poTezis dayenebis SesaZleblobas,poTezis dayenebis SesaZleblobas,rom damnaSavis fsoqosocialuri aspeqti da mis mier sa-rom damnaSavis fsoqosocialuri aspeqti da mis mier sa-rom damnaSavis fsoqosocialuri aspeqti da mis mier sa-rom damnaSavis fsoqosocialuri aspeqti da mis mier sa-rom damnaSavis fsoqosocialuri aspeqti da mis mier sa-metyvelo narativSi gamoxatuli enobrivi paTologiebimetyvelo narativSi gamoxatuli enobrivi paTologiebimetyvelo narativSi gamoxatuli enobrivi paTologiebimetyvelo narativSi gamoxatuli enobrivi paTologiebimetyvelo narativSi gamoxatuli enobrivi paTologiebiurTierTmimarTebaSiaurTierTmimarTebaSiaurTierTmimarTebaSiaurTierTmimarTebaSiaurTierTmimarTebaSia.
i - mokle, susti da xandaxan umarcvlo alofoniT warmodgenilii - mokle, susti da xandaxan umarcvlo alofoniT warmodgenilii - mokle, susti da xandaxan umarcvlo alofoniT warmodgenilii - mokle, susti da xandaxan umarcvlo alofoniT warmodgenilii - mokle, susti da xandaxan umarcvlo alofoniT warmodgenili
u - mokle, susti da xandaxan misi umarcvlo alofoniTu - mokle, susti da xandaxan misi umarcvlo alofoniTu - mokle, susti da xandaxan misi umarcvlo alofoniTu - mokle, susti da xandaxan misi umarcvlo alofoniTu - mokle, susti da xandaxan misi umarcvlo alofoniT
TanxmovanTa warmoebis adgilis da ragvarobis cvlaTanxmovanTa warmoebis adgilis da ragvarobis cvlaTanxmovanTa warmoebis adgilis da ragvarobis cvlaTanxmovanTa warmoebis adgilis da ragvarobis cvlaTanxmovanTa warmoebis adgilis da ragvarobis cvla
-rbili-rbili-rbili-rbili-rbili l
rbili rrbili rrbili rrbili rrbili r
-zogadad, rbilad gamoTqmuli sonantebi ( r, l, m, n, )-zogadad, rbilad gamoTqmuli sonantebi ( r, l, m, n, )-zogadad, rbilad gamoTqmuli sonantebi ( r, l, m, n, )-zogadad, rbilad gamoTqmuli sonantebi ( r, l, m, n, )-zogadad, rbilad gamoTqmuli sonantebi ( r, l, m, n, )
Tanxmovnebis reducireba da zog SemTxvevaSi dakargvac ki.Tanxmovnebis reducireba da zog SemTxvevaSi dakargvac ki.Tanxmovnebis reducireba da zog SemTxvevaSi dakargvac ki.Tanxmovnebis reducireba da zog SemTxvevaSi dakargvac ki.Tanxmovnebis reducireba da zog SemTxvevaSi dakargvac ki.
TanxmovanTa asimilacia, regresuli, kontaqturi da distanciuriTanxmovanTa asimilacia, regresuli, kontaqturi da distanciuriTanxmovanTa asimilacia, regresuli, kontaqturi da distanciuriTanxmovanTa asimilacia, regresuli, kontaqturi da distanciuriTanxmovanTa asimilacia, regresuli, kontaqturi da distanciuri
amoweuli da darbilebuli mkveTri Tanxmovnebi, umniSvneloamoweuli da darbilebuli mkveTri Tanxmovnebi, umniSvneloamoweuli da darbilebuli mkveTri Tanxmovnebi, umniSvneloamoweuli da darbilebuli mkveTri Tanxmovnebi, umniSvneloamoweuli da darbilebuli mkveTri Tanxmovnebi, umniSvnelo
teqstis azrobrivi mxare da pauza erTmaneTs ar emTxveva.teqstis azrobrivi mxare da pauza erTmaneTs ar emTxveva.teqstis azrobrivi mxare da pauza erTmaneTs ar emTxveva.teqstis azrobrivi mxare da pauza erTmaneTs ar emTxveva.teqstis azrobrivi mxare da pauza erTmaneTs ar emTxveva.
sityva – parazitebi ( ra vici, raRaca da a.Ssityva – parazitebi ( ra vici, raRaca da a.Ssityva – parazitebi ( ra vici, raRaca da a.Ssityva – parazitebi ( ra vici, raRaca da a.Ssityva – parazitebi ( ra vici, raRaca da a.S
es cxrili, rasakvirvelia, ar moicavs mTels monacemebs, calkeulSemTxvevaSi mas SeiZleba gamoakldes an miematos sxvadasxva niSnebi.
amas umravles SemTxvevaSi Tan erTvis inteleqtis dabalikoeficienti, mwiri da erTferovani leqsika da sxva.
rasakvirvelia, ar SeiZleba imis Tqma, rom am faqtorTa arsebobada urTierTmimarTeba yovelTvis garkveul Sedegs iZleva, rom nebismierSemTxvevaSi araswori sametyvelo procesis analizisas pirovnebisgarkveul tipTan gvaqvs saqme. es mxolod konkretuli, SezRuduliraodenobis masalaze dakvirvebiT gamotanili daskvnebia, gamokvleulimasalis 70 procenti Cven mier dasaxelebul enobriv tipSi jdeba,Tumca arsebobs gamonaklisebic.
niRabi,niRabi,niRabi,niRabi,niRabi, rogorc religiur-sakraluri movlena, ritualis nawili,xolo Semdgom ki saTeatro qmedebis erTiani sistemis nawilic,sasceno xelovnebis specifikuri sakiTxebis Seswavlis drosgansakuTrebuli yuradRebis obieqti aRmoCnda. Tanamedrove mecnierTamier Seswavlili da miTiTebulia misi arsi da mniSvneloba, misiformebi da genezisi, amasTanave, mikvleulia isic, rom masSikodirebulia garkveuli informacia. amrigad, niRabi erT-erTi wyaroadafaruli, saidumlo codnis SecnobisTvis.
rogorc cnobilia, antikuri epoqis berZnuli Teatri sanaxaobiTikulturis, religiur- sakraluri ritualis wiaRidanaa amozrdili.dionises kultTan dakavSirebuli ritualidan iSva profesiuliTeatri da amdenad, Teatri TavisTavad eyrdnoba da iyenebs religiuri,sakraluri, pirvelqmnili ritualis formebs... niRabsac _ pirdapirida gadataniTi mniSvnelobiT (saxis SeRebvidan dawyebuli damaterialuri niRbebisa Tu niRabi –simboloebis SeqmniT das-rulebuli). berZnuli Teatri iyenebda materialur niRbebs,Suasaukuneebisa Tu aRorZinebis epoqaTa TeatrisaTvis damaxasia-Tebelia saxis mTliani Tu sanaxevrod dafarva materialuri niRbiTan rTuli grimis gamoyenebiT. es Tviseba SeiniSneba rogorc evropulida aRmosavluri TeatrisTvis, agreTve, sxva kontinentTa sanaxaobiTikulturisaTvis.
Tanamedrove TeatrmcodneTa gamokvlevebsa Tu saTeatrokulturis sxvadasxva aspeqtTa Seswavlisadmi miZRvnil naSromebSi
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vxvdebiT niRbis ufro farTo gagebiT gamoyenebas. specialistebisul ufro da ufro xSirad mimarTaven am termins, rogorc msaxiobismier Seqmnili personaJis aRmniSvnels. amgvari midgoma, am terminisaseTi SinaarsiTac gamoyeneba Teatris istoriisTvis cnobili faqtia.italiis “saero TamaSebis” wiaRidan warmoSobili “ficarnaguliTeatri“, profesiuli, improvizaciuli komedia del arte sami tipisniRbiT iyo cnobili da ara marto materialuri niRbis gamoyenebiT.saTeatro literaturis mixedviT, am Teatris sami saxis niRabiacnobili : 1. saxalxo komediuri (msaxurTa niRbebi –pirveli dameore Zani );
2. SeyvarebulTa liriuli niRbebi (jer erT, xolo Semdeg oriwyvili); 3. satirul-mamxilebluri niRbebi (batonebis niRbebi:tartalia, pantalone, doqtori). am klasikuri niRbebis damuSavebiT,axali plasetebisa da aspeqtTa gamdidrebiT xdeboda scenarismixedviT moqmedebis ganviTareba. CemTvis savsebiT misaRebia niRbisam SinaarsiTac gamoyeneba da misi damkvidreba samecniero Tu sxvasaxis saTeatro literaturaSi.
uZvelesi ritualebis monawileTa, Semdgom ki msaxiobTa pirisaxisdafarva materialuri niRbiT, feradi saRebavebiT an rTuli grimiT,ramdenime obieqturma pirobam warmoSva. maT Soris, religiuri,specifikuri, wminda praqtikuli mizniT xdeboda (axlac xdeba)misi gamoyeneba. umTavresi ki aris TamaSis Tanamdevi aucilebloba– sakuTari mes SemweobiT sxvisi, sxva me-s warmodgena da am procesis“SeniRbva”, misi idumalebiT “Semosva”, amiT ki erTgvari iluziisSeqmna.
uZvelesi ritualis monawile, niRbis SemweobiT (verbalursaSualebebTan erTad) warmosaxavda, vTqvaT, totems, imeorebda misTvisdamaxasiaTebel vizualur – verbalur Taviseburebas. NnebismieriniRabi (materialuri, saxis SeRebva, martivi da rTuli grimisgamoyeneba) am procesis monawile xdeboda. misi gamosaxvis formaritualis, am sakraluri TamaSis, am idumali aqtis (RmerTebTanTu miRmier samyarosTan kavSiris inscenirebis) garkveuli informaciismatarebeli realobac gaxldaT. imave procesiT gamoirCeva ukveTeatraluri TamaSi. aq sxvadqcevis ritualuri aqtis ganxorcieleba(msaxiob-adamianis me_dan personaJi–adamianis Seqmna, warmosaxva), amxiluli da ambivalenturi aqtis warmodgena personaJTa erTobliobiT,sasceno qmedebiT xdeba. amdenad, niRabi (materialuric da personaJi– simboloc) erTian sasceno nawils warmoadgens da SesaZlebeliais ganvixiloT, rogorc niSani, garkveuli informaciis matarebeli,
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umetesad ambivalenturi mocemuloba. igi damoukidebel arsebobasTanerTad, mTliani sanaxaobis konteqstSic ganixileba da amdenad, masSikodirebuli informacia am ormagi xasiaTis gaTvaliswinebiTac undaamoixsnas.
speqtakli, saTeatro teqsti, personaJTa da sxva komponentTaerTiani sistemiT, dinamikaSi arsebuli mocemulobaa. yoveli personaJiTavisi individualuri ritmiT, “Tavisi dinamikiT” gamoirCeva daerTveba am saerTo dinebaSi. magram yoveli personaJis (aq vgulisxmobara marto dramis avtoris mier Seqmnil rols, aramed speqtaklispersonaJs, Teatris yoveli komponentis Tanaxmieri monawileobiTSeqmnil mTlianobas, uwinaresad ki msaxiobis avtorobiT warmodgenilpersonaJs) improvizaciul dinamikaSi arsebobs individualurTanerTad zedrouli da statikuri mocemuloba, rogorc maradiulobis,ucvlelobis, simbolo. is erTgvari dvritaa am tipis, kacobriobisam modgmis, Tundac am garkveuli statusis ganmsazRvrelmocemulobisaTvis. personaJis garegnoba, saqcielTa rigi, laparakismanera, mTlianad fsiqo-fizikuri xati, warmosaxavs garkveul tips,romelic zogadisa da individualuris erTobliobiT moqmedebsscenaze da zemoqmedebs mayurebelze. Aam improvizaciul dinamikaSi“zis” da zogjer dominanturad funqcionirebs statikuri, zedroulimocemuloba, maradiulobis, TiTqmis xelSeuxeblobis mudmiviSegrZnebisTvis arsebuli niSani –simbolo. zogadisa da indivi-dualuris Tanaarseboba, am nacnobi–ucnobis erTianoba, am impro-vizaciuli moqmedebiT spontanurad dabadebuli Strixisa TuSefasebisa da statikuri simyariT arsebuli “dvritas” Tanaxmianoba,Tavis mxriv, niSani –simbolos mTlianobas maStabs hmatebs damravlis es mowesrigebuli Tanaarseboba xasiaTis simkvrivesac avlensda mayurebelze zemoqmedebis procesSi asociaciuri nakadis maStabsacaZlierebs. personaJi – niRabic mTeli amgvari modgmis personi-ficirebul realobas qmnis.
Tanamedrove TeatrSi SeiniSneba niRbis nebismieri saxeobisarseboba: mravalSriani, feradovani an TeTri grimiT “Semosili”pirisaxe, rTuli da xatovani grimiT dafaruli saxe, materialuriunificirebuli niRabi, materialuri niRbiT naxevrad dafarulisaxe, kanisferi grimi, romelsac “tons” uwodeben da sxva. Yyovelcalkeul SemTxvevaSi niRabi, misi forma da feri, iqmneba speqtaklisgadawyvetis principiT da gamoxatavs im informacias, rac CaidomasSi dramis Teatraluri analizis, interpretaciis Sedegad. niRabimikrosamyaros raobis gamomxatvelic aris da amdenad, informaciis
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simravlesac itevs. personaJi-niRbis ambivalentoba individualurisada zogadis SenivTebiTa da, amasTanave, azrobrivi partiturissimwyobrisa Tu mravalgvarobis Sedegsac warmoadgens.
radganac msaxiobi qmnis ara marto erT konkretul individs,aramed personaJiT warmodgenili da gacxadebulia kacobriobisamgvari modgmis sazogado tipic, es Tanafardoba qmnis kidec amaxali individualobis namdvilobisa da moulodnelobis (nacnobi-ucnobi) efeqts. rac ufro myaria am zogadis xvedriTi wona, ramdenadoriginalurad “zis” da “funqcionirebs” am zogad-statikurSiindividualur-dinamikuri Strixebi, niuansebi, Sefasebebi, saqcielTarigi, miT ufro rTuli da maStaburia Seqmnili personaJi-niRabi,romelic TavisTavad saTeatro enis erT-erTi niSania. amgvariprincipiT ganxorcielebuli, Tu SeiZleba iTqvas, materializebuliazrobrivi partitura, msaxiobTa ansambli –ukve niRabTa sistemaaanu niSanTa sistema. igi mTliani sanaxaobis azrobrivi partituris,mxatvruli gadawyvetis principTa matarebeli mocemulobaa, pro-tagonistia sxva komponentTa scenaze SeTanxmebuli Tanaarsebobisa.Ddamxmare komponentebi, saTeatro enis niSanTa sistemis Semadgenelinawilebi funqcionireben speqtaklSi ormxrivi SinaarsiT: da-moukidebladac da konteqstiTac. es suverenoba da, amasTanave, da-mokidebuloba (qveSevrdomoba) niWieri damdgmeli gundiT –gawo-nasworebulia, miRweulia Sinagani Tanaxmiereba, organuli Tanaarseboba.am erTobliv niSanTa sistemaSi kodirebulia garkveuli informacia,rogorc ukve aRiniSna, ganpirobebuli azrobrivi partituriT,mxatvruli gadawyvetis principiT (ze-zeamocaniT, zeamocaniT, gamWolimoqmedebiT, saqcielTa rigiT, vizualur-verbaluri sxva gamosaxvisformebiT, romelSic, Tavis mxriv, kodirebulia azrobrivi, grZnobaTada fizikuri partiturebi). Sanaxaobis, rogorc saTeatro teqstisSeswavla (Secnoba-Sefaseba), am niSanTa sistemis, rogorc saTeatroenis amokiTxviT aris SesaZlebeli.
axla, swored rom droa movixsenioT Cveni interesis ZiriTadisagani, daviT bagrationis “werilebi” da “Semoklebuli fisika”.masalebi gamosacemad moamzada, SeniSvnebi da gamokvleva daurTofilosofiis institutis TanamSromelma, gulnara dedabriSvilma.miuxedavad imisa, rom es gamocemebi ar yofila qarTul literaturulsivrceSi daviT bagrationis originaluri Tvalsazrisis pirveligaJRereba (“Semoklebuli fisikis” erTi nawili jer kidev 1954wels gamoica vaxtang parkaZis mier), Znelia gadaWarbebiT SevafasoTam gamocemebis mniSvneloba. fukos arqeologiuri meTodis konteqstSiSegveZlo gveTqva, rom am gamocemiT istoriis mtveri CamocildaerT Zalze saintereso pirovnebas, romlis naweridan, rogorc utyuariwyarodan, Cvenive qveynis warsuli Semogvyurebs. es masala mzadaaSemdgomi interpretaciisaTvis miT ufro, Tu daviT bagrationisfilosofiuri Sexedulebebis erTi interpretacia Tavad gamomcemelmaSemogvTavaza (bagrationi 2002:3-20).
amrigad, daviT bagrationis cxovrebisa da moRvaweobis saxiTCven saqme gvaqvs TavisTavad istoriasTan, radgan istoria warsuliindividebis da maTi saqmeebis mexsierebaa. swored es gaxlavTistoriuli TxrobisaTvis erT-erTi umTavresi moTxovna. TugavixsenebT istoriis mamis, herodotes sityvebs, romliTac iwyebamisi Txzuleba, davrwmundebiT, rom savsebiT daculi gvaqvs istoriulikvlevisaTvis saWiro, Zalze arsebiTi postulati: “herodotehalikarnaselis istoriis es gadmocema - wers is - miznad isaxavsimas, rom droTa viTarebaSi ar iqnes daviwyebuli adamianTa saqebarisaqmianoba, arc is didi da saocari saqmeebi unda darCes ganudidebeli,romlebic aRasrules rogorc elinebma, ise barbarosebma, ar undaiqnes daviwyebuli yvela sxva da gansakuTrebiT ki is mizezi, risigulisTvisac ebrZodnen elinebi da barbarosebi erTmaneTs” (herodote1975:37).
istoriuli analizis meore mniSvnelovani sakiTxi istoriisuwyvetobas Seexeba. akad. simon yauxCiSvili “qarTlis cxovrebis”Semadgenlobaze msjelobisas wers Semdegs: “am krebulis warmoSobaCven ase warmogvidgeba. rodesac daibada imis saWiroeba, rom hqonodaTqarTveli eris Tavgadasavalis Semcveli wigni ... daZebnes calkeuliepoqebisaTvis dawerili mimoxilvebi da saistorio Sromebi, SeaerTeses ukanasknelni ise, rom moTxroba Tanmimdevruli yofiliyo dagaukeTes saerTo redaqcia. ... ar aris saeWvo, rom ori sxvadasxva
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istorikosi, leonti mroveli da juanSeri ver dawerdnen TavianTsaistorio Sromebs ise, rom maTi bolo da dasawyisi ase bunebrivadgadabmoda erTmaneTs. cxadia, aq redaqtoris xeli unda vivaraudoT:mas Seucvlia rogorc leontis Txzulebis bolo, ise juanSerisSromis dasawyisi. amgvarad, cxadia, rom “qarTlis cxobrebaSi”Setanili Txzulebebi Zveli qarTveli istorikosebisa CvenamdemoRweulia Secvlili saxiT; yovel SemTxvevaSi, am Sromebis dasasrulida dasawyisi redaqtorTa mier ikveceboda da icvleboda”(qarTliscxovreba 1955:7). rogorc vxedavT, ukve wminda enobriv donezeistoria rogorc warsuli saqmeebis Txrobis erTiani, uwyvetixazi saredaqcio moRvaweobis Sedegia da rogorc enobrivi aqtiobisproduqti, Tu SeiZleba ase iTqvas, is warmoadgens ara bazisur enas,aramed metaenas. gavixadoT saxelmZRvanelod enisa da yofierebismTlianobis Tezisi, romelsac Tanabrad uWerda mxars gasuli saukunisori didi filosofosi, haidegeri da vitgenSteini da vikiTxoT,gvaqvs Tu ara analogiuri viTareba ukve bazisuri enis doneze?
yauxCiSvili, rogorc vnaxeT, uaryofiT pasuxs iZleva. igivesgveubneba fukoc. erTiani uwyveti qronologiis nacvlad, islaparakobs movlenebis qaosze da xanmokle rigiTobebze, romlebicZnelad Tu eqvemdebarebian erTian kanons. TiToeul aseT rigiTobassakuTari istoria gaaCnia. Tu aqamde cdilobdnen xdomilebaTawyveta analizis procesSi daeZliaT, axla is umniSvnelovanesi elementigaxda, romelmac unda gansazRvros procesebis sazRvrebi, gardatexiswertilebi da a.S. (fuko 1996:12). magram gvaqvs ki aseTi bazisurimomenti daviT bagrationis nawerebSi? gulisxmoben Tu ara isiniwyvetis fenomens aRniSnuli mniSvnelobiT?
“Cemo mowyaleo xelmwifev, sergia lazariC!giorgi avalovma da falavandovma eliazarma gamomicxades
saidumloT neba imis didebulebisa, romelmaca didis madlobiTSeviwynare da sixaruliT neba davrTe. da ra es azrebi vscan, dReisiqiT Cemi qveyana ruseTad aRmiarebia da Cemi Tavi monad imperatorisad”(bagrationi 2006:46).
am ganuzomeli sixarulis arsi ufro naTladaa gamoxatulidaviT batoniSvilis general lazarevisadmi 1801 wlis 18 ianvrisrusul enaze daweril werilSi:
“Åãî Âåëè÷åñòâó áëàãî óãî äíî áûëî, ÷òîáû ÿ, áóäó÷è ïðèçíàí íàñ-ëåä í è êî ì , óïðàâëÿë â ñåì çâàíèè Ãðóçèåþ, è êàê ÿ åñìü ðàá ãî ñóäàðÿ,
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òî è ï î â è í î âàëñÿ ñîâåðøåí í î , è íû íå èçâåñòíî, ÷òî Ãðóçèÿ íûíå óæåíå åñòü Ãðóçèÿ, à Ðî ññèÿ è æèòåëè îíîé ñóòü îò í û í å ï îä ä à í û åè ì ïåðèè . “ (bagrationi 2006:51).
axali epoqa
amrigad, istoriuli wyveta dafiqsirebulia. sanacvlod iwyebaaxali epoqa. Sesabamisi transformaciebiT, rac kargad CansbatoniSvilis orenovan werilebSi. Tu maTi mniSvnelovani nawiligamarTuli rusuliTaa Sedgenili, samagierod qarTuli dauxvewavia,barbarizmebiT savse da aranakleb bundovani, vidre qveynis momavali(sanimuSod ix. werili.#150). mTlianobaSi iqmneba sakmaod mZimesuraTi imisa, Tu rogor iqca qarTveli ufliswuli, erT dros“daviT uZlevelis”@ saxeliT rom awerda werils xels (2. w.#16),ruseTis imperatoris keTilganwyobaze damokidebul kerZopirad(2.w.#105). aSkaraa, rom werilebSi gadaSlil daviT bagrationiscxovrebas namdvilad ver vuwodebT bedniers. piriqiT, misi zogierTiwerili mkiTxvelisagan ufro TanagrZnobas moiTxovs: “amisTanaSemTxvevas (saubaria daviTis ruseTSi gadasaxlebaze. m.b.) gardaubedurebisa Cemisa veras davabraleb keTilmoqmedi suli maradisganavrcelebs keTilmoqmedebasa Tvissa yovel ubedurTa zeda. TugekadrebaT ucxos qveyanaSi metis ubedurebiT SevideT es neba Senia.radgan es sofeli warmavalia. Tu kargi ram minaxavs da gaivliaavsaca vnaxav isic gaivlis ukanaskneli adli xuTi miwa imperatorissagzliTa. Cemi vedreba esaa qarTvelebisa da kac ver ars. nu iqmTdaviwyeba. qaRaldi ar mqonda laqi nu gamowyrebi” (2.w.#85).
politikuri cxovrebis fragmentipolitikuri cxovrebis fragmentipolitikuri cxovrebis fragmentipolitikuri cxovrebis fragmentipolitikuri cxovrebis fragmenti. batoniSvilis ufroadreuli nawerebidan jer ar Cans Rrma politikuri gardatexaromelic qveyanas da mis marTvel elitas eloda. mamis gardacvalebisSemdeg, ruseTis saimperatoro karma daviT bagrationi ramdenimeTve saqarTvelos mmarTvelad daniSna. yofili ufliswulis esucnauri Tanamdeboba masSi araviTar eWvs ar aRZravs ruseTisxelisuflebis mimarT. piriqiT, igi bedis kmayofili Cans da mzadaabiZebis mier waqezebuli, amboxebis piras mdgari mosaxleobisdasaSoSmineblad rusis jarTan erTad aqtiuri nabijebi gadadgas.1800 wlis 2 dekembris werilSi, magaliTad, vkiTxulobT Semdegs:“Cemo sasurvelo Zmao bagrat! Tqveni wigni momivida da qarTvelaTacmujalma moeweraT, magram amilaxvari gaiqca da iulonTan boloTsmovida. orasi kaci hyavT da sofel-sofel daeTrevian. Sen imaTgan
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imedi gardaswyvite, aras gaxdebian ra da rom gekiTxa: ra vqnaT, Tugaremovidneno, Tofi vesrolo Tu ara? rogorc leks ise esrole,ar daTmo” (2.w.#30). igive suliskveTebis matarebelia zemoT-xsenebuli me-40 werilic: “... radgan es qveyana imperators SeswiramamaCemma, axla Tqven unda izrunoT amis waxdenisaTvisac daaSenebisaTvisac. wyalobas viTxov, ubrZanoT aq myof Renerals da esbunti daacxros da damijeros xolme kidec, romelsac mxaresjaris dayenebaa saWiro, radgan eseni am adglebis umecarni arian daTu aq waxdes rame, Cemis pativiT me mivsce pasuxi ...”. axal pirobebSiqveynis ufro qmediTi administrirebis mzaobaa gacxadebuli 62-ewerilSic: “ ... axla winamZRvarma sanatrelis batonis papis CvenisganaCeni mogvitana da gujari da imaTis ZaliT SevityveT, rommonastris ymani yofilan. axlav is oqmic unda gamoarTva da winamZRvarsavad mopyrobiT daumorCilo da mamis Cvenis mzema, Tu kidev isiniCemTan movidnen Senganac didad mewyineba da imaT sul naRvelasvasxmevineb piridama”.
imperatoris aseTma samsaxurma imedebi ar gaumarTla batoniSvils.1801 wlis zafxulis misi werilebi mowmoben, rom is Camocilebuliaqveynis marTvelobisagan romelic oTx TaRliT medroves gadaeca.viTarebis arasasurveli mimarTulebiT cvlilebam, ufliswulsmetnaklebad daanaxa saqarTvelos momavali politikuri mowyobisperspeqtiva: “ubedureba soflisagan didi xania Cveulebad Semosulada viTom mec erTi gavubedurdi, magram am mTelma qveyanam TavisSoris damkvidrebulis eriT ra daaSaves da an ras Sescodnen, romamisTana ukanonos da uwesos ubedurebaSi miawies, rom oTx uwignoTauwuvrTelTa da uistorioTa gvamTagan es mrTeli samefo itanjebodesda ase mouvlelad da mwuxared rCebodes?” (2.w.#66). Tumcaubedurebis gancda politikuri sifxizlis arasakmarisi garantoriaRmoCnda. daviT bagrationi ar yofila SorsmWvreteli politikosi.misi werilebi 1801 wlis zafxulidan mTeli 1802 wlis ganmavlobaSiiluziebiTaa nakvebi. is xan rus moxeleebs sTxovs imperatoriswinaSe Suamdgomlobas mefis titulis misaRebad (2.w.68), xanacruseTis xelisuflebis erTgulebas ificebs da aRiarebs, rom gulSiaRar aqvs mefobis survili. amave dros ar aviwydeba arc mtradyofilibiZa, iuloni misi uflebis aRiarebiT bagrationTa saxlis gaZRolazeda samefos aRdgenisaken mowodebiT (2.#71). 1803 wlis 11 Tebervliswerilidan vgebulobT, rom amgvari politikuri qaosi Tavis logikurdasasrulamde misula da daviT batoniSvili Sinagan saqmeTa ministrsruseTs gauwvevia. batoniSvili gamgzavrebis gadasavadeblad axla
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imasRa iTxovs, rom “... am yinvaSi ar waisvleba Cemgan, amitom, romgzazed avadmyofi ufro adre Seviqnebi da sikvdils mivecemi daTqvenTvis ra sargebeli aris” (2.w.#79). 1803 wlis 20 maisispeterburgidan gamogzavnili werili metyvelebs, rom daviTbatoniSvilis cxovrebaSi axali periodi iwyeba.
,,gavlenis’’, ,,siaxlis’’, ,,originalobis’’ terminebiT. wignSi ,,codnisarqeologia’’ frangi filosofosi miSel fuko miznad isaxavsgagvaTavisuflos xsenebuli konceptebisagan da gviCvenebs, romistorikosebs saqme aqvT gasxltomebTan, wyvetebTan, frag-mentulobasTan. isini iwyeben napralebis amovsebas, wyvetebisgamTlianebas, fragmentebis dakavSirebas, Tanmimdevrulobebis, mizez-Sedegobrivi kavSirebis, azris, miznis Setanas maTSi _ sakuTarisxeulis analogiiT nawilebis gamoyofas, istoriisaTvis ,,saxis’’micemas (fuko). am genetikur struqturaSi unda moeqcesmravlobiToba. literatura paradoqsuli fenomenia, romlis arsebobiswesi sxva arsebulTagan gansxvavdeba, Tumca am gansxvavebasliteraturis istoria jiutad uaryofs, radgan amiT misi arsebobadgeba eWvqveS. literatura sxvagvarad amyarebs kavSirs drosTan,sxva obieqtebisagan gansxvavebiT, misi arseboba wakiTxvisa dainterpretaciis saSualebiT iZens yofnis SesaZleblobebs. obieqtisstatusi zedmetad didia misTvis, an zedmetad mcire. literaturisistorikosebis azriT, meoce saukuneSi mas ufro meti moeTxoveba,igi Tanamedrove unda gaxdes. rogorc rembo miiCnevs, mas ar hyavswinaprebi safrangeTis istoriaSi. erTaderTi, rac poets moeTxoveba,aris ,,siaxle’’ _,,du nouveau’’, antonen arto ki miiCnevs, rom ,,dawerilipoezia mxolod wamierad flobs mniSvnelobas, Semdeg ki undaganadgurdes.’’(pol de mani 1971:213) Tanamedroveoba gagebulialiteraturis istorikosTa mier, rogorc gaTavisuflebaistoriisagan, erTgvar maradiul awmyoSi gadasvla, magram es Tavadliteraturis arsebobas ayenebs eWvqveS, radgan igi dawerilia damkvdari, Tuki artos kategoriebiT vimsjelebT. es ar aris cecxli,aramed nakvalevi, romelsac es cecxli tovebs, ferfli, romelicmodernistuli proeqtis sasaflaod iqceva. bodleri uaryofiTkonteqstSi axsenebs sityva ,,stenografias’’, anu Canawers, racgameorebas ukavSirdeba, romelsac araferi aqvs saerTo moqmedebisspontanurobasa da TanamedroveobasTan. frangi filosofosi Jakderida aCvenebs, rom literatura gameorebaa da mas araferi aqvsTanamedroveobasTan saerTo. derida SeniSnavs, rom arto Tavisimoqmedebis TeatrSi ver axerxebs ganTavisufldes repeticiisagan,rac misi sisastikis safuZvelia. awmyoSi arsebuli obieqtebisagangansxvavebiT, literatura aistoriulia. awmyo zurgs aqcevsliteraturas da gvevlineba misi istoriulobis safuZvlad.problema ase SeiZleba gamoixatos _ an unda gavTavisufldeTliteraturisagan, radgan is gameorebaa, yovelTvis gvabrunebs da
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gvakavSirebs warsulTan, an vicxovroT orive droSi, awmyoSi dawarsulSi, aviTvisoT nicSeseuli ,,daviwyebis xelovneba’’. ,,saWiroadidi Zala, raTa icxovro da SeZlo daviwyeba, radgan erTi da igivea,icxovro da iyo usamarTlo’’(nicSe). marTalia, modernizmis TeoriulisafuZvlebis kvlevisas xSirad miuTiTeben mkvlevarebi nicSesfilosofiur Sexedulebebze, magram nicSes damokidebuleba warsulisada istoriisadmi bevrad ufro rTulia, vidre erTi SexedviT Cansda SesaZloa, arc araferi iyos saerTo warsulis uaryofasa dapozitiur, ,,daviwyebis’’ teqnikas Soris, nicSeseuli uaryofa isev,,hos’’ niSnavs. misTvis awmyos problema warsulTanaa gadajaWvuli,rac ,,maradiuli mobrunebis~ ideaSi gamoixata, es isev ,,literaturis’’farglebSi gvtovebs, aqedan modis nicSes gadaWarbebuli, SeusabamoJestebi da metyveleba. is, rasac daviwyebisas uarvyofT, kvlavagrZelebs arsebobas am uaryofiT. ,,warsulis uaryofa yovelTvisZalian saSiSi operaciaa, saSiSi Tavad cxovrebisaTvis, da is adamianebida epoqebi, romlebic am gziT emsaxurebian cxovrebas, anu ayenebenwarsuls sasamarTlos winaSe, angreven mas, Tavad arian saSiSi dasaxifaTo xalxebi da epoqebi, radganac Cven warmovadgenT ara martowina Taobebis, aramed maTi Secdomebisa da vnebebis da codvebis,iseve, rogorc danaSaulis produqts da SeuZlebelia, mTlianadgaTavisufleba am jaWvisagan. es iqneboda mcdeloba, Segveqmna CvenTvisaposteriori iseTi warsuli, romlisganac visurvebdiT war-movSobiliyaviT, nacvlad im warsulisa, romlisganac sinamdvileSiwarmoviSviT, _ es mcdeloba yovelTvis saSiSia, radgan araa advili,moZebno saWiro zRvari warsulis uaryofaSi, radganac meoreebiumetes SemTxvevaSi sustebi arian pirvelebze’’(nicSe). nicSes idealiTiTqos aistoriulobaa: ,,Cven vxedavT cxovels, romelic mTlianadmoklebulia istoriul grZnobas da moTavsebulia horizonts SigniT,romlic erT wertilSia moqceuli, tkbeba ra sayovelTaod cnobilibednierebiT, an yovel SemTxvevaSi cxovrobs ise, rom araferi icisarc TvalTmaqcobis da arc tyuilis Sesaxeb, amitom, Cven undaCavTvaloT, rom, araistoriulobis grZnobis SesaZlebloba ufromniSvnelovania da Tavdapirveli, radganac is aris fundamenti,romelzedac, saerTod SesaZloa aSendes raRac swori, janmrTelida didi, raRac namdvilad adamianuri.’’ (nicSe) miuxedavad mcdelobisa,cxovreba warsulis mavne zegavlenisagan daicvas, nicSe grZnobs,rom Tanamedroveoba da warsuli opozicias ar warmoadgens.Tanamedroveoba swored is jaWvia, riTac warsulze varT mibmulni.,,adamiani sakuTari Tavis gamo aris gaocebuli, imis gamo, rom ar
,,Tanamedrove’’ literatura
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SeuZlia iswavlos daviwyeba, rom is samudamod aris mijaWvuliwarsulze, da ra Sorsac da ra swrafadac ar unda gaiqces igi,jaWvi garbis masTan erTad.’’(nicSe) es jaWvi aris diskursi, rogorcgadabmis, dakavSirebis, Tanmimdevrulobebis Seqmnis meqanizmi, Tumcaigi ar aRiwereba gavlenis, mizez-Sedegobrivi kavSirebis,qronologiuri Tanmimdevrobebis gziT. es ufro omia herakliteseuligagebiT. aq momavali gansazRvravs warsuls, da ara piriqiT,Lamitomaraferia dasrulebuli da erTxel da samudamod gansazRvruli,rogorc es literaturis istorikosebs surdaT. literaturaarsebobs swored TviTuaryofis gziT (literaturis, rogorc,,nakvalevis’’ uaryofis gziT, deridas terminologiiT), rac masawmyoSi yofnis saSualebas aZlevs, ufro swori iqneboda gveTqva _TviTuaryofebis gziT, rac qmnis Tanmimdevrulobebs, anu xangrZliobebs,anu moZraobas. literatura mudmivad gadis Tavisi Tavis miRma damudmivad ubrundeba mas. am Tanmimdevrulobebis, anu diskursis wyaroswored omia literaturasa da araliteraturas Soris. misi aRweraukve arsebuli klasifikaciebiT, zedrouli cnebebiT, avtorisavtoritetiT, saRi azris modusiT, realobaze miTiTebiT, droisobieqturi Tu subieqturi dinebebiT SeuZlebelia, radgan omiyvelafris safuZvelia, igi qmnis kavSirebs da gansxvavebas.
fuko 2004:fuko 2004:fuko 2004:fuko 2004:fuko 2004: fuko m. sityvebi da sagnebi, ,,diogene . 2004fuko 1fuko 1fuko 1fuko 1fuko 1969:969:969:969:969: Foucault M. Archeology of knoledge. 1996nicSe 1nicSe 1nicSe 1nicSe 1nicSe 1990:990:990:990:990: Íèöøå Ô. Ñî÷èíåíèÿ .ò.1.Ì. »Ìûñëü»1990pol de mani 1971:pol de mani 1971:pol de mani 1971:pol de mani 1971:pol de mani 1971: Paul de man. Blindness and insight. Esseys in the
rhetoric of contemporary criticism. N.Y. Oxford university press.1971
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xaTuna TavdgiriZe
miTosuri simulaciebimSvenieri urCxuli
,,rom ara garegani gamovlinebebi, samyaroiqneboda srulyofili danaSauli. sxvagvarad romiTqvas, danaSauli damnaSavis, msxverplis da motivisgareSe. danaSauli, romelSic ar arsebobs samxili,amitom simarTle dafarulia ukunisamde dasaidumlo rCeba saidumlod. magram realuraddanaSauli ar SeiZleba iyos srulyofili, radgansamyaro TavisTavs xsnis gareganiT – kvalimomdinare jer kidev misi ararsebobidan. es kvaliwarmoadgens uwyvet kavSirs ararasTan, romlidanacsamyaro gvawodebs Tavis saidumlos. amiTsaSualebas gvaZlevs SevigrZnoT is, sakuTari Tavisgaregan gamovlinebebSi gamudmebuli dafarviT”
Jan bodriari.Jan bodriari.Jan bodriari.Jan bodriari.Jan bodriari.
,,kudismWameli” urCxulis miTologema gulisxmobs Sesaqmisada warRvnis monacvleobis garduvalobas. ,,kudismWameli” Tavsuyris da aerTebs samyaroseul substratTa TiToeul, umciresingredientsac ki, dro da dro kravs da Slis maT mTlianobas. igisamyaros or nawilad: cad da miwad hyofs da Tavadac am oripolarobis gansaxovnebaa: urCxulis Tavi cas ekuTvnis, kudi kimiwas da miwisqveSeTs. amgvari dualizmi ganamsgavsebs kidec maTmiTologiur saxeebs. miToss ori sawyisis gveli hyavs: mdedruli,xTonuri miwisa da wylis gveli/gveleSapi – miwisqveSa qaosis
• maradisoba da urCxuli: ,,urCxulis mkvlelobis” miTosuri simulaciebi
,,erTi materiidan meoreSi gadayvanisas uCinardeba realoba,is xdeba sikvdilis alegoria, magram Tavad am msxvreviT is myardeba, gardaisaxeba
realobad realobisTvis,obieqtis reprezentaciis nacvlad – misi uaryofis eqstazida ritualuri ganadgureba: hi perrealoba.”
J. J. J. J. J. bodrbodrbodrbodrbodriariariariariari. ,,simulaciebis hii. ,,simulaciebis hii. ,,simulaciebis hii. ,,simulaciebis hii. ,,simulaciebis hi perrperrperrperrperrealoba.”ealoba.”ealoba.”ealoba.”ealoba.”
wignidan: ,,simboluri gacvla da sikvdili”wignidan: ,,simboluri gacvla da sikvdili”wignidan: ,,simboluri gacvla da sikvdili”wignidan: ,,simboluri gacvla da sikvdili”wignidan: ,,simboluri gacvla da sikvdili”
paradoqsia, magram faqtia: uxsovari droidan yvela urCxulismokvlas cdilobs. demiurgebi, RmerTebi, miTiuri da zRapris gmirebi.urCxuli ki yovelTvis cocxalia. providenciulia urCxulis devnis,mkvlelobis da am mkvlelobis SeuZleblobis yvela intencia.urCxulis paradigma emorCileba(sinamdvileSi is Tavad aris paradigmada Tavad imorCilebs)sruliad gansxvavebul, miTisgan da zRaprisganganyenebul romeliRac iseT did struqturas, rac SeuZlebeliasxva ,,mcire struqturebSi” moTavsTdes(7). aseTi ,,mcirestruqturebi” miTi da zRaparia, romlis dros da sivrces urCxuliipyrobs, magram ganusazRvreli sididis gamo ver TavsTdeba datovebs.
urCxulis xiluli gza miTsa da zRaparze gadis. es gza, rogorcdroebiTi transmigraciuli samarSruto sivrce, miTisa dazRaprisTvis niSneuli ,,faTerakebiT” aris savse. miTi(pirveladimiTi) zRaparTan SedarebiT, urCxulisTvis adaptirebadi garemoada vidre mas sakuTari naSierebi kosmosis saxeliT brZolasgamoucxadebdnen, Tavs nacnob garemoSi grZnobs. sagulisxmoa, romurCxuli miTSi qmnadia – warmoSobs sakuTar naSierebs, anu amkvidrebssakuTar paradigmul niSnebs. jadosnuri zRapris sivrce ki urCxulis,,sasaklaoa”. zRapari arcerTi wuTiT ar ayovnebs, urCxulis gamo-CenisTanave sagangebod qmnis ,,gmirs”, romlis erTaderTi da maradiuliepiuri intencia urCxulis mkvlelobaa. urCxulis arseboba miTisda zRapris arsebobis erTaderTi sazrisia. aris Tu ara urCxulisarsebobis sazrisi miTisa da zRapris arsebobaSi? pasuxierTmniSvnelovnad uaryofiTia, radgan Cven ukve vTqviT, rom urCxulisparadigma miTisgan da zRaprisgan ganyenebul romeliRac gacilebiTdid struqturas moicavs. axla ki unda avxsnaT ratom arisurCxulis paradigma miTisa da zRapris paradigmaze didi.
urCxulis, miTis, zRapris da istoriis urTierT-urCxulis, miTis, zRapris da istoriis urTierT-urCxulis, miTis, zRapris da istoriis urTierT-urCxulis, miTis, zRapris da istoriis urTierT-urCxulis, miTis, zRapris da istoriis urTierT-mimarTebis problema uwinaresad temporaluri problemaa.mimarTebis problema uwinaresad temporaluri problemaa.mimarTebis problema uwinaresad temporaluri problemaa.mimarTebis problema uwinaresad temporaluri problemaa.mimarTebis problema uwinaresad temporaluri problemaa.
es mimarTebani da maT Soris warmoqmnili winaaRmdegobaniteqstobriv-siuJetur planSi(siuJetis poetikis doneze da aramxolod,) asaxulia miTsa da zRaparSi.
,,samyaro Seqmnilia ara droSi(in temfore), aramed drosTanerTad(cum temfore).” - es sityvebi netar avgustines ekuTvnis. netaravgustinemde amas plotini ambobda Tavisi ,,eneadebis” VII traqtatSi-,,maradisobisa da droisaTvis.” plotinamde ki eqvsi saukuniTadre - platoni werda Tavis ,,timeosSi”: ,,man(demiurgosma) ganizraxaSeeqmna maradisobis erTgvari moZravi asli da, cis wesrigTan erTad,uZravi da erTaderTi maradisobis xatad Seeqmna moZravi damaradmedini xateba, romelic ricxvTa kanonis Tanaxmad miedineba daromelsac dros vuwodebT Cven. radganac cis dabadebamde arcdReebi iyo da arc Rameebi, arc Tveebi da wlebi, aramed maTidasabami ciuri wesrigis SeqmnasTan erTad iqna dasaxuli” (bregvaZeI 2006:71).
sami sxvadasxva fenomeni: gveli, gveleSapi da urCxuli(//drakoni).gveleSapi, rogorc miTologiuri personaJi realisturi gvelissaxidan ganviTarda(es etimologiuradac dasturdeba: gvel-veSapi)da is SesaZloa ganvixiloT kidec ,,bunebis diskursisa” da ,,bunebisuwyvetobis” struqturaSi, magram urCxuli ganyenebulad,pirdapirarsebuli fenomenia, cxovelis, frinvelis, qvewarmavlis,mcuravis niSnebiT. amdenad urCxuli ara mxolod ,,umomavloa”, is,,uwarsuloc” aris. is erTsa da imave dros gvevlineba pirvelsaxedda bolosaxed, anu - ,,prototipebis bolo tipis prototipad.”urCxuls mxolod maradiuli ,,awmyo” aqvs da maradiuli forma.Sesabamisad, is yvela drosa da aradroSi(drois gareT) arsebobsmaradiulad.
m ar adiuli mxolod urCxulia . urCxuli Ta v adm aradiuli mxolod urCxulia . urCxuli Ta v adm aradiuli mxolod urCxulia . urCxuli Ta v adm aradiuli mxolod urCxulia . urCxuli Ta v adm aradiuli mxolod urCxulia . urCxuli Ta v admaradisobaa. maradisoba ,,urCxulis droa.”maradisobaa. maradisoba ,,urCxulis droa.”maradisobaa. maradisoba ,,urCxulis droa.”maradisobaa. maradisoba ,,urCxulis droa.”maradisobaa. maradisoba ,,urCxulis droa.”
dro da maradisoba Tvisobrivad sxvadasxva temporalurifenomenebia. maradisoba Tvisobaa, mdgomareobaa, rogorc n.berdiaeviambobs - ,,Tvisobrivi usasruloba”. dro ki moZraobis modusia,romelic ganwilulia sxvadasxva monakveTebad da raodenobriv,gazomvad fenomens warmoadgens. platonis mixedviT (romlisTvalsazrissac mTlianad iziarebs da aviTarebs misi sulierimemkvidre plotini.) ,,maradisoba goniT sawvdomi sinamdviliserTaderTi temporaluri realoba, idealuri, uZravi da ucvlelipirvelnimuSia, dro ki _ misi moZravi xati”(bregvaZe I 2006:100).
,,Zili” urCxulis gansakuTrebuli mdgomareobaa. ,,mZinarigveleSapis” miTologema gveubneba, rom mZinari gveleSapi ar arismZinari gveleSapi ar arismZinari gveleSapi ar arismZinari gveleSapi ar arismZinari gveleSapi ar arissaSiSi gveleSapi.saSiSi gveleSapi.saSiSi gveleSapi.saSiSi gveleSapi.saSiSi gveleSapi.
,,danaSaulis grZnoba, SiSi da sikvdili SesaZlebeliaCanacvldes danaSaulis, sasowarkveTis, Zaladobis, sikvdiliswminda simboloebiT da es aris swored simulaciis eiforia,mimarTuli mizezisa da Sedegis, dasawyisisa da dasasrulisgauqmebisken, maTi dublirebis nacvlad.”
J. J. J. J. J. bodrbodrbodrbodrbodriariariariariari. ,,simulaciebis hii. ,,simulaciebis hii. ,,simulaciebis hii. ,,simulaciebis hii. ,,simulaciebis hi perrperrperrperrperrealoba.”ealoba.”ealoba.”ealoba.”ealoba.”
wignidan: ,,simboluri gacvla da sikvdili”wignidan: ,,simboluri gacvla da sikvdili”wignidan: ,,simboluri gacvla da sikvdili”wignidan: ,,simboluri gacvla da sikvdili”wignidan: ,,simboluri gacvla da sikvdili”
,,mSvenier urCxulTan” brZola zRapris, nawilobriv miTisumTavresi mamoZravebeli ideaa. miTi ufro axlos dgas realobasTan,Sesabamisad, masSi metia ,,samarTlianobac”. miTosi kosmosis Sesaqmesswiravs saukeTesos - ,,mSvenier msxverpls” (miTosSi uaryofiTisawyisi antimsxverplia da mas ar iwiravs ,,dadebiTi” Zala ).miToss gamudmebiT axsovs, rom urCxuli ,,mSvenieri urCxulia”.arqaul miTebSi Semonaxulia Tavdapirveli miTosuri plasti,romelSic urCxuli arc moZaladea da arc mimtacebeli, is yvela imsamyaroseuli gamovlinebis gamCen-Semqmneli, mfarvel-Semnaxveli damaterebelia, ris mitaceba-ganadgurebasac mas SemdgomSimiaweren(ganviTarebuli miTologiebi da zRaprebi). miToss gamudmebiTaxsovs, rom urCxuli ,,kudismWameli urCxulia,” romlis kosmogoniurimiTologema gvamcnobs mSvenieri urCxulis Sesaqmiseul-demiurgulintencias – sakuTari salteSekruli sxeuliT Seakavos samyaroswarmxocveli wylebi. zRaprebSi wyalTan mravalkecad daxveuli,,kudismWameli” mZinari gveleSapi ZiriTadi kosmogoniuri miTo-logemaa da samyaros kosmiuri wyobis models asaxavs. kosmogoniurimiTologemaa agreTve xeze, rogorc samyaros RerZze mravalkecadSemoxveuli gveleSapi. am kosmogoniurma miTologemam zRaparSidesakralizacia ganicada da wyalTan mravalkecad daxveuli mZinarigveleSapi ,,samyaros warmxocveli wylebis Semkaveblidan”,,sasicocxlo wylebis” mimtaceblad aqcia.
urCxulis `boroteba~ Wirdeba zRapars da zRaprisurCxulis `boroteba~ Wirdeba zRapars da zRaprisurCxulis `boroteba~ Wirdeba zRapars da zRaprisurCxulis `boroteba~ Wirdeba zRapars da zRaprisurCxulis `boroteba~ Wirdeba zRapars da zRaprisgmirs gmirad qcevaSi.gmirs gmirad qcevaSi.gmirs gmirad qcevaSi.gmirs gmirad qcevaSi.gmirs gmirad qcevaSi.
gmiri, romelic urCxuls aRviZebs ,,strategiulia”, am gziT is,,aborotebs” urCxuls.
urCxulis ritualuri mkvlelobis aqts win uswrebs urCxulisritualuri gaRviZebis aqti. misi ,,gamoRviZeba” yovelTvis garegani,xelovnuri zemoqmedebiT aris ganpirobebuli. gmiri arasodes elodebaurCxulis bunebriv gaRviZebas, amitom Cven ar viciT, arc SeiZlebavicodeT, rogoria ,,bunebrivad gaRviZebuli” urCxuli. ar SegviZliavicodeT, ,,borotia”, ,,saSiSia” Tu ara aseTi urCxuli. TiTqosurCxuls ,,mSvidobismyofelad” yofnis SesaZlebloba gangebgamoacales. is sagangebod, mizanmimarTulad ,,gaaborotes.”
urCxuli ar Zaladobs gmirze (da samyaroze), urCxuliurCxuli ar Zaladobs gmirze (da samyaroze), urCxuliurCxuli ar Zaladobs gmirze (da samyaroze), urCxuliurCxuli ar Zaladobs gmirze (da samyaroze), urCxuliurCxuli ar Zaladobs gmirze (da samyaroze), urCxuliTavs icavs ucxo garemoSi.Tavs icavs ucxo garemoSi.Tavs icavs ucxo garemoSi.Tavs icavs ucxo garemoSi.Tavs icavs ucxo garemoSi.
gmiri aRviZebs urCxuls da ebrZvis. gmiri qmnis urCxulis imsaxes, romelsac unda SeebrZolos: aramSvidobians, aramZinares, aqtiurs,borots. urCxuli jer cxaddeba sayovelTao borotebad da Semdegisjeba sayovelTao saxeliT. es erTaderTi gzaa gmirisTvissayovelTao gmirad qcevisa, sxva SemTxvevaSi gmiris moRvaweoba erTlokalur, egzistencialur mniSvnelobas SeiZenda. amitom urCxulikidev arTxel aris msxverpli. amjerad urCxuli gmiris vnebebismsxverplia.
magram rodis da sad gaCnda gmiris vnebebi? vin qmnis gmirisvnebebs? vin miuqsia urCxuls gmiri? iqneb gmiric msxverplia, brma
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iaraRi romeliRac ufro didi Zalis xelSi? aris Tu ara es ZalaurCxulze Zlieri da urCxulze marTali?
es Zala Tavad zRaparia, romelic uamravi sicruis da simulaciisgzebze, bewvis xidebze daatarebs gmirsac da urCxulsac, Tumcsabolood ver Zlevs maT, radgan Cven viciT rom urCxuli arsebobszRapris gareT, arsebobs ara-droSi, sadac zRapars xeli ar miuwvdeba.
zRapari presimulaciuri samyaroa. igi namdvili simulaciebisganimiT gansxvavdeba, rom dasawyisSive(zRapris Tavformula - ,,iyo daara iyo ra”) gvafrTxilebs movlenaTa da saganTa simulirebis,aranamdvilobis Sesaxeb. amgvari gamWoli eTikuri svliT akanonebskidec Tavis ,,sicrues,” aZlevs mas namdvilobis legitimacias. magramzRaparSic dgeba gardamtexi zRvari, es zRapris dasasrulis mijnaa,sadac simulaciebic unda dasruldes da aRsruldes zRapris mTavarimoraluri kodeqsi Tu aRTqma: - ,,Wiri iqa/lxini aqa /qato iqa/fqvili aqa.”
zRapris finali zRapris codvas amxels. amxelszRapris finali zRapris codvas amxels. amxelszRapris finali zRapris codvas amxels. amxelszRapris finali zRapris codvas amxels. amxelszRapris finali zRapris codvas amxels. amxelssimulaciebs da urCxulis winaSe Cadenil ,,srulyofilsimulaciebs da urCxulis winaSe Cadenil ,,srulyofilsimulaciebs da urCxulis winaSe Cadenil ,,srulyofilsimulaciebs da urCxulis winaSe Cadenil ,,srulyofilsimulaciebs da urCxulis winaSe Cadenil ,,srulyofildanaSauls.”danaSauls.”danaSauls.”danaSauls.”danaSauls.”
sad aris zRapris keTili dasasruli? –iq sadac urCxulsklaven da gmiri imarjvebs, romelic mzeTunaxavze qorwindeba, Tu iqaris zRapris WeSmariti sikeTe sadac gvelistyaviani Wabuki urcxulistyavs gaixdis, Tavis mSvenier saxes gamoaCens da mzeTunaxavzeiqorwinebs?
14. plotini ,,maradisobas” aigivebs ,,marad arsTan, amitom is,,RmerTis identurad” miaCnia: ,,RmerTi maradisobaSi gvivlens dagvicxadebs Tavs, rogorc marad ucvleli, TviTigiveobrivi, waruvalida aseTive sicocxliT mosili arsi”(bregvaZe I 2006:77). maradisobisRvTaebriv sawyiss aRiarebs netari avgustine, romlis mtkicebiT,,,maradisoba ucvlelobisa da uZraobis, ufro zogadad ki RvTabrivisubstanciis da TviT RmerTis atributia”(bregvaZe I 2006:77).maradisobas ..RmerTis atributad” acxadebs holandieli moazrovnebenediqte spinoza: ,,maradisoba atributia, romliTac Cven vwvdebiTRmerTis usasrulo arsebobas”(bregvaZe I 2006:80).
15. msgavs movlenebSi J.bodriari xedavs ,,simulaciebishiperrealobas.” misi TqmiT, ,,erTi materiidan meoreSi gadayvanisasuCinardeba realoba, is xdeba sikvdilis alegoria, magram Tavad ammsxvreviT is myardeba, gardaisaxeba realobad realobisTvis, obieqtisreprezentaciis nacvlad – misi uaryofis eqstazi da ritualuriganadgureba: hi perrealoba.”(bodriari, simboluri... 2000:149).simulaciebisa da hi perrealobis pirobebSi SeuZlebeli xdebasikvdili da dasasruli, SeuZlebeli xdeba gaqroba,,,aRaraferi(RmerTic ki) ar qreba miRweuli Tavis dasasruls an
ilini 1ilini 1ilini 1ilini 1ilini 1998:998:998:998:998: È . È Ë Ü È Í, Ï ÎÑÒÌ ÎÄÅÐÍÈÇÌ î ò èñòî êî â ä îêî í ö à ñòî ëåòèÿ:ýâî ëþöèÿ í àó÷í îãî ì è ô à.Ì . 1998.
Tb.1985.levinasi 2004:levinasi 2004:levinasi 2004:levinasi 2004:levinasi 2004: Ëåâèíàñ Ý. Èçáðàííîå: Òðóäíàÿ ñâî á îäà, Ì., 2004.levi-brlevi-brlevi-brlevi-brlevi-briuli 1iuli 1iuli 1iuli 1iuli 1937:937:937:937:937: Ë . Ëåâè-á ð þëü, Ñâåðõúåñòåñòâå í í îå â
ï å ð â î á û ò í î ì ì û ø ë å í è è, Ì . 1937.levi-strosi 2001: levi-strosi 2001: levi-strosi 2001: levi-strosi 2001: levi-strosi 2001: Ê. Ëåâè-Ñòðîñ, Ñòðóêòóðíàÿ àíòðî ï îë îãèÿ,
Ì .2001levi-strosi 1994: levi-strosi 1994: levi-strosi 1994: levi-strosi 1994: levi-strosi 1994: Ê. Ëåâè-Ñòðîñ, Ï å ð â î á û ò í î å ì û ø ë å í è å, Ì .
1994.miTis fsiqoanalitikuri... 1998: miTis fsiqoanalitikuri... 1998: miTis fsiqoanalitikuri... 1998: miTis fsiqoanalitikuri... 1998: miTis fsiqoanalitikuri... 1998: Ì å æ ä ó Ý ä è ï î ì è Î ç è ð è ñ î ì,
ñòà í î âëåíèå ïñèõî à í àëèòè÷åñêî é êî í ö å ï ö è è ì è ô à, Ì .1998.meletinski 1976: meletinski 1976: meletinski 1976: meletinski 1976: meletinski 1976: Ìåëåòèíñêèé Å.Ì . Ï îýòèêà ì è ô à, Ì .1976.piatigorski 1996: piatigorski 1996: piatigorski 1996: piatigorski 1996: piatigorski 1996: À.Ïÿòèãîðñêèé, Ìèôîë îãè÷åñêèå ðàçìèøëåíèÿ.
Ëåêöèè ð î ô å í î ì å í î ë î ã è è ì è ô à, Ì .1996.propi 1propi 1propi 1propi 1propi 1946:946:946:946:946: Â.Ï ð î ï ï, Èñòîðè÷åñêèå êî ð í è âî ë ø å á í î é ñêàçêè,
Ì .1946.putilovi 1putilovi 1putilovi 1putilovi 1putilovi 1980:980:980:980:980: Ïóòèë îâ Â.Í ., Ì è ô, îáðÿä, ï åñíÿ Í î âî é Ãâèíåé,
miSvili da anton I TiTqmis Tanamedroveni arian, magram erTisadgili I tomSia, xolo meorisa _ II-Si. arada, wminda poetikuriTvalsazrisiT, guramiSvili bevrad met siaxloves amJRavnebs “ZvelliteraturasTan”, vidre _ antoni, romelic me-18 saukunis rusul-evropuli saganmanaTleblo sqemebiT sargeblobda (sami stilisTeoriis CaTvliT, Tumca, es Teoria, Tavis mxriv, “meore sofistikidan”mainc iwyeba) da romelic ufro arqaisti-modernizatori iyo, vidreguramiSvilisnairi “spontanuri” himnografi.
kekeliZis sqemaSi kidev bevri problemuri momentia. kerZod,saqme exeba saero literaturis amgvar Janrobriv sqematizacias:eposi _ lirika _ drama. am dros, rogorc sxva adgilas Cven ukveaRvniSneT, TviTon XV _ XVIII saukuneebis literaturam amgvaridayofis Sesaxeb araferi icis da Tavisi sakuTari klasifikaciaaqvs, romelsac kekeliZe TiTqmis ar iTvaliswinebs.
arsebobs kidev erTi rTuli momenti: aleqsandre WavWavaZe, romlisramdenime mniSvnelovani teqsti, Janrobrivi TvalsazrisiT, sworedZveli literaturis sferoSi Tavsdeba, mTlianad gatanilia kekeliZisortomeulis farglebs gareT, rogor tipuri romantikosi. arada,XVIII saukunis bolo da XIX saukunis 20/30-iani wlebi sworedimiT gamoirCeva, rom aq saocari aRreva da difuziaa rogorc “Zveli”sasuliero, ise “Zveli” saero da axali klasikur-romantikuliJanrebisa. magaliTad, igive guramiSvili, romelic erTi mxriv, TavisiTematuri toposebiT did siaxloves amJRavnebs “Zvel sasuliero”literaturasTan, garkveuli azriT, am poetis unikaluri Janruliintuiciidan gamomdinare, bevrad ufro “modernuli” avtoria, vidre_ romantikosi baraTaSvili.
maSasadame, rodesac Zveli qarTuli literaturis istoriisweras viwyebT, kargad unda gavisigrZeganoT, rom XIX saukunis pirveli30-wleulis gaazrebis gareSe SeiZleba bevri seriozuli Secdomamogvivides.
meorec, ar SeiZleba arc wminda istoriuli da arc wmindatipologiuri sqemebis gamoyeneba. am SemTxvevaSi, Cven kekeliZiseulimidgoma unda gaviziaroT, oRond saWiroa misi meTodologiurirevizia da Semdgomi konceptualuri refleqsia, magaliTad, JanrissakiTxze.
mesame _ aucileblad unda daviwyoT refleqsia imis Sesaxeb, Turas niSnavs “literaturis” koncepti. ufro zustad, undaganvsazRvroT, Tu ras niSnavda “literatura” Cveni “ZvelebisTvis”_ “samRvdeloTaTvis” da “saeroTaTvis”. amitomac, sruliad aucileb-
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lad mimaCnia sulxan-saba orbelianis Janrobrivi klasifikaciisgaTvaliswineba da misi nawilobrivi gaziarebac ki, rac, cxadia, argamoricxavs (piriqiT), mTel rigs dazustebebsas.
“literaturis” konceptTan dakavSirebiT minda SegaxsenoT erTipolemikis Sesaxeb, romlic XX saukunis 80-ian wlebSi gaimarTa,magram, romelic, samwuxarod, maleve Sewyda. maSin Temur doiaSvilmada levan bregaZem sakmaod Tamamad dasves amgvari SekiTxva: SeiZlebaTu ara, rom agiografias vuwodoT “literatura”’ sakuTrivi gagebiT?
Tuki aravin CaTvlis, rom am sakiTxis ganaxlebiT me aleqsndre-kaxa lomaias wisqvilze vasxam wyals, minda SevniSno Semdegi: doiaSvilida bregaZe erTdroulad marTlebic iyvnen da arc iyvnen marTlebi.me mesmis, rom Cemi pasuxi cnobil ebraul igavs waagavs, magram mindadavazusto.
saqme isaa, rom evropul tradiciaSi “literaturas” garkveulperiodamde gansazRvravs “mimezisis” cneba. mimezisi aristotelespoetikis centraluri kategoriaa. is qarTulad iTargmneba rogorc“mibaZva”, magram, sinamdvileSi, is “fiqciurobis” gagebas Seicavs. Tuasea, maSin agiografia, sakuTrivi gagebiT, araa literatura, radgan,erTi mxriv, is istoriul xdomilebaze mogviTxrobs, xolo meoremxriv, Tu aq mibaZva mainc xdeba, es qristes mibaZvaa, rasac zerealobisaspeqti Semoaqvs.
magram, meore mxriv, rogorc Tanamedroveobis erT-erTi udidesiliteraturaTmcodne Jerar Jeneti SeniSnavs, literatura mxolodfiqciurobas ar niSnavs, is stilis gagebasac moicavs. Tu asea, maSin“ninos cxovreba”, “grigol xanZTelis cxovreba” an “SuSanikis wameba”literaturis kuTvnilebaa brwyinvale enis (anu stilis) gamo, xolo“raJdenis wameba” _ ara.
magram swored es kolizia kargad gviCvenebs ramdenime mniSvnelovangansxvavebas, rac arsebobs qarTul literaturasa da evropulliteraturas (literaturebs) Soris.
pirveli gansxvaveba zedapirze devs: evropul kulturaSi,magaliTisaTvis, agiografiuli teqstebi laTinur enaze iqmneboda.aqedan gamomdinare, roca adgilobriv enebze literatura warmoiSvada Semdeg am literaturis (literaturaTa) skolaSi Seswavlagaxda saWiro (es ki gacilebiT gvian, XIX saukuneSi moxda), aqsakiTxic ki ar dasmula “franguli”, “germanuli”, Tu “italiuri”agiografiis Sesaxeb, radganac Sesabamisi teqstebi laTinurad iyodawerili.
rogor unda daiweros Zveli qarTuli literaturis istoria?
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magram aq Tavs Segvaxsenebs meore, ufro fundamenturi, aspeqtic.rogorc cnobilia, arsebobs laTinuri saSualo saukuneebisliteratura, romelsac XX saukunis udidesma filologma ernstrobert kurciusma Tavisi cnobili opus magnum miuZRvnasaxelwodebiT _ “laTinuri saSualo saukuneebi da evropuliliteratura” (1948 w.). am gansacvifrebel gamokvlevaSi kurciusiZalian naTlad gviCvenebs, rom evropuli adgilobrivi literaturebiswarmoSobaSi laTinur literaturas udidesi wvlili miuZRvis.ufro metic, naCvenebia, rom evropuli literaturis uwyvetobasantikurobidan axal dromde swored laTinuri saSualo saukuneebiganapirobebs. es niSnavs Semdegs: miuxedavad imisa, rom agiografiuliTu himnografuli teqstebi, erTi mxriv, da leqsebi Tu poemebi,meore mxriv, erTsa da imave enaze _ kerZod, laTinurad iqmneba, _mkiTxvel auditorias Zalian kargad aqvs gaazrebuli, ra gansxvavebaaliteraturasa da, magaliTad, agiografias Soris. saqme isaa, romlaTinuri saSualo saukuneebisaTvis literaturis klasikuri _berZnul-romauli _ gaazreba gadamwyvetia _ saSualo saukuneebislaTini avtorebi mTlianad eyrdnobian aristotelur-horaciusiseulpoetikasa da Janrul klasifikacias.
swored es tradicia ar dgas saSualo saukuneebis qarTulenovanisityvierebis ukan. amitomac, roca rusTvelis poemas XVI _ XVIIIsaukuneebis qarTveli avtorebi tradiciis dasawyisad miiCnven(“meleqseT-dasabami SoTa”), isini sruliad marTlebi arian. saqmeisaa, rom “literaturis” koncepti qarTul enobriv sivcreSi iranuliliteraturidan Semodis, radganac iranuli literaturidan Semodissaliteraturo Janrebisa da poetikis gageba.
aq, ra Tqma unda, isic unda aRiniSnos, rom iranul literaturaSiliteraturuli refleqsia da praqtika arabuli literaturisgavleniT iwyeba, xolo Tavad arabulSi literaturis konceptuali-zacia berZnuli kulturis, kerZod, aristoteles poetikis zegavleniTmoxda.
vaxtangis am wakiTxvis ukan realuri hermenevtikuli problemaidga, romelic poemis prologSive Cans: Sairoba “saRvTocaa” da“saeroc”. namdvili “Sairoba” pirvel (“zena”) mijnurobas undaeZRvnebodes. arada, rusTveli ambobs, rom misi poema “meore” (“dabal”)mijnurobas eZRvneba (“vTqvi xelobani qvenani..”). maSin gamodis, romrusTveli ar aris “pirveli” _ WeSmariti _ moSaire. swored amproblemis gadaWras Seecada vaxtangi. amdenad, vaxtangiseuli eqsegezasavsebiT adekvaturia. is bevrad ufro adekvaturia, vidre XIX-XXsaukuneebis rusTvelologiis didi nawili.
Tuki nizamis poemebi, nizamisave ganmartebiT, esaa _ “zardaxSa,romelsac ori Ziri aqvs”, vefxistyaosani esaa zardaxSa, romlisgasaRebi dakargulia. rogorc korneli kekeliZem araCveulebrivadaRniSna, Cven sami ram ar viciT am poemis Sesaxeb _ ar viciT, vindawera, rodis daiwera da sad daiwera vefxistyaosani. anu Cven arviciT am poemis uaxloesi konteqsti. aqedan erTaderTi daskvnagamomdinareobs: poemis “uaxloesi” konteqsti esaa XVI _ XVIIIsaukuneebis poezia (da literatura).
SevajamoT: XVI _ XVIII saukuneebis qarTuli literatura,romlis centri vefxistyaosania, regionuli literaturaa, romeliciranuli zonuri literaturis gavlenis qveS imyofeba. xolo Tavad
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iranuli literatura arabuli _ “Tauri” _ literaturis zonurigadamtania. me am SemTxvevaSi viyeneb malauri literaturis aRiarebulispecialistis londonis universitetis profesoris v. braginskisistoriul-poetikur models. qarTuli literaturis specifikaqarTuli literaturis specifikaqarTuli literaturis specifikaqarTuli literaturis specifikaqarTuli literaturis specifikaisaa, rom mas XIX saukunemde qristianuli religiuri kanonisaisaa, rom mas XIX saukunemde qristianuli religiuri kanonisaisaa, rom mas XIX saukunemde qristianuli religiuri kanonisaisaa, rom mas XIX saukunemde qristianuli religiuri kanonisaisaa, rom mas XIX saukunemde qristianuli religiuri kanonisada islamuri (arabul-iranuli) literaturuli kanonisda islamuri (arabul-iranuli) literaturuli kanonisda islamuri (arabul-iranuli) literaturuli kanonisda islamuri (arabul-iranuli) literaturuli kanonisda islamuri (arabul-iranuli) literaturuli kanonisSexameba gansazRvravsSexameba gansazRvravsSexameba gansazRvravsSexameba gansazRvravsSexameba gansazRvravs. vaxtangi swored imitom aRniSnavs, rom“es ambavi sparseTSi ar ariso”, rom surs poemis qristianuliinterpretacia, risTvisac eqsegezis sakmaod daxvewil da, garkveuliazriT, moulodnel xerxs mimarTavs.
is, rac XVIII saukuneSi qristianul-isalmuri kolizia iyo(amgvaradve unda wavikiTxoT timoTe gabaSvilis risxviani inveqtivavefxistyaosnis winaaRmdeg _ rogorc yofiTi “islamizaciis”winaaRmdeg galaSqreba), XIX saukunis meore nexevarSi gadaazrebuliqna qarTuli nacionalizmisa da qarTul-sparsuli literaturulimimarTebis konteqstSi, rac sxva saubris Temaa.
magram sanamde es moxdeba, kidev erTi avtori unda ganvixiloT,romlsac sruliad gansakuTrebuli adgili unda mivakuTvnoT qarTuliliteraturis istoriaSi. mas isedac aqvs es gansakuTrebuli adgili,magram, istoriul-literaturuli poziciidan, es figura sruliadunikalurad gamoiyureba. cxadia, me daviT guramiSvils vgulisxmob.
amitomac, vinc momavalSi dawers Zveli qarTuli literaturisistorias, man aucileblad unda gaiTvaliswinos guramiSvilisgamocdileba, misi unikaluri Janruli intuicia da jerovnad daafasosam genialuri poetis hermenevtikuli alRo.
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Rusudan Asatiani, Tinatin Janelidze
Functional Analysis of Conjunctions Showing an Informational Contrastin Georgian
Linguistic structuring of reality based on the notions ‘same-different’ proceedsthrough ‘oppositions’. An opposition means that there are at least two items oneof which is ‘marked’ and another is ‘unmarked’. Structuring of information, itspackaging, also proceeds through the foregrounding of such contrastiveconstituents: one part of information stands out against a background of the otherpart of information. As a result different formal models of various types of topicsand focuses arise.
The paper examines the role of conjunctions in the process of structuring ofcontrastive topics and/or focuses. On the basis of functional-semantic analysis ofconjunctions seven binary differential semantic features are suggested: +/-[Contrast], +/-[Opposition], +/-[Correction], +/- [Expectation], +/-[Wish], +/-[At least one], +/-[Strong underlining]. The various combinations of the featuresexpress main functions of the conjunctions, which are relevant for the formalrepresentations of contrastive topics and/or focuses.
Tsira Barbakadze
Fascinating Function of Language and Fog Semiotics
The metaphore tends to be the most important event in the world cognitiveprocess. Due to paradigm of new knowledge the methapore is considered as ahuman’s essential mental mechanism determining the person’s relation with reality.According to this point of view we are concerned about metaphoricalcomprehension representative items of natural concepts dealing with languageconscious stuctures in the Georgian poetry discourse.
Fog appears to be one of the most activated semantems among naturalconcepts representing certain high grade of metaphorisation in the poetry discourse.
Fog forms very special poetics considering the emotional meanings as wellas metaphorical and symbolical systems in Georgian poetry. While demonstrating
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negative and dominant positive emotions, fog is a concern to be a symbol of“The world sadness” suffering poets with “illness”.
Fog, challenging the illegibility, is associated as the mystery, that is supposedto be a divine sign.
Ketevan Bezarashvili
The Concept of Beauty in Byzantine, Old Georgian Aesthetics andRustaveli’s Poem
In Byzantine rhetorical theory many concepts were inherited from theirClassical counterpart. Their interrelation was well studied in scholarly literature.However, it has been always difficult to identify the new peculiarities of Byzantinetheory of rhetoric for a simple reason: Byzantine theory inherited the concepts ofHellenistic theories, but expressed the new understanding of these concepts intraditional terms of the Classical theories of rhetoric (as well as Patristic theologyintroduced the new, theological meaning of philosophical terminology adoptedby them from Classical Greek authors).
The study of the problem makes it obvious that the Byzantine rhetoricaltheory is not a mere imitation of Classical theories, but develops the new aspectsof the traditional concepts. That is to say, these are the two aspects of the conceptof mimesis (a new, Christian perception along with Classical), also the aspects ofstyle (new notion of ecclesiastical style), beauty, etc.
Michael Psellos also issued a new concept of theological beauty. This idea isexpressed in Patristic literature, too, and means transcendental beauty. This newaspect of the concept of beauty was different from the outward, sensible (i.e.aesthetical) meaning of it used in Classical theories mainly as the beauty of literaryform and art.
In the treatises of Michael Psellos as well as in the colophons of EphremMtsire the two aspects of the concepts of mimesis, style and beauty differ fromeach other and at the same time they co-exist. It is exactly the co-existence ofopposite notions that is called by Michael Psellos combining incompatible things;this is the main peculiarity of Byzantine aesthetics that makes it different from itsClassical counterpart.
The two aspects of the concept of beauty are also interesting in Rustaveli’spoem. The term “beauty” expresses two types here - natural/material and spiritual/of heavenly origin. The notions mentioned in introduction of the poem have dualqualities; for example, the “visual beauty” of beloved person is material, while the
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“beauty of love as difficult conceptual notion” is divine and spiritual. Studying thedivine, theological meaning of Rustaveli’s some phrases, e.g., “contemplation ofbeauty/beauty of vision” (mentioned in Avtandil’s testament) makes clear that theaesthetical thought of Rustaveli has two aspects as well as it is in Byzantine andOld Georgian counterparts. The concept of beauty (along with other concepts,which is not possible now to analyze widely and only shortly is mentioned here),receives new, divine Christian aspect along with traditional, physical understanding.Regarding these data Rustaveli’s work is also good expression of Byzantinethought and based on patristic authors. The attitude of Rustaveli’s poem with thepeculiarities of Oriental Islamic aesthetics that was so active in the researches ofpast period must be studied once again comparing with Byzantine theoreticalideas. The latter is presented here separately, while comparison of both methodsand studying them together is precious for main conclusions in future.
Mamuka Bichashvili
Author and His Work. Problem of Identity
An article deals with problem of relationship between author and his work.Semiotics of Roland Barthes interprets this problem as became actual only afterNew Time, when in European philosophy conception of subjectivity waselaborated in detail. Literary criticism of New Time broadly accepted a point ofview under which the understanding of work of art was possible only after highknowledge of its author, his life and emotions. Barthes’ conception gives differentapproach and insists on full identity of author and his work. The article tries toshow, that something like Barthes just mentioned idea, 17 century Georgian poetDavid Guramishvili had in mind in his “Davitiany”.
Konstantine Bregadze
Philosophy of History in Romanticism in Novalis’ ‘Hymns to the Night’for the Hermeneutics of Hymn 5
In his poetic cycle ‘Hymns to the Night’ (‘Hymnen an die Nacht’),and more precisely in Hymn 5, the German Romantic poet and philosopher Novalis(Friedrich von Hardenberg, 1772-1801) presented his own version of the
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philosophy of history. According to Novalis, the history of human kind includesthree stages:
1. Existential monism: the childhood age of the humankind, i.e. mythical-paradisal existence (the age of sensitivity). In Hymn 5, this infantile-paradisal ageis symbolically represented by ancient mythological Greece. This is fictional,poetic-imaginary, symbolic Hellas. The ancient Greece pictured in the Hymn isnot a historical country but a mental concept fostered by spiritual perception.
2. Existential dualism: The non-historical, mythic phase of humankind isfollowed by the age of adulthood, i.e. the historical age (the age of mind). Followingthe period of infantile-naïve existence, when a man was close to God and reckonedhimself among the constituting elements of the Creation, when he was inherentwith the nature, the historical age starts the process of individualization ofhumankind, the period when man is guided by his mind, which marks hisemancipation – he distances himself from God, from nature and establishes himselfwithin empirical reality. Consequently, he becomes mortal. In this case, freedomand individualization are achieved through the abolishment of non-free immortality.At this stage, humankind faces a certain dilemma, dualism – on the one hand,there is immortal, everlasting but non-free existence with God, while on the otherhand there is free but transient and terminable being. In Hymn 5, transition ofhumankind from the mythic age to the historical one, man’s departure from Godand his individualization is conveyed through the symbolic image of death. Humantransition to a new ontological stage is also implied in the phrase ‘Dry Numberand rhigid Measure’ (“dürre Zahl und strenge Mass”), which stands for ratio,and the attributes of analythical mind.
3. Existential synthesis: The Golden Age of humankind, the age ofHeavenly Jerusalem, which is established in the empirical, terminable reality throughthe Birth of Logos, Son of God, through the mystery of Resurrection (the spiritualage). The third stage of the spiritual history of humankind is the age of abolishingthe existential dualism which humans face. This is fulfilled by Jesus Christ, and thewhole humankind with Him, through defeating ‘old Death’ (“der alte Tod”),which in the Hymns appears as the symbol of transience, the existential confinementof humankind: through overpowering transience and terminability humankindretrieves the paradisal existence.
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Nino Daraselia
The Interjection from the Standpoint of Frame Semantics
The paper examines English, Georgian and Russian interjections from thestandpoint of frame semantics. The study has proved that because of its cognitiveand discoursal features the interjection can be considered a linguistic unit whichserves as an ostensive stimulus during a communicative act. It stimulates theaddressee’s long-term memory activating a certain frame or a set of frames. Thelatter form the inferential basis for discourse interpretation and consequently limitthe number of possible interpretations and ease the comprehension process.
Manana Kvachantaridze
The Concept of “Two Brothers”. Psycho-social Aspects ofIntertextuality
The concept of “two brothers” traditionally takes the special place in thecommon text of culture and is distinguished with the plenty of echoes among theliterary texts. “On a Gibbet” by Ilia Chavchavadze and “A Vindictiveness” byGuram Gegeshidze offer the different solution of human’s psycho-social problem.Ilia emphasizes the social aspect of confrontation between a person and a society,and Guram Gegeshidze emphasizes the psychological aspect.
Guram Gegeshizde answers the question stated in the final of Ilia’s story andindicates that the right solution is in the person’s moral choice.
Ada Nemsadze
Symbol of Lemon in Otar Chiladze’s Novels
Otar Chiladze’s symbolic world is distinguished in the Georgian literature ofXX century. Many things used in his novels can be interpreted symbolically. Forexample, deer, coke, snow, lemon, sea, theatre, donkey, forest, etc. And nowlet’s focus upon the symbol of lemon.
The Novel “Everyone Who Finds Me” provides for a lemon planted in thebox brought by Babutsa to the Makabels which dies in two weeks. Here thelemon implies only a positive origin . And its death indicates on incompatibility oftwo mutually exclusive origins - the Good and the Evil.
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His Novel “The Iron Theatre” provides for a wider symbolic path. Here theauthor depicts one of the main characters, Nato, symbolically as a lemon.
This encryption is doubled in “March Cock” where a lemon is representedby the Teacher Vano’s daughter and as absolute goodness. It does not die in anegative space, it grows more and more and becomes strong and that is OtarChiladze’s interpretation of eternity and immortality of the Good.
One of the key problems in Otar Chiladze’s artistic system is to find personal,social and psycho-social identity. The essence of the lemon symbol is in directrelation therewith. When the lemon dies, there is a crisis of psycho-social identity,and where the lemon blossoms there we meet identification.
Nana Trapaidze
Poetics of Laughter in Modert Fictional Concept
Considering recent cultural and historical circumstances, classical paradigmsof Georgian literary thinking undergo changes. We face the necessity to readclassical fiction again.. Parody, irony, grotesque, carnival laughter serve as culturalchain together with being classic, therefore deconstruct it at the same time on thebasis of reading and considering traditions again and again.
Shota Bostanashvili, Davit Bostanashvili
Presentation of nash/eni
By presenting the neologism nash/eni (naSnaSnaSnaSnaS/enienienienieni pronounced: [nŒƒ/[ni]- hybrid of two Georgian words: 1. naSeni [nŒƒ[ni] - something built; 2. ena[[nŒ] - language) we hint at the specific nature of semiotics of architecture.
[nŒƒ/[ni] represents something, that is material - the Built - and at thesame time is a language, a sign; being both and none at the same time, somethingother; a signifier with two intangible signifieds.
[nŒƒ/[ni] confirms it’s being between presence and absence, inter esse;that it is interesting; it’s simultaneous polysemantics/dissemination. With thisregard we could mention Plato’s concept of “Chora”, with Jacques Derrida’scomment, that “Chora belongs neither to Eidos, nor Mimesis” [Derrida, “On theName”: p. 145]. Also, J. Derrida’s and P. Eisenman’s book titled “Chora LWorks” is a linguistic play between Chora and choral, choir (quire).
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In the presented essay it is the language itself that works; language about thelanguage that already took hold of the Built (history, theory and poetics ofarchitecture).
The thesis introduces metapoetics of architecture - rewriting the historyof architecture where the stylistically and historically difference come close togetherthematically (Mass, Wall, Coloumn, Stair, Frame, Blob / surface / veil). Thetext includes the manifest (1995) of Poetics of Architecture.
While discussing semiotics of [nŒƒ/[ni] two fields theorized by MikheilEpstein are introduced: 1. semionics - science about the formation of new signsand 2. semiergon (from Greek: semeion - sign and ergon - work) the practiceof sign production.
The architectural discourse overwhelmed by new signs of advertising andmarketing would be an example of semiergon.
During the recent decades architectural language is transforming radically.At the same time we can observe the confounding of languages in architecture.
“To think - means to re-create the language” [Epstein: p. 655].The presented essay is not only about the creation of language, but also an
example of such practice.
Izabella Petriashvili
Global and Local Codes in Advertising
As is known, advertising forms an essential part of modern culture; it is notonly an important business tool, but a relevant means of communication, adistinctive type of discourse in the globalized world. However, sometimesadvertisements for products that are used worldwide fail to be efficient; someadvertisement slogans do not travel well. Hence creating a global code forsuccessful advertisement writing is essential.
How to write an effective advertisement – this is one of the main issues theadvertisement writing technique faces in the post-soviet Georgia. The paperpresents a comparative study of Georgian and English advertisements. The datahas been analyzed structurally, semantically and pragmatically. The article dealswith the study of Georgian advertisement catchphrases and slogans, mainly forpharmaceutical products and bank services, to compare them with existing studiesof English advertisements by different linguists in order to state some commonlinguo-pragmatic features which will make it possible to identify global and localcodes in advertising.
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The article focuses on the analysis of the grammatical structure as a verbalrepresentation of the advertising language, and the role of some non-verbalfeatures, such as colours, image and symbol in the interpretation of the messageof advertisements. It argues that the experience accumulated by the Englishlanguage (which serves as a lingua franca) should be shared, and the Englishadvertising technique should be taken as a model for the global advertising code,though some culture specific peculiarities should also be considered.
Gia Jokhadze
The History of the Body: Georgian Version
The history of medicine, perhaps more than that of any other discipline orskilled occupation, illuminates broad social and cultural patterns of the period.
To a medieval mind, the distinction between natural and supernatural wasnot always very clear. This shows in the perception of the causes of ailments, andthe obscure treatments thought to help sick patients. The Catholic Church playeda large role in development as well as management of medieval medicine. Itcontained it within bounds of one religion, disallowing most pagan healing practices.
On the basis of the text of the Georgian anonymous historian of 14th centurywe try to prove that the situation in Georgia completely corresponds with a situationof Europe of the same period with medical and the ideological points of view.
Tamar Berekashvili
Essay on Marginality and Ennui
Modern art and peculiarities of its evolution show the relevance of someconcepts, which historically were taken into account insufficiently or were notconsidered at all while analysing creative process.
Up-to-date marginality as well as ennui have been considered negativephenomena, but probably just these items are often the main conditions for creationof new paradigms in art and philosophy.
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Mirian Ebanoidze
“Exploring Classics in the Age of the Dominance of the Non-Classical”
Fucault globally rejects the language of reason, which itself is the languageof order( rationality) and he wrote the archaeology of silence_ ,,words withoutlanguage’’, but Derrira remarks, nothing within this language, and no one, amongthose who speak it, can escape the historical quilt . it is historical in a classicalsense_Fucaults verdict unceasingly repeats the crime. Order is denounced withinorder. Placing Foucault in Cartesian and Huserli’s tradition by Derrida can onlybe regarded as an ironical gesture. This kind of placing requires an effort, thoughthe non-Cartesian one. Considering Foucault’s work as classic might be morefirmly grounded. According to Eliot, to be a classic means to create ‘objectivecorrelative’’. Visualization, realized alongside with discourse, enables us to referto Foucault’s classicism in terms of visibility.
When we talk about postmodernism, all books are appropriated to onemodel, any text can be reduced to one page and Baudrillard is boring. Foucaultis more labyrinth-like, i. e. classic.
He deviates from classical venues and that’s why he is labyrinth-like, on thecontrary, this is classical, but ,, Virgil was not aware of the fact that he wascreating a classic work.’’
Maturity is a mark of classic, what is reached in Fucaults works.
Tamar Lomidze
Metaphor and Metonymy
The aim of the paper is to determine specific peculiarities of tropes –metaphor and metonymy and, on the other hand, of metaphorical and metonymicalmodes of thinking. On the basis of Saussurian dichotomy – speech/language –the experience of a new classification of tropes and rethorical figures is realized.
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Salome Omiadze
The Notion of Concept in Linguoculturology
The understanding of a linguocultural concept (hereafter – concept) doesnot coincide with the classic definition of a notion, which implies the unity of theessential features of an object. According to the modern culturological andlinguoculturological approach to the concept, it is primarily regarded as a notionof spiritual value, which once again proves the regular change of the paradigm ofhumanities, when the systemic-structural paradigm is replaced by theanthropocentric paradigm. The axiological colouring accompanying the conceptleads to experiencing it as well. It is not only interpreted but experienced too –the emotional attitude of sympathy and antipathy is manifested towards it.
A concept may be represented by a number of linguistic synonyms, thematicfields, proverbs, folkloric and literary plots, etc. In all cases it refers to more thanone lexical unit, the entire lexical-semantic paradigm and not one of the membersof the paradigm.
N.Arutinova offers the linguistic feature of the definition of a concept,according to which, concepts “are notions of the philosophy of life”, “everydayanalogies of weltanschauung terms”, which are consolidated in the vocabulary ofthe natural language and provide the stability and continuity of the spiritual cultureof an ethnos.
Of the definitional features of a concept one can mention inner fragmentation,“semiotic compactness”, “communicational relevance”, “the quality of beingexperienced”, “etymological memory”, abstractiveness, as well as the multileveland multilayer character. Some of these features may be facultative. The essentialpoint is that, conceptual, figurative and value components are identifiable in thesemantics of a concept, which together cover the entire, communicationallysignificant intrasystem, pragmatic or etymological information.
Concepts form the conceptosphere - the unity of linguocultural knowledgeand notions, on the basis of which the world outlook of a native speaker of thelanguage is built. For example, in the conceptosphere of the Georgian Orthodoxconsciousness, where the mentality and spiritual experience of our people arereflected, the following concepts are found: amaoeba amaoeba amaoeba amaoeba amaoeba (vanity), borotebaborotebaborotebaborotebaboroteba(evil), damdablebadamdablebadamdablebadamdablebadamdableba (humiliation), ziarebaziarebaziarebaziarebaziareba (communion),TanalmobaTanalmobaTanalmobaTanalmobaTanalmoba (compassion), sasoebasasoebasasoebasasoebasasoeba (hope), mitevebamitevebamitevebamitevebamiteveba (forgiveness),cxonebacxonebacxonebacxonebacxoneba (salvation), jvarcmajvarcmajvarcmajvarcmajvarcma (the Crucifixion), etc. each of whichcontains a sacral idea.
The richness of concepts shows the richness of the language.
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Mirian Ebanoidze
,,Modern’’ Literature
Literature is a paradoxical phenomenon. The rule of its existence differsfrom other things; however, this difference is constantly being rejected by thehistory of literature because this difference threatens its very existence. Discourseis a universal conditions of ordered speech(some argues, that condition of thingsand existence). Literature establishes connections with time in a different way;unlike other objects, it acquires the possibility to exist by means of reading andinterpretation; the status of the object is either too much or too little for it.
According to the historians, it must comply with more demands in the 20thcentury: It must become modern. to take care on language and discourse, literaturein 20 th century avoids from phenomena of articulation and expression. Languagerefers only to itself. Therefore we have ,,the death of author’’. Enstead ofrepresentation, mimesis, articulation and symbolization, which makes literaturedependent to the extra circumstances, the literature tries to speak withoutinterpretations. It is malarmean idealistic literature, to stay on surface, withoutseeking of depths, truth and hidden side, but writing is always connected topower. It seems as isomorphism, which makes writing to take his place amongother social practices. Power is created by writing too.By the point of somecritics, literature makes free from power.
Historians of literature understand modernity/contemporeinity as an escapefrom history and transition to eternal now, but this makes the very existence ofliterature doubtful as it is written and dead.
Mamuka Bichashvili
History on the Light of Archeology of ScienceDavid Bagrationi. His Language, History and Science
In the article author considers 18-19 century Georgian Prince DavidBagrationi’s life under his writings, “Short Physics” and “Letters”. David Bagrationilived long time in st. Petersburg and was known as a follower of Voltair andatheist. Author does not examine such opinions, as well as questions ofphilosophical and religious orientations according to David Bagrationi. He usesFoucault’s Archaeological Method for deeper understanding of Batrationi literary
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heritage. Author takes his writings as the facts of art, that are very importantsources for the view of new epoch profile of Georgia.
Khatuna Tavdgiridze
Mythical SimulationsBeautiful Dragon
Thing which is beautiful in philosophy and aesthetics is the space in myth,butmyth is the space,that is a beautiful dragon a’taileater’ Dragon.
It went through three different roads ,but it remained the same;1. It carried out the universe origin in the cosmology myth and it made the
precedent of Eschatology as well.this is the way from “taileater” to “womaneater”.2. In social totem myth it married “a strange totem “-a woman by which it
founded exogamous marriage relationships and the very first society. Finally,exogamous marriage turned out to be “together grazers”mythical simulation.
3. Settled down in magic fairy tale it abducted a picture of beauty andwater; afterwards Either he was killed in the fight against the hero or it took offits snake skin and it showed its beautiful face. At the end of these roads thedragon made its body circular, put its tail into the mouth and fell asleep. “Sleeping”is dragon`s particular position. “Sleeping dragon “ is the face of eternity. Thedragon is a temporary phenomenon of a myth and a fairy tale.