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Figure 4.2 The ‘hybrid’ Borjomi Springs label (detail): Note the generic images of pristine nature (background) characteristic of spring water labels and the specifi c images of picturesque nature (foreground) from the traditional Borjomi mineral water label
Figure 4.3 Borjomi Springs label (detail): Cross-section image of the Natural Hydrogeological Source
Figure 5.1 Traditional Georgians encounter socialist modernity: Khevsur mountain-dwellers drinking Laghidze’s waters in They Came Down from the Mountains (Director N. Sanishvili, Kartuli Pilmi 1954)
Figure 5.2 Emblems of Kul’turnost’: The décor of Laghidze’s Café in the Stalin period (note the prominent houseplants)
Figure 5.5 Typical late socialist labels for Laghidze’s ‘Tarragon’ (Tarkhuna) (left) and TbilKhilTsqali’s ‘Lemon’ (Limoni). Note in sharp contrast to the Coca-Cola bottle, that the commodity aesthetics of the socialist label strongly foregrounds the raw materials (nature) and backgrounds the producer (the mall round emblems differentiating the socialist fi rms Laghidze’s and TbilKhilTsqali appear at the top centre of the respective labels, as they do in Figure 5.6)
Figure 5.6 Cartoon from humour magazine Niangi [Crocodile] (1998, Artist V. Kucia)
Figure 5.7 ‘I’m getting married!’ ‘What brand is she?’ (Niangi 1978, 13, Artist Ch. Deisadze)
Figure 5.8 Synopsis of a typical 1940s Laghidze newsreel: Nature, sorcerer, technology
Figure 5.9 Detailed view of Mitrophane Laghidze moving through the different stages of degustation: Visual, olfactory, gustatory (cf. Silverstein 2003: 223 for wine)
‘Comrades! Don’t think that I arranged this feast for you because I want the party candidacy! They ejected me from the Komkavshiri [Young Communist League, Konsomol], but I would not be Assistant to the Director of Surami Collective School Mikadze, if I did not fuck their mothers! This toast is to the good ole boy network (dzma-bichobas), wily management (mokherkherbas), and the power of feasting.’(Niangi 1933, no. 10, No Artist Attribution)
Figure 7.1 Beer circulation and the ritual work of purifi cation: Trajectories of sacred beer (A) and household beer (B) in relation to relative purity of village spaces
Figures 7.2 Vodka circulation and the sociable work of translation: Rhizomatic trajectories of vodka circulation hybridizing the ontological oppositions set up by the ritual work of purifi cation
Figure 7.3 Purifi cation and translation: Adaptation of Figure 1.1 from Latour (1993: 11)
Figure 8.1 Informal architectures of masculine sociability: (left) Rooftop beer garden, (right) table installed in an empty lot in the working-class neighbourhood of Varketili, Tbilisi
Figure 8.2 Traditional pairings of beer with food: Excerpted images from Tbilludi commercial for their Khevsuruli and Shatili brands, with images of the product montaged onto images of foods (fi sh) traditionally associated with beer (Tbilludi)
Figure 8.3 Kazbegi beer and Georgian tradition: Ethnographic representations of traditional Khevsur forms of beer production ( salude ) in Kazbegi promotional literature (Kazbegi 1881 JSC)