Gocha Kuchukhidze
Gocha Kuchukhidze in 1984 graduated from the Faculty of Oriental Studies Tbilisi State University and in 1986 – the Department of Simultaneous Translation of Tbilisi State Institute of Foreign Languages, in Arabian language.
After graduation from the university, he worked at Tbilisi Center of Archeological Researches, initially as Senior Assistant and later – as Junior Researcher; currently is Senior Researcher at Rustaveli Institute of Georgian Literature.
Gocha Kuchukhidze defended dissertations at Rustaveli Institute of Georgian Literature and Kekelidze Institute of Manuscripts and by the decision of the Board of Academic Experts of Georgia, initially he was awarded the degree of candidate of philological sciences (1999) and Doctor of Philological Sciences (2006).
His works (270 publications /1993-2022), in addition to the scientific sets issued in Georgia, are published in the collections of Cambridge, Birmingham, Petersburg, Šiauliai universities and other scientific institutions.
He is member of editorial boards of scientific-educational center “Dil Edebiyat ve Egitim Calismalari” (Azerbaijan), Turkish international scientific magazine “Buta”, also, member of Georgian Comparative Literature Association and Georgian Academy of Business Sciences.
Sphere of scientific work: literary studies, textology, linguistics, historiography, philosophy, theology, archeology…
Gocha Kuchukhidze has translated poems by Heinrich Heine, Alexander Pushkin, works by Egyptian writers: Naguib Mahfouz, Tawfiq al-Hakim, scientific works etc…
გოჩა კუჭუხიძემ 1984 წელს დაამთავრა თბილისის სახელმწიფო უნივერსიტეტის აღმოსავლეთმცოდნეობის ფაკულტეტი, 1986 წელს – თბილისის უცხო ენათა სახელმწიფო ინსტიტუტის სინქრონული თარგმნის უმაღლესი კურსები (არაბული ენის განხრით).
უნივერსიტეტში სწავლის დამთავრების შემდეგ მუშაობდა საქართველოს არქეოლოგიური კვლევის ცენტრში (იყო ჯერ უფროსი ლაბორანტი, შემდეგ – უმცროსი მეცნიერი თანამშრომელი); ამჟამად არის რუსთაველის სახელობის ქართული ლიტერატურის ინსტიტუტის უფროსი მეცნიერი თანამშრომელი.
რუსთაველის სახელობის ქართული ლიტერატურისა და კორნელი კეკელიძის სახელობის ხელნაწერთა ინსტიტუტებში დაიცვა დისერტაციები და საქართველოს სწავლულ ექსპერტთა საბჭოს გადაწყვეტილებით ჯერ ფილოლოგიის მეცნიერებათა კანდიდატის (1999), შემდეგ კი (2006) ფილოლოგიის მეცნიერებათა დოქტორის წოდება მიენიჭა.
მისი ნაშრომები (270 პუბლიკაცია /1993-2022), საქართველოში გამომავალი სამეცნიერო კრებულების გარდა, დაბეჭდილია კემბრიჯის, ბირმინგემის, პეტერბურგის, შიაულიაის უნივერსიტეტებისა და სხვა სამეცნიერო დაწესებულებათა გამოცემებში...
არის სამეცნიერო-სასწავლო ცენტრ “ Dil Edebiyat ve Egitim Calismalari”-ის (აზერბაიჯანი) მიერ გამოცემული საერთაშორისო კრებულების, თურქეთის საერთაშორისო სამეცნიერო ჟურნალ “Buta”-ს რედკოლეგიის, ასევე კომპარატივისტული ლიტერატურის ქართული ასოციაციის, საქართველოს ბიზნესის მრავალდარგობრივი მეცნიერებათა აკადემიის წევრი.
სამეცნიერო მუშაობის სფერო: ლიტერატურათმცოდნეობა, ტექსტოლოგია, ენათმეცნიერება, ისტორიოგრაფია, ფილოსოფია, რელიგიათმცოდნეობა, არქეოლოგია...
თარგმნილი აქვს ჰაინრიხ ჰაინეს, ალექსანდრ პუშკინის ლექსები, ეგვიპტელი მწერლების: ნაჯიბ მაჰფუზის, თავფიკ ალ-ჰაქიმის ნაწარმოებები, სამეცნიერო ნაშრომები და სხვა...
After graduation from the university, he worked at Tbilisi Center of Archeological Researches, initially as Senior Assistant and later – as Junior Researcher; currently is Senior Researcher at Rustaveli Institute of Georgian Literature.
Gocha Kuchukhidze defended dissertations at Rustaveli Institute of Georgian Literature and Kekelidze Institute of Manuscripts and by the decision of the Board of Academic Experts of Georgia, initially he was awarded the degree of candidate of philological sciences (1999) and Doctor of Philological Sciences (2006).
His works (270 publications /1993-2022), in addition to the scientific sets issued in Georgia, are published in the collections of Cambridge, Birmingham, Petersburg, Šiauliai universities and other scientific institutions.
He is member of editorial boards of scientific-educational center “Dil Edebiyat ve Egitim Calismalari” (Azerbaijan), Turkish international scientific magazine “Buta”, also, member of Georgian Comparative Literature Association and Georgian Academy of Business Sciences.
Sphere of scientific work: literary studies, textology, linguistics, historiography, philosophy, theology, archeology…
Gocha Kuchukhidze has translated poems by Heinrich Heine, Alexander Pushkin, works by Egyptian writers: Naguib Mahfouz, Tawfiq al-Hakim, scientific works etc…
გოჩა კუჭუხიძემ 1984 წელს დაამთავრა თბილისის სახელმწიფო უნივერსიტეტის აღმოსავლეთმცოდნეობის ფაკულტეტი, 1986 წელს – თბილისის უცხო ენათა სახელმწიფო ინსტიტუტის სინქრონული თარგმნის უმაღლესი კურსები (არაბული ენის განხრით).
უნივერსიტეტში სწავლის დამთავრების შემდეგ მუშაობდა საქართველოს არქეოლოგიური კვლევის ცენტრში (იყო ჯერ უფროსი ლაბორანტი, შემდეგ – უმცროსი მეცნიერი თანამშრომელი); ამჟამად არის რუსთაველის სახელობის ქართული ლიტერატურის ინსტიტუტის უფროსი მეცნიერი თანამშრომელი.
რუსთაველის სახელობის ქართული ლიტერატურისა და კორნელი კეკელიძის სახელობის ხელნაწერთა ინსტიტუტებში დაიცვა დისერტაციები და საქართველოს სწავლულ ექსპერტთა საბჭოს გადაწყვეტილებით ჯერ ფილოლოგიის მეცნიერებათა კანდიდატის (1999), შემდეგ კი (2006) ფილოლოგიის მეცნიერებათა დოქტორის წოდება მიენიჭა.
მისი ნაშრომები (270 პუბლიკაცია /1993-2022), საქართველოში გამომავალი სამეცნიერო კრებულების გარდა, დაბეჭდილია კემბრიჯის, ბირმინგემის, პეტერბურგის, შიაულიაის უნივერსიტეტებისა და სხვა სამეცნიერო დაწესებულებათა გამოცემებში...
არის სამეცნიერო-სასწავლო ცენტრ “ Dil Edebiyat ve Egitim Calismalari”-ის (აზერბაიჯანი) მიერ გამოცემული საერთაშორისო კრებულების, თურქეთის საერთაშორისო სამეცნიერო ჟურნალ “Buta”-ს რედკოლეგიის, ასევე კომპარატივისტული ლიტერატურის ქართული ასოციაციის, საქართველოს ბიზნესის მრავალდარგობრივი მეცნიერებათა აკადემიის წევრი.
სამეცნიერო მუშაობის სფერო: ლიტერატურათმცოდნეობა, ტექსტოლოგია, ენათმეცნიერება, ისტორიოგრაფია, ფილოსოფია, რელიგიათმცოდნეობა, არქეოლოგია...
თარგმნილი აქვს ჰაინრიხ ჰაინეს, ალექსანდრ პუშკინის ლექსები, ეგვიპტელი მწერლების: ნაჯიბ მაჰფუზის, თავფიკ ალ-ჰაქიმის ნაწარმოებები, სამეცნიერო ნაშრომები და სხვა...
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Papers by Gocha Kuchukhidze
Of the mentioned authors, one is the philologist, another – philosopher, among the authors there are the psychologist, prose-writers...
Each of them considers the “Knight in the Panther’s Skin” in different aspects, while one of them studies the issues related to the poem conception, the others attempt to analyze it in the context of philosophy and philology, prose-writers have made the essayistic records…
The book is intended for general society and it would be of interest for the professionals as well. We mostly positively evaluate publication of such collection.
In our review we discuss each work one by one, focusing on their strengths and express our views about some issues as well.
Levan Asatiani, Irakli Andronikov, Iakob Balakhashvili based on the historical documents, regarded that during his visits to Georgia, Lermontov was a frequent guest in the family of Alexander Chavchavadze (a Georgian poet); based on the archive documents, Irakli Andronikov considers as actually undoubted fact that in 1837, a young Georgian poet Nikoloz Baratashvili and Mikhail Lermontov have met one another in Chavchavadze’s family…
It is accepted that Lermontov wrote the sixth version of the poem “Demon” in 1838, after departure from Georgia. In this version, action takes place in Georgia and there, instead of the nun, there is described the other woman, Tamara, with whom the Demon fall in love and, as he physically approaches her, the woman dies; previous versions significantly differ from the sixth one…
Out particular attention was attracted by the fact that to the nun’s question, who is the stranger, the Demon answers directly: “I am a Demon!”
In the sixth version, to the same question, Demon answers that he is the one, who secretly, sometimes in her dreams, used to come to the woman and to whom Tamara used to listen sometimes; i.e., in this version, in psychological view, the woman’s character is described in the different way – it is shown that the woman heard the Demon’s tempting thoughts; before she understood, whose thoughts these were, they even attracted her and that’s why the Demon came to her.
In our article, we discuss the verse written by Baratashvili in 1836 “Secret Voice”, where the poet applies to the secret voice, heard in his dreams, asking, who is he, whether he is a good power or evil… based on the verbal and content similarities, we offered the view that Baratashvili has familiarized Lermontov with his verse and this has influenced formation of the final version of “Demon”…
In the work, based on the offered examples, there is demonstrated that there are some reminiscences to Lermontov’s “Demon” in Baratashvili’s art as well. As the stances mentioned in 1837, were not published yet and they are only in Lermontov’s early manuscripts (when the full version of the poem was published, Baratashvili was already dead), there appears the hypothesis that in 1837, Lermontov had one of manuscripts of the poem in Georgia with him and showed it to Baratashvili or, possibly, told him what he later wrote in the poem…
The view emerges that Lermontov and Baratashvili could have close creative relations and in studying of their biographies, in my opinion, the above facts should be necessarily taken into consideration.
According to Irakli Andronikov, Lermontov’s “Demon” has greatly influenced formation of world psychological prose; this poem acquires psychological load, when it became apparent that Demon lived in Tamara’s thoughts before, she heard his tempting voice before he appeared in front of her. As mentioned, such voice that, in the poet’s words, could belong to the evil soul, it is clearly heard in Baratashvili’s verse (“Secret Voice”); if we discuss Lermontov’s influence on the world literature, then we should remember that Baratashvili, a great romanticist poet, who died very young, have made is contribution to development of psychological prose as well.
At the end of the article is published the Georgian translation of Lermontov's “Demon” (part of the poem), manuscript of which is kept in the National Archives of Georgia.
Committee stored numerous lays that should have been born in Georgian theaters. Mostly, these were the vaudevilles, less dealing with the politics and the permits for their staging were issued in majority of cases.
Among the plays, we found the vaudeville by famous Georgian writer – Alexander Kazbegi. Its title sounds in Georgian as: “ყველაფერი ბედზედ არის” (Everything Depends on Fate) the play title can be translated also as “Things are Going Well as well); there is maintained Alexander Kazbegi’s manuscript, sent by him to the Censorship Committee for issuance of the permit for staging; the mentioned play was never published.
In the play, there is used the lifestyle of certain part of the society of that time. The characters are people, regarding that in the modern family, the wife and husband, if they do not desire to be regarded as being behind the times, they should have the lovers – the wife should accept her husband’s unfaithfulness and the husband – his wife’s, sometimes, they should be formally show jealousy, as the etiquette of contemporary life required so in their opinion but in reality, they should not bother about this. In the vaudeville we can see not only such wife and husband but also their servants, teacher of their children, liver of the wife… all of them flirt and talk about their love, while separately they blame one another and face to face they praise each other… in the end of the play they all sing together and there are such words in the song: going to the depths and when in the final scene, they sing this song on the stage, the characters leave, creating the impression that they go towards the hell, to the depth.
Alexander Kazbegi was a great prose-writer, but he is not recognized as a great dramatist. The article provides discussion of the vaudeville genre and there is noted that the writer was well aware in the specific nature of the mentioned genre and without taking into consideration that one or another of his plays is adjusted to the specific nature, we cannot understand that he was quite good writer in this sphere as well
German National-Socialism emphasized racism in Nietzsche’s philosophy and this contributed to the view that the ideas of utopists, followers of Nietzsche were unacceptable and this was one of the causes of actually prohibition of this philosophy in the USSR.
The presentation provides discussion of the "League of Militant Atheists", works of the Georgian writers (Konstantine Gamsakhurdia, Grigol Robakidze, Geronti Kikodze…), describing spiritual crisis of the Western Europe, in the beginning of past century, expected events of the new epoch… The main point of the presentation is that beyond the Soviet atheism, as Aleksei Losev mentioned, there was the idea of creation of some kind of the new religion.
On one of the photos (taken in the studio), Rockwell imitates the marshal’s posture in comic style. On the other photo, Rockwell placed William Obanhein, the model for his picture, also into the comic posture, perhaps, he needed this to cause the very smile, resulting from tragicomic situation – the marshals had to be an escort, to protect a six years old girl (of not these photos, some viewers would hardly perceive the creative originality of the painting correctly humor, – characteristic to the artist, style of friendly caricature, needed to pain the marshals, would not be apparent and the picture would cause only sadness).
On the other photo, off studio, taken in the environment, far from the large city, here Rockwell is a little older – the artist has the necktie looking exactly like the one he had when he expressed the marshal’s posture, he has the same pipe as well. These two photos are directly related to one another. On the photo made off studio, there are no comic gestures any more. It seems that by means of this photo, the artist perhaps says: “I am old, I live far from New York; as the danger of racism is lower, I am relatively calm, but still I closely watch, to prevent repeating it again” (in 1953 Rockwell left New York and moved to Stockbridge).
It seems that the photos (including those, taken in the studio) are not intended for work only – by means of them, Rockwell tells us something, they are made to influence the viewers as well.
On Duane Bryers’s picture – Croaking Frogs and Crickets, where we can see idyllic picture (peaceful summer night, woman, man and a dog on the balcony), in our opinion, there is Rockwell’s image and for this picture there is used Rockwell’s photo taken off studio; we see the idyll on this painting by Bryers, but, it seems, he wants to say also that Rockwell has completed his mission and deserved the right to peaceful life...The idea, clearly stated in this picture, of course, causes pleasure, but, we should also understand, what else the author wanted to say. The mentioned paintings and photos show whole history and we can say that what Bryers has told, is the culmination, final party of this history…
In our opinion, the story about Norman Rockwell and Ruby Bridges demonstrates, once more that Roland Barthes’s view, expressed in his essay The Death of the Author, according to which, the author’s idea is not interesting and only how we perceive his work is of significance, causes doubts – it is necessary to understand the author’s idea and frequently, the nuances of his/her covered beyond the stage gives us esthetic pleasure.
The Committee’s archive includes various materials, for example, the plays, unknow for wide circles of the society of Georgian writers: Alexander Kazbegi, David Dadiani, Kote Kipiani, Aghalo Tutaev (Tutashvili) and others; some of plays were banned by the Committee, as they found
in them the contents unacceptable for the Russian state.
In the Committee’s archive there is the manuscript written by famous Georgian poet – Akaki Tsereteli. This is his lecture, discussing Rustaveli’s “Knight in the Panther’s Skin”. We have compared the texts of manuscript with the published one and found that there are significant differences between them.
Archive materials have revealed the fact unknown to the wide society: in 1878 famous Georgian public figure Niko Nikoladze has challenged to a duel Dimitri Purtseladze, the chairman of the Censorship Committee; the latter has refused.
In the article, we publish the photos of several Georgian manuscripts.
In the archive there were also found the paintings unknown to the society by Mikhail Chemodanov, the illustrator, widely known in 19th century Europe and later, unfortunately, forgotten; we publish few of his paintings and intend to publish whole set of the discovered illustrations.
We intend to discuss the work of Caucasian Censorship Committee of the later period in the further articles.
ინგლისურ და ქართულ (გვ. 6) ენებზე, აბსტრაქტი _ თურქული.
The article one, dedicated to these issues (see “Journal Of Gelati Academy Of Sciences, №1-4, 2022) offers the view that biblical story about expulsion of Adam and Eve from paradise figuratively describes change of human consciousness, its deviation from the truth, perversion of consciousness, now, in the article two we focus particular attention on the spiritual changes of individual, by religion, returning him to the way to immortality.
Here we should note: we regard that secularization, as well as the other circumstances have influenced origination of Renaissance, there is not only one cause (it is especially hard to find such cause, regarding that Renaissance is not homogenous as such).
Presented work offers that, possibly, the New Testament story about Lord’s transfiguration at Mount Tabor was one of numerous stimuli for origination of Renaissance, it is not impossible that one of the paradigms of shining, beautified body was the mentioned episode of the New Testament.
The work provides discussion of number of theological issues; in relation with theology there is discussed Georgian poet – Vazha Pshavela.
This Article offers the view, according to which, biblical story about expulsion of Adam and Eve from paradise figuratively describes change of human consciousness, its deviation from the truth, perversion of consciousness, it shows, how, specifically, the nature of this change is presented by the creator of Old Testament; in the article two, dedicated to these issues, there will be an extended discussion about the spiritual elevation of individual and his striving to immortality.
We regard that Renaissance is one of the steps to spiritual elevation, at this stage the individual changes not only spiritually, but, to certain extent, he changes internally, physically, he becomes more beautiful and this was seen by the greatest artists and this beauty is illustrated in their paintings…
There are different views on the meaning of the first part of Greek Goddess Demeter`s (Δημήτηρ) name - De (De-meter).
In our opinion, de derives from Proto-Indo-European (PIE) root *dyeu- (“to shine”, “heaven”, “god”). From this root are derived following words related with God: «Sanskrit deva “god” (literally “shining one”); diva “by day”; Avestan dava- “spirit, demon”; Greek delos “clear”; Latin dies “day”, deus “god”; Welsh diw, Breton deiz “day”; Armenian tiw “day”; Lithuanian dievas “god”, deina “day”; Old Church Slavonic dini, Polish dzień, Russain den “day”; Old Norse tivar “gods”; Old English Tig, genitive Tives, name of a god» (Online Etimology Dictionary https://www.etymonline.com/word/*dyeu-#etymonline_v_52651). (21.05.2022) Whereas this lexeme produces several words associated with God, in our opinion, it is not impossible that the word semantically close to Goddess was derived from same root; as Demeter is a female deity associated with fertility, birth, origination of the new life and de, the first part of her name is phonologically close to the above mentioned root, we regard that it is quite possible that this de was associated with the root *dyeu-, transformed from it, with the meaning of “deity mother”.
According to the widespread opinion, the second part of Demeter (meter)originates from PIE root *mater- (“mother”); assuming that the word de, having the meaning “mother”, comprises the first part of this composite name, one can offer that the initial meaning of the second part would be slightly different and Mater in the early period meant the “parent”, “birth giver”; in our opinion, Demeter includes two PIE roots (*dyeu+*mater- > Demeter) and its meaning is “deity mother parent” (words from root *mater in English and other Indo-European languages, influenced by one of the languages, possibly have further changed their semantics and later formed into lexemes with meaning of “Mother”).
We regard that Georgian word Dedamits’a (დედამიწა, – its modern meaning – “Mother Earth”) is also associated with PIE *dyeu root. Exploring of the first part of this word, deda (deda – “Mother”) in the context of the other Kartvelian, particularly Svan, Mingrelian words diuo (დიუო), de (დე), dia (დია) offer that archaic form of word deda sounded as diuo or dea, dia – as *dyeu-, the PIE root with the semantics of “god” and supposedly reconstructed Kartvelian lexemes, phonologically and semantically are close to one another, we regard that the hypothesis that they could be semantically linked closer, and that proposed meaning of archaic Kartvelian word was not only mother, but also deity mother and that it originated from the above root; we regard that mitsʼa (მიწა), the other part of dedamiwt’sa is derived from Proto-Indo-European root as well, in particular, from *mater-; we propose that in Georgian language word meter has obtained the form mit’sa and its meaning became “earth” (stages of transformation of the second part of Georgian word can be provided as follows: *mater- > meter > metra > mitra > mitsʼra > mitsʼa); in our opinion, word dedamits’a initially sounded like diuo mater /meter (დიუო მატერ / მეტერ) and its meaning was “deity mother parent”. Discussing these issues, the work provides examples of replacement of consonant t (ტ) with consonant tsʼ (წ).
Further, in the article we focus on the PIE root *(s)keu-, that is regarded as the origin of modern English word sky and other Indo-European words with the same semantics, with the meaning of “cover”, “conceal”. In relation with the mentioned root we considered skneli (სკნელი), Georgian lexeme philologically close to it, which, after attaching of Georgian suffix ze (Ze-skneli /ზე-სკნელი), obtains meaning of “Sky” and after adding of Georgian suffix qve (qve-skneli /ქვე-სკნელი) its meaning is underworld, hell. Meaning of Georgian word skneli is not precisely specified yet, we have studied this lexeme in the context of the other Georgian words and Kartvelian root as well and this allowed assuming that skneli means “the restricted place divided from the other spheres” and its meanings are also associated with “covering” and “concealing”; as skneli is semantically closely associated with *(s)keu-, we offered that it originates from this root.
The article mentions also that Greek lexeme σκότος (`darkness~), in our opinion, originates from *(s)keu- as well; this lexeme is mentioned several times in the Gospel and it implies dark depth (Sheol, gehenna), that is also divided from the world and cannot be seen from here.
In the work we have also studied genesis of Georgian word varkulavi (ვარსკულავი, _ “Star”). In our opinion, archaic form of the mentioned lexeme is ma-/r/skul-ar-i (მა/რ/სკულ-არ-ი), meaning, in English “being in the sky”, “living in heaven”. Consequently, we offered that in the opinion of pagan Georgians (Kartli has converted to Christianity at the state level in early 4th century) the stars were the angels living in the heaven – zeskneli, seen from the Earth as stars (according to Iv. Javakhishvili, pagan Georgians knew seven heavens, i.e. they believed that there were higher heavens above zeskneli).
As we can see, etymology of the words is very helpful for better understanding of Georgian pagan religion.
Work focuses on the following issue as well: though Kartvelian languages do not belong to Indo-European family, there still are some common points between Kartvelian languages and the ones of this family. This could be explained by introduction of words from one language into the other; we do not reject the theory known in the linguistics, according to which, the fact of interrelation between the words could indicate distant relation between the languages.
Based on the archive materials, it is clear that in 60s of 19th century, the Caucasus Censorship Committee did not work very actively, its task was only clarification of the contents of literature brought from abroad. Activation can be seen from the 70s. Materials show that the customs offices detained the literature (newspapers, scientific and fiction books, as well as personal letters) and forwarded their lists to the Censorship committee for inspection.
From 70s, quantity of the literature regarded by the customs offices as doubtful increased significantly, there were cases, where the customs offices were unable to draw up the lists and they sent to the Committee the notices, specifying number of boxes of the literature and the weights of publications. Initially, the Censorship Committee was a small organization, with growth of the work scopes, the number of subdivisions and staff was increased as well. This organization, initially subordinated to Caucasian education district and further to the ministry of education, later was transferred to the ministry of internal affairs and further to the commander in chief of Caucasus.
At the Archive, there are preserved the documents, from which it is clear that everything was published with the Committee’s permit. The reports were prepared about what was published by the end of certain year.
According to the documents preserved in the archive, the editors frequently complained against the Committee, as they regarded that one or another censor has unreasonable restricted publication of the materials; there were cases, where the Censorship Committee received the letters from the high state authorities, expressing dissatisfaction as certain publisher has issued some materials unacceptable for the state; there were many cases where one or another publisher issued the articles that was not sent to the Censorship Committee for inspection.
In the period of reign of Alexander II, in Russia, there was relatively favorable attitude to the printed media. Study of the materials related to Georgia showed that Georgian patriotic forces took advantage of this and attempted to publish as much materials as possible, contributing to revival of Georgian literature, the history of Georgia. In that period, there were issued nationally-oriented magazines, newspapers, collections and, naturally, this could not be done without permission of Dimitri Bakradze. As said above, his direct duty was inspection of such materials. And once, Bakradze, nominated by Dimitri Purtseladze, then chairperson of the Censorship Committee and governor of Caucasus, was awarded by the emperor with 300 rubles. Certainly, it is doubtful that the Governor and especially the emperor could know anything about Bakradze (he was at quite low position, he was junior censor and late he was slightly promoted) and, supposedly, Purtseladze (one the civil servant but also the historian, specialist of the history of Georgia) assisted Bakradze to obtain such award, so that the latter was not regarded with distrust. In our opinion, in certain period, at Caucasus Censorship Committee, there was a group secretly engaged in national movement. Supposedly, Dimitri Purtseladze secretly assisted Dimirti Bakradze to find employment at the Committee, to contribute to the national liberation struggle…
Certainly, this group faced significant risk, as he is not able to help everyone, or, maybe, in some cases they do not desire such help… For example, the Committee put obstacles to young Niko Nikoladze, further outstanding public figure, publicist, Nikoladze. There was a doubt that Nikoladze participated in revolutionary movement, he was under gendarmery’s surveillance (the Committee received a letter from the gendarmery, requesting to pay particular attention to this person). Hence, there were many cases, where nikoladze’s one or another publication was rejected.
From 80s, Caucasus Censorship Committee became much stricter. They applied much stricter approach to Georgian literature as well. This resulted from change of general policies in Russian Empire, impacting the Committee’s work as well.
Of the mentioned authors, one is the philologist, another – philosopher, among the authors there are the psychologist, prose-writers...
Each of them considers the “Knight in the Panther’s Skin” in different aspects, while one of them studies the issues related to the poem conception, the others attempt to analyze it in the context of philosophy and philology, prose-writers have made the essayistic records…
The book is intended for general society and it would be of interest for the professionals as well. We mostly positively evaluate publication of such collection.
In our review we discuss each work one by one, focusing on their strengths and express our views about some issues as well.
Levan Asatiani, Irakli Andronikov, Iakob Balakhashvili based on the historical documents, regarded that during his visits to Georgia, Lermontov was a frequent guest in the family of Alexander Chavchavadze (a Georgian poet); based on the archive documents, Irakli Andronikov considers as actually undoubted fact that in 1837, a young Georgian poet Nikoloz Baratashvili and Mikhail Lermontov have met one another in Chavchavadze’s family…
It is accepted that Lermontov wrote the sixth version of the poem “Demon” in 1838, after departure from Georgia. In this version, action takes place in Georgia and there, instead of the nun, there is described the other woman, Tamara, with whom the Demon fall in love and, as he physically approaches her, the woman dies; previous versions significantly differ from the sixth one…
Out particular attention was attracted by the fact that to the nun’s question, who is the stranger, the Demon answers directly: “I am a Demon!”
In the sixth version, to the same question, Demon answers that he is the one, who secretly, sometimes in her dreams, used to come to the woman and to whom Tamara used to listen sometimes; i.e., in this version, in psychological view, the woman’s character is described in the different way – it is shown that the woman heard the Demon’s tempting thoughts; before she understood, whose thoughts these were, they even attracted her and that’s why the Demon came to her.
In our article, we discuss the verse written by Baratashvili in 1836 “Secret Voice”, where the poet applies to the secret voice, heard in his dreams, asking, who is he, whether he is a good power or evil… based on the verbal and content similarities, we offered the view that Baratashvili has familiarized Lermontov with his verse and this has influenced formation of the final version of “Demon”…
In the work, based on the offered examples, there is demonstrated that there are some reminiscences to Lermontov’s “Demon” in Baratashvili’s art as well. As the stances mentioned in 1837, were not published yet and they are only in Lermontov’s early manuscripts (when the full version of the poem was published, Baratashvili was already dead), there appears the hypothesis that in 1837, Lermontov had one of manuscripts of the poem in Georgia with him and showed it to Baratashvili or, possibly, told him what he later wrote in the poem…
The view emerges that Lermontov and Baratashvili could have close creative relations and in studying of their biographies, in my opinion, the above facts should be necessarily taken into consideration.
According to Irakli Andronikov, Lermontov’s “Demon” has greatly influenced formation of world psychological prose; this poem acquires psychological load, when it became apparent that Demon lived in Tamara’s thoughts before, she heard his tempting voice before he appeared in front of her. As mentioned, such voice that, in the poet’s words, could belong to the evil soul, it is clearly heard in Baratashvili’s verse (“Secret Voice”); if we discuss Lermontov’s influence on the world literature, then we should remember that Baratashvili, a great romanticist poet, who died very young, have made is contribution to development of psychological prose as well.
At the end of the article is published the Georgian translation of Lermontov's “Demon” (part of the poem), manuscript of which is kept in the National Archives of Georgia.
Committee stored numerous lays that should have been born in Georgian theaters. Mostly, these were the vaudevilles, less dealing with the politics and the permits for their staging were issued in majority of cases.
Among the plays, we found the vaudeville by famous Georgian writer – Alexander Kazbegi. Its title sounds in Georgian as: “ყველაფერი ბედზედ არის” (Everything Depends on Fate) the play title can be translated also as “Things are Going Well as well); there is maintained Alexander Kazbegi’s manuscript, sent by him to the Censorship Committee for issuance of the permit for staging; the mentioned play was never published.
In the play, there is used the lifestyle of certain part of the society of that time. The characters are people, regarding that in the modern family, the wife and husband, if they do not desire to be regarded as being behind the times, they should have the lovers – the wife should accept her husband’s unfaithfulness and the husband – his wife’s, sometimes, they should be formally show jealousy, as the etiquette of contemporary life required so in their opinion but in reality, they should not bother about this. In the vaudeville we can see not only such wife and husband but also their servants, teacher of their children, liver of the wife… all of them flirt and talk about their love, while separately they blame one another and face to face they praise each other… in the end of the play they all sing together and there are such words in the song: going to the depths and when in the final scene, they sing this song on the stage, the characters leave, creating the impression that they go towards the hell, to the depth.
Alexander Kazbegi was a great prose-writer, but he is not recognized as a great dramatist. The article provides discussion of the vaudeville genre and there is noted that the writer was well aware in the specific nature of the mentioned genre and without taking into consideration that one or another of his plays is adjusted to the specific nature, we cannot understand that he was quite good writer in this sphere as well
German National-Socialism emphasized racism in Nietzsche’s philosophy and this contributed to the view that the ideas of utopists, followers of Nietzsche were unacceptable and this was one of the causes of actually prohibition of this philosophy in the USSR.
The presentation provides discussion of the "League of Militant Atheists", works of the Georgian writers (Konstantine Gamsakhurdia, Grigol Robakidze, Geronti Kikodze…), describing spiritual crisis of the Western Europe, in the beginning of past century, expected events of the new epoch… The main point of the presentation is that beyond the Soviet atheism, as Aleksei Losev mentioned, there was the idea of creation of some kind of the new religion.
On one of the photos (taken in the studio), Rockwell imitates the marshal’s posture in comic style. On the other photo, Rockwell placed William Obanhein, the model for his picture, also into the comic posture, perhaps, he needed this to cause the very smile, resulting from tragicomic situation – the marshals had to be an escort, to protect a six years old girl (of not these photos, some viewers would hardly perceive the creative originality of the painting correctly humor, – characteristic to the artist, style of friendly caricature, needed to pain the marshals, would not be apparent and the picture would cause only sadness).
On the other photo, off studio, taken in the environment, far from the large city, here Rockwell is a little older – the artist has the necktie looking exactly like the one he had when he expressed the marshal’s posture, he has the same pipe as well. These two photos are directly related to one another. On the photo made off studio, there are no comic gestures any more. It seems that by means of this photo, the artist perhaps says: “I am old, I live far from New York; as the danger of racism is lower, I am relatively calm, but still I closely watch, to prevent repeating it again” (in 1953 Rockwell left New York and moved to Stockbridge).
It seems that the photos (including those, taken in the studio) are not intended for work only – by means of them, Rockwell tells us something, they are made to influence the viewers as well.
On Duane Bryers’s picture – Croaking Frogs and Crickets, where we can see idyllic picture (peaceful summer night, woman, man and a dog on the balcony), in our opinion, there is Rockwell’s image and for this picture there is used Rockwell’s photo taken off studio; we see the idyll on this painting by Bryers, but, it seems, he wants to say also that Rockwell has completed his mission and deserved the right to peaceful life...The idea, clearly stated in this picture, of course, causes pleasure, but, we should also understand, what else the author wanted to say. The mentioned paintings and photos show whole history and we can say that what Bryers has told, is the culmination, final party of this history…
In our opinion, the story about Norman Rockwell and Ruby Bridges demonstrates, once more that Roland Barthes’s view, expressed in his essay The Death of the Author, according to which, the author’s idea is not interesting and only how we perceive his work is of significance, causes doubts – it is necessary to understand the author’s idea and frequently, the nuances of his/her covered beyond the stage gives us esthetic pleasure.
The Committee’s archive includes various materials, for example, the plays, unknow for wide circles of the society of Georgian writers: Alexander Kazbegi, David Dadiani, Kote Kipiani, Aghalo Tutaev (Tutashvili) and others; some of plays were banned by the Committee, as they found
in them the contents unacceptable for the Russian state.
In the Committee’s archive there is the manuscript written by famous Georgian poet – Akaki Tsereteli. This is his lecture, discussing Rustaveli’s “Knight in the Panther’s Skin”. We have compared the texts of manuscript with the published one and found that there are significant differences between them.
Archive materials have revealed the fact unknown to the wide society: in 1878 famous Georgian public figure Niko Nikoladze has challenged to a duel Dimitri Purtseladze, the chairman of the Censorship Committee; the latter has refused.
In the article, we publish the photos of several Georgian manuscripts.
In the archive there were also found the paintings unknown to the society by Mikhail Chemodanov, the illustrator, widely known in 19th century Europe and later, unfortunately, forgotten; we publish few of his paintings and intend to publish whole set of the discovered illustrations.
We intend to discuss the work of Caucasian Censorship Committee of the later period in the further articles.
ინგლისურ და ქართულ (გვ. 6) ენებზე, აბსტრაქტი _ თურქული.
The article one, dedicated to these issues (see “Journal Of Gelati Academy Of Sciences, №1-4, 2022) offers the view that biblical story about expulsion of Adam and Eve from paradise figuratively describes change of human consciousness, its deviation from the truth, perversion of consciousness, now, in the article two we focus particular attention on the spiritual changes of individual, by religion, returning him to the way to immortality.
Here we should note: we regard that secularization, as well as the other circumstances have influenced origination of Renaissance, there is not only one cause (it is especially hard to find such cause, regarding that Renaissance is not homogenous as such).
Presented work offers that, possibly, the New Testament story about Lord’s transfiguration at Mount Tabor was one of numerous stimuli for origination of Renaissance, it is not impossible that one of the paradigms of shining, beautified body was the mentioned episode of the New Testament.
The work provides discussion of number of theological issues; in relation with theology there is discussed Georgian poet – Vazha Pshavela.
This Article offers the view, according to which, biblical story about expulsion of Adam and Eve from paradise figuratively describes change of human consciousness, its deviation from the truth, perversion of consciousness, it shows, how, specifically, the nature of this change is presented by the creator of Old Testament; in the article two, dedicated to these issues, there will be an extended discussion about the spiritual elevation of individual and his striving to immortality.
We regard that Renaissance is one of the steps to spiritual elevation, at this stage the individual changes not only spiritually, but, to certain extent, he changes internally, physically, he becomes more beautiful and this was seen by the greatest artists and this beauty is illustrated in their paintings…
There are different views on the meaning of the first part of Greek Goddess Demeter`s (Δημήτηρ) name - De (De-meter).
In our opinion, de derives from Proto-Indo-European (PIE) root *dyeu- (“to shine”, “heaven”, “god”). From this root are derived following words related with God: «Sanskrit deva “god” (literally “shining one”); diva “by day”; Avestan dava- “spirit, demon”; Greek delos “clear”; Latin dies “day”, deus “god”; Welsh diw, Breton deiz “day”; Armenian tiw “day”; Lithuanian dievas “god”, deina “day”; Old Church Slavonic dini, Polish dzień, Russain den “day”; Old Norse tivar “gods”; Old English Tig, genitive Tives, name of a god» (Online Etimology Dictionary https://www.etymonline.com/word/*dyeu-#etymonline_v_52651). (21.05.2022) Whereas this lexeme produces several words associated with God, in our opinion, it is not impossible that the word semantically close to Goddess was derived from same root; as Demeter is a female deity associated with fertility, birth, origination of the new life and de, the first part of her name is phonologically close to the above mentioned root, we regard that it is quite possible that this de was associated with the root *dyeu-, transformed from it, with the meaning of “deity mother”.
According to the widespread opinion, the second part of Demeter (meter)originates from PIE root *mater- (“mother”); assuming that the word de, having the meaning “mother”, comprises the first part of this composite name, one can offer that the initial meaning of the second part would be slightly different and Mater in the early period meant the “parent”, “birth giver”; in our opinion, Demeter includes two PIE roots (*dyeu+*mater- > Demeter) and its meaning is “deity mother parent” (words from root *mater in English and other Indo-European languages, influenced by one of the languages, possibly have further changed their semantics and later formed into lexemes with meaning of “Mother”).
We regard that Georgian word Dedamits’a (დედამიწა, – its modern meaning – “Mother Earth”) is also associated with PIE *dyeu root. Exploring of the first part of this word, deda (deda – “Mother”) in the context of the other Kartvelian, particularly Svan, Mingrelian words diuo (დიუო), de (დე), dia (დია) offer that archaic form of word deda sounded as diuo or dea, dia – as *dyeu-, the PIE root with the semantics of “god” and supposedly reconstructed Kartvelian lexemes, phonologically and semantically are close to one another, we regard that the hypothesis that they could be semantically linked closer, and that proposed meaning of archaic Kartvelian word was not only mother, but also deity mother and that it originated from the above root; we regard that mitsʼa (მიწა), the other part of dedamiwt’sa is derived from Proto-Indo-European root as well, in particular, from *mater-; we propose that in Georgian language word meter has obtained the form mit’sa and its meaning became “earth” (stages of transformation of the second part of Georgian word can be provided as follows: *mater- > meter > metra > mitra > mitsʼra > mitsʼa); in our opinion, word dedamits’a initially sounded like diuo mater /meter (დიუო მატერ / მეტერ) and its meaning was “deity mother parent”. Discussing these issues, the work provides examples of replacement of consonant t (ტ) with consonant tsʼ (წ).
Further, in the article we focus on the PIE root *(s)keu-, that is regarded as the origin of modern English word sky and other Indo-European words with the same semantics, with the meaning of “cover”, “conceal”. In relation with the mentioned root we considered skneli (სკნელი), Georgian lexeme philologically close to it, which, after attaching of Georgian suffix ze (Ze-skneli /ზე-სკნელი), obtains meaning of “Sky” and after adding of Georgian suffix qve (qve-skneli /ქვე-სკნელი) its meaning is underworld, hell. Meaning of Georgian word skneli is not precisely specified yet, we have studied this lexeme in the context of the other Georgian words and Kartvelian root as well and this allowed assuming that skneli means “the restricted place divided from the other spheres” and its meanings are also associated with “covering” and “concealing”; as skneli is semantically closely associated with *(s)keu-, we offered that it originates from this root.
The article mentions also that Greek lexeme σκότος (`darkness~), in our opinion, originates from *(s)keu- as well; this lexeme is mentioned several times in the Gospel and it implies dark depth (Sheol, gehenna), that is also divided from the world and cannot be seen from here.
In the work we have also studied genesis of Georgian word varkulavi (ვარსკულავი, _ “Star”). In our opinion, archaic form of the mentioned lexeme is ma-/r/skul-ar-i (მა/რ/სკულ-არ-ი), meaning, in English “being in the sky”, “living in heaven”. Consequently, we offered that in the opinion of pagan Georgians (Kartli has converted to Christianity at the state level in early 4th century) the stars were the angels living in the heaven – zeskneli, seen from the Earth as stars (according to Iv. Javakhishvili, pagan Georgians knew seven heavens, i.e. they believed that there were higher heavens above zeskneli).
As we can see, etymology of the words is very helpful for better understanding of Georgian pagan religion.
Work focuses on the following issue as well: though Kartvelian languages do not belong to Indo-European family, there still are some common points between Kartvelian languages and the ones of this family. This could be explained by introduction of words from one language into the other; we do not reject the theory known in the linguistics, according to which, the fact of interrelation between the words could indicate distant relation between the languages.
Based on the archive materials, it is clear that in 60s of 19th century, the Caucasus Censorship Committee did not work very actively, its task was only clarification of the contents of literature brought from abroad. Activation can be seen from the 70s. Materials show that the customs offices detained the literature (newspapers, scientific and fiction books, as well as personal letters) and forwarded their lists to the Censorship committee for inspection.
From 70s, quantity of the literature regarded by the customs offices as doubtful increased significantly, there were cases, where the customs offices were unable to draw up the lists and they sent to the Committee the notices, specifying number of boxes of the literature and the weights of publications. Initially, the Censorship Committee was a small organization, with growth of the work scopes, the number of subdivisions and staff was increased as well. This organization, initially subordinated to Caucasian education district and further to the ministry of education, later was transferred to the ministry of internal affairs and further to the commander in chief of Caucasus.
At the Archive, there are preserved the documents, from which it is clear that everything was published with the Committee’s permit. The reports were prepared about what was published by the end of certain year.
According to the documents preserved in the archive, the editors frequently complained against the Committee, as they regarded that one or another censor has unreasonable restricted publication of the materials; there were cases, where the Censorship Committee received the letters from the high state authorities, expressing dissatisfaction as certain publisher has issued some materials unacceptable for the state; there were many cases where one or another publisher issued the articles that was not sent to the Censorship Committee for inspection.
In the period of reign of Alexander II, in Russia, there was relatively favorable attitude to the printed media. Study of the materials related to Georgia showed that Georgian patriotic forces took advantage of this and attempted to publish as much materials as possible, contributing to revival of Georgian literature, the history of Georgia. In that period, there were issued nationally-oriented magazines, newspapers, collections and, naturally, this could not be done without permission of Dimitri Bakradze. As said above, his direct duty was inspection of such materials. And once, Bakradze, nominated by Dimitri Purtseladze, then chairperson of the Censorship Committee and governor of Caucasus, was awarded by the emperor with 300 rubles. Certainly, it is doubtful that the Governor and especially the emperor could know anything about Bakradze (he was at quite low position, he was junior censor and late he was slightly promoted) and, supposedly, Purtseladze (one the civil servant but also the historian, specialist of the history of Georgia) assisted Bakradze to obtain such award, so that the latter was not regarded with distrust. In our opinion, in certain period, at Caucasus Censorship Committee, there was a group secretly engaged in national movement. Supposedly, Dimitri Purtseladze secretly assisted Dimirti Bakradze to find employment at the Committee, to contribute to the national liberation struggle…
Certainly, this group faced significant risk, as he is not able to help everyone, or, maybe, in some cases they do not desire such help… For example, the Committee put obstacles to young Niko Nikoladze, further outstanding public figure, publicist, Nikoladze. There was a doubt that Nikoladze participated in revolutionary movement, he was under gendarmery’s surveillance (the Committee received a letter from the gendarmery, requesting to pay particular attention to this person). Hence, there were many cases, where nikoladze’s one or another publication was rejected.
From 80s, Caucasus Censorship Committee became much stricter. They applied much stricter approach to Georgian literature as well. This resulted from change of general policies in Russian Empire, impacting the Committee’s work as well.