Book
Permanent URI for this collection
Book
Browse
Browsing Book by Author "დანელია, მაია / Danelia, Maia"
Now showing 1 - 1 of 1
Results Per Page
Sort Options
Item ანტიკურობა ქართულ მხატვრულ ლიტერატურაში(ლოგოსი, 2025) ტონია, ნანა / Tonia, Nana; კობახიძე, ეკატერინე / Kobakhidze, Ekaterine; უგულავა, გიორგი / Ugulava, Giorgi; დანელია, მაია / Danelia, MaiaAssessing the role of classical heritage in the development of modern civilization is quite complex issue. In any field of this heritage, one can discover ideas that have profoundly influenced the spiritual and material cultures of all subsequent eras. Several key phases of returning to classical heritage have been identified in the history of European civilization (e.g., the Carolingian era, the Ottonian period, the Renaissance), which have been the focus of numerous studies. However, no less significant is the transition between the 20th and 21st centuries, which has already become the vanguard of global cultural practice. This continuous dominance of classical heritage has necessitated its fundamental study on a global scale. Although such research began during the Hellenistic period, scientific reflection and the formation of distinct disciplines addressing the interplay of epochs and cultures in the context of classical heritage became feasible only at the end of the last century. This shift emerged as new paradigms of interpreting classical civilization began to take shape in the humanities, linking it to historical consciousness, symbolic representations, values, and more. In Western European and American cultural studies, the relationship between antiquity and subsequent eras has been defined by the term "reception." While various attempts have been made throughout history to interpret and comprehend the achievements of the ancient world and its phenomena, the initial focus was primarily on literary studies. These relied on hermeneutical and textual analysis principles rooted in classical philology, philosophy, and historiography. However, in recent times, reception studies have expanded their scope and aimed to uncover models of reception through corresponding methodological investigations. Since the 1960s, the study of the receptions of antiquity has become one of the primary directions not only in European but also in global literary studies. The research directions have become so diverse that it became necessary to establish a specialized journal dedicated to the comprehensive exploration of classical receptions. Such a journal is the Classical Receptions Journal , published since 2009 in Oxford, covering "all aspects of the reception of the material culture and texts of ancient Greece and Rome in both antiquity and the modern world." Fundamental research on classical heritage has highlighted one particularly intriguing aspect among the major problems of understanding antiquity. This aspect revolves around the question: "Does time change while antiquity remains the same, or does antiquity change from generation to generation, from researcher to researcher?"1251 Indeed, the approach to antiquity and, consequently, to existing studies on it, is constantly evolving. Not so long ago, the study of antiquity was confined to a certain framework that did not consider concepts like subjectivism, individuality, reception theory, gender, and others, which are extensively utilized by authors of modern studies. Thanks to these advancements, it has become possible not only to broaden the boundaries of understanding antiquity but also to showcase and integrate national literatures into the process of global cultural development. Thus, reception studies serve as the foundation for a continuous dialogue between the past and the present and, more importantly, for intercultural communication. This is particularly evident in literature, both prose and poetry. Writers and poets of post-antique eras often discovered in ancient authors texts that significantly resonated with the tendencies of their time. These 'discoveries' varied from epoch to epoch. This was the case in medieval Europe, where the popularity of Roman authors depended on the trends of the era. In a moralized world (e.g., the Ottonian period), Horace was embraced for his sententious poetry; later (in the Age of Novelties), when secular interests began to awaken, Ovid became more prominent, and the epoch was even named after him ('Ovidian'). Intercultural communication involves not only the dialogue between antiquity and modernity but also an understanding of their relationship in an intertextual space. Here, it is crucial to expand reception studies, which are considered significant phenomena for incorporating national literatures into models influenced not only by European but also by Eastern and, more broadly, global literary processes. From this perspective, the study of the reception of classical heritage in Georgian literature, which shares the longest history with antiquity among European literatures, holds particular importance. This significance is mutually determined: On the one hand, Georgian literature, with its centuries-long connection to the ancient world, has been at the forefront of both Western and Eastern literary processes throughout its development. This is reflected in its diverse creations of both spiritual and secular character, some of which are recognized as masterpieces of world classics. Thus, it should be considered an inseparable part of the model of receptions. A testament to this is the fact that in one of the most renowned fundamental encyclopedias on antiquity, Der Neue Pauly—five volumes of which are dedicated to the reflection of ancient tradition in world literature—there is an article on classical heritage in Georgian literature (authored by Rismag Gordeziani).1252 On the other hand, Georgian literature, reflected with all its diversity in the model of receptions, due to its invaluable heights and its Western-Eastern discourse, secures a worthy place in the literary world. It should be noted that in individual national literatures, monographic studies on the reception of antiquity have existed for quite some time.1253 These have formed the basis of socalled reception models created with consideration of global literary processes. As for Georgian literature, although individual articles and studies on this topic were written until recently, they did not possess a systematic, monographic nature that would comprehensively reflect the traces of classical tradition in Georgian literature. The monograph "Classical Antiquity in Georgian Literature" is a fundamental, bilingual (Georgian-English) work, which, for the first time on such a scale, presents the receptions of antiquity in Georgian artistic literature across all stages of its development. The authors of the monograph compiled all existing studies on various authors and had access to the bilingual materials of the project "Classical Tradition in Georgian Literature,"1254 which includes information about approximately 140 Georgian writers and poets, significant passages reflecting the reception of antiquity, and accompanying commentary. In many cases, the monograph includes the authors' own observations, perspectives, and findings, which are being published for the first time in this work. Particularly notable is that, for some authors whose works exhibit significant traces of antiquity, no prior studies had been conducted, adding an innovative dimension to the monograph. The authors' systematic research into antiquity in Georgian literature provided solid evidence, based on specific data, for the viewpoint that Greco-Roman elements are present in every period of Georgian literature. This demonstrates that antiquity plays a significant role in Georgian literary tradition. This trend begins in the 8th century. Evidence of antiquity is already found in hymnography, though the historical figures appearing in these works are primarily connected to Christianity. Interestingly, mythological characters appear in hymnography only after the emergence of secular literature (e.g., Orpheus, Achilles, Mount Olympus, etc.). In secular literature, as expected, the range of mythological material used is significantly broader compared to religious literature. It is noteworthy that Georgian literature employs antiquity in various contexts—both within Greek-Roman and Georgian narratives. These terms often serve as striking examples of artistic generalization. Based on this, numerous comparisons, epithets, and metaphors emerge, alongside instances of antiquity's reception. This important aspect of classical heritage in Georgian literature is represented both as symbols that became clichés within antiquity itself and as entirely new, original forms of artistic reinterpretation. Observations reveal that significant passages related to antiquity are reflected in Georgian literature with great diversity and originality, allowing us to conclude that this material was integrated into narratives and that ancient ideas were incorporated not fragmentarily but rather comprehensively into the artistic imagery developed by Georgian literature. It is evident that this trend intensified significantly during the 11th–13th centuries, a period of political and cultural prosperity in Georgian history, which opened the door for the influx of Western ideas and values into Georgian society. A new wave of engagement with antiquity can be observed from the 17th–18th centuries, continuing with particular intensity through the 19th–21st centuries. During this time, numerous adaptations and receptions of antiquity were created in Georgian literature, following European literary trends, which, in turn, necessitate constant renewal of research. Notably, characters associated with the ancient world, which constitute a significant part of pan-European artistic symbols, have gradually become a distinct and integral part of the so-called "bank" of Georgian artistic imagery. This highlights the traditional and organic strengthening of the so-called Western element in contemporary Georgian literature.