ქალის გამოსახულება პოლონელი დევნილი „კავკასიელი“ პოეტების ლირიკაში. THE IMAGE OF A WOMAN IN THE LYRICS OF POLISH EXILED “CAUCASIAN” POETS

dc.contributor.authorფილინა/ Filina, მარიამ/ Mariam
dc.date.accessioned2022-09-12T12:25:35Z
dc.date.available2022-09-12T12:25:35Z
dc.date.issued2022-07-14
dc.description.abstractThe poetry of the Polish „Caucasians” of the 1830-50s is, for the most part, the poetry of messages and epitaphs. Even devotion to a woman often reminds us of a kind of epitaph of hope, of love, since it is known from the beginning that a meeting does not take place. The Caucasian branch of literature is uniquely a masculine world that obeys the rules of exile and war. Topics, worldview, language and even forms of expression are subject to extreme situations. This is a kind of account of the fate of the soldiers and their movements, it is a “military campaign writing”. In this highly masculine poetry we lack something important – the existence of a woman. Of course, the faces of women appear, but it is almost not a real object, which should be the main one in “masculine” poetry. Tadeush Lada-Zablotsky steadfastly avoids the reality of romantic love in a dream world. We do not even know if he had a real girlfriend in the Caucasus. We cannot understand this from poetic messages. In the last, “Caucasian” period, this feeling deepens, but with the complete unearthiness, it takes on a new, real basis: the woman is far away and lost forever. Stanislav Vinicki has a lyrical poem “Georgian Woman”. For a man who catches the eye of a Georgian woman, this woman remains an inaccessible statue, but a “statue of a Caucasian angel”, that is, an embodiment of inaccessible values. Xavier Petrashkevich praised the dancing Georgian woman. He added detailed comments to the poem. Its lines show the specificity of the scene, the materiality, although there is a deeper layer hidden behind the appearance. Dancing Georgian woman is the embodiment of femininity and at the same time, a symbol of the spirituality of the Georgian people. Thus, in the work of “Caucasians”, women live in the world of dreams, dreams that have almost no hope of being realized. This is another “voice to the end”, behind which is hidden personal drama. It tones the whole literature of exile in a kind of “weakened” way.en_US
dc.identifier.citationივანე ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტი ჰუმანიტარულ მეცნიერებათა ფაკულტეტი, აკადემიკოს მარიამ ლორთქიფანიძის დაბადებიდან 100 წლის იუბილესადმი მიძღვნილი XVI საფაკულტეტო სამეცნიერო კონფერენცია, თეზისები, თბილისი, 2022, გვ.: 251-255 / Ivane Javakhishvili Tbilisi State University Faculty of Humanities, 16th FACULTY SCIENTIFIC CONFERENCE IN HONOUR OF THE 100th ANNIVERSARY OF THE BIRTH OF MARIAM LORTKIPANIDZE, Abstracts, Tbilisi, 2022, pp.: 251-255en_US
dc.identifier.urihttps://dspace.tsu.ge/handle/123456789/1889
dc.language.isogeen_US
dc.subjectპოლონელიen_US
dc.subject„კავკასიელთა“ ქალთა გამოსახულება ლირიკაშიen_US
dc.subjectქალიen_US
dc.subjectროგორც ოცნებაen_US
dc.subjectმარტოობის გრძნობაen_US
dc.subject„კავკასიელი ანგელოზის ქანდაკება“en_US
dc.subjectwoman in the lyrics of Polish exiled “Caucasian” poetsen_US
dc.subjectwoman as a dreamen_US
dc.subjecta feeling of lonelinessen_US
dc.subject“sculpture of a Caucasian angel”en_US
dc.titleქალის გამოსახულება პოლონელი დევნილი „კავკასიელი“ პოეტების ლირიკაში. THE IMAGE OF A WOMAN IN THE LYRICS OF POLISH EXILED “CAUCASIAN” POETSen_US
dc.typeThesisen_US
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