ლოგოსი

ჰარუსპიციის მხატვრული ინტერპრეტაცია ანტიკურ დრამაში

2024-02-03T15:30:06+04:00

The paper "The Function of Haruspicy in Ancient Drama" analyzes a type of divination, an inspection of the viscera of the sacrificed animals, in ancient drama.

Divination played an important social and political role in antiquity, which resulted in a broad representation of the divinatory rituals in Graeco-Roman literature. This paper explores the questions such as: what was the author’s purpose for incorporating the ritual in his writing? Is it significant which character carried out the ritual? Is the ritual intended to be taken as a manifestation of the divine knowledge, or as a commentary on the current social and political events and as a prediction of what is to come?

Throughout this paper the assumptions are made also regarding the origins of the information about haruspicy with each author.

This paper aims to examine the works of the three Graeco-Roman tragedians: Aeschylus, Euripides, and Seneca. It analyzes the passages pertaining to haruspicy in the broader context of the text and differentiates between the information-containing references and the examples of artistic interpretation of Haruspicy. It is noteworthy that haruspicy as an artistic technique in ancient drama has not yet been systematically studied.

„მუზების ტაძარი“ პონტოს კიდეში და ელინური პაიდეიას საკითხი ΙΙΙ-ΙV საუკუნეების საქართველოში

2024-02-03T15:45:40+04:00

Scarce written records survive about education in Georgian kingdoms in antiquity. The gap can be partly filled with information provided by a 4th-century Greek rhetorician, philosopher and statesman, Themistius, about a Hellenic school (ἀνάκτορον τῶν Μουσῶν) near Phasis, at the "edge of Pontus" (ἐν τῇ ἐσχατιᾷ τοῦ Πόντου), which scholars identify either as Poti or Sinope or Neocaesarea. The exact location of the school is difficult to establish as Themistius mentions also the river Thermodon, which is quite far from Phasis. However, according to the myths he relates, the region was inhabited by the Colchians and supposedly bordered with Armenian settlements. The study of Byzantine sources shows that the mentioning of Phasis together with Thermodon is not confusing but serves as an additional proof for associating the place of the school with Colchis. The article examines all relevant details from Themistius' Oratio 27 in terms of philological analysis and also considers the 3rd-4th century historical and cultural context. I share the opinion that the school must have been situated near the eastern and not the western border of Pontus’ diocese. However, the identification of the city is the task of a further interdisciplinary study that would examine the information provided in Themistius' text in the light of archeological evidence from the territories of Ancient Colchis and Iberia (first of all, the writing tools discovered in Mtskheta, etc.).

ქართველური ეთნოსების გეოპოლიტიკური როლი ე.წ. მითრიდატული ომების კონტექსტში ბერძენი მწერლების (მემნონი, აპიანოსი, დიო კასიოსი, პლუტარქოსი, სტრაბონი) მიხედვით

2024-02-03T15:52:33+04:00

The problem of the geopolitical orientation of the Kartvelian people presented in the ancient authors’ narratives appears to be especially noteworthy while studying the identity issues of these ethnoses. This question of political preferences of the peoples inhabiting the Caucasus, Kartvelian tribes included, became extremely critical during the Roman Empire period due to its expansive eastern foreign policy.

The aim of the paper is to analyze the geopolitical role of the Kartvelian tribes in the context of one of the main political events of the ancient world – the Mithridatic Wars, as represented by the Greek authors of the Roman Empire period, namely, Memnon, Plutarch, Dio Cassius, and Appian. Research revealed that the above authors pay quite a lot attention to the issues concerning the political orientation and preferences of the Kartvelian people when narrating the events of the Mithridatic Wars. They seem to be interested in finding out the motivation of the Kartvelian ethnoses as both: (1) allies of the Armenian king and Mithridates; and (2) independent war actors. Additionally, the writers tried to define the aims of the Rome’s Eastern politics with regards to peoples inhabiting the crossroads of Europe and Asia.

The conclusions of the paper will suggest useful insights concerning the Kartvelian people’s geopolitical identity during the period of Rome’s active striving to incorporate Transcaucasia in the sphere of its influence as viewed by the mentioned Greek authors.

მედეას სახე აკაკი წერეთლის დრამაში „მედია“

2024-02-03T15:57:11+04:00

The first literary processing of the Legend of Argonauts in the Georgian literature belongs to XIX century classicist Akaki Tsereteli. Akaki significantly changed the traditional Legend of Argonauts (Jason arrives to ask for Medea' hand, he wins the fight with the help of Medea's brother, Yasir/Absyrtos and seizes the Golden Fleece with the help of Orpheus) and especially, the image of Medea (Medea does not kill Absyrtos etc.). These differences notwithstanding, the most significant are the thorough understanding of Medea's paradigmatic image similar to Euripides, struggle between mind (logic) and feeling (anger).

პენელოპეს სახე ახალ ბერძნულ ლიტერატურაში

2024-02-03T16:00:57+04:00

Penelope is undoubtedly one of the most virtuous and beloved characters among Homer's heroes – a woman who has transformed into a symbol of a faithful wife and an exemplary mother; A woman who faithfully waited for her husband for 20 years; A woman who, in fact, raised her child all alone; A woman who kept her household sacred. However, we encountered controversial interpretations of Penelope's image since ancient times: ancient sources sometimes refer to Penelope as Pan's mother or as a woman being in intimate relationships with all of the 112 suitors. Various explanations are attributed to why Odysseus decides to set up a test for his wife, the jealousy of Telemachus or the interpretation of Penelope's dream. On the other hand, Homer has never claimed that Penelope is faithful to her husband. Homer most often characterizes Penelope with the epithet "περίφρων," which means "clever" or "wise". Penelope is referred to as "faithful" – "πιστή" only once in the whole Odyssey and that too by the embittered (and already dead) Agamemnon.

The first and most radical interpretation of Penelope's character in modern literature probably belongs to James Joyce ("Ulysses" 1922) – his Molly Bloom is the complete antithesis of the faithful (or wise) Penelope. Joyce is a foundation for this interpretation of Penelope in Western literature. Joyce's interpretation of Penelope became very attractive to writers. Obviously, this metamorphosis was, first of all, an echo of the era.

Modern Greek writers proved to be much more sensitive towards Penelope compared to their European counterparts; however, each subsequent interpretation of Penelope's image is bolder and much distanced from her initial prototype.

The article reviews the interpretations of Penelope's image in modern Greek literature, trying to understand what most authors focus on in different eras and why is Penelope's image addressed mainly by female authors.

მცენარეთა ლათინური სახელების ქართულად გადმოტანის თავისებურებანი

2024-02-03T16:05:33+04:00

Latin and ancient Greek are the basis on which new international botanical terminology is built and on which the established one is refined.

For the correct translation of the scientific names of plants from Latin into Georgian and their correct spelling, along with taking into account the established rules, it is often necessary to develop new recommendations and change the already established forms. At this time, the data of the Latin and Georgian languages should be verified; It is necessary to take into account the features and patterns of both languages; As well as news of international botanical nomenclature etc.

During the work on “Latin-Georgian Dictionary of Plant Names” and “Accumulative Glossary of Plant Names”, based on linguistic and philological analysis, we have developed rules for translating Latin phytonyms into Georgian and made some changes:

Replacement of obsolete Latin phytonyms with modern nomenclature.
Clarification of the Georgian name of some taxonomic units from the point of view of the generic relationship.
Correction of incorrect spelling.
The specificity of the translation of some features of Latin phytonyms into Georgian.
The peculiarity of the Georgian vocabulary is taken into account and a creative approach is applied.
Accounting for the history of the origin of some phytonyms.
Epithets comprised of two words were fused into one word by suppressing the hyphen, thus merging the two words and abiding by the norms of Georgian scientific language.

When importing generic and specific names, we have taken into account the phonetic rules and specific pronunciation of the language of origin, the translation practices from these languages to Georgian, as well as the etymology of the phytonyms.

ევრიპიდეს ტრაგედიის “იფიგენია ავლისში” კინემატოგრაფიული ტრანსკოდიფიცირების ძირითადი პრინციპები იორღოს ლანთიმოსის ფილმში “წმინდა ირმის მკვლელობა”

2024-02-03T16:11:00+04:00

The article refers to the cinematographic adaptation, so-called “transcodification”, of ancient Greek tragedy in the example of Yorgos Lanthimos's film "The Killing of a Sacred Deer"(2017). The latter is the cinema reception of Euripides' tragedy "Iphigenia in Aulis". The article aims to show and analyze the main cinematographic means and strategies through which the director transfers Euripides' text into a visual medium. In this regard, two levels of trascodification are distinguished: narrative and visual. At the level of the narrative structure, the film transformation of the original text involves the substitution of the setting, characters, and plot events of the tragedy with completely different, but essentially identical, elements familiar to modern society. The visual level of transcodification involves the reconstruction of the main worldview and emotional aspects of the Euripidean tragedy through visual signs and camera movement. The combination of the above-mentioned two aspects allows the director to convey accurately and adequately the literary original to the target 21-century audience that is unfamiliar with the aesthetics of ancient Greek drama.