From the History of Systematic Study of Georgian Literature (Vakhtang Kotetishvili and Mikheil Zandukeli)

Abstract

The author's English summary from the article:

Key words: Vakhtang Kotetishvili, Mikheil Zandukeli, History of Georgian Literature.

The first attempts of systemize Georgian literature history originated in the 19-th century. During the development of critical thinking in Georgia, the process of a proper theoretical foundation progressed within the general European framework, creating the discourse for the systemization of the history of national literature (chronological and semantic as well). Vakhtang Kotetishvili’s work – three-volumed “A History of Georgian Literature” was published in the years 1925-1927. In the process of systematization of Georgian literature, the scientist drews the most attention to “continuity of development”: in his opinion, every new stage of development and rise of centuries-old Georgian literature is derived from the previous period and eventually it defines next stages of development.

Kotetishvili praises works of his predecessors’ (A. Khakhanashvili, K. Abashidze, and K. Kekelidze). In the introduction, the critic along with theoretical issues discusses “the methods”, which must be used in the research of literary events and texts, he highlights two methods: a) the method, as a treatment for researching of creative work, b) the methods for resear- ching “a history of creative work”. According to Vakhtang Kotetishvili, there is no “universal method” for periodiza- tion of history of literature, there is need of pluralism for that kind of work. The critic makes method classification and after that he provides three main methods: historic, evo- lutionary and comparative.

The critic reviews 19th century literature initially with roman- ticism (romantic writers – A. Chavchavadze, G. Orbeliani, N. Baratashvili, V. Orbeliani) and then continues with 40-50ies (age of realism – G. Eristavi, D. Chonkadze, L. Arda- ziani, M. Badridze, B. Jorjadze). Then he reviews 60ies (I. Chavchavadze, A. Tsereteli), the new era in Georgian literature, 80ies literature, then neo romanticism (Vazha-Pshavela, A. Kazbegi), literature from 1890-1900 (especially “Imedi Group” and “Khalkhosnebi”) and finally he reviews “Third Troupe”. According to Kotetishvili, the main trend in de- velopment of Georgian literature, is similar to European trends.

We can say that, despite of the inaccuracy of XX century theoretical thinking, Vakhtang Kotetishvili’s opinions approaches to the modern theoretical understandings. Mikheil Zandukeli’s research examines the history of 19th century Georgian li- terature. This includes monographic studies of all aspects concerning Georgian social life, literature development, literary processes, and well-known writers of the era. The aim of the researcher was to depict the national identity and peculiarity of the 19th century artistic mentality, given that Georgian literature developed its own artistic interest, and created its own artistic thinking, which, over time, incorporated other peoples’ cultures.

Mikheil Zandukeli begins the history of his 19th century, referred to as the new Geor- gian literature, by defining the specific type of literature. Periodicalization of 19th century Georgian literature, a romantic period ending at 1845, was the first of its kind. Romanti- cism, developed in the early stages of the 19th century, slowly came to an end, paving the way to realism at the same time, the first divergence of 19th century Georgian literature in to the two aforementioned directions, according to Zandukeli. From the romanticists, Mikheil Zandukeli singles out Alexander Chavchavadze, who was followed by Gregory Orbeliani and Nikoloz Baratashvili.

Georgian romanticism experienced decadence in the post-Baratashvili era. Zandukeli recounts the second period of Georgian literature as starting from 1845 up until 1890. The historian systematizes the period’s new literature with Giorgi Eristavi, succeeded by Antonov and Chonkadze, and then by Ardaziani. This wave was followed by (1) critical realism reaching mainstream status, bringing out the Tergdaleulebi (e.g. Ilia Chavchavadze, Akaki Tsereteli, etc.), as the new generation expressed a liberal-dem- ocratic psycho-ideology; (2) the direction is continued in the second half of the period, the 1870s-80s, with Anton Purtseladze, Niko Lomouri, Soprom Mgaloblishvili, Ekaterine Gabashvili, Niko Inashvili, Niko Khizanishvili, Stephan Chrelashvili, Misha Kipiani, and others; (3) disintegration of romanticism occurs during the same period (e.g.

Vakhtang Orbeliani, Mamia Gurieli, Grisha Abashidze, etc.); and (4) concludes with the fourth flow of Vazha-Pshavela and Aleksandre Kazbegi. Thus, the development of the new Georgian literature’s second period, according to Zandukeli, is quite long and difficult process consisting of two parts itself: 1845-1870 Group of Liberal-Democratic Tergudalists 1870-1890 Democratic-People’s Direction. Mikheil Zandukeli categorizes the third period under the years of 1890 to 1900, marking an end to the 19th century Georgian literature, and introducing the latest part of the country’s literature history. Zandukeli emphasizes the socio-economic situation of the years and the public thinking as the reflection of new life under the Mesame Dasi, armed with Marxist points of view.

Zandukeli claims that the main task of the Mesame Dasi lit- erature was to pursue happiness of the new state’s workers and to develop class conscious- ness among them. Mesame Dasi laid the foundation for the new class—the proletariat and its corresponding literary movement—socialistic realism. In the 90s, Egnate Ninoshvili and Irodion Evodishvili pioneered research on the elements of proletarian realism. We share the viewpoint of the Georgian critical circle, with special credit to Zandukeli for his attempts of creating a complete picture of 19th century Georgian literature and public thinking. Mikheil Zandukeli’s research examines the history of 19th century Georgian lit- erature.

This includes monographic studies of all aspects concerning Georgian social life, literature development, literary processes, and well-known writers of the era. The aim of the researcher was to depict the national identity and peculiarity of the 19th century artistic mentality, given that Georgian literature developed its own artistic interest, and created its own artistic thinking, which, over time, incorporated other peoples’ cultures. Mikheil Zandukeli begins the history of his 19th century, referred to as the new Geor- gian literature, by defining the specific type of literature. Periodicalization of 19th century Georgian literature, a romantic period ending at 1845, was the first of its kind.

Romanti- cism, developed in the early stages of the 19th century, slowly came to an end, paving the way to realism at the same time, the first divergence of 19th century Georgian literature in to the two aforementioned directions, according to Zandukeli. From the romanticists, Mikheil Zandukeli singles out Alexander Chavchavadze, who was followed by Gregory Orbeliani and Nikoloz Baratashvili. Georgian romanticism experienced decadence in the post-Baratashvili era. Zandukeli recounts the second period of Georgian literature as starting from 1845 up until 1890. The historian systematizes the period’s new literature with Giorgi Eristavi, succeeded by Antonov and Chonkadze, and then by Ardaziani.

This wave was followed by (1) critical realism reaching mainstream status, bringing out the Tergdaleulebi (e.g. Ilia Chavchavadze, Akaki Tsereteli, etc.), as the new generation expressed a liberal-dem- ocratic psycho-ideology; (2) the direction is continued in the second half of the period, the 1870s-80s, with Anton Purtseladze, Niko Lomouri, Soprom Mgaloblishvili, Ekaterine Gabashvili, Niko Inashvili, Niko Khizanishvili, Stephan Chrelashvili, Misha Kipiani, and others; (3) disintegration of romanticism occurs during the same period (e.g. Vakhtang Orbeliani, Mamia Gurieli, Grisha Abashidze, etc.); and (4) concludes with the fourth flow of Vazha-Pshavela and Aleksandre Kazbegi.

Thus, the development of the new Georgian literature’s second period, according to Zandukeli, is quite long and difficult process consisting of two parts itself: 1845-1870 Group of Liberal-Democratic Tergudalists 1870-1890 Democratic-People’s Direction. Mikheil Zandukeli categorizes the third period under the years of 1890 to 1900, marking an end to the 19th century Georgian literature, and introducing the latest part of the country’s literature history. Zandukeli emphasizes the socio-economic situation of the years and the public thinking as the reflection of new life under the Mesame Dasi, armed with Marxist points of view. Zandukeli claims that the main task of the Mesame Dasi lit- erature was to pursue happiness of the new state’s workers and to develop class conscious- ness among them.

Mesame Dasi laid the foundation for the new class – the proletariat and its corresponding literary movement – socialistic realism. In the 90s, Egnate Ninoshvili and Irodion Evodishvili pioneered research on the elements of proletarian realism. We share the viewpoint of the Georgian critical circle, with special credit to Zandukeli for his attempts of creating a complete picture of 19th century Georgian literature and public thinking. Irma Ratiani, Alexandre Stroev, Rusuda n Turnava, Gaga Lomidze* (Georgia, France) The Reflection of French Culture and Literature in the Georgian Cultural Space of 17th and Early 20th Centuries Prospects of Archival Investigation The problem of cultural influence has attracted particular attention lately in Geor- gian and foreign literary criticism and comparative, historic, and cultural studies.

It is dialogue between cultures that makes it easier to overcome centuries-old negative ste- reotypes, national isolationism, and xenophobia. The roots of literary communications are also to be sought in the valuable process of cultural influence. Intercultural relations which are dating back to centuries is one of the main streams of contemporary comparative studies. Starting from 21st century in this process are also included former Soviet countries; some notable scientific projects, concerning intercul- tural relations in general and, Francophonie in particular, were conducted in Russia and Belorussia**. It is worthy that recently Georgia also has join the process.

French culture reached Georgia first and foremost through the Frenchmen. French public figures – missionaries, aristocrats, writers, diplomats, military men, farmers, wine- makers, and representatives of other social strata visited Georgia at different times and for different purposes. But in all cases they facilitated introducing the French cultural environment into the Georgian cultural area.The reciprocity of the process was reflected in several books and research works***. * The archival material was processed by co-authors: Nino Gagoshashvili, Miranda Tkeshelashvili and Tatia Oboladze. ** By the Centre of National Scientific Researches and University Paris New Sorbonne 3 in collaboration with Russian Academy of Sciences and Belorussian Academy of Sciences; also, the project, conducted in Bristol University: http://www.

Bristol.ac.uk/arts/research/French-in-russia/. See the publications: La francophonie aux XVIIIe-XIXe siècles: perspectives littéraires, historiques et culturelles by E. Gretchanaia, A.Stroev, C. Viol-

Published in the journal Sjani, vol. 18 (2017), pp. 209–223. Open the paper