წინ გასწრებული საათი ანუ ტრადიციისა და ნოვაციის სინთეზი ქართულ მოდერნისტულ ნარატივში

აბსტრაქტი

სტატიიდან აღებული ავტორის ინგლისურენოვანი რეზიუმე:

Key words: georgian culture, modernist, narration.

Georgian culture, traditionally was considered within the “radius of world”. Proc- esses that were going on in the art, and, first of all, in the literature, mainly, was a parallel and similar to the processes that took place in Europe. Literature followed its internal regularities and demonstrated such tendencies, which may have had any self-sufficient culture. Such openness of Georgian culture was limited somewhat in certain centuries. From the beginning of XX century, the artificial isolation has been prepared for disruption from inside. Archil Jorjadze’s articles in this view was excellent confirmation. His “aesthetism”, his point of view, which was oriented on European culture, preachment of mystical reality, exemption from the “social service restraints” of art, all of this created a completely different literary atmosphere.

Kita Abashidze, who was fas- cinated of French Culture and followed the universal principle of “natural changeability”, thought that the appearance of symbolism was logically regular process in the Georgia literature. The scheme, which he created under the influence of Ferdinand Brunetière, french writer and critic, was not perfect, because it contained a lineata opinions. Nevertheless, Kita Abashidze’s writings, his support for a new generation had a great importance to the development of Georgian culture. The Symbolism was one of stream of Modernism. Gradually appeared in Georgia as well-known names in Europe such as Arthur Schopen- hauer, Friedrich Nietzsche, Oscar Wilde, Wilhelm Wagner and others.

The Scandinavian influence was evident in the creativity of Chola Lomtatidze, es- pecially, August Strindberg’s and Knut Hamsun ‘s style. Nico Lortkipanidze had an influ- ence of the Vienna School , especially, Arthur Schnitzler’s and p. Peter Altenberg’s style. This influence was not only meant an imitation, But the aspiration to create a new artistic, modernistic methods in Georgian literature. Great importance was also, that Vasil Barnov embodied the old Georgian syntax and thus made ​his narrative more stylized. A new generation of writers (among them, first of all, “The Blue Horns”, Greg- ory Robakidze, Konstantine Gamsakhurdia, and others), not impulsive, but consciously applied to experiments.

Modernism meant primarily to introduce novelty. This process entailed the entire Georgian culture. That is why this process was called by Grigol Robak- idze as Renaissance of Georgian Culture. In general, the two high flow was in a half of XX century in the Georgian Litera- ture: on the one hand, Modernism, with its various branch (Symbolism, Impressionism, Expressionism, Futurism), and, on the other hand, Neorealism of Javakhishvili’s prose, which was demonstrating the pulse of the epoch. Modernism was some kind of protest against realism. We said some kind, because it was a new chapter in the Georgian literary life, which was repeating past experience and was developing new perspective.

We mean, that fact that Modernism used experience of the ancestors. For example, it is known that the aesthetics of Modernism regenerated ide- als of Baroque, medieval dualism, allegorical images. Modernism was some kind of protest against realism. We said some kind, because it was a new chapter in the Georgian literary life, which was repeating past experience and was developing new perspective. We mean, that fact that Modernism used experience of the ancestors. For example, it is known that the aesthetics of Modernism regenerated ideals of Baroque, medieval dualism, allegorical images. For example, “The Blue Horns” was declaring Besik Gabashvili, Georgian poet of eighteenth century, as their ancestor, because they were linked their work to Besiki’s poetry In terms of music and metaphori- cal artistic style.

Titsian Tabidze wrote: “The writer of the future must unite Rustaveli and Malarme” . Rustaveli, a Georgian classic poet, expressed the best traditions of Georgian cul- ture and Malarme, French poet, was a symbol of modern western modernist aesthetics culture. In Georgia aesthetics of Modernism created distinguished writers, among them: Grigol Robakidze, The Blue horns, Niko Lortkipanidze, Konstantine Gamsakhurdia, Va- sil Barnov, Demna Shengelaya, Leo Kiacheli. Modernist novels was written by: Grigol Robakidze “Snake’s’ Shirt”, Konstantine Gamsakhurdia’s “Dionysus’s Smile”, Demna Shengelaia’s “Sanavardo”. XX Century 20 – ies was the “golden age” of the Modernism.

It is important to mention one very important fact,that this time in the Europe was created masterpieces of Modernism, among them, first of all, is James Joyce’s “Ulysses” and Thomas Stearns Eliot ‘s” The Waste Land “. Their works have become a touchstone of modern literature. With the appearance of both Ulysses and Thomas Stearns Eliot ‘s poem, “The Waste Land “1922 was a key year in the history of English-language literary modernism. In Ulysses, Joyce employs stream of consciousness, parody, jokes, and virtually every other established lit- erary technique to present his characters. Each chapter of this novel employs its own liter- ary style, and parodies a specific episode in Homer’s Odyssey.

Furthermore, each chapter is associated with a specific colour, art or science, and bodily organ. This combination of kaleidoscopic writing with an extreme formal schematic structure renders the book a major contribution to the development of 20th-century modernist literature. The Georgian modernists were used a similar style of narration. The use of classical mythology as an organising framework, the near-obsessive focus on external detail, and the occurrence of significant action within the minds of characters have also contributed to the development of literary modernism. Georgian modernist works was revealed in the Georgian reality, as the “The clock ahead of time”, that’s why it was denied by someone new, because they could not understand the new methods of narration.

გამოქვეყნებულია ჟურნალში „სჯანი“, ტ. 13 (2012), გვ. 176–184. ნაშრომის გახსნა