The article presents empirical data on the dependency of case assigning on the transitivity condition in Georgian. Based on the original corpus material obtained during fieldwork in 2019, and following the theoretical assumptions of a dependent case theory originally proposed by Marantz (1991) and further developed in Baker (2015) and Baker & Bobaljik (2017), among others, the article outlines the empirical results validating the hypothesis that the transitivity condition is decisive for assigning the ergative case in Georgian. Further, problematic issues, like assigning the ergative to intransitive unergative verbs, are analysed and some strategies used by native-speaking consultants involving valency increasing operations are discussed.
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Pub Date : 2019-01-01DOI: 10.32859/kadmos/11/55-85
Tamar Mikadze
Twentieth-century art is characterized by its striving for synthesis, which gave rise to a number of new styles and genres. The creative mutual influence of jazz and academic music is one of the brightest manifestations of this process. Jazz has greatly influenced classical music, and academic music, in turn, has determined important paths for the development of jazz. This issue has not been studied in Georgian musicology to date. As an example of this process, the article discusses Vakhtang Kakhidze’s creative work, with a focus on his concerto for piano and symphony orchestra, and “Bruderschaft” for viola, piano and string orchestra. Areas of research include: the application of jazz musical-linguistic resources and adaptation of its individual elements as a means for updating traditional musical language; imitation of jazz sounds with traditional classical instruments – “coloration” in jazz style; and the structural integration of jazz expressive techniques and classical music. In Vakhtang Kakhidze’s creative work, jazz is a model for stylization, an artistic face of the epoch, a means of expression, a principle of thought, and a symbol of identity. Ethno jazz is one of the means for the identification and self-expression of his “I” as a composer. The discussed works reveal the result of Vakhtang Kakhidze's compositional quest, closely related to the idea of the synthesis of jazz and academic art. Stylistic features of jazz art, improvisation as a principle of thinking, solid compositional genres of academic music, classical forms and peculiarities of Georgian folk music organically coexist in both of these examples of the composer’s academic music. It is concluded that among Georgian composers of the 1980s, Vakhtang Kakhidze’s works most clearly reflect the synthesis of European compositional technique and jazz traditions.
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Pub Date : 2019-01-01DOI: 10.32859/kadmos/11/86-126
N. Svanidze
The article is focused on post-Soviet Georgian-Russian relations as reflected in Georgian fiction and essays, as well as on gender-related problems in literary texts created after the 2008 Russian-Georgian war. Keeping in mind that in the pre-Soviet period, Georgian literature was the main space for anti-colonial discourse, it seems logical that at the time of national protests against Russia following the 2008 events, Georgian literature of the Colonial Period was concentrating on topical issues, as a way of preparing the nation for a new reality, and fulfilling its mission of cultural reorientation. I apply post-colonial theory to conduct an analysis of the cultural turn occurring in post-Soviet Georgia, by examining a number of mental, political, and social problems, as well as ethnic conflicts within the country, as reflected in Georgian fiction and non-fiction. The post-Soviet/post-colonial goals and challenges for Georgian literature, as shown in the study, are related to several significant issues: rethinking the experience of Russian domination in the country; establishing a new understanding of Georgian national identity; rethinking Soviet stereotypes; detaching from the mentality of the subaltern; detaching from the status of postcolonial/post-Soviet nation, and establishing itself as a fully functioning society. This article discusses the present milieu which is highlighted by a clear division in the national psyche into pre-war (before 2008) and post-war (after 2008) social and political tendencies. My aim is to show how literary reflection on this conflict can contribute to the understanding of the social and political situation. I will discuss the following literary texts, inspired by the 2008 August war: Fiction – O. Chiladze “Clouds”; D.-D.Gogibedashvili “Gardens”; D. Turashvili “Once Upon a Time”; G. Megrelishvili “Irrata.ru”; T. Melashvili “Counting Out”; Z. Burchuladze “Adibas”; B. Janikashvili “War Play”; L. Bughadze “Literature Express”; D. Barbakadze “On Perkhuli Dance”; Short Fiction: T. Sukhitashvili “In the Back”; K. Jandieri “Globalization”; T. Pkhakadze Kitchen Gardening in the Conflict Zone”; A. Kordzaia-Samadashvili “They Killed Me, Ma”; G. Chqvanava “Toreadors”; Z. Odilavadze “Return Flight – Tbilisi – Stockholm. 2000-2020”.
{"title":"Literary Reflections of Georgian Authors on the 2008 August War","authors":"N. Svanidze","doi":"10.32859/kadmos/11/86-126","DOIUrl":"https://doi.org/10.32859/kadmos/11/86-126","url":null,"abstract":"The article is focused on post-Soviet Georgian-Russian relations as reflected in Georgian fiction and essays, as well as on gender-related problems in literary texts created after the 2008 Russian-Georgian war. Keeping in mind that in the pre-Soviet period, Georgian literature was the main space for anti-colonial discourse, it seems logical that at the time of national protests against Russia following the 2008 events, Georgian literature of the Colonial Period was concentrating on topical issues, as a way of preparing the nation for a new reality, and fulfilling its mission of cultural reorientation. I apply post-colonial theory to conduct an analysis of the cultural turn occurring in post-Soviet Georgia, by examining a number of mental, political, and social problems, as well as ethnic conflicts within the country, as reflected in Georgian fiction and non-fiction. The post-Soviet/post-colonial goals and challenges for Georgian literature, as shown in the study, are related to several significant issues: rethinking the experience of Russian domination in the country; establishing a new understanding of Georgian national identity; rethinking Soviet stereotypes; detaching from the mentality of the subaltern; detaching from the status of postcolonial/post-Soviet nation, and establishing itself as a fully functioning society. This article discusses the present milieu which is highlighted by a clear division in the national psyche into pre-war (before 2008) and post-war (after 2008) social and political tendencies. My aim is to show how literary reflection on this conflict can contribute to the understanding of the social and political situation. I will discuss the following literary texts, inspired by the 2008 August war: Fiction – O. Chiladze “Clouds”; D.-D.Gogibedashvili “Gardens”; D. Turashvili “Once Upon a Time”; G. Megrelishvili “Irrata.ru”; T. Melashvili “Counting Out”; Z. Burchuladze “Adibas”; B. Janikashvili “War Play”; L. Bughadze “Literature Express”; D. Barbakadze “On Perkhuli Dance”; Short Fiction: T. Sukhitashvili “In the Back”; K. Jandieri “Globalization”; T. Pkhakadze Kitchen Gardening in the Conflict Zone”; A. Kordzaia-Samadashvili “They Killed Me, Ma”; G. Chqvanava “Toreadors”; Z. Odilavadze “Return Flight – Tbilisi – Stockholm. 2000-2020”.","PeriodicalId":38825,"journal":{"name":"Kadmos","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88222372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-01DOI: 10.1515/kadmos-2018-0007
Ufuk Çörtük, M. Gander, B. Holler
Zusammenfassung Im Oktober 2016 war bei Grabungen im Bereich des Apollonheiligtums von Kaunos ein Fragment vom Rand eines Beckens gefunden worden, auf welchem drei karische Buchstaben zu erkennen waren. Der vorliegende Artikel bietet eine archäologische Einordnung des Fundstücks in den weiteren Kontext, eine Lesung der Inschrift mit Kommentar und mögliche Parallelen zu unserer Inschrift aus anderen Kulturen. In einem Nachtrag zum zweiten Teil wird kurz auf die Inschrift C.Ka 7 eingegangen, von der hier erstmals ein Foto publiziert wird.
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Pub Date : 2018-06-01DOI: 10.1515/kadmos-2018-0006
D. Schürr
Zusammenfassung Der poetische Text auf der Westseite des Agorapfeilers in Xanthos wird nach eingehender Überprüfung neu ediert, ein Vokabular erstellt und die poetische Gestalt mit Abteilung der Strophen und versuchsweiser Abteilung der Verse und Halbverse rekonstruiert. Dieser Text unterscheidet sich deutlich von dem poetischen Text auf der Nordseite unten: Es handelt sich offenbar um zwei verschiedene Gedichte, die allerdings beide von dem Dynasten Cheriga handeln. Er kommt hier aber nicht mehr im Nominativ vor, und an seine Stelle tritt in Strophe IX und XI eine Frau namens Muni, vermutlich seine Witwe. Der Text ist in Blöcke von je vier Strophen gegliedert, wie nur hier vorkommende Schlüsselwörter zeigen, die in der jeweils letzten Strophe vorkommen. Von ihnen gehören mara- und das Antonym mrssχa- zu mere/i- ‚Gebot, Gesetz‘. Die letzte Strophe fehlt, weil der Text aus Platzmangel mitten in Strophe XXIII abbricht. Das Hauptthema dürfte die Legitimierung der Regentschaft der Muni sein, wobei aber auch ein Mordfall eine Rolle zu spielen scheint. Der im Nordgedicht prominente Gott Natri = Apollon kommt hier nicht mehr vor, und neben den aus dem Nordgedicht ubernommenen Wettergott Trqqiz von Tuli treten hier ab Strophe XVI die Nymphen von Phellos wie im Piχre-Poem von Antiphellos. In Zusammenhang mit ihnen scheint sich mit Qñtili in Strophe XIX auch der Dichter zu nennen. Die Zugehörigkeit zum Perserreich wird nirgendwo deutlich, und neben traditionellen Formeln mit luwischen Parallelen wird auch griechischer Einfluß sichtbar, wenn auch nur in Namen (Herakles, Xanthos und Phellos).
通过仔细审查，新斯塔赫的根轴上的诗词摘要将被重新编写，编写词汇，并通过诗节和半音节的练习部重建诗歌形态。摩西律法跟北面那篇诗文有很大不同:这两首新诗迥异，但都是由查里加王朝的。他在圣诗九和第十一集继承了他的职务应该是一个叫芒尼的女人如何用四个诗块表达文本，只有在这里才能显示在最后一个诗节中出现的单词。其中包括mara和Antonym mrssχ- a - mere / i‚法律命令.由于缺少空间，文章在唱歌新娘。主要的问题可能是探讨宗井伊摄政的裁决但也可能扮演杀人案件的角色化作Nordgedicht名人Natri =然后可能已经不在了,除了从Nordgedicht ubernommenen Wettergott Trqqiz十六到踢Tuli段等Phellos的精灵在圆周率χre-Poem的Antiphellos .他们好像对Q与ñtili在段也称诗人. XIX单靠赫拉克勒斯、彻特霍什和虚无的名字，希腊对波斯帝国的依赖就变得一文不值。
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Pub Date : 2018-06-01DOI: 10.1515/kadmos-2018-0010
M. Egetmeyer
Fs Carinci 2018 = Rhadamanthys. Studi di archeologia minoica in onore di Filippo Carinci per il suo 70° compleanno, Hrsg. G. Baldacci und I. Caloi, Oxford 2018. IELCP 2018 = Индоевропейское языкознание и классическая филология/ Indo-European linguistics and Classical philology (Sankt Petersburg) 22, 2018, 2 Bände. Paths 2018 = Paths into script formation in the ancient Mediterranean, Hrsg. S. Ferrara und M. Valério, Rom 2018. Saper scrivere 2015 = Saper scrivere nel Mediterraneo antico. Esiti di scrittura fra VI e IV sec. a. C. (Tagung Rom 2014), Hrsg. A. Inglese, Tivoli 2015.
{"title":"Epigraphische Mitteilungen","authors":"M. Egetmeyer","doi":"10.1515/kadmos-2018-0010","DOIUrl":"https://doi.org/10.1515/kadmos-2018-0010","url":null,"abstract":"Fs Carinci 2018 = Rhadamanthys. Studi di archeologia minoica in onore di Filippo Carinci per il suo 70° compleanno, Hrsg. G. Baldacci und I. Caloi, Oxford 2018. IELCP 2018 = Индоевропейское языкознание и классическая филология/ Indo-European linguistics and Classical philology (Sankt Petersburg) 22, 2018, 2 Bände. Paths 2018 = Paths into script formation in the ancient Mediterranean, Hrsg. S. Ferrara und M. Valério, Rom 2018. Saper scrivere 2015 = Saper scrivere nel Mediterraneo antico. Esiti di scrittura fra VI e IV sec. a. C. (Tagung Rom 2014), Hrsg. A. Inglese, Tivoli 2015.","PeriodicalId":38825,"journal":{"name":"Kadmos","volume":"122 1","pages":"175 - 186"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88050058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-01DOI: 10.1515/kadmos-2018-0009
C. Brixhe
Abstract Avec le cas de Sidé, on constate que l’identité affichée par une communauté est chose complexe et mouvante. La partie orientale de la Pamphylie, au-delà de l’Eurymedon, avait échappé à la colonisation grecque. Commencée à la fin du IIe millénaire et connaissant plusieurs vagues, celle-ci avait imposé, à l’ouest du fleuve, un grec mâtiné de la langue indigène postlouvite. A l’est, sur le territoire de Sidé celle-ci est restée langue légitime. Lorsqu’Aspendos, à l’ouest et Sidé à l’est émergent dans l’histoiré, une solide inimitié semble les opposer: Sidé affirme son anatolité et, à en croire les bribes historiographiques qui nous sont parvenues, en cas de conflit les deux cités ne sont jamais dans le même camp. A partir de l’époque classique sans doute, cette inimitié est stimulée par une rivalité économique. L’aversion des Sidètes pour leurs voisins hellènes ou hellénisés ne les empêche pas d’être très sensibles aux atouts économiques et culturels de ces derniers. Ils leur font de multiples emprunts. Celui qui illustre le mieux cette attitude qui mêle aversion et attraction est l’écriture dont ils dotent leur langue: leur alphabet, comme le grec, note les voyelles, mais pour les caractères ils imaginent le plus souvent des traces aussi différents que possible de ceux de leurs correspondants grecs. Cet anatolisme virulent ne faisait pas problème tant que la Pamphylie n’appartenait pas au monde grec. La situation changea avec la conquête macédonienne. C’est très probablement alors que surgit le récit qui faisait de Sidé une colonie de Kymé d’Eolide. Ce récit rattachait Side au moins partiellement au monde grec. Or rien, ni a Side ni a Kyme, ne le confirme: sans doute un des nombreux mythes qui apparurent, surtout a partir de l’époque hellénistique, pour installer une cite dans l’histoire grecque. Avec l’arrivee d’Alexandre (334 a. C.), le sidétique ne perdit pas immédiatement sa légitimité et il fut écrit jusqu’au tournant du IIIe au IIe siècle. Mais les bilingues qu’il nous a laissées et la forme sidétique des anthroponymes grecs montrent que les Sidètes s’emparèrent rapidement de la koiné grecque.
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Pub Date : 2018-06-01DOI: 10.1515/kadmos-2018-0001
F. Giusfredi
Abstract In this paper, I will re-examine the evidence for the interpretation of a complex compound logogram of the Hieroglyphic Luwian syllabary, PES(2). SCALA.ROTAE. I will also offer an improved interpretation of the text of the Korkun stela. Finally, I will tentatively suggest that the specific meaning of the compound logogram PES(2).SCALA may depend on the contact with the semiotic inventory of the cuneiform writing system.
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Pub Date : 2018-06-01DOI: 10.1515/kadmos-2018-0002
D. Hopkins
Abstract This article concerns two Aegean inscriptions published within the last few decades, one in Cretan Hieroglyphic (SY Hf 01) and one in Linear A (PK Zb 25), both of which in their respective publications posed problematic interpretations for the editors of these texts.
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