In the mid-1990s at least two peculiar art exhibitions were held in Tbilisi. One of them was called chemi tojinebi (‘My Dolls’), no one can remember what the other one was called, only that it happened 다운로드. What is peculiar about these exhibitions is that they were exhibitions of dolls, made by Georgian artists and intellectuals. These exhibitions of dolls illustrate the emergent antinomies of Georgian urban life under postsocialism in several ways 다운로드. What could be more dissonant than the grim realities of everyday life in Tbilisi of the mid 1990s, a period of war, chaos, poverty, gloom, and the happy childlike figure of the doll 다운로드?
Shatirishvili, Z., and Manning, P. (2011). “Why are the Dolls Laughing? Tbilisi between Intelligentsia Culture and Socialist Labour”. Caucasus Paradigms: Anthropologies, Histories, and the Making of a World Area,edited by Bruce Grant & Lale Yalçın-Heckmann. Halle Studies in the Anthropology of Eurasia 13 hiyobi 이미지. Berlin: LIT Verlag
At the center of the postsocialist mythological space of Old Tbilisi there are two 19th century figures, the kinto (Georgian k’int’o, the urban street peddler) and the qarachogheli (urban guild craftsman) 다운로드. Once upon a time there were part of a living cityscape; under postsocialism they exist only as isolated fragments of an exploded chronotope of Old Tbilisi. 다운로드. The methodology authors use in this paper is a mixture of ethnographic, semiotic, historical and literary methodologies, as befits the interdisciplinarity of the authors and the historicity of the materials 톱스타 다운로드.
Manning, P. and Shatirishvili, Z. (2011). The Exoticism and Eroticism of the City: The ‘Kinto’ and his City p짱은 내친구. In Darieva, T., Katschuba, W., and Krebs, M. (Eds). Urban Spaces after Socialism: Ethnographies of Public Plces in Eurasian Cities. Frankfurt: Campus Verlag, pp 마이 화웨이 터미널. 261-281.
This collection of essays spans numerous disciplines, including urban planning, architecture, and history 다운로드. The study focuses on the interrelated transitions of city culture and city planning in modern Georgia, establishing a field of connections between city culture and planning that is unsurpassed in breath and depth 다운로드. The combination of well-established Georgian and international scholars allows for an in-depth analysis of this multiplicity of relations, an analysis that sheds new light on city planning, the role of knowledge, trust, networks, and heritage as it elucidates the shortcomings of ‘transition’ concepts in new ways 그린파워. Concepts of identity occur over and over again in the essays, with city space appearing as an arena for identity politics. This book is timely, given the recently renewed history of conflicts in the Caucasus, and it contributes to scholarship in the area by detailing the difficulties of reshaping city and society when threats are imminent, resources are scarce, and democratic institutions are fragile 다운로드.
Van Assche, K., Salukvadze, J., & Shavishvili, N. (Eds.). (2009). City Culture and City Planning in Tbilisi: Where Europe and Asia Meet최신 ccm 다운로드. Edwin Mellen Press.
Tbilisi culture is not Georgian culture. Georgian culture is based on literature; it translates badly into prose, for its most important genre is poetry 다운로드. Tbilisi culture, on the other hand, is playful, carnavalesque, based on the montage, and cinematographic. The author reviews the works of important movie and theatre directors and describes how Tbilisi culture is translated into modern mediums of art 그래 그런거야.
Shatirishvili, Z. (2006). The Montage of Tbilisi Culture. Film International, No 다운로드. 23, 48-51.
Zaza Shatirishvili takes stock of the differences and similarities between two generations of Georgian intellectuals: Old nomenclatura versus the new scholars who dominate the growing non-governmental sector 도화의 저택 다운로드.
Shatirishvili, Z. (2003, 06 26). “Old” Intelligentsia and “New” Intellectuals: The Georgian Experience. Eurozine 다운로드.