xelovnebaTmcodneobiTi etiudebi STUDIES IN ART CRITICISM I

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gamoyenebuli literatura 1. i. gogebaSvili, saganZuri, Tb., 1963 w., gv. 83. 2. satelevizio filmebis studia 30 wlisaa, `mTavaria bolomde ixarjebode”, Tb., 2001, gv. 374. 3. t. TvalWreliZe, kinematografiuli Ziebani, Tb., 1981, gv.89. 4. iqve, gv. 116. Nato Tskvitinidze For Georgian Films plural subjects Summary Today, in the century of affluent information, the field of child’s interest has significantly grown; the fairy tales on a bear, a wolf and a fox do not seem for them as much attractive and interesting, they have been replaced by spaceships, computer superheroes and human-robots. The new aspirations have emerged. It is natural that a child is searching for an answer for those countless questions which life may happen to face him. Very often, a child is trying to get maximally aware in the mass of interesting or unwholesome information received from TV. In today’s cinematography there are many movies, which spread the propaganda of violence, war, drug addiction and sexual perversion, which in it its turn expose the physical, moral and spiritual values of our society and in particular our youth to degradation. 70
inga xalvaSi kinematografze egzistencializmis gavlenis sakiTxisaTvis meoce saukunis niSandoblivi faqtoria filosofiisa da xelovnebis daaxloeba. “saubaria ara mxolod xelovnebis erTgvar inteleqtualizaciaze, ara mxolod xelovnebis nawarmoebis Sinaarsis filosofiuri problematikiT gavsebaze, an formis garTulebaze da filosofiuri koncefciebis martiv ilustraciaze mxatvruli xerxebiT, aramed rTul dialeqtikur procesze, romelic arss, sazogadoebrivi cnobierebis formebis specifikas exeba. saubaria sazogadoebrivi azris Rrma kanonzomierebebis ganviTarebaze, romlis Zirebi Tavad cnobierebis ganviTarebis formebSia, rac mravalsaxeobrivi bunebrivi da socialuri sinamdvilis mTel sistemaSi aisaxeba“ (1). filosofia yovelTvis axdenda gavlenas xelovnebis dargebze, misi zegavlena exeba Fformisa da Sinaarsis Camoyalibebas, esTetikas. sazrisi ki gamowveulia filosofiisa da xelovnebis mTavari obieqtis TanxvedriT - orive SemTxvevaSi ZiriTadia adamiani da maradiuli problemebi, maTze msjeloba da gansja. jer kidev antikuri xanaSi, erTmaneTs adarebda ra filosofiasa da poezias, platoni upiratesobas filosofias aniWebda. misi azriT, xelovneba ise zustad ver gamoxatavda WeSmaritebas, rogorc es filosofias SeeZlo. aristotele, piriqiT, Tvlida, rom xelovnebasa da filosofias erTi Ziri, erTi safuZveli aqvs, es aris buneba da orive adamianisaTvis am bunebis Sesaxeb codnis miwodebas emsaxureba. “codnis miReba sasargebloa 71
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saqarTvelos ganaTlebisa a da mecnie
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Teatrmcodneoba vasil kiknaZe qarTul
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gudiaSvilma, d. kakabaZem da sxvebm
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aime gansakuTrebuli damsaxureba. am
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yvelaferi unda gavaanalizoT istoriz
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11 laSa CxartiSvili `mefe liris”
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piris Semoqmedeba ,,mudam Tanadroul
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ze, magram maSin (XIX saukunis 60-i
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i’’ sabenefisod araerTxel aurCe
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Page 27 and 28: yoveli niSani Tavis srulyofil mniSv
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Page 33 and 34: mxatvrul azrovnebasTan da Tavad iyo
Page 35 and 36: warmoadgenda da aq ukve, didi xania
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Page 39 and 40: 39 oliko JRenti revoluciis sakiTxis
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Page 65 and 66: uneba da adamiani, erTianoba bunebi
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Page 81 and 82: Inga Khalvashi Influence of Existen
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Page 85 and 86: zungad. gzebi, romliTac es mizani m
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Page 89 and 90: 11. Balikci, 1987 - Balikci A., The
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Page 97 and 98: saxiT e.w. `qarTuli kinos fenomenis
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Page 113 and 114: aRsaniSnavia, rom am nawarmoebSi pe
Page 115 and 116: Rati Chiburdanidze Portraits in Vak
Page 117 and 118: ebSi Cvens erovnul kulturasa da cno
Page 119 and 120: III. qristianuli erovnuli cnobiereb
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da misi ena oTxi aTasi wlis ganmavl
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lurad xazi gausva arian-qarTlisa da
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`ra ar gadagvxdenia Tavs, ra mtrebi
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National thinking forming is a long
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Semotevebs, romelic dRiTidRe kravs
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suri ena msoflios globaluri enaa, e
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sxvadasxva xalxebis, qveynebis TviT
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musikaTmcodneoba qeTevan gogolaZe m
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moqmedebiT procesSi erTvebian da mo
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anobis) aRqmis specifika - geStalti
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1. bavSvis mier musikaze reagireba;
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lur imanentur sivrceSi da miaRwevs
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145
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ana dumbaZe harmonia, rogorc musika
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antikur saberZneTSi harmonia musika
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organumSi ,,aliluia” yuradRebas i
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XVI saukunidan musikaluri xelovnebi
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adgan venis klasikosTa SemoqmedebaS
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A. Dumbadze Harmony as a form of ex
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arsebis kvlav mopovebisaTvis, anu u
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aRiniSnos XX saukunis pirvel naxeva
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SemoqmedisTvis, romlis Semoqmedeba
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pirvel msoflio omamde arsebobda, ma
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li CarxTagania. yovel eWvs gareSea,
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imdenad, ramdenadac floben specifiu
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We are interested in performing fre
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sistema mxatvrul nawarmoebSi mTavar
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montaJi da samsaxiobo Sesruleba - e
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Seicavs yvelafers, rac CamovTvaleT,
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qalaqis sasaflaoze siwynarea. Zveli
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TeTrlabadiani karsukan atuzula da s
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TeTrlabadiani mzeriT acilebs ucnaur
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am xnis manZilze veterani ganuwyvet
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manqanebi WiSkars gaivlian da Mmosa
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- ras akeTeb, Tu ici Sen! - yviris
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- vin mogca Cemi misamarTi - kiTxul
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isini erTxmad dasWeqaven, dasWyivle
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- Cveulebrivi. adamianuri. sikvdili
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ore bravia simonaZes uzarmazar sabe
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samwuxarod, misi gamoyeneba mxolod
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- ras eZaxiT Tqven oms - aReldeba s
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- es ra aris, Sen stalingradTan und
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- CamoasxiT! waraT waZe RviniT savs
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- xmas ra uWirs, CurCuliT iyos, ara
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- marTalia, marTalia... - xmas auwe
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stumrebi, ra Tqma unda, aRfrTovaneb
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cigeli oTaxSi SeiWreba, kars miketa
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- kargia. mSvenieria. ise Semawuxa,
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- kargi iqneboda! msuqani gogo fanj
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manqanis Suqebis anarekli jer erT k
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simona labadis sayelos aiwevs da gu
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itaceben, rac xelSi moxvdebaT. mere
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qali slukunebs, drodadro tkivilisga
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wamouqrolebs. rodis iyo xalxs ekiTx
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oRond me unda damijero... me!!! sxv
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- o, batono simon! ar gelodiT. sad
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- nu gikvirs, bore. Tofi yvelgan ar
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vels mTel sigrZeze sangrebi gasdevs
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- me - Tqven, Tqveni leqsebiT, ara
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- gveyofa amdeni cremlebi. amdeni S
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- im dRes, TaTbirzec giTxariT da ax
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- he, droze axla! - ambobs simonaZe
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wels zeviT SiSveli waraTi mxolod ax
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- amitomac geubnebiT me Tqven: moka
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- diax, asea! - gaubedavad ambobs T
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kudusunis ZvalTan mokle da mgZnobia
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- moica, qalo! - Riziandeba govardi
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... waraT waZe iaraRs xels SeuSvebs
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- didi madloba! simonaZe bers xels
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sarCevi/Contents Teatrmcodneoba vas
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ana dumbaZe - harmonia, rogorc musi
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xelovnebaTmcodneobiTi etiudebi STUDIES IN ART CRITICISM I

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