The essence, idea of Anouih’s dramaturgy is contradiction between an individual and society, between free choice of a person and laws created by society. In his so-called “black plays” the dividing line is drawn on a so-called happy life, between characters saying “yes” and “no”. Anouih defi nes a role of a character (person) from the beginning. They act in time and space on the basis of roles assigned to them. The main characters of his plays are divided into two mainly opposite sides. Young rebellious people who protest against accepted “happy” lifestyle. They prefer death to such life and “heroically” choose death. The others choose “life” according to accepted, established rules, and continue to live. Just this protest, heroism, contradiction between the State dictatorship and free personality are reproduced in “Antigone”, written in Paris, France during World War II. From this period onwards, Anouih’s dramaturgy refl ects existential judgment of life. In earthly life it is impossible to preserve genuine true love and purity. The solution is a heroic death chosen in protest. To express rebellion, disapproval of laws and rules of life, the playwright reworked the myth of Antigone, the youngest daughter of Oedipus and Jocasta and created a play in which the choice is made by two equal persons. Antigone says “no” to life according to established rules. Therefore, she is in a winning position and is a hero. The intellectual legislator, the ruler of the State, Creon, says “yes”, he chooses life, government of a public formation – State, and therefore he is a tyrant in a losing position. This is not tragedy of just Antigone or Creon, it is tragedy of both of them. The choice is tragic for both. Antigone sacrifi ces her life for this choice. And Creon sacrifi ces to the state his child, wife, nieces, all whom he loves and remains alone. Gaga Goshadze off ered an interesting interpretation of “Antigone”. The director staged Anouih’s play practically without changes, with the exception of small coupures and removal of minor characters. And the narrator was also given the function of the author. The director expressed his ideas by rearranging accents. The freedom of choice or obedience of law? Personal freedom or public or state dictate? It is interesting that if in Anouih’s play we feel obvious sympathy towards Antigone (Do not forget that the play was written in occupied France, during World War II), in Gaga Goshadze’s performance the audience will sympathize both – Antigone, as well as Creon. At least, the choice of Gia Roinishvili’s Creon may be understood and accepted. Moreover, Creon and Antigone are in equal position. As in the play, they are both main characters. But if with Anouih Antigone is a positive hero and Creon is a negative hero, there is no such evident division in the performance. The director puts the spectators as well against some choice.

One of the dynamically developing areas of modern science is the production and research of new materials with improved performance properties. The chapter is dedicated to obtaining of composite copper-carbon coatings by the electrochemical method. In the second phase, the carbon material is used, obtained by the authors of the chapter in an original way from nectarine kernel. The physical parameters and composition of the carbon material have been determined. Composite coatings of copper-carbon material are obtained from suspensions containing different concentrations of the second phase. It is established that the content of the second phase in the composite coating does not correlate with the amount of carbon material introduced into the suspension, and that the upper layers of the composite coating contain a greater amount of the second phase. The wear of the obtained samples was studied, and it was found that the introduction of a carbonaceous material increases the wear resistance of the composite coating and depends on the number of dispersion phase inserts into the matrix.

With the development of electroplating, composite coatings of CEP, which are deposited from electrolyte suspensions, are increasingly being used. Composite coatings are obtained in those cases when it is envisaged to modify the surface of metal products to give them new properties. Perspective dispersed material can be carbon particles, because of their large specific surface area, high porosity, and subminiature structure. The obtaining of such material is possible from cheap secondary raw materials (car tires, nutshells, sawdust, bamboo). The purpose of this work is to create a CEP-based on copper with a carbon-dispersed phase. For the experiment, we used a carbon material with a particle size 40 nm, obtained by us, by pyrolysis from secondary raw materials (used tires of machines). To study the effect of the dispersed phase on copper electrodeposition, the optimum conditions for obtaining the CEP Cu-C were determined. 68Morphology and coefficients of friction-sliding of coatings of copper and CEP are studied. Incorporating into the base metal matrix, the carbon particles, embedded in the deposit, determine its further growth. The change in the structure of the electrolytic deposit affects its functional properties. The test of the obtained samples showed that the best tribological properties were found in CEP Cu-C, where the concentration of carbon material was 15 g/L. For CEP Cu-C, the friction coefficient (f) decreases three times compared to copper deposit, and wear by 12 times. Probably this is due to the fact that the carbon material performs the function of dry lubrication due to its layered structure.

The Georgian collection of the Mesrop Mashtots Institute of Ancient Manuscripts, the Matenadaran, brought to the attention of the scholarly communities long time ago.. The collection is diverse and includes manuscripts, cover folia, fragments and bilingual documents. The Georgian fragment fund of the Matenadaran comprises 56 fragments in total, ranging from the ninth to the nineteenth centuries. All three types of the Georgian script, the Asomtavruli, Nuskhuri and Mkhedruli are used in these manuscripts. The fund also represents all genres of old Georgian ecclesiastical writings – bibliology, liturgical writing, hymnography, ascetic writing and hagiography. The importance of the Georgian fragments is especially highlighted by the fact that in the collection there are recently-revealed five palimpsests. Four of these manuscripts, Mss No 4, 9, 13 (lower layer in Nuskhuri) and 37 (lower layer in Asomtravruli) are Georgian, and only one (No 11) is Georgian-Armenian, which is yet another interesting example of the meeting of these two cultures. The early 12th c folia of Great Synaxary is the subject of the particular interest for scolars, which have preserved important colophons regarding the history of south Georgia. The fragment fund has also preserved fragments of the oldest Jerusalemite lectionary and of the pre-Athonite Georgian Four Gospels, also a single folio of a lost Mravaltavi collection. We may consider as a unique sample of the collection the fragments which contain an unknown Georgian translation of the Life of Pope Sylvester by Eusebios Pamphilii and a different translation of the Ladder of Divine Ascent of John Sinaites.

In the 21st century, during the process of globalization, national identity for many decades has been the subject of discussions in society, as well as in scientific circles. National Identity is one of the most important research topics for humanists of various fields of science. A lot of significant works have been created in this direction. What does identity mean? Scientists are arguing about the definition of the very notion of “identity”. Some of them consider it a vague term for analytical thinking. They argue about what national identity covers and how it may be defined. As a result of researches, a set of aspects have been created that includes history, culture, economics, language, religion, national symbols, etc. Theatrical art as a part of national culture is one of the subaspects of national identity. The great Georgian public figure of XIXXX c.c. Ilia Chavchavadze attaches great importance to the theater for national self-expression, self-consciousness. Ilia regarded the theater as a factor of unification of Georgian population, divided into two provinces in the Russian Empire, and above all, as the best way to preserve Georgian language. Our goal is to study the role of the Georgian state theater existing in the village of Alibeglo (Kakhi region, Azerbaijan Republic) in preserving the national identity of Ingilos living outside Georgia. Why is the existence of the Georgian theater important for them? In the Kakhi region, most of the Ingilos of Georgian origin live in the village of Alibeglo. Along with Azerbaijani language they know Georgian language. Not only the representatives of the older generation speak Georgian, but also young people and children. For the Ingilos from Alibeglo, Georgian theater is one of the determining factors in order to preserve their identity with Georgian population.

The article stresses that the Abkhazian principality, formerly being the frontier community of the Byzantium, was transformed into a domain of the signorial type. It was created on the initiative of its ruler, Leo II, who was a "strategos", "Eristavi". This principality became the basis of the "Kingdom of the Abkhazians". The "Abkhazian Kingdom" was characterized by features of the seignorial system both in state and church life. It must be assumed that a developed feudal society existed in this kingdom.

The placement of the database is considered on the hosting of the National Center of Manuscript and on a specially allocated subdomain: manuscript-scroll.manuscript.ge The information entered in the database of scroll manuscripts is sorted according to two main parameters: 1. At the first stage, the number and point of the scroll will be given in the complete list of the base. 2. Scroll according to the code, and in the internal information, the information will be sorted according to the above-mentioned points. The database will be designed to be used easily. First, we should mention that its visuals, interface will be adapted to all devices: computer screen, laptop, tablet,as well as smartphone. In addition, the database has a search system, accordingly it will be possible to easily find the relevant scroll and its data by entering the desired information. There will be a single search category (rather than broken categories) that will combine functionality and make it possible to search the entire database. The database provides both textual information about the scrolls, as well as the addition of their visual photo material, which will make the process of obtaining information more productive and efficient for the researcher. The database also has a contact form where users can share their ideas with the project team or get additional information.

The CD and the CN, the two most significant works of late antiquity, are connected with the name of a famous Georgian scholar of the Black Mountain (the Antioch region), Ephrem Mtsire (Ephrem the Minor). He was a monk on the Black Mountain from the 1070s to the end of the 1090s, residing at the monastery of St Symeon the Younger on the Miraculous Mountain. He was the abbot of the monastery at Kastana from 1091. The Antioch region, where multi-ethnic and multilingual peoples had cohabitated for centuries, had created at that time a favorable background for the exchange of ideas and concepts that had a considerable influence on Ephrem Mtsire in terms of enhancing his intellectual development. He had translated the most important Byzantine works from Greek into Georgian and played a significant role in the development of various genres of Georgian ecclesiastic literature. The last quarter of the eleventh century is marked by a significant development in the history of medieval Georgian culture: an intellectual trend, called Hellenophilism in contemporary scholarship, appeared in the Georgian literary tradition. The Hellenophile method of translation – transferring every detail and each nuance of the source text into translation – was already in use in the early so-called pre-Athonite epoch (fifth–tenth centuries), especially in translations of the books of the Bible. However, the attempts of early translators were not based on theoretical concepts, they worked without having any translation methodology in mind. By contrast, the Hellenophile method of translation employed in the eleventh-century Black Mountain literary school had a firm theoretical basis that was reflected in Ephrem Mtsire’s colophons and prefaces to his works. Moreover, the Hellenophilism of this epoch touched not only the Georgian translation methodology and Georgian literary language, but also the whole of Georgian culture and scholarly perception. Besides the formation of the concept of ad verbum translation, it played a big role in systematic translation of works of various genres (e.g. works of scholastic and dogmatic theology, commentaries) that, hitherto, had been rarely translated into Georgian, and in shaping the medieval Georgian manuscript – creating Georgian manuscripts along the same lines as the Greek. The aim of my article is to show what impact the introduction of a Hellenophile translation technique and new genres have had on the Georgian manuscript? How did the concept of verbatim translation affect the literary triangle: text – manuscript – reader? The analysis of the CD and the CN rendered into Georgian in the Hellenophile epoch enables us to elucidate this issue. Gregory the Theologian’s sermons had been translated into Georgian several times before Ephrem Mtsire. At the end of the eleventh century, Ephrem, at first, filled a gap by translating those sermons of Gregory that had not been translated hitherto, and then he translated Gregory’s sixteen liturgical sermons that had been previously translated by Georgian translators. In addition, he rendered into Georgian the Commentaries of the tenth-century Byzantine scholar Basilius Minimus on Gregory’s sixteen liturgical sermons and the PseudoNonnos’ Mythological Commentaries (explanations of the allusions to Greek mythology made by Gregory in his sermons), appending them to the collection of the sixteen liturgical sermons. This is the collection we have in mind when speaking about the CN in this article. As for the CD and Commentaries on it, they were translated by Ephrem for the first time

Georgian film has always been distinguished for its great cinematic traditions and achievements: since the turn of the twentieth century from the 1920s onwards, when the Soviet regime was established in this country. In the Soviet period, the best pictures of Georgian films were appreciated around the world for their true artistic merits. With the collapse of the Soviet Union and the Soviet film industry system, development of local filmmaking faced many challenges. Indeed, the situation resulted in radical changes in everything, including filmmaking. The traditional sources of financing were closed, old Soviet structures were destroyed, and new film companies and small studios sprang up. The works of young film directors dominated that period. These films were not commercial but problematic. Their authors wanted to touch upon the pressing questions, but frequently in vain because they tried to do that using profoundly innovative methods, what was incomprehensible to the audience. This paper deals with the abovementioned problems of Georgian film and its first steps in the new era of national independent film industry, which had exceptional peculiarities and tendencies, in most cases very experimental, but unsuccessful.

The study of the palimpsests kept in the National Centre of Manuscripts has considerably enriched nearly all disciplines of the Georgian literature. The new material demonstrated that the liturgical texts are rather diverse and that to some degree they specify or alter our knowledge of the ancient Georgian tradition of the divine worship. Of particular significance is one short manuscript H-1816a, kept in the National Centre of Manuscripts that represents an Euchologion and is dated to 15-16th cc. The manuscript consists of 28 pages. The text is written in brown ink on a parchment, in Nuskhuri script, upper graphemes in Mtavruli script. The copier and the place of copying is unknown. The manuscript is entirely a palimpsest. In the lower layers of the palimpsest three manuscripts can be identified, two of them are damaged and the text is unverifiable, only few phrases can be made out. The object of our study is the third palimpsestic manuscript which is preserved in 15 pages. The text is written in the finest script of Nuskhuri, graphemes are slightly tilted to the right, on the final lines the grapheme are elongated. The upper graphemes are written in Asomtavruli, exceed the column and takes up the space between three lines. The copier uses Asomtavruli script at the beginning of each paragraph. This is why Asomtravruli graphemes can be seen on the margins, at the beginning of paragraphs, as well as in the text. In terms of codicology and paleographic analysis the manuscript dates to the end of the 10th century and the beginning of 11th century. The palimpsest is rather damaged, only the beginning and final lines are preserved on a number of pages. Using existing technical instruments, our attempt was to identify and read the text. At this point nine pages have been deciphered and identified. The palimpsest contains the fragments of the fourth, fifth and sixth homilies by Ioane Bolneli. The identification of Ioane Bolneli’s homilies had posed a complex and an interesting question. Firstly, our aim was to identify the nature of the manuscript – what kind of collection could the MS H1816a be? The fourth and fifth homilies of Ioane Bolneli are kept in O/Sin.geo-44 manuscript, Athos (MS Ivir.geo-11), Parkhali (MS A-95) and Klarjeti (MS A-144) Mravaltavis (Homiliaries). As for Ioane Bolneli’s sixth homily, which represents the translation of the "Prodigal Son" parable from The Gospel of Luke, it has only been preserved in the O/Sin.geo-44 manuscript kept on Mt Sinai and Athos Mravaltavi (Ivir.geo-11), apart from MS H-1816a. The textological comparison of Ioane Bolneli’s homily kept in MS H-1816a palimpsest with the above mentioned manuscripts revealed the orthographical particularities and instances of (shortening-lengthening) amendments in size. It can be argued that MS H-1816a palimpsest does not reveal direct relations to any specific manuscript. However, we should consider existing differences as variant versions of the text rather than editorial differences. MS H-1816a palimpsest is unique in that it is neither a part of Mravaltavi, nor of any homiletic collection similar to MS O/Sin.geo-44. It could be said that the MS H-1816a palimpsest is a liturgical collection with a completely different composition. Our suggestion is strengthened by the fact that in MS H-1816a, at the end of the sixth homily of Ioane Bolneli, on the same page, we read the hymn of the third Monday and third Tuesday of Lent from the Oldest Iadgari. The palimpsest has also preserved the fragments of the first Monday and first Tuesday of Lent. Apart from this, MS H-1816a contains a text from the Old Testament – Gen. 4:15-5:5. This part of Genesis is read on the first Monday of Lent in the Jerusalem Lectionary. Another important detail that was revealed during the study of the palimpsest is related to the arrangement of the Lent weeks. According to the system of Ioane Bolneli’s homilies, the sixth homily (“The Prodigal Son” parable from The Gospel of Luke) is read on the fourth week of Lent. In MS H-1816a palimpsest Ioane Bolneli’s homily is followed by the hymn of the Lent’s third week, in other words it reveals a difference in one week. It has to be noted here that the work of Ioane Bolneli is dated differently by different scholars (from 6th to 10th century). The decisive factor in the question of dating has to do with the Lent’s eight-week system presented in Bolneli’s preaching; the system which represents 6th-7th-century liturgical practice of Jerusalem and is considered entirely anachronistic for the 10th century. Considering the above, we can cautiously suggest that the author of the MS H-1816a collection adjusted Ioane Bolneli’s preaching according to the later liturgical practice of Jerusalem. This is why we have one-week difference compared to Bolneli’s eight-week system. The presence of the seven-week system in the palimpsest indicated a later liturgical practice and this is a further argument to date the palimpsest on the 10th-11th cc. To summarize, it could be argued that MS H-1816a palimpsest represents a unique collection structured according to the Jerusalem practice and it contains full material that describes this practice, including: The Lectionary (texts from the Holy Bible), Iadgari (hymns), and homilies (Bolneli preaching). The existence of such collection was hitherto unknown to the scholarly community, which further emphasizes the significance and the necessity for studying the palimpsests. What could have been the volume of this collection? We think, based on the manuscript’s format, that it only covered Lent and was adjusted to Ioane Bolneli’s preaching.

In 1907 Georgian scholar Ekvtime Takaishvili was in a scientific expedition in Kola-Oltisi (historical part of Georgia, nowadays Turkey). The travel reports he published in the monograph “Archeological expedition in Kola-Oltisi and the village of Changli in 1907” in Paris in 1938. Among with other relics in his monograph Takaishvili describes the Georgian Gospel preserved in the village of Kalkosi, which in his words “was equally respected by Armenian and Greek population of the village”. The scholar dates the manuscript to the 13th-14th centuries and provides its basic data. In 1996, the Kalkosi Gospel was purchased with the assistance of the presidential foundation and transferred to the K. Kekelidze National Centre of Manuscripts. Currently this manuscript is still kept at NCM (Q-1602) and is available for the scholarly study. The manuscript contains numerous inscriptions, the great part of them belongs to the late period, unfortunately the Gospel was in a very bad condition (damaged, decomposed and needed restoration) with missing pages. We do not know neither about the place of its copying, nor the time or the copyist. The manuscript has only a colophon which is common characteristic of the Gospels of George the Hagiorite’s redactions and it has also one extended inscription, which attests that once the manuscript belonged to the church of St. Nicholas (Solomonisi,the Kalmakhi fortress). Later inscriptions, of which a great part belong to 15th-17th centuries, show the history of the manuscript and its relocation in different times and different historical situations. The colophons describe how manuscript transfers from Solomonisi to the village of Okami (St. Jacobs church), from Okami to Ortuli and finally to Kalkosi. We would like to put special emphasis on the inscription done by the priest Darjan who narrates an interesting story in the colophon how he got the Gospel and some part of the land as a gift from the lord of Uzuni after fighting and winning in a wrestling competition. The manuscript has Russian and Georgian inscriptions from the period of Russo-Turkish war in 19th century and has also a very interesting Armenian inscription made in 1920 and written with Georgian graphemes which recounts that at that year the Manuscript was brought to Tbilisi to be sold by an Armenian from Kars and was shown it to an unknown Georgian scholar who dated the Gospel by 15th century. As we already mentioned, by the time of its appearance at the NCM the Kalkosi Gospel had been quite damaged and needed some restoration and conservation works. The inscriptions show that the renewal of the damaged, dicomposed manuscript (mostly restoration of book-binding) occurred earlier too by different persons. Here we find one of the earliest (14th -15th centuries) mentioning of paleographic terms “mkindzavi, amkindzveli” which confirms that this term in Georgian book history was introduced rather early. It is interesting to note that the names of the restorers of later period of the manuscript are kept in other inscriptions.

The subject of our research is four Georgian calendars of the saints’ feast days – the Jerusalem Lectionary, the Calendar of Ioane-Zosime, the Minor Synaxarion of Euthymios the Athonite and the Great Synaxarion of George the Athonite. These literary works represent the major stages of the development of the Georgian liturgical practice: the Jerusalem Lectionary, 7th-century translation of the lost original, reflects the ancient Jerusalemite liturgical practice; Ioane-Zosime’s calendar, which was compiled in the middle of the 10th c., displays the new tendencies of the transition period; the Synaxarion of Euthymios is already specifically focused on the Constantinopolitan liturgical practice; and the Great Synaxarion appears as a crowning of the process of conversion of the Georgian rite to the Constantinople rule. The aim of our study is to present the process of establishment in the Georgian calendars of saints’ feast days, to identify the saints, which were commemorated on different stages of the development of the Georgian liturgical practice, identify those, who were commemorated in the early period, whose feast days were added later, and which saints disappeared from the calendars of the later times. In the paper are presented and discussed criteria for distinguishing/identification of the saints – the saint’s name, feast day, group commemorations, anonymous commemorations, secular or religious ranks, geographical locations. Studies have shown that that just one criterion is not enough to identify or distinguish saints, simultaneous consideration of several criteria is needed. At the end of the article there is a list of saints that we have in all four calendars, that were commemorated in the early stages of Georgian worship and continued after the Byzantinization.