Dans le cadre d’une séance commune des séminaires de F. Gherchanoc (histoire grecque), J.-P. Guilhembet et S. Wyler (histoire romaine),
Ketevan GURCHIANI, professeure à l’université d’État de Tbilissi en Géorgie, donnera une conférence sur :
’Reception of Greek Antiquity and Georgia: the Example of Greek Tragedy’
Lundi 5 février 2018 de 12h à 14h
Salle Mariette, INHA
Ketevan Gurchiani studied classics at Tbilisi State University in the Republic of Georgia and at the Albert-Ludwigs University in Germany. She defended her dissertation on ancient Greek religion and theatre. Her interests in religion have since taken her to contemporary societies and issues. Her shift to cultural anthropology has been sponsored by generous scholarships held at St. John’s College Oxford, UCLA, Columbia and New Your University (NYU). Ketevan Gurchiani is mostly interested in studying different aspects of religiosity with special focus on everyday religion. Currently she is working on religiosity among young Orthodox Georgians within Georgia and beyond. Since 2015 she is head of a three-year project researching everyday religion funded by Rustaveli National Science Foundation. Her interests broadly focus on everyday life and how it is informed by the post-Soviet and Soviet habitus. She also explores and teaches the culturally specific understanding of heroism and dignity. Currently Ketevan Gurchiani works as an Associate Professor of Cultural Studies at Ilia State University in Tbilisi and is visiting scholar at New York University (NYU).
Reception of Greek antiquity and Georgia: the example of Greek Tragedy:
The lecture introduces some of the elements of multifaceted relations to the Greco‐Roman classical past with Georgia. At the beginning it overviews what were the differences and similarities in three different periods of time in Georgian history, when the links, influences, and legacies related to Greek antiquity became especially important. The lecture overviews the reception of ancient Greek culture between the eleventh and thirteenth centuries, the period that was perhaps the most philhellenic. Then it discusses the role of the classical revival in the nineteenth and twentieth centuries, including Soviet‐era Georgia, when the scholarship of antiquity flourished and the ties to the Greek ancient world served to establish the linearity of Georgian history. Recent interest once again revives the ties to Greek antiquity as identity markers thus positioning the country toward Europe.
The reception of ancient drama on the Georgian stage begins in 1912 with Sophocles’ Antigone, staged in Tbilisi. For the next hundred years the interest in Greek theatre mainly revolved around three important Greek tragedies: Antigone and Oedipus Rex by Sophocles, and Medea by Euripides. Political or national agendas throughout the twentieth century constructed the meanings and interpretations of these tragedies. Thus a “Georgian” Medea, or “Soviet” Oedipus emerged. The overview offers an insight into how Greek tragedies were used to emphasize ancient ties and how they were manipulated in order to legitimize power or express hidden meanings. The data for this analysis has been drawn from performance archives, interviews with performers and directors, and published critiques.