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Bronze and Iron Age pottery from Metsamor (2018 season)

100%

Iskra M. , Zakyan T.

Polish Archaeology in the Mediterranean

2019

tom 28(2)

309-326

A rich and diverse pottery assemblage from the Middle Bronze Age through the Urartian Red Polished Ware and local “post-Urartian ware” of the Iron III period comes from occupational deposits discovered within the lower town of Metsamor during fieldwork in 2018. The stone architecture recorded in this sector functioned in the first half of the 1st millennium BC. The pottery finds thus represent periods from Iron I to Iron III, for the first time producing a detailed sequence for the previously less than satisfactorily documented Iron I phase. New types of pottery were also distinguished for the Urartian and post-Urartian phases.

Sověty a Vysoká Porta. Sovětská zahraniční politika a Osmanská říše od brest-litevského míru po mudroské příměří

100%

Novák P.

tom 99

nr 5

455-498

This study is devoted to Soviet foreign policy towards the Ottoman Empire in the year 1918. Following a short survey of contemporary research on these questions, the author focuses upon analysis of the goals that Soviet foreign policy pursued in its relations with the Ottoman Empire in the period studied, and problems implicated in them which it had to face. From this vantage point he then describes steps taken by Soviet Russia in the face of Ottoman expansion in Transcaucasia after the conclusion of the peace treaty of Brest-Litevsk. In his conclusion the author outlines the main causes of the Soviet failure to prevent the aforementioned expansion.

Osiemnastowieczny ormiański bard Zakaukazia

67%

Szmurło Z.

2014

tom 11

225-243

In the article is shown figure of Sayat-Nova – the outstanding an Armenian po-et, musician and ashugh who composed a number of languages, including Armeni-an, Georgian, Azeri, Persian who lived and created in Transcaucasia in 18-th cen-tury. Sayat-Nova was born as Harutyun Sayatayan in 1712 in Tiflis. His adopted name Sayat Nova meant „King of Songs”. He was skilled in writing poetry, singing, and playing the kamancheh. He performed in the court of Heraclius II King of Georgia. He lost his position at court when he fell in love with the king's sister, and the rest of the life, after the ordination, he spent on the province as the clergyman. In 1795 he was killed by the army of Agha Mohammed Khan, and is buried at the Cathedral of Saint George, Tbilisi. About 220 songs can be attributed to Sayat-Nova, although he may have written thousands more. A number of his songs are sung to this day.

Politics of Memory in Independent Georgia. Selected Aspects

67%

Górecki W.

Institute of National Remembrance Review

2019

tom 1

283-309

This article outlines the question of politics of memory in independent Georgia (since the collapse of the USSR). The author argues that Georgia is not yet conducting such a policy, but we may nevertheless discuss a sum of activities which during the rules of Zviad Gamsakhurdia (1990–1992) and Eduard Shevardnadze (1992–2003) were sporadic and intuitive, but since the Rose Revolution and the government of Mikheil Saakashvili (2004–2013) have become more thoughtful and methodical (the Museum of Soviet Occupation was opened in Tbilisi during this time). The actions taken were influenced by the political situation – the civil war, the wars in South Ossetia and Abkhazia in the 1990s, and the Russian-Georgian war of 2008 – as well as the regional diversity of the country, its multi-ethnicity, and its position in the South Caucasus (which in Soviet times was known as Transcaucasia). This article discusses the most important topics that appear in Georgian narratives about the past, highlighting the historical ties between it and the West (the aim is to prove that in cultural-axiological terms Georgia belongs to Europe, and thus to justify Tbilisi’s aspirations to integration with the EU and NATO), and depicting Georgia as the victim of the Russian and Soviet empires (and whose successor is contemporary Russia). However, the Georgian message is hindered by the existence of the Joseph Stalin State Museum, which glorifies the Soviet dictator.