This metaphor refers to a wide range of cultural practices: from massive dispossession and forced relocation to growing cohesion up to the escape from forced communal living after 1991. Slezkine) with many rooms, where different nations and nationalities lived together under one roof. The project examined the metaphor of the Soviet Empire as a “communal apartment” (Y. The arena which the Georgian culture had entered-the Soviet Union-was at that time, according to Abašije, a place ruled by terror and violence, while success in industrialization and modernization was celebrated in public discourse and the country was praised as a haven of ‘brotherhood’ and ‘friendship among the peoples.’ He claimed that Russia no longer set the perception of Georgia, instead, it would be the Georgian culture itself that would determine the strategies of its self-representation through northern expansion. “Georgia has crossed the crest of the Caucasus” -with these words, the Georgian poet and longtime chairman of the Georgian Writers’ Union, Irakli Abašije (1909–1992) retrospectively signaled in 1991 a new dispositive for the cultural situation in the 1930s.
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