Georgian culture is famously oral and emotional: toasts at supra (feast), polyphonic singing, epic poetry. Jealousy in Georgian literature, from Vazha-Pshavela to Nodar Dumbadze, is often fiery and cathartic. But Robbe-Grillet’s jealousy is cold, quantitative, and obsessive — closer to the silent mach’ari (evil eye) of village legend. In Georgian folklore, the mach’ari is not an emotion but a force: a look that damages. The jealous husband in La Jalousie is the embodiment of the mach’ari turned inward. He watches his wife’s every gesture as if counting crimes.
Imagine translating the novel’s most famous scene — the crushing of the centipede on the wall — into a Georgian idiom. In French, the centipede is a stain, an impurity. In a Georgian reading, the centipede becomes a metaphor for the dev’i (demon) of rumor. Franck kills it with a loud crack. Franck watches. The husband says nothing. In a Georgian household, this silence would be deafening — more damning than a knife fight. The famous Georgian zgaprebi (street arguments) are absent here. Instead, we have the terrible politeness of the supra where the tamada (toastmaster) raises a glass to the couple’s health while the husband’s hand trembles almost imperceptibly.
At first glance, "La Jalousie Qartulad" appears to be a linguistic paradox. La Jalousie is a distinctly French term, evoking images of shuttered windows on a Mediterranean coastline or the pangs of romantic envy. Qartulad (ქართულად) simply means "in the Georgian language." Put them together, and you have a phrase that no dictionary lists, but which opens a fascinating portal into translation theory, cultural psychology, and the unique way Georgia—a country at the crossroads of Europe and Asia—processes foreign concepts.
What does jealousy look like, sound like, and feel like when translated into Georgian? This article explores the semantic journey of "La Jalousie" as it crosses the linguistic borders into Kartuli Ena (the Georgian language), revealing deeper truths about both cultures.
Why might someone search for this exact phrase? Possible user intents include: La Jalousie Qartulad
For each of these intents, this article serves as a comprehensive guide. The key takeaway: Qartulad does not have a one-to-one equivalent for la jalousie, and that lack is itself culturally illuminating.
რომანის მოქმედება ვითარდება ტროპიკულ პლანტაციაში, სადაც მკითხველს შეჰყავს უჩვეულო როლში — თითქოს ფილმის კამერის თვალით ვაკვირდებით გმოლების ქმედებებს.
წიგნის სათაური (La Jalousie) ფრანგულ ენაში ორაზროვანია და ნიშნავს როგორც შურიანობას (ეჭვიანობას), ისე ჟალუზს (საცობებს). ეს სიმბოლურია, რადგან მთხრობელი „აკვირდება“ მოვლენებს ჟალუზის ღებოლიდან, ხოლო თავად ტექსტი მოქმედებს როგორც ჟალუზი — ფარავს და შლის მოვლენების სურათს.
For the window blind, Georgian uses a loanword or a descriptive phrase: ჟალუზი (Zhaluzi) — directly borrowed from French jalousie via Russian influence. So ironically, the object "la jalousie" enters Georgian phonetically as zhaluzi, while the emotion retains native words. This is the inverse of the French duality. Georgian culture is famously oral and emotional: toasts
Thus, "La Jalousie Qartulad" (if we force the French title into Georgian) could be rendered as:
But the keyword implies something deeper: translating the French literary and psychological concept of jealousy into a Georgian cultural framework.
The word jalousie in French directly names the slatted window blind. Georgian has no single equivalent. The closest might be shalisa (a half-drawn curtain) or baghinda (a trellis). But the concept is deeply familiar. In old Tbilisi balconies, carved wooden latticework (bazari) allowed women to observe the street without being seen. This architectural feature, born of a patriarchal honor code, is the perfect materialization of La Jalousie’s narrator. He is the lattice: present, seeing, fragmented, and forever separated.
A Georgian adaptation of the novel would emphasize this architecture. The narrator would not simply sit at a desk; he would stand behind the darichi, counting the seconds his wife’s hand rests on the neighbor’s arm. The novel’s famous repetitive descriptions — “the sun is now at the same height as the third banana tree” — would become “the shadow of the grapevine has moved one stone’s length across the courtyard.” The obsessive cataloging of objects would mimic the ritualized geometry of Georgian table settings: the precise placement of the khinkali folds, the order of drinking horns, the exact angle of the mtsvadi (skewer) as Franck pulls it from the grill. For each of these intents, this article serves
"La Jalousie" (ქართულად: შურიანობა) — არის ფრანგი მწერლის, ალენ რობ-გრიიეს (Alain Robbe-Grillet) ერთ-ერთი ყველაზე ცნობილი და გავლენიანი რომანი, გამოქვეყნებული 1957 წელს. ნაწარმოები მიჩნეულია ახალი რომანის (Nouveau Roman) ლიტერატურული მიმდინარეობის კლასიკურ ნიმუშად.
რომანის მიხედვით 1962 წელს რეჟისორმა ალენ რენემ (Alain Resnais) გადაიღო მხატვრული ფილმი „L'Année dernière à Marienbad“-ის მსგავსი ავანგარდული სტილით, მაგრამ ფილმის სახელწოდება იყო არა "შურიანობა", არამედ მასში არსებული მუსიკის ნაწარმოების მიხედვით ეწოდა — "Trans-Europ-Express" (მიუხედავად ამისა, ფილმში აშკარად ჩანს რომანის მოტივები).
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