Bulletin of Yerevan University B: Philology
The "Bulletin of Yerevan University. Philology" publishes scientific articles and studies related to the problems of armenian studies, philology, linguistics and journalism. The journal accepts original articles and comprehensive studies not previously published. Specialists from YSU and other institutions of RA, as well as Diaspora and abroad, are published in “Banber”.
Etymological Study of Some Words in CaucasianPersian
The article discusses some terms of Iranian origin in Caucasian Persian (prev. North-Tati), which aren’t included in Iranian dialectological researches, in particular on the Caucasian Persian language. An attempt was made to track the process of formal changes of these lexemes through phonological rules of Caucasian Persian, as well as through studying the causes of both formal and semantic changes of these lexical units based on detection of their internal laws in the process of language development and in comparison with other Iranian languages.
Copyright (c) 2015 Artyom Tonoyan https://creativecommons.org/licenses/by-nc/4.0
The Mythological Basis of the Character of Ismil in the Epic "Sasna Tsrer"
"Sasna Tsrer" is the only female heroine of the epic, who acts in different functions in both the second and third branches of the novel: in one case as the wife of the Great Melik, in the other as the mother of the Little Melik, which is due to the dual nature of the character. Ismil's character is not rich in terms of motives, but she has a fateful role in the lives of the Sasna heroes. She not only becomes a wife and mother for the Sasna heroes, but also becomes an important counterweight, thanks to which the plot develops with amazing anti-drama harmony. Ismil, like Deghdzun and Khandut, makes a choice for herself as to whom to surrender to, who should give her a son. In the second branch of the novel, Ismil Khatun retains the power characteristic of the queen, the Great Mother. In this regard, in the novel outline of the second branch, Ismil becomes an equal and counterbalancing figure to the image of the wife of the Great Mher or Armaghan. In the third branch of the epic, the image of Ismil in its nature approaches the characteristics of the mother of the twin brothers, which is the second important characteristic of her in the novel.
Copyright (c) 2026 Alina Gharibyan https://creativecommons.org/licenses/by-nc/4.0
Avetik Isahakyan's “Agha Nazar” Tale and its Western Armenian Reception
In the context of the Brothers Grimm's Brave Tailor, the Greek Mr. Lazarus, the Russian Foma Berennikov and other literary adaptations of the eternal and famous hero type that is widely spread in world literature, the Armenian versions of Brave Nazar, too, have long had their rightful place. Literary developments of this theme are diverse in terms of genre: prose or verse fairy tales, comedy, novels, etc. In Armenian literature it was developed by the classics such as Hovhannes Tumanyan, Avetik Isahakyan, Derenik Demirchyan, Stepan Zoryan, Hamastegh, and among the modern ones are Mkrtich Sargsyan, Hovhannes Grigoryan and Norayr Adalyan... Many valuable studies have been written about these developments by examining them from different perspectives. This paper, however, is dedicated to a work that is still unknown to our reader: it is the fairy tale in verse "Hanum Nazar" by one of the prominent Western Armenian woman of letters Sipil. Up to now only some hints have been made about it but no reference was done to the original source. "Hanum Nazar", by the way, is noteworthy in several aspects . First of all, it was written under the direct influence of Avetik Isahakyan's "Agha Nazar" and is dedicated to Isahakyan himself. Beside, to some extent, it has become its literary parody. Let us note that such a tradition already existed in Armenian literature: it is worth mentioning, for example, the novel-parody "From the Memoirs of an Executive" written by Shirvanzadeh on the occasion of Raffi's "The Golden Rooster" that is dedicated to Raffi's literary anniversary. The primary objectives of our study were to examine, using a comparative method, the plot and compositional similarities and differences between "Agha Nazar" and "Hanum Nazar", and Sipil's deliberate alternation of male/female heroes, which gives the work a completely new tone, making it more intriguing and fascinating. Our important conclusion here is that both authors, albeit in different ways but by their own means have managed to reveal the universal and eternal nature of the vicious phenomenon. Besides, by enthroning the heroine for the first time in "Hanum Nazar", the author also responds to the issue of the so-called "emancipation" of women, ironically presenting the fate of a lazy and undeserving woman who, by a stroke of luck, achieved fame.
Copyright (c) 2026 Albert Makaryan https://creativecommons.org/licenses/by-nc/4.0
Classification Of Old Armenian Verb Structures In The Works Of Manuk Abeghyan
Manuk Abeghyan's linguistic research has always been based on the principle of diachronic description. Therefore, he began his study of the grammatical system of the Armenian language with Old Armenian, identifying the common features and systemic differences between Old Armenian and Modern Armenian, including grabar and ashkharabar. Of particular value is his study of the verb systems of Old Armenian and Modern Armenian, characterized by approaches that were innovative for their time. Manuk Abeghyan examined the characteristics of Old Armenian verbs, drawing on the rich linguistic material of classical manuscript sources from the 5th century, particularly the Bible, considered the "queen of translations" of Old Armenian. The renowned linguist provides a detailed description of the impersonal and personal forms of Old Armenian verbs. He reveals that the infinitive and past participle of Grabar often perform the role and function of conjugated verbs. They express predication, are distinguished by rich semantic diversity, become predicates, and their subjects are expressed in oblique cases; genitive, dative, or accusative. This is an important characteristic of the Old Armenian language. Abeghian made fundamental, still relevant, observations on the manifestations of verb aspect in Old Armenian and on the construction of intransitive passive structures. The famous linguist always supported his theoretical grammatical conclusions and classifications with numerous practical examples from ancient literary sources.
Copyright (c) 2026 Narine Dilbaryan https://creativecommons.org/licenses/by-nc/4.0
Sociocultural Pragmatic Differences of Complaining in English Shushanik Paronyan
Being a sociocultural phenomenon, language enables people to communicate to other members of the society as well as to one’s inner self. By analyzing verbal behavior, or the communicative aspect of language, Pragmatics highlighted the necessity to reckon certain extralinguistic factors when creating meaning, such as the speakers’ intents, communicative goals, personal attitudes and feeling, as well as their sociocultural characteristics. The aim of this paper is to investigate the communicative-pragmatic peculiarities of complaint in English. Complaint is placed among Expressives, a class of speech acts that state what the speaker feels. On the illocutionary level, complaints express negative emotional message, the complainers’ disapproval about a certain situation or dissatisfaction with some state of affairs. The research of the practical material carried out in this paper shows that complaints, like other speech acts, can be phrased with the help of direct and indirect speech acts. Having an adversative illocutionary content, complaint depends heavily on the principles of politeness that govern the process of communication. The research attempts to illustrate how certain social factors affect the language choice by the speakers in the process of complaining.
Copyright (c) 2026 Shushanik Paronyan https://creativecommons.org/licenses/by-nc/4.0
The Perception of the Pronoun by M. Abeghyan
The article examines M. Abeghyan’s classification of parts of speech, his use of the term խոսք (“word/speech”), and issues related to the part-of-speech status of pronouns, as well as their semantic characteristics. In traditional grammar, it is generally accepted that Manouk Abeghyan’s classification of parts of speech is based primarily on syntactic principles. However, an analysis of pronouns reveals that, alongside syntactic criteria, Abeghyan also takes into account a distinctive semantic-functional feature of these words—namely, that they do not name objects or qualities directly but substitute for entities or features that have already been named. Rather than adhering to the established part-of-speech classifications of his time, Manuk Abeghyan follows European and Russian linguistic traditions, placing at the core of his system principles that reflect the specific characteristics of the Armenian language and aiming to construct an independent classification. As a result, the pronoun is not recognized by Manouk Abeghyan as an independent part of speech (or type of word). Nevertheless, he acknowledges and describes the existence of personal, demonstrative, interrogative, reciprocal, relative, indefinite, and possessive pronouns in Armenian, treating them as distinct subtypes of nouns, adjectives, or adverbs.
Copyright (c) 2026 Anna Abajyan https://creativecommons.org/licenses/by-nc/4.0
The Scholarly Study of Abeghyan’s linguistic Heritage
Manuk Abeghyan is one of the most prominent figures in Armenian linguistic scholarship, whose multifaceted work played a decisive role in shaping the theoretical and practical foundations of the modern Eastern Armenian literary language. His studies in phonetics, morphology, semantics, and syntax laid the groundwork for a new stage in the scientific examination of Armenian. Abeghyan’s major works—The Theory of the Armenian Language, Grammar of Ashkharhabar, and Syntax of Ashkharhabar—became classics of Armenology, freeing the linguistic description of Eastern Armenian from Classical Armenian models and affirming its structural independence. His contributions to lexicography, including the creation of military and medical dictionaries, opened a new chapter in Armenian dictionary-making. Abeghyan’s principles of orthographic reform, despite the controversies of the time, remained scientifically justified. His linguistic legacy continues to serve as an inexhaustible source for future scholars and stands as one of the foundational pillars of Armenian linguistic studies.
Copyright (c) 2026 Henrietta Sukiasyan https://creativecommons.org/licenses/by-nc/4.0
Dialectological Value of the Version of the Armenian Epic “David and Mher”, Written by M. Abeghyan
This article presents the linguistic features of the version of "David and Mher" recorded by M. Abeghyan. This version of the Armenian epic was narrated to the renowned Armenologist by Nahapet of Moksa. Linguistic material from the last quarter of the 19th century has survived naturally, without scholarly processing. This version, which summarizes the rather complex phonetic and grammatical system and rich vocabulary of the Moksa dialect, has been comprehensively studied. The study revealed that the dialect possesses unique idioms, lexical units, and verb-adjective formations not found in other dialects of the region. Based on the accumulated data, it is proposed that the 21st century of Armenology will become a period of scientific analysis of the collected epic tales, evaluation of the work of scribes, the creation of a scientific center for the study of variants of tales, perpetuation of the memory and honoring of storytellers, as well as the publication of unpublished and rewritten versions with dialectal scientific transcription. M. Abeghyan's recorded version of "David and Mher" offers extensive material for study not only by philologists but also by specialists in the history of language, dialectology, national psychophilosophy, and other disciplines. The Vatiant contains reliable and substantiated linguistic facts, particularly in its detailed examination of the phonetic, grammatical, and lexical features of the Moks dialect. Figurative expressions, phraseological units, adverbial structures, verb formations, atypical for the grammatical rules of the modern Armenian language, as well as numerous linguistic testimonies transmitted by Nahapet of Moks, testify to the skill of the scribe, to the scientifically based establishment of a connection between the specialist philologist and the narrator, to the desire to obtain from the speaker as much information as possible and to enrich the treasury of the Armenian language.
Copyright (c) 2026 Haykanush Mesropyan, Dr. Sasun Hambartsumyan https://creativecommons.org/licenses/by-nc/4.0
Research on Theoretical Isuues of Word Formation in the Works of Manuk Abeghyan and Hrachya Acharyan
Due to the need to carry out work aimed at systematizing the theory of synchronic word formation in Modern Armenian language, it becomes particularly important to refer to the views of various linguists who have worked in this field. This study attempts to fill research gaps in this field: based on descriptive-analytical approach the views of two prominent Armenian linguists, Manuk Abeghyan and Hrachya Acharyan, on issues of word formation are examined in general terms and the main similarities and differences are identified. Overall, it can be summarized that Abeghyan’s objective is not only studying the historical development of the Armenian vocabulary and identifying its patterns (in some cases also through comparison with similar phenomena in other languages, primarily Russian and German), but also their scientifically grounded analysis and systematization. In his works, it is difficult to differentiate between Abeghyan, the scholar and Abeghyan, the educator, since his theoretical analysis is organically combined with a purposeful teaching-methodological task and is accompanied by considerable efforts aimed at the systematic and coherent presentation of scientific material. In the case of Acharyan, the approach is different. He does not undertake the development of theoretical issues in word formation, a task that had already been comprehensively addressed by Abeghyan. His primary goal is identifying the patterns and structural features of word formation, as well as uncovering the relationships between them in various languages, particularly in the Armenian language.
Copyright (c) 2026 Varsik Nersisyan https://creativecommons.org/licenses/by-nc/4.0
Manuk Abeghian’s Linguistic Conception as a Guarantee of the Renewal of Modern Armenian Studies
Manuk Abeghyan was the first to formulate a scientific theory of Eastern Armenian, basing it on the actual structure of our language. Due to the turmoil of the time, individuals educated in the West were pushed into the background, and as a consequence, the valuable scholarly work they had produced was likewise marginalized. Undoubtedly, in the post-Abeghyan period there were valuable and noteworthy studies devoted to Modern Armenian; however, it must be noted that this period is largely characterized as a Russified school of Armenian linguistics. This is because subsequent linguists abandoned M. Abeghyan’s syntax—so closely aligned with the nature of our language and still competitive today, in its logic and fundamentality, with Western schools—and instead modeled the grammar of Eastern Armenian largely on Russian grammar. There is a need to reconsider numerous phonetical and morphological issues that, for various reasons, received distorted assessments in the post-Abeghyan period. This does not mean that questioning or critiquing the views of the scholar M. Abeghyan is impermissible. By no means. Rather, the value that Abeghyan introduced into Armenian linguistics must be duly acknowledged by restoring those principles derived from the essence of our language that the scholar himself revealed. Abeghyan’s theory is interesting and important in terms of its potential. It is a conceptual framework that enables creative work, and the present study represents such an attempt—to reaffirm several essential principles of the Abeghyan doctrine using the most recent methodologies of modern linguistics, including a semiotic approach.
Copyright (c) 2026 Davit Gyulzatyan https://creativecommons.org/licenses/by-nc/4.0
The Rapprochement of Literary Armenian Varieties:Manuk Abeghian’s Approach and Contemporary Manifestations
The following article examines both earlier and more recent proposals concerning the rapprochement of the two branches of Modern Armenian, tracing these ideas from the nineteenth century to the present. Particular attention is devoted to the approaches of Nahapet Rusinian and Step‘an Palasanian, while special emphasis is placed on the analysis of Manuk Abeghian’s influential article and the positions articulated therein. The process of standardization and the expansion of general usage of the two branches of Modern Armenian have consistently been accompanied by debates over their regulation and the clarification of their boundaries in relation to Classical Armenian. Publications addressing this issue have repeatedly advanced ideas of rapprochement and, in some cases, even unification of the two branches, both within Western and Eastern Armenian contexts. Manuk Abeghian’s programmatic article is especially significant in this respect, as it proposes a set of clearly formulated measures aimed at bringing the two branches of the language as close as possible to one another, emphasizing not only their linguistic and national importance, but also their broader social and economic implications. Various approaches to the selection of grammatical forms, lexical usage, and syntactic structures are proposed and critically discussed. Abeghian’s contribution to this linguistic and literary movement is further evidenced in his article “The Problem of the Unity of Our Two Literary Languages.” The second part of the article presents concrete examples drawn from the Armenian-American milieu, demonstrating that proposals advanced since the mid-nineteenth century have, to a certain extent, found practical realization in contemporary usage. In the American context, the two branches of Armenian, developing with a degree of autonomy, acquire lexical, syntactic, and phonological features that differ from both Eastern and Western Armenian. These features emerge as a result of mutual interaction between the two branches as well as their relatively equal exposure to the influence of English.
Copyright (c) 2026 Norayr Poghosyan https://creativecommons.org/licenses/by-nc/4.0
Terminological Shifts: Mass Media or Mass Communication Media?
In the contemporary Armenian media landscape, the replacement of the component լրատվություն (“information”) in the term ԶԼՄ (զանգվածային լրատվության միջոցներ — mass media) with the term հաղորդակցություն (“communication”), that is, the shift to ԶՀՄ (զանգվածային հաղորդակցության միջոցներ — means of mass communication), is caused by structural and functional transformations of the system, as well as by the factors that have triggered these transformations. The term communication implies not merely—or not only—one-way transmission of information, but communicative interaction involving the active participation of the audience and processes of perception and interpretation (a functional shift). The concept of mass communication encompasses not only the classical information media (the print press, radio, television, news agencies), taking into account the changes they have undergone, but also new online communication platforms (electronic press, communication tools in social networks, etc.), thus reflecting structural changes. In contemporary scholarly discourse, the term communication predominates in international practice. From a strictly linguistic perspective, due to the semantic and functional inadequacy of the term information, the communicative role of the media is either ignored or, at the very least, relegated to the background (terminological normalization). Today, the disciplinary study of media is no longer confined to journalism alone: media are also examined within communication theory, sociolinguistics, discourse analysis, cultural studies, and other fields (a methodological argument). In Armenian media linguistics, the term mass media is preferred when referring to traditional media institutions. In all other cases, it is advisable to use means of mass communication. The term media has not yet acquired a standardized equivalent in Armenian and is employed as needed; time will clarify both its status and its sphere of usage.
Copyright (c) 2026 Yuri Avetisyan https://creativecommons.org/licenses/by-nc/4.0
Typological and Contrastive Study of Models Describing the Noun Declension System of Armenian Language
This article typologically evaluates and compares the five-case and seven-case models of scientific description of the noun declension system of the modern Eastern Armenian literary language. Using facts, arguments, and logical analysis, it demonstrates the obvious advantages of the former and the numerous shortcomings of the latter. These models are also compared with the seven-case model of Grabar (Old Armenian literary language), demonstrating that the seven-case model of Ashkharhabar (New Armenian literary language) is an artificial, forced adaptation of Grabar, as well as Latin and, to some extent, Russian models, whereas the five-case model is independent of other models and adequately reflects the noun declension system of the modern Eastern Armenian literary language. The conclusion is the need to completely abandon the seven-case model in the education system and restore the five-case model. The problem is pressing because the seven-case model is not only unscientific but also violates a number of pedagogical principles and requirements. This problem is not new in Armenian studies. However, this analysis is conducted in a new way, using the modeling method and typological method of scientific analysis, drawing on a number of new arguments.
Copyright (c) 2026 Hovhannes Zakaryan https://creativecommons.org/licenses/by-nc/4.0
The Participles in Manuk Abeghyan's «Grammar of Grabar»
The present study is devoted exclusively to Manuk Abeghyan’s interpretation of Classical Armenian (Grabar) participles. The research examines the morphological characteristics of participles and, where necessary, addresses their syntactic functions, since Abeghyan occasionally considered these issues as well. Over a century has passed since the publication of Abeghyan’s Grammar of Grabar, and numerous extensive studies proposing new approaches have appeared in the meantime. For this reason, the present work also takes into account more recent scholarly opinions, offering a comprehensive review of the current academic discourse. In particular, the Grabar future participle with the suffix -ots is dependent in nature and functions exclusively within compound tense forms of the indicative and subjunctive moods, lacking independent usage. This contrasts with the past participle, which is semi-independent. However, Abeghyan’s grammar provides examples in which the -ots future participle appears to function independently; we believe that in such cases it has been confused with the oblique case form of the past participle, requiring further clarification. In Abeghyan’s treatment of the future participle, no mention is made of the -i variant, which is instead discussed under the present-subjunctive participle. Although Grabar texts indeed contain instances where this form is used with a present-subjunctive meaning, it is predominantly a future participle with independent usage. The four Grabar participles—the indefinite, the present (or subjunctive), the future, and the past—have largely preserved their core participial meanings and word-formation characteristics, albeit with certain morphological and semantic modifications across historical periods. Taken as a whole, Manuk Abeghyan’s Grammar of Grabar has not lost its relevance to this day and remains one of the most important foundational sources for the scientific description of Classical Armenian grammar. Its enduring value lies in its detailed analysis and systematic presentation, which continue to inform contemporary linguistic research.
Copyright (c) 2026 Tereza Shahverdyan https://creativecommons.org/licenses/by-nc/4.0
Folk Genres in the Collection "A Thousand and One Songs," Compiled by Manuk Abeghyan and Komitas
Manuk Abeghyan continued the important work begun by the great educator Khachatur Abovyan during his collaboration with the brilliant Komitas at the Gevorkian Seminary, which greatly contributed to the transmission of folk songs to future generations. Abeghyan was an outstanding folklorist: he was perfectly familiar with significant works of world folklore and skillfully selected the materials that should be recorded and the precise lexical variant in which they should be transmitted to succeeding generations. Thus, Abeghyan promoted the continuity of folk artistic thought, a cause to which were devoted not only the immensely valuable publications of the originals but also the theoretical and scientific justifications. The songbook "A Thousand and One Songs," compiled by M. Abeghyan and Komitas, is one of the monuments of Armenian culture, possessing enduring value.
Copyright (c) 2026 Aelita Dolukhanyan https://creativecommons.org/licenses/by-nc/4.0
Manuk Abeghyan - the Prototype in Memoirs
Memoir (French: mémoires) is the recollection of past events and personalities of interest. Many memorial pages have been written about Manuk Abeghyan, through the lines of which emerges the portrait of the great scientist, which is a collection of constantly changing states. In this genre, the portrait is completed by several principles, the most essential of which is perhaps the memoirist’s first impression. The authors portray the prototype’s portrait by accounting for external features, sometimes highlighting his eyes, face, cheeks, smile, gaze, voice, and so on. The prototype’s portrait is completed in several ways: by character traits, posture, mannerisms, inner qualities, and manifestations of mental processes, which are woven together with different stylistic-linguistic foundations. The author of the memoir, however, may ultimately have a subjective viewpoint. Often, the narrative of memory is constructed with difficulty due to a lack of clear recollection.
Copyright (c) 2026 Ashot Galstyan https://creativecommons.org/licenses/by-nc/4.0
Decoding Digital Hostility: Non-Verbal Mechanisms of Hate Speech in Electronic Discourse
The study investigates how non-verbal elements such as emojis function as vehicles of hate speech in digital communication. While hate speech has traditionally been defined through verbal or textual aggression, contemporary online environments reveal a broader, multimodal landscape where hostility is often conveyed implicitly through images, icons, and affective cues. Drawing on qualitative multimodal discourse analysis, this research integrates approaches from critical discourse analysis and social semiotics to examine how the mentioned non-verbal sign contributes to the expression and circulation of hate in electronic discourse. Data are drawn from publicly available media posts and analysed for recurring semiotic patterns, cultural symbolism, and the interplay between textual and visual modes. The study explores how users employ non-verbal cues to reinforce stereotypes, exclude social groups, or express aggression. By illuminating the subtle ways hate operates beyond language, this research emphasizes the need to expand definitions of hate speech to encompass multimodal dimensions of online communication. Ultimately, the study contributes to a deeper understanding of how digital symbols shape affective interaction and ideological meaning in contemporary electronic discourse.
Copyright (c) 2026 Anna Karapetyan https://creativecommons.org/licenses/by-nc/4.0
The article examines the English translations of the poetry of the Western Armenian distinctive and prematurely deceased poet Petros Duryan (1851–1872), produced by both Armenian and American translators, which have not yet been studied by Duryan scholars at all. The study identifies the main difficulties encountered in the translation process and presents the translational value and comparative characteristics of the existing versions. It is well known that Duryan’s poetry is distinguished by its lyrical density, delicate sensitivity, sonority, and vivid imagery. Consequently, it is evident that conveying all these qualities into the target language is by no means an easy task. As a result, the study reveals frequent instances of discrepancy between form and content in the translations. The article encompasses all currently available and most comprehensive English translations of Duryan’s poetry known to readers. The theoretical framework of the research is based on Roman Jakobson’s theory of equivalence, George Steiner’s hermeneutic approach, as well as on the ideas of Susan Bassnett and other contemporary theorists, while the selection of the material is primarily aligned with the translations made by an American journalist and public figure Alice Stone Blackwell. Special attention is devoted to the semantic accuracy of the English versions and the transmission of Duryan’s distinctive lyricism. The study concludes that the most complete and faithful translation of Petros Duryan’s lyric poetry was accomplished by, a distinguished American Armenologist and professor at Harvard University James R. Russell in his voluminous collection Bosphorus Nights (2005).
Copyright (c) 2026 Haykanush Sharuryan https://creativecommons.org/licenses/by-nc/4.0
The Notion of Absurdity in Albert Camus's "The Myth of Sisyphus"
The present research is an attempt to analyze "The Myth of Sisyphus" by Albert Camus on the stylistic and literary levels, giving a general notion about Camus' approach to absurdity. The original book is in French but the translation is too close both in style and vocabulary, consequently making it possible to be a subject of analysis. First Camus explains what absurd means, how a person obtains it, and then represents some ways out of absurdity, which are suicide and leap of faith. The author rejects both of the attempts of making life meaningful, thus, giving his own solution to the problem, which is recognition. For Camus, the meaningful life lies in recognizing the following: life itself is meaningless and you are the one who can make it meaningful. At the end of the work Camus puts his theory into practice by representing Sisyphus, an absurd hero, who is the main character of the book.
Copyright (c) 2025 Naira Avagyan, Ita Zakalashvili https://creativecommons.org/licenses/by-nc/4.0
Author and Text Interpretation: F. Scott Fitzgerald and the Great Gatsby
To fully understand a literary work, we must explore its origins – who wrote it, when and why it was created, and the meanings the author intended to convey. In The Great Gatsby (1925), F. Scott Fitzgerald's personal views, emotions, and thoughts are deeply embedded in the novel's structure and themes. Therefore, to interpret the novel more effectively, we need to consider these influences and how they shape Fitzgerald's stylistic and linguistic choices. This analysis will examine Fitzgerald's narrative techniques, including first-person and retrospective narration, as well as his use of language to establish tone and meaning. Through the linguo-stylistic method of analysis, we will explore his figurative language such as metaphors, similes and other literary tools to uncover deeper layers of expression. Additionally, a cognitive-stylistic approach will help us understand how Fitzgerald's language choices evoke emotions in characters and influence the reader's perception of the novel's themes.
Copyright (c) 2025 Gaiane Muradian, Zaruhi Antonyan https://creativecommons.org/licenses/by-nc/4.0
The Semiotics of the Ship: From Myth to the Model of National Self-Knowledge
The article develops an integrated research perspective on the image of the ship as a multifunctional semiotic mechanism linking mythology, religious symbolism, cultural semiotics, and the poetics of modern and contemporary literature. The theoretical framework unites topoi-studies, archetypal analysis, cultural philosophy, chronotopics, heterotopology, and perinatal psychology. On the material ranging from ancient and medieval sources to Melville, Stevenson, Poe, Eco, and Cortázar, the ship is shown to operate as a chronotopic operator (translating spatial conflicts into temporal ones), a space of power and law (state model / anti-panopticon), a mediator of subjective experience (death-and-rebirth scenarios in Poe), and a figure of national destiny (Costan Zarian’s novel The Ship on the Mountain). The study’s originality lies in (1) a typology of the ship’s functions (threshold / home / power / personality) and their dynamic transitions; (2) a model of the “ship as chronotope operator,” revealing anti-heterotopic effects in Eco; and (3) the interpretation of Zarian’s text as a soteriological and introspective paradigm in which salvation is integrated with a program of national self-knowledge. The conclusion argues that the ship is not a decorative motif but the core of semantic design, transporting meanings between myth and history, the collective and the personal, the bodily and the spiritual–thus providing a universal language for describing the liminal experience of human existence.
Copyright (c) 2026 Ara Arakelyan, Natalia Gonchar-Khanjyan https://creativecommons.org/licenses/by-nc/4.0
Naira Hambardzumyan, Elpis Kesaratsyan. Essays, Poems, Letters
In 2025, the "Edit Print" publishing house published the collection "Elpis Kesaratsyan. Essays, Poems, Letters", compiled and edited by writer, literary critic, candidate of philological sciences, associate professor Naira Hambardzumyan, which was published under the patronage of literary critic, bibliographer Yovsep Nalbandian, within the framework of the "Research in the Fields of Social Sciences, Armenology and Humanities-2024" competition (24SSAH-6B006) of the RA State Committee for the Promotion of Armenian Literature. The book is an important contribution to the restoration, illumination and popularization of the literary heritage of Armenian intellectual women.
Copyright (c) 2025 Albert Makaryan https://creativecommons.org/licenses/by-nc/4.0
Levon-Zaven Surmelian – Armenian Poet, American English – Language Novelist
The Armenian writer Levon-Zaven Surmelian (1905-1995), who wrote in a foreign language, lost his parents and relatives during the Armenian Genocide and passed through a life path full of trials. The author of the article, having studied the life and literary heritage of L.-Z. Surmelian on the background of the events of his time and having compared the materials and facts concerning L.-Z. Surmelian published in the press and various collections, supplemented and clarified some episodes of the author's biography. The article focuses on the correspondence between L.-Z. Surmelian and Arshak Chopanian. The article describes how a promising Armenian poet, who became famous thanks to his collection “Luys Zvart” (“Life-Giving Light”) (1924), has made a “language transition” from Armenian to English in the American environment through his hard work, has become a well-known specialist in the field of English language and English-language literature, and has worked for a long time in the American universities, using his book “Technique of Fiction – Measure and Its Absence” as a teaching manual for students. This fact-filled article has presented the process of the transformation of the Armenian poet into an English-language writer-novelist, as well as the path passed by the author of the poignant autobiographical novels “I Ask You, Ladies and Gentlemen” and “98.6°,” thanks to which he entered the American literature and took an honorable place among the Armenian authors writing in foreign languages.
Copyright (c) 2026 Arpi Muradyan https://creativecommons.org/licenses/by-nc/4.0
On the Synchronous Characteristics of the Diphthongoid աւ (aṷ) in Old Armenian
In Old Armenian, the diphthongoid աւ (aṷ), which fits the “V + S” pattern (Vowel + Semivowel), can appear in all three possible positions: at the beginning, in the middle and at the end. In the first two positions (word-initial and middle), it typically comes before a consonant (compare: աւգուտ, աւդ, աւծումն, աւտար, etc.; արաւր, ծանաւթ, հաւտ, եղբաւր, etc.). In final position, it appears in a conditionally closed syllable. This is because the semivowel ւ (ṷ) in Old Armenian could not function as a syllabic nucleus. Thus, a syllable ending in ւ (ṷ) could not be considered open. Unlike in the word-initial position, where աւ (aṷ) is simply a sequence of phonetic (or phonemic) elements that make up the word and where the components are tightly linked in pronunciation, in the middle and final positions, it could also take on a grammatical role, i.e. it could act as a morphological marker. (Comp.հաւր – genitive/dative singular of հայր (“father”),ազգաւ – instrumental singular of ազգ (“nation”), Հոմերաւ – instrumental singular of Հոմերոս (“Homer”), etc.) According to traditional Armenian linguistics, the relationship between the semivowel ւ (ṷ) and the following vowel when occurring between two vowels was considered a combination of two separate phonemes. However, we believe that even in this position the semivowel forms a diphthongic structure in accordance with the “V + S” pattern. (Comp. ա-ւագ, նա-ւազ, ա-ւեր, բե-ւեռ, բա-ւիղ, շա-ւիղ, թագա-ւոր, լուսա-ւոր, etc., where the diphthongoid ւա (ṷa), ւե (ṷe), ւի (ṷi), ւո (ṷo) are present.)
Copyright (c) 2026 Petrosyan https://creativecommons.org/licenses/by-nc/4.0
The Theory of Historiographic Metafiction as a Methodology for Examining the Postmodern Historical Novel
The article examines the theory of postmodern historical novel analysis, which was put forward by Canadian theorist Linda Hutcheon. In 1988, the theorist proposed the term "historiographic metafiction" as an effective way to examine a novel that combines history and fiction, revealing history as a constructed narrative rather than absolute truth. Historiographic metafiction combines elements of the historical novel and metafiction. Works of this type often question the objectivity of the presentation of history, emphasizing that history is textual, constructed through narratives, and subject to subjective interpretations. Artistic autonomy is maintained, and at the same time the text is returned to the "world", but not to "ordinary reality", but to the "world" of discourse, to the "world" of texts and intertexts. This type of novel is self-analytical, accepting its own artistic nature, questioning historical truth and the writing of history. It uses intertextual, parodic, and language-game techniques to examine how historical narratives are formed and to challenge traditional distinctions between history and fiction. The study is relevant in Armenian literary studies, as the theory proposed by L. Hutcheon can become an important tool in the examination of post-independence, particularly post-war, historical-themed novels of a postmodernist nature.
Copyright (c) 2026 Hasmik Hakobyan https://creativecommons.org/licenses/by-nc/4.0
Language template. The joint functioning of transmitting and influencing language elements in mass media language
The formation of language templates is characteristic of mass communication means. Their usage in mass media language is conditioned by the need to optimize communication and intensify influence. They participate in the simultaneous activation of transmitting and influencing elements. The combination of these elements not only ensures the transfer of information but also aims to shape clear attitudes and exert influence. The linguistic template is primarily a communicative component, while the influencing element is one of persuasion. The analysis shows that the combination of transmitting and influencing elements is a systemic feature of mass media language, most noticeable in genres where information is accompanied by commentary, evaluation, or exhortation. The template, as a linguistic unit, in this context becomes not only a formal component but also a carrier of influence, ensuring the structural and semantic integrity of media communication.
Copyright (c) 2025 Yuri Avetisyan https://creativecommons.org/licenses/by-nc/4.0
The Concept of “Dance” and Its Word-forming Features in the Literary Armenian Language
This paper is an in-depth and detailed study covering the etymological and semantic features of the root “dance” in different periods of the Armenian language development, as well as the expression of its word-formation possibilities in the literary language. The study is conducted in two directions: diachronic analysis, which examines the semantic evolution of the notion of “dance”; and synchronic analysis of the parsing of compound words with this root. Special attention is paid to the nuances of the meaning of the root “dance”, its polysemy and semantic changes. Also neologisms containing the root “dance” are highlighted, which is important from the point of view of studying the lexical composition of the Armenian language. As research shows, the root of "dance" has not only preserved its ancient meanings, but has also been enriched with new ones, due to cultural and social changes. From the perspective of the genre, it exhibits great diversity, being the basis of many familiar, complex and expressive genres. Some of them have retained their function, while others have become rare or obsolete.
Copyright (c) 2025 Lusine Ghamoyan-Ph.D, Senior Researcher https://creativecommons.org/licenses/by-nc/4.0
The article presents Isahakyan's profound interest in Oriental culture. Already in his native Ghazarapat, Isahakyan had heard the conversations, tales, and songs of the ashughs (folk minstrels), which left a great impact on the young man and contributed to the development of his imagination. On one hand, the romantic impressions received from childhood, and on the other hand, the enthusiasm for the literature of Oriental peoples during his years in Europe, influenced by European philosophers (Nietzsche, Schopenhauer, Kant, and others) and writers (Goethe, Béranger, Dumas...), drive Isahakyan toward the cultivation of Oriental folklore. However, the Orient is a universal concept that encompasses within itself the national amalgamation of different nations and peoples (Indian, Chinese, Persian, Japanese, Egyptian, Hebrew...), their language, religion, and philosophy. In the legends, traditions, and tales belonging to these peoples, Isahakyan emphasizes each people's worldview, customs, and traditions. Isahakyan succeeds in highlighting the mentality and behavior of individual peoples and making visible the enduring significance of wise ideas coming from the ancient world.
Copyright (c) 2025 Zhenya Kalantaryan https://creativecommons.org/licenses/by-nc/4.0
Word choice is one of the important prerequisites for constructing a speech. If word choice is not done correctly, then the speech will not be correct, beautiful and clear. But how to determine that the word is chosen correctly, are there any criteria that should be followed when choosing words and using them to evaluate word choice? There are a number of factors that need to be taken into account when choosing words, and the first of them is the meaning of the word. Stylistic correspondence, compatibility, situational correspondence, etc. are also important. Ignoring any of these factors will lead to incorrect word choice, and therefore incorrect construction of the speech.
Copyright (c) 2026 Artashes Sargsyan https://creativecommons.org/licenses/by-nc/4.0
Crisis Communication During Floods and the Media Landscape of the Republic of Armenia (The Case of Lori and Tavush Regions, 2024)
The article analyzes the role of crisis communication during the floods that occurred in Armenia in May 2024, using the developments in Lori and Tavush regions as case studies. The author identifies three communication phases: the initial information vacuum, the activation of social media, and the stabilization of official communication. The article examines the impact of media on shaping public trust, behavior, and perceptions, while also emphasizing the risks of misinformation dissemination. The analysis is carried out from the perspective of chaos theory and the dynamics of information flows. It is noted that communication between state authorities, the media, and the public needs improvement to ensure a more effective response to similar crises in the future.
Copyright (c) 2026 Lianna Abrahamyan https://creativecommons.org/licenses/by-nc/4.0