Vol. 15 No. 1 (43) (2024)

The article is devoted to clarifying the authorship of the poem “Golden-mother Goddess” attributed to Daniel Varuzhan. In 1986, it was included in the second volume of the academic three-volume collection of the complete works of Daniel Varuzhan. Since there is no autograph of this poem, the compilers of the scientific publication relied on the collection “Ararat New Songbook”, published in 1946 in Paris. However, literary facts show that the poem “Golden-mother Goddess” belongs to another famous Western Armenian writer - Artashes Harutyunyan, who was also killed during the genocide of the Armenian people in 1915. Artashes Harutyunyan published this poem in 1908 in the Armenian magazine “Eastern Press” and in 1911 in the magazine “Anahit”. By the way, the poem “Golden-mother Goddess” is dedicated to the goddess “Anahit”. In 1912, it was included in Artashes Harutyunyan’s collection “New Lyre”. Due to a textual error, this poem in printed and electronic publications, in literary books, and articles is sometimes presented as the work of D. Varuzhan, and sometimes as the work of A. Harutyunyan. The article explains the possible reasons for the textual confusion. The ideological content and poetics of the poem, its connections with the “pagan movement” of Western Armenian poetry in the early 20th century, are considered. By studying literary analyses devoted to the text of the poem “Golden-mother Goddess”, methodological guidelines for further scientific understanding of this work are considered in the context of the work of its original author, Artashes Harutyunyan. The scientific novelty of the article lies in the fact that it shows the ways of correct publication and research of the attributed poem.

It is undeniable that the poetry of Charents left a deep mark both on the Armenian poetry of his day and the following years. After the death of Charents, even during the period of ban on his name and works, the new generation of Armenian poets passed their literary path “under the spiritual auspices of Charents” (S. Kaputikyan). In those and especiallyin the following years, when Charents’ work became accessible to the public at large,intheir speeches and articles our poets, together with literary critics of the post-Charents era, repeatedly commented and valued the great poet’s work, his place and role in our poetry. The article is not about that portrayal in general, it focuses on their poetic conversations with Charents, references to the image of Charents in their poems, how Charents- the man and thepoet-was transformed in their poetic speech, to what extent it is visible as a character, as character-portrait, as if as a painting in fine art--both externally and internally, also in action.

Many poems dedicated to Charents were written both in Armenia and in the Diaspora.

Within the limits of the article, their reference is naturally limited. The poems of Gevorg Emin “Vision” (1937, December), Hrachya Hovhannisyan’s “ To the Dead Poet” (1940), Vahagn Davtyan’s “With Yeghishe Charents” (1977) and “Poetic Feast” (1977), Hrachya Hovhannisyan’s “Charents’ Lantern” (1988), are considered, as well as Davit Hovhannes’s triolet poem “REQUIEM AETERNAM In Memory of Yeghishe Charents” (1997), and Edward Militonyan’s collection “The Wizard of Fiery Legend” (2022), in which the great poet’s portrait, image, and the image of his time and tragic life are most visible.

These poetic images certainly complement, in their own way, the respectable set of literary studies of Yeghishe Charents work that has been created up to now.

The purpose of this article is to use the example of Nar-Dos’ novel and drama “The Killed Dove” to show the transformation of narrative discourse into dramatic discourse, to present the changes in the source text at different formal and content levels - event, composition, plot, narrative, etc. Discussed material is also interesting, because the transition from novel to drama was carried out by the same author; in this regard, the change in narrative focalization follows exclusively from the characteristics of dramatic discourse. Transformation from the genre of novel to drama involves a transition, in other words, a “translation” from one text system to another, as a result of which changes in ideological and thematic accents, the removal of “untranslatable” elements, plot distortions and some weakening of the impact of the source text become regular.

The transformation of the novel “The Killed Dove” into drama has occurred chronotopic changes, the actions are significantly pressed, spatial coverage also underwent serious changes caused by the possibilities of the stage and the limitations of dramatic time. The arrangement of episodes at the compositional and plot level has also changed significantly. However, the most serious loss is perhaps at the narrative level, where the dominant point of view has been replaced by polyphonism. At the linguistic level dialectisms and colloquial elements are included in the text. In our opinion, as a result of such a genre change, the literary text has significantly weakened and lost its psychological depth.

The image of a tree, the tree of life as a symbol of the path to existence, has been preserved in the traditions of various peoples, becoming one of the original manifestations of folklore thinking. Different peoples had different symbolic layers of the tree of life, but the main symbolism was subconsciously the same. It symbolizes the gradual development of life, which is explained by the sense of the rooting, branching and fruiting of the tree.

Later on, the semantic flows of tree symbolism penetrated into the field of creative thinking, becoming an interesting unit for creating images. The semantic flows of creating the symbolism of the image of a tree in fiction are mainly three-layered: the tree as the spiritual beginning of identity, the tree as a process of survival with its divergent directions, the tree as the end of the path of life striving for the starting point, taking into account gravity.

 "The Beginning" by G. Matevosyan, "The Lonely Tree" by M. Galshoyan and "The Lonely Walnut Tree" by V. Petrosyan are distinguished by interesting artistic solutions of these semantic flows of the image of a tree, in which the created figurative structures, equipped with original decompositions of the semantic flows of the symbolism of the image of a tree, generalize the biophilosophy of the path the existence of a species, a nation.

Russia and the Russian language did not leave Nabokov throughout his life. The Russian language is an integral part of his identity as a writer. However, many agree that Nabokov "rejected the premise of linguistic determinism that our language defines our world" and asserted that "we think outside of any language". In one of the interviews, Nabokov commented on the topic of language: "I do not think in any language. I think in images." Each letter of the alphabet has a specific colour and hue, as well as the components that help to create images in the mind. This phenomenon echoes the ideas of French symbolism, particularly Charles Baudelaire's poetics of synaesthesia. This connection between language and imagination is a key concept in Nabokov's work that helps us re-evaluate the troubled moments in the lives of Nabokov's characters before they embark on a journey where they must get to the past to make sense of the present.

The article examines a number of features of the activities of Ettore Petrolini, a famous figure in Italian drama and theater of the first half of the 20th century. He was the author who breathed new life into traditional Italian theater. An accomplished playwright and actor, Petrolini was able to combine the tradition of commedia dell'arte, the Italian folk theater of the late Middle Ages, with the techniques of avant-garde theater, creating a unique combination of past and present. The playwright, drawing on the tradition of dell'arte, created both real masked characters and new theatrical thinking characteristic of his time.

The structure of the plays was new in Petrolini's dramaturgy. He refrained from deep psychological immersions, preferred a simple plot, and based the action on comic scenes. In this sense, for him, the literary text was a secondary factor in the performance; what was important was the artist’s performing skills, which included the skill of improvisation.

In the 20th century, many talented playwrights, actors and directors were known in Armenian literature and theater, but performances on the Armenian stage were staged primarily on the basis of the classical tradition. The principles and techniques presented in the article, which were used by the Italian playwright, can also be useful to the Armenian theater, giving it freshness and modernity.

The issues considered in this article (non-derivative elements as a type of interjections and grammatical-morphological category of negation) are insufficiently discussed or staying as a subject of  disagreement in the theoretical morphology of the modern Armenian language.

The analysis leads to the following beliefs. Firstly, onomatopoeia, despite semantic, morphemic-phonetic, as well as partially word-formation-functional differences in comparison with other types of interjections (affective and vocative), nevertheless have significant similarities with the above two types of interjections by common partial features, therefore, at least conditionally can be placed in the system of parts of speech, called an interjection, as a separate, third type of this. Secondly, the grammatical category of negation at the morphological level of the Armenian language has its inherent semantic (grammatical meaning) and formal (grammatical means of expression) group features and, therefore, can be conceived and perceived as one of the grammatical categories inherent in the verb.

From the thirties of the 20th century and especially from the middle of the 20th century, great changes were made in dramatic works by the representatives of the French anti-theatre or the theater of the absurd and the American-Armenian writer-playwright William Saroyan, especially the role and content of remarks were expanded. Despite some similarities, the remarks of the theater of the absurd and Saroyan's dramas are essentially different. If time, the clock, the street, the walls of the room became the acting heroes in the first ones, then in the remarks of Saroyan's plays, the emphasis is on the psychology of the heroes and the discovery of their inner world.

His remarks stand out for the peculiarities of character creation and image creation, for their philosophical depth and lyricism, thanks to their mastery of bringing the dramatic poem closer to the artistic prose. Saroyan's play notes are replete with subtle uses of gradation, personification, metaphor, comparison, and other means of expression.

The remarks-prologues of his plays and the descriptions of the heroes, even their portraits, play the role of a unique pre-plot, preparing the reader for a deeper understanding of the actions themselves. Saroyan's speech art, in particular the content and style features of the remarks of dramas, from the middle of the 20th century, also found a great response in the plays of Armenian authors Hrant Matevosyan, Zorayr Khalapyan, Perch Zeytuntsyan, Kariner Khodikyan, and others.

This research is devoted to the peculiarities of the functioning of genres in journalism. To understand the specifics of genre diversity and genre systems in journalistic activity, in the first part of our study, we have tried to characterize the concept of ''genre'' in general and have examined the features of the functioning of genres in art, in particular, in literature. In the second part of our study, we have studied the concept of ''genre'' and its characteristics in the context of journalistic activity, where we have identified a correlation between the specifics of the activity itself (its functions, alterations, and multilateralism of definitions), technological progress and the functioning of genres (formation, popularization, transformation, extinction, revival). The result of the comparative analysis is a table of the frequency of manifestation of the main genre characteristics in literary studies and journalism. So, through the description of genre characteristics and comparative analysis, we can better understand the specific features of the functioning of genres in journalism, including in modern multimedia journalism.

The newly discovered (recently discovered) first-printed Amulet in the form of a scroll belongs to the Margaryan family, who settled in the village of Vardadzor, Msho province from Western Armenia. Despite some changes and damage, it was possible to find out that this unit belongs to a series of amulet-scrolls published in 1698, in the printing house of Grigor Marzvanets, in Constantinople. It is distinguished by rich iconography and diversity of prayers. The scroll amulet with the exact date (1698) almost completely copies the cultural features of the first printing and its characteristic artistic design, published in Constantinople in the 17th century. It belongs to the series of scroll-shaped amulets (in addition to scroll-shaped amulets, there are also book-shaped amulets, which are a unique example). Unfortunately, the Amulet is completely damaged and divided into small parts. Due to damage, the content has been changed. Compared to other units, the prayers and the engraving managed to restore the existing shortcomings. Despite its fragmentation, the amulet in the form of a scroll contains about eighteen prayers. The content begins with the famous work of Nerses Shnorali “I confess my faith” and ends with the prayer “Prayer to bind demons.” Under the influence of handwritten Conspiracies, the printed Conspiracy also inherited the artistic composition typical of miniatures. Miniature painting was replaced by iconography, but the thematic character remained unchanged. The presence of images indicates an important belief that in this way the amulets acquire greater power and the ability to influence is enhanced. Illustrations for incantations generally precede subsequent prayers. The number of available engravings on the archetype reaches 13.