David Hovhannes’s “Chronicle” series of eight-syllable poems is one of the unique series in Armenian literature, where the poetic word simultaneously acquires a chronological, artistic and documentary function. In the atmosphere of the end of the Soviet system, the destruction of false freedoms and orders during the Perestroika period, these eight-syllable poems not only record the historical process, but also reveal the psychological, moral and ontological fate of the person living within that history.For the poet, the transition from the 1980s to the 1990s is not just a political turning point; it is a civilizational rupture, the result of which is that public consciousness loses its former supports, entering crisis, often nightmarish territories. The feeling of “root collapse” recorded in the eight-syllable poems refers not only to the end of an era, but also to the loss of a value system, a person’s identity. For this reason, “Chronicle” is read as a map of the parallel collapse of the inner and outer world, where poetic word becomes one of the last forms of moral resistance.The density of language in this series is noteworthy: historical events are conveyed not as a simple record, but as a fragmentary movement of consciousness, sometimes with sharp irony, sometimes with tragic silence, sometimes with sober factuality. The poet manages to combine political history, civic disappointment, and the inner anguish of the individual in the same line, forming what can be considered a unique genre of poetic chronicle.

Keywordstime documentation chronicle stream of consciousness most ruined reality Artsakh movement beginning of new order modern-day ruler without a symbol of honor.

In postmodern art, the key principle of text construction is deconstruction in J. Derrida’s terminology, which implies the penetration of diverse elements of artistic language into various cultural layers. The text becomes a unique structure containing numerous other texts, semantic images, symbolic or archetypal images, and so on. In this way, the boundaries of different textual spaces dissolve, forming a comprehensive system of intertextuality.In deconstructive approaches, reader perceptions are pivotal to the completion of the texts meaning. In this context, the role of the author recedes into the background, while the role of the reader as the perceiver is emphasized. Although the semantic generalization encapsulated within the artistic works meaning-space is inherently implied by the authorial intentions embedded in the perceived work, it nonetheless depends on the readers perceptive-interpretative potential and bears a complex analytical nature.Sometimes, reader interpretations of a text differ significantly from the text’s factual and conceptual information. This information reaches a higher order of organization within a broader scope in reader perceptions. Quite often, it is within this domain that the artistic meaning is clarified and expanded.The fact that intertextuality serves as a means of text construction in postmodern literature is due to the fact that the expression of the core idea—which ensures the structural integrity of the text—is based on citations, allusions, and reminiscences. The phenomenon of citation is of fundamental importance in the postmodern concept of intertextuality. The postmodern text possesses a mosaic character and is constructed from heterogeneous fragments of previous texts through the purposeful correlation of components from other works. Occasionally, a work may even be constructed entirely of citations or completely replicate another work, all while bearing the seal of authorial individualization.

KeywordsKey words: Intertextuality postmodernism deconstruction citation reader perception text construction semantics.

David Hovhannes strives for strong and free movement, toward forms of life that are in constant flux, where immobility or slowness of movement turns into petrification and ruin. For him, the essential thing is not contemplation—the striving to penetrate into the metaphysical planes of things and movement, which demands self-restraint from the poet, an external freezing of emotions, and an intellectual overcoming of surfaces—but rather communion with the movement of things, participation in the flow of life, or in other words, becoming an active participant. In this case, the word acquires situations where, instead of compressing into itself and expanding toward its inner layers, it frees itself from secondary meanings and achieves its single, precise significance without redundant embellishments, because for him, the primary objective is the truth, which must be revealed without obscurities or strain.

Keywordstime time movement frontal poem future transformation intellectual overcoming