This article explores the thematic and stylistic parallels between contemporary Armenian poetry-particularly the works of Hovhannes Grigoryan and Vardan Hakobyan-and the French surrealist tradition. Through a comparative analysis, it highlights shared motifs such as love, memory, dreams, and linguistic freedom. Grigoryan’s poetry is marked by emotional rawness and the expressive power of silence, while Hakobyan’s texts transform love into a symbolic, dreamlike vision that blends reality with the subconscious. French surrealists like Éluard, Aragon, and Apollinaire treat love as a symbolic and ideological space, often shaped by collective memory and poetic experimentation. Although influenced by surrealism, Armenian poets reinterpret its principles through their own cultural and historical lens. The article concludes that Armenian contemporary poetry represents a unique avant-garde voice-speaking a universal language with distinctly national inflections.

KeywordsArmenian poetry French surrealism Hovhannes Grigoryan Vardan Hakobyan modern Armenian literature love memory dream freedom of language avant-garde poetic fusion

The article examines Grigs short story Bear Hunter in the context of the bear narrative tradition. The bear narratives of Tumanyan, Bakunc, and Matevosyan are analyzed as different models of sovereignty struggle. Using Vladimir Nabokovs concept of artistic device, the article demonstrates how Grigs text transforms literary magic into propagandistic function. The appearance of wolves is particularly analyzed as a moment of artistic system deconstruction. It is concluded that Grigs story reveals the limitations of traditional artistic tradition under crisis conditions. The study contributes to understanding how literary language functions during periods of crisis and defeat, when symbols are stripped of their polysemy and literature is forced to seek its place on the boundary between magic and propaganda.

Keywordsbear narrative Grig Tumanyan Bakunts Matevosyan Nabokov artistic device.

This article explores the thematic and stylistic parallels between contemporary Armenian poetry-particularly the works of Hovhannes Grigoryan and Vardan Hakobyan and the French surrealist tradition. Through a comparative analysis, it highlights shared motifs such as love, memory, dreams, and linguistic freedom. Grigoryan’s poetry is marked by emotional rawness and the expressive power of silence, while Hakobyan’s texts transform love into a symbolic, dreamlike vision that blends reality with the subconscious. French surrealists like Éluard, Aragon, and Apollinaire treat love as a symbolic and ideological space, often shaped by collective memory and poetic experimentation. Although influenced by surrealism, Armenian poets reinterpret its principles through their own cultural and historical lens. The article concludes that Armenian contemporary poetry represents a unique avant-garde voice-speaking a universal language with distinctly national inflections.

KeywordsArmenian poetry French surrealism Hovhannes Grigoryan Vardan Hakobyan symbolism surrealists national accents

The theme of examining, evaluating, and reinterpreting Armenian history and the present is a constant and has played and continues to play an important role in Armenian literature. Unlike classical historiography, contemporary literature with historical themes is not simply a story about history, but a critical reflection on history and historiography, the purpose of which is to approach history analytically and critically in order to search for new truths and keys to the present and future. One of such works is V. Grigoryans novel Poghos-Petros, which we should examine, focusing on the principles of postmodernism, in particular the theory of historiographic metafiction put forward by Linda Hutchon, the tendencies of presenting the historical past from the perspective of contemporary perception. Linda Hutcheons theory of historical metafiction is based on the idea that historical fiction texts are not only reproductions of historical events, but also processes of self-reflection, identity, and reinterpretation of history, in which elements of metafiction the self-awareness of the text play an important role. Within the framework of this theory, Poghos-Petros is viewed as a form of artistic reproduction of the historical past, which simultaneously criticizes, reinterprets and entangles historical narratives. The narrative of the novel itself is multilayered and multifaceted: In the novels space, the author has combined elements typical of classical historiography, and sometimes the narrative acquires features typical of modernist and postmodernist texts irony, intertextuality, parody.

KeywordsVahagn Grigoryan Linda Hutcheon postmodernism historiographic metafiction intertextuality history metahistorical novel.