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

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

This comparative study seeks to uncover surrealist modes of perception in French Soupault, Tzara, Crevel and Armenian Hovhannes, Chiloyan texts through an analysis structured around four principal axes: 1. The liberation of language and sign, 2. Death, the body, and the metaphysics of the corpse, 3. Politics and dream - revolution and disillusionment, 4. The resurrection of the real - a passage toward a new spiritual realm.

KeywordsSlavik Chiloyan Davit Hovhannes Philippe Soupault Tristan Tzara René Crevel surrealism imagistic mantra anti-normative language philosophical minimalism death language freedom.

This comparative study seeks to uncover surrealist modes of perception in French Soupault, Tzara, Crevel and Armenian Hovhannes, Chiloyan texts through an analysis structured around four principal axes: 1. The liberation of language and sign, 2. Death, the body, and the metaphysics of the corpse, 3. Politics and dream - revolution and disillusionment, 4. The resurrection of the real - a passage toward a new spiritual realm.

KeywordsSlavik Chiloyan Davit Hovhannes Philippe Soupault Tristan Tzara René Crevel surrealism imagistic mantra anti-normative language philosophical minimalism death language freedom.

The article examines the symbolic systems of “triangle – fire – sun – father – God – blacksmith – head – hand – eye – wine – song – marriage” and of the names “Hovhannes John – Mkrtich the Baptist” in the novella The Triangle 1965 by the well‑known Armenian Soviet writer and screenwriter Aghasi Ayvazyan 1925–2007, as well as in the feature film of the same name 1967, directed by G. Malyan based on his script. These symbolic systems are analyzed in the light of the most ancient ritual‑mythological conceptions of the world, through comparative analysis and the combined application of myth‑critical and structural‑semiotic methods. This approach has made it possible to uncover certain encrypted semantic messages in Ayvazyan’s work, centered on the importance of fatherhood and heritage; the dialogue of generations and the preservation of national tradition in the face of new challenges; national unity and concord; and the strengthening of universal moral values. The choice of a new perspective and the use of contemporary methodology have revealed previously unexplored layers of Ayvazyan’s figurative‑symbolic system. The relevance of the article is determined by the universal problematic of Ayvazyan’s novella and by the interdisciplinary nature of the research approach, situated at the intersection of literary studies, folklore, ethnography, film studies, and art criticism.

Keywords“The Triangle” Ayvazyan blacksmith ritual‑mythological fire sun Hovhannes Mkrtich

The article examines the symbolic systems of “triangle – fire – sun – father – God – blacksmith – head – eye – song – marriage” and of the names “Hovhannes John – Mkrtich the Baptist” in the novella The Triangle 1965 by the well‑known Armenian Soviet writer and screenwriter Aghasi Ayvazyan 1925–2007, as well as in the feature film of the same name 1967, directed by G. Malyan based on his script. These symbolic systems are analyzed in the light of the most ancient ritual‑mythological conceptions of the world, through comparative analysis and the combined application of myth‑critical and structural‑semiotic methods. This approach has made it possible to uncover certain encrypted semantic messages in Ayvazyan’s work, centered on the importance of fatherhood and heritage; the dialogue of generations and the preservation of national tradition in the face of new challenges; national unity and concord; and the strengthening of universal moral values. The choice of a new perspective and the use of contemporary methodology have revealed previously unexplored layers of Ayvazyan’s figurative‑symbolic system. The relevance of the article is determined by the universal problematic of Ayvazyan’s novella and by the interdisciplinary nature of the research approach, situated at the intersection of literary studies, folklore, ethnography, film studies, and art criticism.

Keywords“The Triangle” Ayvazyan blacksmith ritual‑mythological fire sun Hovhannes Mkrtich