In the article the subject of consideration is the aesthetics of paradox in the dramatic writings of Aghasi Ayvazyan. The figurative constructions of the considered plays are based on paradoxical conclusions․ They are considered using an interdisciplinary approach – philosophical and literary methodologies, theoretical research, with an ideological and thematic focus, with the identification of chronotopic paradoxes․ The modern Armenian playwright turns to paradoxical images to pose problems of a national character, human problems, problems of love and gender, life and death. The paradoxical images of the plays are characterized by the playing out of false and true, simple and complex, sound and silence and other opposite qualities, the combination of extreme states, caused by a change in the angle of view, their identification and shifting, various perceptions of the same phenomenon, sophisms and oxymorons․These methods of constructing an artistic image underlie the aesthetics of the Ayvazyan paradox, which is perceived and evaluated in the article as a phenomenon inherent in literary thinking of transitional times, attempts to comprehend man and the world, in the ideological and aesthetic system of postmodernism.Ayvazyans dramatic works with a systematic approach are being studied for the first time from the point of view of the aesthetics of the paradox, and this provides an opportunity to evaluate them in a new way. Consideration of individual aspects of the ideological and aesthetic system of postmodernism, as well as the interdisciplinary nature of the article are signs of its relevance.

KeywordsAyvazyan plays paradox aesthetics interdisciplinary chronotopic postmodernism

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