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

This time, the subject of our study is a comparative analysis of William Shakespeares play Romeo and Juliet and one of its classical style screen adaptations, Carlo Carles film of the same name. In order to comprehensively solve the problem set before us, we will analyze the film by comparing it with Shakespeares original work, while paying special attention to Shakespeares unique dramaturgical handwriting, key scenes, cryptic and obvious symbols, puns and ambiguities that sound both through the mouths of the main characters and secondary characters. The portrayal of secondary characters can be considered the Achilles heel of film adaptations of Shakespeares works. The speech and behavior of these characters are often ignored by directors, as a result of which the most important Shakespearean messages and especially hidden symbols are left out of the films. Carlo Carles Romeo and Juliet, filmed in 2013, is the latest film adaptation of the classic. In terms of dialogue text, it deviates significantly from Shakespeares original and simplifies Shakespearean dialogue as much as possible, making the film more accessible to the viewer.

Keywordsfilm symbol ambiguity secondary character crypto-symbol eros thanatos screen adaptation sexuality Zeffirelli Shakespeare pun key scene