This article provides a comprehensive study of G. Khanjyans novel “Hospital”, focusing on the distinctive use of the framing device in exploring the issues of identity crisis, the search for, and the formation of a new identity. A structural analysis of the work reveals that the novel consists of horizontally arranged three-tiered chain-like narrative frames, each of which, in turn, includes other vertically arranged frames.Based on the principles of postmodernism, the article argues that the framing device serves as a tool for the narrator to understand social and historical-political changes by deconstructing reality and, by dividing it into micro-worlds, contrasting the Soviet hospital and post-Soviet post-hospital periods. Moreover, the article posits that the framing device functions as a cognitive lifeline for the protagonist, who stands on the border between two worlds. He uses it to separate things and phenomena, preventing himself from going insane in a tangled, chaotic situation, and later to reorganize and bring order to different aspects of his life. However, a detailed analysis of the novel concludes that the narrators efforts did not yield the tangible results he seeks in the realm of the novel.

KeywordsG. Khanjyan “Hospital” quest for identity post-Soviet Armenia frame story framing device narrative levels diegesis metadiegesis narrative function.

The article addresses the problem of identity, which at the turn of the late twentieth and early twenty-first centuries has become one of the most significant issues in both philosophy and literary studies. Individuality is increasingly perceived as a dynamically changing, “fragmented,” and unstable subject. In this context, the concept of hybrid identity enters scholarly discourse, describing human existence at the intersection of social, cultural, and linguistic planes. A vivid example of this phenomenon is found in the prose of Eduardo Mendoza, which combines elements of social satire, the historical novel, detective fiction, the picaresque novel, and fantasy, thereby constructing a multilayered image of postmodern reality. The aim of the present study is to identify and describe the principal mechanisms of the formation of hybrid identity in Eduardo Mendoza’s novel The Adventure of the Ladies’ Hairdresser, as well as to determine the role of this identity in the organization of the narrative, the construction of the system of characters, and the dynamics of the plot. The phenomenon of hybrid identity, considered as an autonomous and systematic object of comprehensive theoretical and narratological research, remains to date insufficiently studied.

KeywordsКеywords - Eduardo Mendoza hybrid identity postmodern novel detective fiction parody grotesque “fragmented” subject.

For the first time, the article presents a comprehensive and systematic analysis of Kostan Zaryan’s publications from 1922–1923 in the Soviet Armenian press devoted to art, literature, and particularly theater, as concrete manifestations of a unified aesthetic system. At the same time, it introduces various responses and commentaries related to his activity and creative thinking. The aim of the research is to identify the main features of Zaryan’s ideological and aesthetic concept during this period, to analyze his approaches to the creation and development of a “synthetic” national theatre, to present certain aspects of European cultural experience in particular, the influence of Verhaeren, and to clarify the specific characteristics of the attitude toward Zaryan within the Soviet Armenian literary milieu in 1922–1923.The study employs historical-comparative, historical-cultural, and comparative analytical methods, which make it possible to examine Zaryan’s ideas both within the socio-cultural context of the period and within the framework of his overall creative trajectory.

KeywordsKostan Zaryan Emile Verhaeren “synthetic” theatre “Bardzravank” “Paykar” new aesthetic demands national identity

The article presents a comparative study of the works of Siamanto and Vahan Teryan from the perspective of national destiny, historical memory, spiritual homeland, and national identity. The similarities and differences between the artistic worlds of the two poets are examined, revealing their ideological affinity in interpreting national tragedy and spiritual resistance. The study demonstrates that Siamanto represents national destiny through a heroic and tragic vision emphasizing struggle, collective unity, and national revival, whereas Teryan explores the same issues through the inner world of the individual, memory, and spiritual experience. The research argues that in the works of both authors the homeland is transformed from a geographical reality into a spiritual and cultural space, while national tragedy acquires a universal human significance. 

KeywordsSiamanto Vahan Teryan Land of Nairi national destiny national identity historical homeland spiritual homeland historical memory resistance revival.

The article examines the symbolic system of Zahrat’s poetry, focusing on the symbolic functions of everyday objects, natural phenomena, animals, spatial images, and literary-cultural references. The analysis demonstrates that in Zahrat’s poetic world, earth, water, wall, house, mirror, sphere, light, sky, animals, and everyday objects transcend their literal meanings and become symbols conveying psychological, existential, national, and social meanings.Particular attention is paid to the principle of “small form–great meaning” characteristic of Zahrat’s poetic thinking, whereby short and seemingly simple texts acquire a high degree of semantic density. The article also explores the themes of identity, self-alienation, memory, life and death, national belonging, and social inequality.A significant place in the study is given to intertextuality. Zahrat’s creative dialogue with Mesrop Mashtots, Komitas, Petros Duryan, Hakob Paronyan, Paruyr Sevak, Hamo Sahyan, Sayat-Nova, and other authors is considered as a means of reinterpreting the literary tradition and ensuring its continuity in a contemporary context. As a result, Zahrat’s poetry is presented as a distinctive artistic system that moves from everyday reality toward philosophical, national, and universal human generalizations.

KeywordsZahrat Western Armenian poetry symbol symbolic system poetic imagery poetics intertextuality identity self-knowledge self-alienation earth water wall house mirror light symbolism of animals material world humor satire humanism national memory existential issues literary tradition intermediality.