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.

Artsakh was an important cultural center of medieval Armenia, where literature, miniature painting, architecture, and sculpture flourished.The 13th–14th centuries marked a period of cultural renaissance in Artsakh, during which luxurious manuscripts were created, monastic complexes were constructed, and artistic thought thrived.Miniature painting in Artsakh developed as an independent school, simultaneously influenced by the traditions of the Cilician and Vaspurakan schools, while preserving a unique national character.Gandzasar, Dadivank, and other monasteries were not only religious centers but also cultural and scriptorium hubs where valuable manuscripts were produced.Testimonies of historians M. Kaghankatvatsi, K. Gandzaketsi confirm Artsakh’s powerful Armenian and cultural past, emphasizing its Christian and Armenian identity.The reliefs and carvings of Artsakh demonstrate stylistic uniqueness, a high level of artistry, and a harmonious combination of spiritual and secular themes.In modern times, the cultural heritage of Artsakh is under threat, requiring scientific reassessment as well as preservation and protection strategies. The aim of the article is to reinforce the understanding of Artsakh’s Armenian cultural affiliation, reject attempts at its alienation, and promote the preservation of historical memory.

KeywordsArtsakh Armenian medieval art architecture literature miniature historical memory spiritual values cultural heritage.

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 subject of our research is “The Themes of Power and Ambition in Shakespeare’s Tragedies”. Shakespeares tragedies are a profound exploration of the darker aspects of human nature, delving into themes like ambition, power, betrayal, and the inevitable consequences of human flaws. These plays often center on a tragic hero, a character of high status who possesses a fatal flaw that leads to their downfall. This flaw, whether it be ambition, jealousy, or hubris, sets the stage for the unraveling of both the character and those around them.By analyzing key texts and theoretical perspectives, this article aims to uncover the underlying dynamics of power and ambition, exploring their role in shaping character, driving conflict, and ultimately, determining the course of history. Through this exploration, we gain a deeper understanding of how these forces continue to influence our world today, reminding us of the timeless struggle between aspiration and morality.

KeywordsShakespeare power Macbeth ambition tragedy dominance force authority superego The King Lear

SummaryLeos article The Methodology of Armenian History presents the historical reality of the transition from Armenian providential historiography to apocryphal historiography due to the development of sciences.Critically substantiating the positive nature of Leos historical perspective, thereby, in essence, the historical succession of Armenian historical schools is also presented. Leo, in contrast to the previous qualifications, is actually a follower of the positive school of historiography. Leo demands that literature should carry a tendency within itself, Literature is evaluated from the standpoint of utilitarianism. It should have ideals representing progress. He evaluates the literature he studies from the standpoint of historical progress. It should have a positive cognition of life and human nature. Life should carry the tendency and ideal expressing progress in its composition, and not on behalf of ideal-bearing heroes. All this should serve the welfare of the nation, society, and humanity. Literature created on the basis of these premises can be considered utilitarian realism, since its epistemology is utilitarian philosophical thought.

KeywordsKey words -T. Buckle Dg. Collingwood scientific historiography Leo Hegel geographical determinism Mekhitarist fathers natural influences. trend Karl Lamprecht

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 Leo as a Literary Historian presents the historical reality of the transition from Armenian Enlightenment literary criticism to positive criticism in connection with the development of the sciences.Critically substantiating the positive nature of the historical perspective of Armenian literature, Leo also emphasizes the historical continuity of Armenian literary schools.Leo, unlike his predecessors, is in fact a follower of the positive school of criticism and literary criticism.Building on the experience of his predecessors, it is largely thanks to him that Armenian literature and history moved from providential interpretation to the context of scientific explanations.Leo demands that literature should carry a tendency within itself, Literature is evaluated from the standpoint of utilitarianism. It should have ideals representing progress. He evaluates the literature he studies from the standpoint of historical progress. It should have a positive cognition of life and human nature. Life should carry the tendency and ideal expressing progress in its composition, and not on behalf of ideal-bearing heroes. All this should serve the welfare of the nation, society, and humanity. Literature created on the basis of these premises can be considered utilitarian realism, since its epistemology is utilitarian philosophical thought.

KeywordsKey words -T. Buckle Dg. Collingwood scientific historiography Leo Hegel geographical determinism Mekhitarist fathers natural influences. trend Karl Lamprecht

The article Leo as a Literary Historian presents the historical reality of the transition from Armenian Enlightenment literary criticism to positive criticism in connection with the development of the sciences.Critically substantiating the positive nature of the historical perspective of Armenian literature, Leo also emphasizes the historical continuity of Armenian literary schools.Leo, unlike his predecessors, is in fact a follower of the positive school of criticism and literary criticism.Building on the experience of his predecessors, it is largely thanks to him that Armenian literature and history moved from providential interpretation to the context of scientific explanations.Leo demands that literature should carry a tendency within itself, Literature is evaluated from the standpoint of utilitarianism. It should have ideals representing progress. He evaluates the literature he studies from the standpoint of historical progress. It should have a positive cognition of life and human nature. Life should carry the tendency and ideal expressing progress in its composition, and not on behalf of ideal-bearing heroes. All this should serve the welfare of the nation, society, and humanity. Literature created on the basis of these premises can be considered utilitarian realism, since its epistemology is utilitarian philosophical thought.

KeywordsKey words -T. Buckle Dg. Collingwood scientific historiography Leo Hegel geographical determinism Mekhitarist fathers natural influences. trend Karl Lamprecht

The article Leo as a Literary Historian presents the historical reality of the transition from Armenian Enlightenment literary criticism to positive criticism in connection with the development of the sciences.Critically substantiating the positive nature of the historical perspective of Armenian literature, Leo also emphasizes the historical continuity of Armenian literary schools.Leo, unlike his predecessors, is in fact a follower of the positive school of criticism and literary criticism.Building on the experience of his predecessors, it is largely thanks to him that Armenian literature and history moved from providential interpretation to the context of scientific explanations.Leo demands that literature should carry a tendency within itself, Literature is evaluated from the standpoint of utilitarianism. It should have ideals representing progress. He evaluates the literature he studies from the standpoint of historical progress. It should have a positive cognition of life and human nature. Life should carry the tendency and ideal expressing progress in its composition, and not on behalf of ideal-bearing heroes. All this should serve the welfare of the nation, society, and humanity. Literature created on the basis of these premises can be considered utilitarian realism, since its epistemology is utilitarian philosophical thought.

KeywordsKey words -T. Buckle Dg. Collingwood scientific historiography Leo Hegel geographical determinism Mekhitarist fathers natural influences. trend Karl Lamprecht

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.

The image of the woman — the Anima — having undergone evolution over the centuries, from the end of the 19th century onward, while preserving all traditional characteristics, marks a new stage in the development of the female image. The genre of the fairy tale, as one of the best means of manifesting archetypes, is filled with universal representations of the collective unconscious, including the image of the fatal woman. This issue is also expressed in original ways in contemporary artistic thought, particularly in the genre of the authorial fairy tale. The present article attempts to study the artistic interpretation of the archetype of the fatal woman through the fairy tales of Levon Khechoyan’s collection “The Guardian Angel of the House”, Elfik Zohrabyan’s fairy tale “The Thermometer of Love”, comparing them with the female characters from Hovhannes Tumanyan’s poem “The Capture of Fort Tmuk”, the ballad “Parvana”, and Daniel Varujan’s poem “The Concubine”. Archetypes, having a universal nature, manifest differently in each culture, based on the individual’s psychic development, and the Anima — the archetype of the collective unconscious — can also manifest on the level of consciousness through the image of the fatal woman.The aim of the article is to identify the characteristics of the Armenian fatal woman in the above-mentioned works and to present the specificities of Armenian national thinking and worldview within the genre of the authorial fairy tale.The article applies both analytical and comparative methods.By comparing the female characters of the Lady of Fort Tmuk, Nazenik, Princess Parvana, Arsine, and the women in Khechoyan’s fairy tales, it becomes clear that in Armenian literature, these enigmatic women mainly preserve the three main characteristics typical of the fatal woman: physical beauty, seductive charm, and the direct or indirect ability to cause death. However, alongside the main features, Armenian fatal women stand out with unique approaches to these three main traits, sometimes marked by the absence of one of the fundamental characteristics.

KeywordsJung archetype Anima Animus fatal woman symbol-image author’s fairy tale.

The subject of our study is Gagik Saroyan’s poetry collections “Aylatsaghkum” “Alterbloom” 2018 and “Ayl” “Other”2024.The purpose of this study is to scientifically evaluate Saroyan’s poetry collections, emphasizing their significance in the context of contemporary literature. Our main objective is to reveal the ideological orientation of the poetry collections, as determined by the poet’s civic engagement, as well as to address issues of art and poetic mastery. In writing the article, we primarily employed analytical, evaluative, and hermeneutic methods.In this article, we have analyzed the ideological and literary-artistic characteristics of the previously mentioned collections, their symbolic significance, and in particular, we have focused on the metaphor of the other/different in the poet’s poetic system. During the analysis, we have concluded that we are dealing with different collections by the same author, shaped by changes in the political situation in the country and the author’s emotional state. The book “Aylatsaghkum” “Alterbloom” presents the flourishing of the country, while the book “Ayl” Other depicts the war with its cruel consequences, which determine the stylistic and ideological shifts in the two books, as well as in the author’s mood.

KeywordsGagik Saroyan conceptual-artistic system other//different symbolism cycle of poetry polyphony semiotic message.

Tovmas Terzyan 1840-1909, a prominent Western Armenian poet, playwright, aesthetician, and translator of the second half of the 19th century, raised future equally renowned national literary, educational, and cultural figures during several decades of fruitful pedagogical activity. One of them was the talented writer, publicist, editor, and educator Yeghia Temirchipashyan 1851-1908, who always remembered and spoke about his beloved teacher with the greatest reverence.

KeywordsTovmas Terzyan Yeghia Temirchipashyan GHevond Alichan teacher student speaker poet.

Gurgen Khanjyan’s novelistic prose, emerging at the beginning of the 21st century, not only marks a period of artistic ascent in Armenian fiction, but also shapes new perceptions of worldview and poetics. The following novels being the evidence to it: No News 2006, Enoch’s Eye 2012, and, especially, Give Me Your Hand, Little One 2017, which toher constitute integral parts of a thematic and artistic whole. It is precisely within this thematic and worldview-based unity that the literary-historical significance of Khanjyan’s novels, as well as the novelty of their worldview and poetics, are examined.The literary value of Gurgen Khanjyan’s novel, analytically and considered in its entirety, becomes a subject of examination for the first time —which is an innovation in our literary studies in its own right.

KeywordsGurgen Khanjyan Armenian prose criticism early 21st century worldview poetics inner world.

The article offers an analysis of Avetik Isahakyan’s narrative cycle, showing how the Armenian writer elevates historical and mythical figures into universal symbols of spiritual and existential quest.Through a comparative approach, it reveals the deep unity of the stories : Lilith, Saadi, Khayyam, Genghis Khan, and Li Taibai, each reflecting on beauty, faith, and human finitude.The study underlines Isahakyan’s endeavor to reconcile the human and the divine, matter and spirit, East and West, within a harmonious and universal vision.Thus, the article presents his work as a mystical and intercultural meditation, where narration becomes a space of dialogue between civilizations and the spiritual values of humanity.

KeywordsGod Saadis Last Spring Omar Khayyams argument with God Genghis Khan Li-Tai-Po Vava Sarkis Khachatryan Maeterlinck Paradise Lost Hafez Eastern literary heritage divine silence Rilke Hugo mysticism Baudelaire human condition

David Hovhannes’s “Chronicle” series of eight-syllable poems is one of the unique series in Armenian literature, where the poetic word simultaneously acquires a chronological, artistic and documentary function. In the atmosphere of the end of the Soviet system, the destruction of false freedoms and orders during the Perestroika period, these eight-syllable poems not only record the historical process, but also reveal the psychological, moral and ontological fate of the person living within that history.For the poet, the transition from the 1980s to the 1990s is not just a political turning point; it is a civilizational rupture, the result of which is that public consciousness loses its former supports, entering crisis, often nightmarish territories. The feeling of “root collapse” recorded in the eight-syllable poems refers not only to the end of an era, but also to the loss of a value system, a person’s identity. For this reason, “Chronicle” is read as a map of the parallel collapse of the inner and outer world, where poetic word becomes one of the last forms of moral resistance.The density of language in this series is noteworthy: historical events are conveyed not as a simple record, but as a fragmentary movement of consciousness, sometimes with sharp irony, sometimes with tragic silence, sometimes with sober factuality. The poet manages to combine political history, civic disappointment, and the inner anguish of the individual in the same line, forming what can be considered a unique genre of poetic chronicle.

Keywordstime documentation chronicle stream of consciousness most ruined reality Artsakh movement beginning of new order modern-day ruler without a symbol of honor.

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 subject of our research is “The Themes of Power and Ambition in Shakespeare’s Tragedies”. Shakespeares tragedies are a profound exploration of the darker aspects of human nature, delving into themes like ambition, power, betrayal, and the inevitable consequences of human flaws. These plays often center on a tragic hero, a character of high status who possesses a fatal flaw that leads to their downfall. This flaw, whether it be ambition, jealousy, or hubris, sets the stage for the unraveling of both the character and those around them.By analyzing key texts and theoretical perspectives, this article aims to uncover the underlying dynamics of power and ambition, exploring their role in shaping character, driving conflict, and ultimately, determining the course of history. Through this exploration, we gain a deeper understanding of how these forces continue to influence our world today, reminding us of the timeless struggle between aspiration and morality.

Keywordspower ambition tragedy dominance force authority superego.

The present article examines the evolving role of autobiography, tracing its development from a literary genre to a valuable historical source. It highlights the growing academic and public interest towards life narratives and suggests that autobiography can function as a form of microhistory, offering a distinctive perspective on the experiences of individuals or groups within the broader scope of historical events.Using descriptive and narrative analysis, the article explores Mayrig, the autobiography of French filmmaker of Armenian origin Henri Verneuil. It demonstrates how a single personal narrative can illuminate the lives of Armenian refugees who settled in Marseille in the early 20th century. Verneuil’s detailed recollections—from his family’s arduous journey to their adaptation to a new and, at times, unwelcoming environment—show how seemingly minor details can reveal the broader context of a life story and contribute to a more nuanced understanding of a community’s past.

Keywordssemiotics of narrative microhistory autobiography personal narrative Marseilles Mayrig Henri Verneuil

The focus of the study of the topic is the manifestation of Christian motifs in the works of the 20th-century Spanish writer Miguel Delibes 1920-2010, Valladolid, which is fully summarized in his later novel The Heretic 1998. The novel has a historical basis, tells us about the cruelty of the Inquisition against heretics. By writing about the ruthless treatment of the clergy of the 16th century Roman Catholic Church, about the royalist, disguised society, Delibes places on the same level the people under the oppression of the Catholic Church and the regime of General Franco in the 20th century. In this move, Delibes once again reminds us of the long-standing unhealthy state of Spain. Both Spain and the Spanish people are divided into two parts. By creating the novel The Heretic, Delibes tried to show how the powerful waves of dictatorship and war change the internal balance of society, not allowing a given country, in his case, his beloved Spain, to live peacefully, to live a normal life, and that even a great distance in time cannot improve the situation, and history repeats itself if nothing fundamentally changes.

KeywordsCiprianos heretic church faith nanny sin judgment.

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.

This article examines Axel Bakunts’s adaptations of the fables by the medieval Armenian writer Vardan Aygektsi, as well as Bakunts’s perception of the Armenian Middle Ages. Axel Bakunts translated forty of Aygektsi’s fables, and a comparison between the Classical Armenian originals and their vernacular renderings reveals the writer’s exceptionally nuanced and consistent approach to his task.The choice of the fable genre itself also falls within Bakunts’s literary predilections and the broader context of the development of short prose. This was the last work by Axel Bakunts published in 1935, yet until the 1950s his role in the translation of Aygektsi’s fables remained unacknowledged. In 1956, a truncated version of the translations was published.The relevance of this topic stems both from the expressive content of the fables themselves, and from Bakunts’s interpretative strategies as a translator, as well as from his reflections on the developmental patterns of the medieval period. Most significantly, however, is the potential afforded by the vitality of the fable genre in uncovering the lyrical essence of literature—an aspect this article also seeks to explore.

KeywordsVardan Aygektsi fable Middle Ages Book of the Fox Axel Bakunts.

The article considers issues related to the cryptographic and hermeneutic aspects of Dantes literary heritage, to which scientific interest has been growing day by day in recent times. This growing interest is evidenced by the extensive works of Western, Russian, and Armenian authors R. Guardini, G. Rossetti, E. Aru, A. Regini, L. Valli, B. Sergio, R. Guénon, H. Edoyan, L. Karsavin, V. Nazarov and others.The first section draws attention to the fact that the tendency to say everything about all aspects of life, God, the universe and man determines the interest of not only the humanities, but also the natural sciences in the heritage of the great poet Galileo, Florensky, Weil and others. Dantes cryptography is considered with systematicity, assessing it as a systematic cryptography. At the same time, the opinion that Dante is actually trying to create something that is beyond the traditional notions of literature is deepened.In the second part, the features of Dantes cryptography are considered, the fact that the writers literary heritage is completely full of cryptographic elements, which are a consequence of his worldview, life and linguistic thinking, is emphasized. He brings his cryptographic ideas to life through symbols. The final section discusses cryptographic manifestations in Dante’s sacred poem, including symbols and individual stylistic devices. Symbols are interpreted according to typological groups: those that are characteristic of the entire poem, and those that are characteristic of only individual parts of the poem. Following Dantes advice, attention is paid especially to the fourth, allegorical metaphysical meanings of symbols.

KeywordsCryptography systematics linguistic thinking elite poetry medieval religious-mystical orders symbol literal meaning allegorical meaning

The image of the woman — the Anima — having undergone evolution over the centuries, from the end of the 19th century onward, while preserving all traditional characteristics, marks a new stage in the development of the female image. The genre of the fairy tale, as one of the best means of manifesting archetypes, is filled with universal representations of the collective unconscious, including the image of the fatal woman. This issue is also expressed in original ways in contemporary artistic thought, particularly in the genre of the authorial fairy tale. The present article attempts to study the artistic interpretation of the archetype of the fatal woman through the fairy tales of Levon Khechoyan’s collection “The Guardian Angel of the House”, Elfik Zohrabyan’s fairy tale “The Thermometer of Love”, comparing them with the female characters from Hovhannes Tumanyan’s poem “The Capture of Fort Tmuk”, the ballad “Parvana”, and Daniel Varujan’s poem “The Concubine”. Archetypes, having a universal nature, manifest differently in each culture, based on the individual’s psychic development, and the Anima — the archetype of the collective unconscious — can also manifest on the level of consciousness through the image of the fatal woman.The aim of the article is to identify the characteristics of the Armenian fatal woman in the above-mentioned works and to present the specificities of Armenian national thinking and worldview within the genre of the authorial fairy tale.The article applies methods of textual analysis and comparative philology.By comparing the female characters of the Lady of Fort Tmuk, Nazenik, Princess Parvana, Arsine, and the women in Khechoyan’s fairy tales, it becomes clear that in Armenian literature, these enigmatic women mainly preserve the three main characteristics typical of the fatal woman: physical beauty, seductive charm, and the direct or indirect ability to cause death. However, alongside the main features, Armenian fatal women stand out with unique approaches to these three main traits, sometimes marked by the absence of one of the fundamental characteristics.

KeywordsKeywords — Jung archetype Anima Animus fatal woman symbol-image author’s fairy tale.

The article examines the stream of consciousness as a montage narrative principle in the novels of Michael Cunningham. Based on the theoretical propositions of American literary critic Robert Humphrey, it can be argued that montage in the text acts as the main mechanism for organizing consciousness, replacing linear narrative with transitions determined by the principles of fragmentation, simultaneity, and juxtaposition. The analysis focuses on Cunninghams novels The Hours, Specimen Days, and Day, where spatial, temporal, and cross-editing techniques regulate the movement of consciousness between characters and narrative layers that are not directly connected to each other. It is worth noting that the extensive use of various montage techniques in all three novels allows Cunningham to create an internal synchrony between different psychological states, forming a unified field of perception in conditions of simultaneous ruptures in the narrative. Due to this approach, montage can be viewed as a central principle of the expression and organization of consciousness.

KeywordsM. Cunningham R. Humphrey D. Daiches “The Hours” “Specimen Days” “Day’ montage stream of consciousness.

This article examines the relationship between literature and painting in Julian Barnes collection of essays, Keeping an Eye Open: Essays on Art. Different types of art and literature, as a branch of art, sometimes appear in inextricable relationships, where the boundaries of imagination and reality have various manifestations. In this collection of essays, Barnes examines the works of various artists, highlights their value, presents the role of the reader, viewer, and sitter within the text-painting interaction, where painting turns into text, and text into image.

KeywordsKeywords: art sitter viewer imagination play Olympia painting ekphrasis.

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 present article examines the evolving role of autobiography, tracing its development from a literary genre to a valuable historical source. It highlights the growing academic and public interest towards life narratives and suggests that autobiography can function as a form of microhistory, offering a distinctive perspective on the experiences of individuals or groups within the broader scope of historical events.Using descriptive and narrative analysis, the article explores Mayrig, the autobiography of French filmmaker of Armenian origin Henri Verneuil. It demonstrates how a single personal narrative can illuminate the lives of Armenian refugees who settled in Marseille in the early 20th century. Verneuil’s detailed recollections—from his family’s arduous journey to their adaptation to a new and, at times, unwelcoming environment—show how seemingly minor details can reveal the broader context of a life story and contribute to a more nuanced understanding of a community’s past.

Keywordssemiotics of narrative microhistory autobiography personal narrative Marseilles Mayrig Henri Verneuil

This article explores the intersection between literature and psychology, focusing on the social-psychological, aesthetic, and ideological motives of dreams in G. Maars novel Burning Gardens, spanning a significant period from Soviet times to the present day. Based on the above it is necessary to note the importance of the authors commentaries related to dreams on various occasions. An attempt has been made once again to explore from a psychological perspective the conviction of the dreams presented in the novel. Comparative analysis allows us to conclude and acknowledge that all the cases presented, are scientifically substantiated and bear great aesthetic and ideological load.

Keywordsdream nightmare anxiety mood premonition experience thanatology psychological emotional state

This article examines the relationship between literature and painting in Julian Barnes collection of essays, Keeping an Eye Open: Essays on Art. Different types of art and literature, as a branch of art, sometimes appear in inextricable relationships, where the boundaries of imagination and reality have various manifestations. In this collection of essays, Barnes examines the works of various artists, highlights their value, presents the role of the reader, viewer, and sitter within the text-painting interaction, where painting turns into text, and text into image.

KeywordsKeywords: art sitter viewer imagination play Olympia painting ekphrasis.

The article examines the stream of consciousness as a montage narrative principle in the novels of Michael Cunningham. Based on the theoretical propositions of American literary critic Robert Humphrey, it can be argued that montage in the text acts as the main mechanism for organizing consciousness, replacing linear narrative with transitions determined by the principles of fragmentation, simultaneity, and juxtaposition. The analysis focuses on Cunninghams novels The Hours, Specimen Days, and Day, where spatial, temporal, and cross-editing techniques regulate the movement of consciousness between characters and narrative layers that are not directly connected to each other. It is worth noting that the extensive use of various montage techniques in all three novels allows Cunningham to create an internal synchrony between different psychological states, forming a unified field of perception in conditions of simultaneous ruptures in the narrative. Due to this approach, montage can be viewed as a central principle of the expression and organization of consciousness.

KeywordsM. Cunningham R. Humphrey D. Daiches “The Hours” “Specimen Days” “Day’ montage stream of consciousness.

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.

The article examines Hagob Baronian’s sketch series A Stroll through the Quarters of Constantinople, viewing it as a distinctive localization of the nineteenth-century French genre of the physiological sketch and as a literary realization of the flâneur figure within the Western Armenian urban context. Drawing on the tradition of the French physiological sketch and Walter Benjamin’s theory of the flâneur, the article investigates Baronian’s flâneur not merely as a thematic or narrative figure but as a genre-forming category that shapes the entire system of observation, reading and textual production. The analysis demonstrates that the speaking figure in A Stroll through the Quarters of Constantinople fully corresponds to the core characteristics of the French flâneur model, exhibiting an observational gaze, social typology and a physiognomic reading of urban space. At the same time, it is emphasized that Baronian’s flâneur is not a simple reproduction of the French model. Within the multi-ethnic and politically tense context of the Ottoman Empire, the flâneur’s observational stance acquires additional functions of social critique and the awakening of national self-consciousness, which constitute its key distinction from the European models. The article further shows how Baronian skillfully adapts the genre of the French physiological sketch to the urban reality of Constantinople, creating an original Armenian variant of what may be termed a “satirical physiology”. The quarters are presented as fully developed characters, each with its own features, moods and temperament, while the city itself becomes a social laboratory in which the “diagnosis” of moral decay within these quarters is carried out. The exposure of social flaws through satire and uncompromising irony is naturally directed towards the community’s self-recognition and moral self-awakening. Beyond its literary value as a work of both national and international significance, the text also functions as an important historical and documentary source on the life of the Armenian community in nineteenth-century Constantinople. It is precisely this multifunctionality that characterizes major works of world literature.

KeywordsHagob Baronyan physiological sketch flâneur comedy satire Constantinople

The purpose of this article is to present the artistic and ideological value of Gabriel Sundukyans play The Broken Hearth, revealing how the author combines satirical and tragic elements in his work, demonstrating social problems, social inequality and moral crises. The aim is also to introduce the reader to the intention that Sundukyans works reveal social reality, push society to think independently and make changes

KeywordsSundukyan Broken Hearth satire drama social reality artistic value comedy.

Many scholars, not only philologists, but also historians, philosophers, psychologists explored the origin of the wandering plot of the wizard at different times and from various perspectives. This article examines the emergence of the story of a pact with the devil into Manns work. The study based on not only the examination and analysis of existing ideas about this motif for various authors Marlowe, Balzac, Brusov, Goethe and others. It offers a fresh perspective on the transformation of a medieval legend in Manns work. The aim of the study is to explore the influence of this legend on the author. The task is to show that no shifts in culture, era, religion, geography, genres or any noticeable changes in the authors views, style, or language could alter the core of this plot that is for achieving a goal the character makes a pact with Satan. Manns novel reimagines Faust story, placing it in the context of the first half of the XX century and the upheavals of German Reich. The narrative focusing on the life and work of the protagonist reveals the deceptiveness and destructiveness of the outlined path that inevitably leads to a quick collapse, especially in the art sphere.

KeywordsJohann Spies Adrian Leverkühn Sava Grudtsyn pact with Devil Thomas Mann.

This article examines the relationship between literature and painting in Julian Barnes collection of essays, Keeping an Eye Open: Essays on Art. Different types of art and literature, as a branch of art, sometimes appear in inextricable relationships, where the boundaries of imagination and reality have various manifestations. In this collection of essays, Barnes examines the works of various artists, highlights their value, presents the role of the reader, viewer, and sitter within the text-painting interaction, where painting turns into text, and text into image.

KeywordsKeywords: art sitter viewer imagination play Olympia painting ekphrasis.

In postmodern art, the key principle of text construction is deconstruction in J. Derrida’s terminology, which implies the penetration of diverse elements of artistic language into various cultural layers. The text becomes a unique structure containing numerous other texts, semantic images, symbolic or archetypal images, and so on. In this way, the boundaries of different textual spaces dissolve, forming a comprehensive system of intertextuality.In deconstructive approaches, reader perceptions are pivotal to the completion of the texts meaning. In this context, the role of the author recedes into the background, while the role of the reader as the perceiver is emphasized. Although the semantic generalization encapsulated within the artistic works meaning-space is inherently implied by the authorial intentions embedded in the perceived work, it nonetheless depends on the readers perceptive-interpretative potential and bears a complex analytical nature.Sometimes, reader interpretations of a text differ significantly from the text’s factual and conceptual information. This information reaches a higher order of organization within a broader scope in reader perceptions. Quite often, it is within this domain that the artistic meaning is clarified and expanded.The fact that intertextuality serves as a means of text construction in postmodern literature is due to the fact that the expression of the core idea—which ensures the structural integrity of the text—is based on citations, allusions, and reminiscences. The phenomenon of citation is of fundamental importance in the postmodern concept of intertextuality. The postmodern text possesses a mosaic character and is constructed from heterogeneous fragments of previous texts through the purposeful correlation of components from other works. Occasionally, a work may even be constructed entirely of citations or completely replicate another work, all while bearing the seal of authorial individualization.

KeywordsKey words: Intertextuality postmodernism deconstruction citation reader perception text construction semantics.