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 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.

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.