Transformation or metamorphosis from the Greek word metamorphosis is widely prevalent in the mythology, folklore, and various literary genres of diverse nations around the world. In this context, the genre of fairy tale stands out in particular, which, being closely connected with ancient mythological concepts, ritualistic beliefs, human spiritual activity, and the peculiarities of worldview, reveals early human perceptions of the world where beliefs regarding transformation hold a unique place.The motif of transformation, being one of the most widespread and well-known fairy-tale motifs, was expressed in the fairy tale world of one of the prominent figures of Armenian classical literature, also Ghazaros Aghayan. It was vividly manifested in the fairy tales Yeghegnouhi ‘Reed Maiden’ Zangi-Zrangi, Aregnazan or the Magical world, Kich el, kich el ‘a Little More, A Little More’, Odzamanuk and Are¬vahat ‘Snake-Child and Arevahat’, bringing color to the fairy tale text and serving for the development of the plot. Within the framework of this analysis, by studying the beliefs about the reciprocal and suggestive trans¬formations believed among humans, spiritized objects and animals of ancient times, and a number of rep¬re¬sen¬tations expressed in folklore and literary studies about transformation, we the opportunity to examine the creative world of Ghazaros Aghayan in a new way, to form a more in-depth understanding of the manifestation and functional significance of the motif of transformation within the framework of a literary text.

KeywordsGhazaros Agayan motif of transformation fairy tale function belief gender transformation otherworld initiation ritual punishment salvation.

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