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.

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 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.

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

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.