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.

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 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.

The article examines the role of sound as a key instrument of artistic expression in Sasha Sokolovs novel A School for Fools in the context of its continuity with the aesthetic principles of Symbolism. Sokolovs oeuvre is traditionally regarded as the pinnacle of postmodernism in Russian literature of the last quarter of the twentieth century. However, the poetics of the novel is built on a complex semantic system and abounds in multilayered symbolic images of the sonic spectrum, revealing continuity with the traditions of Symbolism. The aim of the article is to assess the degree to which the artistic codes of Symbolism have influenced Sokolovs work through analysis of the sound organization of the text. The methods employed include semiotic and contextual analysis. The results reveal that sound images in the novel — musicality, work with the syllable, metric continuum, cry — form an independent semantic system rooted in the poetics of Andrei Bely and Konstantin Balmont. The term post-symbolism is introduced to refine the genre classification of the novel. It is concluded that the sound organization of A School for Fools is not merely a stylistic device but a fundamental constructive principle rooted in the Symbolist tradition.The article examines the role of sound as a key instrument of artistic expression in Sasha Sokolovs novel A School for Fools in the context of its continuity with the aesthetic principles of Symbolism. Sokolovs oeuvre is traditionally regarded as the pinnacle of postmodernism in Russian literature of the last quarter of the twentieth century. However, the poetics of the novel is built on a complex semantic system and abounds in multilayered symbolic images of the sonic spectrum, revealing continuity with the traditions of Symbolism. The aim of the article is to assess the degree to which the artistic codes of Symbolism have influenced Sokolovs work through analysis of the sound organization of the text. The methods employed include semiotic and contextual analysis. The results reveal that sound images in the novel — musicality, work with the syllable, metric continuum, cry — form an independent semantic system rooted in the poetics of Andrei Bely and Konstantin Balmont. The term post-symbolism is introduced to refine the genre classification of the novel. It is concluded that the sound organization of A School for Fools is not merely a stylistic device but a fundamental constructive principle rooted in the Symbolist tradition.

KeywordsSasha Sokolov novel A School for Fools symbolism post-symbolism musicality sound image metric continuum Andrei Bely

The article examines the role of sound as a key instrument of artistic expression in Sasha Sokolovs novel A School for Fools in the context of its continuity with the aesthetic principles of Symbolism. Sokolovs oeuvre is traditionally regarded as the pinnacle of postmodernism in Russian literature of the last quarter of the twentieth century. However, the poetics of the novel is built on a complex semantic system and abounds in multilayered symbolic images of the sonic spectrum, revealing continuity with the traditions of Symbolism. The aim of the article is to assess the degree to which the artistic codes of Symbolism have influenced Sokolovs work through analysis of the sound organization of the text. The methods employed include semiotic and contextual analysis. The results reveal that sound images in the novel — musicality, work with the syllable, metric continuum, cry — form an independent semantic system rooted in the poetics of Andrei Bely and Konstantin Balmont. The term post-symbolism is introduced to refine the genre classification of the novel. It is concluded that the sound organization of A School for Fools is not merely a stylistic device but a fundamental constructive principle rooted in the Symbolist tradition.

KeywordsSasha Sokolov novel A School for Fools symbolism post-symbolism musicality sound image metric continuum