La prose d’Ivan Bounine se caractérise par la maîtrise exceptionnelle de l’art du paysage. Dans le récit intitulé « Caucase » le paysage met en scène le drame intérieur des personnages, il prend corps et visage pour parler à leur place. Le Caucase de Bounine revêt une profonde ambiguïté ; il est le paradis perdu et l’exil volontaire, le jardin d’Eden et la présence « sépulcrale », en veille constante, des forêts nocturnes. Moyennant des paysages singuliers, Bounine crée une véritable poétique de l’exotique. En comparant les traductions arménienne et française du récit, la présente étude cherche à montrer par quels procédés stylistiques une simple description de la nature se transforme en tableau vivant, en témoignage du regard unique de l’artiste. L’article se penche également sur les structures syntaxiques irrégulières constituant le rythme et la musique du paysage caucasien. Cette étude est une réflexion sur les signes tangibles du regard singulier du peintre et sur le processus de leur recréation. Analysant les propositions des traducteurs, elle s’interroge sur les conséquences de l’explicitation de l’image poétique et des transformations syntaxiques.

Keywordspaysage hypotypose exil paradis équivalence stylistique explicitation de l’image poétique transformations syntaxiques

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.

David Hovhannes strives for strong and free movement, toward forms of life that are in constant flux, where immobility or slowness of movement turns into petrification and ruin. For him, the essential thing is not contemplation—the striving to penetrate into the metaphysical planes of things and movement, which demands self-restraint from the poet, an external freezing of emotions, and an intellectual overcoming of surfaces—but rather communion with the movement of things, participation in the flow of life, or in other words, becoming an active participant. In this case, the word acquires situations where, instead of compressing into itself and expanding toward its inner layers, it frees itself from secondary meanings and achieves its single, precise significance without redundant embellishments, because for him, the primary objective is the truth, which must be revealed without obscurities or strain.

Keywordstime time movement frontal poem future transformation intellectual overcoming