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THE TELLING ABOUT SCIENCE – 2022-2

Summary

As a social and humanitarian mediation

Mariam M. Karapetyan
In discussions about the role of science in Armenia and the ways of its development, the arrow of criticism and expectations is primarily directed at the state, expecting a significant increase in funding for the field of science. However, in addition to the main addressee and its functions, we can see other possible participants in the development of the field, often with less obvious and less specific functions. The given article discusses scientific journalism. Its role as a socio-humanitarian mediator between science and society is investigated. The coverage of natural sciences in the media is discussed as a social and humanitarian practice, its means and possible obligations are considered.

The discussed approach to socio-humanitarian mediation not only states that expectations from natural sciences in Armenian society are often unfounded, since real needs are of a socio-humanitarian nature, but also allows us to look for practical starting points for creating their relationship. The proposed approaches may lead to qualitatively new questions. For example, the realization that scientific journalism makes scientific practices public through social and humanitarian mediation raises the question of what kind of connection we want to create between society and scientific knowledge in each specific case of coverage. What stories turn scientific knowledge into unscientific? Who talks about science and how?

From the viewpoint of this issue, the analysis of direct and indirect knowledge transfer can be considered one of the important points of the article. The discussion of the problem can be summarized as follows: indirect knowledge transfer is the practice of considering and creating social contexts of knowledge and science, a practice capable of articulating the connections between the relations of different fields.

The practical directions of journalistic activity mentioned in the article, with the help of the theoretical questions presented, can become the basis for the development of conscious journalistic obligations. In particular, the promotion of the institutionalization of the fields of science and the promotion of scientific knowledge to the public may seem to be two important, yet opposite directions, but as a journalistic activity they can be quite comparable precisely because of the functions of journalism.

THE POLITICS OF THE SOVIET GOVERNMENT TOWARDS THE ARF DASHNAKTSUTYUN IN THE 1920S – 2022-1

A view after a century

Avag A. Harutyunyan
There was an ideological-political conflict between the Armenian Revolutionary Federation-Dashnaktsutyun and the Communist Party of Armenia before the Sovietization of Armenia, after which it grew into a large-scale struggle. This time, the active, offensive side, of course, was the new authorities, who set themselves the goal of “eradicating” from the Soviet-Armenian reality everything that was connected with the name of the ARF by all possible and impossible means.

Thanks to the heroic struggle of Zangezur, in 1921 in Riga, the Communist Party of Russia had to negotiate with the ARF, with which the Communist Party of Armenia was against. Negotiations ended in failure after the Zangezur uprising ended.

In 1921 a public trial against the ARF was organized. The Communist Party of Armenia started the “liquidation” of the ARF. The Armenian Cheka was on the front line of the struggle. In 1923 the congress of the “former ARF members” took place in Yerevan’s theater which decided to “liquidate” all structures of the ARF in Armenia. The 1928 November plenum of the Communist Party of Armenia was a turning point, which reassessed the ARF, previously considered petty-bourgeois, already as big-bourgeois and fascist. The ARF was criticized by all the leaders of Soviet Armenia.

As a result of the Communist Party’s policy, ARF Dashnaktsutyun was liquidated as party in Soviet Armenia. However, that did not mean that the struggle against the ARF ceased. This is evidenced by the fact that before the collapse of the Soviet Union, all documents of the Communist Party of Armenia stressed the need to continue and intensify the struggle against the ARF. In the following years, those who had an anti-Soviet position were usually accused of being “Dashnak”. Notwithstanding the attempts of struggle abroad, the organizational structures of ARF Dashnaktsutyun in the Diaspora were preserved. And already after the collapse of the Soviet Union, after the proclamation of the Republic of Armenia, when the same Communist Party was already in an inoperable state, the ARF Dashnaktsutyun party again occupied a certain role in the new social-political system.

AGAIN IN MAKARYAN’S “FIELDS OF LITERARY CRITICISM – 2022-1

Knarik A. Abrahamyan
The article is dedicated to the analysis of Albert Makaryan’s collection “In the fields of literary criticism”. The author has classified t􀴣 ree main thematic directions such as the teaching problems (Khachatur Abovyan, Derenik Demirchyan), the questions of the writers that mainly cover the new period (Ghevond Alishan, Khoren Ghalfayan, Petros Duryan and others) and feedback on literary thought (Hrant Tamrazyan, Suren Danielyan).

Along with the problems of teaching in a methodological perspective (what to teach, how to teach and what to pay attention to) Albert Makaryan also presents remarkable literary observations. On the one hand they are related to Khachatur Abovyan’s novel “Wounds of Armenia”, on the other hand to Derenik
Demirchyan’s short story “The Redundant”. We have also noticed that these reflections on the teaching problems are not unique. Let us remember his articles devoted to Petros Duryan, Aksel Bakunts, Gurgen Mahari in scientific periodicals.

In pure literary articles we notice the preference given to Western Armenian writers. It should not be forgotten that in the publications of the books of Taguhi Shishmanyan and Zabel Yesayan, Albert Makaryan has a significant role in terms of both composition and donation of analytical pages.

And here in the assessment-reviews dedicated to literary critics Hrant Tamrazyan and Suren Danielyan interesting experience on conducting professional dialogues is presented.

The conclusion is that in all cases Albert Makaryan has shown his scientific and philological discipline.

Based on the analysis, the conclusion was drawn: in all cases, Albert Makaryan showed scientific and philological disciplinary literacy.

ON THE ISSUE OF RECONSTRUCTION OF LIFE WITHIN POLITY – 2022-1

And the durability of institutions

Naira Zh. Mkrtchyan
The events, taken place in Armenia and around it recently, have made acute the issue of reconstruction of life within polity as it faces various challenges. The changes within polity are viewed as the only true way of resolution of the situation emerged. And first of all, it deals with the institutions, their durability and design of social order in general. The need and necessity of reconstruction of polity via changes are evidences of an actuality of crisis in it. In effect, throughout centuries Armenia experienced different crises and reconstructions of life in society (in community). The last one of them was caused by the independence of Armenia and collapse of the USSR. As a result, liberal democracy became the ideological frame for the initiated reconstruction in polity. In the background of these institutional changes, the ruptures between past and present have huge impact not only on durability of institutions but also on resilience of social order.

Taking into consideration the importance of durability of institutions, these (temporal) ruptures between past and present completed by spatial ones enable to grasp the recurrent long-term losses and short-term restorations of Armenian state and statehood in a new light and find solutions for getting out of this unchangeable rut.

THE MEMORY OF THE 1918 MAY HEROIC BATTLES – 2022-1

In the collections of the National Museum of Armenian Ethnography and Liberation Struggle

Arevik B. Melikyan
The article presents the personal belongings of the participants of the 1918 May heroic battles, preserved in the collections of the National Museum of Armenian Ethnography and Liberation Struggle.

Most of them are weapons and household items donated to the museum by the heirs of participants.

The aim of the article is to cover and popularize the personal relics of highranking commanders and self-defence fighters.

The article touches upon the personal belongings of one of the founders of the Republic of Armenia – Aram Manukyan, which were donated to the museum on June 24,1998 by his daughter Seda Manukyan.

The article also presents the history of personal belongings and documents of the command staff of the 1918 May heroic battles, for instance, the personal items confiscated during the trial of Movses Silikyan, as well as property, awards, nominal weapons and manuscripts of the general commander of the Armenian artillery of the May 1918 heroic battles – Colonel Christopher Araratyan.

The article also presents the description of personal belongings of the commander of the 1st battalion of the 5th regiment, Staff-Captain Vardan Jaghinyan, the commander of the battalion fighting at the bridge guard-station of Margara village – Yervand Mamajanyan, Navasard Veziryan – the favorite and reliable comrade-in-arms of (Zoravar) Andranik and Garegin Nzhdeh, Yervand Kyureghyan – a haiduc of Vaspurakan, signalman of the 5th infantry regiment Hmayak Khachatryan, machine-gunner Hakob Margaryan, militiaman Ruben Sargsyan, as well as participants of Bash-Aparan battle Mamikon Ter-Sargsyan, commander of the artillery battalion Samson Mnatsakanyan, artilleryman Gabriel Aharonyan, machine-gunner of the 6th regiment Karapet Vardanyan, militiaman Ruben Frangulyan, participant of the Battle of Karakilisa Hovhannes Baloyan and other participants.

THE MINIATURE “CRUCIFIXION OF CHRIST” – 2022-1

From the Momik’s manuscript of 1302

Inessa G. Danielyan
Momik is one of the most famous, multitalented masters of Armenian medieval art (architect, sculptor, painter). The miniatures of the manuscript of 1302 (Matenadaran named after Mesrop Mashtots, No. 6792) are considered his best paintings. The article deals with the iconographic and stylistic features of the illustration “The Crucifixion of Christ”.

For depiction of the theme master Momik used the ancient laconic iconographic scheme with images of the Crucified Christ, the Mother of God and the Apostle John, which has been widely known in the Christian world since the 7th-8th centuries. Momik’s miniature depicted symbols and gestures, such as the hands of the Mother of God, covered under maforia, a cross-star on her forehead, the meaning of which has deep, still pre-Christian origin.

The style and iconography of this miniature evokes some associations with Byzantine art of the Palaeologan period, especially with an icon from the early 14th century from Ohrid. This icon also presents a simple iconographic version of the theme and like Momik’s miniature, the Mother of God is filled with sorrow and pain – unable to look at her died son on the cross. There is a certain commonality in the construction of the composition of these two artworks.

Some researchers noted a certain connection between the miniatures of the master Momik and the medieval theater. It is more clearly demonstrated in the scene of the Crucifixion.

The miniature “The Crucifixion of Christ” reveals some technical features of making of the manuscript. Under the erased layer of paint is outlined a sketch of another miniature – the scene of “Baptism of Christ”. These two scenes are presented on the same parchment bifolio, but on the fol. 4a page is depicted “The Baptism of Christ” and the Crucifixion is on the fol. 8a. Thus, the master made sketches before sewing and binding the bifolios, and then however finding the wrong arrangement of the scenes, he “hid” the wrong drawing under a layer of paint.

In conclusion, it might be stated that this miniature, like his other works, is distinguished by its simplicity of forms, but at the same time they have a deep sacred content. The artist Momik conveyed to the viewer all the emotionally sensual notes of the depicted, using the correct selection of colors, facial expressions of the characters and distorted proportions. The chosen iconographic scheme and details of the miniature emphasize its deep theological content.

THE NATURAL DISASTERS AND CELESTIAL PHENOMENA IN EPIGRAPHS – 2022-1

Part I: Earthquake

Arsen E. Harutyunyan
The epigraphic inscriptions of medieval Armenia are of various content. The building, donative inscriptions approving the legal norms and epigraphic texts created on other events provide reliable evidence on the celestial and geological phenomena, in particular about earthquakes, solar eclipse, draught, sea storm and other similar cases. With the given study we have made an attempt for the first time to explain the mentions about natural disasters and celestial phenomena, evidenced in Armenian epigraphs, in the first turn – the earthquakes. The memorial inscriptions of the 10th-19th centuries in the monasteries of Karkop, Haghpat, Sanahin, the khachkar of Kosh (cross-stone) embedded into the wall, inscriptions from the villages of Areni, Vardenik, Lichk, Arinj, Mayakovski and other settlements and monuments shed light on the chronology of earthquakes, the topographical features and the cause-sequential manifestations of natural disasters that took place in the Armenian Highland.

Significantly, similar cases were also documented and were traditionally evidenced within the epigraphic context compiled in different occasions of memorial inscriptions (building ones, erection of a monument, epitaph, etc.). The epigraphic inscriptions enable us to definitely state that the celestial phenomena, in particular solar eclipse was often preceded by earthquakes, which was not once evidenced also in the works of chroniclers.

EVOLUTIONISM – A NEW LEVEL OF PHILOSOPHY OF LIFE – 2022-1

Again on Tumanyan’s philosophy of life

Aram C. Alexanyan
Hovhannes Tumanyan’s philosophy of life has never become a separate theme for investigation. This issue was partly touched upon in the written voluminous monographs and articles but has never been studied completely and comprehensively.

Moreover, the Tumanyan studies of the Soviet years evaluated the literary heritage of the poet by value-based forms deriving from ideology (realism, the expresser of social protest, writer of village life, the singer of the nation’s desires, hopes and feelings, popularity, etc.). To this was added the irrelevant and simplified apologetics, that is, the praise that the contemporary Tumanyan studies are flooded with. Tumanyan’s views and artistic heritage have never been considered in the context of European philosophy. Whereas, this is the most effective research method of studying his oeuvre. We believe that this research method will create a scientific environment for a more comprehensive scientific research of Hov. Tumanyan’s worldview, as well as his artistic heritage.

From this viewpoint, in our previous article Hov. Tumanyan’s radical insights deriving from W. Wundt’s doctrine were revealed: a) theory of evolution, b) the necessity of perceiving the nations’ psychology, c) classification of the world as a spiritual reality, d) universal voluntary unity of mankind and ideals, etc. The abovementioned is supplemented with the accentuations on the geographical deterministic and cultural-historical method.

The given article discusses the nature of the poet’s learning and determination of philosophy of life. Tumanyan’s learning, in fact, has never been a constant assimilation of any doctrine or idea. To the extent that his worldview is characterized by its analytical-comparative nature, Tumanyan’s philosophy of life cannot be viewed as an adequate follow-up to the teaching, but as a qualitatively independent eclectic combination.

This article examines his transcendental thinking towards the absolute knowledge of existence and the world. Tumanyan’s versions of the ideas on rationalization of evolution are presented. Reasons for becoming a subject of cosmic evolution of the Armenian ethnos are revealed with references to historical and cultural musicology (creative genius of the Armenian ethnos, a culture of preserving ethnic identity, the fact of living cultures of different eras, the strong moral potential of Armenian culture, etc.).

ANACHRONISTIC AND DIACHRONIC DESCRIPTION OF OLD ARMENIAN VOICELESS FRICATIVE 􀉖 (X) – 2022-1

Vardan Z. Petrosyan
Similar to historical-comparative Armenological Studies, the linguistic tradition of other Old Indo-European languages possessing x (kh) (Iranian and German old languages, Hittite, Old Greek, Old Slavonic, Lithuanian, etc.) maintain that the phoneme has developed from the Indo- European aspirated voiceless (*kh) (in our opinion, it derives from *kh, one of the two major positional variants of the IE aspirated voiceless backlingual phoneme K[/h]).

It is worth mentioning that 1) this is one of the few instances when a single IE prototype is restored for a certain phoneme (in this case – x (kh) in Armenian and other languages, 2) Based on the well-accepted “consonant movement” in classical typology, i.e., according to the standard phonemic transitions both in Armenian and in other languages, the phoneme could not have developed into x (kh). Instead, it should have developed into 􀊛 (k’) since the IE category of aspirated voiceless sounds could not have undergone any changes, i.e., no “movement” could have taken place, which we witness in the case of labial and dental phonemes (comp. ph > 􀊚 (p􀒳), *th > 􀊀 (t􀒳)). However, the fact that the k > x (kh) transition is typical of not only IE languages, but rather is of general linguistic, more precisely, a typological nature (the phonemic transitions from back-lingual voiceless occlusives (q / 􀛘 / 􀛚 / k), fricatives into Armenian 􀊄 (x) in the Armenian borrowings from non IE languages like Semitic and Caucasian can prove the idea stated). This comes to confirm the high probability of the transition from the IE *kh to Armenian 􀊄 (x), on the one hand, and of the original phonetic, rather than phonemic nature of this change, on the other hand.

Following one of the most probable explanations, the transition from the back-lingual voiceless occlusive kh to the back-lingual voiceless fricative 􀊄 (x) could have been possible due to the opening of a narrow passage rather than an explosion of the glottis, which is specific to the pronunciation of occlusives (A. Meillet).

However, we hold the opinion that the explanation could be more complete if we acknowledged the importance of the common and no less important feature necessary for the articulation of all the above mentioned phonemes – their back-lingual position.

DANIEL VARUZHAN’S METRIC ART – 2022-1

Ashkhen Ed. Jrbashyan
The article is dedicated to the study of the metric art of Daniel Varuzhan, one of the brightest representatives of Western Armenian poetry. His first collection of poems, “Tremors” (1906), was written on the metric principles developed by the Mkhitarist philologists. Critics then noted that in this book Varuzhan is making his first steps, and he still has a long way to achieve poetic mastery. In particular, the rhymes and poetic forms he used were considered unfortunate and inappropriate.

Varuzhan’s second collection, “Heart of the Nation” (1909), already marked the birth of a mature poet. The heroic spirit permeating this collection, the naturalness of speech, the spontaneous flow of images, gave his poetry a new impulse and quality and found a unique expression in metric forms. Here we find a large number of astrophic and non-rhymed verses. Varuzhan’s attitude to rhyme has changed somewhat since the 1910s. If earlier he denied the role of rhyme and considered it “backward”, then in “Pagan Songs” (1912) he gradually increased the proportion of rhyming poems, giving them a new sound. His poetry also used new ways, new methods and means of constructing poetic stanzas. Without abandoning astrophic verses, Varuzhan was simultaneously looking for new stanza forms, he also used one of the most beloved solid forms of Western Armenian poets – the sonnet. It should be noted that both of his latest collections open with sonnets, which are more suitable for the holistic transmission of the main ideological tendencies of poetic cycles.

Varuzhan used a unique structure and metric forms in his latest collection “Song of Bread”, which the poet never managed to finish. The book was published a few years after his death – in 1921, based on 29 poems published in the press. Literary criticism has long noticed the direct influence of idyllic and instructive poems of world literature, the traditions of which date back to ancient literature, the Renaissance and Classicism, on Varuzhan’s last collection. Obviously, Varuzhan does not repeat the structure and form of these works, but they certainly were a powerful incentive for the general idea of the cycle to promote new creative ideas and forms. The collection “Song of Bread” is formed as a complete and constructive poem, where all the poems have a solid stanza structure and rhyming lines. In this cycle we see not only new ways of constructing stanzas, but also metric forms that were not previously used in his poems.

It can be argued that the poetry of Varuzhan is a solid and integral system of poetic forms and structures. Changes from one collection to another should be seen as a natural result of the legitimate development of this system and the maturation of poetic talent.