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TORK ANGEGHYA: ETYMOLOGICAL REVIEW – 2012-1

Summary

Armen H. Gharagyozyan
There have been many conflicting and contradictory points of view in academic literature regarding one of the most remarkable characters in Armenian mythology, Tork Angegh (about the deprecatory nature of the Turkish ethnic name of Tork/Turk). This study shows that the depiction of Tork Angeghya (Angegh – Ugly) had a positive function and reflected the meaning of beauty. It is noteworthy that in Armenian, the Sun’s beautiful name is connected first and foremost with the notion of light. Thereby, Angeghya-Ugly meant heavenly lamp, lantern, light (at the foundation, Sun). It is obvious that the names Tork and Turk and their Asian parallels originated from the Indoeuropean sun god Tor’s (Tur or Dur) mythological name. At the same time, the perception of Tork/Turk as a god brings one to the conclusion that Tork the Ugly, in his composition meant the god of heavenly light. In this case, the semantic transfer of Tork the Ugly = Ara the Beautiful is obvious.

In this way, Tork the Ugly is presented as a heavenly light dominator, giver, distributor, grantor; at the same time the patron of crafts and tillers and the god of fertility. He was also the most-abled, the bearer of power and strength, always the winner, fierce, the diety of lightening and thunder.

THE ESTABLISHMENT OF THE FIRST PRINTING HOUSE AND PAPER FACTORY IN ARMENIA – 2012-1

On the Occasion of the 500th Anniversary of Armenian Printing

Summary

Sasun M. Haroutyunyan
One of the most important developments in human history has been the invention of the printing press. It gave birth to revolutionary changes in world civilization. Many nations urgently wanted to make use of this invention in order to develop their science and culture.

The modern art of printing was also acquired by the Armenian nation. The first Armenian publishing house was founded in 1771 by the All-Armenian Catholicos, Simeon A. Yerevantsi. The funding for the construction was provided by Grigor Chakikyan a benefactor from the Indian-Armenian Diaspora.

After the foundation of the printing house the problem of paper arose. At first it was imported to Armenia from European countries, which proved to be very expensive. In order to limit the expenses, Simeon A Yerevantsi seized the opportunity to start paper production in Armenia. By 1776, the construction of a paper factory in Echmiadzin was completed.

Thus, the foundations of both the first printing house and paper factory in Armenia are closely affiliated with Simeon A. Yerevantsi.

THE RESTORATION OF CONSTANTINOPLE’S HAGIA SOPHIA BY ARCHITECT TRDAT ANETSI – 2012-1

Summary

Murad M. Hasratyan
One of the works of medieval Armenia’s greatest architects, Trdat was the restoration of the destroyed dome of Hagia Sophia in Constantinople following an earthquake in 980. Armenian historian Stepanos Taronetsi, including also a Byzamtium chronologer notes that he restored the basilica’s dome in the year 992.

While restoring Hagia Sophia’s dome, Trdat did not rebuild it according to the original but rather applied innovative architectural and construction solutions for that complicated process. In contrast to Armenian churches, he built the dome arch much lower, which alleviated its weight and rebuilt the west side of the dome with 20 dome ribs. He built 40 windows which also made it lighter and gave it the illusion of being suspended from the sky. These unique and bold solutions were justified as the dome is still standing today.

THE OPERA “SAYAT-NOVA” BY ALEKSANDER HARUTYUNYAN – 2012-1

Summary 

Mikhail A. Kokzhaev
This article is about one of the masterpieces of Armenian operatic art. Aleksander Harutyunyan’s “Sayat-Nova” presents the historical character of Armenian music. The originality is that Sayat-Nova himself was a poet and musician, known as ashugh, meaning a singer who creates love songs (both text and music and presents them to the public). Aleksander Harutyunyan cited some of Sayat-Nova’s songs written in the 17th century in his opera. Even when composing his own music, he displayed the style of the singer in his original music. As a result, unique composition is obtained, in which a synthesis of Armenian monody is conjoined with the classical genre of opera and the symphonic orchestra.

The article analyzes the dramaturgical features of the opera, for which two factors are essential: the content, and the peculiarity of the melody. The intonational structure is quite unique, causing the overall melodic environment to be unique as well. The component of the rhythm and the orchestration of the opera are also very interesting and meaningful. Each instrument or instrumental group is justified and used with reason.

Therefore, we can assert that Aleksandr Harutyunyan’s opera is a masterpiece not only within the framework of Armenian national operatic art, but in musical culture worldwide.

TIGRAN CHUKHAJYAN’S CREATION – 2012-1

On the Occasion of the 175th Anniversary of his Birth

Summary

Anna G. Asatryan
T. Chukhajyan, who had received formal musical training and mastered completely the technique of European composing was among the first Eastern musician who tried to find a way of bringing Eastern and Western musical culture closer together; he brought his own Eastern musicality to the complicated genres of opera, symphony and chamber music.

T. Chukhajyan placed the foundations of the Armenian classical professional school of composing. He authored the first examples of Armenian romance, i.e. “Karun,” “Lora,” and the first piano opuses in Armenian reality.

T. Chukhajyan was the founder of the Armenian musical theater. It was through his activity that the beginnings of Armenian musical theater in the second half of the 19th century were conditioned. Not only did he set the foundations for Armenian operatic music, but with his six operas, the historical romance, “Arshak II,” the triad of comedic operas, “The Cunning of Arif,” “Kyose Kehyan,” and “The Father and Son Leblebij,” the patriotic “Indiana,” the mythological “Zemyre,” he set into motion the first stage in the development of Armenian musical theater.

The creation of the first Armenian opera was accompanied by the creation of the musical theater. T. Chukhajyan understood the necessity for a national theater of opera in the 1870s. The “Ottoman Opera Theater Group,” under the leadership of T. Chukhajyan and T. Galemjyan, was the first musical theater group composed completely of Armenian artists in Armenian reality (the theater group was the first in the entire Middle East). They had the monopoly in directing the musical productions.

The author places great importance on the production of T. Chukhajyan’s operas at the A. Spendiaryan National Opera and Ballet Theater, the establishment of the Tigran Chukhajyan Museum in Yerevan and also the publication of the composer’s complete collection of works.

A KHACHKAR FROM THE MONASTERY OF ST. HRIPSIME – 2012-1

Summary

Arsen E. Harutyunyan
There is a Khachkar in the eastern side of St. Hripsime Monastery. It is remarkable for its 13th century inscription carved on the pedestal. Ghevond Alishan and Karapet Basmajyan have evidence about this inscription but their publications do not correspond with current requirements of Epigraphy. We have tried to compare the work of previous researchers with the work done by us on this inscription.

The content of the inscription has reference to the deceased and their weeping parents. The Khachkar was previously situated in the village of Khalfalu in the Surmalu province, and in 1874 it was brought to Vagharshapat. This Khachkar opens new pages and possibilities in Armenian Archaeology, Paleography and Epigraphy.

MUGHNI, UNDER THE BROSHYAN REIGN – 2012-1

Summary

Ashot Gagik Manucharyan
The newly discovered lithography at the Church of St. Gevorg of Mughni, along with the citations made by Aeachi (¾³ãÇÇ) and Amir Hasan, prove that in the Middle Ages, particularly in the XIVth century, Mughni was within the reign of the House of the Broshyans. According to a citation at Hovhanavank, Aziz Bek’s son, Gamrikel’s grandson Zakarya purchased Mughni. On the newly discovered lithography we read the name of Amir Aziz, who, we believe, was the father of Zakarya, Aziz Bek.

THE INSTITUTIONAL OBSTACLES TO ARMENIA’S MODERNIZATION – 2012-1

Thoughts of a Political Scientiest on the Eve of Parliamentary Elections

Summary

Manuk A. Harutyunyan
The article is devoted to the study of the fundamental institutional and socio-cultural obstacles to Armenia’s modernization. It is shown that the main component of Armenia’s authoritarian political system is the corporate state, whose economic elite and state departments have united to form a coarse managerial heirachy. Presented are the barriers to the country’s road to modernization: political corruption, legal nihilism, clientelism and other negative phenomenon.

In order to overcome these, the author proposes and bases his argument that the content of the national-democratic program of Armenia’s modernization and the fundamental conditions of its realization, is the principle of connecting democracy with patriotism and justice.

METAMORPHOSIS OF THE ANNALES SCHOOL: THE NEW HISTORY – 2012-1

Part I. The Post-Structural Paradigm and Quantitative or Serial Concepts

Summary

Smbat Kh. Hovhannisyan
The paper deals with the problems of the so-called third phase of the Annales School, which met the serious challenge of working out new paradigms and concepts of studying history in the 1940-50s. It questioned the concept of Total history from the point of view of post-structural criticism. And the main actor of that was M. Fucault who elaborated a new historical discourse.

The other results of the criticism were the Quantitative and Serial concepts. They contained contradictions with the holistic method of historical research. But their consent with the latter was obvious as well since only the combination of various methods is able to uncover more profound levels of the past, present and future. In this light, the necessity of viewing history from many sides comes to the fore.

PARUYR SEVAK – ZAREH KHRAKHUNI – 2012-1

Comparative Analysis of the Characteristic of 20th century Epic Writings

Summary

Knarik A. Abrahamian 

Our article is dedicated to the creative and theoretical relationship that exists between Eastern Armenian poet Paruyr Sevak and Western Armenian poet Zareh Khrakhouni.

It’s interesting, that in the 1960s two separate cultural environments formed independent literary movements. The Eastern Armenian literary scene, influenced by P. Sevak, was characterized as “non-poetic poetry,” while Z. Khrakhouni’s poetry established “objective symbolism” within Western Armenian literature.

It’s not a superfluous observation to say that recognition between the two poets was not mutual. The Western Armenian poet from Istanbul knew Eastern Armenian poet P. Sevak very well. The same cannot be said about P. Sevak, who never mentioned Z. Khrakhouni in his poems, articles or letters. This fact comes to show that regularity between two artists can be seen in the development of literature, but not as a subjective influence.

Comparing methods in literature is vital to understanding inter-literary history that fate separated to two sections. The comparative work between two cultural systems gives us a chance to see their history through one lens.