Monthly Archives: September 2012

KARABAKH ISSUE AND AZERBAIJAN – 2012-3

In the archival documents of The League of Nations (Geneva, Switzerland)

Edita G. Gzoyan
The article deals with the issue of Karabakh within the framework of the admission of the Republic of Armenia and Azerbaijan to the League of Nations in 1920. It reveals the grounds on which the international organization has rejeted the admission of the Republic of Azerbaijan, namely the non-sovereignty of the government and territorial desputes with neighboring states. Although the modern historians and experts of Azerbaijan mention only the first argument as a basis for refusal, however the archival documents of the League of Nations reveal that the 5th Commission of the League of Nations dealing with the admission of new states clearly grounded with boarder states. Besides, the letter of the Azerbaijani delegation directed to the President of the Frist Assembly of the League of Nations, countering to the arguments raised in the decision on the Azerbaijani admission, also proves that the issue of territorial disputes with Armenia over the districts of Zangezur and Karabakh and with Georgia over the districtt of Zakatala had served as one of the basis for the rejection of admission.

The article also presented the photocopies of relevant documents.

TURKEY-AZERBAIJAN-GEORGIA – 2012-3

The tendencies of military and political alliance’s formation

Lia S. Evoyan
This article is an attempt to shed light on the current political developments in the South Caucasus in general and Turkey-Azerbaijan-Georgia political triangle in particular. It analuzes the existent distribtuion of power and its future tendency in the region. In this context Turkey-Azerbaijan military-political strategic partnership is discussed with its political and ideological background, In addition, the policy of Turkey-Azerbaijan alliance towards the integration of Georgia to their military-political bloc is examined. Finally the article discusses Georgia’s possible role in the current regional developments and states its possible political outcomes for the Republic of Armenia.

The article is written based on the examination of the dynamics of the regional and international political developments, including the last official statements and agreements between Turkey, Azerbaijan and Georgia.

THE “HISTORY OF ARMENIA” BY MOVSES KHORENATSI HAS HAD THE “FOURTH BOOK” – 2012-3

Babken H. Harutyunyan
The great historiographer Movses Khorenatsi (Moses of Chorene) became immortal handing down to the verdict of posterity his unique “History of Armenia”, which is known with its three books according to the manuscripts and ends with the author’s “Lament”.

Thought judging by some announcements of Tovma Artsruni, it can be supposed that Movses Khorenatsi’s “History of Armenia” has had the Fourth book, which not only Tovma Artsruni was acquainted with but also some medieval authors.

The historians of blessed memory such as Ghevond Alishan, H. Karenyan, M. Emin, Khoren Stepane, G. Ter-Mkrtchyan, B. Gevorgyan (Tscughuryan) of Vagharshapat, St. Malkhasyants, Hrant Armen, N. Poghosyan, V. Vardanyan, Artashes Matevosyan and others also referred to the question of Movses Khorenatsi’s Fourth book, and one part of them accepts its eistence while the others deny it strictly assuming that it had rather a character of enclosures, the latter idea was assiduously substantiated especially by Artashes Matevosyan.

An attempt to show up the existence of Movses Khorenati’s Fourth book is made in this article, basing on the affirmations of Tovma Artsruni and tohers, and logical thought.

THE QUESTION OF CILICIA IN THE TREATIES OF SEVRES AND LAUSANNE – 2012-3

Samvel A. Poghosyan
After WWI abouth 150.000 Armenians returned to Cilicia. They ware defended by the Armenian Legion, which had been formed in 1916 to liberate the Cilicia. The Armenians aimed to unite Cilicia and Untied Armenia or to get autonomy under the patronage of France. But by Sevres Treaty the great part of Cilicia was given to Turkey and a small part of Cilicia to Syria. It was a tragedy for Armenians who had suvived from Genocde and returned to their homeland.

After the Treaty of Sevres failure it was planned to create Armenian National Home in Cilicia and Armenian Mesopotamia and to concenter the Armenan refugees there. But that idea didn’t find ant solution. France handed all Armenian lands to Turkey by Ankara Treaty. The long lasting and hot discussions of great Powers about the Armenian Question were failed. By the Conference of Lausanne the discussions of creating Armenian National Home in Cilicia were finally closed.

ASHOT BABAYAN’S CANTATA “EPOPEE” – 2012-3

Dedicated to the 20th anniversary of the liberation of Shushi

Anna G. Asatryan
On May 26, 2012 the evening of the cmposer Ashot Babayan dedicated to the 20th anniversary of the Shushi’s emancipation took place in Alexander Spendiarian Armenian Opera and Ballet National Academic Theatre of Yerevan. The cantata “Empopee” was performed by the chorus and ensemble of the opera theatre directed by Karen Durgaryan. The soloists were Kristine Sahakyan and Georgi Arakelov. The work of A. Babayan is composed of operas, vocal-symphonic, symphonic and chamber compositions, vocal works for voice and instromental ensemble, vocal series by the accompaniment of puiano. The theme of the Artsakh struggle for freedom is always present in his works. His sonata for violoncello and piano (1993) is dedicated to Tatul Krpeyan, and the symphony “Monte” – to blessed memory of Monte Melkonyan (Avo). In 2002, A. Babayan wrote the cantata “The return of Shushi” on the occasion of the 10th anniversary of the liberation of Shushi set to words of Yuri Sahakyan, which was successfully played by State Armenian academic Chorus and State Armenian philharmonic ensemble directed by Hovhannes Chekijyan. In 2012 the composer edits the cantata and renames it “Epopee”. This cantata distinguishes from the other works of A. Babayan: the ocmposer who creates mainly in the genre of avant.gardism here appeals to the classiscal style. The cantata is formed of six parts: “Hello Shushi”, “Lullaby”, “You were calling”, “Attack”, “The song of martyrs”, and “Glory to you…”.

By its artistic merits, ideological content, high level of professionalism and good use of the ensemble and its seperate groups’ timbres, as well as due to the knowledge of timbre dramaturgy and polyphonic way of writing A. Babayan’s cantata “Epopee” is one of bright pages of modern Armenian vocal-symphonic music.

IRAN AS SEEN THROUGH THE ANTOINE SEVRUGUINE’S CAMERA – 2012-3

Summary

Yvette N. Tajarian
Antoine Sevruguine lived in the Armenian diaspora in Tehran in Iran. Vasil de Sevruguine, Antoine’s father, studied Oriental languages at the famous Lazarev School in Moscow, after which he entered the Russian civil service, working as a diplomat at the Russian Embassy in Tehran. Vasil de Sevruguine met an untimely end in a riding accident. Achin returned to her hometown of Tbilisi and later moved to the Akuli. Antoine instead opted for a career as an artist, and went to Tbilisi to became a painter. He soon discovered the then fledgling art of photography, studying under the famous Russian photographer Dmitri Ivanovich Yermakov. In 1870s, Antoine and his brothers decided to devote themselves exclusivery to photography and founded a family buisness in Iran. In 1883, Antoine founded his photo studio in the city of Tabriz and then he went to Tehran to open a photo studio on the second floor of a house in Ala ed-Downla street. Thanks to his exceptional skill, Antoine soon became so well-known as a photographer that members of the upper class in Tehran visited his studio to be photographed. Soon his reputation was such that he became official court photographer to Naser ed-Din Shah. With time he was even allowed to photograph the royal harem, so close was his relationship with Naser ed-Din shah, who gave him the title of “Khan” and later the Medal of the Sun and the Lion, (Shirokhorshid). But the found recognition not only at court: his artistic work was honored with medals and awards in international photo exhibitions in Brussels in 1897, and Paris in 1900. In 1933, Antoine “Khan” Sevruguin died of kidney failure in Tehran at the age of 82. He was buried on the Russian cemetery in Tehran in the family grave.

ELECTRONIC TEXT AS A SUBJECT OF STUDY OF TEXT LINGUISTICS – 2012-3

Siranush G. Hovhannisyan
The article touches upon the problem of electronic text and the orientation of its study.

The electronic text is related to the computer, that’s why the researchers consider it as a subject of study of Computer linguistics. The article shows that the electorinc text is an indicidual kind of text and it should be studied not by the Computer linguistics but by the Text linguistics. Also in the article are seen relations between electoring text and other types of text. There are some abservations and conclusions in the article.

MOUNTING IN THE NOVEL OF HRANT MATEVOSYAN “THE ALIVE AND THE DEAD” – 2012-3

On the base of Michelangelo Antonioni’s movie “The night”

Ala A. Kharatyan
A new technical trick in the literature – the semantic-structural use of montage in the novel “The Alive and The Dead” by Hrant Matevosyan is expressed in the article. The article also analyzes and receals the co-penetrating of the two arts due to which Matevosyan’s prose has become quite a different phenomenon in the classical art by the means of enriching the possibilities of prose, acquiring a great intertextuality, as well as raising the readers’ standards. Some elements of the famous Italian director Michelangelo Antonioni’s film “The Night” are revealed with the help of montage. The novel has a complicated montage technique: on one hand the plot of the film has twisted into the literal text, on the other hand another plot has been involved in the novel, the author of which is the novel’s protagonist, and on the third hand quite another element is merged into the novel – the personal life of the protagonist and the features of Antonioni’s film which are outwardly similar but inwardly different. By analyzing the novel’s ifficult elements it has been displayed that as a united text the novel expresses Matevosyan’s world outlook and his attitude towards the art and it is also a guiding principle to understand his aesthetic concept.

THE “PRECEPT” OF YEGHISHE CHARENTS AS MESOSTIC – 2012-3

The mystery in the saying: “O Armenian people, your one and only salvation is concealed in your collective strenght”.

Seyran Z. Grigoryan
In 1933 Yeghishe Charents wrote and placed the poem “Precept” (“Patgam”) in his collection of poems “Book of the Way”, by each line’s second letter of which was formed the secret saying “O Armenian people, your one and only salvation is concealed in your collective strength”. For many decades it was considered to be an acristic. It is shown in the article that it is a mesostic, because it is formed not with the first letters but whith the middle of the line (second letter). This hypothesis has its  grounds in thes sowld literature, especially in the analysis of mesostics in the works of the 20th century’s Russian writers. There can be found even some cnvergences between the poem of Charents “Precept” and Edcar Allan Poe’s “An Anigma”. Charents renewed the tradition of acrostic, which was quite extended in the middle age Armenian poetry, but forgotten in modern times. He devoted some acrostics to her daughter Arpenik Charents, which are also placed in the collection of works “Book of the Way” and have tight connections with the poem “Precept”. Beside the artistic values of Charents’ mesostic. his national ideology and creative destiny also have important significance and their several undiscovered aspects are discussed in the following article.

TRANSFORMATION OF MITHRAISM IN THE HELLENISTIC PERIOD (COMMAGENE, THE GREAT ARMENIA, ROME) – 2012-3

Part one. Comparative spiritual system in Commagene and Great Armenia

Yervand H. Margaryan
Mithraism as a religious and ethical system was formed in the Hellenistic period. It has come a long way from the archaic Aryan cult (where Mithra-Mihr acted in pair Verethragna-Vahagn and held subordinate to  Ahura Mazda) to complex syncretic world-view. Like most generated in the Hellenistic period phenomenas, Mithraism had borderline nature, that determined it’s fate for many centuries. Charactersitically, the first mention of the Aryan cult of Mithra refers to the mid-2nd millennium BC and is associated with the state of Mitanni, on the territory of which the Hellenistic kingdom of Commagene was formed, after a thousand year. Specifically, the formation of the cult of Mithras had some impact ancient Anatolian cults. Later, during the Achaemenid, Mithraism experienced ups and downs. When Darius I, in favor of the emerging imperial Zoroastrian religion, the cult of Mithras and other ancestral Aryan deities suffered intense persecution. However, in the twilight of the Achaemenid empire, especially in the reign of Artaxerxes Mnemon, the cult of Mithra was resurrected along and entered into a new ohase of development. He enriched elements of Chaldean astronomy and mazdeistic religious ehics.

A special place is occupied Mithraism in the spiritual life of ancient Armenia, which was reflected in the appearance of religious monuments, in the national epc “Darelevile of Sasun” and literary works.

But the golden age of the cult of Mithras and its ransformation into an independent religious and ethical system began in postachemenidian Hellenistic era. According to the eminent Belgian historian Franz Cumont, who introduced the term into circulation MIthraism, more or less final shape and form of the religion adopted in Commagene, and a number of neighboring countries on bots sides of the Euphrates. Some aspects of the cult of Mithras in Commagene, however, as in the whole region, you can get an idea for Archaeological Research at Mount Nemrud and Arsamea on Nymphaios. This coincided with the aggression of Rome in the region and the location of the Roman legions along the border all over the Euphrates. Hence Mithraism began to spread throughout the Roman Empire.