Armenian Culture Research Articles

Արցախի կրթական ոլորտի խնդիրների արտացոլումը «Մշակ» թերթի էջերում (19-րդ դարի երկրորդ կես) / The reflection of the problems of the educational sphere of Artsakh on the pages of the newspaper “Mshak” (the second half of the 19th century)

One of the main centers of Armenian culture is the school which has a history of thousands of years. It has been considered as the most important factor in the manifestation and survival of national independence for centuries. The centuries-old path of Armenian educational and cultural life was especially manifested in the second half of the 19th century. The scientific article presented valuable information about the activities of Armenian schools operating in Artsakh in the second half of the 19th century. The problem we presented was considered on the basis of valuable materials posted on the pages of the newspaper “Mshak”. Based on some scientific research, the article emphasizes the importance of the socio-political and pedagogical movement that took place in Russia and Transcaucasia in the 1950-1960s, which had a beneficial effect on the development of the Armenian school and pedagogical thought. New diocesan, church-parochial schools were opened next to the existing Armenian religious schools. Male, female, one-class (միդասյա), two-class (երկդասյա), Mixed Gender schools (երկսեռ) gradually began to open in Artsakh. In its various issues, the newspaper “Mshak” covers the activities of the Diocesan School of Shushi, the Hripsimian Girls’ School, the Realakan School of Shushi, the Pastoral School of the village of Avetaranos and a number of issues related to these schools. The newspaper also addresses some other issues related to the Spiritual School of Hadrut. There is also very little information about educational life in other regions of Artsakh.

The Role of Armenians in Eskişehir's Urbanisation in the 19th Century Ottoman Empire

During the 19th century, the Armenian community played a significant role in the urbanization of Eskişehir within the Ottoman Empire. This article aims to explore the cultural, economic, and artistic impact of Armenians residing in Eskişehir on urbanization. This topic is crucial for studying the social and urban history of Ottoman cities, as Armenians have been an integral part of the Ottoman Empire for centuries. The Armenian quarter has made significant contributions to the identity of the city through its centres of education, entertainment, and worship, as well as its involvement in the meerschaum (lületaşı) trade. However, in the 21st century, the traces of the Armenian culture of the 19th century have disappeared from sight in the city. We research the concept of the Armenian quarter that existed in the past and use various sources to investigate the history of the city.

The Role Of The Armenian Community In UAE-Armenia Relations

This paper explores the important role of the Armenian community residing in the United Arab Emirates (UAE) in strengthening bilateral relations between the UAE and Armenia. It highlights the contributions of the Armenian community in UAE to diplomatic relations and the promotion of Armenian culture in the region. The study also emphasizes the cultural programs organized by the embassies and the importance of fostering intellectual dialogue between Armenian and Emiratis. It discusses potential areas for collaboration in the diplomatic sphere between the Republic of Armenia (RA) and the UAE as well as the favourable business environment for UAE companies in Armenia.

Religious sects as a threat to social security in the Republic of Armenia

The article presents the contemporary religious situation in Armenia. It explains why the Armenian society perceives members of minority churches and various religious associations as enemies of their country and national unity. It contributes to research on internal security, especially on social and cultural security. The internal security of the Republic of Armenia rests on two central pillars: national culture and related Christian religion, tradition and spiritual inheritance – all of which are equated with the Holy Armenian Apostolic Church (AAC). Therefore, AAC is the primary entity fighting cultural threats and opposing secularisation. The text will show what threats to the Republic of Armenia are posed by the quick growth of religious “sects”. One thing that should be clarified at the very beginning is that AAC uses the term “sect” with reference to other churches and religious associations. Particular emphasis will be placed on investigating the relationships between religious “sects” and the world of politics and business. The author will also outline the involvement of religious “sects” in the political events in Armenia and attempt to present their perception by the society and state authorities. The author wants to demonstrate how religious “sects” and AAC – which fights against them using nationalistic slogans – may contribute to social unrest. Although the Armenian Apostolic Church exposes the problem caused by the presence of religious sects and the threat they pose to Armenian culture and nation, the author was unable to find a sufficient number of respondents to conduct a questionnaire survey on the presence of religious sects in the life of the Armenian society. Usually, respondents claim that these are marginal groups that we should not worry about. That is why the activity of religious “sects” was analysed based on the materials provided by the Armenian media (including independent media) and the information service of the Armenian Apostolic Church.

ԱԶԳԱՅԻՆ-ՄՇԱԿՈՒԹԱՅԻՆ ԳՈՐԾՈՆՆԵՐԻ ԱԶԴԵՑՈՒԹՅՈՒՆԸ ՏԱՂԱՆԴՆԵՐԻ ԲԱՑԱՀԱՅՏՄԱՆ ԵՎ ՆՐԱՆՑ ԿԱՌԱՎԱՐՄԱՆ ՌԱԶՄԱՎԱՐՈՒԹՅՈՒՆՆԵՐԻ ՄՇԱԿՄԱՆ ՀԱՄԱՏԵՔՍՏՈՒՄ / THE EFFECT OF NATIONAL-CULTURAL FACTORS IN THE CONTEXT OF DEVELOPING TALENT DISCOVERY AND THEIR MANAGEMENT STRATEGIES

At the core of talent management processes and all work activities lies the individual. The type of individual and their maturity shape the culture. Adapting talent management processes to the country's culture is crucial for achieving optimal results. This research explores the intricate interplay between cultural factors and talent management processes. The primary objective of this research is to comprehensively examine how specific cultural norms and behavioral patterns prevalent in Armenian society influence talent management strategies within organizations. The aim is to propose approaches that enhance the efficiency of talent management processes and address issues hindering talent development, thereby mitigating "brain drain." The tasks outlined to achieve this goal are: - To study and comprehensively evaluate the impact of cultural factors on talent management processes. - To identify positive and negative aspects and propose solutions. The article employs a comparative, collational, and analytical approach based on international literature, thematic research, and practitioner observations. In conclusion, this research offers valuable insights into the intricate relationship between Armenian culture and talent management processes. By acknowledging cultural factors and accurately assessing their impact, organizations can optimize their human capital utilization, leading to enhanced organizational performance.

Գրիգոր Խալդարյանցը և տպագրական գործը Ռուսաստանում

The first Armenian printing house in Russia was founded in 1780 by Grigor Khaldaryants, who moved it from London to St. Petersburg. After the death of Khaldryants, in 1789, Hovsep Arghutyan, the spiritual leader of the Armenians of Russia, moved the printing house to New Nakhichevan, and in 1796, to Astrakhan. During its existence, the printing house published about forty-five books on reli-gious, educational, and historical topics. Getting acquainted with the twenty-year existence and effective work of the Khaldaryants printing house, it becomes obvious that his activity served Hovsep Arghutyan for the common interests of the nation, which he had a desire for. In the 18th century, one of the leaders of the Armenian diocese in Russia, Archbishop Hovsep Arghutyun, being in a foreign country, Hovsep Arghtyun, a representative of a stateless country, with his education and enlightened ideas, was able to unite the Armenian people and make them presentable. Printing was a way to connect Russian-Armenians to the Armenian Church, raise their liberating spirit, and shape their worldview. The Armenian printed book, including Russian-Armenian printing, was the expression of Armenian self-assertion and striving for survival. It occupies an honorable place in Armenian culture with its unique face.

Լեռնային Ղարաբաղի Ինքնավար Մարզի մշակույթի պատմության վերաիմաստավորումը Արցախի պաշտպանության բանակի ազատագրական առաքելության համատեքստում

Resisting the aggression of the Azerbaijani Armed Forces and pursuing the enemy fleeing from the battlefield, the Artsakh Self-Defence Forces in 1991-1994 liberated the territories of the historical Syunik, Artsakh and Utik provinces, which had been illegally annexed to Soviet Azerbaijan. The latter, continuing the Turkish policy of Armenocide in Transcaucasia, depatriated the autochthonous Armenian population by criminal methods of massacres, ethnic cleansing and forced religious conversion, mercilessly destroyed or usurped in the occupied settlements the centuries-old heritage of Armenian culture, which for centuries had served to preserve the national identity of the autochthonous Armenian population of Artsakh. The purpose of reinterpreting the cultural heritage of the Soviet period is to emphasise the urgency of liberating historical Artsakh based on Armenia's defence, security and military-political priorities and the need for the immediate return of the Armenian population in one of the most important territories of Armenian culture.

ՄԵՍՐՈՊ ՄԱՇՏՈՑԻ ՀԱՅՈՑ ԳՐԵՐԻ ՍՏԵՂԾՄԱՆ ՈՒՂՂՈՒԹՅԱՄԲ ԳՈՐԾՈՒՆԵՈՒԹՅԱՆ ՔՆՆԱԿԱՆ ՎԵՐԼՈՒԾՈՒԹՅՈՒՆ/Analysis of Mesrop Mashtots activity of Armenian letters creation

Many works have been written about the creation of the Armenian alphabet. Naturally, the prevailing opinion was that it was created by Mesrop Mashtots. There can be no second opinion on this. He actually created an alphabet, but based on existing Armenian letters. The modern alphabet was not created from scratch, working on the symbols of Daniel, giving them a new form, because there were more sounds and the letters expressing them were absent. This is what Mashtots created with the help of Sahak and the high will of the king. However, what is important for us is not so much how the alphabet was created, but that it was thanks to its creation that the Armenian language came to life, they began to study Armenian in schools again, which, in turn, contributed to the development of Christianity, because the Bible was translated into Armenian. In our opinion, the renaissance of the Armenian alphabet contributed to its revival after the interrupted phase of the development of Armenian culture and contributed to its subsequent development with renewed vigor.

«Дистанционный монтаж» Артавазда Пелешяна в семиотической перспективе (на основе теоретических работ режиссера)

The article explores the renowned Armenian documentary filmmaker Artavazd Pelechian (born 1938), whose acclaim surged in 1988, marking the end of the Soviet era, when many figures of Armenian culture became peripatetic. Through a semiotic lens and metalanguage, the article delves into the core elements of “Montage-at-aDistance,” examining the interplay between image and sound/music, and the generative potential inherent in the director’s cinematic language. It particularly emphasizes a distinct montage language, founded not on coupling, docking, and splicing film frames (akin to Dziga Vertov and Sergei Eisenstein), but on decollage, influenced by Marcel Merien’s principle. Pelechian employs a theory of distance to deconstruct the narrative, thus embedding the emotional depth of documentaries. His “Montage-at-aDistance” aligns typologically with T.S. Eliot’s theory of personalized poetry and emotion. A theory of distance catalyzes for the viewer's intellectual engagement, as it eliminates everything deemed “superfluous” and “noise” (in a semiotic context) from the visual series. The author’s message is dispersed throughout the film text and, at the structural and pragmatic level, is crafted into a “frame” structure, assembling a cinematic “picture” within a frame.

Mass Destruction of Armenian Cultural Heritage during the Hamidian Massacres (1894-1896)

The policy of destruction of the Armenian cultural heritage in the Ottoman Empire began with the conquest of Western Armenia and has continued until the present day. Over the centuries, Armenian culture, as part of the Empire’s Christian culture, has either been destroyed spontaneously, in vast swathes or undergone various manifestations of neutralisationby various Turkish regimes. The first part of this article will outline the approaches made by Genocide study theorists concerning the origin and definition of the term “cultural genocide” existing until today, including the attempts at revising or even re-naming it. The second part outlines the chronology of Armenian cultural heritage destruction. A detailed description of the policy of demolition of the Armenian cultural heritage during Hamidian massacres as a manifestation of vandalism or cultural genocide will also be presented.

Artistic practices of Valery Hegamyan in the context of Ukrainian-Armenian intercultural ties

The purpose of the work is to investigate the artistic and stylistic practices of V. Hegemyan, which he applied in the process of creative activity in the context of the history of art of Armenia and Ukraine. Emphasis is placed on clarifying biographical facts about the artist and teacher. The research methodology consists in the application of general scientific and special research methods, in particular, analysis, synthesis, induction and deduction, generalization and abstraction, semitic, descriptive, which collectively allowed to consider artistic practices in the work of the artist V. Hegamyan. The scientific novelty of the work lies in the fact that for the first time the facts of the artist's creative biography were introduced into scientific circulation, which made it possible to reveal the intercultural influences of the environment of Ukrainian and Armenian cultures on the formation of V. Hegamyan's creative style. Conclusions. V. Hegamyan's creativity and teaching are frankly synthetic in nature. Both of his activities are based on classical traditions, but as a result are qualitatively new artistic phenomena. Hegamyan's artistic style is a kind of symbiosis of masterful realism and modernist principles of symbolism, expressionism, fauvism, and constructivism embodied in monumental techniques. V. Hegamyan's genre work is widely represented: from studies of classics, landscapes, still lifes, wonderful realistic and conventional portraits to huge genre paintings. There are strong ethnic motifs in the artist's work: both Armenian and Ukrainian, while the artist nevertheless operates with general aesthetic categories, finding his own symbolic and figurative meaning.
 Keywords: artistic practices, work of Valery Hegamyan, Armenian artists, painting, graphics, intercultural relations, Ukrainian art, artist-pedagogue.

Parabiblical tradition in mediaeval Armenia and its social location(s)

The aim of this paper is to commence seeking an answer to the following question: What function did the developed parabiblical (pseudepigraphical) literature play in medieval Armenian culture? The question is approached by the examination of markers in the texts that might show the use to which they were put and reveal the contexts in which the various types of literature were composed, or preserved, or developed. The issues of folk tales and oral transmission are raised. The use of iconographic sources and their relationship to literary documents, oral or written, are investigated.

Iconographical, Symbolical, and Technical Features of Cover-Curtains with Central Round Medallions Executed in Marash Embroidery

This article observed cover-curtains with round central medallions executed in Marash “secret stitch embroidery”. Most iconographic and symbolic details of the ornaments and their manner of execution and expressions are compared and discussed. Close observations related to the fabrics, threads and their color solutions, used to make these cover-curtains, are discussed as well. These covers or rug-like textiles preserved the ancient symbolic decorative elements that had existed in the Armenian Highlands for millennia. With their unique iconography and symbology, these covers developed throughout the Middle Ages and became an inseparable and important part of other art forms known in Armenian culture. As rugs, these covers were displayed in the Armenian home as a blessing and an evil preventing charm for the entire family.

Հայաստանյան առաջին կինոթատրոնների ինտերիեր դիզայնը

The purpose of this article is to present the interior design of the first cinemas in Armenia, the stages of their historical development, to clarify the role and significance of the first cinemas in Armenian culture. The task of the work is to analyze and detail the interior design of cinemas in the late 19th century and the 30s of the 20th century in large and relatively small Armenian cities such as Yerevan, Gyumri, Vanadzor, Dilijan, to highlight interesting facts related to their creation, to clarify details of interior design components. Descriptive and analytical methods are used in the article. As a result of the study, it can be said that cinemas were an important part of the development of Armenian film culture. The Armenian audience's love for cinema was directly related to the design of cinemas. The first cinemas in Yerevan, Gyumri and other cities were one of the important components of urban life. The study of documentary materials and archives allowed an insight into the interior design of the first cinemas, as well as other architectural and aesthetic details. In addition, as a result of this study, cinemas that were previously unknown and unstudied appeared.

The Role of Mashtots and Ulfila in the Creation of a New Civilizational Identity

The article is devoted to two educational movements of the turn of the 4th–5th centuries — Gothic and Armenian. Outstanding enlighteners — Ulfila and Mashtots — were at the origin of these movements and laid the cornerstone in the construction of the national identity of their peoples. In either case, it was a civilizational project designed to put an end to paganism and “latent barbarism” in the periphery of the Roman world, which was rapidly declining. The invention of their own alphabets and the translation of the Holy Scriptures was aimed at organizing a national Church, which in its turn was the main tool for creating a national identity. The introduction of the Goths to the “peoples of the Scriptures” was an initiative, first of all, of Ulfila himself, but his project was actively supported by the Roman authorities. However, there is no indication in the sources that Ulfila’s project was backed by the Gothic elite. In contrast, Mashtots’ educational project from the very beginning met with the approval and active encouragement of all strata of Armenian society, primarily, the church and secular elites, as well as common people. In fact, it was a nationwide project, and the seeds of Armenian enlightenment fell on kindly soil. This explains the surge in Armenian culture in the fifth century.

Чтение и библиотека в жизни Ованеса Туманяна

Tumanyan was one of the most widely read Armenian writers. With the help of self-education, the study of a huge number of scientific and artistic books, the poet, who did not finish school, became publicist, literary critic, and author of scientific research. The proof of Tumanyan’s great love for the book is his personal library of 10.000 items. Tumanyan became a symbol of book giving. The birthday of the great poet, February 19, is enshrined in the history of Armenian culture as the Book Giving Day.

Seminaria naukowe Ośrodka Badań nad Kulturą Ormiańską w Polsce w latach 2019-2022 – przyczynek do poznania najnowszego etapu kształtowania się armenologii polskiej

SEMINARS OF THE RESEARCH CENTER FOR ARMENIAN CULTURE IN POLAND IN THE YEARS 2019-2022
 This is the thematic analysis of tutorial meetings, organised in the Research Center for Armenian Culture in Poland (Polish Academy of Arts and Sciences in Krakow) in the years 2019-2022.

The poetic world of Arshak Chopanyan

The poetics of the great figure of Armenian culture, cultural critic, literary critic, publisher, editor, national public figure, poet, writer, playwright, translator, propagandist of Armenian culture in the West A. Chopanyan undoubtedly bears the stamp of ideology and poetics of symbolism, in particular, French and Russian symbolism, but the subtle and deep structure of his unique imaginative thinking is based on the tradition of national poetry, also due to his temperament. In the process of researching the poetic world of Arshak Chopanyan, taking into account the available valuable meta-text, structural-semiotic, psychological, comparative-historical methods, principles of historical and cultural research, interdisciplinary approaches were combined. The main themes, motifs and symbols of Chopanyan's poetic world were highlighted and emphasized, among which the national-patriotic theme, the theme of life and death, the motif of silence, the aesthetics of white, olfactory motifs, the relationship of the moment and eternity, fairy tales and boredom of life, dreams and reality, symbols butterfly, star, shooting star, lily, sea, parallels sea-life, sea-woman, woman-life and woman-death. These symbols form a unique sign system. By studying the semantic nuances and interactions of these symbols, analyzing the historical and cultural context, comparative historical research, and some interdisciplinary observations, the overall picture of Chopanyan's poetic world was revealed. A number of Chopanyan's poems about love, about the cosmic thought, in particular, a poem with the refrain "Hate, but don't forget me", revealing one of the layers of the psychology of love, can be presented to the court of world poetry. Short and long poems, poems in prose, white, blue or,, gloomy,, sonnets, rondos, geghons and taghs with personal, national and universal significance are ultimately aimed at revealing the mystery of existence.

Azerbaijan’s Policy of Forced Cultural Appropriation after the Second Artsakh War: The Case of Dadivank Monastery

The article presents the methods of the continuing forced appropriation of Armenian cultural monuments in Artsakh by the Republic of Azerbaijan’s functionaries after the Second Artsakh War.1 The “Albanisation” of Armenian cultural monuments in Mountainous Karabagh in the scientific field began in the 1950s, when it was imperative to reinforce the Azerbaijani people’s cultural identity, based on the foundations laid between 1920 and 1930 and to try to make all the peoples living in the Southern Caucasus equally indigenous to the region. One of the “victims” of the “Albanisation” of the cultural heritage of the Armenians of Mountainous Karabagh is the monastic complex of Dadivank, located in the Karvachar area of the Shahumyan region. Passing under Azerbaijani jurisdiction in November 2020, it was presented to the international community as part of the historic-cultural heritage of the descendants of the Caucasian Albanians, which should be under the jurisdiction of Udis and Azerbaijanis. With this aim in view, the Azerbaijani leadership instituted the policy of forced appropriation and alienation of Armenian heritage from the Armenian culture through various means, which will be shown in detail below. This article will also demonstrate how the theory of “Albanisation” began and developed in Azerbaijani SSR historiography and what “scientific bases” were – and are – being brought forward during the Soviet and post-Soviet eras by historians to present Dadivank as Albanian. It will also reveal the directions Azerbaijan is following for the appropriation of Armenian cultural legacy, rebranding it as Albanian, and foisting this theory on the international public.

Psychological and sociocultural adaptation of medical university international students in Armenia

Moving from one academic environment to another and relocating in a new country to study is becoming an increasingly common occurrence. The article deals with the problem of socio-cultural adaptation of foreign students who come to study in Armenia at medical universities. Based on the results of a study conducted in 2021-2022, the degree of adaptability of Indian students to the new social, cultural and academic realities of Armenia was studied. The object of the study was 140 students who arrived from India and study at the Mkhitar Gosh Armenian-Russian International University. It has been established that the most important factors for successful adaptation to new conditions for a foreign student are overcoming the language barrier, creating a favorable communication system of interaction, getting used to the conditions of the Armenian education system. Most of the respondents agreed that they like the Armenian culture and that there are linguistic similarities between the two peoples. This fact can serve as a basis for successful adaptation to the Armenian reality. Conclusion: This study identifies to lighted critical issues in supporting international students with adaptation problems to university life in Armenia. It is on this basis that we can talk about symmetrical adaptation. The results of the study can be used in educational activities to optimize the process of adaptation of foreign medical students.