Relevant bibliographies by topics / Armenian photography

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Armenian photography'

Author: Grafiati
Published: 20 February 2023
Last updated: 28 July 2025

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Journal articles on the topic "Armenian photography"

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Schulze Tanielian, Melanie. "Defying the Humanitarian Gaze: Visual Representation of Genocide Survivors in the Eastern Mediterranean." Humanity: An International Journal of Human Rights, Humanitarianism, and Development 14, no. 2 (2023): 186–211. http://dx.doi.org/10.1353/hum.2023.a916996.

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Abstract: This article is a critical encounter with the genre of humanitarian photography through the case study of images of women survivors of the Armenian Genocide. Viewing photographs taken as part of the American humanitarian campaign in the Eastern Mediterranean, the article exposes the universalizing modality of humanitarian photography while exposing mass atrocities as perpetuating the silencing of victims by reducing them to symbols of suffering. Through an indexical, forensic, and critical fabulatory engagement with the humanitarian photograph, the article aims to unsettle the univer
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Koureas, Gabriel. "Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East." Memory Studies 12, no. 5 (2019): 493–513. http://dx.doi.org/10.1177/1750698019870689.

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This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory the
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al-Hajj, Badr. "The Armenian Pioneers of Middle Eastern Photography." Jerusalem Quarterly, no. 31 (June 20, 2007): 22. https://doi.org/10.70190/jq.i31.p22.

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Khachibabyan, Mane. "“The Unexamined Life is not Worth Living”: The Armenian Genocide." WISDOM 2, no. 5 (2014): 21. http://dx.doi.org/10.24234/wisdom.v2i5.29.

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The article discusses the work, research and efforts Professor Armen Marsoobian has done towards explicating and representing the fragments left from the Armenian Genocide period. Armenian Genocide has had its huge impact on the lives of Armenian people and the national ideology.Professor Marsoobian through photography exhibitions and his books, retells the story of Armenian people and events of 1915 to the world. The past needs to be examined, for we need to clearly understand the reasoning behind historical events, in order to prevent and be more secure in future.
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Abbaspour, Mitra M. "A Hero and a Homeland for Armenians in America: Photography and the Construction of Cultural Memory." International Journal of Middle East Studies 42, no. 1 (2010): 13–16. http://dx.doi.org/10.1017/s0020743809990584.

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Both portrait and landscape, historical scene and contemporary monument, and, ultimately, both engraving and photograph, this image contains the keys to a significant story from modern Armenian cultural history. In the years following World War I hundreds of Armenians immigrated to the United States, where through the creation of objects such as this picture, they reconstituted their community, emphasizing the longevity of their history, their unity as a minority culture, and their identity as a diaspora.
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Low, David. "Photography and the Empty Landscape: Excavating the Ottoman Armenian Image World." Études arméniennes contemporaines, no. 6 (December 30, 2015): 31–69. http://dx.doi.org/10.4000/eac.859.

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Clarke, David, and Nina Parish. "Memory Books: Mapping Histories of Ethnic Coexistence." Diaspora 24, no. 2 (2024): 256–78. https://doi.org/10.3138/diaspora.24.2.2025.02.24.

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This article examines Armenian artistic and cultural practitioners’ uses of memory-mapping to create representational spaces in book form that challenge hegemonic national representations of territories with multiple, conflicted histories. Such mappings often draw on cartographic documents, but the projects discussed here reflect a broader definition of mapping as process. Vigen Galstyan and Nelli Shishmanyan's (2020) project Before the Crossfire. After the Wall provides a photographic record of everyday life in Armenian villages whose Azerbaijani populations have left since 1991 and tensions
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Low, David. "Resistance and Renewal: Ottoman Armenian ‘Soldiers’ Photography’ during the First World War." zeitgeschichte 45, no. 2 (2018): 155–76. http://dx.doi.org/10.14220/zsch.2018.45.2.155.

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Der Matossian, Bedross. "Reimagining a Lost Armenian Home: The Dildilian Photography Collection, written by Armen T. Marsoobian." Journal of the Society for Armenian Studies 28, no. 2 (2022): 317–18. http://dx.doi.org/10.1163/26670038-12342765.

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Ersoy, Ahmet A. "Low, David. Picturing the Ottoman Armenian World : Photography in Erzurum, Harput, Van and Beyond." Photographica 8 (2024): 208–10. http://dx.doi.org/10.4000/11pbf.

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Dissertations / Theses on the topic "Armenian photography"

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Galstyan, Vigen. "TRANSLATING RUINS: Photography of Cultural Heritage and the Project of Armenian Cultural Modernity, 1860-1904." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20230.

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Perceptions regarding the uptake of photography in the Middle East during the medium’s ascendancy in the second half of the nineteenth century have transformed profoundly since the publication of Nissan Perez’s pioneering 1988 publication Focus East. Scholars working in art history, anthropology, cultural, gender and post-colonial studies have come to acknowledge that the Middle East was a pivotal site and subject for the development of photography’s aesthetics and disciplinary regimes. However, the legacy of the Armenian photographers who played a dominant role in this context, remains one of
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McParland, Janet. "The Social Functions of Memory and the International Politics of Recognition: The Case of the Armenian Genocide." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42214.

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Turkish denial of the Armenian Genocide is the most persistent case of institutionalized genocide denial in recorded history (Stanton, 2010). Through conducting a multimodal critical discourse analysis based on Foucauldian theories of power and exploring the socio-political dimensions of cultural trauma, memory, and photography, this thesis examines genocide denial in the case of the Armenian Genocide and seeks to understand why the ways in which we choose to remember the past matters. Genocide denial provides a compelling case for identifying how discourses legitimize power, politically, judi
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Nazarian, Vana Sirarpi. "Familiar Faces and Nostalgic Places: Family Photographs as Instruments of Memory and Identity in the Montreal Armenian Community." Thesis, 2012. http://spectrum.library.concordia.ca/974743/4/Nazarian_MA_F2012.pdf.

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Canada is home to many ethnic communities, some displaced from their homelands by political conflicts, genocide, and war. Within these diasporic communities, there is a need to collect and preserve whatever evidence remains as a way of holding onto the past, its memories and traditions, and to express the greater loss. My thesis investigates a small corpus of family photographs, taken prior to and after the Armenian Genocide (1915-1923), which have been passed on through generations. My interest lies in determining the meaning of these images in relation to a history of trauma in the family.
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Books on the topic "Armenian photography"

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Monzoni, Antonella. Ferita armena: Armenian wound. Gente di fotografia edizioni, 2015.

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Andonian, Michelle. This picture I gift: An Armenian memoir. Veduta Books, 2015.

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author, Tʻalalyan Lusine, та Tʻalalyan Lusine, ред. Zarubyani kanaykʻ. Heghinakayin hratarakutʻyun, 2014.

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photographer, Pichikyan Hamazasp, ed. I hush Hamazasp Pichikyan. Eldorado, 2018.

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(Istanbul, Turkey) DEPO. Bearing witness to the lost history of an Armenian family: Through the lens of the Dıldılıan brothers, 1872-1923. DEPO, 2013.

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Gallery, Photographica FineArt, ed. Journey to Armenia. Polyorama edizioni s.r.l., 2014.

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Institut du monde arabe (France). Hē Anatolē tōn armeniōn phōtographōn. Ekdoseis Tsoukatou, 2008.

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Rollier, Patrick. Arménie, année zéro. Éditions D'une rive à l'autre, 2019.

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Hambardzumyan, Ṛafayel. Haverzhi champʻordnerě. Ṛ. Hambardzumyan, 2005.

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Mnoyan, Vigen. Mer metserě. Limush, 2018.

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Book chapters on the topic "Armenian photography"

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Low, David. "Resistance and Renewal: Ottoman Armenian ‘Soldiers’ Photography’ during the First World War." In Krieg und Fotografie. V&R unipress, 2018. http://dx.doi.org/10.14220/9783737008495.155.

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Palmer, Rog. "Uses of Declassified corona Photographs for Archaeological Survey in Armenia." In Archaeology from Historical Aerial and Satellite Archives. Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-4505-0_16.

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"The Art of Portrait Photography." In Reimagining a Lost Armenian Home. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350987760.0010.

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Spampinato, Beatrice. "Un caso di studio attraverso le carte d’archivio." In Eurasiatica. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-469-1/012.

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On 27th October 1968 the architect Adriano Alpago Novello opened the photography exhibition Armenian Architecture. 4th-18th Century, organised in collaboration with the Department of Humanistic Studies of the Milan Polytechnic University. In light of the documentation of CSDCA’s (Study and Documentation Centre of Armenian Culture) Archive, it is possible to assume the curatorial choices that made this exhibition, which passed by thirty cities of three different continents, a large international success. The paper aims to examine this particular case of study that covers an important step in th
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"Escaping Constantinople, or A Little History of Photography In The Ottoma Empire." In Picturing The Ottoman Armenian World. I.B. Tauris, 2022. http://dx.doi.org/10.5040/9780755600427.ch-001.

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"The Art of Portrait Photography: Dildilian Studio Work, Kokkinia, Greece, 1923–1940." In Reimagining a Lost Armenian Home. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350987760.0018.

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"Memories of a Lost Armenian Home: Photography and the Story of the Dildilian Family." In Reimagining a Lost Armenian Home. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350987760.0005.

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Bevilacqua, Livia, and Giovanni Gasbarri. "Percorsi di architettura armena a Roma Le missioni di studio e la mostra fotografica del 1968 tra premesse critiche e prospettive di ricerca." In Eurasiatica. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-469-1/003.

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In 1966 a team of Italian scholars coordinated by Géza de Francovich inaugurated a series of study trips to the historic regions of Armenia, with the aim of collecting extensive photographic documentation of medieval churches and monasteries. The first result of these study trips was the photographic exhibition Architettura medievale armena (Rome, June-July 1968), a pioneering event that helped in spreading knowledge of Armenian art and architecture among a broader public in Italy and that became a springboard for new research projects in the eastern Mediterranean territories. This paper provi
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Cheishvili, Ana. "Iconographic Heritage of the Caucasus The Photographic Collections of Baron de Baye." In Armenia, Caucaso e Asia Centrale Ricerche 2022. Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-667-1/007.

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Famous archaeologist and ethnographer Joseph Berthelot Baron de Baye (1853‑1931) travelled to the Caucasus in 1897‑1904. The photographs taken during his travels are kept in museums, archives and private collections in France. We have developed an integrated database for the consolidation of these photo collections, which allowed us to specify the place, the date of the shots, as well as to identify the people and architectural monuments. The article analyses the importance of these photographs in terms of the development of the history of photography and also discusses their role in cultural
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Wong, Hertha D. Sweet. "Peter Najarian’s Illustrated Memoirs." In Picturing Identity. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640709.003.0002.

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This chapter discusses Peter Najarian’s illustrated memoirs, autobiographical narratives in book format that incorporate drawings, paintings, and photographs: Daughters of Memory, The Great American Loneliness, and The Artist and His Mother. The son of a survivor of the Armenian Genocide, Najarian filters the story of his Armenian American family and community through Western art and literature, depicting his legacy of transgenerational trauma. In his assemblage of texts and images, Najarian grapples with the complex issues of representation, memory, history, and subjectivity, forcing readers
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