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

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Journal articles on the topic "Armenian photography"

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Koureas, Gabriel. "Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East." Memory Studies 12, no. 5 (October 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 theory, the article shifts these debates forward by adopting the concept of ‘assemblage’. The article concentrates on the aesthetics of photographs produced by Armenian photographic studios in Istanbul during the late nineteenth century and their relationship to the present through the work of contemporary artists Klitsa Antoniou, Joanna Hadjithomas, Khalil Joreige and Etel Adnan as well as photographic exhibitions organised by the Centre for Asia Minor Studies, Athens, Greece.
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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 (January 14, 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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Khachibabyan, Mane. "“The Unexamined Life is not Worth Living”: The Armenian Genocide." WISDOM 2, no. 5 (December 1, 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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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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Low, David. "Resistance and Renewal: Ottoman Armenian ‘Soldiers’ Photography’ during the First World War." zeitgeschichte 45, no. 2 (July 16, 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 (April 4, 2022): 317–18. http://dx.doi.org/10.1163/26670038-12342765.

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Mikayelyan, Gor A., Sona V. Farmanyan, and Areg M. Mickaelian. "Armenian Astronomical Heritage and Big Data." Proceedings of the International Astronomical Union 15, S367 (December 2019): 269–72. http://dx.doi.org/10.1017/s174392132100048x.

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AbstractAstronomy in Armenia was popular since ancient times and Armenia is rich in its astronomical heritage, such as ancient and medieval Armenian calendars, records of astronomical events by ancient Armenians, the astronomical heritage of the Armenian medieval great thinker Anania Shirakatsi, etc. Armenian astronomical archives have accumulated vast number of photographic plates, films and other careers of observational data. The Digitized Markarian Survey or the First Byurakan Survey, is the most important low-dispersion spectroscopic database. It is one of the rare science items included in UNESCO “Memory of the World” Documentary Heritage list. The Byurakan Astrophysical Observatory (BAO) Plate Archive Project (2015–2021) will result in digitization and storage of some 37,000 astronomical plates and films and in creation of an Electronic Database for further research projects. Based on these data and archives and development of their interoperability, the Armenian Virtual Observatory was created and joined the International Virtual Observatory Alliance.
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I., Ghandar. "EGYPTIAN PHOTOGRAPHY TRENDS FROM 1875 TO 1900 THROUGH SOME OF ARMENIAN PHOTOGRAPHERS AND THEIR WORKS." Egyptian Journal of Archaeological and Restoration Studies 5, no. 1 (June 1, 2015): 1–11. http://dx.doi.org/10.21608/ejars.2015.6860.

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Kubrak, Oskar, Paulina Kubrak, and Mkrtich H. Zardaryan. "In search of the camp of the IV Scythian legion near ancient Artaxata: research at Pokr Vedi 2015–2018." Polish Archaeology in the Mediterranean, no. 29/2 (December 31, 2020): 409–32. http://dx.doi.org/10.31338/uw.2083-537x.pam29.2.17.

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During the last years of Emperor Trajan’s reign, the Legio IV Scythica was stationed in the capital of Armenia at that time, Artaxata. It had made its way there within the scope of the Roman campaign against the Parthians. Its presence was immortalised on stamped rooftiles, bricks and a monumental inscription discovered by the southern border of the present-day village of Pokr Vedi. The inscription carved into limestone confirms the building activities of the Roman army. Similar inscriptions were frequently placed on the gates and most important buildings in legionary camps. Polish and Armenian archaeologists undertook a joint search for the supposed camp of the Fourth Scythian Legion in the vicinity of the present-day village of Pokr Vedi, where the above-mentioned construction inscription had been found. The field surveys conducted within the framework of the Pokr Vedi Project were mainly of a non-invasive character. The following were applied: surface prospection, aerial photography, interviews with the inhabitants, scanning of part of the terrain and geophysical measurements done using two methods: electrical resistivity and magnetic measurements. The accumulated data enabled the selection of sites in which survey trenches were located
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Kopczyńska-Kłos, Hanna. "Projekty genealogiczne Fundacji Kultury i Dziedzictwa Ormian Polskich." Lehahayer 5 (May 15, 2019): 297–305. http://dx.doi.org/10.12797/lh.05.2018.05.17.

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Genealogical Projects of the Foundation of Culture and Heritage of Polish ArmeniansThe Foundation of the Culture and Heritage of Polish Armenians located in Warsaw collects both original and copied birth certificate registries dated at the times from 17th to 20th centuries and coming from Armenian Catholic parishes. The Foundation catalogues and translates them from Kipchak, Armenian and Latin into Polish. Additionally, it collects information on grave inscriptions and photographs. All data is being stored electronically and published online. It serves the purpose of compiling genealogical trees of Armenian families living in Poland (over 5000 people in 9 generations) and creating an online biographical dictionary of Polish Armenians (WikiOrmianie, over 1200 biograms).
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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 the more contested and ambivalent aspects of nineteenth-century photographic studies. Focusing on the photography of historical architecture and material heritage by the Abdullah Frères, Ohannes Kurkdjian, Mateos Papazyants and Gabriel Nahapetian, this thesis is the first attempt to view these indigenous photographers within the framework of the Armenian cultural revival of the 1860s-1900s. My research in archives and libraries in Yerevan and Paris has uncovered a wealth of new primary material that demonstrates the significant involvement of these photographer-scholars in the construction of modern idioms of collective selfhood. Based on these findings, this dissertation points to the ideological function of historiographical photography in Armenian scholarly networks as representational tools that negotiated the conflicting demands of the nineteenth-century international photographic market and the agenda of nation-building. Made as documentary evidence of architectural and archaeological patrimony, the photographs in question operate as testing grounds for an iconography of visual self-representation for a dispersed and fragmented ethno-cultural group. As such, the case studies I present here can be considered a novel mode of visual historiography that traverses geo-political, linguistic and cultural divides in order to establish a critically constituted, shared framework for the collective imaginary. Though lacking a centralised rhetoric, this discursive project metabolised through consistent and prominent efforts, which have been left out of analyses pertaining to early Middle-Eastern photography. Following the philological discovery of historical architecture by the local intelligentsia in the early-nineteenth century, Armenian historiographical photography eventually become a device for an empowering restaging of Armenian identity and culture. Drawing on psychoanalytical theory of melancholia, I examine how this process led to the reconstitution of the ‘Armenian’ image as a simultaneously historicised and modern phenomenon. The study of Armenian ‘heritage’ photography provides an understanding of the transcultural aspect of nineteenth-century indigenous photography, which operated outside of the binaries of colonial resistance and self-orientalisation. Amalgamating the aesthetic modalities of European visual culture with traditional iconography drawn from local, medieval traditions, this photographic output enabled a dialectical view of the ‘national’ past as a product of historical and cultural developments. The syncretic, critical nature of such photography ultimately offered its Armenian makers and consumers more fluid and emancipatory avenues of self-representation in the context of emergent, nineteenth-century discourses on national belonging.
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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, judicially, and globally. By applying a highly theoretical lens, I will consider how history is a highly political project of memory upheld by systems of power, while considering the role of eyewitness narration and documentation. It is in this tension between postmodern conceptualization of the regulatory function of discourse and the existence of historical fact that my thesis situates itself. My research will be informed primarily by Foucauldian (1982, 1995, 2003) theories of power and discourse; the unique role of witness photography in times of atrocity (P. Balakian, 2015; Batchen & Prosser, 2012; Clarke, 1997); and theories of trauma and memory (Alexander, 2004; Halbwachs & Coser, 1992; Herman, 1997; Wertsch & Roediger III, 2008).
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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. Considering the history of displacement and the subsequent creation of multiple homes, this thesis explores family photographs that have travelled with families to different places that these Armenian families have temporarily called "home." In that sense, I regard the physical function of the photographs as instruments to transmit memory, as well as their contributions to the assertion of cultural identity. Through their portrayed subjects, these images serve as visual support for three distinct functions: remembering people from the past; recalling places once called ‘home’; and transmitting cultural heritage and traditions. �
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Books on the topic "Armenian photography"

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Kumkapı Ermeni balıkçıları: Armenian fishermen at Kumkapı = Gumgabui hay dzknorsnerě : 1952. Beyoğlu, İstanbul: Aras, 2010.

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Hay lusankarichʻner. Erevan: Heghinakayin hratarakutʻyun, 2007.

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Aghtamar: A jewel of medieval Armenian architecture ; compiled by Ara Sarafian ; text Stepan Mnatsakanian ; translated into Turkish by Zuhal Bilgin ; photographs Kadir Çıtak = Ahtamar : ortaçağ ermeni mimarlığnın mücevheri / derleyen Osman Köker ; metin, Stepan Mnatsakanian ; türuçeye çeviri, Zuhal Bilgin ; fotoğraflar, Kadir Çıtak. İstanbul: Gomidas Institute, 2010.

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cent, Ghazar Pʻarbetsʻi 5th, and Kouymjian Dickran, eds. History of the Armenians ; and, The letter to Vahan Mamikonean: A photographic reproduction of the 1904 Tiflis edition. Delmar, N.Y: Caravan Books, 1987.

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Vassilian, Hamo B. Ethnic cuisines: A comprehensive bibliography in the English language : includes Armenia, Georgia, Greece, Cyprus, India, Nepal, Sri Lanka, Israel, and Islamic nations (over 50 countries and cultures), also includes 300 photographs. Glendale, CA: Armenian Reference Books, 1996.

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Reimagining a Lost Armenian Home: The Dildilian Photography Collection. Bloomsbury Publishing Plc, 2017.

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Picturing the Ottoman Armenian World: Photography in Erzerum, Kharpert, Van and Beyond. I. B. Tauris & Company, Limited, 2022.

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Memory of Trees. Kehrer Verlag Heidelberg, Klaus Kehrer, 2014.

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Mitford, Timothy Bruce. Discovering Rome's Eastern Frontier. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192843425.001.0001.

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An account, primarily academic, of the eastern Roman frontier extending from northern Syria to the western Caucasus, across a remote and desolate region 800 miles from the Aegean. This is the product of solo exploration of sensitive territory in challenging conditions over four decades, to discover the material remains of Rome’s last unexplored frontier. Barely visited and until now effectively unknown, it followed the Euphrates valley, passed over and through two great ranges, and penetrated the harsh mountains, ‘cleansed’ of Armenians and Greeks, of Armenia Minor and south of the Black Sea. From Trapezus a chain of forts stretched along the Pontic coast to the foothills of the Caucasus. The geographical framework introduces frontier installations as they occur: fortresses and forts, roads, bridges, signalling stations, and navigation of the Euphrates. It is illustrated with large-scale maps, observations of consuls and travellers, memories of Turkish and Kurdish villagers, notes and photographs of a way of life little changed since antiquity, and encounters with the modern world. The process of discovery was mainly on foot, with local guides and staying in villages, following ancient tracks, and conversing with great numbers of people – provincial and district governors, village elders and teachers, police and jandarma, farmers and shepherds, and everyone else. So there are encounters with treasure hunters and apparent bandits; arrests and death threats; Armenian massacres and crypto-Christians; memories of saints, caravans and the Russian advance in 1916; tensions between Kurds and Turks; the menace of the PKK; escorts and village guards; birds, bears and wild boars; rafts and fishing; earthquakes.
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Genocide, commemorations, documents, histories, photographs, Armenian Diaspora, USA. New Delhi: Library of Congress Office, 2006.

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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, 155–76. Göttingen: 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, 279–90. New York, NY: 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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"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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Spampinato, Beatrice. "Un caso di studio attraverso le carte d’archivio." In Eurasiatica. Venice: 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 the overview of the Italian historiography on Armenian art studies.
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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. Venice: 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 provides a critical reconstruction of the context and circumstances that led to the organisation of this exhibition.
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Wong, Hertha D. Sweet. "Peter Najarian’s Illustrated Memoirs." In Picturing Identity, 19–58. 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 to look anew.
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"A Photographic Homage to Those Who Perished." In Reimagining a Lost Armenian Home. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350987760.0011.

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