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Journal articles on the topic 'Writing, Armenian'
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1
Ohanjanyan, Anna. "Creedal Controversies among Armenians in the Seventeenth-Century Ottoman Empire." Journal of the Society for Armenian Studies 27, no. 1 (September 22, 2020): 7–69. http://dx.doi.org/10.1163/26670038-12342708.
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Abstract In the late seventeenth century along the lines of European confession-building and Ottoman sunnitization, the Armenian Apostolic Church initiated the reshaping of its orthodoxy in the face of growing Tridentine Catholicism. Through the contextualization of the polemical writing attributed to the famed Constantinopolitan Armenian erudite Eremia Čʻēlēpi Kʻēōmiwrčean, this article discusses the ways of detecting “bad innovations” in the doctrine and practice of Armenian communities in the Ottoman realms, and the doctrinal instruments used for enforcing “pure faith” towards social disciplining of the Apostolic Armenians.
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Sargsyan, Tatevik E. "Minas Bżyszkian i jego relacja o Ormianach Lwowa." Lehahayer 5 (May 15, 2019): 159–93. http://dx.doi.org/10.12797/lh.05.2018.05.07.
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Minas Bzhyshkyan and His Report on Armenians in LwówMinas Bzhyshkyan, an armenologist, philologist, pedagogue, historian, ethnographer, and musicologist was a member of the Armenian Catholic Mechitarists order. He travelled widely and took scrupulous notes of his journeys, which aided writing his monograph A Journey to Poland and other countries where exiles from Ani live. His work, crucial for research on Armenians in old Poland, was originally published in 1830 in Venice. It was written in classical Armenian, an ancient language of a highly ornate quality. The book is a valuable source of information on geography, architecture, and epigraphy of peoples living on territories travelled by Bzhyshkyan, as well as on the past and present of the Armenian diasporas in the Central Europe and the Black Sea Basin countries. The author presents data on the Armenian community of Lwów and evaluates it against information from other sources.
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Ter-Sarkisiants, A. E. "Sixteen Hundred Years of Armenian Writing." Anthropology & Archeology of Eurasia 46, no. 1 (August 2007): 75–94. http://dx.doi.org/10.2753/aae1061-1959460106.
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Baer, Marc David. "Sultanic Saviors and Tolerant Turks: Writing Ottoman Jewish History, Denying the Armenian Genocide." Zeitschrift für Religions- und Geistesgeschichte 73, no. 1 (January 24, 2021): 39–51. http://dx.doi.org/10.1163/15700739-07301005.
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What has compelled Jews in the Ottoman Empire, Turkey, and abroad to promote a positive image of Ottomans and Turks while they deny the Armenian genocide and the existence of anti-Semitism in Turkey? The dominant historical narrative is that Jews expelled from Spain in 1492 were embraced by the Ottoman Empire, and then later, protected from the Nazis during WWII. If we believe that Turks and Jews have lived in harmony for so long, then it is hard for us to accept that the Turks could have committed genocide against the Armenians. In this article, the author confronts these convictions and circumstances to reflect on what moral responsibility the descendants of the victims of one genocide have to the descendants of victims of another. Baer delves into the history of Muslim-Jewish relations in the Ottoman Empire and Turkey to tease out the origin of these many tangled truths. He aims to bring about reconciliation between Jews, Muslims, and Christians, not only to face inconvenient historical facts, but to confront it and come to terms with it. By looking at the complexities of interreligious relations, Holocaust denial, genocide and ethnic cleansing, and confronting some long-standing historical stereotypes, the author sets out to tell a new history that goes against Turkish antisemitism and admits to the Armenian genocide.
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Weller, AnnaLinden. "Byzantophilia in the letters of Grigor Magistros?" Byzantine and Modern Greek Studies 41, no. 2 (September 18, 2017): 167–81. http://dx.doi.org/10.1017/byz.2017.14.
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The letters of Grigor Magistros Pahlavuni demonstrate the multivalent methods by which Grigor negotiated being an Armenian aristocrat in service to the foreign power of Byzantium. While they display a Hellenic aesthetic and make use of the norms of Byzantine letter-writing culture, they nonetheless show that Grigor Magistros maintained a strong Armenian cultural identity even when holding a Byzantine title.
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Kruse, Marion. "THE SPEECH OF THE ARMENIANS IN PROCOPIUS: JUSTINIAN'S FOREIGN POLICY AND THE TRANSITION BETWEEN BOOKS 1 AND 2 OF THE WARS." Classical Quarterly 63, no. 2 (November 8, 2013): 866–81. http://dx.doi.org/10.1017/s0009838813000335.
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The speech of the Armenian embassy to Khusrow in the opening of Book 2 of Procopius' Wars has received little scholarly attention. Historians propose that this embassy, along with those sent by the Goths and Lazi, provided Khusrow with a pretext for violating the Eternal Peace in 540. As for the speeches themselves, they have been considered formulaic set pieces, requirements of the genre in which Procopius was writing. However, Anthony Kaldellis has argued that Procopius uses the Armenians as a mouthpiece for his own criticisms of Justinian, namely that the emperor is to blame for ending the Eternal Peace and that he behaved like an oriental despot. While these literary and historical readings are not incompatible, none fully explicates the mechanics and function of the Armenians' speech.
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Lessersohn, Nora. "Write to return: The memoir of Hovhannes Cherishian and the restoration of the Armenian hearth." Memory Studies 12, no. 5 (October 2019): 565–75. http://dx.doi.org/10.1177/1750698019870706.
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In this essay, I will analyze the memoir of Hovhannes Cherishian (1886–1967), an Ottoman Armenian shoemaker and genocide survivor from what is now southern Turkey, as an attempt to “restore the ruined ancestral [Armenian] hearth” and render “part of the lost legacy of [his] forebears” back unto “the possession of the Armenian community.” By analyzing examples of transcultural memories from Cherishian’s text, I will highlight the ways in which Cherishian uses his memoir to restore (and thus return to) a complex, multicultural, pre-genocide Ottoman Armenian existence. I will first locate Cherishian’s memoir in nostalgia and memory studies as a way to draw out his role as an author. I will then explore aspects of Cherishian’s text that reveal that which he lost to the genocide—and thus that which he restores through his memoir. In conclusion, I will discuss briefly the importance of memory sources for writing Ottoman and Armenian history.
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Glant, Tibor. "1956 at Ten and Beethoven’s Tenth." Acta Neerlandica, no. 15 (July 10, 2020): 185–99. http://dx.doi.org/10.36392/actaneerl/2019/15/9.
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This article looks at Edward Alexander, an American diplomat who served in Hungary between 1965 and 1969, and his various writings. An Armenian-American man of letters, Alexander served in psychological warfare in World War II, then joined cold war radios and later the Foreign Service. Our focus is on the years 1965-67, when he served as Press and Cultural Affairs Officer at the Budapest Legation. Available sources include his official diplomatic reports, his rather large Hungarian state security file, a lifetime interview conducted under the aegis of the State Department in the late 1980s, a book on Armenian history, and a semi-autobiographical intelligence thriller he penned in 2000. These sources allow for a complex evaluation of his performance in Hungary and of his writing skills on account of his attempt to fictionalize his own exploits.
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Keedwell, Andy. "An Approach to Report Writing in the World of Work." Armenian Folia Anglistika 1, no. 1-2 (1) (October 17, 2005): 104–12. http://dx.doi.org/10.46991/afa/2005.1.1-2.104.
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The British Council has elaborated certain materials aimed at developing the writing skills, especially report writing, of the students who have already reached upper-intermediate level of English competence. The article presents the process of the use of the abovementioned materials among Armenian junior diplomats and other people working in other fields. It further analyzes the methods that will help overcome linguistic difficulties that might arise while writing a report.
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Danforth, Nicholas. "The writing of modern Turkey." Nationalities Papers 41, no. 6 (November 2013): 1136–46. http://dx.doi.org/10.1080/00905992.2013.801418.
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In its title, Uğrur Ümit Üngör'sMaking of Modern Turkey(2011) offers an elegant indication of how much has changed in the academic literature on Turkey since Bernard Lewis's 1961Emergence of Modern Turkey.Lewis believed modern Turkey emerged; Üngör reminds us it was made. The cover pictures tell the rest of the story: where my copy of Lewis's book shows a bustling street scene, Üngör's boldly offers the ruins of an abandoned Armenian church. If it is an exaggeration to say that modern Turkey no longer represents the triumph of progress, but instead a systematic act of destruction, it is increasingly clear that younger historians, both Turkish and non-Turkish, have shifted their focus from what was gained with the advent of the republic to what was lost.
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Aktokmakyan, Maral. "Serpouhi Dussap’s Mayda; or, The Birth of Armenian Women’s Literature through the Palimpsestic Narrative of Feminism." Journal of Middle East Women's Studies 17, no. 2 (July 1, 2021): 157–76. http://dx.doi.org/10.1215/15525864-8949429.
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Abstract Mayda (1883), Serpouhi Dussap’s first eponymous novel, quickly met the patriarchal reaction among the Armenian male intelligentsia of Constantinople over the issue of female emancipation. Today the significance of Dussap’s best-known novel and feminist ideology is both welcome and appreciated yet not with much gratifying analysis of the literary and intellectual ventures invested in this first-time production. This article seeks to place this literary event among the feminist literature scholarship of the nineteenth century. For this initial venture to bring recognition to Armenian feminist literature, the present study introduces the general literary scene in the Ottoman Armenian community in the late nineteenth century, then outlines the critical detraction leveled against the novel, only to produce a new reading that reflects the feminist literary strategy of the time, namely, the palimpsestic mode of writing. Finally, the reading suggested in this article is linked to another underrated work, the mythical tale of Arachne. Reworking Nancy K. Miller’s theory of “Arachnologies” into the context of Armenian women’s literature, the analysis of Arachne’s tale is the “mytheme,” the foundational unit, so to speak, that encapsulates the feminist literary ideology of nineteenth-century Armenian women’s literature.
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ANDRIKYAN, ARMAN. "Writing Centers of Iranian-Armenian Spiritual Dioceses in XIV-XV Centuries." Messenger of Armenian State University of Economics, no. 1 (2021): 162–73. http://dx.doi.org/10.52174/1829-0280_2021_1_162.
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Jeck, Udo Reinhold. "Heraclitus armeniacus." Bochumer Philosophisches Jahrbuch für Antike und Mittelalter 22 (December 31, 2019): 1–50. http://dx.doi.org/10.1075/bpjam.00038.jec.
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Abstract It is a great loss to philosophy that Heraclitus’s writing was lost in antiquity, for the surviving fragments rarely contain more than one sentence. Often, they are succinct but concise statements that contain little text. So, when one succeeds in augmenting important fragments with a few words or illuminating their context, there is progress in Heraclitus research. Sometimes, however, this requires recourse to lineages outside the Greek-Latin tradition. An example of this is provided by fragment 123, which has played an important role since its discovery in the Orationes of Themistius: in the 20th century, Martin Heidegger used it several times for his idiosyncratic interpretation of Heraclitus and the philosophy of the Pre-Socratics. However, he did not consider that an Armenian variant of this fragment had become available at the beginning of the 19th century. This Armenian variant derives from a treatise of Philo of Alexandria which has only been transmitted in Armenian and offers more text than the Greek version. As Diels-Kranz did not include this Armenian source in their edition of The Fragments of the Pre-Socratics, this Armenian variant fell into oblivion and was not known to Heidegger either. Now this article, after introductory remarks on the transmission of Heraclitus’s sayings in Themistius and Philo’s Heraclitea, focuses on the history of the Armenian version of fragment 123 and its primary interpretations. It concludes with a reconstruction of the remarks which Ferdinand Lassalle dedicated to this fragment in both its Greek and Armenian versions in 1858.
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Asatryan, Karina. "Metrical Relations Between Siamanto’s Poetry and Medieval Armenian Verse." Armenian Folia Anglistika 6, no. 1-2 (7) (October 15, 2010): 169–75. http://dx.doi.org/10.46991/afa/2010.6.1-2.169.
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Siamanto’s poetry is closely connected with the metrical characteristics of medieval poetry. Writing in accordance with the basic structural standards of free verse he connected the poetic meters of Armenian medieval lyrical poetry with various stylistic elements of modern poetry of the start of the century. The article presents poetic meters which were used by both several medieval poets, and Siamanto. The structural changes carried out by Siamanto have also been partly addressed in the present article.
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Zhylkybay, G., and E. Abdukamalova. "THE USE OF THE POSTPOSTIONS ON ARMENIAN WRITTEN MONUMENTS." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 58–65. http://dx.doi.org/10.51889/2020-3.1728-7804.10.
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Possessing stable theories developed in connection with the problems of other parts of speech, postpositions are one of the most important and urgent problems for Kazakh linguistics, and in Turkology. To study the history of Turkic languages, especially such languages as Kazakh, which belongs to the group of Kipchak languages, it is important to conduct research based on the materials of historical and comparative grammar, written monuments of outdated Kipchak languages in writing a specific historical grammar of each language. Currently, the conjunctions are little studied in the Kazakh language. Written monuments of the middle ages, including written heritage in the Kipchak language that came down with the Armenian script, occupy a special place in the study of the history of the formation and development of word combinations. The relevance of the topic of the article lies in the determination of the features of conjunctions on the materials of such historical records.
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Aloyan, M. A. "Some Features of Diagnostic Research of Short Handwriting Objects Performed in the Armenian Language." Theory and Practice of Forensic Science 16, no. 2 (July 30, 2021): 116–21. http://dx.doi.org/10.30764/1819-2785-2021-2-116-121.
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The article discusses a specific area of handwriting expertise – research of the completed short notes with deliberately changed handwriting. The author emphasizes that the expertise of these objects due to their small volume is a highly complex identification problem. The article pays special attention to short notes made in the Armenian language, highlighting and describing their specific features such as the degree of compression, slowing down the pace of movement with an unreasonable stop of the writing instrument, presence of blunt initial and final strokes. The slant is an essential factor in expert research of the short notes performed with the deliberate change of writing. Also, the change in the tempo leads to a sharp simplification of letter structures and incomplete execution of letter elements; simultaneously, complications of individual letters or their elements can be observed. The author analyzes all these statements in-depths using specific examples.
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Heero, Aigi. "Verflochtene Sprachen und Kulturen: Gohar Markosjan-Käspers Romane als Beispiele des mehrsprachigen Schreibens." Interlitteraria 26, no. 1 (August 31, 2021): 105–21. http://dx.doi.org/10.12697/il.2021.26.1.8.
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Intertwined Languages and Cultures: Gohar Markosjan-Käsper’s Novels as Examples of Multilingual Writing. The present article analyses the phenomenon of multilingualism in the novels of Gohar Markosjan-Käsper (1949–2015) and discusses her life and work in the socio-political context of the former Soviet Union (in relation to language and cultural politics). Markosjan-Käsper was an Armenian-born writer who spent most of her life in Estonia and wrote her books in Russian. Accordingly, her works originated in a contact zone of different languages and cultures. This article highlights her novels Helena and Penelopa as examples of transcultural writing and analyses the manifestations and functions of multilingualism in these works. The study shows that a number of topics and motifs that are present in German-language transcultural literature also appear in Markosjan-Käsper’s novels (for example cultural comparison, self-discovery in a foreign culture). The multilingualism can be seen in these novels both explicitly and implicitly: in addition to Russian, other languages such as Armenian, Estonian, English, and Latin are used, with numerous indirect references to these languages. Furthermore, various references to world-famous novels such as Ulysses by James Joyce and Master and Margarita by Michail Bulgakov are analysed.
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Nyman, Jopi. "Writing the Armenian genocide in Eve Makis's The Spice Box Letters : trauma, diaspora, community." Brno studies in English, no. 2 (2020): 231–47. http://dx.doi.org/10.5817/bse2020-2-13.
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Avetisyan, Vladimir Rudolfovich. "Institute of Oriental Languages (Lazarevsky Institute) in the works of the Soviet historian and orientalist A.P. Baziyants." Samara Journal of Science 6, no. 2 (June 1, 2017): 182–85. http://dx.doi.org/10.17816/snv201762219.
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The author of the paper examines the contribution of the Soviet historian-orientalist Ashot Patvakanovich Baziyants to the study of the Lazarev Institute of Oriental Languages. In the Soviet period, historians repeatedly touched upon this topic. However, they carried out the studies of the educational institution exclusively from certain aspects: financial and economic, pedagogical, educational, etc. The first person in historiography, who studied the subject in a comprehensive manner, was A.P. Baziyants. The result of his work was the writing of a number of works based on the study of a significant layer of archival materials from the state archives of the USSR. In his works he was one of the first to analyze the problems of Russian-Armenian relations on the example of an educational institution in the context of rapprochement of Russian and Armenian cultures, familiarizing Armenian youth with the advanced European culture and adaptation to Russian society. The historian touched on this topic in all his key works. Subsequently, all subsequent studies of the activities of the Lazarev Institute of Oriental Languages were based on the results of scientific works by A.P. Baziyants. In addition, the experience of the educational institution in the processes of adaptation of migrants to Russian society, disclosed in his works, at the present stage acquires a particular urgency.
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Cowe, S. Peter. "An Armenian gospelbook in the SOAS collection (MS 11521)." Bulletin of the School of Oriental and African Studies 57, no. 2 (June 1994): 360–66. http://dx.doi.org/10.1017/s0041977x00024939.
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Although the existence of 12 Armenian manuscripts in the Library of the School of Oriental and African Studies has been known to scholars for some time and partial listings of their contents have appeared, they have not as yet been the subject of any more detailed publication. The collection features only one gospelbook which, in consequence of losing its original binding, also lacks its final colophon which would inform us precisely on such matters as date, provenance and, where appropriate, patron.From other data the copyist can be identified as Movsēs. Moreover, since he describes himself simply as scribe (grič‘), we may deduce that he occupied only one of the minor clerical orders. He refers to assistance he received in lining the manuscript, which probably explains the awkwardness of the openings of two of the gospels where, despite the page being arranged as usual for two columns of writing, the scribe has elected to ignore the divisions and treat it as one. Similarly, his reference to his teacher confirms the impression left by his employment of the diminutivegrč‘akat one point that he was still under instruction in the art at a monastery. This is further compatible with the comparatively low level of technical excellence exhibited by the illuminations. Paleographically, the codex might be assigned to the seventeenth century, a date supported by some of the later grammatical forms which appear in the surviving colophons.
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Marino, Stefano. "Writing Songs after Auschwitz." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 62, no. 1 (2017): 26–41. http://dx.doi.org/10.28937/1000107634.
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Der Beitrag beginnt mit Adornos provokanter Aussage »Nach Ausschwitz ein Gedicht zu schreiben, ist barbarisch« und fragt, ob Kunst im Zeitalter der Völker- morde überhaupt noch möglich ist. Im Anschluss untersuche ich Adornos Begriff des Engagements in der Kunst, der ja eng mit dieser Frage verbunden ist, und die Bedeutung von »Auschwitz« in seiner Philosophie. Adornos Vorstellung von »wahrer« Kunst (d. h. Kunst mit einem relevanten »Wahrheitsgehalt«) führt dazu, den Gegenbegriff »falsche« oder »unwahre« Kunst, insbesondere Massenkultur und Popmusik, zu untersuchen. Adorno hätte es wahrscheinlich als eine Art Blasphemie angesehen, über Themen wie den Völkermord Pop- oder Rock-Songs zu schreiben und aufzuführen, aber das hier vertretene Argument ist, dass seine diesbezügliche Meinung auf Vorurteilen beruht, die seine Kunst- und Musikphilosophie negativ beeinflussen. Die Lieder über den Armenischen Völkermord, die von der Heavy Metal-Band System of a Down geschrieben und aufgeführt wurden, dienen dem Autor als ein Beispiel, das ein kritisches Überdenken einiger Aspekte von Adornos Ästhetik fördern soll. In this paper I start with Adorno’s famous and provocative statement “To write poetry after Auschwitz is barbaric”, aimed at asking whether art was still possible in the age of genocides. Then, I take into examination Adorno’s concept of commitment in art – which is closely related to these questions - and the meaning itself of the notion of “Auschwitz” in Adorno’s philosophy. Analyzing what Adorno called “true” art (i.e. art provided with a relevant “truth content”) leads to take into consideration what he understood vice-versa as false or untrue art, in particular mass culture and popular music. Adorno would have probably considered as a sort of blasphemy or heresy the idea itself to write and perform pop-rock songs about such subjects as genocide, but I argue that his views rely on some prejudices that negatively condition his philosophy of art and especially of music. The songs on the Armenian genocide written and performed by the heavy metal band System of a Down serve here as a profitable example that may be of help to foster a critical rethinking of some aspects of Adorno’s aesthetics.
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Bayarsaikhan, Dashdondog. "Kirakos Gandzakets‘i, as a Mongol Prisoner." Ming Qing Yanjiu 22, no. 2 (March 12, 2019): 155–63. http://dx.doi.org/10.1163/24684791-12340027.
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AbstractArmenian Historian Kirakos Gandzakets‘i was captured by Mongol noyan Molar during the first wave of Mongol conquest of the Caucasus. He was in captivity for about a year. This gave him a certain understanding of the history and religion of the Mongols as well as some knowledge of Mongolian.On Molar’s orders, Kirakos was taken to serve the Mongols’ secretarial needs, writing and reading letters.In this paper I argue that the Armenian source of Kirakos Gandzakets‘i is a first-hand history on the early Mongols in the Caucasus, and the Mongolian vocabulary that Kirakos gives in his work ranks among the earliest Mongolian glossaries in non-Mongol sources.
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Gutman. "Ottoman Historiography and the End of the Genocide Taboo: Writing the Armenian Genocide into Late Ottoman History." Journal of the Ottoman and Turkish Studies Association 2, no. 1 (2015): 167. http://dx.doi.org/10.2979/jottturstuass.2.1.167.
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Аревшатян, А. С. "On the Issue of the 16-Mode System in the Theoretical Treatises on Music by Grigor Gapasakalian." OPERA MUSICOLOGICA, no. 1 (March 26, 2020): 40–52. http://dx.doi.org/10.26156/om.2020.12.1.003.
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На протяжении своей истории церковная певческая практика и песнетворчество постоянно выходили за рамки, установленные церковным каноном Восьмигласия. Это отчетливо прослеживается при анализе мелодических образцов самых различных гимнографических национальных традиций. Статья посвящена 16-ти ладовой системе, упоминаемой в музыкально-теоретических трактатах видного константинопольского армянского музыканта-теоретика Григора Гапасакаляна (1740-1808) Книжка, называемая Музыкальное собрание , Книга о музыке и Книга Восьмигласия . Изучение этих трудов показало, что речь идет о некоем расширенном каноне , включающем 4 основных, 4 плагальных, 4 медиальных и 4 фторальных лада, что соответствует 16-ти ладам асмы в теории византийской церковной музыки. Проясняется сущность и назначение 16-ладовой системы, существовавшей и у греков, и армян, что свидетельствует о ней, как о сложной, разветвленной и многоярусной оригинальной модальной системе, не исчерпывающей тем не менее ладового многообразия живого певческого искусства. Throughout its history, church chanting practice and chant writing has constantly gone beyond the framework established by the ecclesiastical canon of the Octoechos. This can be clearly seen in the analysis of melodic samples of the most diverse hymnographic national traditions. The article is dedicated to the 16-mode system mentioned in the theoretical treatises on music by the prominent Armenian music theorist from Constantinople Grigor Gapasakalian (17401808) the Small Book Called Music Collection, the Book on Music and the Book of Octoehos. The study of these writings showed a presence of an extended canon that included 4 essential, 4 plagal, 4 medial and 4 phtoral modes, these corresponding to the 16-mode system of the asma in the byzantine theory of church music. This clarifies that the essence and purpose of the 16-mode system existed both among the Greeks and Armenians. And that testifies it as a complex, ramified and multi-tiered original modal system, which nonetheless does not exhaust the modal variety of living chanting art.
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Bezirgan-Tanış, Bengi. "History-writing in Turkey through securitization discourses and gendered narratives." European Journal of Women's Studies 26, no. 3 (June 13, 2019): 329–44. http://dx.doi.org/10.1177/1350506819855407.
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Since the official history-writing is a defining aspect for the formation and consolidation of nation-states, it is crucial to explore the attempts to legitimize particular discourses regarding historical atrocities. The selective representations of the past, in this regard, contradict counter-memories and propagate hegemonic patterns of remembrance and/or forgetting of past crimes. This article accordingly addresses how the representations of counter-memories as threats to national security and the silencing of gender-specific experiences and remembrances by sanctioned historical narratives become manifest in the history-making of the Turkish nation-state. By focusing on the Holocaust and the Armenian Genocide as two cases of crimes against humanity, it is intended to discuss the shifting positions and roles that the Turkish state adopts in the remembering and forgetting of historical offences. The article argues that through prioritizing national security and national interests, the securitization of memory reconstructs collective traumas of distinct ethnic and religious groups on the basis of a nation-state’s perceived internal and external threats. It also claims that the competing voices of women and their distinct experiences and patterns of remembrance and forgetting past atrocities are suppressed for the sake of the preservation of national security. By incorporating the issue of gender into the debate on the securitization of memory, this article elucidates the mismatch between positions of femininity and masculinity within the official national historiography of the Turkish state.
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Aktokmakyan, Maral. "A Self-Portrait of the Armenian Artist as Homo Sacer: The Biopolitical Limits of Hagop Mintzuri's Life Writing." Biography 43, no. 2 (2020): 341–60. http://dx.doi.org/10.1353/bio.2020.0032.
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Jeck, Udo Reinhold. "‚David Armenius philosophus‘." Bochumer Philosophisches Jahrbuch für Antike und Mittelalter 21 (December 31, 2018): 49–84. http://dx.doi.org/10.1075/bpjam.00023.jec.
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Abstract At the centre of the philosophical tradition of Armenia is a thinker who in the Western tradition carries the Latin names ‘David Armenius philosophus’ or ‘David invincibilis’. Today, international philosophical-historical research is increasingly concerned with the enigmatic corpus of the works that have been handed down under the name of David. The historical-critical exploration of early Armenian philosophy and its specific achievements, as well as its intense relationship to late antique Byzantine thought, were, however, initiated by important scholars of Western Europe at the beginning of the 19th century. Before this time, there were few reliable references to ‘David’ in Western European research literature. It was the orientalist Carl Friedrich Neumann (1798–1870) who brought about the turnaround. He studied in Heidelberg with Creuzer and Hegel, learned the Armenian language from the Mechitarists in Venice, and found inspiration in Paris. Then he examined the available Armenian and Greek sources of the Corpus Davidis and collected his findings in a monograph in 1829. Neumann’s deeply philosophical mind is clearly revealed in this treatise, entitled Mémoire sur la vie et les ouvrages de David. With great certitude, he traced down the pieces of information from David’s writings, as well as from the related ancient Armenian sources, which had great relevance for further research. These findings included communications on the biography of David and his own works, as well as on Aristotle, late antique Aristotelianism and Neoplatonism. Almost inevitably, Neumann also fell victim to errors, which, however, does not diminish his importance as a pioneer of research into late antique Armenian philosophy. Neumann put David on the map for Western scholars, thus prompting a wider interest in the hitherto isolated Armenian philosophical thought for the first time.
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Mullaney, Thomas S. "The Font that Never Was: Linotype and the “Phonetic Chinese Alphabet” of 1921." Philological Encounters 3, no. 4 (November 27, 2018): 550–66. http://dx.doi.org/10.1163/24519197-12340049.
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Abstract Since the invention and globalization of hot metal printing in the United States and Europe, engineers and entrepreneurs dreamt of a day when linotype and monotype technologies would absorb Chinese script into its growing repertoire of non-Latin writing systems, just as they had Arabic, Armenian, Burmese, Devanagari, Hebrew, Korean, and over one hundred other scripts. In the early 1920s, the much-celebrated release of a new font—the “Chinese Phonetic Alphabet” by Mergenthaler Linotype, and later by the Monotype corporation—led many to believe that the day had finally come. This article charts out the quixotic history of Linotype and Monotype’s efforts to enter the Chinese market, examining the linguistic challenges that had long prevented China’s absorption into a Western-dominated “hot metal empire,” the design process by which artists in Brooklyn and London crafted these new fonts, and ultimately the cultural misunderstandings that doomed the projects to failure.
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Khachatrian, Liernik. "SOUND IMAGE OF DUDUK IN CHAMBER‑SYMPHONIC WORKS OF A. TERTERYAN AND R. ALTUNYAN." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 129–43. http://dx.doi.org/10.34064/khnum1-58.08.
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Introduction. Today duduk is one of the most popular folk instruments. Modern academic composers include it in their works, and it is significant that it appears in large conceptual compositions, such as a symphony. Despite the significant interest of researchers in the fine art of playing the duduk, the sound image of this instrument is almost not assigned a role, and this article aims to fill this gap. Formulation of the problem. Today duduk is one of the most popular folk instruments. Modern academic composers include it in their works, and it is significant that it appears in large conceptual compositions, such as a symphony. Despite the significant interest of researchers in the fine art of playing the duduk, the sound image of this instrument is almost not assigned a role, and this article aims to fill this gap. Analysis of the latest publications on the topic. Metaphor is a rather unstable term in the perception of art and has many unstable categories. O. Dyachkova paid special attention to the aspect of artistic metaphor, and the knowledge of symbols in music through the understanding of metaphor and up to the metaphysics of images was carried out by Yu. Nikolaevska. Also in this article we rely on the study of themes in Armenian music (J. Zubaryan) and the role of duduk in modern music (M. Rukhmyan). The purpose of the article is to reveal the sound image of the duduk in the chamber-symphonic works of A. Terteryan and R. Altunyan through the selection of the category of timbre of metaphor. Methods. In order to realize this purpose, many general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussions. In this article it is offered to investigate the phenomenon of the timbre of metaphor through the sound image of a duduk on the example of symphonic works of today. A characteristic review of R. Altunyan’s symphonic works from the standpoint of using such an archaic instrument with a long history as a duduk is given. Symbolic programmaticity, sound aura, genre-stylistic signs, melody based on the Armenian monody are all business cards of A. Terteryan’s main works. An analytical thorough consideration of the Third Symphony of this composer has been made, where the great role of the timbre of the duduk, which closely interacts with the zurna, bells and other participants of this work, is evident. The connection between modern music making and the traditions of ancient times has been traced, which makes it impossible to exist without each other. We have to reveal the sound image of the duduk in the chamber-symphonic works of A. Terteryan and R. Altunyan through the selection of the category of timbre of metaphor. Metaphor is not a rare phenomenon in modern art. It is everywhere, from literature and painting to manifestations in architecture. Even in the music sphere, it is not possible without it and is used in different variations. O. Dyachkova for the first time systematized all existing theories of metaphor, considering it from different specific angles of musicology. Thus, we will consider metaphor as a general aesthetic principle of musical art, a phenomenon of re-intonation and as a special form of dialogue of the artist with the world. «Metaphor as a kind of artistic discovery depends on the intonation and semantic memory of the listeners». With this thesis, O. Dyachkova offers us to comprehend the full depth of this concept and to understand that metaphor is also closely connected with semantics and intonation, which directly explosively interacts with the timbre. Therefore, the derivation of the concept of «timbre of metaphor» has a very clear basis. It is further suggested to pay more attention to the duduk and its remarkable timbre possibilities in the zone of metaphorical phenomena. The timbre of the duduk occupied a high position in the art of cinema, as well as in small academic genres, especially songwriting. The weaving of a duduk into the score of a work, its figurative and semantic load in it, differs depending on the author’s intention. For example, in “Let the Field” for chamber string orchestra and bells with bagpipes by R. Altunyan, Armenian folk instruments seem to remind of themselves, cry out for the revival of their tradition. The composer, using an ensemble of four bagpipes (soprano, alto, tenor, baritone) and zurna, seeks to preserve the ancient traditions of the Armenian people, as he emerges from the situation of dying tradition, almost pictorially painting the “empty field” in which he, the composer, revives this tradition. Duduk performs a slightly different semantic load in A. Terteryan’s Third Symphony, composed in 1975. A. Terteryan’s work took an important place in the development of Armenian music in line with the modernist trends of the second half of the twentieth century. It became an example of the most radical combination of innovation and tradition and marked the beginning of a new stage in the development of Armenian symphony. This is largely due to the specifics of the composer’s thinking, which is based on the principle of connection and interaction of a kind of two “stylistic” poles – the musical art of West and East. Researchers consider A. Terteryan’s symphony from the point of view of neo-symbolism, which emerged in the art of the second half of the twentieth century, which defined “the scope and depth of cosmosophical concepts, the universalism of the musical language of symphonies”. They are based on the sonorous technique of writing, colorful undifferentiated layers of musical fabric. The atom of symphonic music is sound, which is “represented by the simplest primary element of music”; it also carries the main semantic load, is a “grain” from which the whole theme of the work can be grown. In A. Terteryan’s symphonies symbolic programmaticity is connected with genre-stylistic signs of “music of the past”, which activates the «memory of music». At the same time, it is the ancient folk instruments that bear this semantic symbolic load, which embodies the incorruptible images of the folk culture of Armenia. Thus, the duduk in A. Terteryan’s work connects modernity and gray antiquity, giving music special national features, distinguishing it from the general context of symphony of the twentieth century. Conclusions. The sound image of the duduk in the chamber-symphonic works of R. Altunyan and A. Terteryan reflects and explains the interpretation of the timbre of the metaphor, which is quite new for the perception of such a not entirely academic instrument by musicologists.
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El-Ashmouni, Marwa. "INTERROGATING EGYPTIAN NATIONALISM: TRANSCULTURAL ARCHITECTURE AT THE RAGGED EDGE OF EMPIRE." International Journal of Architectural Research: ArchNet-IJAR 12, no. 1 (March 29, 2018): 36. http://dx.doi.org/10.26687/archnet-ijar.v12i1.1309.
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This paper examines the discursivity of nationalism in Egypt during the late nineteenth century; a period of vibrant political and architectural transformation that manifests the ragged edge of British empire. To explore this discursive terrain, this paper examines the transnationalism of multiethnic intellectuals and architectural themes. Progressive intellectuals, including the Armenian and Jewish Italian Adib Ishaq, and Yaqub Sanu—all disciples of the originally Persian scholar Jamal al-Din al-Afghani—coincided with the design of ambivalent architectural themes. The architecture and urban context of this period, whether patronized by the colonized or the colonizer, reflected the notion of transculturation through mutual fluctuation and ambivalence between traditional and imperial expressions. Projects such as the Egyptian Museum, Muntazah Palace, Awqaf building, the Lord residency, and the New Hotel, coincided with a context that interprets the ‘contact zone’—a concept posited by the theorist Mary Louise Pratt in Imperial Eyes: Travel Writing and Transculturation (2007). For Pratt, the contact zone is a site of creative possibility, where innovative exemplars of transculturation, resulting in the mutual transformation of subjects and histories after their trajectories intersect in a space of copresence. The aim is to fray polarized representations of nationalism and to better appreciate the progressive creative and intellectual transformation that shaped Egypt ahead of the militaristic or religious expressions of nationalism that dominated the twentieth century.
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Zarinebaf, Fariba. "Intercommunal Life in Istanbul During the Eighteenth Century." Review of Middle East Studies 46, no. 1 (2012): 79–85. http://dx.doi.org/10.1017/s2151348100003025.
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Historians of the Middle East and the Balkans have paid little attention to intercommunal relations in Ottoman cities prior to the onset of nationalism and the spread of communal violence in the nineteenth and early twentieth century. Each national and religious community has, therefore, focused on writing and imagining its own history with very little attention to the larger social milieu, economic and social conditions, and interactions outside confessional boundaries in the pre-modern period. The history of the Jewish community has received more attention from scholars, while that of the Greek and Armenian communities has been largely ignored. The literature on Islamic cities also tends to emphasize the homogenous composition of residential neighborhoods in contrast to the diversity of the market place. I will show that in Istanbul, residential quarters remained mixed in their social and religious make-up until Muslim migration from the Balkans during the nineteenth century enhanced the ratio of Muslims. Moreover, the debate among Ottomanists has focused on the existence or absence of themilletsystem (autonomous communal organizations) prior to the nineteenth century. Scholars have argued that themilletsystem was a nineteenth century development and that there was great fluidity and interaction among the minority communities and the Muslim majority in Ottoman cities. In the nineteenth century, Tanzimat reforms also centralized the administration of confessional communities and set legal boundaries between them that used to be more porous. Elsewhere, I have discussed the plural legal system in eighteenth century Istanbul.
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Reşat Kasaba and Çağlar Keyder. "Writing History: Armenians in the Empire." New Perspectives on Turkey 19 (1998): 147–51. http://dx.doi.org/10.1017/s089663460000306x.
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Gurunluoglu, Aslin, Raffi Gurunluoglu, and Tatevik Hakobyan. "A medieval physician: Amirdovlat Amasiatsi (1420–1495)." Journal of Medical Biography 27, no. 2 (January 16, 2017): 76–85. http://dx.doi.org/10.1177/0967772016682726.
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We aimed to acquaint the reader with a medieval physician, Amirdovlat Amasiatsi, who lived and practiced in the 15th century Anatolia. Amirdovlat wrote several books on medicine mainly focusing on phytotherapy and pharmacology using medicinal plants, animal-derived products and minerals. All his works were written in Middle Armenian, spoken Armenian language of the time. In his writings, Amirdovlat described unique recipes that represent a portrayal of medical knowledge and practice at the time in Anatolia where he lived and worked. He discussed the physical and therapeutic properties as well as geographic distributions of various plants and minerals, using different languages, mainly Turkish, Greek, Arabic, French and Persian. Amirdovlat’s works not only enhanced our understanding of Armenian medical practices but also provided great deal of information on those of Ancient Greco-Roman as well as Islamic world, demonstrating close relationship of Armenian medicine with Greco-Roman and Islamic medicine. Amirdovlat accomplished this by amalgamating the past and contemporary practices of his time. In this regard, Amirdovlat’s works, in particular “Useless for the Ignorant”, are very unique playing a significant role in preserving traditions and heritage of different cultures.
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Olley, Jacob. "Remembering Armenian music in Bolis: Komitas Vardapet in transcultural perspective." Memory Studies 12, no. 5 (October 2019): 547–64. http://dx.doi.org/10.1177/1750698019870698.
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This article explores the relationship between music, memory and transcultural processes in late Ottoman Istanbul by studying the writings of the Armenian composer and musicologist Komitas Vardapet (1869–1935). It describes the changing political and intellectual landscape in which Komitas and his contemporaries redefined the collective musical memory of the Armenian people through a process of secularisation and internationalisation. I argue that there was a shift from local transculturalism, in which musical memories were to some extent shared between different ethnic and confessional groups in the Ottoman Empire, to a more global and modern transculturalism, in which consciously differentiated and often antagonistic national musical memories were constructed and disseminated across non-local spaces through new media and discursive strategies. In the process, rural music practices were appropriated from their local and unofficial contexts by urban, cosmopolitan elites and purposefully inscribed as monuments of Armenian cultural memory which have endured to the present.
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Quataert, Donald. "The Massacres of Ottoman Armenians and the Writing of Ottoman History." Journal of Interdisciplinary History 37, no. 2 (October 2006): 249–59. http://dx.doi.org/10.1162/jinh.2006.37.2.249.
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Little of the writing about the massacres of Armenians, which occurred in 1915, not long before the Ottoman Empire's demise, has utilized Ottoman-language materials. Yet, Ottomanists have a responsibility to research these events and their origins to promote a more complete understanding of them. Providing explanations of the violence that states organize against their own subjects and citizens should be the task of historians able to read the documentary record of the states concerned.
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Avdoyan, Levon. "Visions of Ararat: Writings on Armenia; Christopher J. Walker." Digest of Middle East Studies 7, no. 2 (April 1998): 95–98. http://dx.doi.org/10.1111/j.1949-3606.1998.tb00320.x.
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Harutyunyan, Angela. "Three sequences of site-writing." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 212–27. http://dx.doi.org/10.5937/saj1202212h.
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The article is comprised of three exercises of "site writing" interrupted by theoretical and methodological intermissions. The sequences take the reader to a topographical and exegetical journey into various images, memory traces and narratives that treat reality as raw material for dreaming. Adopting architectural historian Jane Rendell's critical framework of site writing, the article aims at radical spatialization of the sites through which narratives emerge, memories are revisited and possibilities for the future are suggested. Site writing is not writing about spaces, but writing spaces, engaging the materiality of the images and the phenomenological encounters with them through spatiality and positioning of the images. Thus, images become sites through which the narrative unfolds. The image-sites that form the three key sequences include the juxtaposition of two towns-Kars and Giumryin Turkey and in Armenia respectively in a way that the images of the townscapes neither comment, nor repeat, but double each other; a journey through Los Angeles' Westin Bonaventure hotel and its relationship to the body and the landscape; and a reading of the latent possibilities of the material in artist Kasper Kovitz's landscape paintings and installations.
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Galip, Özlem Belçim. "Writing across Kurdistan." Middle East Journal of Culture and Communication 9, no. 3 (2016): 257–74. http://dx.doi.org/10.1163/18739865-00903003.
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Gauri Viswanathan asks ‘where is English literature produced?’ and answers not only ‘in England, of course’. This is also true of Kurdish literature, which is not only produced ‘in Kurdistan, of course’. In fact, due to forced migrations, political conflicts and massacres, Kurds have mainly produced literary works outside Kurdistan. Because there is no state and there are no internationally recognized Kurdish territories, the understanding of what we mean by the term ‘Kurdistan’ is blurred; hence, the location of Kurdish literary work may change, as does the development of Kurdish literature, whether or not it is produced in Kurdish territory. Thus, compared to some other literary traditions, the Kurdish tradition is shaped in multiple geographies in terms of writing and publishing processes, multilingual and transnational affiliations, constant mobility and a diverse sociopolitical context that challenges and complicates the national literature, and vividly exemplifies the heterogeneity and discontinuity of national cultures. Drawing on debates on national literature and ideological texts, in this article I offer insights into Kurdish novels through readings of six novels from six spaces (Iraqi, Iranian, Syrian and Turkish Kurdistan, Soviet Armenia and the Kurdish diaspora) in order to explore the relationship between the texts and the boundaries they are set in, and to compare texts and the way they respond to different sociopolitical contexts. In these six fictional texts, I argue that the themes are usually identified with the realm of sociopolitical conflict and tension and the articulation of loss, trauma, war, the longing for return, and disappointment with the return. Furthermore I suggest that in contrast to idealized imaginary, home and nation, and patriotism in the case of statelessness or exile, these texts are articulated through critical discourses that challenge the idea of a unified national literature, and cannot be united under the sound of a single voice or stable ground.
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Pollak, Nancy. "Mandel'shtam's Mandel'shteln (Initial Observations on the Cracking of a Slit-Eyed Nut, OR a Couple of Chinks in the Shchell)." Slavic Review 46, no. 3-4 (1987): 450–70. http://dx.doi.org/10.2307/2498097.
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But the impervious geodeWas entered, and its inner crustOf crystals with a ray cathodeAt every point and facet glowedIn answer to the mental thrust.Robert Frost, “All Revelation”A crucial year for Osip Mandel'shtam was 1930: it was in October of that year, in Tiflis, on the way back from Armenia, that poetry returned to him, after five years during which he wrote almost no verse. The Armenia poems (numbers 203-218) are among the first of the “new verse,” and, with their theme of penance for unproductivity and attempt to transform the factors of disturbance—the sense of limitation, confinement, deprivation—into sources of new energy, they testify to Mandel'shtam's current concern with the operations of his work. Moreover, at this juncture Mandel'shtam gives programmatic attention to the principles of his writing.
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Baliozian, Ara, Vahram Mavian, Agop J. Hacikyan, and Arsene Mamourian. "Selected Writings of Vahram Mavian (1926-1983): A Unique Voice in Armenian Diaspora Literature." World Literature Today 67, no. 2 (1993): 441. http://dx.doi.org/10.2307/40149300.
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KHACHIBABYAN, Mane. "Non-Verbal Communication and Cues in Armenian-American Literary Discourse." WISDOM 9, no. 2 (December 25, 2017): 75–91. http://dx.doi.org/10.24234/wisdom.v9i2.192.
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Communication is foundation of life. Literature is a universal form of communication. Writers communicate beliefs, ideas, experiences, feelings and thoughts. Armenian-American literature is a huge source of communication. Armenian-American writers who migrated to the USA throughout various time periods bring unique storylines and techniques to literature. Nonverbal communication is known to be the more honest part of human communication. Understanding communication requires combined analysis of verbal and nonverbal communication. This research identifies features of nonverbal communication incorporated in literary texts. Nonverbal cues incorporated in literary texts are seemingly minor yet vital features which sometimes are left out of the readers’ attention.
The following literary works were chosen for the research: Peter Balakian’s Black Dog of Fate (1997, memoir), Micheline Aharonian Marcom’s Three Apples Fell from Heaven (2001, fiction). The chosen samples include writings which have not been widely analysed especially from communication theory aspects. The main analysis method utilized was close reading of the texts. Further, research can be done to analyse poetry collections to identify whether nonverbal cues are as significantly used in poetry as they are used in stories and novels.
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Al-Rustom, Hakem. "Internal Orientalism and the Nation-State Order: Turkey, Armenians, and the Writing of History." ariel: A Review of International English Literature 51, no. 4 (2020): 1–31. http://dx.doi.org/10.1353/ari.2020.0026.
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Bustamante-Echeverry, Ricardo, and Franklyn Molano Gaona. "PEMO: PERIODIMOS MÓVIL CAFETERO. Una mirada al uso de dispositivos moviles en tres salas de redacción del Eje Cafetero Colombiano." IROCAMM-International Review Of Communication And Marketing Mix 1, no. 4 (2021): 7–21. http://dx.doi.org/10.12795/irocamm.2021.v01.i04.01.
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With the advent of the digital age also arrived the new information and communication technologies and with them mobile devices, which changed the way in which humanity communicates both day by day and in professional ways. The forms of interpersonal interaction, the forms of journalism production and the forms of access to information all changed. This text explores a project with a strong interest in the practices that occur in traditional newsrooms, related to written journalism, and the use of smartphones and tablets to produce publishable journalistic content on their digital platforms. PEMO —short Spanish counterpart to MOJO— Cafetero, in short, is a research project that aims to account of the usage practices of smartphones and tablets in the newsrooms of three traditional media outlets in the Colombian Coffee Region: La Patria from Manizales, El Diario from Pereira and La Crónica del Quindío from Armenia.
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Grigoryan Savary, Gohar. "Medieval contexts and modern realities of a Genocide-survivor artwork." Journal of the Society for Armenian Studies 27, no. 1 (August 25, 2020): 117–30. http://dx.doi.org/10.1163/26670038-12342704.
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Abstract This article is a critical review of Heghnar Watenpaugh’s monograph The Missing Pages, which traces the history of the thirteenth-century Zeytun Gospels from its creation to the 2010s, when several of the manuscript’s illustrated folios became subject to a restitution claim through a lawsuit filed by the Armenian Church against the Getty Museum. It highlights the importance of Watenpaugh’s publication on assembling and clarifying the impressive itinerary of the Zeytun Gospels, the manuscript’s sociocultural functions, as well as the historiographic research on Cilician miniature painting conducted by the author in the framework of this book. In the present article, several issues raised in the book are critically explored from different angles, expressing a partial or significant difference of opinion when it comes to some of the interpretations and contextualizations proposed by Watenpaugh. These include: Watenpaugh’s nonexhaustive consideration of the Zeytun Gospels’ colophons, which stand as the most authentic documentations on the manuscript’s history prior to the twentieth century; her tracing of parallel examples of artifacts that survived the Genocide based not on scholarly research but on popular narratives (and on contemporary literary writings); the discussion of bilingual coins minted by the Armenian king Hetum I and the Seljuk sultan Kaykhusraw II as cases of “complex identities of the period”, without delving into these complexities, and, thus, not doing justice to the nuances of the medieval context of their rule; some aspects of the history of scholarship on Cilician miniature painting; and the way Watenpaugh presents two of the most prominent historians of Armenian art, Sirarpie Der Nersessian and Karekin Hovsepian, and their attitudes toward the ownership and acquisition of Armenian cultural heritage by western art institutions, which appear to be less than balanced in The Missing Pages. Finally, some reflections on contemporary exhibition practices of survivor artifacts, whose current locations of preservation are often a consequence of (cultural) genocide and dubious acquisition practices, require clearer and more in-depth presentation, at least as far as the exhibition history of the Zeytun Gospels and its separated folios is concerned.
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Nuralova, Stella. "“What a Soul in Those Soaring Shapes”: Transcaucasia in XIX century British Writing." Armenian Folia Anglistika 1, no. 1-2 (1) (October 17, 2005): 119–23. http://dx.doi.org/10.46991/afa/2005.1.1-2.119.
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In his work “Transcaucasia and Ararat”, J. Bryce, the founder of the Anglo-American company, refutes the stereotypes about the Transcaucasia, reveals the true picture of ethnic cooperation in the region and presents the interest of the English toward Mount Ararat. The book by yet another author – H.F. B, “Armenia: Journey and Investigation” is a combination of two separate journeys from 1893 to 1898. Lynch is quite enthusiastic about the “mountain of the Ark, the mythical paradise”. Finally, in his collection of sonnets titled “The Purple East” W. Watson defends the dying nation, “a homeless nation” which “is stretching its arms in a prayer”. The works of the authors mentioned need further and detailed research especially in our days, when the new world order is underway.
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Sternfeld, Lior. "Jewish-Iranian Identities in the Pahlavi Era." International Journal of Middle East Studies 46, no. 3 (July 18, 2014): 602–5. http://dx.doi.org/10.1017/s002074381400066x.
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A few years ago, while conducting archival research on Pahlavi-era Iranian newspapers, I came across a photo from the anti-shah demonstrations that took place in late 1978 and early 1979. It showed a large group of Armenians protesting against the shah. In these years many Iranians and Westerners considered the shah's policies beneficial for religious minorities in Iran. Around the same time, I found a sentence that made this discovery more intriguing. In his seminal workIran between Two Revolutions, Ervand Abrahamian mentions that throughout the Muhammad Riza Pahlavi era, the opposition to the communist Tudeh party accused it of being controlled by “Armenians, Jews, and Caucasian émigrés.” I tried to find references in the current scholarship to Jews participating in the party, which could have earned them their part in this propaganda campaign, but found very little. Having read the important works of Joel Beinin, Orit Bashkin, and Rami Ginat on Jewish revolutionaries, including communists, in the Middle East, I wondered where the Jewish radicals in Iran were. Several factors may contribute to this silence in the historiography: the writing of Iranian history from a Zionist vantage point, a lack of interest in the history of the Iranian left in the postrevolutionary historiography, and an inability to conceptualize the transregional and global nature of the Iranian Jewish community.
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Hewitt, B. G. "Christopher J. Walker: Visions of Ararat: Writings on Armenia. x, 157 pp. London: I.B. Tauris, 1997. £19.95." Bulletin of the School of Oriental and African Studies 61, no. 2 (June 1998): 407–8. http://dx.doi.org/10.1017/s0041977x0001466x.
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Petrov, Sergey. "Reigning with Christ for a Thousand Years: Two Prophets of Russian Millennialism." State Religion and Church in Russia and Worldwide 38, no. 3 (2020): 149–77. http://dx.doi.org/10.22394/2073-7203-2020-38-3-149-177.
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The article explores the crossroads of two surviving groups of “old Russian sectarianism” — Molokan Jumpers and JehovistsIl’intsy — for whom the anticipation of the millennial kingdom on earth was a central doctrinal tenet. Researchers in the past, as well as modern scholars of religion, usually have not paid attention to the connection between the two movements, which was at one time quite substantial both in the doctrinal and the practical sense. Handwritten, typed and unofficially published sources gathered by the author during field work served as the principal material for the article. They include letters of Nikolai Il’in to his followers and his other writings, the memoirs of Molokan elders, and the historical accounts found among the Molokans of Armenia and the USA.
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Marsoobian, Armen T. "The Moral Burden of Memory: The Role of National Narratives in Democracy Building." WISDOM 2, no. 5 (December 1, 2015): 25. http://dx.doi.org/10.24234/wisdom.v2i5.30.
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This essay is a meditation on memory and democracy. I will argue that democracy as a way of life is conditioned upon how well a community remembers its past. The concept of democracy as a way of life, as distinct from a particular form of governance, has its origins in the political philosophy of John Dewey. I will approach this issue in a somewhat roundabout manner. In the first part, I will examine a series of Dewey’s writings from the early 1920s that resulted from his visit of the newly established Republic of Turkey. I contend that the serious shortcomings in Dewey’s analysis of Turkish state nation-building highlight deficiencies in his otherwise laudable and nuanced democratic theory. In the second part, I provide a more sustained analysis of the role of collective memory within a community, especially one that aspires to a democratic way of life. I will then conclude with a few reflections upon issues arising from Turkish collective memory as it relates to the Armenian Genocide.
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Pothecary, Sarah. "STRABO, THE TIBERIAN AUTHOR: PAST, PRESENT AND SILENCE IN STRABO'S GEOGRAPHY." Mnemosyne 55, no. 4 (2002): 387–438. http://dx.doi.org/10.1163/156852502760186224.
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AbstractReferences in the text suggest that Strabo started writing the manuscript of the Geography in AD 17 or 18 and finished it in AD 23. Events current at that time affect Strabo's handling of his material. Three particular instances are explored in detail. First, Strabo makes no reference to Germanicus after describing his triumph of AD 17. Germanicus was well known for his subsequent settlement of affairs in Armenia, Cappadocia and Commagene in AD 18. Strabo mentions all three of these settlements, but does not ascribe them to any one person and thus does not mention Germanicus in connection with them. Strabo's silence reflects Tiberius' wish that Germanicus, who died in AD 19, should not be glorified after his death. Secondly, the overthrow and submission of the German king, Maroboduus, in AD 18-19 explain why Strabo mentions Maroboduus by name and provides details of this king's early life, even though Strabo makes no specific reference to the controversial events surrounding Maroboduus' submission, the outcome of which may not have yet been apparent as Strabo was writing. Thirdly, the Parthian Vonones is mentioned so obliquely that some scholars have stated that Strabo is completely silent about him. This is not so, but the disastrous consequences under Tiberius of the Roman effort under Augustus to restore Vonones to the Parthian throne explain why Vonones is topical enough to get mentioned, and at the same time why he is mentioned in so circumspect a fashion. In conclusion, Strabo's oblique treatment of current events suggests that he is averse to dealing with contemporary and often unresolved matters, and is consistent with his preference for information of a historical and cultural nature.