Bibliografías temáticas / Kabuki – History

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Literatura académica sobre el tema "Kabuki – History"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 5 de febrero de 2022

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Artículos de revistas sobre el tema "Kabuki – History"

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Brodsky, Marc. "Kabuki Actors Study." Medical Problems of Performing Artists 16, no. 3 (2001): 94–98. http://dx.doi.org/10.21091/mppa.2001.3016.

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The Kabuki Actors Study set out to explore the health status of Kabuki actors, their performance-related medical problems, and the nature and extent of their health care. Two hundred sixteen Kabuki performers voluntarily completed an anonymous three-page survey addressing their health issues. Thirty-eight percent of the actors reported a history of at least one significant medical condition, and 88% of them identified at least one musculoskeletal or nonmusculoskeletal problem associated with performance. Sixty-nine percent of the performers had visited a physician over the preceding year, and 30% of them had consulted nonphysician medical practitioners. Kabuki actors, the Kabuki management, and physicians can use the findings of this study as a starting point to investigate why these injuries occur and how to prevent and treat them. Pain severity scales or other measurable outcomes of therapy can be used to compare the efficacies of physician and nonphysician treatments.
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Saltzman-Li, Katherine. "From Ataka to Kanjinchō: Adaptation of Text and Performance in a Nineteenth-Century Nō-Derived Kabuki Play." Mime Journal 27, no. 1 (2021): 48–66. http://dx.doi.org/10.5642/mimejournal.20212701.06.

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Nō techniques and play borrowings provided important infusions into kabuki throughout its history, but in the nineteenth century, a genre of kabuki plays in close imitation of nō or kyōgen wasadded to the kabuki repertoire. The genre came to be called matsubamemono, meaning “[nō/kyōgen-derived kabuki] plays [performed] on a stage with a pine painted on the back wall” or “pine-boardplays.”1 These plays are the focus of this article, in which I first introduce the genre and its place in kabuki history, and then discuss its most famous example, the play Kanjinchō (Hattori 17–40; Meisakukabuki zenshū 181–197; Brandon, The Subscription List 205–236). Many matsubamemono are derived from fourth-category genzaimono nō plays. Kanjinchō is one such example, based on the genzaimono Ataka. Analysis of Kanjinchō will focus on the methods used to transform Ataka into Kanjinchō, methods that were used in other nō-to-kabuki matsubamemono adaptations and that resulted in a sophisticated amalgam of nō and kabuki techniques, borrowings and newly-created sections and passages. In addition, through an examination of the role of Benkei in performances by three great modern actors, I will briefly consider different ways of playing Benkei and how different interpretations affect our engagement with Benkei’s heroism, grandeur, and humanity.
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Ogata, Takashi. "The Narrative Generation of Kabuki." Impact 2020, no. 8 (2020): 68–70. http://dx.doi.org/10.21820/23987073.2020.8.68.

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Japan has a long history of unique artistic expression which has created highly defined genres and styles. This formalisation and tradition have allowed Japan to be home to some of the oldest performing arts, the most famous being Noh and Kabuki. Kabuki, a form of dance-drama, is 400 years old and academics at Iwate Prefectural University are now examining the narrative structures underpinning Kabuki using novel AI techniques
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Rosenberg, Chen E., Tara Daly, Christina Hung, Irene Hsueh, Andrew W. Lindsley, and Olaf Bodamer. "Prenatal and perinatal history in Kabuki Syndrome." American Journal of Medical Genetics Part A 182, no. 1 (2019): 85–92. http://dx.doi.org/10.1002/ajmg.a.61387.

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Tian, Min. "How Does the Billy-Goat Produce Milk? Sergei Eisenstein's Reconstitution of Kabuki Theatre." New Theatre Quarterly 32, no. 4 (2016): 318–32. http://dx.doi.org/10.1017/s0266464x16000403.

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Through a close examination of Eisenstein's writings on the Kabuki theatre, Min Tian demonstrates in this article that Eisenstein's interpretation of Kabuki from the perspective of his theory displaced the techniques and principles of Kabuki theatre from its historical and aesthetic contexts. Predicated upon his ‘montage thinking’, Eisenstein reconstituted the techniques and principles integral to Kabuki as an organic whole in the context of his evolving and synthesizing theory. Min Tian has a PhD in theatre history from the University of Illinois at Urbana-Champaign and a doctorate at the Central Academy of Drama in Beijing. Currently teaching at the University of Iowa, he is the author of Mei Lanfang and the Twentieth-Century International Stage (2012) and The Poetics of Difference and Displacement: Twentieth-Century Chinese–Western Intercultural Theatre (2008), and editor of China's Greatest Operatic Male Actor of Female Roles: Documenting the Life and Art of Mei Lanfang, 1894–1961 (2010).
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Goff, Janet Emily. "Kabuki Plays On Stage (review)." Monumenta Nipponica 60, no. 3 (2005): 425–34. http://dx.doi.org/10.1353/mni.2005.0036.

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Kitamura, Yu, and D. Savelli. "Justified exoticism, or, Kabuki Theatre touring the Soviet Union in 1928." Voprosy literatury, no. 5 (December 19, 2018): 39–75. http://dx.doi.org/10.31425/0042-8795-2018-5-39-75.

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The article offers a detailed account of the first tour of a Kabuki troupe in theSoviet Union, commenting on its political and cultural significance. Kabuki performers were invited to theUSSRfor primarily political reasons: establishing contact between the two governments came first, and the tour was regarded as a success for Soviet diplomacy rather than an achievement of Japanese culture. However, the political hype soon subsided and more people realized the extraordinary significance of this tour for the history of the theatre. The tour became a nation-wide event. The authors cite numerous newspaper reviews of the Kabuki plays, as well as correspondence between politicians, who had anticipated a flop, but were amazed at the reaction of Soviet audiences to this Japanese ‘exoticism’ because the tour had been mostly targeted at the Japanese community. The latter saw the tour as a sign of the Soviets’ readiness for peaceful coexistence withJapan.
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KANGJIHYUN. "Inheritance history dray-horsewoman(Oroku) character in “Kabuki/Yakusyae/Gokan”." Journal of Japanese Language and Literature 81, no. 2 (2012): 3–22. http://dx.doi.org/10.17003/jllak.2012.81.2.3.

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Arntzen, Sonja, and Jean-Jacques Tschudin. "Le Kabuki Devant la Modernite (1870-1930)." Monumenta Nipponica 52, no. 3 (1997): 402. http://dx.doi.org/10.2307/2385636.

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GERSTLE, C. ANDREW. "The culture of play: kabuki and the production of texts." Bulletin of the School of Oriental and African Studies 66, no. 3 (2003): 358–79. http://dx.doi.org/10.1017/s0041977x03000259.

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This article examines the role of performance (defined in its broadest sense) in Japanese literary culture, specifically the relationship between performance and the production of physical texts, both script and illustration. It postulates the thesis that performance has been an essential part of artistic creation even among highly literate artists/writers in the genres of poetry (waka, renga, haikai, kyōka), Nō and kabuki drama. A case is made that artists' salons (including professionals and amateurs) were an integral part of cultural life and that their activities were as important as the physical texts produced in response to such performances. The core of the article focuses on the Kabuki ‘culture of play’ in Osaka, through which actors, poets, artists and fans participated both in performances and in the production of texts such as books on actors (yakusha ehon), books on theatre (gekisho), surimono (privately-commissioned prints commemorating a poetry gathering), single-sheet actor prints, and actor critique books (yakusha hyōbanki).
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Tesis sobre el tema "Kabuki – History"

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Phillips, Anne Elizabeth. "Kabuki scholarship and narrative history : do the origins justify the means? /." Title page and contents only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09arp5578.pdf.

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Breshna, Zahra. "Das historische Zentrum von Kabul, Afghanistan : Grundlagenermittlung für eine Strategie der Wiederbelebung /." Thesis, Karlsruhe : Univ.-Verl. Karlsruhe, 2004. http://www.uvka.de/univerlag/volltexte/2008/287/.

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Blumner, Holly A. "Sakata Tôjûrô, Nakamura Shichisaburô and the creation of wagoto kabuki in the Genroku era." Thesis, 2004. http://hdl.handle.net/10125/11972.

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Mode of access: World Wide Web.<br>Thesis (Ph. D.)--University of Hawaii at Manoa, 2004.<br>Includes bibliographical references (leaves 190-194).<br>Electronic reproduction.<br>Also available by subscription via World Wide Web<br>xii, 194 leaves, bound ill. 29 cm
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Katsumata, Yuriko. "The development and empirical substantiation of Japanese pedagogical materials based on kabuki." Thesis, 2020. http://hdl.handle.net/1828/11762.

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Many researchers (e.g., Nation, 2001, 2015; Schmitt, 2000) have recognized the importance of vocabulary learning in second language (L2) or additional language (AL) acquisition. The strong effects of lexical and background knowledge on L2reading comprehension have similarly been found in various studies (e.g., Hu & Nation, 2000; Rokni & Hajilari, 2013). In the case of Japanese language, the opportunities for acquiring the lexical and background knowledge associated with Japanese history and culture, especially traditional culture, are scant, because only a small number of Japanese pedagogical materials deal minimally with these topics. Meanwhile, many learners are motivated to study Japanese because of their interest in Japanese history and culture, according to a survey conducted by the Japan Foundation in 2012. This project aimed to increase the opportunities for learning Japanese history and traditional culture through the development of new pedagogical materials based on kabuki, and then the empirical evaluation of the developed pedagogical materials. Nine Chinese-as-a-first-language Japanese learners at the upper-intermediate level participated in the nine-week online course, including the pre- and post-course tests in the first and last weeks. Employing a multi-method research approach, the study examined the changes in learners’ lexical and background knowledge related to Japanese history and culture, their reading comprehension, and their interest in kabuki. Four kinds of multiple-choice tests were administered to collect the quantitative data. In addition, the qualitative data were gathered through the pre- and post-course questionnaires and post-course individual interviews. Overall, the findings indicated that almost all participants increased their background knowledge of kabuki, as well as their vocabulary related to kabuki and general theatrical performances. The results in other areas, such as historical vocabulary, vocabulary depth, reading comprehension, and historical background knowledge were mixed. Further, concerning the depth of vocabulary knowledge, it was found that the learning of vocabulary depth was more difficult than learning of vocabulary breadth. Likewise, the knowledge of use, such as collocations and register constraints, was found to be more difficult to learn than other aspects of vocabulary depth. The participants’ reports in the post-course questionnaire and individual interviews showed that most participants seemed to have increased their interest in kabuki. Overall, the first-of-their-kind developed pedagogical materials contributed to the development of lexical and background knowledge, specifically knowledge associated with Japanese traditional culture and history. This study may provide a model for an evidence-based approach to the development of pedagogical materials that practitioners can adopt or adapt.<br>Graduate
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Welgemoed, Leana. "Verset in dramas deur Deon Opperman : Donkerland, Kruispad, Ons vir jou en Kaburu." Diss., 2013. http://hdl.handle.net/10500/13068.

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Die verhandeling ondersoek die wyse waarop Deon Opperman die versetmotief in sy Afrikanerdramas uitbeeld en vernuwe om die veranderende sosiale omgewing te weerspieël. Hoofstuk 1 verskaf ‘n oorsig oor verset as leefwyse en motief in die Afrikaanse drama. Hoofstuk 2 bied ‘n teoretiese ondersoek van The theatre of revolt (Brustein 1991), ’n bespreking van begrippe soos herskrywing, multikulturalisme, moderne diaspora en globalisasie sowel as ‘n kontekstuele studie van Deon Opperman se Afrikaanse oeuvre. Hoofstuk 3 (Donkerland) fokus op verset binne ‘n postkoloniale herskrywing van die Afrikanergeskiedenis. Hoofstuk 4 (Kruispad en Ons vir jou) sentreer rondom sosiale verset binne ‘n multikulturele omgewing, terwyl hoofstuk 5 Kaburu as weerkaatsende teks en die aktuele kwessie van die moderne diaspora as versetreaksie aanspreek. Die verhandeling kom tot die slotsom dat Opperman versetteater gebruik om kommentaar op aktuele probleme te lewer en om terselfdertyd‘n boodskap van transformasie oor te dra.<br>The dissertation examines how Deon Opperman portrays and regenerates the revolt motif in his Afrikaner dramas, in order to reflect the changing social environment. Chapter 1 provides an overview of revolt as lifestyle and as motif in Afrikaans drama. Chapter 2 offers a theoretical examination of The theatre of revolt (Brustein 1991), a discussion of concepts such as rewriting, multiculturalism, modern diaspora and globalization, as well as a contextual study of Deon Opperman’s Afrikaans oeuvre. Chapter 3 (Donkerland) focuses on revolt within the postcolonial rewriting of Afrikaner history. Chapter 4 (Kruispad and Ons vir jou) deals with social revolt within a multicultural milieu, whereas chapter 5 discusses Kaburu as a reflecting text and addresses the issue of the modern diaspora as a reaction to political transition. The dissertation reaches the conclusion that Opperman is using South African theatre as a platform for revolt as well as for transformation.<br>Afrikaans & theory of Literature<br>MA (Afrikaans en Algemene Literatuurwetenskap)
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Harcombe, Aletta Maria. "A non-destructive technical and stylistic comparative analysis of selected metal artefacts from the Ditsong national museum of cultural history." Thesis, 2018. http://hdl.handle.net/10500/26236.

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Text in English<br>The destructive nature of conventional analytical techniques, coupled with the finite nature of ancient/historical artefacts, has long restricted technical examinations of museum collections, mainly due to ethical constraints. However, over the past few decades, the application of Non-Destructive Evaluation (NDE) techniques has become increasingly popular within the fields of archaeology and cultural heritage diagnostics. The application of such techniques has facilitated the examination of objects that have long remained uninvestigated. However, this positive development also held a slight drawback, in that researchers tend to now focus on technical analyses alone, while excluding more traditional means of analyses, such as comparative stylistic analysis and surface investigation. By employing a combination of stylistic analysis, visual surface investigation (by means of SLR photography and digital microscopy) and nuclear imaging (by means of Microfocus X-Ray Computed Tomography), the thesis sets out to justify the application of mixed methodologies as part of a more holistic integrated authentication approach. Thus stated, the thesis presents a mixed-methodological approach towards the analysis of selected metal objects from the Ditsong National Museum of Cultural History in Pretoria, South Africa. The objects under investigation include a small collection of ancient Egyptian bronze statuettes, a Samurai helmet (kabuto) and mask (menpó), a European gauntlet, and an Arabian dagger (jambiya/khanjar). While all the objects are curated as part of the museum‘s archaeology and military history collections, the exact production dates, manufacturing techniques and areas of origin remain a mystery. By using a combination of techniques, the thesis aims to identify diagnostic features that can be used to shed light on their relative age, culturo-chronological framework and, by extension, their authenticity.<br>Old Testament and Ancient Near Eastern Studies<br>D. Litt. et Phil.(Ancient Near Eastern Studies)
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Libros sobre el tema "Kabuki – History"

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1918-, Yoshida Chiaki, ed. Kabuki. Kodansha International, 1985.

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Wakashu kabuki, yarō kabuki no kenkyū. Yagi Shoten, 2000.

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Kabuki sōsei. Kazama Shobō, 2004.

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Yūjo kabuki. Kawade Shobō Shinsha, 2005.

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Fujii, Yasuo. Kabuki hihyō. Fujii Yasuo, 1989.

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Fujii, Yasuo. Kabuki hihyō. Fujii Yasuo, 1989.

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Kabuki kotobachō. Iwanami Shoten, 1999.

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Nishiyama, Matsunosuke. Edo kabuki kenkyū. Yoshikawa Kōbunkan, 1987.

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Kōwakamai, kabuki, murashibai. Bensei Shuppan, 2000.

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Kabuki hyakunen hyakuwa. Kawade Shobō Shinsha, 2007.

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Capítulos de libros sobre el tema "Kabuki – History"

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"5. Another History." In Edo Kabuki in Transition. Columbia University Press, 2016. http://dx.doi.org/10.7312/shim17226-008.

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Ogata, Takashi. "Kabuki as Multiple Narrative Structures and Narrative Generation." In Advances in Linguistics and Communication Studies. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7979-3.ch005.

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This chapter undertakes a comprehensive survey and analysis of kabuki, aiming to explore a narrative generation-reception and a narrative production-consumption model of kabuki from the viewpoint of an information system and, in particular, a narrative generation system. A fundamental concept of the modeling is “multiplicity,” or multiple narrative structures. In addition, the author associates this model with the concept of the Geinō Information System (GIS), representing a system model in which multiple narrative generations and production mechanisms or processes are included. This chapter presents introductory knowledge on kabuki, including history and basic terms, as background for the discussion. In addition, this chapter shows the results of concrete analyses of kabuki's elements, including “person,” “story,” “tsukushi,” and “naimaze.”
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"CHAPTER THIRTEEN. BAKUFU VERSUS KABUKI." In Studies in the Institutional History of Early Modern Japan. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400868957-014.

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Ogata, Takashi. "Kabuki as Multiple Narrative Structures." In Computational and Cognitive Approaches to Narratology. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0432-0.ch016.

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This chapter seeks to undertake a comprehensive survey and analysis of “kabuki” to aim to explore a narrative generation-reception and narrative production-consumption model of “kabuki” from the viewpoint of an information system, and in particular, a narrative generation system. A fundamental concept of the modeling is “multiplicity,” or multiple narrative structures. In addition, the author associates the model to the concept of the “Geino Information System: GIS,” representing a system model in which multiple narrative generation and production mechanisms or processes are included. This chapter also presents introductory knowledge on “kabuki”, including the history and basic terms, as background for the discussion.
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Gerstle, C. Andrew. "Representing theater: text and performance in kabuki and bunraku." In The Cambridge History of Japanese Literature. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cho9781139245869.045.

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Shimazaki, Satoko. "From the beginnings of kabuki to the playwrights Nanboku and Mokuami." In The Cambridge History of Japanese Literature. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cho9781139245869.047.

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Anno, Mariko. "History and Construction of the Nohkan." In Piercing the Structure of Tradition. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781939161079.003.0002.

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This chapter examines the development and construction techniques of the nohkan and includes interviews with the nohkan makers. It explains nohkan, also known as fue (flute), as a transverse flute made from a type of bamboo known as Pleioblastus simonii. The chapter discusses how the nohkan is traditionally played in the Noh theater, Kabuki, and some shrine festivals, and is recently seen on concert stages as part of both traditional and non-traditional ensembles. It also describes the nohkan as a unique instrument in both construction and sound that uses a nodo, a thin bamboo tube that disrupts the instrument's natural acoustics. The chapter highlights the performance techniques of the nohkan, which include the creation of shakuhachi-like white noise. It looks at several theories that surround the history and construction of the nohkan in Japan.
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Nicole, Robert. "The Movement for Federation and the Viti Kabani." In Disturbing History. University of Hawai'i Press, 2010. http://dx.doi.org/10.21313/hawaii/9780824832919.003.0003.

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"History of Archaeological Explorations at Tel Kabri." In Excavations at Tel Kabri. BRILL, 2020. http://dx.doi.org/10.1163/9789004425729_003.

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"Chapter Three. The Movement for Federation and the Viti Kabani." In Disturbing History. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824860981-005.

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Actas de conferencias sobre el tema "Kabuki – History"

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Poniewierski, M., M. Barthels, and H. Poliwoda. "THE SAFETY AND EFFICACY OF A LOW MOLECULAR WEIGHT HEPARIN (FRAGMIN) IN THE PREVENTION OF DEEP VEIN THROMBOSIS IN MEDICAL PATIENTS: A RANDOMIZED DOUBLE-BLIND TRIAL." In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1643224.

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The safety and efficacy of 2500 anti-Factor Xa U of a low molecular weight heparin (Kabi 2165, Fragmin) subcutaneously once a day, and 5000 IU of standard unfractionated Heparin (KabiVitrum, Stockholm) subcutaneously twice daily as thromboprophylaxis was compared in 200 medical patients in a randomized double blind trial. According to the risk of DVT the patients were stratified before randomization in a high and low risk group. The high risk group consisted of 100 patients mainly with malignant diseases and/or previous history of thromboembolism, the low risk group of 100 patients with mainly myocardial infarction and/or coronary heart disease. The prophylaxis was given for seven to ten days. In 192 consecutive patients the clinical status and thermographic screening for DVT (leg temperature profiles, DeVeTherm) were daily evaluated. In two cases of suspected DVT and one case of suspected PE, the following phlebography or pulmonary scintigraphy were found to be negative. In the high risk group, one patient treated with Fragmin having a central venous catheter developed on day 10 symptoms of an arm vein thrombosis. There were no bleeding complications observed in either of the two treatment groups. Two patients with trombocytopenia (25.000 and 22.000/pl) due to chemotherapy and underlying malignant disease were successfully treated with Fragmin without developing any bleeding complications. In eight patients during Fragmin prophylaxis invasive diagnostic methods as heart catheterization, gastroscopy, bronchoscopy or spinal puncture were performed without noticing any bleeding events. 2500 anti-Factor Xa U of Fragmin gave plasma levels by anti-Factor Xa assay (S-2222, Kabi) of mean 0,1 U/ml when blood was sampled three to four hours after the subcutaneus application. There was no accumulation during the treatment periode observed.This study suggests that 2500 anti-Factor Xa U of Fragmin once daily is as safe and effective as 5000 IU of standard heparin twice daily in these medical patients. Especially in patients who need prophylaxis for a long time eg. with malignant disease, the once daily injection is welcomed.
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ÇAKMAKLI MEHDİYEV, Gaffar. "ERMENİ DÜŞÜNCE SİSTEMİNDE ATATÜRK’ÜN KİMLİK ANLAYIŞI VE ONUN ERMENİ TOPLUMUNA TANITILMASI ÜZERİNE (ERMENİCE KAYNAKLAR IŞIĞINDA)." In 9. Uluslararası Atatürk Kongresi. Atatürk Araştırma Merkezi Yayınları, 2021. http://dx.doi.org/10.51824/978-975-17-4794-5.31.

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Ermenistan’da Türkiye Cumhuriyeti’nin kurucusu, Büyük Önder Mustafa Kemal Atatürk’ün ciddi bir araştırma yoktur. Ama Ermenilerin hayatında Atatürk’ün rolünün Lenin ve Stalin kadar etkili olduğu kabul edilmektedir. Ermenice ders kitaplarında ve tarihi eserlerde Atatürk ve onun geçtiği Milli Mücadele yoluna farklı bakılmış, Atatürk’ün daha çok “Ermeni meselesi” ile ilgili seslendirdiği fikirler çarptırılmıştır. Ya da Atatürk’e ait edilen fikirlerin birçoğu sinsi amaçlarla sahteleştirilmiştir. Ona karşı saldırılar sistem haline getirilmiştir. Bu bağlamda Atatürk’e saldırıların nedenlerinin araştırılarak ortaya konulması çok önemlidir. Çeşitli zamanlarda hem Ermenilerce, hem de yabancı ülke yazarları tarafından Atatürk’e atfedilen fikirlerin kasıtlı olarak çarptırılması ve onların bazılarının da Ermenilerce yanlış olarak yorumlanmasının şahidi oluyoruz. Neticede Ermeni toplumu için “Ermeni düşmanı” bir Atatürk kimliği algısı oluşturulmuştur. Örneğin; Atatürk konusu ile ilgili araştırmalara imza atan Ermeni siyaset bilimcilerden olan Ara Papyan iddia ediyor ki, Mustafa Kemal’i 1918 yılında İngilizler esir almışlar. Diğer bir iddiada Mustafa Kemal 1918’in Ekim- Kasım aylarında intihar girişimde bulunduğu öne sürülüyor. Bu hikayeyi anlatan ise ABD vatandaşı Elizabeth Harris’tir ve o The New York Times’e ait The Contemporary History dergisinin 1922 tarihli sayında yayımlanmıştır. Yazının başlığı: “How Mustapha Kemal Formed His Army” ("Mustafa Kemal Ordusunu Nasıl Kurdu"). Burada gerçeği yansıtmayan ve tarihle hiçbir ilişkisi olmayan “olaylar” Ermeni okurlarına anlatılıyor. Ermenistan’da tarih ders kitaplarında da Atatürk’ü karalayan ifade ve cümleler, örneğin, 9.sınıflar için ders kitabının 31. sayfasında olduğu gibi, yeterincedir. Ermenistan’da Atatürk’ün hayatı ve mücadelesi ile ilgili rastlanan çalışmaların birçoğu Atatürk’ün hizmetlerinin değerini küçültmek amacı taşımaktadır. Birçok yayınlarsa, ona iftiralar söylemekten bile çekinmiyorlar. Mustafa Kemal’in 1911 yılında öldüğü ve onun adı ile başka bir adamın Osmanlı ordusunun subayı görevine getirildiği hikâyesi de uydurulmaktadır. Ermeni basınında yayılmış “Aslında Türklerin atası olan Mustafa Kemal, kimdir?” adlı yazı Türkiye’deki bazı Atatürk düşmanlığı yapan şahısların söyledikleri esasında yazılmıştır. Bugün Ermenilerin Cumhuriyet yıllarında geriye dönmesine mani olan bir Atatürk propagandası yapılmaktadır. Atatürk’e Ermeni saldırıları neden kaynaklanıyor, onların esas gayesi ve öne sürülen amaç nelerden ibarettir? Bu çalışmada bu hususlara değinilecektir.
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