During wars, cultural heritage is particularly vulnerable to deliberate attacks and acts of intolerance, as starkly demonstrated during the 44-day war initiated by Azerbaijan in 2020, the blockade of the Lachin Corridor, and the complete depopulation of Artsakh due to military operations in 2023. In armed conflicts, the use of monuments and their surrounding cultural landscapes for military purposes – such as shelters, ammunition depots, combat bases, observation posts, command centers, or deployment hubs for armed forces –poses a significant threat to heritage protection. During and after the 2020 war, numerous churches, community cultural centers, and educational institutions in Artsakh were repurposed by Azerbaijan for military use. This repurposing undermined the primary cultural, spiritual, historical, educational, and aesthetic functions of these heritage sites. By altering their roles to serve military purposes – effectively turning them into “military objects” – their spiritual and cultural significance is disrupted. Moreover, this transformation violates the protections afforded by the Hague and Geneva Conventions, as well as international humanitarian law, which safeguard cultural heritage as a civilian asset. Converting heritage sites for military purposes compromises their inviolability, making them more susceptible to damage or destruction. Despite the norms of international humanitarian law, incidents of damage and destruction to Artsakh's monuments due to their military use by Azerbaijan have not ceased. On the contrary, they continue to escalate, further endangering the cultural heritage of the region and, by extension, the world.

KeywordsInternational humanitarian law protection of cultural heritage armed conflict Artsakh Azerbaijan military use of cultural values war crime

The article examines the art of characterization in the vaudevilles of Gabriel Sundukyan and beyond. Gabriel Sundukyan is one of the greatest representatives of Armenian dramaturgy. His vaudevilles constitute an important and irreplaceable part of Armenian theatrical literature. Sundukyan’s vaudevilles are distinguished not only by their comedic structure but also by their deep social subtext and the multilayered development of characters. The author creates typical yet individualized figures that reflect the social relations, moral values, and contradictions of the time. The analysis shows that Sundukyan skillfully combines humor with a critical perspective, revealing social inequality, false morality, and materialism. It is also noteworthy that his characters often bear the influence of cultural intersections, such as the character Yavangul, who represents a fusion of Armenian and Georgian cultures. Through his characters, Sundukyan frequently raises issues related to the moral and social decline of society. His characters often find themselves at the center of internal and external conflicts, facing the clash between old and new values, material interests, and ethical principles. Thus, Sundukyan’s vaudevilles possess not only artistic value but also serve as an important source of socio-philosophical reflection.

KeywordsVaudeville dramaturgy European culture Gabriel Sundukyan characterization Values theatre