In the 1960s and 1970s, the social–political and literary–cultural life of our country entered a new orbit. A new literary generation came to the scene, which will adjust the main directions of the development of Armenian poetry, orientation standards, content and forms of expression. It seems that the innovative young poets who came to the scene, proposing harmonious ideals and ideas for the new time, were pushed out of the national spheres, but in fact, it is moving towards the origins of the national culture, towards the rich deposits of Armenian medieval poetry. Thus, discussions of national-traditional topics also become relevant. By balancing the past with the new times, it becomes a unique panorama to depict the present with the most pronounced shadow lines. Especially in the 1980s, the traditions of the Armenian Middle Ages had a wide circulation in various types of literature, particularly in poetry, which meant a return to the origins of folk creativity. They can be considered the innovators who reformed, combined and crossed the ancient genres of Armenians: sharakan, taghi, prayer, mythological myths, etc. They tend to the generality of art, which was specific to Armenian medieval art manifested in the form of symbolic universality. The past is represented not by the balance of historical material, but by the present–day interpretation of the internal charges of ideological and philosophical orientations, ancient Armenian traditions, myths, Christian motifs, plots, and images contained in them. However, it should also be noted that this tendency (return to the origins) is generally of a global nature.

Keywordstext fictional text tradition innovation poetry literature postmodernism

The present article is devoted to the use of metaphors in the works of Armenian hymnographers from the 5th to the 8th centuries (Mesrop Mashtots, Sahak Partev, Movses Khorenatsi, Hovhan Mandakuni, Stepannos Syunetsi (I), Komitas Aghtsetsi, Sahak Dzoroporetsi, Hovhan Odznetsi, Barsegh Tchon, Sahakdukht). When describing and praising the Persons of the Holy Trinity, the Mother of God, Christian sacred symbols, and saints, the earliest Armenian hymnographers sought to make their language more vivid and impactful. To achieve this, they primarily employed metaphor, the fundamental form of allegory. The spiritual metaphors used in hymns were largely drawn from Biblical texts and their interpretations, gradually evolving and giving rise to original metaphors as well. This article explores the metaphors employed in 5th–8th century Armenian spiritual poetry to depict the Persons of the Holy Trinity, the Virgin Mary, and John the Baptist, including the following: Light, Source, Ray, Sun, Love, Lover of mankind, Life, Life-Giving Fruit, Fountain of Immortality, Treasure of Life, Bread of Life, Path, King, Staff, Judge, Physician, Shepherd, Captain, Bridegroom, Church, Vine, Rock, Dove, Heavenly Dew, Bright Heaven, Luminous Cloud, Burning Bush, etc. All these metaphors later served as a solid foundation for Grigor Narekatsi’s spiritual symbolism.

KeywordsArmenian literature medieval spiritual poetry metaphor Bible Christ Mesrop Mashtots Movses Khorenatsi.

Raffi is one of the greatest Armenian writers, whose works reflected the spiritual quests of our people, its political goals and historical vicissitudes, love of freedom and patriotism. At present, the supporters of globalism criticize its concepts of ideological struggle, liberation from foreign yoke, education of national identity, the national image itself under the pretext that its views on the world and the universe do not correspond to the modern principles of freedom and democracy. The article shows that all the accusations against Raffi amount to the destruction of the Armenian national identity, the assertion of cosmopolitanism, subordination of spiritual life to the dictates of Western ideology, which ultimately amounts to the “dismantling” of the Armenian people. The author also draws attention to the peculiarities of the prose writer's artistic skill, which were later embodied also in the works of classics of Russian and Western literature of the XIX–XX centuries.

KeywordsRaffi globalism patriotism democracy national identity national dignity classical literature

The Catholicos of All Armenians, Saint Nerses the Gracious (c. 1100–1173), engaged in prolific activities across ecclesiastical, cultural, political, literary, scientific, and educational fields. Through his diverse works, he contributed significantly to the advancement of Armenian literature, particularly its poetic tradition. The hallmark of his genius is evident in nearly all medieval liturgical manuscripts, which he refined as a theologian, doctrinal scholar, exegete, liturgist, philosopher, and artist. His spiritually oriented writings and hymns elevated Armenian medieval art to a new, higher level, enriching both literature and music. Moreover, Nerses the Gracious contributed to the development of the text of the Divine Liturgy and the Armenian Missal, or “Advice Book,” which originated in the Apostolic period and was completed in the 10th century. Over the centuries, it was mainly enriched by the works of Gregory the Illuminator, Sahak Partev, Hovhannes Mandakuni, and Gregory of Narek, and in the 11th century, further developed through the efforts of Nerses the Gracious. Of particular significance is the Catholicos’ contribution to the liturgy, as many of his prayers, exhortations, and songs were incorporated into it. In this way, Nerses also refreshed and enriched their content. Since ancient times, notions of morality and religious rites and ceremonies have played an important role in maintaining human relationships within certain permissible boundaries. Christianity, in turn, initiated a radical transformation in the field of moral understanding, a development pursued by many fathers of the Armenian and universal Church. Nerses the Gracious occupied a distinct place among them. In the vast literary heritage of this multifaceted figure, these influences are clearly reflected through his moral-educational and ethical perspectives, which constitute the central focus of the present study.

KeywordsNerses Shnorhali works ecclesiastical literature theological struggle didactic approach multitalented achievements pan-Christian principles humanistic outlook