Since the 18th century, when the Whiston brothers translated Moveses Khorenatsi’s “History of Armenia” into Latin, Armenian historiography has attracted the attention of European scholars. Saint-Martin played a great role in the process of the international recognition of Armenian studies, who in the two prefaces of the book «Mémoires historique et géographique sur l'Arménie» (1818) speaks admiringly about the historiography of the 5th century and the Armenian Middle Ages in general. According to him, the importance of Armenian historians is that when talking about ancient times, they usually paid more attention to the events they narrated, tried not to talk about events of little importance, and treated the style of their stories more carefully than Arab and Persian historians. The Armenian historiography of the Golden Age provides important information about the neighboring peoples: Persians, Greeks, Assyrians, Georgians, and Caucasian Albanians, often confirming this information by facts from other sources and archaeological excavations. Harlez, an important figure of the French Avestology, notes that with the facts brought by Moveses Khorenatsi and Yeghishe, it is possible to restore the lost parts of the “Avesta”, the sacred book of the Zoroastrian religion. Pavstos Buzand’s “History of Armenia” is a unique source on the history of the Arshakid dynasty of Persia and Armenia. It should not be forgotten that in the Middle Ages Agathangelos’ “History of Armenia” was translated into eight languages. Jean-Pierre Mahe, a prominent French Armenologist of our time, also makes a focus on the international value of Armenian historiography of the Golden Age.

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.

There has been a great interest in the issue of women’s writing since the 1960s. The aim of the study is to examine the characteristics of the phenomenon of women's writing on the example of the features of the poetics of Western Armenian women authors’ works and to reevaluate not only the interactions and attitudes of Western Armenian women authors of the second half of the 19th century regarding the issue of women's emancipation, but also the idea of écriture féminine proposed by the French philosopher Hélène Cixous. The aim of the study is to examine not only the four-level semantic and ideo-logical concepts of woman–subject and presence–state of mind–mood–language, but also the domains of the analysis of the eventfulness of the poem. The actuality of the study is conditioned by the interdisciplinary nature of the studied material, according to which it was analyzed in the context of mutual connections and relationships between literary studies, linguistics, and philosophy, using literary, linguistic, historical-comparative and phenomenological methods. This multiaspect approach to the study of the problem under investigation is justified by the effectiveness of its interdisciplinary examination.

Politeness is one of the demonstrations of people’s social behavior. Pragmatic communication is the use of a set of sociolinguistic rules related to language within a communicative context; that is, pragmatics is the way language is used to communicate rather than the way language is structured. The way you act when you are respectful, thoughtful, and kind towards others is politeness. Politeness makes you say "Thank you!" when someone hands you the pen you dropped. So, being polite means behaving in a way that is socially correct and shows understanding of other people’s feelings. Courtesy is expressed differently in every nation, as it is not only a norm of etiquette, but also one of the main components of every nation's culture. This article reveals some features of the concept of politeness, it also analyzes the features of communication in cross-cultural relations using examples of the Spanish and Armenian languages. Culture, as a separate concept, explores metalinguistics as a special approach to the problem of cross-cultural communication, based on which the entire cultural system is built, in which the main element for its construction is not a sentence, but an utterance. In linguistics, it implies communication both verbal and non-verbal. In another understanding, communication is a system of information exchange within a particular society or culture. The main factors of communication are individuality, various relationships, nationality, etc. All forms of politeness include etiquette norms, which in turn are the main elements of communication and their absence can provoke cross-cultural conflict. It should be noted that a number of social issues play an important role in this: language, nation, national languages as a historical category, the relationship between linguistic and social structures, as well as age, gender, level of education, social status and context. In the social study of language, linguistic politeness has played a central role. It is also part of sociolinguistics and pragmatics. Each country has a variety of cultures and language accuracy in communica-tion. Language is one of the main tools aimed at mitigating communication conflicts that arise when communication norms are not observed. From the above, it follows that forms of politeness are the most important components of communication.

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.

The article studies two most popular translations of the Book of Lamentation by St. Gregory of Narek from Grabar (Old Armenian) into Modern Armenian. On the example of Mkrtich Kheranyan’s and Vazgen Gevorgyan’s translations an attempt is made to study how translators perceive, interpret and reproduce a Medieval work in Modern Armenian, what problems they encounter while translating the text and what solutions they offer. The analysis of these translations not only provides an opportunity to evaluate translators’ efforts, but also detect problems and some peculiar features of the translation, which in the future can contribute to the emergence of new, improved translations of the Book of Lamentation. Commentaries facilitate an accurate comprehension of the Book of Lamentation, enabling readers to evaluate the work of the translators. Commentaries were produced between the 13th and 19th centuries with the objective to facilitate the comprehension of Gregory’s work. From an analysis of the translations of the Book of Lamentation and the testimonies of the translators, it is evident that in the translation process they have made use of the commentaries, while drawing on their own insights. Furthermore, as the medieval interpreters and subsequently H. Patriarch Nalean and G. Avetikean addressed the interpretation of the original text with a clear objective in mind, we have also referred to the analysis of the correlations between the original, its various interpretations and translations.

The present study examines the novella “People without Childhood” (1985) by renowned Diaspora Armenian writer, editor, and essayist Andranik Tsarukyan. His works have been translated into several languages, including French, Russian, English, Persian, and Arabic. The aim of the study is to analyze Tsarukyan’s novellas from the perspective of the manifestations of psychological trauma caused by the Genocide. The research objectives are: a) to analyze the manifestations and psychotraumatic transformations of the national orphanhood syndrome; b) to interpret escape from reality, the psychosomatics of the situation, and psychotrauma as a coded marker for ethnic identification. The study also addresses the following issues: a) body as a socio-psychological object of traumatic experience; b) fear as a causality of reducing rationality. The scientific novelty of the research lies in the fact that Tsarukyan’s novellas are analyzed for the first time in Armenian scholarship through the lens of genocide psychotrauma.

Karine Khodikyan, a contemporary Armenian prose writer, poet, playwright, publicist, translator, and editor, is one of those female writers of our time whose literary and authorial profile is reflected in her multi-genre works. She was the editor of the prose and poetry section of the magazine “Garun” (1989–2001), Deputy Minister of Culture of the Republic of Armenia (2004–2008), founder and Editor-in-chief of the literary and artistic journal “Dramaturgia” (2000 to present), Editor-in-chief of the “Grakan Tert” (2001– 2004 and 2012 to present), founder and Editor-in-chief of the website “www.tatron-drama.am” (2018 to present), etc. K. Khodikyan has written poems, stories, plays, novels, and a number of publicistic articles, which aesthetically and artistically reflect the current Armenian national situation and vitally important issues.

Yeghishe Charents came to the idea of God through the revolution, the efforts to save the homeland, and the literary-political struggle. He traversed this path, immersing himself in spiritual realms where Komitas was, where the figures of Armenian and world literature stood – Grigor Khlatetsi (Tserents) and Grigor Narekatsi, Shakespeare and Dante...