The French-language survey examines chamber, symphonic, and staged works through which Dellalian, Mansuryan, Yerkanyan, and Sharafyan interpreted inherited memory of the Armenian Genocide.
Photo studios from the 1880s–1930s, satirical cartoons from 1920–1958, and costume exhibitions in 1972–1976 reveal how Armenian women and their organizations negotiated visibility within Qajar and Pahlavi modernization.
Sedimentary ancient DNA and pollen from Aghitu-3 reconstruct plant assemblages across a 15,000-year Upper Paleolithic sequence, associating higher diversity with occupation layers and identifying taxa useful for food, medicine, textiles, and dyeing.
A macro-model of Tekor Church under dynamic earthquake loads locates elevated stress at column supports, upper columns, and connecting arches, while maximum deformation appears at the triangular gable peaks and accords with earlier damage.
Written sources from eighteenth- and nineteenth-century Istanbul show Armenian, Rum, Jewish, Gypsy, Turkish, and western musicians sharing public space; Hamparsum notation and multilingual scripts made this cultural transfer materially visible.
This visual-culture study analyzes banners and posters from the Karabakh Movement, identifying symbols, slogans, inherited Soviet forms, nationalist themes, and images of unity between Armenia and Artsakh.
Sixteen Armenian poems added to seventeenth-century manuscript M7709 are translated and interpreted alongside the City of Brass, Alexander's death, Darius's emissaries, and wider Alexander Romance traditions.
Using censuses from 1774 through 2001, the authors reconstruct Armenian settlement and institutions in Chernivtsi, score twenty-six heritage objects, map their spatial clusters, and propose an ethnographic excursion route centered on the Armenian Church.
This review distinguishes matsun, choratan, and the Narine strain, connecting Armenian food history with microbial diversity, bioactive peptides, preclinical findings, small clinical trials, and the need for larger human studies.
This memorial profile presents Levon Chaushyan as a composer, Conservatory professor, and Armenian Musical Assembly leader whose awards and teaching shaped national musical institutions.
The article reconstructs K. S. Sarajev's orchestral pedagogy and its transmission through Armen Budaghyan, Gevorg Budaghyan, and Mikael Maluntsyan, presenting conductor training as a foundation of Armenian performing art.
The study argues that Artsakh embroidery constitutes a distinct school, extending beyond previously noted towels to daily needlework and eighteenth- and nineteenth-century rugs whose compositions echo regional dragon carpets.
The article follows the Tigranakert archaeological museum from four years of excavation and its 2010 opening in a late-medieval castle through exhibitions, cultural programs, and the collection's uncertain fate after the forty-four-day war.
Through Georgi Tigranov's scholarship, the article interprets Alexander Spendiarov's Crimean years as the period when chamber and symphonic experiments formed his Armenian national style.
Using collected production materials, the article reconstructs the creative and organizational work behind the films David Bek and Hope Star, including obstacles faced by their directors, actors, and crews.
Applying The Humdrum Toolkit to orally transmitted songs from the Sasna Tsrer epic, a musicologist collaborates with engineering and psychology specialists to model linked fourths and test Komitas’s account through computational measurement.
The article surveys how Armenian folk songs and music were documented, preserved, and published from the nineteenth through twenty-first centuries, emphasizing changing scientific, technical, and qualitative practices.
Potential Cimmerian complexes in the Armenian Highland are identified through curved burial-chamber walls, particular stone sculptures, horse interments, tack, weapons, and gendered tools rather than artifact labels alone.
Hovhannes Nalbandyan's training and forty-seven-year teaching career in St Petersburg connect the Auer school to Soviet violin practice, while his 1890 surname change publicly asserted Armenian identity.
Marking Yuri Veselovsky’s 150th anniversary, the article describes a Russian literary scholar, poet, translator, and Armenologist whose late-nineteenth-century work promoted Armenian history, literature, and art and helped Armenology develop in Russia.
A modal and intonational reading places the medieval canto Krunk between peasant, urban, and sacred songwriting while emphasizing its improvisatory form and wanderer's lament.
Three amulets held by Baghdad's Armenian Diocese—printed scrolls from 1716 and the later nineteenth century plus an Erzrum manuscript of 1736—are compared through codicology, prayers, decoration, and iconography.
Jan Hasso Agopsowicz's path from the Papal Armenian College to postwar Poland combined advocacy for Catholic Armenian pastoral care with a collection of Armenian books and production of 240 bookplates.
Instagram images of Yerevan’s 1967 Mother Armenia statue were reworked during the 2020 Nagorno-Karabakh war by users in Armenia and the diaspora, linking monument memory with visual appropriation.
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