Applies Colin Renfrew's peer-polity interaction theory to the political formations of the Armenian Highland in the second millennium BCE, working through Isuwa and the Etiuni confederation as test cases for how early states in the region formed and related to one another.
Traces the Armenian exegesis of the parable of the ten virgins from the fifth to the fourteenth century, identifying its Greek sources while highlighting what is distinctively Armenian in it. Pane then turns to two unusual works in which the virgins are depicted as men: a bas-relief at Hovhannavank monastery and a miniature by the copyist Yovsian. Beyond the liturgical and eschatological readings proposed in recent scholarship, he argues that the explanation for these 'bearded virgins' lies in the continuous Armenian exegetical tradition, which reinterpreted the parable with reference to the spirituality of male monastic communities.
Re-reads the carved lower tympanum of the Noravank narthex (founded 1261), whose composition centers on the Virgin and Child. The bird beneath the Child's feet is identified as the apocryphal clay bird animated by Jesus's breath, echoing the Father animating Adam; the lion the Child sits on is the Lion of Judah from the vision in Esdras. Old Testament prophets flank the Virgin, and a large letter Ա with a three-pointed arrow aimed at Mary's ear evokes Ephrem the Syrian's conception-through-the-ear formula, reinforced by the word ԲԱՌՆ and the surrounding Armenian inscription, which the author translates. The reading ties Armenian monumental sculpture to apocryphal and patristic exegesis.
Presents the first study of a previously unexamined medical manuscript, Matenadaran codex no. 11161, covering its physical characteristics, provenance, and textual composition. The authors analyze one of its key texts, a book on horses, and compare it with other Armenian medical manuscripts. This lets them date and localize the codex more precisely and situate it in the Armenian medical tradition between medieval Cilicia and early modern Nor Jugha (New Julfa). Khachatryan is based at the Matenadaran; Dum-Tragut heads Armenian Studies at Salzburg.
Margaryan analyses the evolution of institutional reform in Armenia's public administration since independence, dividing it into four stages: initial institutional creation (1991–1999), formalization and adoption of Western governance models (2000–2008), European integration and administrative modernization (2009–2017), and the political transformation with renewed reform since 2018. She reads these as the interaction of historical legacy, external influence and domestic aspirations toward modernization, assessing institutional inertia, the limited localization of imported models, and political resistance. She closes by measuring the reforms against Armenia's Public Administration Reform Strategy to 2030 and arguing for a shift from imitative reform to durable institutional transformation.
Presents an annotated edition and English translation of a poem probably composed by Yovasap of Sebastia (c. 1510–after 1564). Part of a longer cycle of biblical retellings in verse, the poem narrates world history from Adam down to the Tower of Babel. Yovasap repeatedly departs from the biblical narrative to offer homiletic or typological elaborations and shows deep familiarity with parabiblical traditions. The authors present it as a fine specimen of the 'Armenian embroidered Bible,' attesting how biblical and parabiblical material was received and developed in the Armenian literary sphere.
Over the historical development of a language the semantic structure of a compound word can shift, blurring or destroying awareness of its compound structure: a process called demotivation (ապապատճառաբանում). The article explains that a compound word's meaning rests on its internal form, the motivated link between sound and sense, and that this internal form is usually transparent to speakers. Under certain conditions, however, Armenian tends to obscure both the derivational and the semantic ties inside a compound, sometimes losing the internal form entirely, as in many native Armenian root words. The study sets out the principal causes and the successive stages of this demotivation, noting that words at different stages of loss coexist side by side in the language.
Հայաստանի սահմանամերձ բնակավայրերում, the project follows մշակույթի տներ, գյուղական ակումբներ, թանգարաններ, and արվեստի դպրոցներ as communities and state bodies remake post-Soviet public space.
Following Syrian Armenians after 2011, the study maps multidirectional movement among refuge, transit, return, and settlement, then shows how the 2020 Artsakh war deepened precarity in Armenia.
Charlie Hachadourian’s conceptual sculpture is interpreted through scientific and technological change, with fragmentation, migration, hybridization, and assimilation reshaping artistic and social identities.
Yovhannēs K‘r.nets‘i’s 1340s grammar combines Dionysian categories with Latin syntax and definitions, producing new Armenian terms for sentence kinds, agreement, case government, and verbal structure.
Diasporic filmmakers move from an imagined Soviet-era homeland toward post-independence images marked by economic struggle, disillusionment, concealed trauma, and divided Armenian identity.
Etymological analysis of Syunik-Artsakh agricultural vocabulary tests Indo-European roots, native Armenian development, Turkic borrowing, and regular dialectal sound changes across several plant-related terms.
Practice-led study of Babajanian’s 1948 violin concerto connects Armenian folk idioms, Western classical forms, historical recordings, and performer choices within an intertextual interpretive framework.
Letters exchanged by Tarkovsky and Armenian filmmaker Bagrat Hovhannisyan reveal mentorship, conflict, and pragmatic support as a younger director navigated Soviet cinema’s cultural and political establishment.
Three episodes in Bishop Mkrtič Nałaš's Diyarbakır career reveal Armenian clerical patronage and agency intertwined with the formation of the Aqquyunlu state during the fifteenth century.
Motivic cells in Babajanian’s concerto become sites where Armenian modal gestures, Soviet formal strategies, transformation, and performer-led interpretation create unity and expressive nuance.
New Julfa emerges as a Safavid crossroads where Armenian, Persian, and European influences converged in churches, Khoja mansions, artists’ practice, and illuminated manuscripts over time.
Step‘anos of Tokat’s career as refugee priest, poet, manuscript-maker, and merchant-linked entrepreneur anchors a social history of Armenian book production after wars damaged monastic scriptoria.
Wilbrand’s Cilician embassy narrative records Epiphany processions, clergy, discantus, chants, and ceremonial sound while situating Lesser Armenia among diplomatic, military, and ecclesiastical networks.
Paired Armenian colophons and Arabic chronicles illuminate raids, reciprocal violence, and disputed place names during Lewon IV’s Cilician reign between Mamluk and Ilkhanate powers.
Ottoman leaders’ threat perceptions, Russian intervention, Armenian political parties, territorial fears, and imperial decline are presented as interacting drivers of genocidal decision-making.
Comparing illuminated miniatures with medieval Armenian churches, the study treats painted domes as visual documentation of architectural practice, symbolism, aesthetics, and ecclesiastical culture.
Two unpublished texts in Armenian diagrammatic chronicles are analyzed alongside a miniature to compare Adam’s sins, creation places, textual origins, and Latin-Armenian influence.
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