Ancient DNA and tooth-shape measurements from 393 pigs at 48 sites, including Armenia, refine animal dispersal from the Neolithic through medieval western Eurasia.
Comparative analysis of Armenian churches from the fourth through seventh centuries traces changing arch and semidome forms, masonry, and placement as builders adapted internal vaults to the heavy structural demands of domes.
Media coverage of the 2007 Sourp Khatch reopening is used to test whether Turkish minority-rights language reflects European norms or repackaged Ottoman tolerance.
The essay characterizes Armenian architecture as a millennium-long carrier of classical traditions and a generative influence within Eastern European artistic development.
Atom Egoyan's Ararat is read through its film-within-a-film structure, connecting Armenian Genocide denial with consequences for Turkish and Armenian descendants, everyday truth claims, dehumanization, Levinas's ethics of the Other, and survivor responsibility.
This posthumously issued opening installment begins a planned comprehensive account of Armenian architecture with prehistoric and ancient material; the larger historical project remained unfinished.
This analysis reads Atom Egoyan's Ararat as an inquiry into the difficulties of representing genocide and remembering a contested past. It examines denial, commemoration, family identity, cinematic form, and the problem of competing historical claims.
Kuzguncuk’s Armenian church and mosque sustain a nostalgic image of Istanbul pluralism, while historic-house restoration and gentrification obscure departed minorities, mid-century Turkification, traumatic exclusion, and newer class divisions.
Frame composition beneath the dome is used to trace two structural lineages for the distinctive Hripsime form in early Armenian churches.
The essay presents Armenian-Russian cultural relations as reciprocal rather than simply progressive or colonial, arguing that imperial incorporation mediated European modernity while Armenians actively shaped Russia's cultural and socioeconomic life.
A comparative study of tenth-century architect Trdat connects his Hagia Sophia dome repair and Ani Cathedral construction with a little-known Armenian text, revealing building practices and exchange across the Christian East.
Reviewing an exhibition catalogue, the article describes UCLA's conserved fourteenth-century Gladzor Gospels, including canon tables, evangelist portraits, marginalia, and fifty-four narrative miniatures.
Thirty Sayat-Nova melodies are tested for rhythmic and melodic unity through Armenian folk, sacred, and ashoogh traditions, tzayn codification, poetic meter, and cadential patterning.
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