Pub Date : 2022-09-13DOI: 10.54503/1829-0116-2022.1-272
Ալվարդ Մայիլյան
Sartre’s works, such as the novel “Nausea”, the philosophical work “Being and Nothingness”, the dramas “Flies”, “No Exit” and partly the novel “The Roads of Freedom”, are among the biggest manifestations of existentialism. The purpose of the article is to reveal the image of the protagonist of the play “The Devil and the Good Lord”, Goetz, using the concepts of pride and vanity. Sartre describes the moral adventure of man through Goetz. The isolated character tries to start a human struggle against other people. Goetz turns away from the Lord in order to present himself to the world of people. He discovers a new form of self-destruction and renounces the eternal pretence. The whole essence of Goetz’s character revolves around a tragic conflict in which he tries to maintain isolation from people while secretly striving for love and acceptance. Goetz thinks he is free to do evil, but in doing so, his personality is defeated. This is his vanity. But Goetz’s pride is an illusion, because his stubbornness is only external, he acts as if he is not a master of his craft. The Sartre hero, proud of his loneliness, actually only accepts the condition set by society and waits for the recognition. Like many other dramatic characters created by Sartre, he exists in the eyes of others, God or other people, and thus reveals himself. The extremely cruel warrior Goetz is the best captain in all of Germany, whose fame reigns in the city of Worms as a silent threat of destruction in the first act of the play. However, in Sartre’s play, the priority is to understand Goetz in the eyes of other characters who see him, know him, and associate him with his monstrous “nature”. The fact that Goetz appears only in the second scene of the play can be considered a dramatic device by which Sartre tried to make Goetz the center of the conflict. The main topic of discussion for others is this newcomer, who personifies the plot knot and is the basis of dramatic actions. It is precisely because of the negative nature of these social values that the image of Goetz was formed: this is connected with the fate that awaits him on stage, because the hero of the Devil and Lord considers himself unique. Goetz does not look at the world through an optical device, but at every step he is tempted by the reflection of his image, inspired by other people’s eyes, in which he is doomed to accept himself. Before entering the stage, he has already been assigned a place in a world where a person never thinks about getting rid of himself before the final transformation.
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Pub Date : 2022-09-13DOI: 10.54503/1829-0116-2022.1-248
Արմեն Ավանեսյան
There is a kind of poetry that seems like a ritual, with the writer’s sacred reverence for the word. It is this faith that guides the Chinese poet Jidi Majia in his book ‘My Voice’ (Yerevan Armav, 2017). The translator of the book is the poet Gagik Davtyan. Jidi Majia’s poems have a deep development, based on sincere feelings, and vertical-spatial artistic inclusions appear with rich thoughtful substrata. In the series entitled ‘The Yi Nationality’, the poet depicts the love for the country, the inner relationship between the thinker about the life of his people and his self, and life becomes a cyclical continuity. What is happening, started yesterday and will continue tomorrow. To understand this wholeness, one must often look at oneself from the side. A person becomes gifted because he is not alone, he is the bearer of the heritage of the people descended from the eagle, a link in a complete chain, so often the temporal present-past-future chain system ceases to exist in the eternal white space. Jidi Majia is a devotee of his homeland, bound by an inseparable sacred bond with his native land. He has reached the highest point of the country-motherland consciousness: you do not need to demand anything from the motherland, moreover, you have to give, dedicate yourself, be, and serve the motherland and no reason is needed for that. This is the highest and most spiritual perception of dedication, which the poet also conveys to the Armenian reader.
{"title":"Ջիդի Մաջիայի չափազանց հարազատ ձայնը","authors":"Արմեն Ավանեսյան","doi":"10.54503/1829-0116-2022.1-248","DOIUrl":"https://doi.org/10.54503/1829-0116-2022.1-248","url":null,"abstract":"There is a kind of poetry that seems like a ritual, with the writer’s sacred reverence for the word. It is this faith that guides the Chinese poet Jidi Majia in his book ‘My Voice’ (Yerevan Armav, 2017). The translator of the book is the poet Gagik Davtyan. Jidi Majia’s poems have a deep development, based on sincere feelings, and vertical-spatial artistic inclusions appear with rich thoughtful substrata. In the series entitled ‘The Yi Nationality’, the poet depicts the love for the country, the inner relationship between the thinker about the life of his people and his self, and life becomes a cyclical continuity. What is happening, started yesterday and will continue tomorrow. To understand this wholeness, one must often look at oneself from the side. A person becomes gifted because he is not alone, he is the bearer of the heritage of the people descended from the eagle, a link in a complete chain, so often the temporal present-past-future chain system ceases to exist in the eternal white space. Jidi Majia is a devotee of his homeland, bound by an inseparable sacred bond with his native land. He has reached the highest point of the country-motherland consciousness: you do not need to demand anything from the motherland, moreover, you have to give, dedicate yourself, be, and serve the motherland and no reason is needed for that. This is the highest and most spiritual perception of dedication, which the poet also conveys to the Armenian reader.","PeriodicalId":313969,"journal":{"name":"Գրականագիտական հանդես=Literary Journal","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114682986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-13DOI: 10.54503/1829-0116-2022.1-14
Կամո Բ. Ալեքսանյան
The purpose of the article is to show the contribution of the great Armenian novelist Raffi in the fieald of geography. With his travels and collected vluminous and high quality geographic materials he has the right to stand in the ranks of geographers, local historians and travellers.
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Pub Date : 1900-01-01DOI: 10.54503/1829-0116-2023.1-313
Suren Abrahamyan
«Ի սկզբանե էր բանն...» արտահայտության լեզվական քննության հարցը առանցքային նշանակություն ունի որպես գրականության բնագրաստեղծ նախահիմք ։ Նրա լեզվական նախահիմքով է պայմանավորված «բանի » բնագրաստեղծ էներգիան, որի հաղորդակցական ոլորտում թաքնված է երկխոսական էվոլյուցիան ։ Բանը, լեզվական արտահայտության ձգտելով, իբրև լեզվական նշան, պահպանում է ծագման նախասկզբի մետաֆիզիկական իմաստը ։ Ուստի Աստվածաշնչի առանձին գրքերը, մասնավորապես Ժողովողի («Բանք Ժողովողի ») գիրքը ևս, գրավոր իր արտահայտությամբ, կարելի է անվանել նախաբնագիր, որ արտահայտության և ձևի միասնության ձգտելով` պահպանում է ծագման նախահիմքի իմաստը, շարժումը և նշանակությունը ։ Вопрос о лингвистической экспертизе выражения «В начале было Слово…» имеет ключевое значение как исходная основа литературы. Этой языковой исходной основой обусловлено рукописи-созидательная энергия «слова», в чьей коммуникативной сфере лежит диалогическая эволюция. Речь, стремясь к языковому самовыражению, как языкавой знак, сохраняет метафизический смысл начала происхождения. Поэтому отдельные книги Библии, особенно Книга Екклесиаста, тоже, своим письменным выражением, можно назвать прототипом, что, стремясь к единству выражения и формы, сохраняет смысл, движение и значение исходной основы. This paper examines the biblical book “Proverbs of the Preacher” as a distinguished predecessor of the manuscript, which is elucidated from the perspective of the transformation of the writing, embodying meaning in symbols. Speech, our method of analysis is grounded on an interpretative basis, which includes such an “interpretive frame”, according to which the roots of speech induce unity of oral and written speech through deconstruction.
{"title":"Well Of The Wisdom Or The Proverbs Of Solomon","authors":"Suren Abrahamyan","doi":"10.54503/1829-0116-2023.1-313","DOIUrl":"https://doi.org/10.54503/1829-0116-2023.1-313","url":null,"abstract":"«Ի սկզբանե էր բանն...» արտահայտության լեզվական քննության հարցը առանցքային նշանակություն ունի որպես գրականության բնագրաստեղծ նախահիմք ։ Նրա լեզվական նախահիմքով է պայմանավորված «բանի » բնագրաստեղծ էներգիան, որի հաղորդակցական ոլորտում թաքնված է երկխոսական էվոլյուցիան ։ Բանը, լեզվական արտահայտության ձգտելով, իբրև լեզվական նշան, պահպանում է ծագման նախասկզբի մետաֆիզիկական իմաստը ։ Ուստի Աստվածաշնչի առանձին գրքերը, մասնավորապես Ժողովողի («Բանք Ժողովողի ») գիրքը ևս, գրավոր իր արտահայտությամբ, կարելի է անվանել նախաբնագիր, որ արտահայտության և ձևի միասնության ձգտելով` պահպանում է ծագման նախահիմքի իմաստը, շարժումը և նշանակությունը ։\u0000Вопрос о лингвистической экспертизе выражения «В начале было Слово…» имеет ключевое значение как исходная основа литературы. Этой языковой исходной основой обусловлено рукописи-созидательная энергия «слова», в чьей коммуникативной сфере лежит диалогическая эволюция. Речь, стремясь к языковому самовыражению, как языкавой знак, сохраняет метафизический смысл начала происхождения. Поэтому отдельные книги Библии, особенно Книга Екклесиаста, тоже, своим письменным выражением, можно назвать прототипом, что, стремясь к единству выражения и формы, сохраняет смысл, движение и значение исходной основы.\u0000This paper examines the biblical book “Proverbs of the Preacher” as a distinguished predecessor of the manuscript, which is elucidated from the perspective of the transformation of the writing, embodying meaning in symbols. Speech, our method of analysis is grounded on an interpretative basis, which includes such an “interpretive frame”, according to which the roots of speech induce unity of oral and written speech through deconstruction.","PeriodicalId":313969,"journal":{"name":"Գրականագիտական հանդես=Literary Journal","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132371370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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