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Samuel Khachikian and the Crime Thriller in Iran 塞缪尔·哈奇基安和伊朗的犯罪惊悚片
Pub Date : 2021-09-06 DOI: 10.1163/26670038-12342745
Kaveh Askari
Samuel Khachikian was the most successful director of crime films in Iran during the genre’s heyday in the late 1950s and early 60s. Debates among critics about his films highlight how the crime film was able to thrive as a prestige form in the years before boundaries had solidified between commercial films and intellectual films made in Iran. Film noir, from its earliest transatlantic imaginings to its recent global circuits, has consistently engaged with an imagined elsewhere through its modernist style. In many parts of the world, it allowed a kind of performance of exuberant cinephilia while also attracting attention about its originality. In Tehran, as elsewhere, the genre accompanies the global circulation of modern design with strong, but mixed, feelings.
在20世纪50年代末和60年代初的犯罪电影全盛时期,塞缪尔·哈奇基安是伊朗最成功的犯罪电影导演。评论界对他的电影的争论突显出,在伊朗制作的商业电影和知识分子电影之间的界限尚未固化之前,犯罪电影是如何作为一种声望形式蓬勃发展的。黑色电影,从最早的跨大西洋想象到最近的全球巡回,一直通过其现代主义风格与其他地方的想象相结合。在世界上的许多地方,它让一种狂热的影迷表现出来,同时也吸引了人们对其独创性的关注。在德黑兰,和其他地方一样,这种风格伴随着现代设计的全球循环,带着强烈而复杂的感情。
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引用次数: 0
William Saroyan’s Dream of Home 威廉·瑟罗的《家之梦》
Pub Date : 2021-06-17 DOI: 10.1163/26670038-12342742
Greg Levonian
The many forms of home permeate William Saroyan’s most notable dramatic efforts: Hello Out There, The Time of Your Life, The Beautiful People, and The Cave Dwellers. Home embodies not only a place, but also an idea – one that provides hope for the hopeless and adrift.
许多形式的家渗透在威廉·萨罗扬最著名的戏剧作品中:你好,在那里,你生命的时间,美丽的人,和洞穴居民。家不仅代表着一个地方,而且代表着一种理念——一种为绝望和漂泊的人提供希望的理念。
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引用次数: 0
Creedal Controversies among Armenians in the Seventeenth-Century Ottoman Empire 17世纪奥斯曼帝国亚美尼亚人的信条之争
Pub Date : 2020-09-22 DOI: 10.1163/26670038-12342708
A. Ohanjanyan
In the late seventeenth century along the lines of European confession-building and Ottoman sunnitization, the Armenian Apostolic Church initiated the reshaping of its orthodoxy in the face of growing Tridentine Catholicism. Through the contextualization of the polemical writing attributed to the famed Constantinopolitan Armenian erudite Eremia Čʻēlēpi Kʻēōmiwrčean, this article discusses the ways of detecting “bad innovations” in the doctrine and practice of Armenian communities in the Ottoman realms, and the doctrinal instruments used for enforcing “pure faith” towards social disciplining of the Apostolic Armenians.
在17世纪晚期,随着欧洲的忏悔建立和奥斯曼的逊尼派化,亚美尼亚使徒教会在面对日益增长的特伦丁天主教时,开始重塑其正统教义。本文以著名的君士坦丁堡亚美尼亚学者Eremia Č·ēlēpi·K·ēōmiwrčean的论著为背景,讨论了在奥斯曼帝国亚美尼亚社区的教义和实践中发现“不良创新”的方法,以及用于对使徒亚美尼亚人的社会纪律执行“纯粹信仰”的教义工具。
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引用次数: 1
From the Editor-in-Chief 来自总编辑
Pub Date : 2020-09-16 DOI: 10.1163/26670038-12342711
Tamar M. Boyadjian
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引用次数: 0
Warher
Pub Date : 1900-01-01 DOI: 10.1163/26670038-12342717
Sune Sevada, L. Hovakimyan, S. Khachatryan
“Warher” is a short story from the 2019 book Addiction written by Sune Sevada – a young Armenian writer and journalist, whose work has received much widespread recognition and acclaim. “Warher” is a story of love and struggle, an emotional outburst depicting the lives of those who remain behind, as the men go to war. Sevada’s short story is particularly significant in that it provides a testimony of the just recent war waged on the people and lands of Artsakh (Nagorno-Karabagh) by the Turkish and Azeri governments, where a small group of people had to defend their indigenous lands, families, and their homes against millions. Through detailed descriptions and hidden symbols, the story gives the readers a deep understanding of these events, and more specifically, the emotional struggles of the women and children, who live in constant fear and terror, anxiously await the fate of their loved ones fighting in war.
《Warher》是亚美尼亚年轻作家兼记者苏尼·塞瓦达2019年出版的《成瘾》一书中的一个短篇故事,她的作品得到了广泛的认可和赞誉。《战神》是一个关于爱与挣扎的故事,是一种情感的爆发,描绘了那些留下来的人的生活,因为这些人上了战场。Sevada的短篇故事尤其重要,因为它见证了土耳其和阿塞拜疆政府最近对Artsakh(纳戈尔诺-卡拉巴赫)人民和土地发动的战争,在这场战争中,一小群人不得不捍卫自己的土地、家庭和家园,对抗数百万人。故事通过详细的描述和隐藏的符号,让读者深刻地理解了这些事件,更具体地说,是生活在不断的恐惧和恐怖中,焦急地等待着在战争中战斗的亲人命运的妇女和儿童的情感斗争。
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引用次数: 0
Review Essay 评论文章
Pub Date : 1900-01-01 DOI: 10.1163/26670038-12342739
Michael Bobelian, M. Mamigonian
In this essay, the authors respond to Laura Robson’s “Memorialization and Assimilation: Armenian Genocide Memorials in North America,” published in Mashriq & Mahjar in 2017, regarding analysis of the history of Armenian Genocide memorials in the U.S., the relationship between these memorials and Holocaust memorials, and Armenian assimilation in America.
在这篇文章中,作者回应了劳拉·罗布森的“纪念和同化:北美的亚美尼亚种族灭绝纪念馆”,于2017年发表在Mashriq & Mahjar上,关于美国亚美尼亚种族灭绝纪念馆的历史分析,这些纪念馆与大屠杀纪念馆之间的关系,以及亚美尼亚在美国的同化。
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引用次数: 0
Legami – Bonds
Pub Date : 1900-01-01 DOI: 10.1163/26670038-12342731
Mikayel Ohanjanyan
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引用次数: 0
#CancelHrag (2020)
Pub Date : 1900-01-01 DOI: 10.1163/26670038-12342736
Hrag Vartanian
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引用次数: 0
Silent Noise 沉默的声音
Pub Date : 1900-01-01 DOI: 10.1163/26670038-12342733
Taleen Babayan
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引用次数: 0
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Journal of the Society for Armenian Studies
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