The contemporary cultural context is shaped by hyperlinks as a tool for establishing references that form our interpretations of notions, concepts, and phenomena into a cohesive narrative. This paper aims to examine the practice of visual citing in the architectural discipline as a methodology that takes the principle of intertextuality from the discourse of literary art and introduces it into the design process. Furthermore, the work intends to conceptualize a framework of stylistic functions that references serve in the design process relative to aesthetic qualities valued within different cultural and social conditions. Concerning examples of the analogical method in postmodern stylistic expression, the paper tries to translate the principles inherently found in the architectural discipline into the context of contemporary practice. In the process, the question of anonymous reference sources is posed due to the lack of a unifying method for their notation. Finally, by comparing the notions of hypertext and intertext, the intention is to understand the semiological relations established between the works of independent authors and the causes of the disparity between references used in the design process and those subsequently created.
{"title":"Intertextuality in Contemporary Architectural Practice: Citation, Analogy, and the Fabrication of Referentiality in the Hypertextual Environment","authors":"Tijana Mačkić","doi":"10.25038/am.v0i29.563","DOIUrl":"https://doi.org/10.25038/am.v0i29.563","url":null,"abstract":"The contemporary cultural context is shaped by hyperlinks as a tool for establishing references that form our interpretations of notions, concepts, and phenomena into a cohesive narrative. This paper aims to examine the practice of visual citing in the architectural discipline as a methodology that takes the principle of intertextuality from the discourse of literary art and introduces it into the design process. Furthermore, the work intends to conceptualize a framework of stylistic functions that references serve in the design process relative to aesthetic qualities valued within different cultural and social conditions. Concerning examples of the analogical method in postmodern stylistic expression, the paper tries to translate the principles inherently found in the architectural discipline into the context of contemporary practice. In the process, the question of anonymous reference sources is posed due to the lack of a unifying method for their notation. Finally, by comparing the notions of hypertext and intertext, the intention is to understand the semiological relations established between the works of independent authors and the causes of the disparity between references used in the design process and those subsequently created.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83865551","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}
{"title":"Heidegger’s Indiana by Panoply Performance Lab","authors":"Esther Neff","doi":"10.25038/am.v0i29.558","DOIUrl":"https://doi.org/10.25038/am.v0i29.558","url":null,"abstract":"<jats:p>/</jats:p>","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83745403","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}
{"title":"Artistic Future","authors":"Asen Ou","doi":"10.25038/am.v0i29.557","DOIUrl":"https://doi.org/10.25038/am.v0i29.557","url":null,"abstract":"<jats:p>/</jats:p>","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80768692","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}
In Igor Eškinja’s installation Do Plants Dream of the Future? the main artistic motif is the living plant world growing in specific locations. The theme is therefore a landscape, but at the same time an anti-landscape because the plants are weeds, and the location is not determined by the natural, but by the industrial environment. The artist scrutinizes the plants in such an artificial environment and the nature here is inseparable from the urban layer. Moreover, the binarity of nature and culture is illustrated throughout the entire artwork, as well as the paradoxical nature of this relationship. This text aims to demonstrate to what extent is Eškinja’s installation is a landscape and what it tells us about the topic of nature in contemporary art.
{"title":"Deconstruction of the Landscape in Contemporary Art Based on the Example of the Installation Do Plants Dream of the Future? by Igor Eškinja","authors":"K. Rukavina","doi":"10.25038/am.v0i29.564","DOIUrl":"https://doi.org/10.25038/am.v0i29.564","url":null,"abstract":"In Igor Eškinja’s installation Do Plants Dream of the Future? the main artistic motif is the living plant world growing in specific locations. The theme is therefore a landscape, but at the same time an anti-landscape because the plants are weeds, and the location is not determined by the natural, but by the industrial environment. The artist scrutinizes the plants in such an artificial environment and the nature here is inseparable from the urban layer. Moreover, the binarity of nature and culture is illustrated throughout the entire artwork, as well as the paradoxical nature of this relationship. This text aims to demonstrate to what extent is Eškinja’s installation is a landscape and what it tells us about the topic of nature in contemporary art.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77940425","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}
Earth’s climate is ever changing; yet for the first time in our planet’s history, Homo sapiens are the primary agents of this change. With this realization in mind, some geologists hope to rename our current terrestrial epoch the Anthropocene. Critical theorists have responded with alternate names – such as the Capitalocene or the Plantationocene – that point directly to the kinds of human activity that have led our planet to its current predicament. This paper begins with the premise that we are currently living through what environmental philosopher and multispecies feminist theorist Donna J. Haraway has named the Chthulucene: the age of monsters. If rationalocentric thinking of Enlightened Man helped bring about the Anthropocene, then what kind of worlds can emerge by turning away from Man and towards a radical reimagining of ourselves as monsters? What can chthonic stories teach us about how to live and die well together during a time of mass extinction? Drawing primarily from the emerging interdisciplinary field of art, science, and technology studies (ASTS), this paper offers a creatively narrated analysis of three chthonic narratives: Cold War satirical film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, Octavia E. Butler’s post-nuclear-apocalyptic novel Dawn, and my own psychotic episodes involving nuclear apocalypse. These narratives, along with the Chthulucene itself, challenge the Western cultural distinction between the real and the imagined in order to make room for radical forms of relationality that can change how we Earthly beings identify, respond to, and care for each other as we collectively move through our planetary crisis and into other possible worlds.
地球的气候一直在变化;但在地球历史上，智人第一次成为了这种变化的主要推动者。考虑到这一点，一些地质学家希望将我们目前的陆地时代重新命名为人类世。批判的理论家们用其他的名字来回应，比如资本新世或种植园新世，这些名字直接指向了导致我们的星球陷入当前困境的人类活动。本文开篇的前提是，我们目前正生活在环境哲学家和多物种女权主义理论家唐娜·哈拉威(Donna J. Haraway)所称的克苏鲁塞尼:怪物时代。如果启蒙人类的理性中心思想帮助带来了人类世，那么通过远离人类并将我们自己彻底重新想象为怪物，会出现什么样的世界呢?在大灭绝时期，民族故事能教给我们什么?本文主要从新兴的跨学科艺术、科学和技术研究领域(ASTS)出发，对三个民族叙事进行了创造性的分析:冷战讽刺电影《奇爱博士》或《我如何学会停止担忧并热爱炸弹》，奥克塔维亚·e·巴特勒的后核启示录小说《黎明》，以及我自己与核启示录有关的精神病发作。这些叙述，以及克苏鲁塞尼本身，挑战了西方文化中真实与想象之间的区别，以便为激进的关系形式腾出空间，这种关系形式可以改变我们地球人在共同度过我们的星球危机并进入其他可能的世界时如何识别，回应和关心彼此。
{"title":"We Are All Monsters: Radical Relationality During Planetary Crisis","authors":"L. Lorenz","doi":"10.25038/am.v0i29.552","DOIUrl":"https://doi.org/10.25038/am.v0i29.552","url":null,"abstract":"Earth’s climate is ever changing; yet for the first time in our planet’s history, Homo sapiens are the primary agents of this change. With this realization in mind, some geologists hope to rename our current terrestrial epoch the Anthropocene. Critical theorists have responded with alternate names – such as the Capitalocene or the Plantationocene – that point directly to the kinds of human activity that have led our planet to its current predicament. This paper begins with the premise that we are currently living through what environmental philosopher and multispecies feminist theorist Donna J. Haraway has named the Chthulucene: the age of monsters. If rationalocentric thinking of Enlightened Man helped bring about the Anthropocene, then what kind of worlds can emerge by turning away from Man and towards a radical reimagining of ourselves as monsters? What can chthonic stories teach us about how to live and die well together during a time of mass extinction? Drawing primarily from the emerging interdisciplinary field of art, science, and technology studies (ASTS), this paper offers a creatively narrated analysis of three chthonic narratives: Cold War satirical film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, Octavia E. Butler’s post-nuclear-apocalyptic novel Dawn, and my own psychotic episodes involving nuclear apocalypse. These narratives, along with the Chthulucene itself, challenge the Western cultural distinction between the real and the imagined in order to make room for radical forms of relationality that can change how we Earthly beings identify, respond to, and care for each other as we collectively move through our planetary crisis and into other possible worlds.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85520619","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}
In this text, I discuss my recent artistic work with meteorites in relation to possible future schemes to exploit non-terrestrial resources. Meteorites have been entangled with human cultures for thousands of years, from tool-making to religious practices, in scientific research and as commodities in online-markets. Whereas space mining has been a staple of Science Fiction narratives for over a century, national legislations have recently started to allow for actual future extraction and commercial use of resources on other celestial bodies. By employing the conceptual framework of “un·Earthing” as a transdisciplinary approach to explore existing and potential transformations of humans by and in outer space, I approach meteorites and their current commodification as a “pre-enactment” of these possible future scenarios of interplanetary extractivism. In collaboration with the Institute of Pharmaceutical Technologies at the University of Vienna, I produced pharmaceutical products containing meteoritic material and documented the process as well as my performative attempts to approach non-terrestrial material. The resulting short film raises questions about meteorites as a pharmakon of the ambivalent processes of un·Earthing and human-non-earthly relations.
{"title":"Licking Meteorites and a Pharmacy of un·Earthing","authors":"Ralo Mayer","doi":"10.25038/am.v0i29.559","DOIUrl":"https://doi.org/10.25038/am.v0i29.559","url":null,"abstract":"In this text, I discuss my recent artistic work with meteorites in relation to possible future schemes to exploit non-terrestrial resources. Meteorites have been entangled with human cultures for thousands of years, from tool-making to religious practices, in scientific research and as commodities in online-markets. Whereas space mining has been a staple of Science Fiction narratives for over a century, national legislations have recently started to allow for actual future extraction and commercial use of resources on other celestial bodies. By employing the conceptual framework of “un·Earthing” as a transdisciplinary approach to explore existing and potential transformations of humans by and in outer space, I approach meteorites and their current commodification as a “pre-enactment” of these possible future scenarios of interplanetary extractivism. In collaboration with the Institute of Pharmaceutical Technologies at the University of Vienna, I produced pharmaceutical products containing meteoritic material and documented the process as well as my performative attempts to approach non-terrestrial material. The resulting short film raises questions about meteorites as a pharmakon of the ambivalent processes of un·Earthing and human-non-earthly relations.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83297711","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}
В статье театр рассматривается как вид искусства, который живет в зрелищно-игровом действии в непосредственном присутствии зрителя. Уважаемому читателю предложенная тема может показаться несколько непривычной. Мы привыкли относиться к театру преимущественно как к коллективу людей весьма специфических творческих профессий, труд которых направлен на то, чтобы занять своеобразной «игрой на тему» свободное от основного вида общественно-полезной деятельности время зрителя, попутно давая ему возможность расслабиться, отдохнуть от повторяющейся изо-дня в день рутины, побыть в окружении прекрасного, пообщаться, наконец, с приятелями, обменяться информацией и т.д. Надеемся, что статья будет воспринята как точка зрения авторов, имеющих опыт исследования театра в качестве социального организма, функционирование которого с неизбежностью предполагает общение сo зрителем. In the paper, the theatre is considered as an art form that lives in a show-and-play action in the direct presence of the audience. The proposed topic may seem somewhat unusual to the readers. We are used to treating the theatre mainly as a team of people of specific creative professions, whose work is aimed at entertaining the spectators during their time off from their main socially useful activity, performing some kind of “play on a topic” and thereby letting them relax, take a break from their endlessly repeating day-to-day routine, be surrounded by the beautiful, communicate with friends and exchange information, etc. We hope that the article will be perceived as the viewpoint of the authors, who have vast experience in studying the theatre as a social organization, the functioning of which inevitably involves communication with the audience.
在这篇文章中，剧院被认为是一种生活在观众面前的表演艺术形式。尊敬的读者可能会觉得这个话题有点不寻常。我们习惯于剧院主要当作集体劳动人们非常具体的创造性职业,旨在以独特的“”主题游戏观众免费基本公共健康活动的时间,同时使他能够放松,休息每天重复的套路,打破了周围的美丽和伙伴们一起聊天,最后,交换信息、希望这篇文章将被视为有戏剧研究经验的作家的观点，作为一种社会有机体，其运作必然需要与观众交流。在纸面上，剧院是由表演和表演表演直接呈现的艺术形式所定义的。这首歌的主题让他们对读者感到困惑。We are used to treating the theatre mainly as a team of people of creative professions specific whose work is aimed at the spectators entertainment during their time off from their main socially useful - based,表演some kind of a话题play on and thereby放开them relax, take a break from their endlessly杠杆day - to - be surrounded by the beautiful day routine, communicate with friends and exchange information, etc。我们希望这首曲子能成为我们的观众，谁有能力在剧院里表演，谁有能力与audience交流。
{"title":"Театральное искусство и его зритель в зеркале социологии","authors":"Армен Саакян, Равиль Талибович Насибуллин, Салават Сагитов","doi":"10.54503/2579-2830-2022.2(8)-257","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-257","url":null,"abstract":"В статье театр рассматривается как вид искусства, который живет в зрелищно-игровом действии в непосредственном присутствии зрителя. Уважаемому читателю предложенная тема может показаться несколько непривычной. Мы привыкли относиться к театру преимущественно как к коллективу людей весьма специфических творческих профессий, труд которых направлен на то, чтобы занять своеобразной «игрой на тему» свободное от основного вида общественно-полезной деятельности время зрителя, попутно давая ему возможность расслабиться, отдохнуть от повторяющейся изо-дня в день рутины, побыть в окружении прекрасного, пообщаться, наконец, с приятелями, обменяться информацией и т.д. Надеемся, что статья будет воспринята как точка зрения авторов, имеющих опыт исследования театра в качестве социального организма, функционирование которого с неизбежностью предполагает общение сo зрителем.\u0000In the paper, the theatre is considered as an art form that lives in a show-and-play action in the direct presence of the audience. The proposed topic may seem somewhat unusual to the readers. We are used to treating the theatre mainly as a team of people of specific creative professions, whose work is aimed at entertaining the spectators during their time off from their main socially useful activity, performing some kind of “play on a topic” and thereby letting them relax, take a break from their endlessly repeating day-to-day routine, be surrounded by the beautiful, communicate with friends and exchange information, etc. We hope that the article will be perceived as the viewpoint of the authors, who have vast experience in studying the theatre as a social organization, the functioning of which inevitably involves communication with the audience.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73832739","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 : 2023-02-13DOI: 10.54503/2579-2830-2022.2(8)-167
Yvette Tajarian
The art of photography appeared in Turkey between the XIX and XX centuries. In the beginning, because of the high price of the service, only the rich could afford it. The first photography studio in the Ottoman Empire was established in the Bera district of Constantinople (presently, the Beyoglu district of Istanbul), where most of the population was Christian. Here, in 1857, Pascal Sebah of Armenian descent opened a photography center. He was one of the few to be awarded the Third-Class Order of the Medjidie by Sultan Abdulmejid. Unfortunately, all his photographic works were burnt in the great fire of 1881. The sons of Sarraf Mikayel Abdullahyan – Vichen, Gevorg and Hovsep Abdullah, also occupy an important place in the history of Turkish photography. They held a monopoly on dissemination of photography throughout the Empire. In 1836, the Abdullahyan brothers became special photographers fоr Sultan Abdul Aziz. In 1867, near the Russian Embassy in Bera, they opened a photography studio named “Abdullah Brothers”. A great number of photographers of Turkish and foreign descent, working in Turkey, namely, the Gulmez brothers, Ashil Samanj, Jerome Savajian, the Papazyan brothers, Antoine Zilipojian, Othmar Pfersci, Ismayin Nesmi, Ahmed Polat and others, furthered the development of Turkish photography. Ara Güler is one of those, who played a big part in the history of photography, having created with his outstanding works a whole new world in that field.
{"title":"The World Through the Lens of the Photographer Ara Güler","authors":"Yvette Tajarian","doi":"10.54503/2579-2830-2022.2(8)-167","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-167","url":null,"abstract":"The art of photography appeared in Turkey between the XIX and XX centuries. In the beginning, because of the high price of the service, only the rich could afford it. The first photography studio in the Ottoman Empire was established in the Bera district of Constantinople (presently, the Beyoglu district of Istanbul), where most of the population was Christian. Here, in 1857, Pascal Sebah of Armenian descent opened a photography center. He was one of the few to be awarded the Third-Class Order of the Medjidie by Sultan Abdulmejid. Unfortunately, all his photographic works were burnt in the great fire of 1881. The sons of Sarraf Mikayel Abdullahyan – Vichen, Gevorg and Hovsep Abdullah, also occupy an important place in the history of Turkish photography. They held a monopoly on dissemination of photography throughout the Empire. In 1836, the Abdullahyan brothers became special photographers fоr Sultan Abdul Aziz. In 1867, near the Russian Embassy in Bera, they opened a photography studio named “Abdullah Brothers”. A great number of photographers of Turkish and foreign descent, working in Turkey, namely, the Gulmez brothers, Ashil Samanj, Jerome Savajian, the Papazyan brothers, Antoine Zilipojian, Othmar Pfersci, Ismayin Nesmi, Ahmed Polat and others, furthered the development of Turkish photography. Ara Güler is one of those, who played a big part in the history of photography, having created with his outstanding works a whole new world in that field.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80139588","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 : 2023-02-13DOI: 10.54503/2579-2830-2022.2(8)-234
Рузан Сарьян
Биография выдающегося художника ХХ века Мартироса Сергеевича Сарьяна хранит множество тайн и интересных фактов, которые до сих пор остаются малоизученными. Абзац из «Автобиографии» мастера с упоминанием о его мастерской в Доме Перцова послужил поводом для нашего исследования. В результате выяснилось, что мастерская Сарьяна с конца 1900-х до 1915 года, где были созданы его самые известные произведения данного периода, находилась в стенах одного из самых оригинальных зданий Москвы. К счастью, упоминания об этом факте сохранилось не только в «Авто-биографии» художника, но и в воспоминаниях его современников Артавазда Туманяна, сына великого армянского поэта Ованеса Туманяна, и жены писателя Алексея Толстого, художницы Софьи Исааковны Дымшиц-Толстой. Возможно, наша публикация послужит тому, чтобы имя Сарьяна в дальнейшем упоминалось в ряду тех известных людей, которые в разное время снимали мастерские в Доме Перцова. Среди них Павел Соколов-Скаля, Роберт Фальк, Василий Рождественский, Натан Альтман, Александр Куприн и др. Этот перечень имен сам по себе подсказывает и такую тему для дальнейшего исследования, как «Круг друзей Сарьяна, проживающих в Доме Перцова». The biography of the famous painter of the XX century Martiros Saryan hides a great many secrets and interesting facts, hardly studied to date. A paragraph from the master’s “Autobiography” with the mention of his studio in the Pertsov House prompted us to conduct this study. As a result, it was found out that, from the late 1900s through the year 1915, Saryan’s studio, where his famous works of the said period were painted, was located in one of Moscow’s most extraordinary buildings. Fortunately, mentions of this fact survived not only in the painter’s “Autobiography”, but also in the memories of his other contemporaries, such as Artavazd Tumanyan, the son of the great Armenian poet Hovhannes Tumanyan, and the painter Sofya Dymshits-Tolstaya, the wife of the writer Aleksey Tolstoy. This publication of ours may possibly encourage that in the future, Saryan’s name be included among those who rented studios in the Pertsov House. They were Pavel Sokolov-Skal, Robert Falk, Vasily Rozhdestvensky, Nathan Altman, Alexander Kuprin, and others. This list by itself is a topic for a further investigation titled “Saryan’s circle of friends from the Pertsov House”.
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Pub Date : 2023-02-13DOI: 10.54503/2579-2830-2022.2(8)-283
Անուշ Ասլիբեկյան
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