Olga Baeva, Armen Kazaryan
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Georgia, Armenia & Azerbaijan
Land Program Rate: $6,195 (per person based on double occupancy) Single Supplement: $1,095 Included: All accommodation, hotel taxes • Meals per itinerary (B=breakfast, L=lunch, D=dinner) • Arrival/departure transfers for pas- sengers arriving/departing on scheduled start/ end days • All land transportation per itinerary including private motor coach throughout the itinerary • Internal airfare between Baku and Tbilisi • Study leader and pre-departure education materials • Special cultural events and extensive sightseeing, includ- ing entrance fees • Welcome and farewell dinners • Services of a tour manager throughout the land program • Gratuities to tour manager, guides and drivers • Comprehensive pre-departure packet Not Included: Travel insurance • Round trip airfare between Baku/Yerevan and USA. Our tour operator MIR Corporation can assist with reservations. • Passport and visa fees • Meals not specified as included in the itinerary • Personal items such as telephone calls, alcohol, laun- dry, excess baggage fees Air Arrangements: Program rates do not include international airfare from/to USA. Because there are a number of flight options available, there is no group flight for this program. Informa- tion on a recommended flight itinerary will be sent by our tour operator upon confirmation. What to Expect: This trip is moderately active due to the substantial distances covered and Club of California The Commonwealth St 555 Post CA 94102 San Francisco, the extensive walking and stair climbing required; parts of the tour will not always be wheelchair - accessible. To reap the full rewards of this adventure, travelers must be able to walk at least a mile a day (with or without the assistance of a cane) and stand for an extended period of time during walking tours and museum visits. -
Documentary and Artistic Perspectives on the Armenian Genocide in the Golden Apricot Film Festival
DOCUMEntary AND Artistic PERSPECTIVES ON THE ARMENIAN GENOCIDE IN THE GOLDEN APRICOT FILM FEstival Reviewed by Serafim Seppälä University of Eastern Finland Stony Paths. Dir. Arnaud Khayadjanian. France 2016, 60 min. The Other Side of Home. Dir. Naré Mkrtchyan. USA/Armenia/Turkey 2016, 40 min Journey in Anatolia. Dir. Bernard Mangiante. France 2016, 60 min. Gavur Neighbourhood. Dir. Yusuf Kenan Beysülen. Turkey 2016, 95 min. Geographies. Dir.Chaghig Arzoumanian. Lebanon 2015, 72 min. Children of Vank. Dir. Nezahat Gündoğan. Turkey 2016, 70 min. Who Killed the Armenians? Dir. Mohamed Hanafy Nasr. Egypt 2015, 73 min. The famous Golden Apricot film festival in Yerevan has become, among its other aims, a remarkable forum for documentary and artistic films on the Armenian genocide and its cul- tural legacies. In recent years, the emphasis of the genocide-related documentary films has shifted from historical presentations of the actual events to the cases of lost Armenians and rediscoveries of Armenian identities inside Turkey, in addition to the stories of Western Armenians tracing the whereabouts of their forefathers. The centennial output In the centennial year of 2015, the genocide was a special theme in Golden Apricot, anda big number of old genocide-related films were shown in retrospective replays. As was to be expected, the centennial witnessed also a burst of new documentaries and a few more artistic enterprises. The new films included documentaries on Armenians looking for their roots in Western Armenia, such as Adrineh Gregorian’s Back to Gürün (Armenia 2015, 64 min) and Eric Nazarian’s Bolis (2011, 19 min), or Istanbul Armenians returning to their an- cestral lands for the summer, as was the case in Armen Khachatryan’s touching Return or we exist 2 (52 min). -
L'arte Armena. Storia Critica E Nuove Prospettive Studies in Armenian
e-ISSN 2610-9433 THE ARMENIAN ART ARMENIAN THE Eurasiatica ISSN 2610-8879 Quaderni di studi su Balcani, Anatolia, Iran, Caucaso e Asia Centrale 16 — L’arte armena. Storia critica RUFFILLI, SPAMPINATO RUFFILLI, FERRARI, RICCIONI, e nuove prospettive Studies in Armenian and Eastern Christian Art 2020 a cura di Edizioni Aldo Ferrari, Stefano Riccioni, Ca’Foscari Marco Ruffilli, Beatrice Spampinato L’arte armena. Storia critica e nuove prospettive Eurasiatica Serie diretta da Aldo Ferrari, Stefano Riccioni 16 Eurasiatica Quaderni di studi su Balcani, Anatolia, Iran, Caucaso e Asia Centrale Direzione scientifica Aldo Ferrari (Università Ca’ Foscari Venezia, Italia) Stefano Riccioni (Università Ca’ Foscari Venezia, Italia) Comitato scientifico Michele Bacci (Universität Freiburg, Schweiz) Giampiero Bellingeri (Università Ca’ Foscari Venezia, Italia) Levon Chookaszian (Yerevan State University, Armenia) Patrick Donabédian (Université d’Aix-Marseille, CNRS UMR 7298, France) Valeria Fiorani Piacentini (Università Cattolica del Sa- cro Cuore, Milano, Italia) Ivan Foletti (Masarikova Univerzita, Brno, Česká republika) Gianfranco Giraudo (Università Ca’ Foscari Venezia, Italia) Annette Hoffmann (Kunsthistorisches Institut in Florenz, Deutschland) Christina Maranci (Tuft University, Medford, MA, USA) Aleksander Nau- mow (Università Ca’ Foscari Venezia, Italia) Antonio Panaino (Alma Mater Studiorum, Università di Bologna, Italia) Antonio Rigo (Università Ca’ Foscari Venezia, Italia) Adriano Rossi (Università degli Studi di Napoli «L’Orientale», Italia) -
Irwin T. and Shirley Holtzman Collection
http://oac.cdlib.org/findaid/ark:/13030/kt5x0nd340 No online items Register of the Irwin T. and Shirley Holtzman collection Finding aid prepared by Olga Verhovskoy Dunlop and David Jacobs Hoover Institution Archives 434 Galvez Mall Stanford University Stanford, CA, 94305-6003 (650) 723-3563 [email protected] © 2007 Register of the Irwin T. and 98074 1 Shirley Holtzman collection Title: Irwin T. and Shirley Holtzman collection Date (inclusive): 1899-2010 Collection Number: 98074 Contributing Institution: Hoover Institution Archives Language of Material: English Physical Description: 157 manuscript boxes, 9 oversize boxes, 1 card file box, 32 cubic foot boxes(111.4 linear feet) Abstract: Printed matter, writings, letters, photographs, and miscellany, relating to the Russian writers Isaak Babel', Boris Pasternak and Joseph Brodsky. Consists primarily of printed matter by and about Pasternak, Brodsky and Babel'. Physical location: Hoover Institution Archives Creator: Holtzman, Irwin T creator: Holtzman, Shirley. Access Box 8 restricted; use copies available in Box 4. Box/Folder 22 : 8-15 closed; use copies available in Box/Folder 20 : 1-7. The remainder of the collection is open for research; materials must be requested at least two business days in advance of intended use. Publication Rights For copyright status, please contact the Hoover Institution Archives Preferred Citation [Identification of item], Irwin T. and Shirley Holtzman collection, [Box no., Folder no. or title], Hoover Institution Archives Acquisition Information Acquired by the Hoover Institution Archives in 1998, with subsequent increments received through 2004. Additional increments are expected. An increment was added in 2011. Accruals Materials may have been added to the collection since this finding aid was prepared. -
Eduard L. Danielyan Progressive British Figures' Appreciation of Armenia's Civilizational Significance Versus the Falsified
INSTITUTE OF HISTORY OF THE NATIONAL ACADEMY OF SCIENCES OF THE REPUBLIC OF ARMENIA EDUARD L. DANIELYAN PROGRESSIVE BRITISH FIGURES’ APPRECIATION OF ARMENIA’S CIVILIZATIONAL SIGNIFICANCE VERSUS THE FALSIFIED “ANCIENT TURKEY” EXHIBIT IN THE BRITISH MUSEUM YEREVAN 2013 1 PUBLISHED WITH THE APPROVAL OF THE SCIENTIFIC COUNCIL OF THE INSTITUTE OF HISTORY OF THE NATIONAL ACADEMY OF SCIENCES OF THE REPUBLIC OF ARMENIA This work was supported by State Committee of Science MES RA, in frame of the research project № 11-6a634 “Falsification of basic questions of the history of Armenia in the Turkish-Azerbaijani historiogrpahy”. Reviewer A.A.Melkonyan, Doctor of History, corresponding member of the NAS RA Edited by Dr. John W. Mason, Pauline H. Mason, M.A. Eduard L. Danielyan Progressive British Figures’ Appreciation of Armenia’s Civilizational Significance Versus the Falsified “Ancient Turkey” Exhibit in the British Museum This work presents a cultural-spiritual perception of Armenia by famous British people as the country of Paradise, Noah’s Ark on Mt. Ararat-Masis and the cradle of civilization. Special attention is paid in the book to the fact that modern British enlightened figures call the UK government to recognize the Armenian Genocide, but this question has been politicized and subjected to the interests of UK-Turkey relations, thus being pushed into the genocide denial deadlock. The fact of sheltering and showing the Turkish falsified “interpretations” of the archaeological artifacts from ancient sites of the Armenian Highland and Asia Minor in the British Museum’s “Room 54” exhibit wrongly entitled “Ancient Turkey” is an example of how the genocide denial policy of Turkey pollutes the Britain’s historical-cultural treasury and distorts rational minds and inquisitiveness of many visitors from different countries of the world.The author shows that Turkish falsifications of history have been widely criticized in historiography. -
Shirak Guidebook
Wuthering Heights of Shirak -the Land of Steppe and Sky YYerevanerevan 22013013 1 Facts About Shirak FOREWORD Mix up the vast open spaces of the Shirak steppe, the wuthering wind that sweeps through its heights, the snowcapped tops of Mt. Aragats and the dramatic gorges and sparkling lakes of Akhurian River. Sprinkle in the white sheep fl ocks and the cry of an eagle. Add churches, mysterious Urartian ruins, abundant wildlife and unique architecture. Th en top it all off with a turbulent history, Gyumri’s joi de vivre and Gurdjieff ’s mystical teaching, revealing a truly magnifi cent region fi lled with experi- ences to last you a lifetime. However, don’t be deceived that merely seeing all these highlights will give you a complete picture of what Shirak really is. Dig deeper and you’ll be surprised to fi nd that your fondest memories will most likely lie with the locals themselves. You’ll eas- ily be touched by these proud, witt y, and legendarily hospitable people, even if you cannot speak their language. Only when you meet its remarkable people will you understand this land and its powerful energy which emanates from their sculptures, paintings, music and poetry. Visiting the province takes creativity and imagination, as the tourist industry is at best ‘nascent’. A great deal of the current tourist fl ow consists of Diasporan Armenians seeking the opportunity to make personal contributions to their historic homeland, along with a few scatt ered independent travelers. Although there are some rural “rest- places” and picnic areas, they cater mainly to locals who want to unwind with hearty feasts and family chats, thus rarely providing any activities. -
EUROPE a Albania • National Historical Museum – Tirana, Albania
EUROPE A Albania • National Historical Museum – Tirana, Albania o The country's largest museum. It was opened on 28 October 1981 and is 27,000 square meters in size, while 18,000 square meters are available for expositions. The National Historical Museum includes the following pavilions: Pavilion of Antiquity, Pavilion of the Middle Ages, Pavilion of Renaissance, Pavilion of Independence, Pavilion of Iconography, Pavilion of the National Liberation Antifascist War, Pavilion of Communist Terror, and Pavilion of Mother Teresa. • Et'hem Bey Mosque – Tirana, Albania o The Et’hem Bey Mosque is located in the center of the Albanian capital Tirana. Construction was started in 1789 by Molla Bey and it was finished in 1823 by his son Ethem Pasha (Haxhi Ethem Bey), great- grandson of Sulejman Pasha. • Mount Dajt – Tirana, Albania o Its highest peak is at 1,613 m. In winter, the mountain is often covered with snow, and it is a popular retreat to the local population of Tirana that rarely sees snow falls. Its slopes have forests of pines, oak and beech. Dajti Mountain was declared a National Park in 1966, and has since 2006 an expanded area of about 29,384 ha. It is under the jurisdiction and administration of Tirana Forest Service Department. • Skanderbeg Square – Tirana, Albania o Skanderbeg Square is the main plaza of Tirana, Albania named in 1968 after the Albanian national hero Skanderbeg. A Skanderbeg Monument can be found in the plaza. • Skanderbeg Monument – Skanderberg Square, Tirana, Albania o The monument in memory of Skanderbeg was erected in Skanderbeg Square, Tirana. -
Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery KAMRAN IMANOV * Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery
KAMRAN IMANOV Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery KAMRAN IMANOV * Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery The book - “Tall Armenian Tales”, presented to the reader’s attention, consists of two thematic sections. Chapter I, entitled “I came, I saw, I... stole”, is about the misappropriation and armenization of intellectual property of the Azerbaijani people, intellectual plagiarism of the Azerbaijani folklore, dastans (epics) and other epic works, the desire to seize the Azerbaijani bayati (Azerbaijani folk poems), proverbs and sayings. The book also narrates about the “armenization” of tales, anecdotes, music and other samples of folk genre. What is the common of these various manifestations of Armenian plagiary shown in the chapter “I came, I saw, ..., I stole”? The fact is that, firstly, these “tales” do not have an Armenian origin, but only an Armenian presentation. These tales are alien to the Armenian people; in addition, these are the same “anecdotes” in allegorical meaning of this term in the form of absurdities - false statements shown in Chapter II - “The Theatre of Absurd.” PREFACE .............................................................................................. 6 CHAPTER I. “I came, I saw,.. .1 stole”: about the Armenian tradition of misappropriation of the Azerbaijani cultural heritage ............................................................... 8 §1. “I c a m e , w h i c h briefly tells about the mass settlement of the Armenians in the South Caucasus .............................. 9 2 TABLE OF CONTENTS §2. I s a w , w h i c h relates about what Armenians experienced in the South Caucasus .................................................................................... 14 §3. I stole”, which relates about the origins of the Armenian plagiarism ............................................................................................................. -
Buildings in Their Patrons' Hands? the Multiform Function of Small Size
Transkulturelle Perspektiven 3/2014 - 1 - و Maria Cristina Carile Buildings in their patrons’ hands? The multiform function of small size models between Byzantium and Transcaucasia The representation of the church model in the hands order to understand the value of these models after of the church's patron or founder finds its roots in the the twelfth century – following the chronological frame arts of Late Antiquity. Since the sixth century, this mo- of this volume – it is important to determine their im- tif adorned church apses, as an image of offering to portance in Caucasian visual culture, first tracing the Christ or the Virgin. 1 Later, it became a strong iconic evolution of the donation image. This will help us to image conveying the role of the patron/founder in the evaluate the meaning of architectural models in the construction and his devotion, which was embodied changed historical context of the Transcaucasian in the model as well as in the building itself. As such, principalities between the late twelfth and the thir- the theme had particular fortune in medieval Rome teenth centuries, when architectural models on and spread to the East as far as the Caucasus. After church walls were enriched with new meanings. the Latin conquest of Constantinople during the fourth crusade (1204 AD), the motif was widely adopted in The first appearance of the motif in the Transcaucasi- the Balkans and in the territories in close contact with an area probably dates back to the sixth century. This Byzantium. 2 This paper will focus on church models is testified by a now-lost sculpted relief with the im- as a motif, reflecting on their spread and role in the age of a woman holding a church model, which may decoration of the external façades of the churches in have decorated the outer walls of the cathedral com- the Caucasus and, specifically, in the area of Trans- plex at Agarak (region of Ayrarat), formed by a fifth- or caucasia. -
Reflections on Fieldwork in the Region of Ani Christina Maranci I Study the Medieval Armenian Monuments—Churche
In the Traces: Reflections on Fieldwork in the Region of Ani Christina Maranci I study the medieval Armenian monuments—churches, monasteries, fortresses, palaces, and more—in what is now eastern Turkey (what many call western Arme- nia). For me, this region is at once the most beautiful, and most painful, place on earth. I am the grandchild of survivors of the Armenian Genocide of 1915–22, in which Armenians living in the Ottoman Empire suffered mass deportation and extermination: a crime that still goes unrecognized by the Turkish state.1 Scholars have characterized the Armenian monuments in Turkey as physical traces of their lost homeland.2 While my scholarship addresses these sites as historical and archi- tectural/artistic phenomena, that work does not often capture the moods and emotions I feel when I am there.3 I hope to offer here a sense of the more personal dimensions of firsthand work with the buildings and their landscapes. Many important medieval Armenian monuments stand on and around the closed international border between the Republics of Turkey and Armenia. Some of them are accessible to tourists, while others, like the church of Mren, remain forbidden, as they lie within or too close to the military zone. Dated to circa 638, and once part of the princely territory of the Kamsarakan family, Mren became the summer residence of the royal Armenian Bagratids in the tenth century.4 Once surrounded by a network of buildings, vineyards, and roads, now the church stands alone. Figure 1 illustrates the Armenian high plateau: deforested from antiquity, it is a rocky tableland lacerated by gorges and ringed with mountain chains. -
The Current State of Housing in Tbilisi and Yerevan: a Brief Primer 8 Joseph Salukvadze, Tbilisi
Research Collection Journal Issue Cities in the South Caucasus Author(s): Petrosyan, Sarhat; Valiyev, Anar; Salukvadze, Joseph Publication Date: 2016-09-23 Permanent Link: https://doi.org/10.3929/ethz-a-010819028 Rights / License: In Copyright - Non-Commercial Use Permitted This page was generated automatically upon download from the ETH Zurich Research Collection. For more information please consult the Terms of use. ETH Library No. 87 23 September 2016 Abkhazia South Ossetia caucasus Adjara analytical digest Nagorno- Karabakh www.laender-analysen.de/cad www.css.ethz.ch/en/publications/cad.html CITIES IN THE SOUTH CAUCASUS Special Editor: David Sichinava, Tbilisi State University | Fulbright Visiting Scholar at CU Boulder ■■The Transformation of Yerevan’s Urban Landscape After Independence 2 Sarhat Petrosyan, Yerevan ■■Urban Development Baku: From Soviet Past To Modern Future 5 Anar Valiyev, Baku ■■The Current State of Housing in Tbilisi and Yerevan: a Brief Primer 8 Joseph Salukvadze, Tbilisi ■■CHRONICLE From 22 July to 20 September 2016 12 This special issue is funded by the Academic Swiss Caucasus Network (ASCN). Research Centre Center Caucasus Research German Association for for East European Studies for Security Studies Resource Centers East European Studies University of Bremen ETH Zurich CAUCASUS ANALYTICAL DIGEST No. 87, 23 September 2016 2 The Transformation of Yerevan’s Urban Landscape After Independence Sarhat Petrosyan, Yerevan Abstract Like most of the world’s cities, Yerevan’s landscape has changed dramatically over the past 25 years, partic- ularly as a result of post-soviet Armenia’s sociopolitical shifts. Although these urban transformations have been and continue to be widely discussed in the local media, there is insufficient research and writing on this process and its circumstances. -
Armenian Architecture Through the Pages of Robert G. Ousterhout's Book
790 A. Kazaryan УДК: 72.033 ББК: 85.11 А43 DOI: 10.18688/aa199-7-70 A. Kazaryan Armenian Architecture through the Pages of Robert G. Ousterhout’s Book “Eastern Medieval Architecture: The Building Traditions of Byzantium and Neighboring Lands”1 Among the historians of Byzantine architecture, professor of the University of Pennsylvania Robert G. Ousterhout holds a prominent place due to the nature of his scientific interests and distinct individuality manifested in a combination of full-scale study of monuments and skillful formulation of historical and theoretical issues. A new perspective on the development of building art, architectural composition, function and symbolic content of buildings and complexes is common to his articles and monographs on the architecture of Constantinople, Jerusalem, and Cappadocia. In his new monograph “Eastern Medieval Architecture: The Building Traditions of Byzantium and Neighboring Lands” [10], along with the Byzantine regions, R. Ousterhout pays attention to the architecture of Christian countries that surrounded Byzantium and had close historical and cultural ties with it, as well as Muslim political entities on the territories torn away from the empire. This fact sets this book apart from most of the previous review studies on Byzantine art and architecture, in which only those territories related to Christian countries were included in the circle of the problems discussed. Some other innovations include a survey of the post-Byzantine architecture up to its later forms of development, discussion of the problem of reproducing the ideas of Byzantine architecture to the rival powers — the Ottoman and Russian empires — and, in the epilogue of the book, to the architecture of Modern and Contemporary times.