Western Armenian literature

Erich Auerbach observed that figuralism seeks a meaningful correlation between events ‘causally and chronologically’ remote from each other. This article examines a correspondence between figural representation and the latency of traumatic experience, which reemerges and repeats in another time and place. By drawing on the theory of Hayden White and Cathy Caruth, it examines figural representations of trauma in the works of Aṛakʿel of Tabriz, an early modern historian, and Shahan Shahnur, a 20th century novelist, who both sought to shape a hermeneutic connection between disparate traumatic events. Although figurative interpretation seeks to unveil the hidden meaning between events, a literary comparison of their works shows that traumatic experience has the potential to interrupt this process: catastrophe can eclipse, rather than fulfill, the meaning of certain past experiences in the present.

Parlare di Hrand Nazariantz, riscoprirne la vicenda personale, significa oggi giocare ad una caccia al tesoro, tra le strade strette del Secolo Breve. Nazariantz è un esempio delle diaspore collettive e individuali che coinvolgono l'umanità ardente del XX secolo, quella che cerca di resistere strenuamente alla sovversione stritolante del tempo materiale e al con il suo profondo a carico di disvalori. Nazariantz è per questo figura perenne di uomo d'Oriente, in contatto-per sua natura ontologica, prima ancora che gnoseologica-con il trascendente, ed è per questo che egli con le sue aporie può assurgere a un simbolo di chi più facilmente ha accesso a quella Scala che conduce l'Uomo, dalla Bestialità della sua condizione e materiale all' fisica all'Indiamento.

En ce début 2021, sont parus simultanément les actes du colloque de 2015 consacré à l’oeuvre de Krikor Beledian et la parution de son récit (Image/ Badguer) traduit de l’arménien par Sonia Bekmezian. A l’heure où le monde arménien vit de nouveaux bouleversements sans précédent depuis un siècle, l'écrivain de la Diaspora nous a accordé cet entretien exclusif.

Rober Haddeciyan, Türkiye Ermeni toplumunun en üretken kalemlerinden biri. Ermenice günlük gazete Nor Marmara’nın imtiyaz sahibi ve başyazarı. Yayımladığı ve yayıma hazır onlarca kitabı bulunmakta. Onlar arasında en çok ilgi çekenlerinden biri Tavan romanı. Kitabın Anahid Hazaryan’ın gözden geçirilen çevirisi ile ikinci Türkçe baskısı Aras Yayıncılık tarafından yayımlandı.

Krikor Beledian fait paraître en traduction française deux récits * composant sa série
romanesque Retour de nuit (Kicheratatz). Figure majeure de la littérature arménienne
contemporaine, l’écrivain nous parle à coeur ouvert de son travail et revient sur quelques
fragments décisifs de son parcours en diaspora.

In 2007, Shahan Shahnur's Retreat without Song (Նահանջը առանց երգի)  was published in Turkish. This article argues that the decision to entitle the Turkish translation of the novel as Silent Retreat [Sessiz Ricat] was problematic due to its disregard of the role of the songs, melodies, prayers, and so forth haunting the novel. Drawing on the importance of various mnemonic elements continuously appearing in the novel, the article examines the re-construction of the notion of home and Armenian identity for the protagonist of the novel, Bedros/Pierre, who had to leave Turkey, his homeland, in the wake of the postgenocidal Republican period. It calls for the necessity for recognition of this story of displacement not in silence but in the acknowledgement of the absence of song as a means to interpret the mnemonic "signposts" squeezed in Bedros/Pierre's narration which enable him to mark his identity, subjectivity, and the idea of homeland.

Relire La retraite sans fanfare de Chahnour: Le troublant refrain du chez-soi, entre le meme et l'autre

L'annee 2007 a vu la publication en turc, pour la premiere fois, de La retraite sans fanfare (Նահանջը առանց երգի) de Chahan Chahnour. Cet article remet en question le choix editorial d'intituler cette traduction La Retraite silencieuse (Sessiz Ricat), qui omet l'importance des chants et melodies si presents dans ce roman. Il analyse la reconstruction de la notion de foyer (home) et d'une identite armenienne pour la protagoniste Bedros/Piere, qui a du quitter la Turquie, son homeland, dans le contexte de la period republicaine qui, sur place, a fait suite au genocide.

Né à Istanbul et installé à Paris, Megerditch Basmadjian est engagé dans l'association arménienne UGAB (Union Générale Arménienne de Bienfaisance) depuis près de 34 ans. Fondateur de la troupe de théâtre AHAZANK et auteur de certaines pièces, il dirige un groupe d'une vingtaine de personnes. Ayşan Sönmez doctorante à l'Institut français de géopolitique (Université Paris 8) a réalisé un entretien avec lui à Paris, en décembre 2019.