HU Repository
HU Repository serves as an academic and research repository, offering a rich assortment of Haigazian Armenological Review research outputs along with publications from the Armenian Diaspora Research Center (ADRC) and Haigazian University Press (HU Press). Additionally, it hosts a repository of MA and MBA theses.
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20րդ դարու առաջին կէսի Լիբանանի մեծագոյն գեղանկարիչներէն Մուսթաֆա Ֆարրուխ եւ հայերը
(2025) Անդրանիկ Տագէսեան
The paper revolves around Mustafa Farroukh (1901-1957), one of the most renowned Lebanese painters of the first half of the 20th century, and his relations with the Armenians.
Basing the article on interviews with the painter’s son, the memoirs of Farroukh and his paintings, the author notes that one of Farroukh’s students at the American University of Beirut (AUB) was the renowned doctor Robert Djebedjian, who was the first to found an eye clinic in Aleppo. Farroukh had been on good terms with the Catholic Armenian bishop Aghadjanian (later Cardinal), who hosted him in the Catholic Armenian Monastery of Bzemmar, where Farroukh painted the Virgin Mary. Farroukh had befriended the renowned Lebanese architect Mardiros Altounian, who was his neighbor in Aley. During the 1950s Farroukh fell ill with pneumonia and became the patient of two AUB Armenian doctors, Yenikomshian and Yervant Djidedjian.
However, the most interesting of Farroukh’s encounters with Armenians was in 1933, when he painted “L’Arménien Errant”, The Armenian Refugee.
In analysing this watercolor, the author notes that unlike in some other paintings, Farroukh does not depict the Armenian in a wretched outfit, nor in a pitiful or a begging condition. Rather, the painter portrays the Armenian as a victim who has not lost faith in himself, is confident and determined notwithstanding the agonies and pain he has faced.
Հայոց ցեղասպանութեան ալպոմ-յուշամատեանի մը չիրականացած ծրագիրն ու ցեղասպանութեան վաւերագրական ֆիլմերու եւ լուսանկարներու պարագան
(2025) Զաւէն Մսըրլեան
The author of the article reveals that the editor-in-chief of Zartonk daily of Beirut, Kersam Aharonian (1916-1991) proposed to him in 1969 to co-author a memorial album dedicated to the Armenian Genocide. The author wrote 60 letters and received 40, and collected pictures from published magazines, books, photographs taken by Armin Wegner and others. Aharonian secretly got pictures from Soviet Armenia. All in all, 297 pictures were collected. The layout and cover of the proposed album were ready in 1971. But the final work was not accomplished, not for lack of funds, but due to the unstable political situation in Lebanon in May 1973 and, later on, the Civil War. The author of the article provides the plan of the memorial album and other relevant information.
The author then writes about the authenticity of the pictures from the time of the Genocide and mentions that German and Russian forces in Turkey took pictures of and filmed the massacres and the consequences of the massacres and that these were found in the German archives as well as Russian publications of the period. He then relates how the Armenian athlete Vahram S. Papazian, along with American journalist Herty, secured German documentary films of the Genocide, which were shown to the public in the UK and Belgium.
Հայաստանի պատմութեան թանգարանի ձեռքբերումները Հայաստանի Գ. Հանրապետութեան տարիներին (1991-2024)
(2025) Սեդա Գալստեան
The paper sheds light on the history of the museum and its past and notes that it was initiated by the then PM Alexander Khadisian and minister of Education and Arts, Nigol Aghpalian, with a decree from the parliament on September 9, 1919. Its first items were brought from Ani, Tbilisi, Moscow, Nor Nakhichevan, Crimea, Odessa, Astrakhan, Batumi, etc., and its first director was the renowned ethnographer Yervant Lalayan.
The author briefly describes the acquisitions of the museum during the last 30 years, which have further enriched the over 400,000 item collection of the museum. Among the new acquisitions are the archives of Soviet Armenian political figures Anton Kochinian and Fadey Sarkisian, materials related to the self-determination wars of Artsakh, Generals Antranik and Karekin Nejteh, Syrian army general Aram Karamanougian, Nobel prize co-winner Ardem Patapoutian and US astronomer James Bagian.
Հայոց ցեղասպանութիւն, Շատախի շրջան. Սերոբ Քոսեանի յուշագրութիւնը
(2025) Էլիզա Զ. Միրզոյեան
The article details and assesses the content of a two-volume memoir written by Serop Kosian, a 16-year-old Armenian Genocide survivor, who completed writing it in 1968. Kosian, was a native of Tagh, the central town of Shadakh district in the province of Van.
Alongside the narrative of the uprooting, deportation and massacres of the Shadakh Armenians, Kosian’s memoir is an important, untapped resource for the rich ethnographic, traditional, linguistic, folkloric, topographic features and heritage of the area, its crafts and culture, the lifestyle, mindset and psychology of the indigenous Armenians, their relations with the neighboring Kurdish tribes and the Turkish authorities.
The author notes that while writing his memoirs Kosian had the intention to register, preserve, safeguard and transmit the legacy of his town and its environs to future generations. In fact, Kosian was well aware of what he was doing by writing down his memories and his life experience. This made him a self-educated ethnographer, who was not satisfied with highlighting only the Armenian features of the area but included some aspects of the neighboring Kurds as well. For instance, while writing about the Shadakh dialect, Kosian lists some 280 words and mentions a set of Kurdish and Turkish words that were used in his own dialect.
Interestingly enough, Kosian’s memoir goes far beyond being a virtual reality of the past. The author has accompanied his memoir with a self-drawn map of his native town and the Shadakh district.
Էջեր հայկական ռոքի պատմութիւնից մաս բ.- ռոքը՝ Հայաստանում
(2025) Մանէ Խառատեան
This is the second part of the series “Pages of Armenian Rock Music History”, dedicated to the localization of rock music in Soviet Armenia and its manifestations in modern Armenia. Some rock bands started their activities from the very beginning, imitating the Beatles and other bands whose records they managed to purchase. Soon after, new bands emerged creating their own playlists, based on songs both in the style of western rock and in a strictly individual style.
The author notes that the rich Armenian national heritage provided an opportunity and a basis for the manifestation of new music. The path of these groups was quite rocky. They were criticized by political forces, but the attention and demand from the public helped them to cope, survive and prove themselves. Some of these groups are still active today, although their members have changed. Other bands were created based on older generation bands, while many new bands continued rock traditions, enriching it in their own way. The process of musical adaptation took place in the same way as the adaptation of people of other nationalities. It is a natural process, with stages of enthusiasm, overcoming difficulties and final adaptation.
The third and the last part of the series will be devoted to folk-rock as a bearer of national identity.