Marc Nichanian

Vardan Mattʻēosean

"This book offers a collection of articles and studies on Yeghishe Charents (1897-1937), who has always been considered as the poet of Revolution in Armenia and is certainly one of the greatest poetical voices of the twentieth century in the Armenian language. The volume partly gathers the essays presented at the Charents conference organized at Columbia University in November 1997 by Marc Nichanian for the centennial of the poet's birth and the sixtieth anniversary of his untimely and tragic death. It was the first time an international conference on a modern Armenian writer was held at a Western University. Other important essays have been added in order to echo recent readings of Charents in the United States. A general introduction proposes a reflection on the poet's encounter with history, his infatuation with Mayakovsky and the work of mourning that he was obliged to carry out after his renunciation of Futurism in 1924. He was forced into this renunciation in order to save his life and his career as a national poet in a Communist setting. After 1926, Charents's poetical works are but a long meditation on the resources of poetry in the aftermath of the repudiation of Futurism."--BOOK JACKET.

Poet of the Revolution

Yeghishe Charents

Zareh Vorpouni

Jennifer Manoukian

Ishkhan Jinbashian

A Novel

Candidate

Robert Jay Lifton

Donald E. Miller

Yair Auron

Yves Ternon

Eric Markusen

Stephen Astourian

Levon Marashlian

Hilmar Kaiser

Ara Sarafian

Rubina Peroomian

Lorne Shirinian

Roger W. Smith

A fresh look at the forgotten genocide of world history.

The Case of the Armenian Genocide

Remembrance and Denial

Ce livre porte sur la vérité en histoire et le statut moderne du témoignage. La crise de la représentation provoquée par les événements génocidaires du XXe siècle n'a pas épargné l'histoire en tant que discipline scientifique. II est en effet possible, sans déroger aux règles de celle-ci, de nier méthodiquement l'existence des chambres à gaz ou la réalité de la destruction délibérée des Arméniens de l'Empire ottoman au début du siècle passé. Dès lors, la possibilité et les modalités de la restitution des faits, qui ont toujours été au coeur de la réflexion historiographique, ne sont pas les seules à être aujourd'hui sujettes à caution. Marc Nichanian en fait la démonstration, en s'appuyant sur les réflexions menées et suscitées par Lyotard, Agamben, Antelme, Derrida, Hayden White et par les penseurs arméniens de la Catastrophe au XXe siècle. L'est l'existence du fait historique en tant que tel qui est désormais remise en cause, depuis que les différentes machines génocidaires, puissamment relayées par ce que l'auteur appelle ici la " perversion historiographique ", ont fait de la destruction de la réalité leur ambition propre. Ceci conduit naturellement au débat sur la signification du droit face à l'histoire et à une interrogation insistante sur ce qui permet à l'historien (et non par exemple au juge ou au législateur) de se poser comme le " gardien des faits ".

une réflexion arménienne

La perversion historiographique

The first volume consists of essays on four major twentieth-century Armenian authors: Yeghishe ́Charents, Gurgen Mahari, Zabel Esayan, and Vahan Totovents.

The National Revolution

Genocide is a matter of law. It is also a matter of history. Engaging some of the most disturbing responses to the Armenian genocide, Marc Nichanian strikingly reveals the complex role played by law and history in making this and other genocides endure as contentious events. Nichanian's book argues that both law and history fail to contend with the very nature of events for which there is no archive (no documents, no witnesses). Both history and law fail to address the modern reality that events can be and are now being perpetrated that depend upon the destruction of the archive, turning monstrous deeds into nonevents. Genocide, this book makes us see, is in one sense the destruction of the archive. It relies on the historiographic perversion.

The Historiographic Perversion

Marc Nichanian

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