The figure of an old woman in the epic “Sasna Tsrer” has a rather rich set of motifs and functions manifesting itself in all four branches of the epic. The image of Artater Parav (the mistress of the field - the old woman) stands out in the third branch of the epic with stable motifs and an important role. In her attitude to field work, as well as in other ways, this figure resembles the goddesses Demeter and Anahit, the Celtic goddess Old Mother Taitiun and the famous Old Woman Hecales in Greek mythology. In the epic "Sasna Tsrer", the image of Artater Parav has an interesting development and is characterized by a variety of functions. She manifests herself both in the image of a woman with life experience and in the image of a caring mother; she has common features with the instructive old woman from the fairy tale.

Keywordsthe old woman epic “Sasna Tsrer” tale David of Sasun plot function motif myth field work curse.

Subject participles of modern German and literary Eastern Armenian maintain the uniformity of composition. Resultative participle of German, due to the peculiarities of the verb, appears in two different forms of composition, by revealing certain peculiarities over composition of the Resultative participle in the Armenian language. Resultative participle is closely connected with the German verb system. Being one of the three main forms of the verb, it participates in the composition of compound finite tense forms and the Simple Past.

Keywords grammatical typology Armenian and German languages Subject and Resultative Participles simultaneity pre-tense conditions active-passive voice literary Eastern Armenian Western Armenian resultative+ եմ/էի construction circumstantial functions.

One of the primary and most important objectives in the study of Armenian sacred chant is the comprehensive study of the Ut‘jayn system (the Armenian Eight-mode), including a detailed analysis of the modal structures of sharakans, their scales, functional degrees, characteristic melodic patterns, and the features of intonational development. A comprehensive study of this issue implies its examination within the framework of each chant tradition of Armenian sacred music, followed by comparative analysis. Such large-scale studies in the field of modal analysis may have considerable significance for the interpretation of khaz notation and are directed toward the development of methodological principles for the modal system of Ut‘jayn in Armenian sacred chant, based on the established theoretical tradition of Armenian musicology.

KeywordsArmenian Eight-mode system (Ut‘jayn) mode scale system functional degrees characteristic melodic patterns musical style sharakan comparative analysis research methodology