Gothic Taste and Russian Culture of the 18th Century

This project was an experiment in widening the traditional borders of study in the field and looking at the phenomenon of Gothic taste in many genres and kinds of art. The Gothic taste was a major element in the cultural image of the Enlightenment both in western Europe and in Russia. It was an essential component in the world outlook of an educated person and without studying this phenomenon it is impossible to fully understand the thinking of artistic professionals, amateurs and users in Russian society in the 18th century. Mr. Khatchatourov first analysed the reasons for the importance of Gothic taste in the culture of the European Enlightenment and then studied its linguistic and lexicographic evolution in 18th century Russian culture. He sought to determine the semantic context which actively formed the human mind set in the Enlightenment, including potential users and producers of articles in the Gothic taste. He then looked at the process of absorption of this concept by those forms of art which express it most strongly, in particular architecture and the theatre. His study was based on a comprehensive historical and culturological study using a wide range of sources, a formal stylistic method approach considering the interaction of non-classical styles of the Enlightenment with the dominant classicism, and an iconographic approach which revealed the essential aspects in a new image synthesis of the culture of the Enlightenment.

The Culture of the Deaf Community in the Czech Republic

Romana Mazerova. The Culture of the Deaf Community in the Czech Republic Mazerova set out to discover if the deaf community in the Czech Republic can be said to have its own culture and if so what this is. She began with a comprehensive survey of the history of the deaf from 1786 to the present day, identifying a major turning point in the exclusion of sign language from the education of the deaf around 1930, a move then reinforced in the communist period to the extent that teachers of the deaf had to sign a commitment not to use sign language in their lessons. She also noted the difference between so-called signed Czech, which is an exact translation of the spoken language, and Czech sign language, which has its own structure and even dialects. Following the historical research, Mazerova studied a range of Czech and foreign materials relating to the culture of the deaf, interviewed deaf people about their experiences in school, their participation in the activities of associations for the deaf, and their experiences as a deaf person in a hearing society (these interviews are recorded on video), and visited various associations, clubs and schools for the deaf throughout the country. She concluded that while deaf people share certain behaviours which are quite distinct from those of hearing Czechs, there is little sense of a community as such. The vast majority of deaf people were not born into the deaf community and while feel that they belong together, they do not identify themselves as part of a deaf community and do not work together as a community to achieve their goals.

Latin Sources of Inspiration for 15th and 16th Century Orthodox Prints

The project studied the history of Orthodox graphic art in the context of artistic links between the Eastern and Western worlds, tracing the routes by which iconographic models from western Europe penetrated into eastern Europe and underscoring the role of central European countries in the shaping of the culture of the modern Orthodox church. One important element was the identification of graphic prototypes and export routes for woodcutting blocks which travelled from Germany via Prague, Cracow and Vilnius to Moscow and Kiev, revealing the artistic ties between followers of different religions. Another major element was a study of the appearance of copper engraving in the second half of the 17th century.

The Monumental Barrows of the Period 700-1100 AD at the Russian North-West

Nicholas Petrov. The Monumental Barrows of the Period 700-11 AD in the Russian North-West The research deals with the monumental barrows erected in the Russian north-west in the period of 700-1100 AD, which Russian archaeological literature has traditionally named sopka-barrows. These sopka-barrows were analysed as original sacral and funeral structures and considered in the context of cultural processes under way in that region at the time. The position occupied by the sopka-barrows in the culture of the people who erected them was reconstructed on the basis of a synthesis of various kinds of sources - archaeological, written, folklore. The high barrows are not in fact a determining type of the sites of the so-called "culture of the sopka-barrows" in modern literature, which focuses rather on settlements near to which sopka-barrows are absent. Recent excavations have revealed the presence of "surface" burial places (cremation located on the top of the barrow repeatedly rather than only once) in the majority of the sopka-barrows. The materials only provide evidence about the sacrificial nature of the graves in the "body" of the sopka-barrows. They thus offer an embodiment of one element of the widespread views about the dead man's path to the world of the dead (mountain) which is traced in folklore texts. Special attention was paid to the question of the disappearance of the tradition of erecting sopka-barrows and to the nature of their role in the culture of the region during the period 1000-1200 AD. The functioning of the sopka-barrows as funeral monuments in the second millennium AD is also traced on the inlet inhumatios found in them.