The Semantics and Typology of Yes/No Particles (A Cross-Linguistic Study)

Taking the three basic systems of Yes/No particles the group looked at the relative deep and surface structures, and asked what types of systems are present in the Georgian, Polish and Armenian languages. The choice of languages was of particular interest as the Caucasian and Indo-European languages usually have different question-answering systems, but Georgian (Caucasian) and Polish (Indo-European) in fact share the same system. The Armenian language is Indo-European, but the country is situated in the southern Caucasus, on Georgia's southern border, making it worth analysing Armenian in comparison with Georgian (from the point of view of language interference) and with Polish (as two relative languages). The group identified two different deep structures, tracing the occurrence of these in different languages, and showed that one is more natural in the majority of languages. They found no correspondence between relative languages and their question-answer systems and demonstrated that languages in the same typological class may show different systems, as with Georgian and the North Caucasian languages. It became clear that Georgian, Armenian and Polish all have an agree/disagree question-answering system defined by the same deep structure. From this they conclude that the lingual mentalities of Georgians, Armenians and Poles are more oriented to the communicative act. At the same time the Yes/No system, in which a positive particle stands for a positive answer and a negative particle for a negative answer, also functions in these languages, indicating that the second deep structure identified also functions alongside the first.

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 Ideology, Politics and Autonomous Art of Richard Weiner: (An Event in Discourse)"

The first aim of the project was to compile documentation on the life and work of Richard Weiner, a Czech journalist, writer and poet who spent the best part of his life as Paris correspondent for Lidove noviny. Langerova looked at the contexts and the growing independence of certain parts of his work, the distribution of thematic compositional elements into different parts of discourse and their position in the autonomous space of a work of art. Looking at the features of minority literature and the contemporary contexts of Weiner's life and work Langerova focuses on the situation of the Jewish community (Wiener came from an assimilated Jewish family). For this minorities, the function of language as a medium of communication which is able to create an autonomous world became increasingly important. Literature, which is based on this function of language, is a political matter par excellence before it begins forming as an autonomous, independent and divergent place. This means that everything private and intimate is closely connected to political and social responsibility, while supposedly objective genres contain subjective features. Another important characteristic is "nomadism", which asks the question of "Where do I belong". This was very important in Czechoslovakia after World War I , as in the issue of Zionism. Although Weiner rejected Zionism, he asks this question in his writing and it is reflected at a symbolic level in his work, which shows a fundamental thematic and compositional plan of a journey, cross-roads and wandering. These theses were reflected in Weiner's life, which was a series of continuous transfers and unplanned moves, often when he thought he had found his place. As well as tracing the course of his life, and his relations with and views of other writers, Langerova looks at his writings in various areas. Her major focus is the divergence of trivial and great events into different types of discourse in Richard Weiner's work, their transfer (small into great, trivial into mythical) and their historical context.