CUBIC DIRAC OPERATORS AND THE STRANGE FREUDENTHAL–DE VRIES FORMULA FOR COLOUR LIE ALGEBRAS

The aim of this paper is to define cubic Dirac operators for colour Lie algebras. We give a necessary and sufficient condition to construct a colour Lie algebra from an ϵ-orthogonal representation of an ϵ-quadratic colour Lie algebra. This is used to prove a strange Freudenthal–de Vries formula for basic colour Lie algebras as well as a Parthasarathy formula for cubic Dirac operators of colour Lie algebras. We calculate the cohomology induced by this Dirac operator, analogously to the algebraic Vogan conjecture proved by Huang and Pandžić.

Hromatska terminologija u rusinskom i srpskom jeziku

In this paper, the author compares chromatic terms in Ruthenian and Serbian. He focuses on the basic colour terms according to Berlin and Kay: white, black, red, green, yellow, blue, brown, purple, pink, orange, and grey. They have equivalents in both languages: Ruthenian bila – Serbian bela, čarna – crna, červena – crvena, željena – zelena, žovta / žolta – žuta, belava – plava, braon – braon, lilova – ljubičasta, celova – roze, pomarančecova /poma- randžecova – narandžasta, šiva – siva. The criterion of one-morpheme word is not appli- cable to the terms lilova, celova, and pomarančecova /pomarandžecova in Ruthenian, and ljubičasta and narandžasta in Serbian. It is applicable to the terms bila, čarna, červena, željena, žovta / žolta, belava, braon, and šiva. With the exception of braon, all these terms are derived from the Proto-Slavic language (*bеlъ, *čьrnъ, *čьrvenъ, *zelenъ, *žltъ, *polvь, and *sivъ). As far as the Berlin–Kay’s universal of seven phases of colour formation is con- cerned, our study of chromatic terminology confirms it. In accordance with the supposed first stage of development, the Ruthenian language has bila and čarna; according to the second stage, Ruthenian has červena; in accordance with the third stage, Ruthenian has že- ljena or žovta / žolta; according to the fourth stage, Ruthenian has žovta / žolta or željena; in accordance with the fifth stage, Ruthenian has belava; according to the sixth stage, it has braon; and in accordance with the seventh stage (even if we leave aside the multi-mor- pheme terms lilova, celova, and pomarančecova /pomarandžecova), it has šiva. Generally speaking, the usage of the terms is identical in both investigated languages but there are several differences (e.g. cibulja – beli luk, željena pasulja – boranija). The most frequent suffixes are -asta and -ista in Ruthenian, and -asta in Serbian.Most of the chromatic terms are of Slavic origin but there are several borrowings used for nuance purposes in recent decades, e.g. azurna, teget, akvamarin, tirkizna, and others. Some borrowings remain unchanged, e.g. in both languages blond, braon, drap, krem, bež, and oker, and only in Serbian lila and roze. Hungarian was the official language until the first decades of the 20th century (until the collapse of the Austro-Hungarian Monarchy in 1918), during which Ruthenian–Hungarian bilingualism reigned. That is the reason why several Hungarian colour names are found, e.g. in surnames (the Ruthenian surname Barna comes from Hungarian barna ‘brown’, Fekete/Feketa is from fekete ‘black’, and Vereš is from vörös ‘red’) and in the names of domestic animals (the Ruthenian horse name pejka [Serbian riđan] comes from Hungarian pej ‘brown’ and šarga [Serbian žutalj] is from sár- ga ‘yellow’). The general name for ‘colour’ comes from the German language (Ruthenian farba is from German Farbe).

Lexical implementation peculiarities of the blue colour in the names of plants and mushrooms in the South Slavic dialects

The basic colour term for blue is extremely rare in the plant nomination in comparison with the widespread derivatives of the other colour terms as “white”, “black”, “red” or even “yellow”. One can fi nd a few examples of such names recorded in the dictionaries of the Balkan Slavic dialects. Within the framework of this study, the material of the colour terms in the names of mushrooms was also taken into account, as mushrooms are supposed to be close to plants in the naive picture of the world. The “blue” can appear diff erently depending on the object of nomination: in the names of fl owers and fruits, the blue is recorded mainly in competing forms of the roots +модарand +син, and in the mushroom names there are forms of the roots +модар, +виолет-, as well as +плав — which is characteristic for the dialect continuum of the Serbian language. When analyzing the total corpus of lexemes one can notice an obvious pre-dominance of the element +модар in comparison with the basic and most common at this period lexemes of Bulg., Mac., Serb. синand плав. The root +модар is used in the meaning of the border colour between blue and purple. Therefore, it corresponds better to the nomination of plant and mushroom, whose colours can vary in shades and in intensity.

Coreopsis tinctoria Nutt. as a source of many colours

SummaryIntroduction:Coreopsis tinctoria Nutt. is an annual plant with small flowers in yellow and claret. In dyeing process, a whole range of colours can be obtained using various methods.Objective: The aim of the study was to present a wide range of colors of the little-known plant C. tinctoria. and its health promoting properties.Methods: In our research, we selected 3 types of wool: Polish Merino, Żelaźnieńska, and Polish Lowland Sheep and compared the colours obtained on these wools using 6 dyeing methods.Results: The results indicate that the basic colour of wool influences the intensity of colour after dyeing as well as the type of the used mordant, which determines the obtained colour. A whole range of very intense colours was obtained from very small flowers of C. tinctoria.Conclusions: Flowers are a very good and efficient raw material that gives intense colors on wool. An additional advantage is the plant's health-promoting properties. The plant is still little explored in this respect.

Samspil máls og merkingar. Um litaheiti í íslensku táknmáli

Brent Berlin and Paul Kay brought a sea change in semantic studies of colour terms when they published their book Basic Color Terms in 1969. Up to that point the dominant view was that each language represented a unique conceptual organisation of the world, a view supported by the fact that the colour spectrum is a continuum which provides not obvious breaks for the purposes of naming. Despite the many criticisms of their work which have followed, their methodology has proven extremely influential and been widely adopted. The project Evolution of Semantic Systems, 2011–2012, adopted their methodology for a study of colour terms in the Indo-European languages and the Colours in Context project applied the same methods to a study of Icelandic Sign Language. Signed languages diff er in many ways from spoken languages but the results of this study suggest the broad organisation of the colour space is the same in Icelandic Sign Language, Icelandic and British English. The colour space is organised by a few dominant terms, largely the same as Berlin and Kay ́s original basic colour terms. Yet within that broad pattern is considerable microvariation, especially in the spaces between the dominant terms. There the characteristic patt erns of word formation in the language have a clear influence in colour naming strategies.

Colour-Related Idiomatic Expressions in English and Kurdish

Colour is a powerful communication tool and can convey different positive and negative messages. Apart from their denotative meanings, colours have different connotations in different languages and cultures. Many of these connotations are very clearly observed in their use of colour idiomatic expressions. This study explores the different meanings and connotations of the basic colour terms and their usage in idiomatic expressions in English and Kurdish to find out areas of similarity and difference between them. To this end data were collected from different English dictionaries and from English idiom dictionaries; while for the Kurdish idiomatic expressions data were collected from Kurdish idiom booklets and sources (See methodology 4.1 &4.2). The findings obtained from the analysis of the data show that despite similarities in the number of the basic colour terms and their general meanings and connotations in the two languages, the symbolic use of the colour terms in idiomatic expressions is, to a great extent, culture and language specific.

O kolorach miłości w języku polskim i niemieckim (Aspekty językowo-kulturowe)

The article describes six basic colour terms and their connotations concerning love on the basis of love between a woman and a man by prism of Poles and Germans.The analysis covers selected expressions with a colour element connoted a feeling of liking someone combined with sexual attraction to answer following questions: What colour does love have in Polish and German? What are physiological sources of the symbolism of love’s colours in Polish and German culture? Is the perception of love similar or different in both languages?