• 프린팅코리아
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• s.66
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• pp.82-85
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• 2007

• The Korean Publising Journal, Monthly
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• s.30
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• pp.16-16
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• 1988

• The Research Journal of the Costume Culture
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• v.32 no.3
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• pp.398-418
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• 2024

This study aims to examine how the body and clothing of Jesus Christ are represented in the Russian Transfiguration of Christ icons of the 15th and 16th centuries and why it is considered to have established a distinct Russian iconography free from Byzantine influence. The study analyzes the Russian icons comparing them with their Byzantine prototypes to identify the distinctive 'Russianness' of the representation. The research methods comprise a qualitative analysis of the literature on Russian Orthodoxy, Russian icons, Christian theology, and Christ's clothing and an empirical analysis of the icons. The scope of the study is limited to Russian icons from the 15th and 16th centuries and Byzantine icons from the 9th century onwards. The study found that, compared to Byzantine icons, the Russian icons exhibit a more elongated body, darker facial features, and lighter clothing. A statistical analysis using the Mann-Whitney U test further revealed that the Russian icons feature a stiffer, simpler form, more opaque material, and more defined clothing boundaries. These stylistic differences suggest that the 'Russianness' in the expression of Christ's body and clothing in the Transfiguration of Christ icons derives from creativity, abstractness, and tradition. Rather than a simple recreation of the historical Christ or adherence to the Byzantine tradition, the Russian iconographic representation emphasizes Christ's transfiguration into a luminous form, as described in the Bible, accentuating his divine nature over his human aspects.

• Archives of design research
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• no.16
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• pp.65-74
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• 1996

It IS of great significance that russian artists created their own avant- gard arts, based on russian traditional culture comprehending new artistic trend from the Western Europe. After ttle Russian Revolution, russian artists participated voluntarily to the change of sOCIety. They were heading for the reach of socia 1st's utopia in the field of culture (painting, movie, architecture, play etc) Therefore , new socialist's society needed artistic Institution like the Vchutemas. The aim of thiS school IS to prepare highly educated artists to Instruct and direct In professional and technic education. RUSSian avant-gard artists gave lessons about the new didactics of the Vchutemas on the principals of ConstructiVism and Functlonlsm. They Influenced the Bauhaus school and western european designs.

• Analyses & Alternatives
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• v.7 no.3
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• pp.85-114
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• 2023

The purpose of this study is to analyze Russia-Central Asia relations since the launch of the EAEU in 2015 and forecast the future from a structural realism perspective. Bilateral relations have both elements of close cooperation and elements of conflict. Russia and Central Asia, which have the characteristics of an authoritarian alliance, also have a symbiotic relationship in which they have no choice but to cooperate with each other to maintain the regime. Based on this, Russia has made various efforts to reunify Central Asia. Central Asia also has no choice but to cooperate with Russia for its survival, but at the same time, it has expanded its scope of cooperation in the international community to avoid being subjugated to Russia again. However, as China's power expands, Russia's relative weakness, and wariness toward Russia increases after the Ukraine War, the gap in bilateral relations is widening. In particular, as China's influence grows, Russia's nervousness also increases. This is why Putin visits Central Asia and holds active summit talks even during the war in Ukraine. If competition between Russia and China surfaces, there is a high possibility that the international order in Central Asia will become unstable. However, it is still unlikely that the power of Russia and China will reverse in Central Asia. Above all, the security, historical, and cultural connections between Russia and Central Asia are areas that are difficult for China to catch up with. Therefore, a weakening of Russia's influence compared to the past is inevitable, but its superiority is expected to continue. If Russia breaks away from belligerence and transforms into an attractive cooperative partner, there is a possibility that bilateral relations will take an upward turn again. However, it seems unlikely that such changes and innovations will occur under the Putin regime. Therefore, the biggest obstacle to realizing Putin's goal of reunifying Central Asia is Putin himself.

• International Area Studies Review
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• v.13 no.2
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• pp.789-812
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• 2009

This paper aims to analyse the historical-cultural sources of Azerbaijani national identity through the aspects of the Persian, the Turkish and the Russian influences, and to illuminate its complex characteristics. Then it will be examined the impact and consequences that the Azerbaijani identity exerted on its foreign policy. In the modern world, identities are formed and represented within a variety of shifting social, political, economic, cultural, and discursive contexts. Such understandings can have exclusionary consequences, particularly in pluralistic environments. Since its independence, the PFA government resorted to the arguments of ethnic origin and Azerbaijan's Turkishness to achieve its goals. Domestically, the failure of the ethnicity-based foreign policy was so great that even Azerbaijani Kurds, who under the Soviets had been virtually absorbed into the Azeri population, felt alienated and betrayed. Internationally, Azerbaijan turned Russia and Iran against itself and reduced bargaining power of Turkey since the latter grew increasingly concerned not to exacerbate its relations with Russia.

• Cross-Cultural Studies
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• v.46
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• pp.281-296
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• 2017

Andrei Amalrik's plays are a unique phenomenon in the 70 years' history of Soviet drama. Half a century after the Soviet theater had intentionally forgotten its own achievements of avant-garde dramaturgy in the early 20th century, his bizarre plays suddenly emerged in the Soviet theater environment, completely separated from contemporary Western practices of the experimental theater. Surprisingly even now, Amalrik's plays have almost been forgotten not only in Russia but also by foreign Russian literary scholars. Amalrik's autobiographical essay is his only book published in Russia after the collapse of the Soviet regime. There is no collection of his works, and reevaluation of his work is not found even in Russia. However, Amalrik is a writer who should get a proper evaluation. The purpose behind studying his plays is to restore the tradition of Russian grotesque-absurd dramaturgy, which has been inherited from Gogol, Khlevnikov, Mayakovsky, and Oberiu. In this paper, we will analyze the mechanism of composition in Amalrik's plays.

• 프린팅코리아
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• s.39
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• pp.74-75
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• 2005

우리나라의 출판시장이 불황을 거듭하고 있는 것과는 대조적으로 세계 주요국ㄱ들의 출판시장은 지난해 소폭이나마 성장한 것으로 나타났다. 대한출판문화협회가 최근 발행한 '2005출판연감'에 따르면 일본 중국 프랑스 러시아 미국에서는 출판시장이 커지고 매출도 증가한 것으로 집계됐다. 다만 독일에서는 불황이 심각한 것으로 분석됐다. 다음은 출판연감에 게재된 각국의 출판동향이다.

• Korean Architects
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• s.592
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• pp.140-151
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• 2018

• KLA journal
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• v.46 no.6 s.361
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• pp.4-21
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• 2005