• 복식
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• 제36권
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• 미술이론과 현장
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• 제7호
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• 비교문화연구
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• 제26권
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• pp.123-144
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• 2012

In the modern society in which globalization and localization proceed simultaneously, diversified and rapid migration of diaspora makes a new from of boundary off the frame of the state and the nation. This new border accompanies cultural change and racial mixture; retains ethnic conflict, the gap between rich and poor, alienation and discrimination, as well as power conflict; and extends its influence. Nowadays, the countries all over the world including Korea face problem of Diaspora in numerous forms. And each country takes an approach to the problem of the diaspora in the aspects of their society, culture and political technology. This implies that most countries, without understanding the new form of border which is alive and dynamic, define and conceptualize the diaspora in the frame of one state and one nation to carry forward the policies accordingly, resulting in inequal, incomplete and awkward homogenization. This study aimed to explore the identity of the diaspora, the core for the problem solving. Of course, studies about the identity of the diaspora have been continued until today and many great outcomes have been achieved. Nevertheless, this study aimed to explore the identity of the diaspora and the national policies which have a close interrelationship with it. It is because the study ultimately aimed to highlight the interrelationship between the destination countries, Russia and China, and the diaspora, through the definition and the classification of Russian diaspora and Chinese diaspora and the analysis of the national policies about that. However, the intention was not to distinguish superiority through the comparison of the polices about the diaspora between two countries, but to focus on the diversity of the identity of the diaspora through defining each different diaspora and paralleling the policies. Second, the reason for looking into the diaspora policies of these two countries is because it is judged the changes in the diaspora policies of each country is one of the active factors for the changes in the identify of the diaspora of each country and it is the basic research for the study on the identity of the diaspora. New migration of diaspora changes the identity of the state, and the state makes the policies and enforce the policies, resulting in the influence on the diaspora. This interaction acts as the growth factor for the new boundary. The causes of Russian diaspora and Chinese diaspora show apparent 'differences'. In parallel with this, the policies about the diaspora in Russia and China arouse 'differences' to the diaspora. The variation of the identity of the diaspora made by these differences will suggest other viewpoints on the diaspora, and these viewpoints will become the foundation for solving the problem of the diaspora in the present times.

• 건축역사연구
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• 제31권6호
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• pp.47-58
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• 2022

The purpose of this research is to understand Ko Yu-seop's perception of 'contemporary emerging architecture' in the West by investigating into his two early 1930s' articles: 'On Emerging Arts, Particularly the Cutting-edge Architecture' (Jan. 1931) and 'Russian Architecture' (Dec. 1932). As a result of the investigation, it is argued that he attempted to systematically describe his contemporary architecture, fromthe concept of 'modern' to representative architectural theories, and his suggested reference list is considered meaningful since it illustrates one aspect of how modern architectural knowledge was transferred to Korea at that time. As his limitation, however, it should be pointed out that a significant part of his writing was a verbatim translation of the Japanese critic Takao Itagaki's New Art Acquisition (1930). Nevertheless, the two articles give us a valuable understanding related to his socialist tendency, his preferred commune-type city-cum-architecture that reflects the ideology, etc. Hereafter, this understanding needs to be further discussed in both study areas of art history and architectural history in Korea.

• The International Journal of Costume Culture
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• 제3권3호
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• pp.212-222
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• 2000

This study intends to observe how the essential elements of art have changed Human's sense of beauty extending over the whole lives as well as fashion through the investigation of Light and Rays which have played a important role in giving birthe to the new trend of art within the upheaval age of various cultures. The peculiarities of which Futurism of Italy and Rayonism of Russia including Impressionism have a great role in giving birth to a new trend of art by means of the development of science technology are like these. Impressionists looked for the origin of the subtle harmony in nature within changes of sun-rays. The special feature of Impressionism paintings was to express the line of vision diversely according to changes of light rather than to focus on the line of vision with clear outlines. Henceforth, Neo-Impressionism which developed Impressionism more systematically leaded changes of Light and Rays more systematically and scientifically and maintained Divisionnisme techniques which extends to lead towards color and light through dividing and juxtaposing color. In the early 20th century Futurists tried to express dynamism through the interpenetration of light and revive color and light through the division techniques of color and persist an artificial light like eletricity rather than a natural light. Rayonism of Russia which was ifluenced from Impressionism and Futurism maintained intersection of reflecting rays which emerges from an object of things more deeply. This pursuit of light and rays also light and rays also appears as it is in modern fashion. First, it is the fashion which applied sun-rays persisted by Impressionists and expressed colors which show differently according to direction of light. Second, it is the fashion design which re-analyzed what Futurists expressed artificial light and rays. Third, it is the design which expressed Divisionnisme theory persisted by Impressionists and Futurists into fashion as it is and was made of being divided the form of glittering light into small dots. Fourth, it is the fashion design which applied Rayonists'work which applied intersection of reflected rays. Like this, it is aproved that the pursuit of light and rays expresses as it is in modern fashion of the 21st.

• 건축역사연구
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• 제21권1호
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• pp.119-134
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• 2012

Balhae(698~926) was the ancient state which opened the Nambuk-guk period with the Unified Silla. But Balhae architecture began to included in the history of Korean architecture only about 15 years ago, such as the books written by Yun Jang-seop or Ju Nam-cheol. I discussed four issues related to Balhae architecture in this paper. First, I criticized the excavation report of 24 stones remains at Jiangdong in Duhua city, and I asserted the ondol site belonged to different period. Second, I also interpreted that the building found on the tombs no.13 and no.14, in the Longhai burial area in Helong city must be a wooden stupa. Third, Balhae played some important roles in the history of ondol. It developed Koguryeo ondol in terms of structure, gave an opportunity to the ruling class to adopt ondol for the first time, and passed the heating system down to the Jurchen, the ancestor of the modern Manchurian. Fourth, the Russian-Korean joint research team excavated seven building sites in Koksharovka 1 fortress from Russian territory these four years, and it is reasonable to assume the fortress was the center of Anbyeon-bu, one of 15 local government districts in Balhae. I guess this buildings were the royal shrine built by resisters after the fall of Balhae, and the vessel stands found there must be used for ancestral memorial ceremony inside them.

• Asian Pacific Journal of Cancer Prevention
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• 제13권10호
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• pp.5189-5193
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• 2012

Kemerovo is an industrial region of the Russian Federation characterized by highly developed mining, chemical, metallurgical and power industries. Many of the factories were closed down due to the socioeconomical crisis in the early 90's, and economic potential of the survivors has also decreased significantly. Paradoxically, this has led to the improvement of the ecological situation in the region and elimination of exposure to many chemical carcinogens. This factor, in combination with the improvement of oncological care, might be expected to have lead to a decline of cancer incidence and mortality in the region. To assess trends of cancer incidence and mortality in Kemerovo Region, we therefore carried out an analysis of relevant epidemiological data during 1991-2010. In fact, a significant increase of cancer incidence overall was revealed during 2001-2010. Male cancer incidence was significantly higher than female cancer incidence. Regarding gastric cancer incidence, statistically significant differences during 2001-2010 were found only for men, and male incidence exceeded female incidence. Concerning colorectal cancer incidence, it was lower during 2001-2005 and 2006-2010 as compared to the period of 1991-1996. Lung cancer incidence was significantly higher during 1991-2000 compared to 2001-2010. Among urban populations, cancer incidence was higher in comparison with rural population, but a gradual steady convergence of trends of cancer incidence among urban and rural populations was noted. Lung cancer, breast cancer, colorectal cancer, non-melanoma skin cancer, and gastric cancer are the most prevalent cancer forms in Kemerovo Region. There were no differences in cancer mortality between 2001-2005 and 2006-2010; however, male cancer mortality exceeded female cancer mortality. A similar situation was observed for gastric cancer, colorectal cancer, and lung cancer. Cancer mortality among urban populations exceeded mortality among rural population, for both genders. We suggest that these data can be used for development of modern programs of cancer prevention and early diagnostics in industrial regions of Siberia.

• International Journal of Computer Science & Network Security
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• 제22권11호
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• pp.294-302
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• 2022

The article explores the prospects and trends for the transformation of some basic concepts of law associated with the development of artificial intelligence systems and the problems of liability for harm caused by a robot. The prospects, conditions and consequences of vesting robots with partial (quasi) or full legal personality are explored. This process should lead to a revision of the concepts of will, subjective side and legal responsibility in the direction of their greater universalization. The legally significant signs of will, legal personality, legal liability in relation to robots, artificial intelligence systems and other complex automated information systems are clarified. The author identifies the following essential factors of legal qualification of an act committed by a robot: goals, reasons for setting goals, connections between the planned result and the action taken, the actual result, the reasons for the difference between the actual result and the planned one. The article pays special attention to the preventive function of legal liability, which, when applied to robot subjects, can be expressed in the following basic procedures. 1. Accounting for legal requirements in the behavior of the robot. 2. Timely adaptation of the robot to changes in legislation and other regulatory legal acts that affect its behavior. 3. Accounting for incidents. 4. Destruction of a series of robots whose actions lead to unacceptable consequences.

• 국제지역연구
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• 제14권3호
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• pp.135-156
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• 2010

알타이라는 명칭은 어족의 이름, 알타이 산맥 일대에 거주하는 민족의 이름 그리고 알타이어족의 사람들과 그들이 거주하는 지역의 이름 등 여러 가지로 쓰이면서도, 그것이 의미있는 단위인가를 둘러싼 논란이 계속되어 왔다. 이 논문에서는 알타이 어족의 분포 지역 전체를 포괄하는 주체가 형성되지 않았다는 데에 이러한 논란의 핵심적인 원인이 있다고 주장한다. 일각에서 주장하듯이, 알타이 문화권이라고 부를만한 문화적인 공통성과 역사적인 접촉이 있었을 수 있지만, 그것이 근대를 겪으면서 의미있는 단위인 민족으로 묶어지지 않았고 또 그러한 의식이 형성되지도 않았기에 문화적 유사성으로만 남게 된 것이다. 이는 한편으로 소비에트적인 근대화를 통한 종족 정체성의 재구성과 러시아, 중국 등 주변 강대국의 강력한 개입, 불교, 기독교등 외래 종교의 뒤늦은 전래 등의 요소가 복합적으로 작용한 결과이기도 하다. 그러나 알타이를 지역 연구의 단위로 설정하는 데 따르는 어려움은 이 지역에 특이한 현상만은 아니다. 이는 지역 설정이 물리적 환경에 따른 자연적인 경계 획정이 아니라, 문화정치적 관계에 따라 인위적으로 권력관계가 분배된 결과이기 때문이다. 따라서 알타이의 사례는 그 지역적 특수성에도 불구하고, 지역연구에서 지역을 균일한 "문화"를 지니는 것으로 미리 전제하는 것의 위험성을 알려주는 함축을 지닌다.

• The International Journal of Costume Culture
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• 제4권3호
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• pp.217-228
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• 2001

This study* 1) historically considered the meaning of light which has frequently wed as the subject of artistic expression since Renaissance, in order to grasp an artistic atmosphere about light and rays before the allusion of Rayonism. non it inspected closely the course of changes of light as a result of historic circumstances and intended to understand how Rusian Rayonism of the 20th, which maintained these effects of light more rationally, had an influence on modern fashion. It was created by Mikhail Larionov and developed by his wife, N. Goncharova. The main special feature of Rayonism wag the crossing of reflected ras, emerging from various objects. Most of these things depended on line and color. Re purpose of Rayonism paintings was to create a new space from arising from which reflected rays from various selected objected crossed one another. Namely, artists maintained that they should give up various objects of visible world and express rays which were reflected objects and crossed in complex. Rayonists were affected by Cubism and Futurism and came to fake an interest in relations whose rays of parallel or convergent color made, also in expression of themes. Since that, Rayonsim affected Supermatisme and Constructivism. Re pursuit of light and rays from the 19th until the early 20th came to appear in fashion as well as in art as it was. As Rayonists created a new space from which reflected rays from selected objects crossed one another, they used line and color as the main techniques of expression. in this way the attempt which intended to express rays, using itself of the line and color, appeared as futile design of tots of designs like Donna Karan, Cianni Versace and Rococo Barocco and so on of Modem fashion. This was designed for essential elements of pure art to express the new aestheic consciousness through fashion.