• Russian Language and Literature
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• no.65
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• pp.151-174
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• 2019

This paper examines the development process, status and characteristics of the growing Russian character industry And the future challenges of the Russian character industry. The Russian character industry, which has the 13th largest character market in the world, is expected to make a breakthrough in the next three years (2019-2021) with the following positive environment: 1. Reorganization as the center of online consumption 2. Changes in the tendency of Russian consumers who actively consume educational contents 3. System improvement and active policy of the Russian government 4. Improvement of cultural needs of Russian people. Characters have a strong influence on other cultural contents, such as drama, movie game animation, dramas and musicals, and are vigorously remodeled. In other words, characters are a source of diverse entertainment and gaming industries. And it is easy to find common points of contact with individual cultural contents, so that it can be extended to cartoon, drama, movie, advertisement, etc., and thus various modified contents can be supplied. So in the advertising and copyright business, characters are the most basic necessities of the multi-media, multi-channel and OSMU (One Source Multi-Use) era. The 'character industry', a high-value-added industry that maximizes the benefits of creating such characters, is a very important cultural product. At present, the Russian character industry is in the process of establishing environmental factors that enable stable and sustainable growth compared with the past. It is very likely that Russia's role and position in the world character market will expand if the following five improvements are effective and productive. (1. Creation of characters that all generations can sympathize, 2. Creation and expansion of digital characters, 3. Activation of public character creation, 4. Activation of overseas markets, 5. Government active support) In this case, the Russian character industry will lead the world character market.

• Cross-Cultural Studies
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• v.33
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• pp.461-494
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• 2013

The purpose of this work is to analyze categorial character of Russian verbal aspect from the typological perspective. To do this, first of all we will examine the overall historical process of grammaticalization of Russian verbal aspect. As a result of analysis, we have suggested that against wide-spread general assumptions in this area Russian verbal aspect correspond rather to lexico-grammatical category, than to purely typical grammatical category. Actually, I think this kind of approach as a pivotal point for the study of Russian verbal aspect. For example, this kind of typological approach has great advantages in a sense that firstly it gives us possibility of breaking from notorious routine Slavic-Centrism, secondly it can explain sufficiently and adequately various lexico-semantic usages of Russian verbs. Thirdly, our approach consistently accounts for various interactions of lexico-semantic, grammatical, discourse-pragmatic levels, in which Russian verbal aspect is involved. And finally, it sheds light on functional interactions between verbal categories, such as aspect, tense, and mood.

• Lingua Humanitatis
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• v.2 no.2
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• pp.321-347
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• 2002

The Russian language uses more words that imply collectivism than Western Indo-European languages. In Korean, the first-person plural pronouns are used more often than in Western languages. In this respect, Russian seems to stand closer to the latter, although typologically it belongs to the Indo-European family. The predominance of 'we' over 'I,' which took place in the history of the Russian language, had something to do with the Russian commune and the ecclesiastical and spiritual concept of 'sobornost' (equation omitted). A similarity between the Russian and the Korean nations lies in a collective way of life as compared to Western nations. The Russian concepts of (equation omitted) and (equation omitted) ('commune') have direct analogues in the Korean language. In all societies a commune involves a certain sense of collectivity, or spiritual unity of the people - 'sobornost' (equation omitted). Korean collectivity is more familial and moral in character, whereas Russian 'sobornost' is more spiritual. This has its direct reflection in Korean and Russian languages. One can say that a sort of a family version of Russian 'sobornost' takes place in Korean society.

• Cross-Cultural Studies
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• v.44
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• pp.87-121
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• 2016

Daehoon Ham's novel 'Cheongchunbo' features a studier as the main character who majored in Russian literature and admired the culture of the Soviet Union. From his viewpoint, the novel reproduces North Korean society before and after its independence from Japan. In this regard, it shows multilayered presence related to Russian culture and Soviet Russia. Such an aspect is based on the sense of sympathy that the main character has. The sense of sympathy is originated from the main character's admiration for the exoticism of Soviet culture which was forbidden during the late Japanese occupation. After Korea's independence from Japan, Russian was replaced by English. Such change also occurred in the main character's viewpoint. He underwent a change in his integrative viewpoint on Russian and Soviet under the name of Red Army. After defecting to South Korea, he began to put Russia down as a den possessed by the devil called 'communism.' In the meantime, Russia and Soviet have been separated from each other in ideological terms. The novel 'Cheongchunbo' stresses that the decisive cause of such changes is argued over trusteeship. The main character, fascinated by the presence of exotic Soviet, predicates that Soviet is a political symbol around the national division caused by the trusteeship. His change alluded to the life path of Korean authors who translated Russian literature after independence. During the Japanese occupation, Russian literature translated into Korea was a longing for forbiddance and admiration for Russia. However, the Russia presented in Daehoon Ham's novel before and after independence implies that the romantic translation has ended.

• Journal of Fashion Business
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• v.19 no.3
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• pp.14-30
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• 2015

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.

• International Journal of Computer Science & Network Security
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• v.22 no.8
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• pp.385-391
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• 2022

The relevance of the published study lies in the fact that since the introduction of the first Global Distribution System, new information and communication technologies have constantly been changing the tourism industry. In the context of a current digital environment, travel agencies can't avoid participating in digital transformation processes aimed at rethinking operational models, skills, and organisational structures in the regions. This publication aims to present and provide a critical overview of digitalisation processes in tourism development in the regions of the Russian Federation, as well as to reflect on the challenges to the widespread digitalisation processes in the regional tourism sector. The subject of research is digitalisation processes, as they radically transform the modern tourism industry, in the regions as well. The pragmatic research paradigm was considered the most appropriate for the study of tourism digitalisation processes in the regions, as it does not require the selection of a specific theoretical basis for data collection. The pragmatic approach forms an alternative to classical theoretical approaches and serves as a particular type of grounded theory, combining both inductive and deductive methods. No software was used for the inductive part of the analysis. The deductive part was conducted using the qualitative data analysis software Nvivo 11. Given the wide diversity of interested parties in the regional tourism digital area, a stratified purposive sampling method was preferred due to its ability to adequately represent the full picture of the phenomenon under study. The selection and stratum criteria were chosen to maximise the representation of different perspectives in the regional tourism digital area. The novelty of the study is due to the digitalisation processes, with an implication of new needs, while opening up promising opportunities for more productive tourism business in the regions of the Russian Federation. Currently, e-tourism in the Russian Federation has become a subject of lively debate among scholars and practitioners. However, the involvement of advanced digitalisation technologies in the field of information processes in the regions of the Russian Federation is of a very sporadic character.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.52 no.3
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• pp.274-282
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• 2019

Female Siberian sturgeon Acipenser baerii were crossed with male Russian sturgeon A. gueldenstaedtii and the development, ontogenetic behavior, and phototactic characteristics of the resultant hybrid prolarvae were examined. The fertilization rate of the hybrid group was similar to that of Siberian sturgeon (the maternal species), and the overall developmental characteristics of hybrid embryos were not significantly different from those of either parental species. The time window from first hatch to the completion of hatching was wider in Russian sturgeon than in Siberian and hybrid sturgeon groups. The prolarval viability of the hybrid group was similar to that of the maternal species, and significantly higher than that of the paternal species. Hybrid prolarvae displayed ontogenetic behavioral patterns that were quite similar to those of Siberian sturgeon. In an illumination preference test, hybrid prolarvae displayed significant positive phototaxis, similar to the maternal species, and clearly distinct from the negative phototactic character of the paternal species. Taken together, our data indicate that the prolarval traits of hybrid sturgeon from this cross more closely resemble those of the maternal than the paternal species.

• Cross-Cultural Studies
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• v.29
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• pp.7-24
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• 2012

"Duck Hunting" is the most psychological play with unique structure written by Aleksandr Vampilov. The play describes protagonist hero's furious behavior with psychological instability, therefore, this play tends to be recognized as serious and complicated one. After the death of Vampilov, "Duck Hunting" was reproduced as a film, titled as "Vacation in September." This study is designed to shed light on the play's psychological-dramatic factors by focusing on the structure of narrative and spatial-temporal objet. Also, this study compared the screenshots of the play with their textual meanings, then concentrated on main character's psychological features. By focusing on protagonist hero's mind, this study tries to look into the features of the play and its meanings for modern period. The film's plot is a kind of story telling structure based on main character's memory. The short stories of main character represents that Jilov(main character's name)'s losing his own life. The audience can acknowledge that Jilov's life as a duck hunter who is cynical, ideological, lazy, and self-interest oriented person. This play provokes the audience to compare their life to Jilov's one because such comparison helps the audience recognize their lives as surplus style of life with nihilism. Jilov as a character represents one of Soviet's generation with the feeling of great loss in 1960s.

• The Research Journal of the Costume Culture
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• v.18 no.1
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• pp.29-43
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• 2010

The purpose of this research was to re-illuminated the artistic value of costume designs that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde art. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the trend of art that Natalia Goncharova introduced in the early 20th century. The research method defined the formation and progress of the development of the Neo-Primitivism centering the works of art by Natalia Goncharova. Based on this method, Goncharova designed the set and the costume designs for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing art. The result were as follows. First of all, Goncharova's costume designs were all manufactured based on the theme of Russian folk art and genesis. In other words, Goncharova represented the Spanish passion, the Russian folk art Lubok, and Goldern cockerel or religious Icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume designs. her design displayed the Neo-Primitivism influence through the separation between the lines and the surfaces, which defined the costumes as a decorative art experiment. Therefore, the study of Goncharova had one realize that Neo-Primitivism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Natalia Goncharova reflected the miracle of the transformation of the early 20th century in their costume designs.

• Korean Journal of Plant Taxonomy
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• v.34 no.1
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• pp.37-41
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• 2004

T. Nakai, who wrote Flora of Koreana vol. II in 1911, cited V. L. Komarov's collections and listed more than 120 specimens with ca. 65 localities. All collection sites cited were described in the Romanized characters based on the Russian pronunciation. Therefore, it is very difficult to pinpoint those sites using the current or old version of Korean map. From this study, many names were reviewed based on other studies (both the Russian version and the Japanese translated version) and records (e.g. specimen label) and presented based on the current provinces with local names, the Chinese character, the GPS data and the first page of citation.