• Cross-Cultural Studies
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• v.29
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• pp.479-501
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• 2012

In this paper, I analyzed the russian cultural content of the russian textbook according to curriculum changes. The aim of this study is to analyze the content of the russian textbooks on russian culture. Our education of russian language begins in high school as a second language. And russian education in high school entirely depend on the textbook. In these circumstances, Russian textbooks play a very important role in the Russian language learning. For a practical and efficient language learning, acquisition of cultural knowledge is very important. Because cultural content can be learning motivational factors. But the contents of a textbook is not satisfactory enough to teach russian culture. More efficient textbook must be developed to advance student's linguistic ability.

• Cross-Cultural Studies
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• v.38
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• pp.215-243
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• 2015

This paper looks at the literary mood of southwestern Russia in the late Russian Empire, while examining the writers of this area and their literary tendencies. Southwestern literature was formed in the late Russian Empire, and prospered centering around Odessa. Because of the uniformity in the Soviet culture, however, it could not stay alive but disappeared in the history of Russian literature. Odessa, the center of southwestern literature was a multiracial region unlike other Russian cities. A unique culture was created, therefore, combining the western European culture and local ethnicity. Jews in Odessa could enter into the Russian society and assimilate naturally. They could utilize their talents as a strength to enrich the Russian culture without giving up their cultural heritage. For example, in lingual aspects, using Yiddish was not against the Russian culture. In addition, it contributed to interesting new coinages and led to efforts among writers to minimize the gap between the two languages. Many Jewish writers showed special interest not only in Yiddish but also in French, German and other languages. Therefore, they took the lead in translating and introducing west classics. As evident in the way Yiddish language was formed, mixing their language with other languages enabled jews to soak their way into other cultures naturally. Their yearning for the Russian and western European cultures, combined with their unique sense of humor, led to generic twists and problematic experiments. From another point of view, it is also unusual that southwestern literature diversified locational settings and heroic characters in literary works. European style heros, appearance of multiracial people, pain or waggery experienced by Jews in their assimilation process, thrilling revenge to unfair violence of Russians, and espiegle swindlers are the new domains that southwestern literature pioneered. In summary, southwestern literature was formed in a heterogeneous cultural climate, which was entirely different from the Russian Empire. In this regard, it was in deviation from the Russian literary tradition. From the Soviet point of view, it existed as a heresy which was against the Russian Empire.

• Cross-Cultural Studies
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• v.37
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• pp.109-130
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• 2014

In 1920s, Russian society was unstable and tremendous. After the 1917 Revolution, Russian government had initiated "New Economic Policy" embedded in a partial market system in these times. Also, Russian culture had been exposed to a new trend of culture, for instance, Russian Modernism. In the field of Russian literature, satirical comedy became very popular. One of famous satirical comedy writers was V. Mayakovsky who was trying to express his ideal society which consisted of both tensions and harmonies between the old and the new periods. In this context, V. Mayakovsky was recognized as a poet with futurism who loved to write a comedy expressing social suburbanity and governmental bureaucracy. His two comedies, "Bug" and "Bath" were his famous comedies, dealing with Russian modernistic historics and theatricality in 1920s. In this article, authors try to look into their artistic characteristics of 1920s Russian literature involving a new trend of social change, for instance, Grotesque and Tragicomic features. In the same context, this article focused on its inner dilemma of satirical comedy which had been existed in 1920s Russian literature.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.425-448
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• 1995

The purpose of this study was to compare fur clothing preferences of Korean and Russian women, and then to provide a beneficial data to Koran fur manufacturers who is working in Korea and advancing into Russia. 346 subjects were gather in Seoul and Moscow through convenience sampling method, and frequency, percentage, mean, x²-test, t-test were conducted for data analysis. The results were as follows: 1. Korean and Russian women's fur clothing buying motives, information sources, important factors on purchasing, purchasing, influences ere generally examined. 2. Russian women's fur clothing possession rate as well as fur clothing purchasing intention in the future were higher than Korean women's. 3. Fur clothing item, material, color, style, length which Korean and Russian women prefer were compared. 4. In case of shilhouette, Russia women showed high preference on swinger shilhouette, relatively Korean women preferred H-line. 5. In case of collar design, Russian women showed high preference on stand collar, relatively Korean women preferred notch collar or shawl collar. 6. In case of sleeve design, Russian women showed high preference on turn back cuffs sleeve, relatively Korean women preferred push-up sleeve.

• The Research Journal of the Costume Culture
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• v.18 no.3
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• pp.550-558
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• 2010

Russian Constructivism, which took the lead in the Russian trend of art until the late 1920's, was influenced by European Cubism and Futurism. Breaking away from the previous realistic tendency, Russian Constructivism, to meet the ideology of the revolution, insisted the "Art into Street" and the "Art in Industry" with its abstract and geometric design. Russian Constructivism effected paintings of mid 1920's, as well as Industrial design and costume design. This operated remarkable changes in Russian form of costume and textile area. An unusual situation like revolution had provided the social justification to develop a new costume design not for the special class of people, but for the general public. In this atmosphere, the plan of clothing mass production began to progress. Although the Russian Constructivism costume of arts shows the similarity in the trend of fashion and the physical forms of those days, its fundamental idea in manufacturing costumes was 'to create costumes to be possible to mass-produce and to be wearable to anyone regardless of the social class'. Therefore, Constructivism costume of arts pursued dynamism and geometric form through non-objective design that has broken away from the handcrafted and traditional standards of the past. These distinct characteristics served as a momentum to seek costume design based on productivity and functionality.

• 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.

• Fashion & Textile Research Journal
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• v.21 no.3
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• pp.253-266
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• 2019

Street fashion style expressing youth culture has become mainstream in the fashion field. Russian fashion designers who experienced the post-Soviet era in their youth have gained attention for the freshness of a youth inspiration. This study selected two representative young Russian fashion designers, Gosha Rubchinskiy and Tigran Avetisyan and analyzed their fashion works concerning characteristics of youth culture. Literature studies and case studies were conducted as research methods. The subject of the case studies were Gosha Rubchinskiy's fashion works from 2015 S/ S to 2018 F/W and Tigran Avetisyan's fashion works from the 2012 CSM Fashion Show to 2018 F/W. The results of the analysis are as follows. First, their fashion works express 'resistance' against the older generation and society. Second, we can also see the 'conformity' of the use to make a strong cohesion. Third, the fashion works symbolized an 'expression of individuality' of the youth. Fourth, the fashion works express an 'importance of practicality' related to the values of the young who prefer to high cost-effectiveness goods. Last, there is a 'remixed culture' in the Russian designer's works where a previously mixed culture mixes with others in creating a completely new one. This study analyzed the characteristics of a contemporary youth culture that influenced the world fashion market and contributed to understanding that the young generation is active in all aspects of society.

• 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.

• International Journal of Advanced Culture Technology
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• v.12 no.2
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• pp.151-160
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• 2024

Through the utilization of a contrastive analysis of English consonantal phonemes and their Russian counterparts, the present study investigates the challenges faced by Russian EFL learners in pronouncing English consonantal phonemes, with a particular focus on phoneme substitution errors as a principal source of erroneous pronunciation. We comprehensively explore the characteristics of both the English and Russian consonant systems, highlighting the differences between them. Based on this examination, the study aims to present the detailed articulatory characteristics and phonetic variations of Russian speakers' common mispronunciations or improper substitutes of English consonants, rather than focusing on shared ones between the two languages. Furthermore, it seeks to provide strategies for error correction and effective pedagogical strategies to address specific phonemic challenges and enhance accuracy. Grounded in a comprehensive understanding of the objectives and advantages of comparative analysis within the context of phonemic awareness, the study emphasizes the significant importance of pronunciation instruction. It points out that this area still appears somewhat overlooked in specific EFL teaching situations within the context of English language education.

• KOMUNHWA
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• no.52
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• pp.123-133
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• 1998

The extraction of carbon from temper in organic-tempered pottery of the Initial Neolithic sites on the Russian Far East allowed to date directly the earliest pottery in the area. First results show that pottery of the Gromatukha culture has $^{14}C$<