• Journal of Families and Better Life
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• v.28 no.5
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• pp.167-181
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• 2010

This research was designed to explore the meaning of housing among Korean Chinese in Harbin, China. In particular, the meaning of housing was examined by using the pathway approach. Utilizing qualitative research methods, this study administered the in-depth interview on the oral history of an individual life, and the 5 elderly persons in their 60s and 70s participated in the individualized interviews that were conducted from May 28 to 31 in 2010. The main findings of meaning of housing were as follows; 1. Similarly to the meaning of housing in 1970s and 1980s in Korea, house was viewed as both a shelter for family members and relatives and a place for their comfort. 2. Prior to multi-story residences, Harbin had only 3 different forms of single-story houses available; Chinese style with Kang and soil room(地室), Korean style with 'Ondol', and Russian style with open floor and Pechka, The promotion at work enabled participants to move to multi-story residences, their moving time varied from 1970 to 1991, and the residential moving determined their current housing status. 3. Multi-story residences were available around 1970s, floor-heating system was introduced from 1990s, and high-rise apartments were built from 1998. Korean Chinese(朝鮮族) weren't satisfied with the spatial composition of individual units embedded into the Chinese culture, especially, entrance, kitchen, bathroom and veranda. 4. Based on assimilation through socialism, adaptation to socialist society and capitalist acculturation, the lifestyles of the interviewees were categorized into five types - capitalist-proactive(Ms. KS), socialist-pragmatic(Ms. J), socialist-inducive(Ms. KY), family centered-conservative(Ms. L), and socialist-adaptive(Ms. P). This study implies that housing-related services for Korean Chinese are necessarily provided so as to embrace their life style and cultural identity in housing design, and further studies need to be explored.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.2
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• pp.275-286
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• 2001

The purpose of this study is to investigate the characteristics of costume and its ornaments which are appeared in the traditional wedding ceremonial customs and the wedding costumes of Eastern Slav, that is consisted of Russian, Belarusian and Ukrainian from the 19 to the early of 20C. In this study, many different procedures of wedding ceremony with a various kind of wedding costumes are shown. A wedding custom of Eastern Slav had been developed by a intermixed style of the Christianism and a paganism. The wedding custom is organized by the 3 sequential procedures; before a wedding, a wedding, after a wedding Their wedding means the union of the bride into the bridegrooms family in order to establish a new family. Therefore, the wedding costumes have been developed according to this, and the head gears have developed as a symbol which presents the meaning. A brides costume is composed of a head gear, \"Lubaha\", and \"Sarafan\" or a skirt. A bridegrooms one is made up of \"Lubaha\", and trousers. These costumes are kept through their whole life, and are worn in every important ceremonial period. Even though, the wedding customs and the wedding costumes of Russia, Belarus, and Ukrain have been developed by their general commonness, there are regionally certain differences. It is one of the important research object of the Eurasian era in the view point of culture and ethnographic, that to know the symbolism appeared in the traditional weeding ceremonial customs and the wedding costumes of Eastern Slav.ding costumes of Eastern Slav.

• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.45-56
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• 2011

This study is about the features of hybridization of ethnic-cultural elements in Korean fashion magazines. Its purpose was to embody more creative and newer images in fashion by promoting better mutual understanding of foreign cultures and addressing the issues of fashion design from multicultural perspectives. In doing so, the present study conducted a literature review and analyzed a total of 130 photographic images with any hybrid ethic element from two Korean fashion magazines, Vogue Korea and Harper's Bazaar Korea, issued between 2005 and 2009. The analysis revealed that there were 66 images(50.8%) with a mixture of two different cultures and 64 images(49.2%) with a mixture of three or more different cultures. As seen from the results, the two categories had a similar number of cases. In regional terms, the use of two different cultural elements included a mixture of Asian and Western cultures in 32 images(24.6%), a mixture of Western and African, Middle Eastern or Latin American cultures in 23(17.7%), and a mixture of Western and Russian or European folk cultures in 11(8.5%). In the use of three or more different cultural/national elements, the present study found a mixture of Asian, African, Middle Eastern, Latin American and Western costume items in 20 photo images(15.4%), a mixture of African, Middle Eastern and Latin American elements plus Western costume items in 19 images( 14.6%), a mixture of all regional cultures in 13 photos(10%), and a mixture of Asian ethic cultures plus Western costume items in 12 cases(9.2%). The results of this analysis indicated that the hybridization of ethnic-culture elements in Korean fashion magazines consisted of diverse clothing and accessories from various ethnic groups. The expression of these multi-cultural hybrid images that consists background images and models from different cultures well-portrayed the multi-cultural elements based on total coordination and broke the stereotypical aspects of styling.

• Fashion & Textile Research Journal
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• v.17 no.2
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• pp.191-202
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• 2015

The purpose of this study is to examine the form of the clothing of the Scythians who lived in the northern region of the Black Sea. This study refers to data, which has been extracted from reviews of literature, articles and catalogs of Scythian exhibitions held in Germany, a country where famous Scythian research was collected and analyzed. Results of this study are as follows: Regarding the basic form, there was no change in the appearance of the Scythian clothes which can be linked to social classes and regional background. But the detailing of the clothes changed. Russian archaeologist Klocko has stated that decorative bands of ancient costume appear to depend on the construction of ancient clothing. I have analyzed the upperjacket of Scythians with the decorative bands based on the research of Klocko. From this analysis could be observed that decorative bands of upperjacket had also been varied depending on their region and their social status. The decoration of the revers of upperjacket differs according to social status. According to their width, trousers were classified in types; in narrow and wide. The basic set up of the narrow-type is as follows: the trouser is divided into voluminous straight forms and leggings in close contact with the legs. The width of a trouser differs according to the social status of Scythians and from the region where they lived. Regional differences could be observed more significantly, than differences resulting from social status.

• Proceedings of the Korean Society for Bio-Environment Control Conference
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• 2001.04b
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• pp.45-50
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• 2001

Stem firmness and flowering response of cut lily as influenced by medium composition (Control: Upland soil, Pt: Peatmoss, Pe: Perlite, Ve: Vermiculite, Rrh: Rotted rice-hull, RPt: Russian Peatmoss) were studied. For 'Casa Blanca', plant height and length of flower stalk increased when bulbs were planted in Pt:Rrh:Ve(1:1:1, v/v), and dried leaves of lower part plants decreased by RPt:Pe:Rrh(1:1:1, v/v). In case of 'Marco Polo' plant height and length of flower stalk increased with Pt:Rrh(1:1, v/v) as compared to other treatment, number of leaves and dried leaves increased when bulbs were planted in RPt:Pe:Rrh(1:1:1, v/v) as compared to control. Flowering of 'Casa Blanca' was promoted in Pt:Pe:Ve(1:1:1, v/v) and 'Marco Polo' was accelerated in Pt:Rrh:Ve(1:1:1, v/v). Flower length of 'Casa Blanca' was increased by RPt:Pe:Rrh(1 :1 :1, v/v) as compared with control and 'Marco Polo' was increased when bulbs planted to Pt:Rrh(1 :1, v/v). Flower-bud blasting of two cultivars was increased with Pt as compared with other treatment. Stem firmness of 'Casa Blanca' was increased by Pt:Pe:Ve (1:1 :1, v/v), and especially, stem firmness of upper part plants was increased by Pt:Rrh(1 :1, v/v) in 'Marco Polo' as compared to control plants. but generally, stem firmness of 'Casa Blanca' was not influenced with all cultural media as compared to control.

• Cross-Cultural Studies
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• v.50
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• pp.283-311
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• 2018

The Russian poet A. C. Pushkin left more than a hundred self-portraits in his lifetime. These self-portraits are the subject of a special research project. Pushkin liked to sketch himself disguised in various shapes in his manuscripts. Besides Pushkin, many authors have portrayed themselves, but in terms of their quantity and fame, it is difficult to find self-portraits that transcended those which are as detailed and revealing as that of Pushkin's. Focusing on this point, this paper first examines the position of the poet's self-portraits in the context of the tradition of the self-portrait, as a painting genre full of romanticism as manifested and revealed in the 19th century. Subsequently, this article explains the meaning of the Pushkin's typical self-portraits in profile, which were mostly drawn in his manuscripts. Finally, in order to explore the philosophical implications contained in this poet's self-portraits, this paper attempts to read poet's self-portrait in comparison with Rembrandt's self-portrait, and Montaigne's Essais as well for a comprehensive comparison of the three entities.

• International Journal of Computer Science & Network Security
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• v.22 no.11
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• pp.11-18
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• 2022

Linking Ukraine's education system with the trends of global digitalization is mandatory to ensure the sustainable, long-term development of the country, as well as to increase the sustainability of the education system and the economy as a whole during the crisis period. Now the main problems of the education system in Ukraine are manifested in a complex context caused by Russian armed aggression. In the context of war, problems include differences in adaptation to online learning among educational institutions, limited access to education for vulnerable groups in the zone of active hostilities, the lack of digital educational resources suitable for online learning, and the lack of basic digital skills and competencies among students and teachers necessary to properly conduct online classes. Some of the problems of online learning were solved in the pandemic, but in the context of war Ukrainian society needs a new vision of education and continuous efforts of all social structures in the public and private environment. In the context of war, concerted action is needed to keep education on track and restore it in active zones, adapting to the needs of a dynamic society and an increasingly digitized economy. Among the urgent needs of the education system are a change in the teaching-learning paradigm, which is based on content presentation, memorization, and reproduction, and the adoption of a new, hybrid educational model that will encourage the development of necessary skills and abilities for students and learners in a digitized society and enable citizens close to war zones to learn.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.131-138
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• 2019

In general, film acting refers to American method or Hollywood method. Hollywood method is a term to denominate collectively actors from Group Theatre of Lee Strasberg which accepted Russian Stanislavski's system as American acting. We can find out the origins of Korean acting in the attitude of actors who imitate Hollywood. Hollywood method, which seem to be more systematic and rational in the previous Sin-pa, has begun to be accepted in the fields of actors, directors, critics, and educators. The perception of Hollywood method in Korea is part of the search for the identity of Korean film acting. This article approaches from the perspective of four fields. First, it is Korean actors' perceptions about Hollywood methods. Second, I examine the attitude of the direction of staff and technical aesthetics regarding Hollywood method. Third, it is evaluation aspect in criticism area. Fourth, it is an aspect of education.

• ALGAE
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• v.38 no.2
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• pp.93-110
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• 2023

Progress in phylogenomic analysis has led to a considerable re-evaluation of former cyanobacterial system, with many new taxa being established at different nomenclatural levels. The family Geminocystaceae is among cyanobacterial taxa recently described on the basis of polyphasic approach. Within this family, there are six genera: Geminocystis, Cyanobacterium, Geminobacterium, Annamia, Picocyanobacterium, and Microcrocis. The genus Geminocystis previously encompassed two species: G. herdmanii and G. papuanica. Herein, a new species G. urbisnovae was proposed under the provision of the International Code of Nomenclature for algae, fungi, and plants (ICN). Polyphasic analysis was performed for five strains from the CALU culture collection (St. Petersburg State University, Russian Federation), and they were assigned to the genus Geminocystis in accordance with high 16S rRNA gene similarity to existing species, as well as because of proximity to these species on the phylogenetic trees reconstructed with RaxML and Bayes methods. Plausibility of their assignment to a separate species of the genus Geminocystis was substantiated with smaller cell size; stenohaline freshwater ecotype; capability to complementary chromatic adaptation of second type (CA2); distinct 16S rRNA gene clustering; sequences and folding of D1-D1' and B box domains of the 16S-23S internal transcribed spacer region. The second objective pursued by this communication was to provide a survey of the family Geminocystaceae. The overall assessment was that, despite attention of many researchers, this cyanobacterial family has been understudied and, especially in the case of the crucially important genus Cyanobacterium, taxonomically problematic.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.