• Title/Summary/Keyword: Russian culture

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The Splitting of MKhAT and Collapse of Soviet Theatre (므하트의 분리와 소비에트 연극의 해체)

  • Kim, Hye Ran
    • Cross-Cultural Studies
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    • v.21
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    • pp.53-86
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    • 2010
  • This paper is focused on splitting of the first Soviet theatre, MKhAT and collapse of Soviet theatre. A close attention has been paid to Art Theatres's circumstances leading to splitting, critical conscience about division between ideal and real theatres and other concrete situation before the verge of collapse. Administrative reform of the Soviet theatre at the period of Perestroika and Glasnost', its results and conflicts, occurred in the process of transition into market system. These are considered under the premise of that the problems of MKhAT were not so different to the other soviet theatres at that time. As it is known that Moscow Art Theatre is a symbol of Russian theatre. And the status of MKhAT as a symbol of Russian theatre had formulated not only the well-known Stanislavsky' system and his legendary performance The Seagull, Three Sisters etc. It was made by party's effort to make MKhAT as the first Soviet theatre and by directors, artists and critics, they had believed and tried to protect idea of MKhAT as the 'battlements' of Soviet theatrical art. One of them is O. Yefremov, a former leader and artistic director from 1970 to 2000. Actually from the periods of Sovremennik Yefremov knew that does not exist the ideal MKhAT, excepting myths, legends and administrative attitudes. Nonetheless he chose the duty of MKhAT's artistic director to construct ideal MKhAT, theatre as the best moral institution, theatre as union based on common belief. It is same motive that he had led split of MKhAT. But split of theatre did not bring the expected results. After spliting MKhAT has become almost collapsed under collapse of USSR and subsequent turmoil at 1990's. And as soviet theatre disappeared into history, Russian theatre became lost its special significance, the super-theatre's idea.

On the Library Administrative Systems and Legislations in Russia (러시아의 도서관 행정.법제에 관한 고찰)

  • Yoon Hee-Yoon
    • Journal of Korean Library and Information Science Society
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    • v.35 no.3
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    • pp.23-40
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    • 2004
  • The purpose of this paper is to overview the administrative system and legislation of Russia's libraries with priority given to public library. After the breakup of the Soviet Union in 1991, Russia began to set up a new political, legal, and economic system. Russia has about 51,000 public libraries. Most towns and large villages have a public library As a rule, public libraries are unified in centralized systems coincident in their location with administrative regions. The great majority of public libraries are part of a network subordinated to the Ministry of Culture of the Russian Federation. Library legislation is an important guarantee of the success of library service. Two definitive federal laws were enacted in 1994, Library Law and Legal Deposit Copy Law. In 2001, the Russian Library Association adopted the Model Standard for Public Library. It has a recommendatory character and it is addressed to both librarians and local authorities.

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The literature of Catherine II and the image of freemason in the late 18th century Russia: the case of anti-freemason trilogy from Catherine II (예카테리나 2세의 문학과 18세기 후반 러시아 프리메이슨의 형상: 예카테리나 2세의 '안티-프리메이슨 삼부작'을 중심으로)

  • Seo, Kwang jin
    • Cross-Cultural Studies
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    • v.37
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    • pp.131-156
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    • 2014
  • This article attempts to explore the literature of Catherine the second, focusing on her comedies in the light of anti-freemasonry in the late 18th-centuryof Russia. Her main idea towards social morals was consistently expressed from in her early comedies during 1770s, such as 'Oh! times!'(1772), to her late counterparts during 1880s, such as so called 'anti-freemason trilogy,' which includes 'the deceiver'(1785), 'the deceived one'(1785) and 'Siberian shaman'(1786). By depicting antagonists-freemasons in her own trilogy, only as alchemists, shamans, fallacious chemists, hypocritical medical doctors, and so on, Caterine the second intended to undermine the mason influence against Russian Empire, which had ideationally attracted Russian nobles and intellectuals and furthermore to reinforce her political control over the intellectuals as well as the public. The above literacy attempts by Catherine can be said to aim to found morals of her own era through the utilization of social discourse, rather than through the political or governmental control.

A Study on Leon Bakst's Stage Costumes for Ballets Russes (발레 뤼스에 나타난 박스트의 무대의상 연구)

  • Lee, Young-Suk
    • The Research Journal of the Costume Culture
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    • v.17 no.3
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    • pp.407-423
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    • 2009
  • The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

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A Study on the Cultivation of Forage Crops in Amur Oblast - An Alternative Measure of Preparations for Conclusion of the FTA - (아무르 주의 사료작물 재배에 대한 일고 - FTA 체결에 대한 대비책의 일환 -)

  • Kim, Jong-Heon
    • Journal of The Korean Society of Grassland and Forage Science
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    • v.27 no.1
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    • pp.67-76
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    • 2007
  • The conclusion of free Trade Agreement between South Korea and USA can become a serious threat to the Korean agriculture. On the strategic scheme the foodstuffs is the basis for protection of the state sovereignty. The Amur oblast of Russian Federation is region, which can supply South Korea cheap and good qualitative feeds. It means South Korea should create agricultural cooperation with the Amur oblast of Russian Federation with the purpose to begin organic agriculture in this area and it will help South Korea to counteract a quantitative attack on Korea from the side of american agricultural production. In the Amur oblast there are following fodder crops; Alfalfa, Smooth brome grass (gromus adonis L.), Siberian couch grass, Sudan pass, Colza rape (Brassica napus) and Amaranth (Avfranthus). In the same area also exist oatmeal, wheat, corn and barley, which is possible to use for feeds. All these above written cultures are cultivated organically, therefore it is possible to use them as organic forages in South Korea. It is very important to know system of crop rotation in the Amur oblast. There is a scheme of crop rotation, which is connected with increase and preservation of fertility of soil, maintenance of growth of productivity of agricultural cultures and reception of high-quality production. It is necessary to begin organic agriculture in a southern part of Amur oblast, where, in 2001 year, 97% of all sowing areas was concentrated. The acidity degree of soil in this part is not high ($ph5.1{\sim}5.5$), therefore does not require liming.

Artist's Clothing and Environment of Suprematism as Experimental Art (절대주의 실험 예술의 환경과 예술가 의상)

  • Lee, Keum-Hee
    • The Research Journal of the Costume Culture
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    • v.15 no.1 s.66
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    • pp.152-168
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    • 2007
  • The aim of this study is to shed light on essentials of Suprematist artists focusing on Malevich and their works in relation to modem design, and to examine their roles in the modem design industry compared to those of modem designers. The study obtains the following result on Suprematist artists and their works in Russian avant-garde in terms of modem design. Firstly, Suprematist artists had a great deal of interest in practical design although it seemed Suprematist were replaced by utilitarianism in avant-garde during the Russian revolution. Secondly, Suprematist artists were the first artists to bring the birth of modem design trends by applying their art in geometric forms to clothing and fabric design as well as ornaments and handicraft. Thirdly, the artists' attempt to work with needle workers made it possible to set achievements in design and modem decorative art exhibitions in various fields of art-life. As for the role of modem designers, Suprematist artists including Malevich have significant meanings as follows: Firstly, Malevich was a creative, future-oriented artistic designer who realized zaum of painting on the stage and created suprematistic mode in a cosmic point of view in order to agree with the environment. Secondly, Suprematist artists knew the importance of works that were produced by craftsmen and worked together with them. Therefore, the designers could maintain fabric decoration in difficult conditions knowing the importance of the high value-added industry. Thirdly, they were artists in real life who embodied the ideas and theories of Suprematist in sample works by recognizing the need of changes in life environment: they planned to set a new visual world in art but did not confine the idea only to painting.

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A Study on the dwellings of the Korean Diaspora of Uzbekistan (우즈베키스탄 거주 고려인의 주생호라에 관한 연구)

  • Lee YoungShim;Lee SangHae
    • Journal of the Korean Home Economics Association
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    • v.42 no.9
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    • pp.1-18
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    • 2004
  • Most of the Korean diaspora who lived in Yunhaeju moved to Central Asia in 1937 following the policy of deportation of Russia. Uzbekistan is the representative place for Korean diaspora to have settled down in Central Asia at that time and mort Korean diaspora in Central Asia are living in Uzbekistan now. Korean diaspora have maintained a traditional way of living for 140 years without a deep relationship with Korea. This study examined the dwellings of the Korean diaspora of Uzbekistan in Central Asia by visiting their houses and conducting interviews. Results of the research were as following: 1) The houses of the Korean diaspora in Uzbekistan in early times consisted of 2-3 bedrooms with Gudle. Gudle is the most traditional element of the Korean diaspora's house and it has been used as a place for gathering family members. 2) Korean diaspora's houses in Uzbekistan were built according to Russian and Uzbek style but most of the Korean diaspora's have a mixed style with traditional Korean elements of living.3) The changing process of planning and building codes of apartments in Uzbekistan is similar to that in other CIS nations and all of Russia. 4) Korean's food style is a mixture of Korean, Russian and Central Asian foods. Kimchi and Jang (bean paste) are essential for most Koreans and most Koreans are making these at home. 5) Most Koreans have maintained a good relationship with the Uzbek people and Koreans are very active in gelling along well with all. This enables them to exchange their culture eventually in various parts. This study could be the first step to supply basic information for the study of the Korean diaspora in Uzbekistan. Deeper research over a wider range is needed in Russia.

An Example of the Ukrainian Military's Asymmetric Combat Performance

  • Sang-Hyuk Park;Seung-Pil Namgung;Sung-Kwon Kim
    • International Journal of Advanced Culture Technology
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    • v.11 no.3
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    • pp.89-93
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    • 2023
  • This study is a case study of the Ukrainian military's asymmetric combat performance method. The composition of this study is as follows. First, it presented the background for the outbreak of war in the macroscopic framework of Russia-Ukraine. Second, the Ukraine-Russia war, which broke out in February 2022, presented the justification for the study, that is, the direction of the Ukrainian military's asymmetric combat performance in terms of microscopic aspects of the study, and detailed analysis of precision strikes using commercial drones and advanced sensors. Finally, we covered in-depth the case of Ukrainian troops who attempted to attack Russian tanks using semi-automatic laser homing technology. Therefore, the Korean military organization also suggested the justification for gradually introducing and utilizing the system for the Ukrainian military's asymmetric combat performance method, and related follow-up studies should be actively conducted following this study.

The Question of 'State and Art' with regard to Soviet Socialist Realism (소련 사회주의 리얼리즘에 관하여: '국민과 예술'의 문제)

  • Alexander, Morozov
    • The Journal of Art Theory & Practice
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    • no.7
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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.

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The Contemporary Researches of the Xiongnu Archaeology (고고학으로 본 흉노(匈奴)의 발생과 분포)

  • Kang, In-Uk
    • Korean Journal of Heritage: History & Science
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    • v.36
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    • pp.105-156
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    • 2003
  • Archaeological research on the Xiongnu began in the late 19th century by a Russian archaeologist Talko-Grinchevich. The Xiongnu culture has been reported in the northern steppe of China and eastern part of Eurasian steppe. Mainly, Xiongnu sites, dated from the late 2nd century B.C. to the 1st century A.D., are reported on the east side of Baikal Lake(Zabaikal), east Mongolia, and the Inner Mongolia of China. Based on the historical records and the archaeological remains, the North Xiongnu culture is defined to be the remains of Zabaikal, and the South Xiongnu culture the archaeological remains of Nothern China. The expelled North Xiongnu, while fleeing to the western part of Eurasia, left traces of their own archaeological remains in the Southern Kazakhstan, Xinjiang of China, Altai, and finally appeared in the Europe as Huns. The most characteristic archaeological materials of the Xiongnu are bronze plaques and ceramics made by handicraft, and highly developed iron weapons. After the power of the Xiongnu was dissolved in 1st c. A.D., previously subordinated peoples such as Xianbi, Wuhuan, Wusun rised in the Eurasia steppes and opened medieval age in Eurasia. The "northern type" materials found in Korea are dated to the period of Xiongnu or slightly later, we need to pay more attention to the contemporary Xiongnu. research.