• Cross-Cultural Studies
• /
• v.38
• /
• pp.215-243
• /
• 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
• /
• v.37
• /
• pp.109-130
• /
• 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.

• Cross-Cultural Studies
• /
• v.29
• /
• pp.201-232
• /
• 2012

In the world history in the rein of totalitarianism cultural project of government had been activated, and consequently of it official culture had been organized. But at the same time on the other side of it people('narod'), who didn't have cultural means for active expression of own opinion on the reality, had expressed world-view and judgement informally in everyday language. In the literature of autocracy, subjected to censorship, had been expressed and fixed mythically idealized image of sovereign and his works. But in the folklore the image of ruler had been created by liberal fantasy of people. This article examined russian literature and folklore texts of 18 century, when russian people suffered from rapid and dramatic changes, caused by Peter I. Although russian literature of 18 century had gone over to the new literary regime, it still accepted political mechanism as dominant of age, and consequently in the literary texts of this century Peter I was represented as ideal person and great monarch. But various images in folklore texts show that people's opinion on ruler and his activities couldn't be controlled. In other worlds, diverse images of Peter I in folklore texts reflect clear and plain historical consciousness of people. This analysis reveals not only difference between mechanism of idealization of government and historical consciousness of people, but also meaning of cultural memory as indicator of historical reality.

• The Korean Journal of Malacology
• /
• v.13 no.2
• /
• pp.97-108
• /
• 1997

A review of literature and original data on content and distribution of gastropods, inhabition fresh bodies of water in the Southern Russian Far East is presented. The annotated list includes 98 species in 19 genera and 10 fimilies of Gastuopoda.

• Cross-Cultural Studies
• /
• v.33
• /
• pp.287-307
• /
• 2013

One cat caused a big wave in Russian literature. This cat revived the heroine of Russian classics. Her light breath was scattered in the world, in the cloudy sky and in the cold spring wind about one hundred years ago. And the cat gave an opportunity of turning to Russian classics to Russian readers. Thanks to this cat, a Russian dreamer changed his typical thinking, as well as many ordinary readers start to read works of creator of this wonderful cat. Pelevin accomplished these works with one cat, which he has made. Of course "Nika" is not only caused to make readers to return to Russian classics. I think, the cat and "Nika" are the symbols of writer's purpose in Russian literature. In this study the understanding of "Nika" is following the steps of realization of writer's purpose. In the second chapter it is analyzed to the textual relationship between "Nika" and "Light breath". Apart from existing analyses to be emphasized the succession of thematic aspect of two works as well. Existence of observers to each heroine stress this succession of thematic aspect of two works. In the third chapter it is analyzed the use of technique of mystification in "Nika". This intentional use of mystification has been demanded to read a "Nika" from another point of view(internal speculation of hero-narrator). The purpose of writer was to expose the cognitive error of a human being. I think this purpose was effectively explained by Pelevin's Buddhist world view which was introduced in his several works.

• Speech Sciences
• /
• v.13 no.3
• /
• pp.19-33
• /
• 2006

This study explores whether Russian, known to have a process of syllable-final devoicing, reveals differences in vowel duration as a function of the underlying voicing of the coda stop. This paper also examines whether non-native speakers of Russian and English learn typical L2 values in vowel duration. The results indicate that vowels in Russian have a slightly longer mean duration before a voiced stop than before a voiceless stop (a mean difference of 9.52 ms), but in most cases the differences did not exhibit statistical significance. In English the mean difference was 60.05 ms, and the differences were in most cases statistically significant. All native Russian speakers of English produced larger absolute differences in vowel duration for English than for Russian, and all native English speakers of Russian produced smaller absolute differences for Russian than for English. More experienced learners seemed to achieve more native-like values of vowel duration than less experienced learners did, suggesting that learning occurs gradually as the learners gain more experience with the L2.

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

• The Research Journal of the Costume Culture
• /
• v.32 no.3
• /
• pp.398-418
• /
• 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.

• Cross-Cultural Studies
• /
• v.29
• /
• pp.257-285
• /
• 2012

The theme of Caucasus in Russian literature stemmed from A. Pushkin's The Prisoner of the Caucasus (1820) became expended when it reached to writer Bestuzhev-Marlinsky. The writer's magnum opus, Allamat-Bek (1832), was based on a real historical event. Being proponent to the side of Russian ideology, this work strongly presents that the primary task the Russian Imperialist government paused in this region at the time was civilization of the Caucasus through diplomatic and humanistic ways. There are three main protagonists in this work, but Berkhovsky and Sultan Akhmet-Khan are the characters who stand for the contradictory views toward the "war between Russia- Caucasus." While the former, Berkhovsky, thinks that the conflict between the two parties might be solved by means of communication and cooperation, the latter, on the other hand, is opposed to any of peaceful completion of this war. Allamat-Bek, the main hero of this work, however, passes away, going back and forth between loyalty and renegation. The author goes on to describe that Berkhovsky considers the Caucasus as Eden, the land of fruits, unlike Russia which appears as the land of labor. Yet, for Berkhovsky the Caucasus is presented as the land which needs enlightenment. This is the transformation of the so-called typical Western Orientalism. Bestuzhev-Marlinsky does not take side of either evil or good between the Russian Orthodoxy and the Islam, that is the conflict between the two opponent parties. The writer, instead, argues that this is just difference between the familiar and the strange, that is, the svoi and the chuzhoi. What is the very picture the writer wants to show the reader, then, is that it is petty and sad to see the unavoidable violent progress which happened and experienced by the indigenous people during the civilization of the Caucasus by the Russian Imperialist government.

• Journal of the Korean association of regional geographers
• /
• v.14 no.2
• /
• pp.141-158
• /
• 2008

The goal of this paper is to analyze Korean migration to the Russian Far East(RFE) from the perspective of transnationalism. The analysis suggests that the Korean migrants could have constructed their transnational identities using the following practices: religious ritual, language uses, collective remittances, ethnic businesses, immigrant newspapers, and immigrant associations. In particular, the Korean migrants could have retained transnational interconnection between the places of origin and destination even without the process of globalization, which is regarded as an inevitable incentive to transnationalism in the literature. The Korean case indicates that the contextual changes in the sending and receiving countries, for instance, the establishment of a Japanese protectorate over Korea and the Russian Revolution, significantly facilitated the formation of transnational relationships among the Korean immigrants.