• Russian Language and Literature
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• no.63
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• pp.317-343
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• 2018

Целью данной работы является рассматрение состояния и достижений оперного обмена между Республикой Кореей и Россией, продолжавшегося на протяжении прошедших 30 лет. В 1990 году "Московская декларация" оказала огромное влияние на вступление отношений между Республикой Кореей и СССР на нормальный курс, а также стала переломным моментом в укреплении культурного обмена между двумя странами. С тех пор Республика Корея и Россия на основе политического, экономического сотрудничества, неустанно развивали культурный обмен, а театральное искусство, ориентированное на оперу, было наиболее активно действующей областью. В результате наша опера продемонстрировала стремительное развитие. Ранее ограниченный оперный репертуар стал более разнообразным, произошло увеличение количества создаваемых опер и улучшение их качества. Судя по подобным результатам обмена, создание открытой системы сотрудничества между странами считается необходимым условием для нашей оперы, являющейся относительно позжней по сравнению с другими странами. Следовательно в данном исследовании в первую очередь будет рассматрен процесс проникновения в Корею российской оперы, стимулирующей постоянное развитие корейской оперы, а также в заключении на обуждение будут выненесы задачи, наобходимые для расширения и будущего развития оперного обмена между двумя странами.

• Cross-Cultural Studies
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• v.44
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• pp.239-281
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• 2016

This article explores the fate of futurism not only by tracing the entire process from the birth and decline of Russian futurism in the early 20th century and the so-called "Korean futurism" in the early 21st century, but also by delving into how their characteristics were shaped. In the first chapter, we investigate four groups of Russian futurism - Ego-Futurism, Cubo-Futurism, Tsentrifuga, and the Mezzanine of poetry, which were born in the age of utopianism before the Revolution. In the opera Victory Over the Sun, which was the culmination of the Zaum project of Cubo-futurists, we can find the initial shortcomings at the levels of language (Kruchenykh), music (Matyushin) and decoration and costume design (Malevich). In the second chapter, we examine chronologically how the term 'futurism' appeared in Korean literature history. In Korea, the term 'futurism' was born following the naming and classification of critic Kwon Heok-Woong, not by the voluntary manifestation of experimental poets such as Hwang Byong-Seung, thus this specific situation provoked stormy polemics between critics for futurism and critics against futurism in the Korean literary world. These polemics on futurist poetics have led to considerations of the relation of criticism to poetry.

• Russian Language and Literature
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• no.67
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• pp.197-217
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• 2019

Mikhail Glinka, who had a profound influence on Russian nationalist music, created two forms of Russian classical opera. The first form is the first work of Glinka as a history-hero opera, the first opera of the Americas, "Ivan Susanin". The mythology-fairytale opera form, which Glinka's opera "Ruslan and Ludmila" left the first footsteps, is the second form of Russian classical opera. Dargomyzhsky's(Alexander Sergeyevich) opera "Rusalka" is not only a work linking the above-mentioned fairy-opera forms, but also a "life style psychology opera" which was first attempted in Russian music history. Dargomyzhsky's opera "Rusalka" is based on the Luisalka, the spirit of water delivered from the Slavic mythology, and the poems of Pushkin created on the basis of it. However, the script of this opera is written directly, and Dargomyzhsky's opera "Rusalka" is shaped in opera in deformed shape without replicating the spirit of mythical water perfectly. In Slavic mythology, the common denominator of the form of the subordinate"Rusalka" refers to the dead soul of a woman found in forests, near lakes or rivers, and has suffered from unfortunate events by alive life power, absurd society or bad men Or an innocent woman who has been betrayed by love, can not go to hell after the suicide and tempt men to death. However, the shape of "Rusalka" appearing in Dargomyzhsky opera "Rusalka" is different from that of Rusalka in the Slavic mythology (there are similarities and differences). These specificities are listed below: First, the different and the Dargomyzhsky's opera "Rusalka" i reveals all the mysteries, universality and folkness which are in the story of the Rusalka 's spirit in myth. Second, "Rusalka" in the East Slavic mythology is the existence of both good and evil forms. In the Dargomisshu opera opera "Rusalka", Rusalka is an evil spirit, a vengeful incarnation who takes a prince into the water and kills him with the evil water spirit. Third, "Rusalka" in Slavic mythology is a young virgin who has fallen into the water because of her tragic love. However, Natasha, a female actor of Dargomyzhsky's opera "Rusalka", is a person who drowns while pregnant. Fourth, "Rusalka" in the East Slavic mythology is 'an ominous being who dances.' The "Rusalka" come out of the water and wait for the night on cannabis or birch branches, and when the moon comes up, many people gather together to dance. Fifth, "Rusalka" in the East Slavic mythology tempts men to death without help of the person who had a family relationship before becoming a spirit. When I compare this with the contents of the East Slavic mythology, it is transformed from the myth to the help of Rusalka from the Birch, and from the opera to the father of Natasha. Fifth, "Rusalka" in the East Slavic mythology is a virgin, but in Dargomyzhsky's opera"Rusalka", Rusalka is an evil spirits of revenge with a daughter.

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.