• Cross-Cultural Studies
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• v.43
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• pp.51-77
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• 2016

In February, 2012, three members of the Russian Feminist Rock group 'Pussy Riot' were accused of staging a 'Punk Prayer' in the Cathedral of Christ the Savior in Moscow and were imprisoned for two years. This case, which sparked widespread enthusiastic support from those in the West, was viewed in Russia in quite a different way. The Pussy Riot affair very effectively shows the historic base of contemporary Russian gender discourse and gives an explanation as to why Putin's very conservative and masculine-centered nationalistic agenda works in Russian society with such great success. In this article, we introduce the Pussy Riot case and compare the reactions to the case published in the Russian and Western press; we then examine the historic causes of the masculine-centered nationalistic agenda of Putin's government.

• Cross-Cultural Studies
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• v.46
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• pp.281-296
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• 2017

Andrei Amalrik's plays are a unique phenomenon in the 70 years' history of Soviet drama. Half a century after the Soviet theater had intentionally forgotten its own achievements of avant-garde dramaturgy in the early 20th century, his bizarre plays suddenly emerged in the Soviet theater environment, completely separated from contemporary Western practices of the experimental theater. Surprisingly even now, Amalrik's plays have almost been forgotten not only in Russia but also by foreign Russian literary scholars. Amalrik's autobiographical essay is his only book published in Russia after the collapse of the Soviet regime. There is no collection of his works, and reevaluation of his work is not found even in Russia. However, Amalrik is a writer who should get a proper evaluation. The purpose behind studying his plays is to restore the tradition of Russian grotesque-absurd dramaturgy, which has been inherited from Gogol, Khlevnikov, Mayakovsky, and Oberiu. In this paper, we will analyze the mechanism of composition in Amalrik's plays.

• Cross-Cultural Studies
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• v.44
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• pp.87-121
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• 2016

Daehoon Ham's novel 'Cheongchunbo' features a studier as the main character who majored in Russian literature and admired the culture of the Soviet Union. From his viewpoint, the novel reproduces North Korean society before and after its independence from Japan. In this regard, it shows multilayered presence related to Russian culture and Soviet Russia. Such an aspect is based on the sense of sympathy that the main character has. The sense of sympathy is originated from the main character's admiration for the exoticism of Soviet culture which was forbidden during the late Japanese occupation. After Korea's independence from Japan, Russian was replaced by English. Such change also occurred in the main character's viewpoint. He underwent a change in his integrative viewpoint on Russian and Soviet under the name of Red Army. After defecting to South Korea, he began to put Russia down as a den possessed by the devil called 'communism.' In the meantime, Russia and Soviet have been separated from each other in ideological terms. The novel 'Cheongchunbo' stresses that the decisive cause of such changes is argued over trusteeship. The main character, fascinated by the presence of exotic Soviet, predicates that Soviet is a political symbol around the national division caused by the trusteeship. His change alluded to the life path of Korean authors who translated Russian literature after independence. During the Japanese occupation, Russian literature translated into Korea was a longing for forbiddance and admiration for Russia. However, the Russia presented in Daehoon Ham's novel before and after independence implies that the romantic translation has ended.

• Journal of International Area Studies (JIAS)
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• v.12 no.4
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• pp.23-65
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• 2009

This study originates from the examination of both Soviet Russia's and contemporary Russia's tabula rasa that numerous comprehensive national exertions have been trying to overcome, relying on the creation of numerous national emblems, political symbols, and even folkloric materials. With this mind, this work substantiates how the political and cultural symbols have been created in the contemporary socio-political and socio-cultural discourse in Russia. As with the political symbols that most recently been studied by Lee Trepanier, it must be recognized that contemporary social movements and political discourses have failed to "articulate a concrete political vision that reflects a consensus among elites, nor have any gained popular support" as the author confessed already. Concomitant to this general consensus, as Roy Medvedev has put it, we can contend that "today's leaders in Russia have no new ideology, and the mass of the people have no strong new national idea."

• The Journal of the Korea Contents Association
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• v.10 no.8
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• pp.147-158
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• 2010

The Soviet Silent Films in the 1920s, produced a brilliant prosperity in the history of world films in the cultural and artistic aspects. Among them, Dziga Vertov was a film theorists and a practitioner along with Sergei M. Einstein played a pivotal role in the contemporary soviet films at the time. But the film theories of Vetro is incorrectly recognized or specialized compared to the theories of Eisenstein. But Deleuze has stated that the short in the movie of Vertov is able to deliver a meaning and an impact and he has emphasized that a short can be significant by itself by focusing on the 'truth' which a documentary must have. His film theories are based on futurism and constructivism and use the 'kino-eye' method and 'Interval' theory to summarize and organize his movies into 'movie-truth' principal and 'life as itself' concept. Deleuze the purpose of this research is to analyze with the Vertov core of film theory and every theory of kino eye as the foundation and by comparing the Montage Theory of Sergei Eisenstein and applying Deleuze's Image Theory. Furthermore, it can be insufficient to discuss the film commercial achievements of Vertov as a result of inadequacy of previous research but it will further study his innovative methods and depth of his theories in his representation form in the documentary films.

• 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.

• Cross-Cultural Studies
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• v.22
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• pp.7-27
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• 2011

This article is devoted to little-studied play of M.A. Bulgakov "Adam and Eve". By the end of 1920's - the beginning of 1930's soviet society is differentiated again, its construction is rebuilded. In the new condition drama is needed as much as possible. Drama on the stage is ideal model for instruction of "Mass". Thereupon soviet society asked "New Hero", "New play", which can rebuild soviet citizen in the new construction of government. Thereby the play of M.A. Bulgakov "Adam and Eve" is created by order of soviet society. In this play typical soviet people are represented: Adam Krasovsky(engineer), Daragan(pilot-terminator), Ponchik-Nepobeda(writer), Zahar Markizov(proletarian-baker). They are different from each other by their occupation and formation, but they have same consciousness and they think identically. Bulgakov makes stand such problems: impersonality and unfreedom of human being in the government of communism. Bulgakov, using Parody, doubt the possibility of realization of utopia of Soviet government. Bulgakov show to us that Adam Krasocsky is not real Adam-first human being. In the play we can see the real Adam is the scientist-intelligent Efrosimov. Bulgakov change the place of Ponchik with the place of Markizov. The idiot and the fool is recognized not Markisov-drinker, tyrant, but Ponchik-writer. After the disaster Markisov, reading a Bible, is changing and by the end of play he started writing his own novel. Indeed if Ponchik wrote hoked-up novel, Markisov writes a real own history. Request of Leningrad Theater for Bulgakov to write about the future war comes from the spirit of the time. But Bulgakov in this play "Adam and Eve" could insist that the "Life" is a supreme value.

• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.108-127
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• 2006

The purpose of this study is to examine the principles of clothing design and the way of design approach in Lamanova. She caused a revolution in the art of dress and created the foundation for costume design theory. She Addressed Art in everyday life to self-taught dressmakers. The distinguishing feature of the design is simplicity and functionality. In an article "The Russian Style", Lamanova raised the question of the new Soviet costume and traditional costume. In "On Contemporary Costume" she classified the new forms of clothes into everyday and holiday attire, showed the principles of costume, and analyzed in detail the necessity of constructing a costume to suit the individual figure. In "On the Rationality of Costume", she found a basis theory for clothing design which is for whom, from what, and for what purpose. Lamanova's theory was made public in full in 1928 and was presented at the exhibition of Handmade Textiles and Embroidery in Women's Contemporary Costume. The main contents are the costume's purpose, it's material, the figure of its wearer, and its form. She argued that the new costume could be in line with the new life and her theory could be the creed of clothing designers. The principles of Lamanova's theory can still be applied today, not only in Russian traditional and contemporary costume, but in contemporary world fashion.

• International Area Studies Review
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• v.13 no.2
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• pp.789-812
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• 2009

This paper aims to analyse the historical-cultural sources of Azerbaijani national identity through the aspects of the Persian, the Turkish and the Russian influences, and to illuminate its complex characteristics. Then it will be examined the impact and consequences that the Azerbaijani identity exerted on its foreign policy. In the modern world, identities are formed and represented within a variety of shifting social, political, economic, cultural, and discursive contexts. Such understandings can have exclusionary consequences, particularly in pluralistic environments. Since its independence, the PFA government resorted to the arguments of ethnic origin and Azerbaijan's Turkishness to achieve its goals. Domestically, the failure of the ethnicity-based foreign policy was so great that even Azerbaijani Kurds, who under the Soviets had been virtually absorbed into the Azeri population, felt alienated and betrayed. Internationally, Azerbaijan turned Russia and Iran against itself and reduced bargaining power of Turkey since the latter grew increasingly concerned not to exacerbate its relations with Russia.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.204-219
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• 2015

International society, including the United Nations, has recently been making efforts to further promote a rapprochement of cultures in relation to alleviating military and political conflicts and other social clashes. In line with these efforts at the international level, there has been a growing interest on Central Asia and, in particular, on the Silk Road, which functioned as a trade route among ancient civilizations in the region and is also seen as a route that promoted cultural dialogue and exchanges. Given the amount of cross cultural dialogue and exchange, it is no surprise that intangible cultural heritage has historically been abundant and easily found in the region. However, this heritage was placed in considerable risk because heritage transmission critically weakened for seventy years under Soviet rule. Fortunately, since independence, there has been increasing interest in restoring community identity and reviving intangible heritage. Nevertheless, in spite of this interest, a lack of policies and cultural support in each country has made heritage safeguarding difficult. In this paper, I analyze the various phenomena that took place after the concept and international trends on ICH were introduced and speak about the experiences and outcomes obtained from collaborative network projects by ICHCAP and the Central Asian countries over the last six year. In addition, I would like take this opportunity to discuss how we can understand and develop collaboration in the intangible heritage field in Central Asia in a long-term perspective.