• 러시아어문학연구논집
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• 제61호
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• pp.169-196
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• 2018

После «Кровавого воскресенья» 1905 года в русском обществе возникла новая масса, умеющая элементарно писать и читать. В отличии от интеллигентов и разночинцев 19-ого века она появилась на фоне индустриализации. Она состоит из рабочего класса и школьников в общественных учреждениях. Их увлекал небывалый импортный из Америки детектив, который критики и литераторы презрительно называли Пинкертоновщиной. Она первая массовая литература для новой русской массы. Определенная халтурой критиками дешевая уличная литература отличалась от лубочной литературы бывших лет в своей роли и функции в обществе и литературной жизни. Больше всего эта массовая литература является первым продуктом культуриндустрии Российской империи и важна для понимания русского общества и культуры того времени. В данной статье с точки зрения теории культуриндустрии анализируются феномены «пинкертоновщины».

• 러시아어문학연구논집
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• 제65호
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• pp.151-174
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• 2019

This paper examines the development process, status and characteristics of the growing Russian character industry And the future challenges of the Russian character industry. The Russian character industry, which has the 13th largest character market in the world, is expected to make a breakthrough in the next three years (2019-2021) with the following positive environment: 1. Reorganization as the center of online consumption 2. Changes in the tendency of Russian consumers who actively consume educational contents 3. System improvement and active policy of the Russian government 4. Improvement of cultural needs of Russian people. Characters have a strong influence on other cultural contents, such as drama, movie game animation, dramas and musicals, and are vigorously remodeled. In other words, characters are a source of diverse entertainment and gaming industries. And it is easy to find common points of contact with individual cultural contents, so that it can be extended to cartoon, drama, movie, advertisement, etc., and thus various modified contents can be supplied. So in the advertising and copyright business, characters are the most basic necessities of the multi-media, multi-channel and OSMU (One Source Multi-Use) era. The 'character industry', a high-value-added industry that maximizes the benefits of creating such characters, is a very important cultural product. At present, the Russian character industry is in the process of establishing environmental factors that enable stable and sustainable growth compared with the past. It is very likely that Russia's role and position in the world character market will expand if the following five improvements are effective and productive. (1. Creation of characters that all generations can sympathize, 2. Creation and expansion of digital characters, 3. Activation of public character creation, 4. Activation of overseas markets, 5. Government active support) In this case, the Russian character industry will lead the world character market.

• 복식문화연구
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• 제18권3호
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• pp.550-558
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• 2010

Russian Constructivism, which took the lead in the Russian trend of art until the late 1920's, was influenced by European Cubism and Futurism. Breaking away from the previous realistic tendency, Russian Constructivism, to meet the ideology of the revolution, insisted the "Art into Street" and the "Art in Industry" with its abstract and geometric design. Russian Constructivism effected paintings of mid 1920's, as well as Industrial design and costume design. This operated remarkable changes in Russian form of costume and textile area. An unusual situation like revolution had provided the social justification to develop a new costume design not for the special class of people, but for the general public. In this atmosphere, the plan of clothing mass production began to progress. Although the Russian Constructivism costume of arts shows the similarity in the trend of fashion and the physical forms of those days, its fundamental idea in manufacturing costumes was 'to create costumes to be possible to mass-produce and to be wearable to anyone regardless of the social class'. Therefore, Constructivism costume of arts pursued dynamism and geometric form through non-objective design that has broken away from the handcrafted and traditional standards of the past. These distinct characteristics served as a momentum to seek costume design based on productivity and functionality.

• 한국의류산업학회지
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• 제21권3호
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• pp.253-266
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• 2019

Street fashion style expressing youth culture has become mainstream in the fashion field. Russian fashion designers who experienced the post-Soviet era in their youth have gained attention for the freshness of a youth inspiration. This study selected two representative young Russian fashion designers, Gosha Rubchinskiy and Tigran Avetisyan and analyzed their fashion works concerning characteristics of youth culture. Literature studies and case studies were conducted as research methods. The subject of the case studies were Gosha Rubchinskiy's fashion works from 2015 S/ S to 2018 F/W and Tigran Avetisyan's fashion works from the 2012 CSM Fashion Show to 2018 F/W. The results of the analysis are as follows. First, their fashion works express 'resistance' against the older generation and society. Second, we can also see the 'conformity' of the use to make a strong cohesion. Third, the fashion works symbolized an 'expression of individuality' of the youth. Fourth, the fashion works express an 'importance of practicality' related to the values of the young who prefer to high cost-effectiveness goods. Last, there is a 'remixed culture' in the Russian designer's works where a previously mixed culture mixes with others in creating a completely new one. This study analyzed the characteristics of a contemporary youth culture that influenced the world fashion market and contributed to understanding that the young generation is active in all aspects of society.

• 복식문화연구
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• 제19권1호
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• pp.128-149
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• 2011

This study dealing with the Italian futurist and Russian constructivist costume designs which aimed for new fashion design freed from the conventional meanings of fashion and explore the artistic purpose reflected within the designs expressed differently according to cultural and regional differences in order examine the early 20th century Avant-grade costume designs. The scope of this study is limited to the 1910s to the 1930s when the Italian futurism and the Russian constructivism were originated and were most active. This monograph focused on the works of the Italian futurists, Giacomo Balla who declared the 'Manifesto delle moda minile futurista', Fortunato Depero, and Thayaht who suggested a new direction for the futurist, and on the works of the Russian constructivists Alexander Rodchenko, Varvara Stepanova and Liubov Popova. As an one method of investigated, this paper is used materials of various sources to examine their features. Futurists costume designs expressed a radical conception of progress and their source of aesthetics was dynamism. The concept of 'power' which was the basis of the futurists was incorporated in the costumes while non-symmetrical cut-outs and bright and vivid colors completed the futurist costume designs. Moreover the Russian constructivists brought advances in the field of fabric and textile designs. What was particularly interesting about the Russian constructivist costumes was that the artists worked at the textile mills themselves, directly involved in the designs and manufacturing of fabric, developing an advancement in textile and a new understanding of costume. Furthermore, many Russian artists settled in Paris, actively participating in the fashion industry, and therefore, they have greatly contributed to the development of the early 20th century Avant-garde costume designs.

• 비교문화연구
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• 제50권
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• pp.395-424
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• 2018

이 논문은 최근 디지털 음원 분야에서 주목할 만한 성장을 이루고 있는 러시아 음악시장의 현재적 상황과 그 배경에 대해 살펴보는 것을 목적으로 한다. 현재 세계 10위권의 시장 규모를 가진 러시아 음악 산업은, 스트리밍 접속을 통한 디지털 음원 시장을 중심으로 빠르게 성장하는 세계 음악 산업의 최근 흐름을 따르고 있다. 러시아의 음악 산업에서 디지털 음원의 성장 배경으로는 다운로드 및 스트리밍 음원 서비스 증가, 인터넷 발전으로 인하여 모바일을 이용한 디지털 음원 접속 회수의 증가, 정부의 저작권법 개정 등이 주요 원인으로 거론된다. 특히 스트리밍 음원 매출은 2020년에 디지털 음원 전체 매출의 85%이상 점유율을 예상할 만큼 폭발적인 성장이 기대된다. 스마트폰의 보급, 이로 인한 러시아 국민들의 라이프 스타일 변화, 즉 별도의 오디오 기기나 디지털 플레이어가 없어도 누구나 쉽게 디지털 음원에 접근하고 음악을 들을 수 있는 '연결/접속'의 편리함과 4차 산업혁명의 '빅데이터' 해석을 통한 음원소비자의 성향 분석 등이 이러한 변화를 전위에서 이끌고 있다. 또한 러시아 정부의 '저작권법' 개정과 더불어 불법 복제 음원물의 유통 근절에 대한 강력한 정책이 효과를 발휘하고 있다는 것도 디지털 음원의 가파른 상승을 이끄는 중요한 요소로 꼽힌다. 음악은 문화적 자산 가운데 가장 중요한 요소이면서, 디지털 경제의 전반적인 성장을 견인하는 효자 콘텐츠이다. 현재 러시아 음악 산업은 과거와 비교했을 때 안정적으로 지속 가능한 성장을 도모할 수 있는 환경이 구축되고 있으며, 여기에 다음과 같은 다섯 가지 개선안(저작권 보호에 대한 러시아인들의 의식 강화, 디지털 음원 산업에 빅데이터 활용, 디지털 음원 유통자들의 독과점 개선, 적정한 음원 수익 분배율 제시, 러시아 음악 산업에 대한 투자 활성화)이 효과적이고 생산적으로 잘 작동되면 세계 음악시장에서 러시아의 역할과 입지가 확장될 가능성은 매우 크다. 이럴 경우 러시아 음악 산업은 디지털 음원 시대에 단순히 적응하는 단계를 지나 4차 산업혁명의 수혜업종인 '스트리밍'에 접속하여 음악을 소비하는 패턴이 시장의 중심이 되는 세계 음악 산업을 선도적으로 이끌어 갈 것이다.

• International Journal of Computer Science & Network Security
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• 제22권8호
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• pp.385-391
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• 2022

The relevance of the published study lies in the fact that since the introduction of the first Global Distribution System, new information and communication technologies have constantly been changing the tourism industry. In the context of a current digital environment, travel agencies can't avoid participating in digital transformation processes aimed at rethinking operational models, skills, and organisational structures in the regions. This publication aims to present and provide a critical overview of digitalisation processes in tourism development in the regions of the Russian Federation, as well as to reflect on the challenges to the widespread digitalisation processes in the regional tourism sector. The subject of research is digitalisation processes, as they radically transform the modern tourism industry, in the regions as well. The pragmatic research paradigm was considered the most appropriate for the study of tourism digitalisation processes in the regions, as it does not require the selection of a specific theoretical basis for data collection. The pragmatic approach forms an alternative to classical theoretical approaches and serves as a particular type of grounded theory, combining both inductive and deductive methods. No software was used for the inductive part of the analysis. The deductive part was conducted using the qualitative data analysis software Nvivo 11. Given the wide diversity of interested parties in the regional tourism digital area, a stratified purposive sampling method was preferred due to its ability to adequately represent the full picture of the phenomenon under study. The selection and stratum criteria were chosen to maximise the representation of different perspectives in the regional tourism digital area. The novelty of the study is due to the digitalisation processes, with an implication of new needs, while opening up promising opportunities for more productive tourism business in the regions of the Russian Federation. Currently, e-tourism in the Russian Federation has become a subject of lively debate among scholars and practitioners. However, the involvement of advanced digitalisation technologies in the field of information processes in the regions of the Russian Federation is of a very sporadic character.

• 러시아어문학연구논집
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• 제61호
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• pp.113-141
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• 2018

The Korean music industry, which has the world's 12th largest music market and the world's 10th largest music market, is following the development trend of the recent world music industry, The growth of digital music sources in the music industry in both countries is attributed to the increase of streaming sound source service, the increase of the number of connection of digital sound source using smartphone caused by the development of internet, and the launch of various complex programs using streaming. The spread of smartphones and the resulting changes in the lifestyle of the Russian people, the convenience of connection, which allows anyone to easily access music and listen to music without a separate audio device or digital player. And a complete analysis of the propensity of the sound consumer through analysis of "Big Data" are considered as important factors leading to the historical rise of the digital sound source. The music industry in Russia and Korea is currently in a stable condition to grow. The following five complementary points analyzed in the specificity of the music industry of the two countries (First, utilizing big data in the digital music industry, Second, diversification of streaming service, Third, develop new types of streaming services, Fourth, to form a global market through online streaming, Fifth, diversification of profit model through platform) will work well in Russia and Korea, and the share of both countries in the world music market is very likely to expand.

• 만화애니메이션 연구
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• 통권15호
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• pp.29-47
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• 2009

21세기 들어 애니메이션은 대중문화의 핵심 주자로서 그 발전 속도를 가속화하고 있다. 어린이들의 소일거리로 여겨졌던 애니메이션은 혁신적인 하이테크 미디어와의 결합을 통해 문화 산업 분야에서 그 위상을 더욱 공고히 다져가고 있다. 애니메이션은 전에 없던 사회적 관심 속에 성장하고 있으나 그 경제적, 오락적 가치에 비해 철학적 측면은 아직까지 합당한 주목을 받지 못하고 있다. 특히 개별 애니메이션 작품들이 사회 문화적 맥락과의 상호관계 속에서 어떻게 변화하고 또 어떻게 해석될 수 있는지를 고찰한 논문들은 많지 않은 실정이다. 이 논문은 1960-1980년대 초 러시아 애니메이션의 주요 작품들을 대상으로 과거 애니메이션과 다른 이 시대의 변화에 주목하고자 한다. 논문은 그 변화의 핵심을 애니메이션이 다루는 객관적 현실과 주관적 환상에서 살펴보고 이 주제들이 당대 사회, 문화적 상황과는 어떤 관계를 가지는지, 그리고 예술 체계 내에서 차지하는 애니메이션의 위상이 어떻게 달라졌는지 고찰하고자 한다.

• 복식문화연구
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• 제15권1호
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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.