• Russian Language and Literature
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• no.60
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• pp.135-160
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• 2018

This paper is focused on the sympathy in Dostoevsky's and Tolstoy's poetics. For Dostoevsky, sympathy is based on the social dimension, which is connected with his experience. Though the writer may have thought of the many prisoners he met in Siberian as his own and others, he saw in them the 'Marey' that he had met in his childhood, and the spirituality that lies within Marey is no different from his faith. In other words, Dostoevsky discovered that they also have faith in common and that it is the main code of understanding them and a link that can be one with them. It differs from the intellectuals of the time in which the writer lived, in order to approach the people, in the sense of reason, logic, or any justification. For Tolstoy, on the other hand, sympathy can be considered in terms of morality and practice. Tolstoy's sympathy extends from the individual to the social level, whereas Dostoevsky's sympathy moves from the social dimension to the individual dimension. Through his personal experience and enlightenment, he emphasizes sympathy in the process of practicing what he realizes in society. In other words, after sympathy, he tried to practice his sympathy and realization. It was not for the Russian people or the Slavs, but for the whole human race. In this sense, Tolstoy tried to overcome the partiality of empathy and tried to obtain universality of sympathy. In particular, Tolstoy emphasizes that patriotism is an example of bias in empathy and should be guarded.

• Asian Pacific Journal of Cancer Prevention
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• v.17 no.2
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• pp.873-876
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• 2016

Background: Studies of quality of life (QoL) of oncological patients is carried out using questionnaires approved in many international clinical studies. The European Organization for Research and Treatment of Cancer EORTC QLQ-C30 (Quality of Life Questionnary-Core 30) and its special brain cancer module EORTC QLQ-BN20 are widely used in the world neurooncologic practice. They are available in more than 80 official versions of 30 languages of the world. Previously we used the official versions in Russian, which often causes difficulty in understanding for native Kazakh language speakers, who comprise more than 60% of our respondents. This was the reason for creating a version of Kazakh language. Therefore, in 2014 for the first time the process of adaptation of questionnaires to the Kazakh language was initiated. Materials and Methods: The translation process of questionnaires to Kazakh language was held in accordance with the requirements of the European Organization for Research and Treatment of Cancer EORTC on QoL and consisted of the following stages: preparation - translation - pilot testing - approval. The official permission of authors and "Guideline on translation" was obtained which was developed by the working group of the EORTC on QoL. The pilot testing of EORTC QLQ-C30 and QLQ-BN20 questionnaires was conducted on the basis of the Department of Central Nervous System Pathology of the "National Centre for Neurosurgery" in patients with malignant tumors of the central nervous system. Results: The official versions of the EORTC QLQ-C30 and QLQ-BN20 questionnaires in Kazakh language were introduced and adapted in practical neurosurgical operations in Kazakhstan. Conclusions: The approved versions of the questionnaires in Kazakh language are now available for mainstream use on the official website EORTC.com. The versions of these questionnaires can be used in domestic cohort studies and clinical practice in the Republic of Kazakhstan. The use of these tools for assessing QoL will help professionals in the planning of individual treatment strategies and selection of the necessary therapy.

• 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.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.203-210
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• 2021

Yuri Vasilyev - actor, director and drama teacher. Russian meritorious artist, winner of the stage "Medal of Friendship" awarded by Russian President Vladimir Putin; academician of the Petrovsky Academy of Sciences and Arts in Russia, professor of the Russian National Academy of Performing Arts, and professor of the Bavarian Academy of Drama in Munich, Germany. The physiological sense stimulation method based on the improvement of voice, language and motor function of drama actors. On the basis of a systematic understanding of performing arts, Yuri Vasiliev created a unique training method of speech expression and skills. From the complicated art training, we find out the most critical skills for focused training, which we call basic skills training. Throughout the whole training process, Professor Yuri made a clear request for the actor's lines: "action! This is the basis of actors' creation. So action is the key! Action and voice are closely linked. Actor's voice is human voice, human life, human feeling, human experience and disaster. It is also the foundation of creation that actors acquire their own voice. What we are engaged in is pronunciation, breathing, tone and intonation, speed and rhythm, expressiveness, sincerity, stage voice and movement, gesture, all of which are used to train the voice of actors according to the standard of drama. In short, Professor Yuri's training course is not only the training of stage performance and skills, but also contains a rich view of drama and performance. I think, in addition to learning from the means and methods of training, it is more important for us to understand the starting point and training objectives of Professor Yuri's use of these exercises.

• (The)Korea Educational Review
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• v.23 no.1
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• pp.57-81
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• 2017

The purpose of this study is to summarise the educational meanings of Official Foreign Language Schools(hereafter, OFLS) in Korea, 1895-1906. Especially, I try to find out the foreign language policy of the Joseon Dynasty and the comparative superiority between six foreign language schools - Japanese School, English School, French School, Russian School, Chinese School, and German School - through the traits of teachers and the change of students numbers at the Regulation Period. As a part of Kabo Reforms, the government had abolished the of Civil Service Examination System and status system, and foreign languages worked as a cultural capital to acquire modern civilization and to escalate one's social status. The results were as follows: Firstly, the OFLS have to be regarded as one of the highest educational institute during the Regulation Period. The eligibility of the OFLS was over 15 years old, but most of the incoming students were over 20 years old. Secondly, many of the OFLS's teachers were specialists of military, diplomat and mechanics. Especially, Martel, the teacher of French school played an important role for the neutral diplomacy policy of the Great Korean(Dae-Han) Empire during the Regulation Period. Thirdly, the recruit of new members of the OFLS was affected by the political and social circumstances at that time. Fourthly, the statistics of incoming students during the Regulation Period was concentrated on Chinese school, French school, and English school in due order. Thus, it differed from the commonly accepted ideas of students' statistics which was concentrated on English School and Japanese School. Fifthly, the OFLS were not only for the training of official interpreters(譯官通事), but also the cultivation of civil servants who could become statesman.

• Journal of Digital Convergence
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• v.14 no.3
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• pp.165-170
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• 2016

The purpose of this study was to explore the differences in sentiment on social networking sites among six languages (English, German, Russian, Spanish, Turkish and Dutch). A total of 204 million tweets were collected using Streaming API. Subjective/objective ratio, sentiment strength, positive/negative ratio, number of retweets and boundary impermeability were analyzed with SentiStrength to estimate the trends of emotional expression via Twitter. The results showed that subjective/objective ratio and the positive/negative ratio of tweets were significantly different by languages (p<0.001). And, there were significant effects of language on sentiment strength, boundary impermeability and the number of retweets (p<0.001). The results also indicate that the cross-cultural, language differences should be taken into account in sentiment analysis on SNS.

• Acta Via Serica
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• v.3 no.2
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• pp.181-196
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• 2018

In Turkey, academic studies on Korea are mostly focused on the Korean war and Korean language and literature. Conversely, in Korea, it seems that academic studies are largely focused on old Turkic history and Turkish language and literature. Unfortunately, on both sides, there is not a satisfiying number of studies on the Turkic diaspora in Korea. However, it is a reality that there was a Turco-Tatar group that lived in Korea at the time of the Japanese occupation between the two world wars. This group became Turkish subjects after World War II and became a bridge between Korea and Turkey. After the Russian revolution, around 1919, some Turco-Tatar groups like the Bashkir and the Misher emigrated to East Asia like the Manchuria region of China and Korea. Beginning from the 1920s, some families moved to Japan, but a group of Turco-Tatar stayed in Korean cities like Seoul (Keijo), Pusan and Daegu. The Turco-Tatar groups of East Asia established schools and mosques in Seoul, Korea; Harbin, Manchuria; Kobe, Nagoya; and Tokyo in Japan. A Moslem printing house (Matbaa-i ${\dot{I}}slamiye$) was also established in Tokyo in the 1930s. Many books, a newspaper and a magazine were published by this printing house. The name of the magazine was Yanga Yapon Muhbiri(New Japanese Courier), and it survived between 1931 and 1938. In this magazine, there were many interesting news and data about Korea and the Turco-Tatars of Korea. In this short article, we will try to bring out the importance of this magazine by giving samples of the articles which were written on the Turco-Tatar diaspora in Korea.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.66-73
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• 2004

If we consider the origins of new architectural language in Russian, as opposed to its social dimensions, then we are looking at quite another area of pre-Revolutionary activity: art. It was Tatlin's early ‘counter-reliefs’ which first explored the way new materials might generate new artistic form. The Basis of his art is collage and the reality of materials. In 1915, he exhibited the first of his ‘counter-reliefs’, casual montages of pieces of metal that invade the space around them, making the decomposition of the forms three-dimensional. What is not in doubt is the primacy of materials in Tatlin's art. He was a key figure in the transition from art towards design and ‘construction’, the last was accomplished with ‘real materials in real space.’After the October Revolution, one of the central myths of avant-garde was the realization of a total work of art. The progress has developed in the directions to an unprecedented creative realm, situated somewhere between painting and architecture in the post-revolutionary period. Paramount among such pioneer works was Tatlin's design for a monument to the Third International in 1919. Here In an artistic form, his investigation of ‘material, volume and construction’ was clearly embodied. In the comtemporary architecture, Tatlin's concept has been a great influence on the various tendencies of spatial expressions. For example, the architecture with concept of ex-formality has many varied aspects of space composition - dynamic forms with plasticity of concrete, ex-cubic composition with free walls, disposal composition by geometric collision and superimposition, and etc.

• Journal of Families and Better Life
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• v.21 no.3
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• pp.101-107
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• 2003

The purpose of this study was to find out the push and pull factors of migrants from middle Asian countries to Yunhaju, Russia, and housing situations in settlements as well as housing intentions to behave. Four female Korye Saram in Cremobo settlement and Woojung village and 10 male and female elderly in ordinary residences were interviewed during April 22-25, 2003. Changes in national formal language from Russian to lout languages was played the most prominent push role, while availability of settlement and agricultural land and emotional attachment as the second hometown pulled them to migrate into Yunhaju. The housing situation in Cremobo settlement was very poor and almost settlers had already left. The rest settlers wanted to move into Woojung village. The resident in Woojung village hoped to get the formal contract to rent the dwelling and agricultural land. Family adaptations were progressed to solve the housing deficits among settlers both of Cremobo settlement and Woojung village. This research explored a part of the 140 years residential history of Korye Saram.

• Russian Language and Literature
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• no.66
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• pp.277-307
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• 2019

В данной работе эмпирически проанализированы материалы об опросе читеталей, читательских конференции, вечерах рабочей критики и записках чтения крестьян в качестве исходных данных, чтобы изучить понимание и требования массового читателя как субьекта советской культуры. В результате массовый читатель в 1920-х годах предпочитают классическую литературу, а не современную, и они ценят использование ясного и чистого русского языка, отражающего жизнь реальности, но избегая чрезмерно повторяющихся тем (гражданская война). Можно сказать, что они предпочитают литературу, которая может влиять на людей. Эстетические вкусы массовых читателей были особенно консервативными, особенно с ясным выражением и простым языком. В 1920-х годах массовый читатель создавал идентичность в качестве культурного субъекта в советской литературе на основе опыта участии в новой литературе. Но в начале 30-х годов массовый читатель теряет возможность использовать свою роль и способность как субъект советской культуры. Сталинский процесс культурного объединения в социалистический реализм, утвержденный в 1934 году, был сосредоточен на управлении и руководстве массами как советских культурных реципиентов, а не на понимании масс как субъектов. В результате массовый читатель был маргинализирован в советской литературе.