• Russian Language and Literature
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• no.66
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• pp.65-86
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• 2019

This paper examines the affinities and cultural cognates between Slavs and Indo-Aryans from a perspective of Slavic mythology, comparative linguistics, and comparative cultural studies, etc. Of Proto-Indo-European Language Family, Slavic group belongs to the Satem Language group like Indo-Iranian(>Indo-Aryan, Iranian, Nuristani) group. For this reason, there turned out to be many linguistic evidences and cognates that Slavic and Indo-Aryan languages can share in common. Apart from biological DNA analysis that Indo-Aryans are close to Slavs in DNA types, there should be the three factors to support that Slavs and Aryans had contacted a long time before and that moreover, they still have a variety of cognates in languages and cultures, especially, in mythology, too. First, this study takes an exemplary of mythological comparisons with Slavic and Indo-Aryan gods' names, their origins, and their symbols. Secondly, linguistic analysis to compare the two languages is the best way to prove the connections between Slavic and Aryan cultural cognates. Lastly, this research investigates many cultural cognates of living culture and cults, which still remain without being extinct both in Slavs and in Indo-Aryans.

• Journal of the Korean Society of Costume
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• v.50
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• pp.33-50
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• 2000

A comparative and an analysis of the resemblance and the particularity of the women's headgear which has been developed in accordance with each of climate and historical beck ground of the Eastern Slavs: the Russians the Belarusians and the Ukrainians those are deeply influenced by the culture of costume of the Scythians which is considered as the origin of the Koreans culture of costume is presented in this study. A well-known Russian ethnographer D. K. Jelenin classifies the women's head gear of the Eastern Slavs as a platok a chepetch a shapka and a unmarried women's venetch by its structural figure. Those 4 kinds of head gears are the basic head gears of the Eastern Slavic woman. However the characteristics and the features of the head gears of the Eastern Slavic woman However the characteristics and the features of the head gears of each nations show us that they have been developed differently not only by the climatic and the geological influences but also by the influence of their historical background. Furthermore we could realize that the Eastern Slavs had classified a person's social position and a standing in family members by the head gear. The incantational and the religious meanings of the hair styles and the head gears are shown in this paper. For instance they has been considered that a married woman without a hat is a disgrace and it even affects to the harvest. Even they believed that a corn styled Russian woman's hat named "Roga" protects a mother and her baby from the evil spirit. It seems that such a ethnographical culture is caused by their own faith of Russian orthodox and a non-Christian ancient religious culture of those regions.

• 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.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.69-87
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• 2002

The Eastern Slavic. the mongolian and the Korean wedding ceremony proceed through those three stages :pre-wedding, and after-wedding. (n the pre-wedding stage, the marriage is arranged when the parents make a decision on a matchmaking proposal. In the main wedding, the bridegroom visits the bride, and the bride walks through the many different procedures, which represent the life and the responsibilities of married women. Expecially, the wedding ceremony is finished and culminated by making hairstyle and wearing of headgear for married woman to the bride. The wedding costume of the Eastern Slav, the Mongolian, and the Korean has been developed with their different characters of styling. The traditional costumes of the each native are worn with the addition of a splendid decorative expression. The Eastern Slavic bride wears Lubaha and Sarapan or a skirt and bridegroom's wedding costume consist with Lubaha and Shitany(trousers). The Mongolian bride wears Deel and Ozh(Ooj) the vest and bridegroom wears Deel and Hantaaz. The Eastern slavic, the mongolian and the Korean bride wears various and gorgous headgears which have reflected cultural values: their traditional views of a wedding ceremony, expected change of social roles for married people. The wedding ceremony of these 3 natives had been performed by the symbolic meaning of the union of the bride to the bridegroom's family.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.1
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• pp.59-69
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• 2022

Vyshyvanka, the embroidered folk costume shirt of Ukraine, originated during the early reign of the Slavs, and currently, it is also called Ukrainian embroidery. In cases of Vyshyvanka embroidery expressed in apparel elements, it is necessary to research formative characteristics for expanding the visual aspect through the diversification of techniques, but also the aspect of the psychological meaning to Ukrainians. This study aims to consider Vyshyvanka as a unique embroidery technique, and also analyze the formative characteristics expressed in apparel elements. The study of Vyshyvanka embroidery expressed in apparel elements can present meaning to understanding the Ukrainian fashion. The image materials for the analysis of Vyshyvanka design, included work photos contained in literary materials and foreign online visual materials. The results of formatively analyzing the Vyshyvanka embroidery expressed in apparel are as follows. First, the Vyshyvanka embroidery expressed in apparel elements held an incantatory meaning, protecting wearers from getting easily invaded by evil spirits. Second, the Vyshyvanka patterns utilized symbolism that implied the incantatory meaning. Third, a single color was used for the embroidery. Lastly, materials like cotton, that are easy to embroider, were mostly used. The formative characteristics of Vyshyvanka embroidery expressed in apparel elements implied the community spirit, nature worship, and folk beliefs. As an attempt to understand the Ukrainian fashion, this study is significant in the aspect of expanding, widely utilizing, and expanding the range of understanding of Ukrainian fashion. Therefore, there should be more active researches on Ukrainian fashion, so Vyshyvanka can be more widely used as a design element.

• 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.

• Journal of the Korea Society for Simulation
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• v.18 no.3
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• pp.73-82
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• 2009

Due to the many advantages including low price, low power consumption, and miniaturization, the CMOS camera has been utilized in many applications, including mobile phones, the automotive industry, medical sciences and sensoring, robotic controls, and research in the security field. In particular, the 360 degree omni-directional camera when utilized in multi-camera applications has displayed issues of software nature, interface communication management, delays, and a complicated image display control. Other issues include energy management problems, and miniaturization of a multi-camera in the hardware field. Traditional CMOS camera systems are comprised of an embedded system that consists of a high-performance MCU enabling a camera to send and receive images and a multi-layer system similar to an individual control system that consists of the camera's high performance Micro Controller Unit. We proposed the SL-AVS (Small Size/Low power Around-View System) to be able to control a camera while collecting image data using a high speed synchronization technique on the foundation of a single layer low performance MCU. It is an initial model of the omni-directional camera that takes images from a 360 view drawing from several CMOS camera utilizing a 110 degree view. We then connected a single MCU with four low-power CMOS cameras and implemented controls that include synchronization, controlling, and transmit/receive functions of individual camera compared with the traditional system. The synchronization of the respective cameras were controlled and then memorized by handling each interrupt through the MCU. We were able to improve the efficiency of data transmission that minimizes re-synchronization amongst a target, the CMOS camera, and the MCU. Further, depending on the choice of users, respective or groups of images divided into 4 domains were then provided with a target. We finally analyzed and compared the performance of the developed camera system including the synchronization and time of data transfer and image data loss, etc.