• 러시아어문학연구논집
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• 제66호
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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.

• 복식
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• 제50권
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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.

• 러시아어문학연구논집
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• 제67호
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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.

• 복식
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• 제52권1호
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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.

• 한국의상디자인학회지
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• 제24권1호
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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.

• 러시아어문학연구논집
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• 제60호
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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.

• 한국시뮬레이션학회논문지
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• 제18권3호
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• pp.73-82
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• 2009

CMOS 카메라는 저가격, 저전력, 소형화의 장점을 이용해 휴대폰카메라, 자동차 산업, 의학 및 센서 네트워크, 로봇제어, 보안 분야의 연구에서 이용되고 있다. 특히 다중카메라(Multi-Camera)기반의 $360^{\circ}$ 전방향 카메라(Omni-directional Camera)의 소프트웨어, 통신간섭 및 지연과 복잡한 영상제어 문제가 있으며, 하드웨어 분야에서는 다중카메라의 효율적인 관리 및 소형화의 문제를 지닌다. 기존 시스템은 다수 카메라를 제어하고 카메라 영상을 송수신하기 위해 카메라별 고성능 MCU로 구성된 임베디드 시스템(embedded system)과 별도의 제어 시스템(control system) 같이 다계층 시스템(Multi-layer system)으로 구성된다. 하지만 본 시스템은 단일구조로 저성능 MCU 기반에 고속 동기화기법으로 카메라 제어 및 영상 수집이 가능하도록 SLAVS(Small size/Low power Around View System)을 제안하였다. 화각 $110^{\circ}$ CMOS 카메라 여러 대를 이용하여 $360^{\circ}$전방향을 촬영하는 저성능 MCU로 카메라의 제어 및 영상 수집이 가능한 전방향 카메라 초기모형이다. 결과적으로 저전력 CMOS 카메라 4대를 하나의 MCU에 연결하여 개별 카메라에 대한 동기 유지, 제어 및 송수신을 구현하고 이를 기존의 시스템과 비교하였다. MCU를 통한 개별 인터럽트 처리로 카메라별 동기를 제어, 기억하여 Target과 CMOS 카메라와 MCU간의 재동기를 최소화하여 데이터 전송의 효율성을 높였다. 또한, 사용자 선택에 따라 4개의 영역으로 구분된 영상을 각기 또는 하나로 Target에 제공할 수 있도록 하였다. 마지막으로 개발된 카메라 시스템의 동기 및 데이터 전송 시간, 이미지 데이터 유실 등의 성능 비교, 분석을 하였다.