Pub Date : 2023-11-30DOI: 10.19170/eebs.2023.47.4.141
Chul-Min Kim
After the Great Depression of 1929, the international order accepted the territorial invasion and expansion of the Powers into weak countries to secure space for their survival as a natural evolutionary development process. And the basis for justifying this was Haushofer’s Lebensraum theory, which combined Darwin’s theory of evolution with sociology. This study aims to analyze Lebensraum among geopolitical theories, which provided the theoretical basis for Germany’s territorial expansion and racial nationalism. The Munich Agreement (September 1938) was the result of Lebensraum theory. In this study, I would like to analyze the impact of the Munich Agreement on the Kingdom of Yugoslavia and its characteristics. In Chapter II of this study, based on the geopolitical values of Eastern Europe asserted by Mackinder and Spykman, I explain how Haushofer’s Lebensraum theory influenced the geopolitical crisis in Eastern Europe. In addition, I would like to introduce the process of concluding the Munich Agreement, one of the Lebensraum outcomes, and the impact this agreement had on Eastern European countries. In Chapter III, I analyze how the Munich Agreement affected Yugoslavia and what the process was like, focusing on three characteristics: first, the expansion of internal instability, second, the forced choice to bandwagon strategy, and third, the division of the kingdom of Yugoslavia. Lastly, in the conclusion of Chapter IV, I recall the geopolitical value of Eastern Europe in today’s new Cold War, and I would like to explain what lessons and implications this study provides to the Korean Peninsula, which is in a geopolitical position(Rimland) similar to Eastern Europe.
{"title":"Munich Agreement(1938) and Eastern Europe, Geopolitical Crisis and Its Characteristics: Focusing on the Kingdom of Yugoslavia","authors":"Chul-Min Kim","doi":"10.19170/eebs.2023.47.4.141","DOIUrl":"https://doi.org/10.19170/eebs.2023.47.4.141","url":null,"abstract":"After the Great Depression of 1929, the international order accepted the territorial invasion and expansion of the Powers into weak countries to secure space for their survival as a natural evolutionary development process. And the basis for justifying this was Haushofer’s Lebensraum theory, which combined Darwin’s theory of evolution with sociology. This study aims to analyze Lebensraum among geopolitical theories, which provided the theoretical basis for Germany’s territorial expansion and racial nationalism. The Munich Agreement (September 1938) was the result of Lebensraum theory. In this study, I would like to analyze the impact of the Munich Agreement on the Kingdom of Yugoslavia and its characteristics. In Chapter II of this study, based on the geopolitical values of Eastern Europe asserted by Mackinder and Spykman, I explain how Haushofer’s Lebensraum theory influenced the geopolitical crisis in Eastern Europe. In addition, I would like to introduce the process of concluding the Munich Agreement, one of the Lebensraum outcomes, and the impact this agreement had on Eastern European countries. In Chapter III, I analyze how the Munich Agreement affected Yugoslavia and what the process was like, focusing on three characteristics: first, the expansion of internal instability, second, the forced choice to bandwagon strategy, and third, the division of the kingdom of Yugoslavia. Lastly, in the conclusion of Chapter IV, I recall the geopolitical value of Eastern Europe in today’s new Cold War, and I would like to explain what lessons and implications this study provides to the Korean Peninsula, which is in a geopolitical position(Rimland) similar to Eastern Europe.","PeriodicalId":142621,"journal":{"name":"East European and Balkan Institute","volume":"1272 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139202462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.19170/eebs.2023.47.4.77
Seung Nam Baek
Romanians who had been influenced by ancient myths and Christianity for a long time fabricated tales of destinies, awe, hopes and yearnings. Time spent with God is Kairos and time of humans is Chronos. Kairos goes with humane subjective perspective with intentions in divine category on opportune and critical timing. Opportunity of freedom did not come easily. For that they obeyed the quests of troubled neighbors and accomplished missions. In “Ileana Simziana” the youngest daughter made journey to prove her mettle for his father. She fulfilled her mission by bring the baptism bowl of remote monastery. Kairos as a moment of liberating intentions occurred when their prayers and curses fulfilled by nuns. The most touching storey is “Făt-frumos, prince charming from the tear”. After the advent of christianity in Romania the birth tale of Făt-frumos relied on Virgin Mary and Jesus. In this tale queen prayed with tears in her eyes everyday. The moment of birth of Făt-frumos is the time of liberation and unconditional divine love. Kairos is the opportune moment of love permitted by God but also returning to Chronus by violating the divine prohibitions. Men made a blunder by his own follies or by following another’s ill-advised advice and they turned back to Chronus abandoning Kairos. In “Youth without age and life without death” Făt-frumos accomplished his ambition to be young forever and to be immortal. His longing to see his parents made him to leave to his own kingdom. But the castle was ruined and his parents died long time ago. He found eternal youth and immortality at Kairos. At Chronus he turned into old man with grey hair and beard. When Thanatos appeared and pulled his arm he got stiffened to death and turned into dust. His desire to turn to Chronus from Kairos of eternal youth and immortality made him die a humane death.
{"title":"Shaping Phase of Kairos in Romanian Fable: Through Convergency Phase of Ancient Miths & Christianity","authors":"Seung Nam Baek","doi":"10.19170/eebs.2023.47.4.77","DOIUrl":"https://doi.org/10.19170/eebs.2023.47.4.77","url":null,"abstract":"Romanians who had been influenced by ancient myths and Christianity for a long time fabricated tales of destinies, awe, hopes and yearnings. Time spent with God is Kairos and time of humans is Chronos. Kairos goes with humane subjective perspective with intentions in divine category on opportune and critical timing. Opportunity of freedom did not come easily. For that they obeyed the quests of troubled neighbors and accomplished missions. In “Ileana Simziana” the youngest daughter made journey to prove her mettle for his father. She fulfilled her mission by bring the baptism bowl of remote monastery. Kairos as a moment of liberating intentions occurred when their prayers and curses fulfilled by nuns. The most touching storey is “Făt-frumos, prince charming from the tear”. After the advent of christianity in Romania the birth tale of Făt-frumos relied on Virgin Mary and Jesus. In this tale queen prayed with tears in her eyes everyday. The moment of birth of Făt-frumos is the time of liberation and unconditional divine love. Kairos is the opportune moment of love permitted by God but also returning to Chronus by violating the divine prohibitions. Men made a blunder by his own follies or by following another’s ill-advised advice and they turned back to Chronus abandoning Kairos. In “Youth without age and life without death” Făt-frumos accomplished his ambition to be young forever and to be immortal. His longing to see his parents made him to leave to his own kingdom. But the castle was ruined and his parents died long time ago. He found eternal youth and immortality at Kairos. At Chronus he turned into old man with grey hair and beard. When Thanatos appeared and pulled his arm he got stiffened to death and turned into dust. His desire to turn to Chronus from Kairos of eternal youth and immortality made him die a humane death.","PeriodicalId":142621,"journal":{"name":"East European and Balkan Institute","volume":"214 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139203315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.19170/eebs.2023.47.4.173
Jiyoung Min, M. M
After the outbreak of the Ukraine crisis in 2014, Russia began to face economic sanctions from the West. Over time, Western sanctions have gradually expanded to various sectors such as individuals, institutions, industry, and trade. Western sanctions are expected to enlarge and prolong due to the outbreak of the Russo-U.S. war in 2022. Experts assessed those Western sanctions act as a risk factor for the Russian financial market, including increasing instability in the Russian financial market. In fact, Russian financial indicators fluctuated when new sanctions were introduced. Against this background, this study focused on the impact of Western sanctions on the Russian financial market. This study is significantly different from existing studies in that it isolates the direct impact of Western sanctions through the SVAR model using an index developed to quantitatively measure Western sanctions between 2014 and 2019. As a result of the analysis, the impact of Western sanctions was found to be very minimal. This is because the sanctions index was limited to EU sanctions, and the speed of expansion of sanctions during that period was relatively slow. The Russian financial market was found to have been more affected by factors indicating economic downturn such as an increase in the exchange rate and a decline in oil prices during that period.
{"title":"Impact of Western Sanctions on Russian Financial Markets: SVAR Analysis","authors":"Jiyoung Min, M. M","doi":"10.19170/eebs.2023.47.4.173","DOIUrl":"https://doi.org/10.19170/eebs.2023.47.4.173","url":null,"abstract":"After the outbreak of the Ukraine crisis in 2014, Russia began to face economic sanctions from the West. Over time, Western sanctions have gradually expanded to various sectors such as individuals, institutions, industry, and trade. Western sanctions are expected to enlarge and prolong due to the outbreak of the Russo-U.S. war in 2022. Experts assessed those Western sanctions act as a risk factor for the Russian financial market, including increasing instability in the Russian financial market. In fact, Russian financial indicators fluctuated when new sanctions were introduced. Against this background, this study focused on the impact of Western sanctions on the Russian financial market. This study is significantly different from existing studies in that it isolates the direct impact of Western sanctions through the SVAR model using an index developed to quantitatively measure Western sanctions between 2014 and 2019. As a result of the analysis, the impact of Western sanctions was found to be very minimal. This is because the sanctions index was limited to EU sanctions, and the speed of expansion of sanctions during that period was relatively slow. The Russian financial market was found to have been more affected by factors indicating economic downturn such as an increase in the exchange rate and a decline in oil prices during that period.","PeriodicalId":142621,"journal":{"name":"East European and Balkan Institute","volume":"65 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139206643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.19170/eebs.2023.47.4.31
Hee-Jung Kim
Polish Director Krzysztof Kieślowski made his mark on the world cinema scene with his 10-part TV series The Ten Commandments, produced by Polish national television. In this study, we will focus on the third installment of the series, “The Ten Commandments,”(The Decalogue) which takes place overnight on Christmas Eve. “The Third Commandment”(Decalogue 3) is a collaboration between co-screenwriter Krzysztof Piesiewicz and Piotr Sobociński, the cinematographer of Kieślowski’s last film, Red. This study explores the significance of Kieślowski’s use of Christmas Eve, Poland’s largest holiday, and his embodiment of the universal human experiences of loneliness and melancholy into the celebration of Christmas. In particular, the chapter on scene analysis focuses on the opening and the temporal and spatial arrangement of dramatic events.
波兰导演克日什托夫-基耶斯洛夫斯基（Krzysztof Kieślowski）凭借波兰国家电视台制作的十集电视连续剧《十诫》（The Ten Commandments）在世界影坛崭露头角。在本研究中，我们将重点讨论该系列的第三部《十诫》（The Decalogue），故事发生在圣诞节前夕的一夜之间。"第三诫》（《十诫 3》）由共同编剧 Krzysztof Piesiewicz 和 Piotr Sobociński 合作完成，后者是基耶斯洛夫斯基最后一部影片《红色》的摄影师。本研究探讨了基耶斯洛夫斯基对波兰最大节日--平安夜的运用，以及他将人类普遍的孤独和忧郁体验融入圣诞节庆祝活动的意义。其中，场景分析一章重点关注开场和戏剧事件的时空安排。
{"title":"Chronicles of Christmas Eve Night: Kieślowski’s Study of the “Decalogue 3”","authors":"Hee-Jung Kim","doi":"10.19170/eebs.2023.47.4.31","DOIUrl":"https://doi.org/10.19170/eebs.2023.47.4.31","url":null,"abstract":"Polish Director Krzysztof Kieślowski made his mark on the world cinema scene with his 10-part TV series The Ten Commandments, produced by Polish national television. In this study, we will focus on the third installment of the series, “The Ten Commandments,”(The Decalogue) which takes place overnight on Christmas Eve. “The Third Commandment”(Decalogue 3) is a collaboration between co-screenwriter Krzysztof Piesiewicz and Piotr Sobociński, the cinematographer of Kieślowski’s last film, Red. This study explores the significance of Kieślowski’s use of Christmas Eve, Poland’s largest holiday, and his embodiment of the universal human experiences of loneliness and melancholy into the celebration of Christmas. In particular, the chapter on scene analysis focuses on the opening and the temporal and spatial arrangement of dramatic events.","PeriodicalId":142621,"journal":{"name":"East European and Balkan Institute","volume":"61 16","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139196592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.19170/eebs.2023.47.4.95
Sogu Hong
Ukrainian wartime posters created to resist Russian aggression serve as a conduit for ‘cultural communication’ among Ukrainians. Ukrainians, victims of war, express the pain of war, fear, and hatred toward the invaders through posters, and sometimes punish them in those posters. As Russia’s invasion of Ukraine began on February 24, 2022, professors and students of the Department of Graphic Design at the Kyiv National University of Culture and Arts and Kyiv University of Culture created a team “creative resistance” for carrying out a poster design project. Instead of guns and knives, participants decided to use their artistry and creativity to express the voices of Ukrainians in posters. This study focuses on analyzing the artistic expression techniques and visual rhetoric used in Ukrainian wartime posters created in the above-mentioned project. This study also discusses the characteristics of propaganda, themes, and content shown in those posters. In this process, we will identify the similarities and differences between Soviet-era posters and current Ukrainian wartime posters, as well as differences between Russian and Ukrainian propaganda and narratives about the war. Through this, we will be able to understand in detail the Ukrainian people's narrative and feelings on the war, and their thought on the future.
{"title":"Artistic Expression Techniques and Visual Rhetoric of Ukrainian Wartime Posters","authors":"Sogu Hong","doi":"10.19170/eebs.2023.47.4.95","DOIUrl":"https://doi.org/10.19170/eebs.2023.47.4.95","url":null,"abstract":"Ukrainian wartime posters created to resist Russian aggression serve as a conduit for ‘cultural communication’ among Ukrainians. Ukrainians, victims of war, express the pain of war, fear, and hatred toward the invaders through posters, and sometimes punish them in those posters. As Russia’s invasion of Ukraine began on February 24, 2022, professors and students of the Department of Graphic Design at the Kyiv National University of Culture and Arts and Kyiv University of Culture created a team “creative resistance” for carrying out a poster design project. Instead of guns and knives, participants decided to use their artistry and creativity to express the voices of Ukrainians in posters. This study focuses on analyzing the artistic expression techniques and visual rhetoric used in Ukrainian wartime posters created in the above-mentioned project. This study also discusses the characteristics of propaganda, themes, and content shown in those posters. In this process, we will identify the similarities and differences between Soviet-era posters and current Ukrainian wartime posters, as well as differences between Russian and Ukrainian propaganda and narratives about the war. Through this, we will be able to understand in detail the Ukrainian people's narrative and feelings on the war, and their thought on the future.","PeriodicalId":142621,"journal":{"name":"East European and Balkan Institute","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139200789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.19170/eebs.2023.47.4.3
Yong Hwan Kim
The purpose of this article is to examine the background and preparation process of the censorship reform made during Alexander II. The defeat in the Crimean War was an opportunity to awaken Russia’s reality and urge a reset of its future course. Alexander II, who succeeded Nikolai I during this period, was forced to take the path of reform to prevent revolution from below and overcome Russia's backwardness. The impact of the reform policy was also linked to changes in press publishing. Reform across the country required more information, and social discussions about the object and scope of reform were inevitable. As a result, the role of media publishing as an information supply and public sphere has increased. On the other hand, state censorship, which requires regulating and controlling information in circulation, has fluctuated between existing laws and the illegal disclosure of reality. In the period of so-called ‘explosive disclosure,’ censorship could not block the distribution of information by using the same repressive means as before. From the standpoint of state power, censorship has sought ways to discriminate between useful and harmful disclosures and to prevent the distribution of harmful information. Various discussions related to censorship during this period eventually result in a shift to punitive censorship.
{"title":"Glasnost and Censorship: Aspects of the Early Reign of Alexander II","authors":"Yong Hwan Kim","doi":"10.19170/eebs.2023.47.4.3","DOIUrl":"https://doi.org/10.19170/eebs.2023.47.4.3","url":null,"abstract":"The purpose of this article is to examine the background and preparation process of the censorship reform made during Alexander II. The defeat in the Crimean War was an opportunity to awaken Russia’s reality and urge a reset of its future course. Alexander II, who succeeded Nikolai I during this period, was forced to take the path of reform to prevent revolution from below and overcome Russia's backwardness. The impact of the reform policy was also linked to changes in press publishing. Reform across the country required more information, and social discussions about the object and scope of reform were inevitable. As a result, the role of media publishing as an information supply and public sphere has increased. On the other hand, state censorship, which requires regulating and controlling information in circulation, has fluctuated between existing laws and the illegal disclosure of reality. In the period of so-called ‘explosive disclosure,’ censorship could not block the distribution of information by using the same repressive means as before. From the standpoint of state power, censorship has sought ways to discriminate between useful and harmful disclosures and to prevent the distribution of harmful information. Various discussions related to censorship during this period eventually result in a shift to punitive censorship.","PeriodicalId":142621,"journal":{"name":"East European and Balkan Institute","volume":"30 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139206423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.19170/eebs.2023.47.4.49
Joonil Moon
From the end of the 19th century to the 20th century, Russia experienced a period of caution. Russian culture of the 1890s and 1900s reflects the complexity and contradictions of an era filled with acute social conflict and political struggle. These conflicts and struggles gave new character and characteristics to the perception of society and art. However, the social and cultural life of the late 19th century contrasted markedly with previous periods in the spiritual sphere. During this period, there was a psychological tension quite different from that of the 1880s, and an expectation of a “great revolution.” This concept of “vigilance” and “transition” experienced by Russia spread among the intelligentsia in the field of art. In the early 20th century, Russia experienced a “Russian Renaissance.” Russia experienced a heyday of poetry and philosophy, and trends of intense religious inquiry and mysticism dominated the period. In literature, the sense of justice and simplicity of 19th century Russian literature has disappeared. The world view of left-wing intelligentsia was shaken. Aesthetic consciousness changed and art began to be given greater meaning. The “art world” reflects the “new art” and aesthetics of this period. Their biggest task was to liberate spiritual culture from social utilitarianism. For them, the previously suppressed aesthetic element was a stronger force than the ethical element. However, changing the world view and setting a new direction was not easy. In the field of art, controversy with the existing utilitarian and populist intelligentsia was an inevitable process. This debate became a space for “art world” groups to declare their programs and aesthetics. This paper seeks to examine the aesthetics of the “world of art” through the debates between Diaghilev and Stasov and Diaghilev and Repin, which were the most representative debates of the “world of art.”
{"title":"Aesthetic Debates in “The World of Art” in the Early 20th Century: Focusing on the Debate between Diaghilev and Repin","authors":"Joonil Moon","doi":"10.19170/eebs.2023.47.4.49","DOIUrl":"https://doi.org/10.19170/eebs.2023.47.4.49","url":null,"abstract":"From the end of the 19th century to the 20th century, Russia experienced a period of caution. Russian culture of the 1890s and 1900s reflects the complexity and contradictions of an era filled with acute social conflict and political struggle. These conflicts and struggles gave new character and characteristics to the perception of society and art. However, the social and cultural life of the late 19th century contrasted markedly with previous periods in the spiritual sphere. During this period, there was a psychological tension quite different from that of the 1880s, and an expectation of a “great revolution.” This concept of “vigilance” and “transition” experienced by Russia spread among the intelligentsia in the field of art. In the early 20th century, Russia experienced a “Russian Renaissance.” Russia experienced a heyday of poetry and philosophy, and trends of intense religious inquiry and mysticism dominated the period. In literature, the sense of justice and simplicity of 19th century Russian literature has disappeared. The world view of left-wing intelligentsia was shaken. Aesthetic consciousness changed and art began to be given greater meaning. The “art world” reflects the “new art” and aesthetics of this period. Their biggest task was to liberate spiritual culture from social utilitarianism. For them, the previously suppressed aesthetic element was a stronger force than the ethical element. However, changing the world view and setting a new direction was not easy. In the field of art, controversy with the existing utilitarian and populist intelligentsia was an inevitable process. This debate became a space for “art world” groups to declare their programs and aesthetics. This paper seeks to examine the aesthetics of the “world of art” through the debates between Diaghilev and Stasov and Diaghilev and Repin, which were the most representative debates of the “world of art.”","PeriodicalId":142621,"journal":{"name":"East European and Balkan Institute","volume":" 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139207215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-31DOI: 10.19170/eebs.2023.47.3.47
Seong Suk Han
Eliade dealt myth not only as an story but also as an creation. So myth has been reappeared and repeated on the surface of human experiences which dream about original direction. He explained two existential attitudes of the sacred and profane in his book The sacred and the profane. It tells us the sacred history which informs us of the events in pristine times and certain creation. It tells us the formation of something and how to exist. The sacred history, myth in other words tells us of what really happened complete real things. Doing so, myth reveals their creative activities and make clear their works of sacredness or supernaturality. The fantasy of this novel starts right before the midnight of the summer solstice. The forbidden forest is a myth related with 24, June which is a summer solstice in Rumanian folklore. That night heaven is opened to make it possible to escape from realities to see beyond them to be initiated into paradise space. At this time daytime stops to lengthen further and begins to be shorter. Eliade explained that the middle of the time or the year means the line between realities and the other world. The main character Ştefan is aware of his real situation but he longs for eternal life which knows no aging and death like the prince Făt-Frumos from folklore ‘Youth without aging and life without death’. Eliade made it possible the universal reunion at the sacred place by the reappearance and repetition of myth in his novel The Forbidden Forest. He showed us sacred times as the lost world and returning to origin of existence. Reappearance and repetition of myth make modern people to understand their true beings by returning to ancient sacred times and spaces.
{"title":"Historical Realism and Reading Eliade’s Novel: The Myth Reappearance and Repetition Aspect in the Novel The Forbidden Forest","authors":"Seong Suk Han","doi":"10.19170/eebs.2023.47.3.47","DOIUrl":"https://doi.org/10.19170/eebs.2023.47.3.47","url":null,"abstract":"Eliade dealt myth not only as an story but also as an creation. So myth has been reappeared and repeated on the surface of human experiences which dream about original direction. He explained two existential attitudes of the sacred and profane in his book The sacred and the profane. It tells us the sacred history which informs us of the events in pristine times and certain creation. It tells us the formation of something and how to exist. The sacred history, myth in other words tells us of what really happened complete real things. Doing so, myth reveals their creative activities and make clear their works of sacredness or supernaturality. The fantasy of this novel starts right before the midnight of the summer solstice. The forbidden forest is a myth related with 24, June which is a summer solstice in Rumanian folklore. That night heaven is opened to make it possible to escape from realities to see beyond them to be initiated into paradise space. At this time daytime stops to lengthen further and begins to be shorter. Eliade explained that the middle of the time or the year means the line between realities and the other world. The main character Ştefan is aware of his real situation but he longs for eternal life which knows no aging and death like the prince Făt-Frumos from folklore ‘Youth without aging and life without death’. Eliade made it possible the universal reunion at the sacred place by the reappearance and repetition of myth in his novel The Forbidden Forest. He showed us sacred times as the lost world and returning to origin of existence. Reappearance and repetition of myth make modern people to understand their true beings by returning to ancient sacred times and spaces.","PeriodicalId":142621,"journal":{"name":"East European and Balkan Institute","volume":"152 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127311464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-31DOI: 10.19170/eebs.2023.47.3.3
Sang Hun Kim
It was only in 2004 that the European Union, originally composed of Western European countries, began to include the so-called Eastern European countries (Latvia, Lithuania, Slovakia, Slovenia, Estonia, the Czech Republic, Poland, and Hungary), which had transitioned from socialism to democracy. This was followed by Romania and Bulgaria joining in 2007 and Croatia in 2013. The very nature of the European continent, with its diverse peoples, languages, histories, and cultures, has undoubtedly necessitated policies that recognize, acknowledge, and seek to reduce differences as much as possible, with the ultimate goal of uniting them. In particular, the EU member states, which were originally composed of Western European countries, may have been in dire need of policies to bridge the gap with the countries that underwent communism after World War II, as many of them joined the EU in the 2000s. The policy direction of cultural integration with former communist countries aligns with the general trend of European integration. However, it is being promoted in various ways, taking into consideration the special history and situation of these countries. The goal is to provide opportunities for people to understand each other's history and culture, fostering interactions that contribute to overcoming cultural differences and forming strong bonds. In particular, the former communist countries have an economic gap with existing EU member states due to past political and economic changes. The EU is working to provide economic infrastructure and industrial support to these countries, strengthen cooperation, and promote cultural integration with Western European countries. Such directions and policies continue to be promoted for cultural integration between existing EU member states and former communist countries. Examples of these initiatives include the European Capital of Culture project and the Erasmus Program, which aim to foster cultural understanding and integration among future generations through education, ultimately working towards the goal of European integration. In any case, it is clear that the country of 'Croatia' and the city of 'Rijeka,' which gained independence from the former Yugoslavia in 1991 and were not initially recognized by not only European citizens but also the world, seized the opportunity of the European Capital of Culture 2020 project to establish closer communication and cooperation with Europe and the global community. We expect that they will continue progressing on the path of 'integration' while preserving 'cultural diversity' in the future.
{"title":"European Capital of Culture Policy and Urban Development Plan for Rijeka, Croatia","authors":"Sang Hun Kim","doi":"10.19170/eebs.2023.47.3.3","DOIUrl":"https://doi.org/10.19170/eebs.2023.47.3.3","url":null,"abstract":"It was only in 2004 that the European Union, originally composed of Western European countries, began to include the so-called Eastern European countries (Latvia, Lithuania, Slovakia, Slovenia, Estonia, the Czech Republic, Poland, and Hungary), which had transitioned from socialism to democracy. This was followed by Romania and Bulgaria joining in 2007 and Croatia in 2013. The very nature of the European continent, with its diverse peoples, languages, histories, and cultures, has undoubtedly necessitated policies that recognize, acknowledge, and seek to reduce differences as much as possible, with the ultimate goal of uniting them. In particular, the EU member states, which were originally composed of Western European countries, may have been in dire need of policies to bridge the gap with the countries that underwent communism after World War II, as many of them joined the EU in the 2000s. The policy direction of cultural integration with former communist countries aligns with the general trend of European integration. However, it is being promoted in various ways, taking into consideration the special history and situation of these countries. The goal is to provide opportunities for people to understand each other's history and culture, fostering interactions that contribute to overcoming cultural differences and forming strong bonds. In particular, the former communist countries have an economic gap with existing EU member states due to past political and economic changes. The EU is working to provide economic infrastructure and industrial support to these countries, strengthen cooperation, and promote cultural integration with Western European countries. Such directions and policies continue to be promoted for cultural integration between existing EU member states and former communist countries. Examples of these initiatives include the European Capital of Culture project and the Erasmus Program, which aim to foster cultural understanding and integration among future generations through education, ultimately working towards the goal of European integration. In any case, it is clear that the country of 'Croatia' and the city of 'Rijeka,' which gained independence from the former Yugoslavia in 1991 and were not initially recognized by not only European citizens but also the world, seized the opportunity of the European Capital of Culture 2020 project to establish closer communication and cooperation with Europe and the global community. We expect that they will continue progressing on the path of 'integration' while preserving 'cultural diversity' in the future.","PeriodicalId":142621,"journal":{"name":"East European and Balkan Institute","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125434693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-31DOI: 10.19170/eebs.2023.47.3.71
Shinhyo Kim
Since the World Health Organization(WHO) declared a pandemic due to the COVID-19 outbreak on March 11, 2020, the international tourism industry has suffered an unprecedented blow. In the international tourism market, which was in a gradual recovery of period, Russia's invasion of Ukraine on February 24, 2022, subsequent Western sanctions, and a counterattack by Russia, were enough to cause a new level of uncertainty. After the Russia's invasion of Ukraine, Ukraine and Moldova closed their airspace, and Western countries imposed measures such as a ban on takeing off and landing and flying in their own airspaces, and the suspension of the code-sharing agreement on planes belonging to Russian airlines. Russia also responded and it has become inevitable for neighboring countries to change air routes. This led to an increase in flight time and an increase in air ticket costs, which negatively affected international tourism. Nevertheless, international air ticketing declined for the two weeks after the outbreak of the war, but demand for international tourism has gradually recovered since then. According to the UN World Tourism Organization's Tourism Recovery Tracker data, the number of international tourist arrivals around the world at the end of 2022 recovered to 65% compared to 2019 before the pandemic, exceeding the expected recovery of 37% to 50% compared to 2019, an estimated scenario announced by the UN World Tourism Organization in January 2022. In particular, the number of international tourist arrivals in Europe has recovered to 80% compared to 2019, indicating a fairly rapid recovery compared to 27% in the Asia-Pacific region. In addition, the number of international tourist arrivals around the world from January to March 2023 recovered to 80% compared to 2019 before the pandemic, 90% in Europe, and 72% in Central and Eastern Europe. And it can be seen that the recovery is faster not only than experts expected at the beginning of the outbreak of war, but also than the result of the survey on the recovery period of international tourism to the pre-pandemic level, which was surveyed by experts from each country by the UN World Tourism Organization before the outbreak. And the number of Russians entering Korea in 2022, 60,019, which is 17.5% compared to 343,057 in 2019 before the pandemic, and the number of Russian patients using medical institutions in Korea was 9,616 in 2022, which is 32.2% compared to 29,897 in 2019. Although the pace of recovery is not faster than that of other countries, considering that the number of arrivals from January to May 2023 was 60,671, which has already exceeded the annual number of arrivals in 2022, the impact of the Russian-Ukrainian war on the Korean inbound tourism market can be seen as insignificant.
{"title":"The Russian-Ukrainian War and International Tourism","authors":"Shinhyo Kim","doi":"10.19170/eebs.2023.47.3.71","DOIUrl":"https://doi.org/10.19170/eebs.2023.47.3.71","url":null,"abstract":"Since the World Health Organization(WHO) declared a pandemic due to the COVID-19 outbreak on March 11, 2020, the international tourism industry has suffered an unprecedented blow. In the international tourism market, which was in a gradual recovery of period, Russia's invasion of Ukraine on February 24, 2022, subsequent Western sanctions, and a counterattack by Russia, were enough to cause a new level of uncertainty. After the Russia's invasion of Ukraine, Ukraine and Moldova closed their airspace, and Western countries imposed measures such as a ban on takeing off and landing and flying in their own airspaces, and the suspension of the code-sharing agreement on planes belonging to Russian airlines. Russia also responded and it has become inevitable for neighboring countries to change air routes. This led to an increase in flight time and an increase in air ticket costs, which negatively affected international tourism. Nevertheless, international air ticketing declined for the two weeks after the outbreak of the war, but demand for international tourism has gradually recovered since then. According to the UN World Tourism Organization's Tourism Recovery Tracker data, the number of international tourist arrivals around the world at the end of 2022 recovered to 65% compared to 2019 before the pandemic, exceeding the expected recovery of 37% to 50% compared to 2019, an estimated scenario announced by the UN World Tourism Organization in January 2022. In particular, the number of international tourist arrivals in Europe has recovered to 80% compared to 2019, indicating a fairly rapid recovery compared to 27% in the Asia-Pacific region. In addition, the number of international tourist arrivals around the world from January to March 2023 recovered to 80% compared to 2019 before the pandemic, 90% in Europe, and 72% in Central and Eastern Europe. And it can be seen that the recovery is faster not only than experts expected at the beginning of the outbreak of war, but also than the result of the survey on the recovery period of international tourism to the pre-pandemic level, which was surveyed by experts from each country by the UN World Tourism Organization before the outbreak. And the number of Russians entering Korea in 2022, 60,019, which is 17.5% compared to 343,057 in 2019 before the pandemic, and the number of Russian patients using medical institutions in Korea was 9,616 in 2022, which is 32.2% compared to 29,897 in 2019. Although the pace of recovery is not faster than that of other countries, considering that the number of arrivals from January to May 2023 was 60,671, which has already exceeded the annual number of arrivals in 2022, the impact of the Russian-Ukrainian war on the Korean inbound tourism market can be seen as insignificant.","PeriodicalId":142621,"journal":{"name":"East European and Balkan Institute","volume":"723 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126945848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：