본고는 전쟁 결정 원인으로서 역사적 필연성 사고 체계에 주목하였다. 이에 대하여 냉전 시기 소련에 초점을 맞추어 살펴보았다. 우선 본고는 전쟁 결정 여부를 설명하는 데 있어 타자와의 관계 인식을 양립불가성 또는 공존불가성에 기반한 관계로 분류할 수 있는 역사적 필연성에 대한 인식론을 분석틀로 제시하였다. 이 중에서 후자가 전쟁 결정을 야기시킬 수 있다. 이를 바탕으로 본고는 소련의 역사적 필연성 인식을 살펴보았 다. 냉전 시기 소련은 자유주의와 자본주의 진영과의 전쟁불가피론과 필 연적 승리론을 채택하였으나, 흐루쇼프 시기를 기점으로 이를 폐기하고 전쟁가피론을 수용하였다. 더 나아가 본고는 소련이 미국과의 전쟁에 대 하여 새로운 역사적 필연성 인식을 가졌는지에 대해 알아보았다. 이에 대하여 소련이 전쟁 대신 체제 경쟁을 통해 미국을 이길 수 있다고 판단 하였으며, 핵무기의 등장으로 전쟁은 궁극적으로 공동 멸절을 가져올 것 이라는 새로운 역사적 필연성의 확립으로 인해 소련의 전쟁불가피론에서 전쟁가피론으로의 사고 변화는 불가역적 속성을 갖는다는 결론을 도출하 였다.

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

This study examines the dwellings of the Korean diaspora in Maritime Provinces of Russia, and Kazakhstan and Uzbekistan of Central Asia to find the gist of the residence transformed as Korean traditional residence culture to accept Russian foreign culture. Through the examination, transformation process of the dwellings of the Korean diaspora was found as follows: - 1st Period(1864-1937): The Korean diaspora who Immigrated to Maritime Provinces of Russia built traditional houses of Korean style and few of them lived in Russian style houses. - 2nd Period(1937-1955): The Koreans who immigrated to Central Asia from Maritime Provinces under compulsion built 'ground house' by digging the earth and installed gudeul which is a traditional Korean heating system and roofed with reed. - 3rd period(1955-1991): The Koreans built straight lined '-' shape houses with two or three rooms wherein most of them were installed with gudeul to heat the room. Around the 1940s as they economically got well, the Koreans started to build houses with Russian style with one or two rooms with gudeul or a separate building with gudeul. - 4th period(1991-present): Houses of the 3rd period are still used by being enlarged or remodeled with less use of gudeul which is well reflected on Ujeong-maul village in Russia Maritime Provinces. As can be found above, the dwellings of the Korean diaspora in Russia Maritime Provinces and Central Asia are on the process of being transformed into Russian style to adapt to Russian culture.