Courses

Subject Code

Academic Year

Slavic Department Listings

Course brochure

See also the list of past years' courses.

Bosnian/Croatian/Serbian (BCSN), Czech (CZEC), East European (EEUR), Georgian (GEOR),

General Slavic (SLAV), Polish (POLI), Russian (RUSS), South Slavic (SOSL)

SLAV 20100 / 30100
Intro to Slavic Linguistics

Y. Gorbachov
Course level: 
Graduate
Undergraduate
Crosslists: 
LING 26400, LING 36400
Winter
2014-2015
Literature and Linguistics course

The main goal of this course isto familiarize students with the essential facts of the Slavic linguistic history and with the most characteristic features of the modern Slaviclanguages. In order to understand the development of Proto-Slavic into theexisting Slavic languages and dialects, we focus on a set of basic phenomena. The course is specifically concerned with making students aware of factors that led to the breakup of the Slavic unity and the emergence of the individual languages. Drawing on the historical development, we touch upon such salient typological characteristics of the modern languages such as the rich set of morphophonemic alternations, aspect, free word order, and agreement.

SLAV 24411
The Interrupted Word: Photographs in Contemporary Central European Literature of Witness

Katie Tucker
Course level: 
Undergraduate
Spring
2014-2015
Literature and Linguistics course

Occasionally dismissed as a postmodern gimmick, the insertion of photographs into literary texts is nonetheless a conspicuous fact of contemporary prose, and particularly of literature of witness. How do these embedded photographs function? Do they buttress the veracity of testimony? Or, do they mark out an inadequacy, even a failure, of language? Do they support the narrative, or undermine it?  In this course, we will focus on the literary legacy of three historical moments of witness—Germany after WWII, Yugoslav Successor States after the Yugoslav Wars of the 1990s, and Post-Soviet Poland—to ground a theoretical analysis of the function of photographs in texts. We will begin by tracing the history of critical thought on photography, from Benjamin through the seminal works of Sontag and Barthes and finally to the contemporary theories put forth by W.J.T. Mitchell and Slavoj Žižek. As the four novels which will serve as touchstones for our theoretical inquiry (by W.G. Sebald, Dubravka Ugrešić, Aleksandar Hemon, and Paveł Huelle) were all composed at both a temporal and spatial remove from their historical referent, we will also engage the discourses of post-memory and exilic literature.