Spring

This course teaches students to speak, read, and write in Polish, as well as familiarizes them with Polish culture. It employs the most up-to-date techniques of language teaching (e.g.,communicative and accelerated learning, and learning based on students' native language skills), as well as multileveled target-language exposure.

"Stanislavski has ruined my play!" Anton Chekhov's notoriously negative response to Konstantin Stanislavski's production of The Cherry Orchard at the Moscow Art Theater provides the point of departure for this course and its examination of both Chekhov's plays and their production history in Russia, the Soviet Union, and abroad. As we investigate the texts, performances, and non-theatrical adaptations of The Seagull, Uncle Vanya, Three Sisters, and The Cherry Orchard, we will explore the particular problems of reading and staging Chekhov, whose often sparse stage directions and ambiguous dialogue create the potential for strikingly different interpretations. Through questioning this openness and other defining features of Chekhov's plays, we will study the ways these productions changed and adapted to new countries, new political contexts, and new tendencies in theater and performance throughout the twentieth and twenty-first centuries. Over the course of the quarter, we will bring together our discussion of the stage and screen history of these works together with our own ideas about potential approaches to staging or adapting Chekhov's works.

In this course we will consider culture wars amidst the Cold War. We will range across media and aesthetic schools to examine the entanglement of art and politics, culture and diplomacy, creativity and propaganda, consumerism and the avant-garde, nuclear aspirations and dystopian visions, artistic freedom and police operations. The course's basic premise is that, notwithstanding the bipolar world it created, the Cold War was a multisided affair, so our readings will extend beyond the United States and the Soviet Union to include various national contexts.

“What would your good do if evil did not exist, and what would the earth look like if all the shadows disappeared? After all, shadows are cast by things and people…. Do you want to strip the earth of all the trees and living things just because of your fantasy of enjoying naked light?” asks the Devil.
 
Mikhail Bulgakov worked on his novel The Master and Margarita throughout most of his writing career, in Stalin’s Moscow. Bulgakov destroyed his manuscript, re-created it from memory, and reworked it feverishly even as his body was failing him in his battle with death.  The result is an intense contemplation on the nature of good and evil, on the role of art and the ethical duty of the artist, but also a dazzling world of magic, witches, and romantic love, and an irresistible seduction into the comedic. Laughter, as shadow and light, as subversive weapon but also as power’s whip, grounds human relation to both good and evil. Brief excursions to other texts that help us better understand Master and Margarita.

In this course, we will ask what constitutes the fantastic and magic realism as literary genres while reading some of the most interesting writings to have come out of Russia and Southeastern Europe. While considering the stylistic and narrative specificities of this narrative mode, we also think about its political functions —from subversive to escapist, to supportive of a nationalist imaginary—in different contexts and at different historic moments in the two regions.

This lecture course surveys the making and unmaking of the Soviet Union as a society, culture, economy, superpower, and empire from 1917 to 1991. The Soviet Union began as an unprecedented radical experiment in remaking society and economy, ethnic and gender relations, personal identities, even human nature. In the course of its history, it came to resemble other (capitalist) societies, sharing, in turn, their violence, welfare provisions, and consumerism. The story of this transformation—from being unique and exhilarating to being much like everyone else, only poorer and more drab—will be at the center of our exploration. The main themes of the course include social and cultural revolutions; ideology and the role of Marxism; political violence from the birth of the socialist state to the end of the Stalin terror; Stalinism, its origins, practices, aesthetics, legacies, and critiques; law, dissent, and human rights; nationality policies and the role of ethnic minorities; the economy of shortages and the material culture it created; institutions of daily life (communal apartments, courtyards, peasant markets, dachas, and boiler rooms); socialist realism and the Soviet dreamworld.

The ancient and multivalent image of the underground has crystallized over the last two centuries to denote sites of disaffection from—and strategies of resistance to—dominant social, political and cultural systems. We will trace the development of this metaphor from the Underground Railroad in the mid-1800s and the French Resistance during World War II to the Weather Underground in the 1960s-1970s, while also considering it as a literary and artistic concept, from Fyodor Dostoevsky’s Notes from the Underground and Ellison’s Invisible Man to Chris Marker’s film La Jetée and Andrei Tarkovsky’s Stalker. Alongside with such literary and cinematic tales, drawing theoretical guidance from refuseniks from Henry David Thoreau to Guy Debord, this course investigates how countercultural spaces become—or fail to become—sites of political resistance, and also how dissenting ideologies give rise to countercultural spaces. We ask about the relation between social deviance (the failure to meet social norms, whether willingly or unwittingly) and political resistance, especially in the conditions of late capitalism and neo-colonialism, when countercultural literature, film and music (rock, punk, hip-hop, DIY aesthetics etc.) get absorbed into—and coopted by—the hegemonic socio-economic system. In closing we will also consider contemporary forms of dissidence—from Pussy Riot to Black Lives Matter—that rely both on the vulnerability of individual bodies and global communication networks.

This course, which is designed for fifth-year students of Russian, covers various aspects of Russian stylistics and discourse grammar in context. It emphasizes the four communicative skills (i.e., reading, writing, listening comprehension, speaking) in culturally authentic context. Clips from Russian/Soviet films and television news reports are shown and discussed in class. Classes conducted in Russian. Conversation practice is held twice a week.

This course, which is intended for third-year students of Russian, covers various aspects of Russian grammar in context and emphasizes the four communicative skills (i.e., reading, writing, listening comprehension, speaking) in a culturally authentic context. Excerpts from popular Soviet/Russian films and clips from Russian television news reports are shown and discussed in class. Classes conducted in Russian; some aspects of grammar explained in English. Drill practice is held twice a week.

This course continues RUSS 10103-10203-10303; it includes review and amplification of grammar, practice in reading, elementary composition, and speaking and comprehension. Systematic study of word formation and other strategies are taught to help free students from excessive dependence on the dictionary and develop confidence in reading rather than translating. Readings are selected to help provide historical and cultural background. Conversation practice is held twice a week.