Undergraduate

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. Autumn, Winter, Spring. Meets on MWF 10:30-11:20. Drill sessions to be arranged.

The Second-Year course in Bosnian/Croatian/Serbian (BCS) languages and cultures is a continuation of First-Year BCS. It assumes one year of formal study of the target language(s) or equivalent coursework elsewhere. The course is focused on spoken and written modern BCS, emphasizing communicative practice in authentic cultural contexts. The language(s) are introduced through a series of dialogues gathered from a variety of textbooks published in Serbia, Croatia and Bosnia, as well as newspaper articles, short biographies, poems, and song lyrics in both the Latin and Cyrillic alphabets. A vast amount of audiovisual materials, representing both high and popular culture, constitute an integral part of every unit. Simultaneously, aural comprehension, speaking, grammar, and vocabulary are reinforced and further developed throughout the year with each unit. The course is complemented with cultural and historical media from the Balkans, guest speakers, cultural events, and dinner parties. Mandatory drill sessions are held twice per week.

This course provides an introduction to drama, performance, and production in Central and Eastern Europe in the twentieth century. Focusing on major developments in Czech, Russian and Polish theatrical practice, we will examine the relationship between the performance and the dramatic text, changing approaches to both the practical and creative work of staging a play, and the social and political climates that impacted theatrical production. Rather than attempting a broad survey of Central and East European theater, we will focus our attention on major turning points, high and low moments, and major innovators and innovations in theatrical culture.

This course, which encompasses both the 3rd and 4th years of language study, changes the focus from language structure and grammar to issues in interdisciplinary content. Each module foregrounds a different theme and leverages a different medium—fiction, film, art and architecture, urban anthropology, etc. Unlike the First- and Second-Year Bosnian/Croatian/Serbian (BCS) courses, Advanced BCS courses are not in sequence, and students can take them randomly, over the course of two academic years to fulfill their 3rd and/or 4th year of language study.

This course offers a survey of the manifold artistic strategies of (self)-representations of the Jewish writers from East Central Europe from the perspective of assimilation, its trials, successes and failures. During this course, we will inquire how the condition called assimilation and its attendants: secularization, acculturation, trans-nationalism, etc. has been explored by Mary Antin, Anzia Yezierska, Adolf Rudnicki, Eva Hoffman and others. Students will be acquainted with problems of cultural alienation and linguistic isolation, hybrid identity, and cultural transmission in conjunction with theoretical approaches by Zygmunt Bauman, Benjamin Harshav, Ryszard Nycz; all texts are read in English.

The Other Within the Self: Identity in Balkan Literature and Film. This two-course sequence examines discursive practices in a number of literary and cinematic works from the South East corner of Europe through which identities in the region become defined by two distinct others: the “barbaric, demonic” Ottoman and the “civilized” Western European. This course begins by defining the nation both historically and conceptually, with attention to Romantic nationalism and its flourishing in Southeastern Europe. We then look at the narrative of original wholeness, loss, and redemption through which Balkan countries retell their Ottoman past. With the help of Freud's analysis of masochistic desire and Žižek's theory of the subject as constituted by trauma, we contemplate the national fixation on the trauma of loss and the dynamic between victimhood and sublimity. The figure of the Janissary highlights the significance of the other in the definition of the self. Some possible texts are Petar Njegoš's Mountain Wreath; Ismail Kadare's The Castle; and Anton Donchev's Time of Parting.

Immerse yourself in the magic world of vampires and dragons, bagpipes and uneven beats, quick-step circle dance. This course give an introduction to Balkan folklore from anthropological, historical/political, and performative perspectives. We become acquainted with folk tales, lyric and epic songs, music, and dance. The work of Milman Parry and Albert Lord, who developed their theory of oral composition through work among epic singers in the Balkans, helps us understand folk tradition as a dynamic process – how is oral tradition transmitted, preserved, changed, forgotten? how do illiterate singers learn their long narrative poems, how do musicians learn to play? We consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. The historical/political part will survey the emergence of folklore studies as a discipline as well as the ways it has served in the formation and propagation of the nation in the Balkans. The class will also experience this living tradition first hand through our in-class workshop with the Chicago based dance ensemble “Balkanski igri.” The Annual Balkan Folklore Spring Festival will be held in March at the International House.

“Lolita, light of my life, fire of my loins. My sin, my soul, Lolita: the tip of the tongue taking a trip of three steps down the palate, to tap at three on the teeth.” Popular as Nabokov’s “all-American” novel is, it is rarely discussed beyond its psychosexual profile. This intensive text-centered and discussion-based course attempts to supersede the univocal obsession with the novel’s pedophiliac plot as such by concerning itself above all with the novel’s language: language as failure, as mania, and as conjuration.