REES

When reactor number 4 at the Chernobyl Nuclear Power Station exploded, it quickly made headlines around the world. Swedes found radiation in their air, Germans in their milk, Greeks in their grain, and Britons in their sheep. Ukrainians and Belarusians found it in their rain, wind, water sources, homes, and in their children's thyroids. Americans worried about finding it in their bodies, especially in pregnant or fetal bodies. A lot of roads led to the Chernobyl disaster: the Soviet state system, to be sure, but also the Cold War arms race, a faith in scientific progress shared in East and West, and a global disregard for the natural world and the human body. This course will follow those roads to the climax of the explosion and then examine the many paths out of Chernobyl: the disaster's aftereffects on geopolitics, environmentalism, feminism, and body politics. We will draw on a recent outpouring of scholarly and popular works on Chernobyl, including books, podcasts, and television series. We will also read texts on feminism, environmentalism, and other nuclear disasters, Cold War histories, and fiction to provide context and sites for further inquiry.

This course considers the main themes of Soviet history through canonical works of fiction, with an occasional addition of excerpts from autobiographies, memories, and police files.

What makes it possible for the imagined communities called nations to command the emotional attachments that they do? This course considers some possible answers to Benedict Anderson's question on the basis of material from the Balkans. We will examine the transformation of the scenario of paradise, loss, and redemption into a template for a national identity narrative through which South East European nations retell their Ottoman past. With the help of Žižek's theory of the subject as constituted by trauma and Kant's notion of the sublime, we will contemplate the national fixation on the trauma of loss and the dynamic between victimhood and sublimity.

What does it feel to be watched and listened to all the time? Literary and cinematic works give us a glimpse into the experience of living under surveillance and explore the human effects of surveillance - the fraying of intimacy, fracturing sense of self, testing the limits of what it means to be human. Works from the former Soviet Union (Solzhenitsyn, Abram Tertz, Andrey Zvyagintsev), former Yugoslavia (Ivo Andrić, Danilo Kiš, Dušan Kovačević), Romania (Norman Manea, Cristian Mungiu), Bulgaria (Valeri Petrov), and Albania (Ismail Kadare).

This course will discuss the complex experience of survival, its forms and conceptualizations. Not limited to a historical discourse, the course's content and scope are framed by modernity, beginning in the 19th century biological notion of survival through its subsequent milestone articulation by Franz Rosenzweig and concluding in the selective reading from a plethora of post-Holocaust writings. What does it mean to survive? According to those who during WWII lived on the narrow threshold between life and death and survived its precariousness, survival depended on diverse rational and irrational factors such as faith (extrinsic or intrinsic), health, age, wealth, egoism, coincidence, hope, and luck that often verge on the miraculous; thus, no discursive centrality would be ascribed to any of the forms of survival under our investigation. During the course we will become familiar with historical, philosophical, and biographical accounts of survival.

This course traces the intellectual genealogies of the rise of a Global New Right in relation to the contexts of late capitalist neoliberalism, the fall of the Soviet Union, as well as the rise of social media. The course will explore the intertwining political and intellectual histories of the Russian Eurasianist movement, Hungarian Jobbik, the American Traditional Workers Party, the French GRECE, Greek Golden Dawn, and others through their published essays, blogs, vlogs and social media. Perhaps most importantly, the course asks: can we use f-word (fascism) to describe this problem? In order to pose this question we will explore the aesthetic concerns of the New Right in relation to postmodern theory, and the affective politics of nationalism. This course thus frames the rise of a global new right interdisciplinary and comparatively as a historical, geopolitical and aesthetic problem.

The first quarter covers the ninth century to the 1870s; the second quarter continues on through the post-Soviet period. Working closely with a variety of primary sources-from oral legends to film and music, from political treatises to literary masterpieces-we will track the evolution of Russian civilization over the centuries and through radically different political regimes. Topics to be discussed include the influence of Byzantine, Mongol-Tataric, and Western culture in Russian civilization; forces of change and continuity in political, intellectual and cultural life; the relationship between center and periphery; systems of social and political legitimization; and symbols and practices of collective identity.

This course explores the role of women in both making and unmaking socialism in Central and Eastern Europe. While we begin with women's direct engagement in political discourse and government, the scope of the course will expand to engage with women writers, artists, performers, scholars, and dissidents who drove social change through the twentieth century in the Eastern Bloc.

Russian literature is known for the sweeping epics that Henry James once dubbed the "loose baggy monsters." However, in addition to the famed 'doorstop novels,' the Russian literary canon also has a long tradition of innovative short fiction-of short stories and novellas that experiment with forms of storytelling and narration. This course focuses on such works, as well as the narrative strategies and formal devices that allow these short stories and novellas to be both effective and economical. Throughout the quarter, we will read short fiction from a variety of Russian authors and examine the texts that establish the tradition of Russian short fiction as well as those that push its boundaries. We will attend to the formal characteristics of these texts, analyze their approach to storytelling, and ultimately question what these texts reveal about our appetite for narrative. Authors sampled include: Pushkin, Gogol, Turgenev, Tolstoy, Dostoevsky, Chekhov, Platonov, Nabokov, Tolstaya, and many others! No prior knowledge of Russian language or literature is required.

What kind of empire was the Soviet Union? Focusing on the central idea of Eurasia, we will explore how discourses of gender, sexuality and ethnicity operated under the multinational empire. How did communism shape the state's regulation of the bodies of its citizens? How did genres from the realist novel to experimental film challenge a cohesive patriarchal, Russophone vision of Soviet Eurasia? We will examine how writers and filmmakers in the Caucasus and Central Asia answered Soviet Orientalist imaginaries, working through an interdisciplinary archive drawing literature and film from the Soviet colonial 'periphery' in the Caucasus and Central Asia as well as writings about the hybrid conception of Eurasia across linguistics, anthropology, and geography.