REES

Vampires, fire-breathing dragons, vengeful mountain nymphs. 7/8 and other uneven dance beats, heart-rending laments, and a living epic tradition. This course is an overview of Balkan folklore from historical, political, and anthropological perspectives. We seek to understand folk tradition as a dynamic process and consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. We also experience this living tradition firsthand through visits of a Chicago-based folk dance ensemble, “Balkan Dance.”

The course focuses on the cinematic responses by several leading film directors from East and Central Europe to one of the central events of 20th century history -- the event known as the Holocaust.  The Nazis began a cinematic documentation of WWII at its onset, positioning their cameras in places of actual atrocities. Their goal was to produce documentary footage framed by hostile propagandistic schemes; contrary to this ‘method’, the Holocaust feature films are all but a representation of the Jewish genocide produced after the actual, traumatic events of that war took place. In this class we aim at discussing the challenge of representing the Jewish genocide which has often been defined as un-representable. Because of this challenge, the Holocaust films raise questions of ethical responsibility for the cinematic production and a search for relevant artistic means with which to engage the post-traumatic representation. Therefore, among the major tropes we will analyze the voyeuristic evocation of death and suffering; a truthful representation of violence versus the purported necessity of its cinematic aesthetization; as well as the intertwined notions of chance and hope as conditions of survival versus the hagiographic representation of victims.  While our main goal is to grasp the potential of cinema for deepening our understanding of the Holocaust, the course simultaneously explores the extensive and continuous cinematic production of the genre and its historical development in various European countries, to mention the impact of censorship by official ideologies in the Soviet Union, Poland, Hungary, and Czechoslovakia during the Cold War.

This two-quarter sequence, which meets the general education requirement in civilization studies, provides an interdisciplinary introduction to Russian civilization. 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. Note: Taking these courses in sequence is recommended but not required.

Over the past 200 years, various political and cultural regimes of Russia have systematically exploited the gap between experience and representation to create their own mediated worlds--from the tight censorship of the imperial and Soviet periods to the propaganda of the Soviet period and the recent use of media simulacra for strategic geopolitical advantage. During this same period state control of media has been used to seclude Russia from the advancement of liberalism, market economics, individual rights, modernist art, Freud, Existentialism, and, more recently, Western discourses of inclusion, sustainability, and identity. Examining this history, it is sometimes difficult to discern whether the architects of Russian culture have been hopelessly backward or shrewd phenomenologists, keenly aware of the relativity of experience and of their ability to shape it. This course will explore the worlds that these practices produce, with an emphasis on Russia's recent confrontations with Western culture and power, and including various practices of subversion of media control, such as illegal printing and circulation. Texts for the course will draw from print, sound, and visual media, and fields of analysis will include aesthetics, cultural history, and media theory. 

The center of this course is film style, from the classical scene breakdown to the introduction of deep focus, stylistic experimentation, and technical innovation (sound, wide screen, location shooting). The development of a film culture is also discussed. Texts include Thompson and Bordwell's Film History: An Introduction; and works by Bazin, Belton, Sitney, and Godard. Screenings include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir.

Written in the wake of the Crimean War (1856) and the emancipation of the serfs (1861), Tolstoy's War and Peace represents Russia's most important national narrative. Tolstoy chooses to set his tale during the Napoleonic wars, the epoch commonly regarded as the moment of national awakening, which gave rise to major social and political transformations within the Russian society that were still underway at the time when Tolstoy wrote and published his epic. Reading War and Peace we not only learn a lot about Russian history and culture, but  also have a rare chance to visit the writer's workshop and witness the creation of a completely original, organic work of art. It is a telling fact that Tolstoy's novel-epic-a unique hybrid of several different genres deliberately designed as a riposte to the typical West European novel - was never finalized, because after publishing this work in a serial form in a leading "thick journal" Tolstoy continued to return to War and Peace throughout the rest of his life. This course will focus on both the artistic and intellectual facets of War and Peace. This course is recommended for students interested in Russian and European literature, history and political science as well as those who are building a Fundamentals major. The course is open to all undergraduates and some graduate students (by consent). Reading, discussion and papers will be in English.

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).

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.

Russian Modernist Theater explores the theory and practice of the new stage forms developed in Russia from 1900 to 1940. The course begins with the Stanislavsky school, and then delves deeply into the more experimental work of Meyerhold and his generation and the first attempts to create a revolutionary Soviet theater in the 1920s. The course will include a production, which will be scaled to the number and ambitions of the enrolled students. Course requirements can be met through the writing of a conventional paper, or through the production, via set or costume design, dramaturgy, performance, or staging. Each of these production assignments will require a write-up relating the work to the course materials and discussions.

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.