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Course Criteria
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3.00 Credits
This course explores theories of the verbal-visual axis. While we focus on major contemporary approaches to inter- and multidisciplinary studies, special attention is given to the historical development of interart discourse. We read texts by Horace, Lessing, Panofsky, Praz, W. J. T. Mitchell, and others. B. Shallcross. Winter.
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3.00 Credits
This course considers Soviet "montage cinema" of the 1920s in the context of coeval aesthetic projects in other arts. How di d Eisenstein ? theory and practice of "intellectual cinema" connect to Fernand Leger and Vladimir Tatlin What did Meyerhol d's "biomechanics" mean for filmmakers Among other figures and issues, we address Dziga Vertov and Constructivism, German Expressionism and Aleksandr Dovzhenko, and Formalist poetics and FEKS directors. Film screenings are three hours a week in addition to scheduled clas s time. Y. Tsivian. S
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3.00 Credits
This course is an overview of Balkan folklore from ethnographic, 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, help us understand folk tradition as a dynamic process. We also 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 first hand through our visit to the classes and rehearsals of the Chicago-based ensemble "Balkanske igre. A. Ilieva. Winter.
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3.00 Credits
This course investigates the complex relationship between South East European self-representations and the imagined Western "gaze" for whose benefit the nations stage their quest for identity and their aspirations for recognition. We also think about differing models of masculinity, the figure of the gypsy as a metaphor for the national self in relation to the West, and the myths Balkans tell about themselves. We conclude by considering the role that the imperative to belong to Western Europe played in the Yugoslav wars of succession. Some possible texts/films are Ivo Andric , Bosnian Chronicle ; Aleko Konstantinov , Baj Ganyo ; Emir Kusturica , Underground ; and Milcho Manchevski , Before the Rain. A. Ilieva. Autumn.
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2.00 Credits
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
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3.00 Credits
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 i ek' 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 Njego 's Mountain Wreath; Ismail Kadare' s The Castle ; and Anto n Donchev ? Time of Parting. A. Ilieva. Spring
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3.00 Credits
In this course, we ask whether there is such a thing as a "Balkan" type of magic realism and think about the differences between the genres of magic realism and the fantastic, while reading some of the most interesting writing to have come out of the Balkans. We also look at the similarities of the works from different countries (e.g., lyricism of expression, eroticism, nostalgia) and argue for and against considering such similarities constitutive of an overall Balkan sensibility . A. Ilieva. Spring.
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3.00 Credits
This course is designed as an overview of major cinematic works from Bulgaria, Albania, Greece, Rumania, former Yugoslavia and Turkey. While the main criterion for selection is the artistic quality of the work, the main issues under consideration are those of identity, gender, the poignant relation with the "Western World," memories of conflict and violence, and socialism and its disintegration and subsequent emigration. We compare the conceptual categories through which these films make sense of the world, especially the sense of humor with which they come to terms with that world. Directors whose work we examine include Vulchanov and Andonova (Bulgaria); Kusturica, Makavejev, and Grlic (Former Yugoslavia); Guney (Turkey); Boulmetis (Greece); and Manchevski (Macedonia) . A. Ilieva. Winter.
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3.00 Credits
This introductory course examines the poetics of femininity and masculinity in some of the best works of the Balkan region. We contemplate how the experiences of masculinity and femininity are constituted and the issues of socialization related to these modes of being. Topics include the traditional family model, the challenges of modernization and urbanization, the socialist paradigm, and the post-socialist changes. Finally, we consider the relation between gender and nation, especially in the context of the dissolution of Yugoslavia. All work in English. A. Ilieva. Winter.
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3.00 Credits
From 1894 to 1913, Symbolism was the dominant artistic movement in Russia. Though it is most closely associated with the poetic works of Bal'mont, Gippius, Sologub, Annensky, and Blok (among others), it also found vivid expression in painting, performance, and even music. It was the first artistic school in Russia to receive full development as an aesthetic doctrine, especially at the hands of Briusov, Belyi, and Ivanov. Moreover, Russian Symbolism can hardly be understood without study of its Western and Eastern European precedents. We sample all the major authors, genres and media of Russian Symbolism and consider major scholarly approaches to arrive at a conceptualization of the movement as a whole. R. Bird. Winter.
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