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  • RUSSN-UA 841: Theory of the Avant-Garde, East and West, 1890–1930

    4.00 Credits
    New York University

    Theory and practice of the European avant-garde in art and literature, 1890-1930. General cultural and historical approach to the avant-garde, with close readings of some of its key productions. Topics: cubism, Italian futurism, Russian cubo-futurism, imagism and vorticism, dadaism, constructivism, and surrealism. Stresses aesthetic, historical, and political interconnections between the Russian avant-garde and the West. Readings are in English, but comparative literature majors are encouraged to read works in the original language.
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  • RUSSN-UA 847: Russian Literature in the Original I

    4.00 Credits
    New York University

    Students read Russian prose and poetry in the original language. Class discussions and papers are also in Russian.
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  • RUSSN-UA 848: Russian Literature in the Original II

    4.00 Credits
    New York University

    Students read Russian prose and poetry in the Department of Russian and Slavic Studies original language. Class discussions and papers are also in Russian.
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  • RUSSN-UA 850: Introduction to Soviet Cinema

    4.00 Credits
    New York University

    An examination of the history of Russian cinema from its beginnings. The main focus is on landmarks of cinematic art and on the cultural specificity of Russian cinema. The survey also includes questions of cinema and politics (cinema as a propaganda tool), and cinema and the market. Artists discussed include Eisenstein, Vertov, Pudovkin, Kuleshov, Barnet, Shub, Kozintsev, Trauberg, and Tarkovsky. Topics include cinema and revolution, the cinema of the Russian avant-garde and constructivism, cinema and totalitarianism, and socialist realism in film.
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  • RUSSN-UA 852: Soviet and Post-Soviet Literature

    4.00 Credits
    New York University

    An introduction to Russian 20th-century fiction, concentrating on the two periods of greatest cultural ferment: 1920s modernism and late/post- Soviet postmodernism. After the 1917 revolution, Bolshevik ideology held that the Old World would be utterly destroyed, to be replaced by a new society populated by New Soviet Men. The experience of Russia in the 20th century can be viewed as the failed attempt to put radical theory into everyday practice, a grand scheme of social engineering that would inevitably be reflected in the country's literature. Legacies of Serfdom and Slavery in Russian and
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  • RUSSN-UA 854: American Literature

    4.00 Credits
    New York University

    Readings and discussions address how American slaves and Russian serfs wrote and were written about in the two countries' literary traditions. Topics include both the ways in which subjugated people attempted to represent themselves to the dominant culture and the difficulties that members of the dominant culture confronted in writing about people whose experiences were largely inaccessible to them. Particular attention is paid to how categories such as "slave," "peasant," "white," and "black" have changed over time and to how unfree people worked to turn what were perceived as cultural lacks into aesthetic advantages. 20th-Century Russia: Terror, Survival, and
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  • RUSSN-UA 859: Beautiful Dreams

    4.00 Credits
    New York University

    Encompasses the last years of the tsars and the Russian Revolution. Major events and phenomena are carefully analyzed through general readings and use of diverse media such as film, literature, visual art, and music: Lenin and communism; Stalinism; the Second World War; the end of Communism and the transition to capitalism. Paradox is at the center of this analysis: a fundamentally humanistic ideology of Communism produced one of the most murderous regimes of the century; an international movement became increasingly chauvinistic and nationalistic; a full-blown welfare state also oppressed its population in unprecedented ways. The Unquiet Dead: Imagining the Afterlife in
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  • RUSSN-UA 870: Film and Fiction

    4.00 Credits
    New York University

    Explores the connections between narrative and imagined scenarios for the afterlife. As we examine the literary and cinematic treatments of vampires, ghosts, zombies, and, in particular, posthumous narrators, we will look at the political and ideological deployment of afterlife narratives, investigating questions of cultural and sexual purity, collective guilt, and socioeconomic anxiety. Particular attention is paid to the folklore and fiction of the Slavic world, as well as to contemporary American reinterpretations. Readings will include texts by Nabokov, Gogol, Ovid, Stoker, and Morrison, accompanied by selected films. Internship and Independent Study Courses Open only to students majoring in the department.
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  • RUSSN-UA 980: Internship

    1.00 - 6.00 Credits
    New York University

    Native speakers of Russian may obtain internship credit by working with Russian language students and assisting language instructors. See the director of undergraduate studies for further details. Internship credit in other settings and organizations requires a description of duties and approval of the director of undergraduate studies, as well as a final paper.
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  • RUSSN-UA 997, 998: Independent Study

    2.00 - 4.00 Credits
    New York University

    A maximum of 8 points of independent study may be counted toward an undergraduate major (not toward a minor). Before registering, students must submit a one-page typed description of the proposed project to the director of undergraduate studies and the proposed faculty sponsor.
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