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Course Criteria
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3.00 Credits
A close reading of Chekhov's best work in the genres on which he left an indelible mark (the short story and the drama) on the subjects that left an indelible imprint on him (medical science, the human body, identity, topography, the nature of news, the problem of knowledge, the access to pain, the necessity of dying, the structure of time, the self and the world, the part and the whole) via the modes of inquiry (diagnosis and deposition, expedition and exegesis, library and laboratory, microscopy and materialism, intimacy and invasion) and forms of documentation (the itinerary, the map, the calendar, the photograph, the icon, the Gospel, the Koan, the lie, the love letter, the case history, the obituary, the pseudonym, the script) that marked his era (and ours). No knowledge of Russian required. - C. Popkin Not offered in 2009-2010. 3 points
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3.00 Credits
An examination of nineteenth-century novels and novellas by women: the focus will be on Russian writers (Gan, Zhukova, Pavlova, Tur, Vovchok, Khvoshchinskaia, Kovalevskaia), but we will include relevant works by novelists from other traditions (Germaine de Sta l, George Sand; Jane Austen, Charlotte Bront , Elizabeth Gaskell, George Eliot; Harriet Beecher Stowe; Olive Shreiner). We will discuss broader issues relating to the theory, form, and poetics of the novel, as well as ask questions about the nature of realism, about the politics of literary history and canonization, about the feminine imagination. All works may be read in English. (No knowledge of Russian or French is required.) - L. Knapp Not offered in 2009-2010. 3 points
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3.00 Credits
A survey of the conceptual commonalities in 20th century Russia and Western European literature, art, architecture, theater, and music. Emphasis will be on the views of the Self, the relationship between matter and psyche, and reality and appearance, discussed in the context of Russian Symbolism, analytical psychology, and the Modern. 3 points
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3.00 Credits
The course explores the notion of theatricality, its contradictory definitions, and its possible applications to Cultural Studies. It considers the place of both public spectacle and theatrical Event in Russian culture, traditionally considered theatrical as such. The study of public spectacles from 18th-century Court festivities, through 1920s Revolutionary festivals to the 1980 Moscow Olympic Games and the recent celebration of 300 years of Saint-Petersburg. In our exploration of Russian theater a special emphasis will be put on those figures that have been most influential for 20th-century theater and film in the West (Stanislavski, Meyerhold, Diaghilev, Evreinov, etc.). All the readings will be in English. - T. Smoliarova 3 points
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3.00 Credits
This course examines literary representations of violence in twentieth century Russian and Balkan literature. Within a text, the balance between gore and philosophy, naturalistic details and sparse descriptions can shape our reaction to and cognition of violence. We will look at depictions of different types of violence (including violence resulting from mass-extermination campaigns like the Soviet gulag, violence in warfare, sexual violence, absurdist violence etc.), and consider how literary devices negotiate with violence. Readings include works by Ivo Andric, Nikos Kazantzakis, Aleksander Blok, Andrei Platonov, Varlam Shalamov, Vladimir Sorokin, and others. - A. Kokobobo Not offered in 2009-2010. 3 points
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3.00 Credits
The changes in the literary situation in East European countries that have accompanied and followed the end of communist rule. Works by representative authors from Poland, the Czech Republic, Slovakia, Hungary, the former Yugoslavia, Bulgaria, and Ukraine. Not offered in 2009-2010. 3 points
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3.00 Credits
Focus will be on the often deceptive modernity of modern Central and East European theater and its reflection of the forces that shaped modern European society. It will be argued that the abstract, experimental drama of the twentieth-century avant-garde tradition seems less vital at the century's end than the mixed forms of Central and East European dramatists. - I. Sanders Not offered in 2009-2010. 3 points
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3.00 Credits
An exploration of the ways gender and sexual identities have been articulated and constructed in a number of Russian and East European literary texts (from the late 19th century to the present). Representative works from Russia, Ukraine, Poland, Hungary, and the former Yugoslavia. Not offered in 2009-2010. 3 points
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3.00 Credits
The contributions to modern critical thought of Russian Formalism, Prague Structuralism, East European structural poetics, and the semiotics of culture. The characteristic features of those movements are examined in comparison with kindred critical developments in the West. Readings in English. Not offered in 2009-2010. 3 points
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3.00 Credits
A general introduction to the medieval literature of Slavia Orthodoxa, focusing on the relation between medieval text and ritual context. Close readings of selected works agaisnt a broad cultural background. Attention to ritual time and space and ritual performance, Eastern Orthodox monasticism and the cult of saints, manuscript vs. printed culture, orthodoxy vs. heteropraxis. Readings are in English (with a parallel list in the OCS for the most daring). - V. Izmirlieva Not offered in 2009-2010. 3 points
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