Russian Studies Department

Chair: Dan Ungurianu; Professors: Alexis Klimoff, Dan Ungurianu; Associate Professor: Nikolai Firtich; Visiting Assistant Professor: Elena Boudovskaia.

Requirements for Concentration: 10 units beyond introductory language; including Russian Studies 331/332 or equivalent, Russian Studies 135/235, 152/252, plus 3 units in literature or culture at the 300-level.

Senior-Year Requirements: 2 units of advanced course work. Senior thesis (Russian Studies 300) is required of students who are candidates for departmental honors.

Recommendations: Study of the language is best started in the freshman year. Study Away in Russian through the Vassar Program in St. Petersburg is strongly recommended.

Advisers: The department.

Correlate Sequence in Russian Studies: Four semesters of the Russian language (or equivalent) and three additional units in culture, literature and/or language, one of which must be at the 300-level. Entering students with advanced proficiency in Russian are required to take five units in literature and/or culture, at least two of which are at the 300-level.

I. Introductory

105. Elementary Russian (1.5)

The essentials of grammar with emphasis on the development of oral-aural proficiency. The department.

Year-long course, 105-106.

Open to all classes.

Five 50-minute periods plus two hours of oral practice.

106. Elementary Russian (1.5)

The essentials of grammar with emphasis on the development of oral-aural proficiency. The department.

Year-long course, 105-106.

Open to all classes.

Five 50-minute periods plus two hours of oral practice.

107. Intensive Introductory Russian (2)

Single-semester equivalent of Russian 105-106. Intensive training in fundamental language skills. Designed for beginning students who wish to accelerate their learning of Russian. The department.

Open to all classes.

Five 75-minute periods, plus four 30-minute drill and conversation sessions.

131. Russian Screen and Stage (in English) (1)

Aspects of Russian film, drama, and performing arts.

Topic for 2009/10: Russian Cinema in its European Context. A survey of Russian cinema from the 1920s to our days. Films considered include the early masterpieces directed by Eisenstein, Dovzhenko, Vertov and others, productions of the Stalin era, movies dating from the "Thaw" and the following decades, including the great works of Tarkovsky and Paradjanov, films from the years of "glasnost" and beyond. Readings include critical and theoretical articles by filmmakers and film critics. Mr. Firtich.

Open to all classes. Readings and lectures in English. Russian majors see Russian Studies 231b.

Two 75-minute periods.

135. The Russian Classics: The Great Realists of the Nineteenth Century (in English) (1)

The great tradition of Russian literature with its emphasis on ultimate existential and moral questions. Selected works by such nineteenth-century masters as Pushkin, Gogol, Turgenev, Tolstoy, and Dostoevsky. Mr. Ungurianu.

Open to all classes. Readings and lectures in English. Russian majors see Russian Studies 235a.

Two 75-minute periods.

141. Tolstoy in Battle (in English) (1)

The representation of war in Tolstoy's fiction, centered on a detailed analysis of War and Peace, with this classic novel considered in the context of the writer's earlier and later war narratives, including Sebastopol Tales and "Hadji Murat." Tolstoy is also viewed as a "combatant" in the sense of one who tirelessly challenged accepted notions in aesthetics, ethics, religion, philosophy, history, and politics. Mr. Firtich.

All readings and discussions in English.

Open to all classes.

Two 75-minute periods.

142. Dostoevsky and Psychology (in English) (1)

Fyodor Dostoevsky was an avid student of the human mind, with particular interest in aberrant and self-destructive behavior. He was steeped in the medical literature of his day, and drew on this knowledge as well as on his four-year-long prison experience to endow his characters with fascinating psychological depth. And after Dostoevsky's death, his works have been cited by Freud and some other psychologists to support theories of their own. This course focuses on a number of works in which Dostoevsky's depiction of psychological issues is particularly crucial to the central message he attempts to convey. Readings include three of the major novels (Crime and Punishment, The Devils, and The Brothers Karamazov) as well as a number of Dostoevsky's shorter works. A detailed examination of the texts is accompanied by a discussion of the nineteenth century psychological literature which was admired by Dostoevsky, as well as that which was later produced under his influence. Mr. Klimoff.

All readings and discussion in English.

Two 75-minute periods plus a 50-minute discussion session.

152. The Russian Modernists (in English) (1)

Outstanding works of major twentieth-century Russian writers, with emphasis on those who broke with the realist tradition of the nineteenth century. Mr. Firtich.

Open to all classes. Readings and lectures in English. Russian majors see 252b.

Two 75-minute periods.

165. From Fairy-Tales to Revolution: Russian Culture through the End of Imperial Period (in English) (1)

A survey of the most striking features of the prerevolutionary cultural tradition within a historical framework. Topics explored include folklore, the religious world of medieval Russia with special emphasis on art and architecture the challenges of Westernization, and the emergence of national traditions in literature, art, and music, Russian historiosophy, ideology of radicalism and the revolutionary movement. Mr. Ungurianu.

Open to all classes. All readings and discussion in English.

Two 75-minute periods plus occasional film screenings.

169. The Great Utopia: Ideals and Realities of the Russian Revolution (in English) (1)

The Russian Revolution of 1917 and the ensuing "Soviet Experiment" had major implications for the global political and ideological landscape of the twentieth century. The revolutionary era also saw an explosive proliferation of bold futuristic visions and utopian projects. The course explores reflections of the Revolution in literature, theatre, film, painting and other arts against a broad historical background. Topics include apocalyptic premonitions of the fin-de-siècle, Russian Cosmism and dreams of earthly immortality, competition among revolutionary ideologies, the art of avant-garde, Agitprop and Proletkult, Constructivism, Socialist Realism, the creation of the New Man, Stalin's "Empire Style" and return of traditionalism, and a new – and final – wave of revolutionary aspirations during Khrushchev's "Thaw." Mr. Ungurianu. Mr. Ungurianu.

Open to all classes. All readings and discussions are in English.

Two 75-minute periods, plus occasional film screenings.

171. Russia and the Short Story (in English) (1)

In this course we read and discuss a number of classic short stories by such Russian masters of the genre as Gogol, Turgenev, Chekhov, Babel, and Olesha. Mr. Klimoff.

Satisfies college requirement for a Freshman Writing Seminar.

Two 75-minute periods.

173. Focus on Literature (in English) (1)

Aspects of the Russian literary tradition—including authors, genres, and thematic emphases—and the place of this tradition in world literature. All readings and discussion in English.

Topic for 2010/11a: Beyond the Looking Glass: Nonsense and Absurd in Russian and European Literature and Visual Arts. This course investigates anti-rational movements in 20th century literature and visual arts, including theatre and film, such as the Russian Alogism and Transrational (Beyond Mind) Language, DADA, Surrealism, Absurdist literature in Russia, and the French Theatre of the Absurd. The authors and artists include Andrei Bely, Franz Kafka, Aleksey Kruchenykh, Velimir Khlebnikov, Kazimir Malevich, Vassily Kandinsky, Marc Chagall, Daniil Kharms, Samuel Beckett, and Eugene Ionesco. We trace the connections between these developments and their 19th century antecedents in the work of such masters of English Nonsense as Edward Lear and Lewis Carroll and also give special attention to the unsurpassed Russian absurdist genius Nikolai Gogol. Mr. Firtich.

187. Incantations, Spells, and Charms: Slavic Folklore and Demonology (in English) (1)

This course surveys the rich world of Slavic folklore with an emphasis on mythological and anthropological patterns whose influence persists in the mentality of Russians and other Slavic peoples. We begin with traditional oral genres and their role in peoples' life, and trace their development up to the contemporary city folklore, touching upon folklore motives in literature and film. In our discussion of Slavic demonology, we also compare the mythical creatures of Slavic folklore with their West European counterparts. Ms. Boudovskaia.

Open to all classes. All lectures and readings in English.

II. Intermediate

210. Intermediate Russian (1)

Review of the basics of grammar and analysis of more complex grammatical phenomena through the study of literary, historical, and newspaper texts, composition, and discussion. The department.

Year-long course, 210-211.

Prerequisite: Russian 105-106 or permission of instructor.

Four 50-minute periods plus one hour of oral practice.

211. Intermediate Russian (1)

Review of the basics of grammar and analysis of more complex grammatical phenomena through the study of literary, historical, and newspaper texts, composition, and discussion. The department.

Year-long course, 210-211.

Prerequisite: Russian 105-106 or permission of instructor.

Four 50-minute periods plus one hour of oral practice.

231. Russian Screen and Stage (1)

Aspects of Russian film, drama and performing arts.

By permission of instructor.

235. The Russian Classics: The Great Realists of the Nineteenth Century (1)

Individually designed for Russian majors and other students with some knowledge of Russian. Students in this course attend the same lectures and discussions as those in Russian 135, but are required to do part of the work in Russian.

By permission of instructor.

252. The Russian Modernists (1)

Individually designed for Russian majors and other students with some knowledge of Russian. Students in this course attend the same lectures and discussions as those in Russian 152, but are required to do part of the work in Russian.

By permission of instructor.

267. Culture and Ideology (1)

Offered alternative years.

269. The Great Utopia: Ideals and Realities of the Russian Revolution (1)

The Russian Revolution of 1917 and the ensuing "Soviet Experiment" had major implications for the global political and ideological landscape of the twentieth century. The revolutionary era also saw an explosive proliferation of bold futuristic visions and utopian projects. The course explores reflections of the Revolution in literature, theatre, film, painting and other arts against a broad historical background. Topics include apocalyptic premonitions of the fin-de-siècle, Russian Cosmism and dreams of earthly immortality, competition among revolutionary ideologies, the art of avant-garde, Agitprop and Proletkult, Constructivism, Socialist Realism, the creation of the New Man, Stalin's "Empire Style" and return of traditionalism, and a new – and final – wave of revolutionary aspirations during Khrushchev's "Thaw." Mr. Ungurianu. Mr. Ungurianu.

Designed for Russian majors and other students with some knowledge of Russian. Students in this course attend the same lectures and discussions as those in Russian 169, but are required to do part of the work in Russian. By permission of instructor.

Two 75-minute periods, plus occasional film screenings.

273. Focus on Literature (1)

Aspects of the Russian literary tradition—including authors, genres, and thematic emphases—and the place of this tradition in world literature.

Topic for 2010/11a: Topic for 2009/10a: Beyond the Looking Glass: Nonsense and Absurd in Russian and European Literature and Visual Arts. This course investigates anti-rational movements in 20th century literature and visual arts, including theatre and film, such as the Russian Alogism and Transrational (Beyond Mind) Language, DADA, Surrealism, Absurdist literature in Russia, and the French Theatre of the Absurd. The authors and artists include Andrei Bely, Franz Kafka, Aleksey Kruchenykh, Velimir Khlebnikov, Kazimir Malevich, Vassily Kandinsky, Marc Chagall, Daniil Kharms, Samuel Beckett, and Eugene Ionesco. We trace the connections between these developments and their 19th century antecedents in the work of such masters of English Nonsense as Edward Lear and Lewis Carroll and also give special attention to the unsurpassed Russian absurdist genius Nikolai Gogol. Mr. Firtich.

Students in this course attend the same lectures and discussions as those in Russian 173, but are required to do part of the work in Russian.

By permission of the instructor.

290. Field Work (1/2 or 1)

298. Independent Work (1/2 or 1)

Program to be worked out in consultation with an instructor. The department.

III. Advanced

300. Senior Thesis (1)

331. Advanced Russian (1)

A course designed to increase all aspects of Russian proficiency. Includes readings on a wide range of topics, discussion, oral reports, stylistic analysis, written assignments, and review of persistent grammatical difficulties. Mr. Ungurianu.

Year-long course, 331/332.

Three 50-minute periods, plus one hour of conversational practice.

332. Advanced Russian (1)

A course designed to increase all aspects of Russian proficiency. Includes readings on a wide range of topics, discussion, oral reports, stylistic analysis, written assignments, and review of persistent grammatical difficulties. The department.

Year-long course, 331/332.

Three 50-minute periods, plus one hour of conversational practice.

371. Seminar on Russian Culture (1)

Advanced seminar on Russian culture. Designed for majors and students with sufficient knowledge of Russian.

Topic for 2010/11b: The Myth of St. Petersburg. In this course, we explore the myth of the imperial Russian capital, founded by Peter the Great in the early eighteenth century as a "window on Europe." The city has been seen to embody all of the contradictions of Russia: East vs. West, imperial grandeur vs. the pathos of the little man, nature vs. civilization, free will vs. fate. We consider the semiotics of space in St. Petersburg through a careful reading of selected literary texts-both prose and poetry-including Pushkin, Gogol, Dostoevsky, Blok, Bely, Akhmatova, Mandelstam, and Brodsky, as well as some works of literary and cultural criticism. Mr. Firtich.

Conducted in Russian.

Prerequisite: Russian 331 or equivalent.

Two 75-minute periods.

373. Seminar on Russian Literature (1)

Focused analysis of an author, work, theme, genre, or literary school in the nineteenth or twentieth century. Topic for 2010/11: Dostoevsky's Crime and Punishment. A close reading of the Russian novel, taking into consideration the literary and cultural contexts that influenced the writing of this work, as well as the critical responses in both East and West. Mr. Klimoff.

Conducted in Russian.

Prerequisite: Russian 331 or permission of the instructor.

One 3-hour period.

399. Senior Independent Work (1/2 or 1)

Program to be worked out in consultation with an instructor. The department.