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Department of Slavic Languages and Literatures

Chair

  • William Nickell

Professors

  • Robert Bird - Director of Undergraduate Studies
  • Bozena Shallcross - Director of Graduate Studies

Associate Professors

  • William Nickell
  • Malynne Sternstein

Senior Lecturers

  • Valentina Pichugin

Lecturers

  • Mark Baugher
  • Erik Houle
  • Angelina Ilieva
  • Nada Petkovic

Emeritus Faculty

  • Howard I. Aronson
  • Bill Darden
  • Samuel Sandler
  • Edward Wasiolek

Associate Faculty

  • Leah Feldman, Comparative Literature
  • Eleanora Gilburd, History
  • Yaroslav Gorbachov, Linguistics
  • Lenore Grenoble, Linguistics
  • Faith Hillis, History
  • Matthew Jesse Jackson, Art History & Visual Arts
  • Boris Maslov, Comparative Literature
  • Eugene Raikhel, Comparative Human Development
  • Olga Solovieva, Comparative Literature
  • Anna Torres, Comparative Literature
  • Tara Zahra, History

Admissions

The Slavic Department is not currently accepting applications to the PhD program. Those interested working with our faculty in their PhD studies should apply to PhD programs in related fields such as Comparative Literature, Cinema and Media Studies, and Linguistics.  

Students seeking a master’s degree may apply to the Master of Arts Program in the Humanities (MAPH). This program has one-year and two-year tracks: both allow students to build their own curriculum with graduate-level courses in any humanities department (including Slavic Languages and Literatures) and complete a thesis with a University of Chicago faculty adviser.  The two-year program includes extensive language training, and would allow students to study BCS (Bosnian/Serbian/Croatian), Bulgarian, Czech, Polish, and Russian through the Slavic Department. Further details about the MAPH program are available at http://maph.uchicago.edu/

Contact Information

For additional information about the Department of Slavic Languages and Literatures, please see http://slavic.uchicago.edu/ or e-mail <slavic-department@uchicago.edu>.

Courses

The actual offerings for the year will be found on the University Registrar website (http://registrar.uchicago.edu/).

Bosnian, Croatian, and Serbian Courses

BCSN 31103. Advanced BCS: Literary Readings. 100 Units.

Equivalent Course(s): BCSN 21100

BCSN 31104. Advanced Bosnian/Croatian/Serbian: Language through Fiction. 100 Units.

Advanced BCS courses encompass both the 3rd and 4th years of language study, with the focus changed from language structure and grammar to issues in interdisciplinary content. The courses are not in sequence. Language through Fiction is designed to help students and instructors over one of the most difficult hurdles in language training-the transition from working through lessons in a textbook to reading unedited texts. Literature represents the greatest development of the expressive possibilities of a language and reveals the bounds within which language operates. The texts will immerse motivated language students in a complete language experience, as the passages and related exercises present the language's structure on every page. Students will learn how to engage the natural, organic language of a literary text across a variety of styles and themes. The course assumes that students are familiar with basic grammar and vocabulary, as well as both the Latin and Cyrillic alphabets. It is particularly appealing to students who are interested in the literature, history, and anthropology of the region. Equivalent Course(s): REES 31103,BCSN 31101,REES 21100

Instructor(s): Nada Petkovic     Terms Offered: Autumn
Equivalent Course(s): REES 31104, BCSN 21101, REES 21101

BCSN 31203. Advanced Bosnian/Croatian/Serbian: Language Through Film. 100 Units.

Advanced BCS courses encompass both the 3rd and 4th years of language study, with the focus changed from language structure and grammar to issues in interdisciplinary content. The courses are not in sequence. This course addresses the theme of Yugoslav and Post-Yugoslav identity through discussion and interpretation based on selected films, documentaries, images, and related texts-historical and literary, popular press, advertisements, screenplays, and literature e on film. Emphasis is on interpersonal communication as well as the interpretation and production of language in written and oral forms. The course engages in systematic grammar review, along with introduction of some new linguistic topics, with constant practice in writing and vocabulary enrichment. The syllabus includes the screening of six films, each from a different director, region, and period, starting with Cinema Komunisto (2012), a documentary by Mila Turajlic. This film will be crucial for understanding how Yugoslav cinema was born and how, in its origins, it belongs to what a later cinephile, Fredric Jameson, has called a "geopolitical aesthetic." We shall investigate the complex relationship between aesthetics and ideology in the Yugoslav and Post-Yugoslav cinema, and pay close attention to aesthetic conceptions and concrete formal properties, and more importantly, to language, narrative logic, and style.

Instructor(s): Nada Petkovic     Terms Offered: Winter
Equivalent Course(s): BCSN 21200

BCSN 31303. (Re)Branding the Balkan City: Comtemp. Belgrade/Sarajevo/Zagreb. 100 Units.

The course will use an urban studies lens to explore the complex history, infrastructure, and transformations of these three cities, now the capitals of Serbia, Bosnia and Hercegovina, and Croatia. Drawing on anthropological theory and ethnography of the city, we will consider processes of urban destruction and renewal, practices of branding spaces and identities, urban life as praxis, art and design movements, architectural histories and styles, metropolitan citizenship, and the broader politics of space. The course is complemented by cultural and historical media, guest speakers, and virtual tours. Classes are held in English. No knowledge of BCS is required. However, this module can fulfill a language requirement or simply further the study of BCS with additional weekly sections, materials, discussions, and presentations in the target language.

Instructor(s): Nada Petkovic     Terms Offered: Spring
Equivalent Course(s): REES 31303, BCSN 21300, REES 21300

BCSN 31403. Advanced BCS: Language through Art and Architecture. 100 Units.

The advanced Bosnian/Croatian/Serbian (BCS) language course is designed to lead a diverse group of students-including heritage speakers-through a variety of topics and subjects to impart nuanced communication, comprehension, and writing proficiency. This course, which encompasses both the 3rd and 4th years of language study, changes the focus from language structure and grammar to issues in interdisciplinary content. Each module foregrounds a different theme and leverages a different medium-fiction, film, art and architecture, urban anthropology, etc. Unlike the first- and second-year courses, advanced BCS courses are not in sequence, and students can take them randomly, over the course of two academic years to fulfill their 3rd and/or 4th year of language study. This year's sequences are as follows: Language through Fiction-Autumn Quarter 2017; Language through Film-Winter Quarter 2018; Language through Art and Architecture-Spring Quarter 2018. The course is complemented with cultural and historical media from the Balkans, guest speakers, cultural events, and field trips

Equivalent Course(s): BCSN 21400

Czech Courses

Courses

There are currently no courses offered in this subject.

General Slavic Courses

SLAV 70000. Advanced Study: Slavic Languages & Literatures. 300.00 Units.

Advanced Study: Slavic Languages & Literatures

Polish Courses

POLI 30300. Third-Year Polish III. 100 Units.

Terms Offered: Spring
Equivalent Course(s): POLI 20700

POLI 30403. Third Year Polish-1. 100 Units.

The process of learning in all three quarters of Third-Year Polish is framed by three themes, which most succinctly but aptly characterize Polish life, culture, and history: in the Autumn Quarter-the noble democracy in the Commonwealth of Both Nations, in the Winter Quarter-the fight for independence, and in the Spring Quarter-the newly independent Poland. During the course of the year, students also improve their knowledge of advanced grammar and stylistics. All work in Polish.

Equivalent Course(s): POLI 20403

POLI 30503. Third-Year Polish - 1. 100 Units.

Equivalent Course(s): POLI 20503

POLI 30603. Third-Year Polish-3. 100 Units.

The process of learning in all three quarters of Third-Year Polish is framed by three themes, which most succinctly but aptly characterize Polish life, culture, and history: in the Autumn Quarter-the noble democracy in the Commonwealth of Both Nations, in the Winter Quarter-the fight for independence, and in the Spring Quarter-the newly independent Poland. During the course of the year, students also improve their knowledge of advanced grammar and stylistics. All work in Polish.

Equivalent Course(s): POLI 20603

POLI 37100. From Poland to Popland. 100 Units.

In Poland, the divide between high and low strata of culture was not negotiable until the postwar advance of mass culture and technology, facilitated by the void created by the disappearing Polish folklore and social programs such as a systemic building of a classless society. Therefore, this course's main focus is on the trajectory of negotiations and mutual impact between these two cultural spheres, which in turn created a new set of cultural references and associations. On the one hand, the course offers an analysis of this complex interaction, through cinematic adaptations, between Polish canonical literature and contemporary cinema; while on the other, it discusses the young generation of Polish writers' recent engagement of youth culture, consumerism, popnationalism, and the standardized subculture of nouveau-riches. The course discusses main theoretical approaches to the popular culture; all materials are in English.

Instructor(s): B. Shallcross     Terms Offered: Winter 2013
Equivalent Course(s): POLI 27100

POLI 39900. Rdg Course: Polish Lit I. 100 Units.

POLI 39901. Reading Course: Polish Lit I. 100 Units.

POLI 39902. Reading Course: Polish Lit II. 100 Units.

POLI 39903. Reading Course: Polish Lit III. 100 Units.

Advanced Polish studies.

Russian Courses

RUSS 30102-30202-30302. Advanced Russian through Media I-II-III.

This course, which is designed for fifth-year students of Russian, covers various aspects of Russian stylistics and discourse grammar in context. It emphasizes the four communicative skills (i.e., reading, writing, listening comprehension, speaking) in culturally authentic context. Clips from Russian/Soviet films and television news reports are shown and discussed in class. Classes conducted in Russian.

RUSS 30102. Advanced Russian Thru Media-1. 100 Units.

This is a three-quarter sequence designed for fourth- and fifth-year students of Russian. It is also suitable for native speakers of Russian. This sequence covers various aspects of advanced Russian stylistics and discourse grammar in context. This sequence emphasizes the four communicative skills of listening, reading, speaking, and writing in a culturally authentic context. It builds transcultural competence by expanding students' knowledge of the language, culture, history, and daily lives of the Russian-speaking people. Vocabulary building is strongly emphasized. We add to the existing skills and develop our abilities to analyze increasingly complex texts for their meaning: to identify various styles and registers of the Russian language and to provide their neutral equivalents in standard Russian. We also work on developing our abilities to paraphrase, narrate, describe, support opinions, hypothesize, discuss abstract topics, and handle linguistically unfamiliar situations (in spoken and written format). Classes conducted in Russian. Course-specific grammar issues are covered during drill sessions (weekly) and office hours (by appointment). Oral Proficiency Interviews are conducted in the beginning and the end of the course (Autumn and Spring Quarters). Prerequisite(s): Four years of Russian, or equivalent, or consent of instructor.

Instructor(s): Valentina Pichugin     Terms Offered: Autumn
Prerequisite(s): Four years of Russian, or equivalent, or consent of instructor.
Equivalent Course(s): RUSS 21302

RUSS 30202. Adv Russian Through Media-2. 100 Units.

This course, which is designed for fifth-year students of Russian, covers various aspects of Russian stylistics and discourse grammar in context. It emphasizes the four communicative skills (i.e., reading, writing, listening comprehension, speaking) in culturally authentic context. Clips from Russian/Soviet films and television news reports are shown and discussed in class. Classes conducted in Russian. Conversation practice is held twice a week.

Instructor(s): Valentina Pichugin     Terms Offered: Winter
Prerequisite(s): Four years of Russian, or equivalent, or consent of instructor.
Equivalent Course(s): RUSS 21402

RUSS 30302. Adv Russian Through Media-3. 100 Units.

This course, which is designed for fifth-year students of Russian, covers various aspects of Russian stylistics and discourse grammar in context. It emphasizes the four communicative skills (i.e., reading, writing, listening comprehension, speaking) in culturally authentic context. Clips from Russian/Soviet films and television news reports are shown and discussed in class. Classes conducted in Russian. Conversation practice is held twice a week.

Equivalent Course(s): RUSS 21502, REES 21502, REES 30302

RUSS 30902. Third-Year Russian through Culture III. 100 Units.

This course, which is intended for third-year students of Russian, covers various aspects of Russian grammar in context and emphasizes the four communicative skills (i.e., reading, writing, listening comprehension, speaking) in a culturally authentic context. Excerpts from popular Soviet/Russian films and clips from Russian television news reports are shown and discussed in class. Classes conducted in Russian; some aspects of grammar explained in English. Drill practice is held twice a week.

Equivalent Course(s): RUSS 20902

RUSS 33333. Reading Russian for Research Purposes. 100 Units.

This course prepares students to read and do research in Russian. Students will gain a fundamental knowledge of Russian grammar and a basic vocabulary while learning to work intensively with primary and secondary texts in their area of academic interest. Reading Russian for Research Purposes has a limited number of spots available for participation via electronic course sharing, intended for students who are unable to be in Chicago physically for the course.

Equivalent Course(s): RUSS 23333

RUSS 34504. Russian Poetry from Blok to Pasternak. 100 Units.

We will survey the selected poetry of major Russian modernists from 1900 to 1935, including lyrical and narrative genres. Poets covered include: Aleksandr Blok, Andrei Belyi, Viacheslav Ivanov, Nikolai Gumilev, Osip Mandel'shtam, Anna Akhmatova, Velimir Khlebnikov, Vladimir Mayakovsky, Marina Tsvetaeva, Boris Pasternak. In addition to tracing the development of poetic doctrines (from symbolism through acmeism and futurism), we will investigate the close correlations between formal innovation and the changing semantics of Russian poetry. Attention will also be paid to contemporary developments in Western European poetry. Knowledge of Russian required.

Instructor(s): R. Bird, B. Maslov     Terms Offered: Winter
Prerequisite(s): Knowledge of Russian required.
Equivalent Course(s): CMLT 34504

RUSS 36900. Strangers to Ourselves: Twentieth Century Émigré Literature from Russia and SE Europe. 100 Units.

Being alienated from myself, as painful as that may be, provides me with that exquisite distance within which perverse pleasure begins, as well as the possibility of my imagining and thinking," writes Julia Kristeva in Strangers to Ourselves, the book from which this course takes its title. The authors whose works we are going to examine often alternate between nostalgia and the exhilaration of being set free into the breathless possibilities of new lives. Leaving home does not simply mean movement in space. Separated from the sensory boundaries that defined their old selves, immigrants inhabit a warped, fragmentary, disjointed time. Immigrant writers struggle for breath - speech, language, voice, the very stuff of their craft resounds somewhere else. Join us as we explore the pain, the struggle, the failure and the triumph of emigration and exile. Vladimir Nabokov, Joseph Brodsky, Marina Tsvetaeva, Nina Berberova, Julia Kristeva, Alexander Hemon, Dubravka Ugrešić, Norman Manea, Miroslav Penkov, Ilija Trojanow, Tea Obreht.

Equivalent Course(s): RUSS 26900, SOSL 36900, CMLT 36902, CMLT 26902, SOSL 26900

RUSS 39910. Special Topics in Advanced Russian. 100 Units.

Must complete Advanced Russian through Media or equivalent, or obtain consent of instructor. Class meets for 2 hours each week. We'll work with several topics, all of them are relevant to the general theme of "Geography and Worldview: Russian Perspective". There will be maps, reading materials, several documentaries, clips from TV programs and other media, and feature films. Class meetings will be a combination of group discussions, short presentations, and lectures. Final - one term paper at the end (in English) based on Russian materials.

Equivalent Course(s): RUSS 29910

RUSS 39911. Special Topics in Advanced Russian. 100 Units.

Equivalent Course(s): RUSS 29911

RUSS 39912. Special Topics in Advanced Russian. 100 Units.

Equivalent Course(s): REES 39912, RUSS 29912, REES 29912

South Slavic Courses

SOSL 36900. Strangers to Ourselves: Twentieth Century Émigré Literature from Russia and SE Europe. 100 Units.

Being alienated from myself, as painful as that may be, provides me with that exquisite distance within which perverse pleasure begins, as well as the possibility of my imagining and thinking," writes Julia Kristeva in Strangers to Ourselves, the book from which this course takes its title. The authors whose works we are going to examine often alternate between nostalgia and the exhilaration of being set free into the breathless possibilities of new lives. Leaving home does not simply mean movement in space. Separated from the sensory boundaries that defined their old selves, immigrants inhabit a warped, fragmentary, disjointed time. Immigrant writers struggle for breath - speech, language, voice, the very stuff of their craft resounds somewhere else. Join us as we explore the pain, the struggle, the failure and the triumph of emigration and exile. Vladimir Nabokov, Joseph Brodsky, Marina Tsvetaeva, Nina Berberova, Julia Kristeva, Alexander Hemon, Dubravka Ugrešić, Norman Manea, Miroslav Penkov, Ilija Trojanow, Tea Obreht.

Equivalent Course(s): RUSS 26900, CMLT 36902, CMLT 26902, SOSL 26900, RUSS 36900

Russian and East European Studies Courses

REES 30007. Pushkin and His Age. 100 Units.

This course approaches the Golden Age of Russian culture through the prism of the artistic and intellectual legacy of its most influential writer. We read and analyze Pushkin's poetry, prose fiction, essays, and critical works in the context of the critical, philosophical, and political debates of his time. We also consider writers such as Rousseau, Montesquieu, Karamzin, Balzac, Chaadaev, and Belinsky. Texts in English or the original; classes conducted in English.

Instructor(s): Daria Khitrova     Terms Offered: Autumn
Equivalent Course(s): HIST 23602, HIST 33602, REES 20007

REES 30011. Gogol. 100 Units.

One of the most enigmatic authors in Russian literature, Nikolai Gogol (1809-1852) was hailed in his own lifetime as the leading prose writer of his generation, a brilliant comic writer, and the innovator of the new school of Russian Naturalism/Realism. Since his death, Gogol has been the subject of ever-greater critical controversy. Reading representative works from each period of Gogol's career, including his Petersburg Tales and Dead Souls, we will trace the author's creative development and consider it in relation to his biography and early 19th-century Russian literary and social history. We will work together to identify the characteristic features of Gogol's narrative technique as well as the challenges to interpretation his texts pose. No knowledge of Russian required.

Equivalent Course(s): REES 20011

REES 30013. Dostoevsky. 100 Units.

Dostoevsky was an inveterate risk-taker, not only at the baccarat tables of the Grand Casino in Baden-Baden, but in his personal life, his political activities, and his artistic endeavors. This course is intended to investigate his two greatest wagers: on the presence of the divine in the world and on the power of artistic form to convey and articulate this presence. Dostoevsky's wager on form is evident even in his early, relatively conventional texts, like The Double. It intensifies after his decade-long sojourn in Siberia, exploding in works like The Notes from Underground, which one-and-a-half centuries later remains an aesthetic and philosophical provocation of immense power. The majority of the course will focus on Dostoevsky's later novels. In Crime and Punishment Dostoevsky adapts suspense strategies to create a metaphysical thriller, while in The Demons he pairs a study of nihilism with the deformation of the novel as a genre. Through close readings of these works we will trace how Dostoevsky's formal experimentation created new ways of exploring realms of existence that traditionally belonged to philosophy and theology. The results were never comfortable or comforting; we will focus on interpreting Dostoevsky's metaphysical provocations.

Equivalent Course(s): RLST 28204, FNDL 24612, HUMA 24800, REES 20013, RLIT 39501

REES 30020. Pale Fire. 100 Units.

This course is an intensive reading of Pale Fire by Nabokov.

Equivalent Course(s): FNDL 25311, GNSE 39610, ENGL 22817, GNSE 29610, REES 20020

REES 30302. Adv Russian Through Media-3. 100 Units.

This course, which is designed for fifth-year students of Russian, covers various aspects of Russian stylistics and discourse grammar in context. It emphasizes the four communicative skills (i.e., reading, writing, listening comprehension, speaking) in culturally authentic context. Clips from Russian/Soviet films and television news reports are shown and discussed in class. Classes conducted in Russian. Conversation practice is held twice a week.

Equivalent Course(s): RUSS 21502, REES 21502, RUSS 30302

REES 31000. Gombrowicz: The Writer as Philosopher. 100 Units.

In this course, we dwell on Witold Gombrowicz the philosopher, exploring the components of his authorial style and concepts that substantiate his claim to both the literary and the philosophical spheres. Entangled in an ongoing battle with basic philosophical tenets and, indeed, with existence itself, this erudite Polish author is a prime example of a 20th century modernist whose philosophical novels explode with uncanny laughter. In contrast to many of his contemporaries, who established their reputations as writers/philosophers, Gombrowicz applied distinctly literary models to the same questions that they explored. We investigate these models in depth, as we focus on Gombrowicz's novels, philosophical lectures, and some of his autobiographical writings. With an insight from recent criticism of these primary texts, we seek answers to the more general question: What makes this author a philosopher?

Instructor(s): Bozena Shallcross     Terms Offered: Winter
Note(s): All readings in English.
Equivalent Course(s): REES 21000, ISHU 29405, FNDL 26903

REES 31005. Bruno Schulz: An Unfinished Project. 100 Units.

This course examines the fictional, non-fictional and visual oeuvre of the brilliant Polish-Jewish modernist Bruno Schulz who perished in the Holocaust. This year marks not only the 120th anniversary of his birth but also the 70th anniversary of his death in the same town of Drohobycz on the southeastern border of Poland. These dates bracket his relatively short life and are evocative of his several unfinished authorial projects. During the course, we will focus on Schulz's concept of creation through his use of aesthetics of trash and a debased form, kabalistic origins of a fragment, temporality and its movements, myths of province and childhood. We will seek critical answers to his artistic predilection of parochial places and conspiratorial perspectives, masochism, as well as the notion of the moment as both auratic and poetic, in sum, for those components of his world which made him an illusive modernist like no other in his time. The course will be supplemented by the construal of Schulz's legend in contemporary American fiction (Cynthis Ozick, Jonathan Safran Foer, and Nicole Krauss). All readings in English translation.

Instructor(s): B. Shallcross     Terms Offered: Autumn
Equivalent Course(s): JWSC 26360

REES 31006. Joseph Conrad's Secret Agent: (In)action, Surveillance, Terrorism. 100 Units.

Course centers on Joseph Conrad's The Secret Agent: A Simple Tale. Contemporary critics often consider this novel the archetypal fictional work about terrorism, as it is based on the bomb attack that occurred in Greenwich in 1888. The Secret Agent demonstrates, however, much more than its prophetic significance rediscovered after 9/11. Therefore, the course seeks how the novel's relevance stems in equal measure from Conrad's interest in a wider political process and his distrust of state power; in particular, the course explores how these forces determine the individual caught in a confining situation. We read The Secret Agent as a political novel, that struggle for solutions defies chaos as well as an imposition of a single ideology or one authorial point of view. Its ambiguities and political antinomies allow for interdisciplinary readings that also present an opportunity to critically overview the established approaches to main Conradian themes. In analyzing the formation of the narrative's ideology we discuss Conrad's historical pessimism that demonstrates with sustained irony how capitalism breeds social injustice that, in turn, breeds anarchism. The class also focuses on how the novel exposes duplicity in staging surveillance, terrorism, as well as adjacent forms of violence or sacrifice. Critical texts include several older but still influential readings (Jameson, Eagleton) and the most recent.

Equivalent Course(s): ENGL 21006, ENGL 31006, FNDL 21006, REES 21006

REES 31104. Advanced Bosnian/Croatian/Serbian: Language through Fiction. 100 Units.

Advanced BCS courses encompass both the 3rd and 4th years of language study, with the focus changed from language structure and grammar to issues in interdisciplinary content. The courses are not in sequence. Language through Fiction is designed to help students and instructors over one of the most difficult hurdles in language training-the transition from working through lessons in a textbook to reading unedited texts. Literature represents the greatest development of the expressive possibilities of a language and reveals the bounds within which language operates. The texts will immerse motivated language students in a complete language experience, as the passages and related exercises present the language's structure on every page. Students will learn how to engage the natural, organic language of a literary text across a variety of styles and themes. The course assumes that students are familiar with basic grammar and vocabulary, as well as both the Latin and Cyrillic alphabets. It is particularly appealing to students who are interested in the literature, history, and anthropology of the region. Equivalent Course(s): REES 31103,BCSN 31101,REES 21100

Instructor(s): Nada Petkovic     Terms Offered: Autumn
Equivalent Course(s): BCSN 31104, BCSN 21101, REES 21101

REES 31303. (Re)Branding the Balkan City: Comtemp. Belgrade/Sarajevo/Zagreb. 100 Units.

The course will use an urban studies lens to explore the complex history, infrastructure, and transformations of these three cities, now the capitals of Serbia, Bosnia and Hercegovina, and Croatia. Drawing on anthropological theory and ethnography of the city, we will consider processes of urban destruction and renewal, practices of branding spaces and identities, urban life as praxis, art and design movements, architectural histories and styles, metropolitan citizenship, and the broader politics of space. The course is complemented by cultural and historical media, guest speakers, and virtual tours. Classes are held in English. No knowledge of BCS is required. However, this module can fulfill a language requirement or simply further the study of BCS with additional weekly sections, materials, discussions, and presentations in the target language.

Instructor(s): Nada Petkovic     Terms Offered: Spring
Equivalent Course(s): BCSN 31303, BCSN 21300, REES 21300

REES 32007. Milan Kundera. 100 Units.

In this course on selected works by Franco-Czech writer Milan Kundera we explore questions of art and kitsch, citizenship pre- and post-communism, and the values of modernity. Texts read include the Czech novels The Joke, the film The Joke (1969), Unbearable Lightness of Being, The Book of Laughter and Forgetting, Farewell Waltz, and the French novels, Ignorance and Festival of Insignificance, and selected essays from essay collections, The Art of the Novel, Testaments Betrayed, and The Curtain. All texts will be read in their authorized English translations.

Equivalent Course(s): REES 22007, FNDL 22007

REES 33115. Old Church Slavonic. 100 Units.

This course is an introduction to the language of the oldest Slavic texts. It begins with a brief historical overview of the relationship of Old Church Slavonic to Common Slavic and the other Slavic languages. This is followed by a short outline of Old Church Slavonic inflectional morphology. The remainder of the course is spent in the reading and grammatical analysis of original texts in Cyrillic or Cyrillic transcription of the original Glagolitic.

Equivalent Course(s): REES 23115, LING 35100, LING 23115

REES 33119. Language/Power/Identity in South East Europe. 100 Units.

This course familiarizes students with the linguistic histories and structures that have served as bases for the formation of modern Balkan ethnic identities and that are being manipulated to shape current and future events. The course is informed by the instructor's thirty years of linguistic research in the Balkans as well as his experience as an adviser for the United Nations Protection Forces in Former Yugoslavia and as a consultant to the Council on Foreign Relations, the International Crisis Group, and other organizations. Course content may vary in response to ongoing current events.

Instructor(s): V. Friedman     Terms Offered: Winter
Equivalent Course(s): LING 27200, ANTH 37400, REES 23119, LING 37200, HUMA 27400, ANTH 27400

REES 33137. Narratives Suspense in European/Russian Lit/Film. 100 Units.

This course examines the nature and creation of suspense in literature and film as an introduction to narrative theory. We will question how and why stories are created, as well as what motivates us to continue reading, watching, and listening to stories. We will explore how particular genres (such as detective stories and thrillers) and the mediums of literature and film influence our understanding of suspense and narrative more broadly. Close readings of primary sources will be supplemented with critical and theoretical readings. Literary readings will include work by John Buchan, Arthur Conan Doyle, Feodor Dostoevsky, Graham Greene, Bohumil Hrabal, and J.M. Coetzee. We will also explore Alfred Hitchcock's take on 39 Steps and the Czech New Wave manifesto film, Pearls of the Deep. With theoretical readings by: Roland Barthes, Viktor Shklovsky, Erich Auerbach, Paul Ricoeur, and others.

Equivalent Course(s): REES 23137, CMLT 22100, ENGL 26901, CMST 35102, HUMA 26901, CMST 25102, ENGL 46901

REES 33141. Avant-Garde in East Central Europe. 100 Units.

The avant-gardes of the "other" Europe are the mainstay of this course, which focuses especially, but not exclusively, on the interwar avant-gardes of Austria, Czechoslovakia, Hungary, Poland, Romania, Slovenia, and Yugoslavia. A comparative framework is employed whenever lucrative to comprehend the East/Central European movements in the wider context of the European avant-garde. The course also traces the development and legacy (political and artistic) of these avant-gardes in their contemporary scenes. Plastic, verbal, and performative arts (including film) are studied.

Instructor(s): Malynne Sternstein     Terms Offered: Spring
Equivalent Course(s): CMST 25100, CMST 35100, ARTH 25500, REES 23141, ARTH 35500

REES 33158. Theories of Narrative. 100 Units.

Equivalent Course(s): CMLT 21300, CLAS 37009, CMLT 38300

REES 34416. Russian Literature in the Composer's Ear. 100 Units.

The dialogue between author and composer in Russia is probably without parallel in other national traditions. This course will examine the musical transposition of literary works in Mussorgsky, Tchaikovsky, Rimsky-Korsakov, Stravinsky, Shostakovich, Prokofiev and Shchedrin. While Stravinsky makes use of oral tradition and folk culture, our other examples will be drawn from classic literary works, primarily from the 19th century. We will integrate close textual readings with focused analyses of the musical pieces, while devoting considerable attention to contexts of composition and reception. Throughout, we will be concerned with cultural and socio-political events from the mid-19th century to the fall of Soviet Union-events that colored the performance and interpretation of these works and often set the tone for their composition as well.

Equivalent Course(s): REES 24416, MUSI 24317, MUSI 34317

REES 35001. Introduction to the Musical Folklore of Central Asia. 100 Units.

This course explores the musical traditions of the peoples of Central Asia, both in terms of historical development and cultural significance. Topics include the music of the epic tradition, the use of music for healing, instrumental genres, and Central Asian folk and classical traditions. Basic field methods for ethnomusicology are also covered. Extensive use is made of recordings of musical performances and of live performances in the area.

Instructor(s): K. Arik     Terms Offered: Spring
Prerequisite(s): Knowledge of Arabic and/or Islamic studies helpful but not required
Equivalent Course(s): MUSI 33503, NEHC 30765, MUSI 23503, REES 25001, ANTH 25905, NEHC 20765

REES 35003. Philosophy of Architecture. 100 Units.

Readings are culled from Central and East European and Russian theoretical writings on architecture and discussed in both an architecturally specific and broader interdisciplinary context (i.e., philosophies of technology, utopic space, psychogeographies) in this course. We read and look at primary texts and architectural executions (e.g., Karel Teige's 1932 manifesto Minimum Dwelling).

Equivalent Course(s): REES 25003

REES 35603. Media and Power in the Age of Putin and Trump. 100 Units.

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.

Instructor(s): William Nickell     Terms Offered: Winter
Equivalent Course(s): REES 25603, SIGN 26029

REES 36017. The Soviet Visual Experience. 100 Units.

The Soviet Union was a world in pictures, enabled and shaped by the media revolutions that accompanied every major period in its history, from the rise of cinema to the dawn of the internet. We will try to see communism as history and as promise, and to see how this relates to our own desire for social change in our own worlds. We will examine the interaction between Marxism, state power and image culture by focusing on key moments from the entire lifespan of the USSR (1917-1991) and from across the range of media,from graphic art and film to their reflections in literature and aesthetic theory. In addition to class readings and discussions, we will be able to engage directly with a vast array of material at exhibits of graphic art (three on campus, three more across the city) and film series that will be conducted in fall 2011 as part of the city-wide Soviet Arts Experience.

Instructor(s): R. Bird     Terms Offered: Autumn
Equivalent Course(s): REES 26017, CMST 26601, CMST 36601

REES 36019. Symbolism and Cinema. 100 Units.

In his 1896 essay on cinema, Russian writer Maxim Gorky described the new medium to "madness or symbolism." The connection between cinema and symbolism was not surprising insofar as symbolism was a dominant aesthetic paradigm throughout Europe at the time. However it does suggest (perhaps surprisingly) that from the very beginning cinema was seen as a means of visualizing the non-rational, uncanny and even invisible. This course examines the relationship between symbolism and cinema with particular attention to French and Russian writings and films. Examining how symbolist aesthetics became applied to the cinematic medium, we will pay particular attention the resources it provided for conceptualizing the uncanny and the mystical. We will question whether there exists a distinct symbolist tradition in film history and how it relates to notions of poetic or experimental cinema. Films will represent a broad cross-section of European (and some American) cinema, from Jean Epstein to Sergei Eisenstein and Alexander Dovzhenko, and from Stan Brakhage to Andrei Tarkovsky.

Instructor(s): R. Bird
Equivalent Course(s): CMST 35514, CMST 25514, REES 26019

REES 36047. Pushkin and Gogol. 100 Units.

Alexander Pushkin (1799-1837) is widely considered the founding genius of modern Russian literature, especially in his lyric and epic poetry; Nikolai Gogol (1809-1852) injected a manic strain of magic realism to create the modern Russian novel. Apollon Grigor'ev later called Pushkin "our everything"; Dostoevsky claimed "We all emerged out of Gogol's 'Overcoat.'" During the quarter we will read a representative selection of both writers' major works, including Pushkin's verse novel Evgenii Onegin, verse epic The Bronze Horseman, and novel The Captain's Daughter, and Gogol's novel Dead Souls in addition to his fantastic stories "The Nose" and "The Overcoat." We will focus on close readings of the texts, paying particular attention to their experiments with literary form, as well as attending to their broader historical contextualization. We will focus particularly on the conceptions of realism projected by the texts and imposed by later readers. All readings will be in English translation.

Instructor(s): Robert Bird     Terms Offered: Autumn
Note(s): This course will offered in place of RUSS 25500
Equivalent Course(s): FNDL 26047, REES 26047

REES 36068. The Underground: Alienation, Mobilization, Resistance. 100 Units.

The ancient and multivalent image of the underground has crystallized over the last two centuries to denote sites of disaffection from-and strategies of resistance to-dominant social, political and cultural systems. We will trace the development of this metaphor from the Underground Railroad in the mid-1800s and the French Resistance during World War II to the Weather Underground in the 1960s-1970s, while also considering it as a literary and artistic concept, from Fyodor Dostoevsky's Notes from the Underground and Ellison's Invisible Man to Chris Marker's film La Jetée and Andrei Tarkovsky's Stalker. Alongside with such literary and cinematic tales, drawing theoretical guidance from refuseniks from Henry David Thoreau to Guy Debord, this course investigates how countercultural spaces become-or fail to become-sites of political resistance, and also how dissenting ideologies give rise to countercultural spaces. We ask about the relation between social deviance (the failure to meet social norms, whether willingly or unwittingly) and political resistance, especially in the conditions of late capitalism and neo-colonialism, when countercultural literature, film and music (rock, punk, hip-hop, DIY aesthetics etc.) get absorbed into-and coopted by-the hegemonic socio-economic system. In closing we will also consider contemporary forms of dissidence-from Pussy Riot to Black Lives Matter-that rely both on the vulnerability of individual bodies and global communication networks.

Instructor(s): Robert Bird     Terms Offered: Winter
Equivalent Course(s): SIGN 26012, CMST 24568, REES 26068, CMST 34568

REES 36070. Revolution. 100 Units.

Revolution primarily denotes radical political change, but this definition is both too narrow and too broad. Too broad, because since the late eighteenth century revolution has been associated specifically with an emancipatory politics, from American democracy to Soviet communism. Too narrow, because revolutionary political change is always accompanied by change in other spheres, from philosophy to everyday life. We investigate the history of revolution from 1776 to the present, with a particular focus on the Bolshevik revolution of 1917, in order to ascertain how social revolutions have been constituted, conducted, and enshrined in political and cultural institutions. We also ask what the conditions and prospects of revolution are today. Readings will be drawn from a variety of fields, from philosophy to social history. Most readings will be primary documents, from Rousseau and Marx to Bill Ayers, but will also include major statements in the historiography of revolution.

Equivalent Course(s): REES 26064, HIST 23707, HIST 33707

REES 36071. Film and Revolution. 100 Units.

On the fiftieth anniversary of 1968 our course couples the study of revolutionary films (and films about revolution) with seminal readings on revolutionary ideology and on the theory of film and video. The goal will be to articulate the mechanics of revolution and its representation in time-based media. Students will produce a video or videos adapting the rich archive of revolutionary film for today's situation. The films screened will be drawn primarily from Soviet and US cinema, from the 1920s to the present day, proceeding more or less chronologically. We begin with newsreels and a "poetic documentary" by Dziga Vertov; they will be paired with classic readings from revolutionary theory, from Karl Marx and Vladimir Lenin to Fidel Castro and Bill Ayres, and from film theory, including Vertov, Andre Bazin and Jean-Luc Godard. Readings will acquaint students with contemporary assessments of the emancipatory potential of film.

Instructor(s): R. Bird; C. Smith     Terms Offered: Autumn
Equivalent Course(s): REES 26071, CMST 34521, CMST 24521

REES 36075. For Science Fiction in Eastern Europe and Russia. 100 Units.

In this course we will examine the cultural, historical, and political contexts of some of the great works of science fiction from Eastern Europe and Russia through literature like (but not limited to) Karel Čapek's R.U.R. (origin of the robot), Evgenii Zamiatin's dystopian novel We (the inspiration for George Orwell's 1984), and Stanislaw Lem's Solaris (the inspiration for several film versions including Andrei Tarkovsky's in 1972). Our primary objective will be to examine how these writers used science fiction to interpret, comment upon, or critique their historical moment. How did these works propose alternate realities? Or how did they engage with the new and changing realities of the 20th century? All readings in English.

Instructor(s): Esther Peters     Terms Offered: Winter
Equivalent Course(s): REES 26075

REES 36076. Russian Modernist Poetry. 100 Units.

Equivalent Course(s): REES 26076

REES 36077. Russian Modernist Theater. 100 Units.

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.

Instructor(s): William Nickell     Terms Offered: Autumn
Equivalent Course(s): REES 26077

REES 36660. The Rise of the Global New Right. 100 Units.

This course traces the intellectual genealogies of the rise of a Global New Right in relation to the contexts of late capitalist neoliberalism, the fall of the Soviet Union, as well as the rise of social media. The course will explore the intertwining political and intellectual histories of the Russian Eurasianist movement, Hungarian Jobbik, the American Traditional Workers Party, the French GRECE, Greek Golden Dawn, and others through their published essays, blogs, vlogs and social media. Perhaps most importantly, the course asks: can we use f-word (fascism) to describe this problem? In order to pose this question we will explore the aesthetic concerns of the New Right in relation to postmodern theory, and the affective politics of nationalism. This course thus frames the rise of a global new right interdisciplinary and comparatively as a historical, geopolitical and aesthetic problem.

Equivalent Course(s): ENGL 26660, SIGN 26050, CMLT 26660, REES 26660, ENGL 36660, CMLT 36660

REES 37026. Kieslowski: The Decalogue. 100 Units.

In this class, we study the monumental series "The Decalogue" by one of the most influential filmmakers from Poland, Krzysztof Kieślowski. Without mechanically relating the films to the Ten Commandments, Kieślowski explores the relevance of the biblical moral rules to the state of modern man forced to make ethical choices. Each part of the series contests the absolutism of moral axioms through narrative twists and reversals in a wide, universalized sphere. An analysis of the films will be accompanied by readings from Kieślowski's own writings and interviews, including criticism by Zizek, Insdorf, and others.

Equivalent Course(s): REES 27026, FNDL 24003, CMST 36705, CMST 26705

REES 37027. Cinema and the Holocaust. 100 Units.

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

Instructor(s): Bozena Shallcross     Terms Offered: Winter
Note(s): Course requirements: film screenings, class participation, reading assignments, one class presentation, and a final project. All readings for the core texts are in English; they can be downloaded from Canvas.
Equivalent Course(s): JWSC 29550, CMST 32507, REES 27027, CMST 22507

REES 37028. David Bergelson's Strange New World. 100 Units.

Born in a shtetl in Kiev province in the Pale of Settlement in 1884, Bergelson began writing in Hebrew and Russian before switching to Yiddish, although his Yiddish always retained the trace of other languages. He lived through the First World War and the Russian revolution and civil war, and survived Hitler, but not Stalin, who had him executed for "nationalism" in 1952. "Yiddish" and "shtetl" may suggest a self-enclosed community of pious Jews, celebrating their rituals in an annual cycle. In Bergelson's world, however, time is out of joint. Anachronism, belatedness, and untimeliness, both joyful and tragic, unfold as an emotional, sensory, and existential condition in the world his fiction creates and the world in which he lived. For Bergelson Yiddish is the vehicle for questions about time, history, justice, art, and bodily experience. This course provides an introduction to Bergelson's novels and short stories, from his earliest writing to his Holocaust works.

Instructor(s): Harriet Murav     Terms Offered: Spring
Equivalent Course(s): REES 27028, JWSC 27028

REES 39009. Balkan Folklore. 100 Units.

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."

Instructor(s): A. Ilieva     Terms Offered: Winter
Equivalent Course(s): CMLT 23301, REES 29009, ANTH 25908, CMLT 33301, NEHC 20568, NEHC 30568, ANTH 35908

REES 39010. 20th Century Russian & South East European Emigre Literature. 100 Units.

Being alienated from myself, as painful as that may be, provides me with that exquisite distance within which perverse pleasure begins, as well as the possibility of my imagining and thinking," writes Julia Kristeva in "Strangers to Ourselves," the book from which this course takes its title. The authors whose works we are going to examine often alternate between nostalgia and the exhilaration of being set free into the breathless possibilities of new lives. Leaving home does not simply mean movement in space. Separated from the sensory boundaries that defined their old selves, immigrants inhabit a warped, fragmentary, disjointed time. Immigrant writers struggle for breath-speech, language, voice, the very stuff of their craft resounds somewhere else. Join us as we explore the pain, the struggle, the failure, and the triumph of emigration and exile. Vladimir Nabokov, Joseph Brodsky, Marina Tsvetaeva, Nina Berberova, Julia Kristeva, Alexander Hemon, Dubravka Ugrešić, Norman Manea, Miroslav Penkov, Ilija Trojanow, Tea Obreht.

Instructor(s): Angelina Ilieva     Terms Offered: Autumn
Equivalent Course(s): REES 29010, CMLT 26912, CMLT 36912

REES 39012. Returning the Gaze: The Balkans and Western Europe. 100 Units.

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.

Instructor(s): A. Ilieva     Terms Offered: Autumn
Equivalent Course(s): NEHC 20885, CMLT 23201, REES 29012, CMLT 33201, NEHC 30885

REES 39013. The Burden of History: The Nation and Its Lost Paradise. 100 Units.

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.

Instructor(s): A. Ilieva     Terms Offered: Winter
Equivalent Course(s): CMLT 23401, HIST 24005, NEHC 30573, NEHC 20573, CMLT 33401, REES 29013, HIST 34005

REES 39016. Gender in the Balkans: Wounded Men, Sworn Virgins, Eternal Mothers. 100 Units.

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.

Instructor(s): A. Ilieva     Terms Offered: Winter
Equivalent Course(s): GNSE 27607, REES 29016, CMLT 23902, CMLT 33902

REES 39018. Imaginary Worlds: The Fantastic and Magic Realism in Russia and Southeastern Europe. 100 Units.

In this course, we will ask what constitutes the fantastic and magic realism as literary genres while reading some of the most interesting writings to have come out of Russia and Southeastern Europe. While considering the stylistic and narrative specificities of this narrative mode, we also think about its political functions -from subversive to escapist, to supportive of a nationalist imaginary-in different contexts and at different historic moments in the two regions.

Instructor(s): A. Ilieva     Terms Offered: Spring
Equivalent Course(s): REES 29018, CMLT 27701, CMLT 37701

REES 39021. The Shadows of Living Things: The Writings of Mikhail Bulgakov. 100 Units.

What would your good do if evil did not exist, and what would the earth look like if all the shadows disappeared? After all, shadows are cast by things and people…. Do you want to strip the earth of all the trees and living things just because of your fantasy of enjoying naked light?" asks the Devil. Mikhail Bulgakov worked on his novel The Master and Margarita throughout most of his writing career, in Stalin's Moscow. Bulgakov destroyed his manuscript, re-created it from memory, and reworked it feverishly even as his body was failing him in his battle with death. The result is an intense contemplation on the nature of good and evil, on the role of art and the ethical duty of the artist, but also a dazzling world of magic, witches, and romantic love, and an irresistible seduction into the comedic. Laughter, as shadow and light, as the subversive weapon but also as power's whip, grounds human relation to both good and evil. Brief excursions to other texts that help us better understand Master and Margarita.

Equivalent Course(s): REES 29021, FNDL 29020

REES 39023. Returning the Gaze: The West and the Rest. 100 Units.

Aware of being observed. And judged. Inferior... Abject… Angry... Proud… This course provides insight into identity dynamics between the "West," as the center of economic power and self-proclaimed normative humanity, and the "Rest," as the poor, backward, volatile periphery. We investigate the relationship between South East European self-representations and the imagined Western gaze. Inherent in the act of looking at oneself through the eyes of another is the privileging of that other's standard. We will contemplate the responses to this existential position of identifying symbolically with a normative site outside of oneself-self-consciousness, defiance, arrogance, self-exoticization-and consider how these responses have been incorporated in the texture of the national, gender, and social identities in the region. Orhan Pamuk, Ivo Andrić, Nikos Kazantzakis, Aleko Konstantinov, Emir Kusturica, Milcho Manchevski.

Instructor(s): Angelina Ilieva     Terms Offered: Autumn
Equivalent Course(s): NEHC 29023, HIST 33609, HIST 23609, CMLT 29023, REES 29023, CMLT 39023, NEHC 39023

REES 39024. States of Surveillance. 100 Units.

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).

Instructor(s): Angelina Ilieva     Terms Offered: Autumn
Equivalent Course(s): REES 29024, CMLT 39024, CMLT 29024

REES 39700. Reading/Research. 100 Units.

This is a specially designed course not normally offered as part of the curriculum that is arranged between a student and a faculty member.

Instructor(s): TBA.     Terms Offered: Autumn,Spring,Winter
Note(s): Requires the consent of the instructor.

REES 39800. Reading/Research: Czech. 100 Units.

REES 39912. Special Topics in Advanced Russian. 100 Units.

Equivalent Course(s): RUSS 39912, RUSS 29912, REES 29912

REES 43902. Colloquium: Stalinism. 100 Units.

We will explore Stalin as a personality and Stalinism as a political order, an economy, a cultural system, a set of beliefs and rituals, and a way of life. Topics include the dictator, his entourage, and his cult; decision making and the new elite; industrialization, collectivization, and the economy of shortages; revolution and conservatism; nationalism, internationalism, and ethnic cleansing; political terror, mass murder, and the Gulag; communal apartments, survival strategies, and intimate life; media and the socialist-realist dreamworld; legacies and historical consciousness. Readings include classics in the field and newest hits as well as works of fiction.

Instructor(s): E. Gilburd     Terms Offered: Spring
Prerequisite(s): Advanced undergraduates with consent of instructor and prior coursework on 20th-C Russia or Russian Civ.
Equivalent Course(s): HIST 43902

REES 43903. The Art of Healing: Medical Aesthetics in Russia & the U.S. 100 Units.

What makes a medical treatment look like it will work? What makes us feel that we are receiving good care, or that we can be cured? How are these responses shaped by the rhetorical practices of doctors, researchers, and pharmaceutical companies, by the physical appearance of hospitals, offices, and instruments, or by smells and sounds? Why does the color of a pill influence its effectiveness, and how can placebos achieve what less inert medication cannot? How do predictions of success or failure effect treatment responses? When does technology instill confidence, and when does it produce a sense of degradation? Is the doctor seen primarily as a caregiver or a scientist, and how does this affect treatment outcomes? What is the aesthetic experience of being "sick"? In this course we will consider these problems from the vantage points of a medical professional and a cultural historian, focusing on material from the United States and Soviet/post-Soviet Russia. Our methodology will combine techniques of aesthetic analysis with those of medical anthropology, history and practice.

Equivalent Course(s): HIST 45100, CDIN 43903

REES 45005. History of International Cinema II: Sound Era to 1960. 100 Units.

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.

Instructor(s): R.Bird     Terms Offered: Winter
Prerequisite(s): Prior or concurrent registration in CMST 10100 required. Required of students majoring or minoring in Cinema and Media Studies.
Note(s): CMST 28500/48500 strongly recommended
Equivalent Course(s): ENGL 48900, ARTV 20003, REES 25005, CMLT 32500, CMST 28600, CMST 48600, ARTH 28600, CMLT 22500, ARTH 38600, ENGL 29600, MAPH 33700

REES 47000. Time and Memory. 100 Units.

At the beginning of the 20th century moderns and modernists announced their break with the past and launched various artistic , philosophical, political, and social experiments that claimed to construct society and the individual anew. The machine, speed, technology, and the future were the watchwords of Futurists and other modernist groups. Revolutionary transformation on all fronts was the way forward. In the same period advances in science and technology radically changed the horizon of possibility. Yet other important artists and thinkers offered the contrasting view that the past remains alive in the present-both in individuals and in human cultures. Memory was key to the future. This seminar focuses on the second tendency by examining the work of three theorists-Henri Bergson, Walter Benjamin, Victor Shklovsky-and three literary authors-Victor Shklovsky, Virginia Woolf, and Osip Mandelshtam.

Instructor(s): Harriet Murav     Terms Offered: Spring

REES 49701. Colloquium: Cultural Cold War. 100 Units.

In this course we will consider culture wars amidst the Cold War. We will range across media and aesthetic schools to examine the entanglement of art and politics, culture and diplomacy, creativity and propaganda, consumerism and the avant-garde, nuclear aspirations and dystopian visions, artistic freedom and police operations. The course's basic premise is that, notwithstanding the bipolar world it created, the Cold War was a multisided affair, so our readings will extend beyond the United States and the Soviet Union to include various national contexts.

Instructor(s): E. Gilburd     Terms Offered: Spring 2018-2019
Prerequisite(s): Upper-level undergraduates with consent of instructor
Equivalent Course(s): PLSC 49701, HIST 49701

REES 64511. Film and Revolution. 100 Units.

On the fiftieth anniversary of 1968 our course couples the study of revolutionary films (and films about revolution) with seminal readings on revolutionary ideology and on the theory of film and video. The goal will be to articulate the mechanics of revolution and its representation in time-based media. Students will produce a video or videos adapting the rich archive of revolutionary film for today's situation. The films screened will be drawn primarily from Soviet and US cinema, from the 1920s to the present day, proceeding more or less chronologically. We begin with newsreels and a "poetic documentary" by Dziga Vertov; they will be paired with classic readings from revolutionary theory, from Karl Marx and Vladimir Lenin to Fidel Castro and Bill Ayres, and from film theory, including Vertov, Andre Bazin and Jean-Luc Godard. Readings will acquaint students with contemporary assessments of the emancipatory potential of film.

Equivalent Course(s): CMST 64511