Russian

At a time of great crisis in Russia and in Ukraine, the study of Russian remains essential to the understanding of Russian politics, history, and culture. It is also an easy move from Russian to the study of other Slavic languages, including not just Ukrainian but also Belarusian, Czech, Slovak, Polish, Bulgarian, Serbian, Croatian, etc. To learn a new language is to open yourself to another worldview, both as you gain entry into another culture and as your own sense of self is transformed. In another language, you are still you; but the tools that you use to create and express that identity change. As English speakers find themselves in Russian, they first need to come to terms with an often complicated grammar. We will tackle that aspect of our work through a degree of analytical thought, a great deal of memorization, and the timely completion of often lengthy, biweekly homework assignments. As students reflect on the very different means of expression that Russian offers, they will engage in basic, but fully functional, conversational Russian at every point along the way. Our four hours of class each week will be devoted to actively using what we know in both pair and group activities, role play, dialogues, skits, songs, etc. As a final project at the end of each semester, students will create their own video skits. Weekly individual meetings with a Russian language assistant, in addition to class sessions, will be required. Attendance at weekly Russian Table is strongly encouraged. In fall and spring, students will meet biweekly with the instructor for individual conferences. 

At a time of great crisis in Russia and in Ukraine, the study of Russian remains essential to the understanding of Russian politics, history, and culture. It is also an easy move from Russian to the study of other Slavic languages, including not just Ukrainian but also Belarusian, Czech, Slovak, Polish, Bulgarian, Serbian, Croatian, etc. To learn a new language is to open yourself to another worldview, both as you gain entry into another culture and as your own sense of self is transformed. In another language, you are still you; but the tools that you use to create and express that identity change. As English speakers find themselves in Russian, they first need to come to terms with an often complicated grammar. We will tackle that aspect of our work through a degree of analytical thought, a great deal of memorization, and the timely completion of often lengthy, biweekly homework assignments. Even as I encourage students to reflect on the very different means of expression that Russian offers, I also ask that they engage in basic, but fully-functional, conversational Russian at every point along the way. Our four hours of class each week will be devoted to actively using what we know in both pair and group activities, role play, dialogues, skits, songs, etc. As a final project at the end of each semester, students will create their own video skits. While there are no individual conferences with the instructor, weekly individual meetings with a Russian language assistant, in addition to class sessions, will be required. Attendance at weekly Russian Table is strongly encouraged. 

Ahead of intermediate study, students already know the basics of Russian grammar; thus, this course will emphasize grammar review, ever more vocabulary, and more speaking of what is already known. We will turn to more reading, starting with a variety of texts with a strong oral orientation. Past studied texts have included: Daniil Kharms’ absurdist play, The Circus Shardam; the Soviet children’s classic, Mister Twister; and the famous Russian translation of Winnie the Pooh. At the end of this course, students should feel that they have a fairly sophisticated grasp of the language. Students will also participate in individual conference work with the instructor. While students may incorporate films and/or music into their conference projects, the hope of this one-on-one time is to prioritize additional reading, including song lyrics and/or screenplays, as well as poetry and short stories. As cultural opportunities in Russia remain limited, students will also be encouraged to use conference to explore the more broadly postcolonial but russophone world. As the crisis in Russia and Ukraine continues, that is where the interesting questions are being asked. Regular written homework will be required, along with weekly conversation sessions with the Russian assistant. Attendance at weekly Russian Table is strongly encouraged.

This course is designed to help us understand and critique the meaning of violence in the modern era. Drawing on theoreticians of violence and case studies of events, we will explore a variety of types of violence and their impact on politics and society, with a particular focus on Europe and its colonies. At the center of this course will be a number of questions: Is violence modern or archaic? What are the causes and uses of violence? What are the costs of violence on both its perpetrators and its victims? What is the legacy of different kinds of violence? What can comparing different times and places tell us about the use of violence in different contexts? Topics covered will include the establishment of state control over violence, terror, terrorism, total war, The Holocaust, and attempts to come to terms with mass violence, among others.

In 1909, Norman Angell wrote The Great Illusion, a book that went on to become a bestseller. Its premise: Industrialized countries had become so interconnected that war between them did not make sense and would not happen anymore. Five years later, Europe’s industrialized countries were at war with each other. The Great War, as it was called then, lasted from 1914 until 1918 and would change the course of the 20th century. But Angell was not entirely wrong. Precisely because European economies were so interconnected, the war and its aftermath were particularly devastating. After 1918, they were entangled through an additional layer of massive loss of life, devastation, and the resulting resentment and hostility from which Europe struggled to extricate itself until 1945. This period now is sometimes called “Europe’s civil war.” Not all of this was war, however. Beyond earnest struggles for a new peacetime order, much of what we consider modern—from entertainment to consumption but also new modes of politics—has its origins in this period. The course will investigate the cultural, social, economic, and military causes and reverberations of the conflict, from the war itself to the revolutions that followed it, the enfranchisement of women, and expansion of democratic government—but also the rise of communism and fascism and ultimately war again from 1939 to 1945. The impact of these developments was not contained within Europe alone but, rather, extended to the rest of the world—not least of which was the United States. In the course, we will on occasion look beyond the European continent’s border.

World War II led to destruction of such magnitude that the international order shifted fundamentally and new terms had to be coined to describe its violence. This course will examine the events that led to the war, the war itself, and its aftermath. It will begin with a chronological outline of the Great War, the interwar years, and the war itself and then shift to explore key themes such as The Holocaust, military life, women at war, the changing meaning of race and ethnicity, occupation, etc. This course will discuss battles and leaders, but its main focus will be on the impact of the war on culture, politics, and society. Students will be asked to think seriously about how these global events were experienced by what Stalin called “the little screws of history”—i.e., “ordinary people.” This course is really about them. Issues such as total war, genocide, occupation, the terrifying new technologies of the war, and soldier’s life in the different armies will be examined. We will also look at how, after the devastation of the war, people tried to make sense of what had happened. Politicians reacted by creating new laws and institutions, while artists painted, sculpted, and made films and authors turned to the page to understand what they had seen and done.

This course will read Romanticism as a precursor to our own era of postmodernism. The starting point will be the French Deconstructionist reading of Friedrich Schlegel and his short-lived journal, Athenaeum (1798-1800). As Maurice Blanchot argues, among the many contradictions “out of which romanticism unfolds—contradictions that contribute to making literature no longer a response but a question,” perhaps most significant is that “romantic art, which concentrates creative truth in the freedom of the subject, also formulates the ambition of a total book, a sort of perpetually growing Bible that will not represent but, rather, replace the real.” We will take Blanchot’s insight as our guide in reading an otherwise disparate collection of texts ranging across Romantic time and space. From Germany, besides Schlegel’s aphorisms, we will read Hoffmann’s The Sandman (1816) and The Golden Pot (1814); from Great Britain, Scott’s The Heart of Midlothian (1818), Byron’s Don Juan (1819), and Shelley’s Frankenstein (1818); from Poland, Potocki’s The Manuscript Found in Saragossa (1814); from Russia, Pushkin’s The Captain’s Daughter (1836) and Eugene Onegin (1833), Lermontov’s A Hero of Our Time (1841), and Gogol’s Dead Souls (1842); and from the United States, Hawthorne’s The Scarlet Letter (1850) and Melville’s Moby Dick (1851). Along the way, we will periodically depart from the 19th century to emphasize the ways that Romanticism underpins what we take to be our own postmodernist thought. As a response to Don Juan, we will read Tom Stoppard’s 1993 play, Arcadia. Together with Frankenstein, we will read Jeanette Winterson’s 2019 novel, Frankissstein: A Love Story; and will end on a ship-faring note, as we juxtapose Moby Dick with Maggie Nelson’s gender- and genre-bending The Argonauts (2015).

While Dostoevsky is often praised for the universality of his themes, in his own day he was a working journalist deeply engaged with the issues facing his own contemporary Russia. This course will seek to contextualize a few of Dostoevsky’s major works by reading them as they were originally written: as part of an ongoing and often heated debate with his contemporaries. We will begin with the distinction between the 1840s and the 1860s that Dostoevsky made famous first in Notes from Underground (1864), then moving on to read Crime and Punishment (1866) and Demons (1872) in the context of the intense debates that drove the latter decade. Our particular focus will be Russian nihilism, above all as it was defined by Turgenev and Chernyshevsky, and also the “woman question,” especially as developed in the works of two women writers, Nadezhda Khvoshchinskaya and Sofiia Kovalevskaya. We will finish with Nabokov’s extravagant send-up of Chernyshevsky and Russian nihilism in The Gift (1938).