However, the chief approach of the course will be through reading of anthropological studies that have addressed the larger questions from numerous specific local venues.
Maxim Osipov (writer)
A strong emphasis will also be placed on the so-called current "transition period," as a new Russia in the neighborhood of the "Commonwealth of Independent States" seeks to reshape it heritage amid complex problems arising from social, economic, political, and cultural tensions, not to mention old ghosts of global rivalry, terrorism, and on many levels, disputed legitimacy.
There will also be a strong visual component: images, films, and footage on icons, churches, monasteries, and convents; as well as on holy days, liturgy, and other forms of religious celebration. How does it adapt medieval religious images to modern political, social, and economic structures? How does it err in false messianism, man-gods, and cults?
Finally, how is its called back to religious tradition and truth by Russian writers, particularly in concepts of the Evil One physical, social, supernatural, psychological, theological, and existential; romantic, modern, and most-modern?
From showcasing the awesome heights to which Soviet technology could propel the modern man, as in Stalin's famous quote that "the writer is the engineer of human souls," to dissident authors' dire warnings of apocalyptic futures on alien planets, science fiction has always had a close relationship with the Soviet and Post-Soviet state. While science fiction classics in English, such as George Orwell's , continue to loom large in international politics and culture, few outside of Russia know that Orwell and others borrowed heavily from groundbreaking novels of Soviet dystopia, including Evgenii Zamyatin's WE.
In this course students will explore the development of modern science fiction through the study of Soviet pioneers of SF in literary prose and film. Before each session, students will be expected to complete a short reading assignment. At each follow-up session, the students will submit a page summary and analysis of the talk, with a critical question for discussion.
The goal is to encourage students to enrich their major experience by participating in the intellectual discussions that occur amongst ND and visiting scholars across the campus, distinguished alumni, and professionals in the field. RU The Brothers Karamazov A multifaceted investigation into the philosophical, psychological, theological, and political determinants of Dostoevsky's most complex novel. Discussions highlight a variety of themes, from the author's visionary political predictions and rejection of materialism to his critique of rationalism and mockery of literary convention.
Over the course of a semester, we will use this rich artistic heritage to investigate both the myth and reality of St. Which political, social, and cultural values did the Russians appropriate from the West? In seeking answers to these questions, we will read and view some of the greatest works of art produced in the 19th, and 20th centuries. Kandinsky , and film Eisenstein,. RU A Space for Speech: Russian Women Memoirists Throughout the history of Russian literature, the genres of autobiographies, memoirs, and diaries have provided a venue for women writers to find their voices in a private arena safely distanced from the dominant genres of novels and lyric poetry.
This course examines the history and development of the female memoir in Russian literature from the 18th-century political memoirs of Catherine the Great to documents of the Stalinist terror and prison camp life of the 20th century. This course will introduce you to some of the most fascinating female characters and female writers in Russian poetry and prose.
At the same time, we will go far beyond a mere focus on the female person to ask how attention to the hidden gendered structures in Russian literature can bring to mind significant new perspectives on both canonical literary works and the Russian literary tradition as a whole. Themes of the course will include stereotypical gender patterning of characters, relationships, and behaviors; the literary representation of masculinity and femininity; gendered symbolism and structuring of fictional and poetic texts; reading and writing as sensual experience; the gendered nature of naming with language; the crossover between literature and politics; and female writing as cultural subversion.
In this seminar, we will concentrate on the last of these definitions.
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The European writers of the eighteenth to early twentieth centuries who form the core of our study were present at the creation of the modern world. As sensitive observers of the human condition, they were keenly interested in the forces that were transforming their society—forces that continue to shape our lives today.
These debates will be the subject of this course. Through seminar-style discussions supplemented by lectures, the goals in this course are to 1 articulate and analyze the treatment of our core themes in the works on the reading list, 2 compare the presentation of these ideas in literary texts and nonfiction sources, and 3 evaluate the effectiveness of literature in representing the world.
In this class we will explore how this tense relationship between art and the state developed in the first half of the twentieth century. Since cultural context is an important lens for our analysis, each artistic work will be accompanied by historical readings about the period in which it was produced, as well as artistic manifestos and contemporary reviews, when relevant. All films will be shown with subtitles and all readings offered in English.
Students of the Russian language have the option of discussing the course material in Russian once a week with the instructor in a group for an additional course credit. This course will examine the history of Russia from its medieval origins until the age of Catherine the Great in the 18th century. We will begin with the genesis of Orthodox Slavic civilization in medieval Kievan Rus and that state's destruction in the Mongol Invasion. Lastly, we will see how Peter the Great and his 18th century successors attempted to stabilize social order, Westernize the upper classes, and make Russia a great European power.
From these early post-Soviet films emerges a picture of a new, raw Russia, as yet confused and turbulent, but full of vitality and promise for the future. The course will conclude with several more recent films present that reflect soberly on what Russia has and has not succeeded in accomplishing since the end of Soviet rule—often with an emphasis on the generation gap between those who came of age during the USSR, and the new post-Soviet generation.
No knowledge of Russian required. Cathedral of the Intercession Izmailovo Moscow. Special attention is given to the genesis of the modern tradition of Russian literature in the first half of the century and to the role literary culture played in the political and social ferment of the period.
Prerequisite: RU or permission of the instructor. RU 20th-Century Russian Literature Surveys the literary innovation and political suppression of literature that define Russia in the 20th century. RU Introduction to Russian Poetry Surveys the evolution of verse forms and poetics in the major periods and styles of Russian poetry, including Classicism and the Baroque 18th century , Romanticism and the post-Romantics 19th century , and the early Modernist poetry of the pre-Revolutionary period Symbolism, Acmeism, and Futurism as well as later 20th-century poetry.
RU Russian Short Story A representative sampling of Russian short stories in Russian from both the nineteenth- and twentieth centuries. Examination of texts; review of grammar and everyday vocabulary and structures; introduction of more advanced idioms and lexicon; daily oral and written assignments. The course is designed as a "working laboratory" to strengthen confidence and skills in reading, speaking, understanding, and writing Russian through increasingly complex and sophisticated narratives.
Open to students with three or more semesters of Russian. Portrait of Alexander Pushkin by Vasily Tropinin. Through a reading and discussion of selections from Pushkin's lyric verse, narrative poetry, drama, and prose, students will gain an appreciation for Pushkin's extraordinary literary imagination and innovativeness, as well as his significance for the history of Russian literature as a whole.
Attention will be given to Pushkin's evolving understanding of his role as Russia's national poet, including such themes in his work as the beauty of the Russian countryside, the poet's sacred calling, political repression and the dream of civic freedom, Russia's relationship to East and West, the dialectic between chance and fate, St.
Ariadne (short story)
Petersburg and the specter of Revolution, and the subversive power of art. RU Tolstoy This course samples Tolstoy's novellas, short stories, and folktales with excerpts from the major novels. Themes include Tolstoy's Realism, his critique of the institutions of church and state, his philosophy of nonviolence, and the impact of his religious "crisis" on the latter half of his literary career. RU Russian Romanticism This course will introduce students to the literature of Russian Romanticism, which came into being at the turn of the nineteenth century, dominated Russian literature in the 's and was still influential well into the latter part of the century.
Inspired by Russian writers' encounters with English, German, and French Romantic literature, Russian Romanticism was, paradoxically, the first literary movement in Russia that sought to develop a definitively national, uniquely Russian literature and literary language. We will explore this quest for a national literature in light of Russian Romanticism's Western influences.
Shocked by the realization that the woman he loves and the man he despises have been lovers all the way, Shamokhin rushes off and returns to his father's home. After the "unfaithful" Lubkov's departure, though, he is being summoned up by his "forsaken Ariadne". They become physically close and he continues the journey, squandering the money he receives from Russia, where his father by now had mortgaged his estate twice.
Later the narrator meets the couple in Yalta. It transpires that the only reason for Ariadna's decision to return to Russia was the fact that prince Maktuyev was there. Shamokhin who is now is virtually broke is rapturous: "Oh, Lord If she hits it off with the prince, it means freedom, then I can go back to the country with my father! Elena Shavrova [note 1] in her December letter suggested that "Ariadne" may well become a common name, "for it truly and realistically summarizes a true woman character" la vraie femme aux hommes.
Tatyana L. Tolstaya, Leo Tolstoy 's daughter, wrote on 30 March "I am always amazed when I see a male writer who understand so deeply the woman's nature I recognize myself in " Dushechka " so as to feel ashamed.
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But even more ashamed I felt when I recognized myself in Ariadna. Munt in early called the story "ideologically to the point and wonderfully written". The contemporary conservative critics, while disagreeing about details, almost unanimously saw "Ariadna" as a step back in Chekhov's development as a writer. Govorukha-Otrok in Moskovskiye Vedomosti compared Ariadna negatively to Turgenev 's Torrents of Spring , saw it as superficial and panned as belonging to the Pyotr Boborykin territory of anecdotal prose. Achkasov in Russky Vestnik criticized Chekhov for his "diatribe against intelligent women" mixing the author with his hero, Shamokhin , considering the story weak and unworthy of critical attention.
From Wikipedia, the free encyclopedia. He considered Shavrova a promising writer and edited some of her stories, but "being a woman of means, she never took her own talent seriously," according to Mikhail Chekhov. The Works by A. Chekhov in 12 volumes. Khudozhestvennaya Literatura. Moscow, Anton Chekhov works. I live well. It was in Tarusa where she began to work on her memoir, which circulated in samizdat copies in the Soviet Union and was first published in the West in the nineteen-seventies.
Life was modest. Buckets of water were delivered each day by a horse and buggy, and the shelves at the grocery store were reliably empty.
But the town was intellectually vibrant, and became known as a Russian version of the Barbizon, the French collective of artists who, in the nineteenth century, lived in happy isolation in a village on the edge of Fontainebleau Forest, outside Paris. The content was not overtly political, but the publication was a bold gesture, a dog whistle of free thinking. For a time, Tarusa Pages , which was issued by a regional publishing house in Kaluga, evaded the censorship of Communist Party ideologues in Moscow.
Thirty thousand copies were printed. On learning about the magazine, officials in Moscow halted the printing of further issues and ordered existing copies to be removed from bookshops and libraries. A young, relatively unknown Joseph Brodsky came to visit; so did his fellow future Nobel recipient Alexander Solzhenitsyn, the chronicler of the gulag.
Rumor had it that as many as eleven K. Hundreds of people came to the ceremony, the crowd spilling out across the hillside. One evening, young Dmitri offered Osipov his first sip of wine. He was riveted, and infuriated. The family was promised a new plot of land in town, but, once the bulldozers had cleared away the rubble, they were given only meagre compensation, paid in rubles. One afternoon in February, I went with Osipov to the site where the house once stood, where an ugly brick edifice in a field of knee-high snow was now boarded up. We opened the gate and sloshed around the yard, stopping for a moment under a large, drooping linden tree, the only thing that remained from the years he spent here as a child.
When Osipov was a student in the eighties, the humanities remained tainted by Soviet ideology, so he decided to study medicine. After graduating from medical school, he left with his family for a research fellowship at the University of California, San Francisco, where he studied cardiology. He was in California when his father died; five months later, the Soviet Union collapsed, and he returned to Russia. His country was in ruins, and he wanted to do his part to help rebuild it. He would sit on a plane for eight or ten hours, drop off the passenger, and come right back. Each trip paid five hundred dollars—more than five times the average monthly wage for a doctor in Russia at the time.
After missing his return flight, the doctor lies on the airport floor, exhausted, and has a waking dream in which he talks to his dead father, just as Osipov had once done in the Sacramento airport on a long layover. In , by the time Osipov built his dacha, Tarusa was a Russian provincial town much like any other, with shuttered communal farms and a slowly dwindling population.
In time, Osipov began to go there by himself, especially after he took the job at the hospital. Osipov saw patients on Fridays and Saturdays and devoted the rest of his time to writing. Yulia and I often visited Marco Bravura, an Italian mosaic artist in his sixties, and his wife, Daniela, a gifted storyteller and cook.
Maxim Osipov finds inspiration in a rural Russian town.
We also became friendly with Narine Tutcheva and Petr Popov, both architects, known for staging imaginative theatrical productions on their back patio every summer. The friend opposed their prosecution but, unlike Osipov, took issue with their protest in a Moscow cathedral. A fight over the merits of the Russian annexation of Crimea —Osipov was staunchly opposed—led to another similarly dramatic exit. Maryana, who is a thirty-one-year-old accomplished violinist and lives in Frankfurt, gave a concert last winter with a group of musicians at the House of Writers. Osipov hosted a dinner in her honor at a restaurant, and a family friend stood to give a toast.
Osipov interrupted, telling the guest to toast not him but Maryana and the other performers. It was a magnanimous gesture, delivered with more severity than I could imagine ever mustering. Sucher agreed, on the condition that, instead of a one-off payment, they set up a charitable fund.
When I asked Ulitskaya about Osipov, she told me that she was impressed by his perseverance. Money from the fund paid for defibrillators, heart monitors, and a number of electrocardiogram machines, as well as an apartment in town for a new cardiologist, Artemy Okhotin, from Moscow.