1 - 10 of 12 results for: SLAVIC

This course explores the application, evolution, and perception of color in art, art history, literature, and popular culture - in (Soviet) Russia and emigration. Working closely with the Cantor Arts Center collection at Stanford, this course pairs artifacts art with theoretical and cultural readings (media theory, philosophy, literature, science). With a particular focus on Russian and East European objects (including those by Russian icons, Soviet posters, and prints by Wassily Kandinsky and Marc Chagall), the course will include a basic introduction to color terminology, guest lectures on the technologies color printing, the science of color perception, and a hands-on practicum in color mixing/pigmentation. In addition to direct encounters with material and artifact, our course will also seek to better understand the digital experience of art objects in general, and color in particular. No knowledge of Russian is required.

We will read Tolstoy and Dostoevsky's culminating masterpieces closely, with an eye to the artistic originality and philosophical intensity with which they imbue their complex fictional worlds and passionately reasoning characters. Turgenev and Chekhov condense force and depth in short stories that offer a welcome counterpoint to the novels. Secondary sources encourage students from different fields to try out a variety of epistemological approaches.

Developments in and 20th-century Russian poetry including symbolism, acmeism, futurism, and literature of the absurd. Emphasis is on close readings of individual poems. Readings in Russian, taught in English.

Open to Russian majors or students working on special projects. May be repeated for credit. Prerequisite: consent of instructor.

This course explores the application, evolution, and perception of color in art, art history, literature, and popular culture - in (Soviet) Russia and emigration. Working closely with the Cantor Arts Center collection at Stanford, this course pairs artifacts art with theoretical and cultural readings (media theory, philosophy, literature, science). With a particular focus on Russian and East European objects (including those by Russian icons, Soviet posters, and prints by Wassily Kandinsky and Marc Chagall), the course will include a basic introduction to color terminology, guest lectures on the technologies color printing, the science of color perception, and a hands-on practicum in color mixing/pigmentation. In addition to direct encounters with material and artifact, our course will also seek to better understand the digital experience of art objects in general, and color in particular. No knowledge of Russian is required.

This course explores the growing field of memory studies and various modes of memory-forgetting in the post-Soviet society and culture. The 'memory boom' in post-1991 Russia has significantly altered the way the post-Soviet subjects remember, forget, or imagine their Soviet legacy. The course proposes a critical appraisal of memory studies as an opportunity for engaging in a genuine interdisciplinary endeavor. It starts by defining the field of research at the intersection of history, anthropology, sociology, and cultural theory and examines the emergence of 'memory' as an object of study within these disciplines. In the second part of the course, we will study literary representation of memory and forgetting through the concepts of post-memory, second-generation memory, memory of eye-witnesses and perpetrators, memory of the displaced persons, and amnesia and memory loss fiction. And finally, we will engage in comparing the social practices of selective remembering and forgetting of the memory of the WWII and Soviet legacy in present-day Russia, Ukraine, and Belarus.

We will read Tolstoy and Dostoevsky's culminating masterpieces closely, with an eye to the artistic originality and philosophical intensity with which they imbue their complex fictional worlds and passionately reasoning characters. Turgenev and Chekhov condense force and depth in short stories that offer a welcome counterpoint to the novels. Secondary sources encourage students from different fields to try out a variety of epistemological approaches.

Pushkin's poems, prose, and drafts in dialogue with contemporaries and cultural milieu. Emphasis on innovation and controversy in genre, lyrical form and personal idiom, shaping a public discourse. Taught in English.

Developments in and 20th-century Russian poetry including symbolism, acmeism, futurism, and literature of the absurd. Emphasis is on close readings of individual poems. Readings in Russian, taught in English.