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801 - 810 of 862 results for: all courses

SLAVIC 184: Word & Image: From the Soviet Avant-Garde to the Late Soviet Post-Modernism (SLAVIC 384)

The course investigates the interaction and tension between visual and textual components present in the early Soviet avant-garde and the late Soviet postmodernism. It explores a broad range of materials: futurist books (Mayakovsky-Rodchenko; Khlebnikov, Kruchenykh), photo-montage experiments of the 1930s, Ilya Kabakov's art, Andrei Monastyrsky's performances, Vladimir Sorokin's experimental novels and Dmitrii Prigov media projects. Taught in English. (This course must be taken for a minimum of 3 units to satisfy a Ways requirement.)
Terms: Spr | Units: 2-5 | UG Reqs: WAY-A-II
Instructors: Skakov, N. (PI)

SLAVIC 185: Cinemato-graph (FILMSTUD 131, FILMSTUD 331, SLAVIC 285)

The term cinematography, which literally means "inscribing motion," tends to lose the "graphic" part in modern use. However, several influential film-makers not only practiced the art of "inscribing motion" but also wrote texts discussing the aesthetic premises of cinematographic art. This course explores theories of cinema as propagated by the following film-makers: Vertov, Eisenstein, Godard, Bresson, Antonioni, Pasolini, Tarkovsky, Greenaway, and Lynch. Selected key texts will be supplemented by screenings of classic films, indicative of each director's work.
Last offered: Winter 2016 | UG Reqs: WAY-A-II

SLAVIC 190: Tolstoy's Anna Karenina in Dialogue with Contemporary Philosophical, Social, and Ethical Thought (COMPLIT 190, COMPLIT 390, SLAVIC 390)

Anna Karenina, the novel as a case study in the contest between "modernity" and "tradition," their ethical order, ideology, cultural codes, and philosophies. Images of society, women and men in Tolstoy v. those of his contemporaries: Marx, Mill, Nietzsche, Weber, Durkheim, Freud. Open to juniors, seniors and graduate students. Requirements: three interpretive essays (500-1000 words each). Analysis of a passage from the novel; AK refracted through a "philosophical" prism and vice versa (30% each); class discussion and Forum (10%).
Last offered: Winter 2014 | UG Reqs: GER:DB-Hum, GER:EC-EthicReas, WAY-A-II, WAY-SI

SLAVIC 194: Russia: Literature, Film, Identity, Alterity (SLAVIC 394)

How do Russian literature and film imagine Russian identity ¿ and, in contrast, the ethnic or national Other? Does political and literary theory analyzing national identity and the literary imagination elsewhere hold true in the Russian context? Texts include works by Pushkin, Dostoevsky, Tolstoy, Blok, Mayakovsky, Platonov; Soviet and post-Soviet films; theory and history. Recommended for returnees from Moscow, Slavic majors, and CREEES MA students. Accepted for IR credit. Readings in English and films subtitled; additional section for Russian readers. Taught in English.
Last offered: Autumn 2012 | UG Reqs: WAY-A-II, WAY-ED

SLAVIC 200: Proseminar in Literary Theory and Study of Russian Literature

Introduction to advance study of Russian literature and culture: profession, discipline, theoretical perspectives. Variety of approaches, from semiological to psychoanalytic, phenomenological, historical, and sociological; practical exercises in the analysis of verse, narrative, and visual representation in literature and art. Three short essays (800 words) and a review of a recent monograph on Russian literature and culture. Required for graduate students and honors seniors in Russian; first-year graduate students must enroll during their first quarter. Prerequisites: Knowledge of Russian language and literature
Last offered: Autumn 2012 | UG Reqs: WAY-A-II

SLAVIC 240: The Yiddish Story (AMSTUD 240Y, JEWISHST 240)

The Yiddish language is associated with jokes, folktales, and miracle legends, as well as modern stories. This class traces the development of Yiddish literature through these short oral and written forms, following Jewish writers out of the East European market town to cities in the Soviet Union, Israel, and especially the United States. We conclude with stories written in other languages about Yiddish writers. Readings include Sholem Aleichem, I. L. Peretz, Isaac Bashevis Singer, Esther Singer-Kreitman, Cynthia Ozick, and Dina Rubina. Readings in English; optional discussion section for students who read Yiddish.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II

SLAVIC 242: Artists and Power: Eastern European Literature and Film from 1945 to 1991

During the Cold War, the highly diverse region of Eastern Europe was largely united by a common political allegiance to the USSR. The oppressive politics of the Eastern Bloc regimes meant that artists were frequently compelled to respond to political pressure in their works. This situation has been interpreted according to the logic of the Cold War: artists were either courageous dissidents who opposed the regime or brainwashed conformists. In this course we will consider examples that conform to this frame--literature and film of political reform as well as models of Socialist Realism. In addition, however, we will also consider works of self-reflection, escapism, and every-day life under Socialism, in order to arrive at a more complete understanding of the cultural history of the era. The course will include literature and film produced by artists from Albania, Bulgaria, Czechoslovakia, East Germany, Hungary, Poland, the Soviet Union, and Yugoslavia. All readings will be in English.
Last offered: Winter 2014 | UG Reqs: WAY-A-II

SLAVIC 252: Anton Chekhov

What does it mean to write like Chekhov? This class examines Chekhov as the quintessential modern writer and considers his Russian imperial context. We read his early and late prose and the major plays (Seagull, Uncle Vanya, Three Sisters, Cherry Orchard), as well as sample works by his contemporaries. Students write analytical papers and their own Chekhovian stories, and they perform a short play. Readings in English; optional discussion section for students who read Russian. NOTE: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Win | Units: 2-4 | UG Reqs: WAY-A-II
Instructors: Safran, G. (PI)

SLAVIC 260: History and Politics of Russian Language (REES 260)

How did standard Russian develop? Who determines how the language is spoken and written? How does Russian interact with other languages of the region (such as Ukrainian and Yiddish)? This class examines the development of the standard literary Russian language, focusing on the 19th century, the Soviet period, and post-Soviet language politics. Taught in English, reading in Russian.
Terms: Spr | Units: 3-4 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Safran, G. (PI)

SLAVIC 285: Cinemato-graph (FILMSTUD 131, FILMSTUD 331, SLAVIC 185)

The term cinematography, which literally means "inscribing motion," tends to lose the "graphic" part in modern use. However, several influential film-makers not only practiced the art of "inscribing motion" but also wrote texts discussing the aesthetic premises of cinematographic art. This course explores theories of cinema as propagated by the following film-makers: Vertov, Eisenstein, Godard, Bresson, Antonioni, Pasolini, Tarkovsky, Greenaway, and Lynch. Selected key texts will be supplemented by screenings of classic films, indicative of each director's work.
Last offered: Winter 2016 | UG Reqs: WAY-A-II
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