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Dr. Wayne Rebhorn, Director 208 W. 21st St. Stop B5003, Austin, Tx 78712 • 512-471-1925

Course Descriptions

C L 305 • Forbidn Romance Mod Chi Lit

33000 • Tsai, Chien-hsin
Meets TTH 1100am-1230pm UTC 3.104
(also listed as ANS 301M)
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This course is an introduction to Chinese literature from the late Qing (the second half of the 19th century) to the present with a less-explored but nevertheless important dimension: romance and the legitimacy of its representation. We will engage in topics such as the literary construction of romantic subjects in response to socio-political and intellectual provocations, gender studies, and the proliferation of amorous engagements as they pertain to our understanding of modern Chinese literary and cultural studies. We will problematize the notion that literature is a reflection of reality, and call attention to how textual representations of intimacy, despair, loyalty, to name only a few, provide writers unlikely passages to traverse or fortify consensual, legal, and moral boundaries.

C L 315 • World Literature

33005-33040 • Doherty, Brian
Meets MWF 900am-1000am FAC 21
(also listed as E 316N)
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E 316N  l  World Literature

Instructor:  Doherty, B

Unique #:  34525-34560

Semester:  Spring 2015

Cross-lists:  C L 315

Restrictions:  n/a

Computer Instruction:  No

Flags:  Global Cultures

Prerequisites: One of the following: E 603A, RHE 306, 306Q, or T C 603A.

Description: Please refer to the course schedule for course days, time, and room location: http://registrar.utexas.edu/schedules/.

Global Modern Literature—

The course will be run in four sections. The first will be reading in literary periods from The Enlightenment through Romanticism and Realism. The second will continue the historical sequence into Modernism, then do some reading in how modernism can be thought of as a global phenomenon. A third section will explore issues in Africa and the African diaspora. A fourth section will cover texts from South Asia.

The bulk of the reading will consist of substantial shorter works, from poems to short stories, shorter novels and plays. From the canon of literature to which the students will be exposed, perceptive readers will gain an appreciation of why literature is an essential response to the modern world. It is hoped that the course will be an incitement to a lifetime of sustained literary engagement on a high level.

Texts: The Norton Anthology of World Literature, Puchner, Martin, ed.  Third Edition, Volumes D-E-F. (It is essential that students have the Third Edition.)

Requirements & Grading: Attendance, participation in TA led discussions: 10%; Test one: Enlightenment through Realism: 15%; Test Two: Global Modernisms: 20%; Essay on second set of readings (3-4 pages): 20%; Final exam covers all material since first test: 35%.

C L 315 • World Literature

33045-33090 • Richmond-Garza, Elizabeth
Meets TTH 330pm-500pm BUR 106
(also listed as E 316N)
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E 316N  l  World Literature

Instructor:  Richmond-Garza, E

Unique #:  34565-34610

Semester:  Spring 2015

Cross-lists:  C L 315

Flags:  Global Cultures

Prerequisites: One of the following: E 603A, RHE 306, 306Q, or T C 603A.

Description: Global Literature and Culture --

What is a “self,” an individual? Is it a single entity or is it always entangled with others? Is it something created by history, by politics, by art, by culture or by the divine? Or does it fashion itself? Does it change over time and across space? At some level, art is always concerned with making and unmaking the individual and with freeing or chaining this being. Tracking texts from Classical Greece, Iraq and India to medieval Europe and Japan, we will focus on the continuing, and sometimes desperate, attempts of ancient and early modern artists and authors both to phrase and to answer this question. Expected names from the western canon, like Euripides, Shakespeare, Goethe and Baudelaire will keep company with Japan’s Bashô, Russia’s Pushkin, Argentina’s Borges and Nigeria’s Achebe.

We shall not limit ourselves only to the western canon but will look at points of crisis where, whether because of gender, race, ideology or class, an individual’s voyage of discovery will demand answers and action. We shall trace a drama of self-actualization, more than two thousand years old, one that is still being enacted. From the extremities of the Greek stage to a lonely cry of agony in the Assyrian desert, from ideal Platonic love to its witty and non-dialectical Asian counterparts, from a Parisian’s insomnia in 1900 to the painful experience of post-colonial Africa, from compulsive gambling to uncanny hauntings, from the dark voyages of Romantic self-discovery to imagined journeys through magical lands, we shall explore the limits of this question’s answers.

While the basis of the course will be the literary texts, we shall pillage often and importantly the resources of the other arts of painting, sculpture and film especially to conjure back to life the spirits of these past identities in preparation for a spring in which we shall interrogate our own century as it emerges from the twilight of the twentieth-century experiment.

Texts: All selections will be from The Norton Anthology of World Masterpieces (Expanded Edition in One Volume, 1997), and will include: Gilgamesh; Euripides, Medea; selections from Chuang Chou; Kalidasa, Sakuntala; selections from The Thousand and One Nights; Montaigne, “Of Cannibals;” Shakespeare, Hamlet; Basho, The Narrow Road to the Interior; Goethe, Faust; Baudelaire, from The Flowers of Evil; Pushkin, The Queen of Spades; Borges, The Garden of Forking Paths; Achebe, Things Fall Apart.

Requirements & Grading: The participation requirements include: Careful reading of all texts, consistent attendance and active discussion in class and in the discussion section. Attendance will be taken regularly at the start of each class. Each student will be allowed three unexcused absences in the course of the semester. Any further absences will lower the student's grade by a half grade (i.e. a B becomes a B-, and a B- becomes a C+).

Three midterm examinations (25% each); Reading journal to be turned in periodically (15%); Attendance and class discussion (10%).

In order to pass the course all four assignments must be completed. Failure to complete any one of the assignments will constitute failing the course.

C L 315 • World Literature

33095 • Heinzelman, Susan S
Meets TTH 930am-1100am PAR 206
(also listed as E 316N)
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E 316N  l  World Literature

Instructor:  Heinzelman, S

Unique #:  34615

Semester:  Spring 2015

Cross-lists:  C L 315

Restrictions:  n/a

Computer Instruction:  No

Flags:  Global Cultures

Prerequisites: One of the following: E 603A, RHE 306, 306Q, or T C 603A.

Description: This course will offer a window on contemporary world literature through fiction. We will be reading texts from New Zealand, Turkey, Australia, India, the United States and the United Kingdom. Authors will include Orhan Pamuk, Sara Suleri, Louise Erdrich and Zadie Smith.

Requirements & Grading: Attendance is required; you may miss three classes without an excuse. After your third absence you must provide a written excuse. If you fail to do so, I will lower your grade by 10% for each class missed. Please see me at the beginning of the semester if you have some special circumstances that will prevent you from being in compliance with this policy.

I prefer to hold discussion classes rather than lectures; to this end, please come to class with the reading for the day prepared. It should not fall to the same few students each day to sustain discussion. If we cannot hold productive discussions because too few students are prepared, I will resort to pop quizzes.

Final Examination: 35%; Quizzes (5-Objective questions and interpretative commentary): 50%; Midterm essay, 3-4 pages: 15%.

C L 315 • World Literature

33100 • COSSU-BEAUMONT, LAURENCE
Meets TTH 930am-1100am PAR 306
(also listed as E 316N)
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E 316N  l  World Literature

Instructor:  Cossu-Beaumont, L

Unique #:  34620

Semester:  Spring 2015

Cross-lists:  n/a

Restrictions:  n/a

Computer Instruction:  No

Flags:  Global Cultures; Writing

Prerequisites: One of the following: E 603A, RHE 306, 306Q, or T C 603A.

Description: Cross Atlantic Narratives: French American Conversations --

This course on French narratives of America and American narratives of France will be an opportunity to discover an ongoing transatlantic conversation and discuss mutual representations of culture and everyday life through the eyes and pens of travelers and visitors.

Readings and discussions will first draw from 18th Century testimonies left by America’s “Founding Fathers” on the one hand, and France’s early “intellectuels” on the other (Franklin and Jefferson in Paris, Lafayette in America). Issues over equal rights, freedom and slavery will be focused on to appraise the blueprint of two nations in the making. Readings will then take the students through 19th Century fiction writing (such as Gustave de Beaumont’s Marie or Slavery in the United States) and engage the same reciprocal perspectives. In the 20th Century, narratives will continue to focus on defining concerns such as gender and race as seen through the eyes of the expatriates from the Lost Generation (Hemingway, Fitzgerald, Stein in 1920s) and from the post-World War Two era (Jean-Paul Sartre, Simone de Beauvoir in America and Richard Wright, James Baldwin and other African American protagonists of Paris Noir).

Through the course, students will be invited to engage in discussions on the question of representation, remodeling and criticism of a foreign reality and the (mis)understanding(s) of each other’s culture.

Reading List: Students will be required to read weekly extracts offering a French-American dialogue from a course packet. Extracts will be taken from American narratives (or letters) of France and French narratives of America (translated). The early perspective on 18th Century will serve as springboard but most of the class will be devoted to 19th Century and especially 20th Century narratives. Brief background and non-fiction texts as well as critical articles may be added in the course packet for the benefit of class discussion.

Requirements & Grading:Two short papers (3-4 pages each): 20% each; Final critical essay (5-7 pages): 40% [Proposal 10%; Final paper: 30%]; Reading responses and class participation: 20%.

C L 315 • World Literature

33105 • Kaulbach, Ernest
Meets MWF 1200pm-100pm PAR 105
(also listed as E 316N)
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E 316N  l  World Literature

Instructor:  Kaulbach, E

Unique #:  34625

Semester:  Spring 2015

Cross-lists:  C L 315

Restrictions:  n/a

Computer Instruction:  No

Flags:  Global Cultures

Prerequisites: One of the following: E 603A, RHE 306, 306Q, or T C 603A.

Description: This is a course in early Classics: Classics of the West, of Africa, of the Middle East, and of the Far East. We will read nothing written after the 1400s. Works will be interpreted by teachers of the works, as nearly contemporaneous with the works as possible. Class lectures will tell you how and why these selections are important.

Texts: Norton Anthology of World Literature, 2nd edition, Volume A; Timaeus and Critias, ed. Desmond Lee; Sundiata, ed. D.T. Niane; Xerox packet (at IT Copy and Printing, on corner of MLK & Lavaca).

Requirements & Grading: An average of three areas, each of which counts 1/3 of your grade: attendance and quizzes, mid-term essay, final exam. To receive an “A” you must have an “A” in all three areas; same for a “B”. If you fail any area, you fail the class. Miss more than two classes and your attendance grade is reduced by one full grade.

C L 323 • Freud, Feminism & Queer Thry

33118 • Rehberg, Peter
Meets MWF 1200pm-100pm GEA 114
(also listed as EUS 347, GSD 360, WGS 345)
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Freud’s psychoanalytic project started in the 1890s and thus stands at the beginning of the 20th century’s discourse on sexuality. Queer Theory, emerging around 1990, marks its end. Within those 100 years all theorists on sexuality in the cultural context of the West such as Marcuse or Foucault had to position themselves in relation to Freud – whether they approved of his concepts or not.

In the context of Feminist and Queer Theory this conflict has played out in a particularly dramatic fashion: One of the reoccurring question has been, whether Freud provides a diagnosis of patriarchy or rather one of its manifestations.

In this course we will start with a close reading of Freud’s canonical texts, for instance The Three Essays on the Theory of Sexuality and The Interpretation of Dreams.  In the second part we will focus on the Feminist reception of Freud in the writings of Juliet Mitchell, Luce Irigaray, and Julia Kristeva, before we will eventually breach into Queer Theory and discuss a couple of essays by authors such as Leo Bersani and Tim Dean who renegotiate Freud’s thinking on the body and desire from a non-normative perspective.

While this course has its emphasis on psychoanalytic theory and its reception in the historical context of the 20th century for each of these three sections we will also analyze films and novels in order to put, in an exemplary fashion, the concepts on sexuality that these theories provide to the test. Readings include Thomas Mann, Alfred Hitchcock, and Jean Genet. 

Readings

Leo Bersani: The Freudian Body

Tim Dean and Christopher Land (eds.): Homosexuality and Psychoanalysis

Anthony Elliott: Freud 2000

Sigmund Freud: Three Essays on the Theory of Sexuality

Sigmund Freud: The Interpretation of Dreams

Sigmund Freud: Beyond the Pleasure Principle

Sigmund Freud: Dora: An Analysis of a Case of Hysteria

Jean Genet: Funeral Rites

Alfred Hitchcock: The Birds

Luce Irigaray: The Sex which Is not One

Julia Kristeva: The Portable Kristeva

Thomas Mann: Death in Venice

Thomas Mann: The Magic Mountain (excerpts)

Juliet Mitchell: Psychoanalysis and Feminism

Grading

2 Writing Assignments (3 Pages)                                  20%

Participation (incl. Attendance & Homework)                   40 %

Presentation                                                            10 %

Final Paper                                                             30 %

C L 323 • Kierkegaard And Existentialism

33119 • Holm, Jakob
Meets MWF 1100am-1200pm WAG 308
(also listed as EUS 347, GSD 360, PHL 334K)
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Soren Kierkegaard is one of the most influential thinkers from the 19th century and widely considered to be the first existentialist philosopher. He has exerted an enormous influence on Western culture during the last 150 years and has inspired numerous writers, artists, and filmmakers, who have found new perspectives in his philosophy and theology.

Kierkegaard wrote about a wide range of topics, e.g. organized religion, Christianity, ethics, and psychology, and he explored our emotional responses when we are faced with life choices. In that way, much of his philosophical work deals with the issues of how one lives as a unique individual in a concrete human reality. In his texts, he is displaying an almost postmodern fondness for metaphor, irony and parables, and he made use of various pseudonyms, which he used to present different viewpoints.

In this course we will explore excerpts from a number of Kierkegaard’s key texts such as Either/or, Fear and Trembling, The Concept of Anxiety, Stages on Life’s Way, The Sickness unto Death and Works of Love. It will give us a thorough understanding of his concepts and ideas which we will apply on a wide-ranging number of authors, among others Friedrich Nietzsche, Fyodor Dostoyevsky and Franz Kafka as well as the two most well-known writers connected with existentialism, Albert Camus and Jean-Paul Sartre. We will also watch movies from the heyday of existentialism, the mid-20th century, by directors such as Ingmar Bergman, Federico Fellini and Akira Kurosawa, and look at the influence of Kierkegaard and existentialism within theater as well. In that way, the course will examine the scope and range of Kierkegaard’s ideas in the 20th century and up till today where his ideas seem more relevant and inspiring than ever.

The course aims at increasing your ability to think and work analytically – and ponder some of the most important questions you’ll face in your life. Furthermore, you will in this course develop the ability to read and analyze literary and non-literary texts, to present your ideas through coherent argumentation, to formulate good questions and to communicate your discoveries to others. This Kierkegaard course is an opportunity to explore one of the most pivotal philosophical directions within the last 150 years – and in that process explore yourself.

 

Grading

Essays: 30%

Final essay: 20%

Quizzes: 20%

Midterm: 10%

Participation: 20%

C L 323 • Sacr/Sec Contemp Jewish Lit

33120 • Grumberg, Karen
Meets TTH 1100am-1230pm CAL 422
(also listed as J S 363, MEL 321, MES 342, R S 353)
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This course will examine contemporary Jewish literature from three different countries, the United States, France, and Israel. We will read well-known works by several major authors from each country. Does their work incorporate Judaism or Jewishness in any way – thematically, stylistically, methodologically? How does it interpret Jewishness, if at all? Do these works redefine the sacred? Do the American and French authors use language differently than their non-Jewish compatriots might in their writing? Does the territoriality of Hebrew, or the direct link between Hebrew and Judaism, affect the way Jewishness is represented in the Israeli works? Conversely, what is the role of the secular in these texts? We will consider these and other questions, taking into account not only nationality, but also gender, ethnicity, and generational differences.

Texts (Tentative)

(Subject to change) Course reader Rebecca Goldstein, The Mind-Body Problem (1983) Philip Roth, The Counterlife (1986) Cynthia Ozick, The Shawl (1989) “Annie Hall” (Woody Allen, 1977) – film Allegra Goodman, Kaaterskill Falls (1999) Albert Memmi, Pillar of Salt (1953) Albert Cohen, Book of My Mother (1954) Etgar Keret, The Bus Driver Who Wanted to be God (1994) Elisabeth Gille, Shadows of a Childhood (1996) “Little Jerusalem” (Karin Albou, 2005) film Shulamith Hareven, City of Many Days (1972) “Kadosh” (Amos Gitai, 1999) film Haim Be’er, Feathers (1979) Orly Castel-Bloom, Dolly City (1992)

Grading

Active participation - 20%, Quiz - 5%, Exam 1 - 15%, Exam 2 - 15%, Exam 3 - 15%, Final Exam - 30%

C L 323 • Self-Revlatn Women's Wrtg

33125 • Hillmann, Michael Craig
Meets TTH 330pm-500pm MEZ 1.102
(also listed as AFR 372E, MES 342, WGS 340)
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American prose fiction and Persian lyric poetry constitute two of the most vital literary traditions in world literature. This course deals with one prominent figure in each, the American fiction writer Zora Neale Hurston (1891-1960) and the Iranian lyric poet Forugh Farrokhzad (1935-1967). A three-fold rationale accounts for the comparative pairing and study of these two writers and their works in the course. First, both writers have special and similar relationships to the literary traditions in which they wrote both because of their gender and because of Farrokhzad's lack of participation in Muslim culture, on the one hand, and Hurston's African ancestry, on the other. Second, Farrokhzad and Hurston exhibit similar subject matter interests and points of view, presumably in part because of their modernist perspectives and similar removes from mainstream cultural and social power bases. Third, they use prose fiction and lyric poetry, respectively, as vehicles for self-revelation and self-realization. Such self- revelation has particular significance both because of its cultural unexpectedness in their respective traditions and because of mixed consequent mainstream reaction to it.

The core course activities are close readings and group discussion of the chief writings of Hurston and Farrokhzad in the contexts of the crafts of prose fiction and lyric verse, the practice of autobiography, American culture, Iranian culture, and women’s participation in American and Persian/ Iranian literatures. Students leave the course well acquainted with the lives and works of two prominent writers and with literary modernism and are better prepared thereafter to read and analyze works of prose fiction and lyric verse in vacuo and in their cultural contexts.

Texts

The required course texts are: (1) Joanna Russ, How to Suppress Women’s Writing (1983); (2) Zora Neale Hurston, Jonah’s Gourd Vine (1934; (3) Zora Neale Hurston, Their Eyes Were Watching God (1937); (4) Zora Neale Hurston, Dust Tracks on a Road (1942); (5) Zora Neale Hurston, Seraph on the Suwanee (1948); (6) Michael Hillmann, A Lonely Woman: Forugh Farrokhzad and Her Poetry (1987, available online at Academia.edu/Michael Hillmann; (7) Forugh Farrokhzad, Sounds That Remain: Forty Poems by Forugh Farrokhzad in English Translation (2015, available on the course Blackboard); and (7) “Self-Revelation in Women’s Writing: A Course Packet” (on the course Blackboard) containing a course schedule and calendar, chronologies, biographical sketches, a handful of critical essays, Hurston’s short story called “Drenched in Light” (1924), and the course bibliography.

Grading

Course grades are based on: (1) class participation, e.g., discussion of assigned readings [20% of the course grade]; (2) two oral presentations, one a report on an assigned primary course (i.e., a poem or a short story or a discrete part of a novel) and the second a report on an assigned secondary source (i.e., a biography or literary critical study) [15% of the course grade each]; (3) a review test on the third to the last day of the course [25% of the course grade]; and (4) a term paper [25% of the course grade], a draft due two weeks before the end of the course and a revised version due on the last day of class. The course has no final examination. The grading scale is: A (93–100), A- (90–92), B+ (87–89), B (83–86), B- (80– 82), C+ (77–79), C (73–76), C- (70–72), D+ (67–69), D (63-66), D- (60–62), and F (0-59).

C L 323 • Women And The Holocaust

33140 • Bos, Pascale
Meets TTH 930am-1100am GEA 114
(also listed as EUS 346, GSD 341F, J S 363, WGS 340)
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1. We will examine the historical role of non-Jewish German and of Jewish women during WW II and the Holocaust through autobiographical texts, film, and historical analyses. In doing so, we will simultaneously explore what doing feminist, or gender history may look like. How did fascism define the gender roles of non-Jewish women in Germany? How did the Nazis treat Jewish women and other female “enemies of the state”? Did the experience of persecuted (Jewish) women differ from that of (Jewish) men?     2. We will carefully examine autobiographical texts of women as self-representations that attempt to negotiate the different (and shifting) discourses on femininity and masculinity, and the role of women in the public and private sphere available during the war years. Although the texts (both autobiographical writing and interviews) sketch a picture of the experiences and gender constructions that we seek to examine, we will not just use these texts as “eyewitness” documents of women’s experience. Instead, we critically investigate how to interpret these texts. How are these texts produced? When were they produced, how much time elapsed between the event and the writing about it? What is the role of the interviewer or editor, what is the role of time and aging? Are the texts gendered? Is memory gendered, or are narratives? How do the texts relate to “lived experience?”

C L 323 • Rebels/Rvolutn Rus Hist/Lit

33145 • Potoplyak, Marina
Meets MWF 1200pm-100pm BUR 228
(also listed as HIS 362G, REE 325, RUS 356)
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Course Description: Spanning almost a century of Russian literature, this course highlights a gallery of fictional and real rebels and revolutionaries.  What was their cause?  Who supported them?  How were they portrayed in popular novels of the time?  We will supplement textual analysis of prose and poetry with the study of historical documents in order to understand the complex historical, moral, and cultural dimensions of such enduring phenomena as revolution, rebellion, and terrorism.

 Course Materials:

Pushkin, Aleksandr.  The Captain’s Daughter (1836)

Pushkin, Aleksandr.  “In the Depths of Siberian Mines” (1827)*

Turgenev, Ivan.  Fathers and Sons (1862)

Bakunin, Mikhail.  The Revolutionary Catechism (1865) vs. Nechaev's Catechism of the Revolutionary (1869)(excerpts)*

Dostoevsky, Fyodor.  The Demons (1873)

Vera Zasulich's memoirs (excerpts from Five Sisters: Women against the Tsar)*

Andreyev, Leonid.  “The Seven That Were Hanged” (1909)

Bely, Andrei.  Petersburg (1913)

Related documents and articles*

*Included in Course Packet

  

Grade Evaluations: 

a. Two Response Papers (10% each):  Response papers should reflect your thinking on assigned reading.  Format: 3-5 pages (at least 1,000 words), Times New Roman, 12 pt.  You will be evaluated on the depth and quality of your reflections, clarity of style, and cohesive argumentation.  After you receive your paper back, you will have about a week to revise and resubmit it.  Detailed instructions will be provided two weeks before the due date.

 b. Three In-Class Exams (10% each): Each exam will test your knowledge of material discussed in class and read independently at home.

 c.  Presentation (10%): Individually or in pairs, you will prepare a 5-10-minute oral presentation on one of the topics offered in the beginning of the semester.  You will discuss your presentation with your instructor no later than two weeks in advance.

d. Final Paper  (30%):  You final paper may draw on one of your response papers.  It should include  your reflections on the topic supported by textual evidence from assigned works.  Detailed instructions will be available mid-semester.  Format: 8-10 pages (at least 2,500 words), Times New Roman, 12 pt.

 e. Participation (10%):  Your instructor will determine this part of the grade based on your preparedness and participation in class.  There are three components of success: regular attendance, advance reading/preparation of assigned materials, and insightful, well-formulated comments during discussions.

C L 323 • Living Epics Of India

33148 • Harzer, Edeltraud
Meets M 300pm-600pm MEZ 1.122
(also listed as ANS 372, R S 341)
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This course explores Indian Epics as a living tradition, rather than a relic of antiquity.
The two epics, the Mahàbhàrata and the Ràmàyaõa, are an essential part of the living cultural tradition of the Indian subcontinent that has survived for more than two thousand years. There is no India

without these two works. Both have been preserved in oral as well
as textual tradition. They are brought alive in their performances,
whether by storytelling (katha) or annual staging of gigantic theater
productions. The course aims to show that performative arts and regional language versions of the epics support the textual Sanskritic heritage in keeping the tradition alive. These epics have been most influential in the formation of the values of the Indian peoples. The Bhagavadgãtà, imbedded in the Mahàbhàrata, inspires continuous religious and moral interpretations. Together with the Mahàbhàrata and Ràmàyaõa, they represent a foundational source for the Hindu culture. Since there are many "tellings" of each narrative, we will sample different ones and study them as sources of information on other areas, such as social and political ideas, and as a source book for mythology. We shall

view some of these performances on video or DVD as well as study the texts. 

C L 323 • War/Revolutn In Rus Lit/Cul

33149 • Pesenson, Michael
Meets TTH 930am-1100am BUR 228
(also listed as REE 325, REE 385)
show description

This exciting course explores Russian literary and cinematic responses to the ravages of war and revolution, heroic and bloody conflicts that repeatedly devastated the country throughout its long and tumultuous history. We will read a variety of texts dealing with the Napoleonic invasion, the Caucasus campaign, the Revolution of 1917, the Civil War, World War II, the Cold War, the Afghan War, and the present-day conflict in Chechnya, and explore how individual writers portrayed the calamity of war and its devastating effect on people’s lives, while expressing hope for ever-elusive peace and universal brotherhood. All readings and discussion will be English. All films will be screened with English subtitles.

 

Texts:

  1. L. Tolstoy, Hadji Murad
  2. L. Tolstoy, War and Peace
  3. M. Bulgakov, White Guard
  4. I. Babel, Red Cavalry
  5. V. Grossman, Life and Fate
  6. V. Pelevin, Omon Ra
  7. Selections from journalistic accounts of A. Borovik and A. Politkovskaya on wars in Chechnya and Afghanistan

 

Requirements and Grading

-       Keeping up with the readings and participation in class discussion       10% 

-       3-4 response papers to readings (2 pages), topics TBA                     30% 

-       Midterm paper (Tolstoy) (6-8 pages)                                           30% 

-       Final Paper (8-10 pages)                                                          30% 

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