Assistant Professor — Ph.D., University of Pittsburgh
- E-mail: email@example.com
- Phone: (512) 232-9130
- Office: BUR 402
- Campus Mail Code: F3600
After completing my undergraduate education at "Kliment Okhridski" University of Sofia, Bulgaria, I moved to the United States to pursue graduate studies. In 2006 I received my Ph.D. from the University of Pittsburgh (Slavic Languages & Literatures and Cultural Studies). Before coming to the University of Texas at Austin, in 2014, I was an Assistant Professor at Princeton.
I began to teach independently while still in graduate school, and since then I have taken on quite a variety of courses and subjects, among them three languages (Russian, Bulgarian, and Polish), vampires, madmen, and barbarians. At the core of this motley repertory are undergraduate and graduate offerings on modernism, early Soviet culture, and Russian-Soviet cinema.
My book, Automatic for the Masses: The Death of the Author and the Birth of Socialist Realism (University of Toronto Press, 2015) is an attempt to make sense of the paradigm shift that took place when modernism in Russia gave way to Stalinism. With Lara Ryazanova-Clarke, I coedited a volume on the language cultures of the Soviet Union and its satellite states: The Vernaculars of Socialism: Language, Ideology and Power in the Soviet Union and Eastern Europe (Routledge, 2015).
Currently I am working on two projects. One is a theoretical account of Stalinist ideology; the other is a philosophically inflected genealogy of modernism.
REE 325 • Russian Cinema: Potemkin-Putin
MW 300pm-430pm JES A303A
(also listed as
C L 323 )
The course is intended as a general introduction to the history of Russian-Soviet film. It will survey landmark cinematic texts from the early days of filmmaking in Russia to the present. In viewing and discussing these films, we will also be following the course of Russian social and cultural history. The goal, thus, is not only to acquaint students with major achievements of Russian cinema, but to use these as a gateway to mapping the broader territory of Russian culture over a turbulent century.
The Battleship Potemkin (Sergei Eisenstein, 1925)
Man with a Movie Camera (Dziga Vertov, 1929)
Chapaev (Vassiliev Brothers, 1934)
Ivan the Terrible, Part II (Sergei Eisenstein, 1944)
The Cranes Are Flying (Mikhail Kalatozov, 1956)
Ivan’s Childhood (Andrei Tarkovskii, 1962)
Autumn Marathon (Georgii Daneliia, 1979)
Moscow Does Not Believe in Tears (Vladimir Menshov, 1980)
Little Vera (Vasilii Pichul, 1988)
Brother (Aleksei Balabanov, 1997)
Peter Kenez, Cinema and Soviet Society: From the Revolution to the Death of Stalin. NY: I.B. Tauris, 2008
Richard Taylor and Ian Christie, Eds. The Film Factory: Russian and Soviet Cinema in Documents, 1896-1939. Cambridte: Harvard UP, 1988.
Class participation 20%
Weekly viewing journal 30%
Midterm exam 20%
Final paper/exam 30%
POL 312K • Second-Year Polish I
MWF 100pm-200pm CAL 419
The course will review, strengthen, and upgrade the knowledge acquired during the first year of language study in Polish (POL 506 and 507). While enhancing their familiarity with grammatical structures, students will develop also a broader vocabulary, more idiomatic patterns of speech, and greater fluency in oral expression. All linguistic skills (listening, speaking, reading, writing) will be practiced, but the main emphasis will be on communicative competence, as well as on a closer acquaintance with Poland’s life and culture. English will not be used in class, except where absolutely necessary for conveying certain grammatical structures and course-related information. The immersion in the target language is an essential component of the communicative method, as it stimulates students to be more attentive in the process of understanding and more resourceful in the process of expression.
- Małolepsza, Małgorzata and Aneta Szymkiewitcz. Hurra!!! Po Polsku 2. Kraków: Prolog, 2006. (textbook, workbook, grammar, and CDs)
- Class participation 10%
- Homework 30%
- Unit exams 30%
- Final exam 30%
POL 507 or consent of the instructor.