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Fall Academic Term 2002 Course Guide

Note: You must establish a session for Fall Academic Term 2002 on wolverineaccess.umich.edu in order to use the link "Check Times, Location, and Availability". Once your session is established, the links will function.

Courses in Slavic Linguistics, Literary Theory, Film, and Surveys


This page was created at 7:59 PM on Thu, Oct 3, 2002.

Fall Academic Term, 2002 (September 3 - December 20)


SLAVIC 210. Slavic Cultures.

Section 001 Introduction to the Culture of Russian Jews. Meets November 5-26. (Drop/Add deadline=November 11).

Instructor(s): Michail Krutikov

Prerequisites & Distribution: (1). (Excl). May be repeated for a total of three credits.

Mini/Short course

Credits: (1).

Course Homepage: No homepage submitted.

This brief survey will cover over two centuries of Jewish cultural creativity in the Russian Empire, the Soviet Union, and the Russian Federation, as well as among the Russian-speaking diaspora around the world. Cultural activity will be examined in connection with major religious, political, and social phenomena that shaped and affected the life of Russian Jews, such as Hasidism, Enlightenment, assimiliation, revolution, antisemitism, Holocaust, and emigration. Discussions will be based on samples from Yiddish, Russian, and Hebrew literature, as well as on works of art, architecture, and music. All readings are in English. Requirements: Class participation, final examination.

Readings include:

  • Lucy Dawidowicz, The Golden Tradition: Jewish life and thought in Eastern Europe, New York: Holt, Rinehart and Winston, 1967
  • Zvi Gitelman, A Century of Ambivalence: The Jews of Russia and the Soviet Union, 1881 to the Present. Indiana University Press, 2001

For further information, contact Sylvia Suttor, ssuttor@umich.edu, 734-764- 5355, in the Department of Slavic Languages & Literatures, MLB 3040.

Michail Krutikov, Lecturer in Yiddish Literature School of Oriental and African Studies, London

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

SLAVIC 210. Slavic Cultures.

Section 002 Young Rebel as Hero in Yiddish, Hebrew and Russian Literature. Meets November 4-25. (Drop/Add deadline=November 8).

Instructor(s): Michail Krutikov

Prerequisites & Distribution: (1). (Excl). May be repeated for a total of three credits.

Mini/Short course

Credits: (1).

Course Homepage: No homepage submitted.

In the spotlight of this mini-course will be the conflict between the old and the new in East European Jewish society and the variety of its literary representations. How did young Jews respond to the challenges of modernity in the late nineteenth and early twentieth centuries? How did they make their linguistic, cultural, and politi-cal choices? We will explore the fascinating multilingual and multicultural world of Russian Jewry through the writings of its most original and daring writers, who made their names in Hebrew, Yiddish, and Russian literatures. We will read fragments of the novel The Mare by Mendele Moykher Sforim, poems by Hayim Nahman Bialik, short stories by S. Anski, Isaac Babel and Hayim Hazaz, and analyze them in the light of theoretical concepts of Jewish multi-lingualism. All readings are in English translation.

Requirements: Class participation, one 2,500 word essay.

Michail Krutikov, Lecturer in Yiddish Literature School of Oriental and African Studies, London

For further information, contact Sylvia Suttor, ssuttor@umich.edu, 734-764- 5355, in the Department of Slavic Languages & Literatures, MLB 3040.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

SLAVIC 225. Arts and Cultures of Central Europe.

Section 001.

Instructor(s): Bogdana Carpenter (bogdana@umich.edu), Jindrich Toman (ptydepe@umich.edu), Herbert J Eagle (hjeagle@umich.edu)

Prerequisites & Distribution: (3). (HU).

R&E Foreign Lit

Credits: (3).

Course Homepage: No homepage submitted.

The course is an introduction to the rich cultures of the peoples of Central Europe (Croats, Czechs, Hungarians, Jews, Poles, Serbs, and Slovaks) seen against the background of two world wars, communism and its recent disintegration. Culturally vibrant, Central Europe reveals the tragic destiny of twentieth-century civilization which gave rise to two totalitarian systems: fascism and communism. The course will outline the ethnic complexities of the region, with special attention to Jewish culture and its tragic destruction during the Holocaust. The trauma of the war on the civilian population will be documented by contemporary films. The course will examine the fate of culture under totalitarianism and study subterfuges used by novelists, dramatists, and artists to circumvent political control and censorship. Students will read works by Kafka, Milosz, Kundera, and Havel; see movies by Wajda and others; become acquainted with Czech and Polish avant-garde art and music and the unique cultural atmosphere of Central European cities: Vienna, Prague, Budapest, and Warsaw.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

SLAVIC 250. Cultural Diversity in Russia, Eastern Europe, and Eurasia.

Section 001.

Instructor(s): Vitalij V Shevoroshkin (vvs@umich.edu)

Prerequisites & Distribution: (3). (Excl).

Foreign Lit

Credits: (3).

Course Homepage: No homepage submitted.

This course will explore firsthand the extraordinary cultural diversity of Eastern Europe, Russia and Eurasia, where European and Asian cultures met and often clashed, and whose culture is a unique blend of Western and Oriental influences. One paper and short reviews of films, stories, and articles.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

SLAVIC 313 / RCHUMS 313. Russian Cinema.

Section 002 ONLY satisfies the Upper-Level Writing Requirement.

Instructor(s): Herbert J Eagle (hjeagle@umich.edu)

Prerequisites & Distribution: (3). (HU). Laboratory fee ($25) required.

Upper-Level Writing Foreign Lit

Credits: (3).

Lab Fee: Laboratory fee ($25) required.

Course Homepage: No homepage submitted.

In the 1920's Soviet film makers armed with bold new ideas about cinematic art and with a revolutionary political ideology created the theory of film montage and through it a decade of acknowledged masterpieces. In the 1930's experimentation gave way to an officially sanctioned "socialist realist" art, ideologically dogmatic and oriented toward the regime's specific political and social goals. However, after Stalin's death experimentation and diversity reemerged in Soviet cinema. Although "socialist realism" remained the officially sanctioned style, directors were able to reintroduce personal themes and, more subtly, religious and philosophical issues. The 1980's saw the reemergence of a variety of approaches (from documentary to the grotesque) and open political and social criticism in the spirit of glasnost . With the end of the Soviet Union, sexuality, gender, and ethnicity became important issues as well. The course will examine this rich history in terms of both themes and styles. Evaluation will be based on contributions to class discussion and three short (5-7 page) critical papers.

Russian Pioneers of Cinema Language

  • Strike (Eisenstein 1924) Avant-garde concepts from literature and theater brought to cinema to create the shock effects of the "montage of attractions."
  • Mother (Pudovkin 1925) Using "plastic material" in montage creates new concept of film acting in depicting a woman's path from passivity to political action in 1905 Revolution.
  • Battleship Potemkin (Eisenstein 1925) In depicting the sailor's rebellion in 1905, Eisenstein created his masterpiece of "collision" montage the Odessa steps sequence.
  • Man With a Movie Camera (Vertov 1928) Kino-eye cinema verite used to observe life as it is (no sets, no scripts) and reassemble it as a collage with its own internal rhythms and visual coherences.
  • Earth (Dovzhenko 1930) Poetic cinema with use of imaginative personal and folk elements in praise of the marriage of nature and technology. Plot concerns the assassination by kulaks of a collective farm activist.

Socialist Realism, Stalinist Monumental Epics & Eisenstein's Reemergence.

  • Road to Life (Ekk 1931) In the melodramatic and exhortative style to become typical for socialist realism, Ekk chronicles the transformation of a gang of juvenile delinquent orphans into a dedicated collective.
  • Chapayev (Sergei and Georgi Vassiliev 1931) A "positive hero" of folk origin (Chapayev) becomes a military leader with the help of a politically conscious commissar.
  • Ivan the Terrible Parts I and II (Eisenstein 1944-46) Stalinist ideology and subtle dissent in this epic historical tragedy. Eisenstein integrates music and color into his theory and practice of "overtonal montage."

The Contemporary Period. Personal Themes and Styles. Philosophical Religious, and Ethnic values. Political and Social Critique.

  • Shadows of Forgotten Ancestors (Paradzhanov 1964) Folklore, with dazzling color and use of camera movement, in this allegory about the struggle between material, worldly power and spirituality.
  • Andrei Rublev (Tarkovsky 1966) Based on the life of the great Russian icon painter; an epic portrait of medieval Russia and its political and spiritual values. Its applicability to contemporary life led to its suppression for several years.
  • The White Bird With a Black Spot (Ilyenko 1972) Symbolic imagery and brilliant cinematography abound in this drama of conflict between two brothers on opposite sides of the conflict in the Ukraine during the Second World War.
  • Scarecrow (Bykov 1984) The cruel ostracism and hazing of a kind, decent, though awkward, adolescent schoolgirl by her classmates, amidst adult apathy, presents a critical allegory about the behavior of the Soviet citizenry under Stalin and Brezhnev. A Soviet Lord of the Flies.
  • My Friend Ivan Lapshin (German 1985) German deconstructs Socialist Realism and its effects in this subtle examination of an apparent "positive hero," the tough but amiable police detective Lapshin, on the trail of thieves and blackmarketeers. Ultimately, though, Lapshin and his friends, in their naïveté, singlemindedness and persistent blindness to the social realities in which they live, provide a chilling portrait of Stalinist Soviet society.
  • Little Vera (Pychul 1988) Pychul's naturalistic portrait of the confusion and poverty of Soviet urban life was ground-breaking in its frank treatment of escapism through alcoholism, sex, and rock culture in a dispirited society.
  • Taxi Blues (Lungin, 1990) This fast-paced fable of a symbiotic love-hate relationship of a Moscow taxi driver and a brilliant, but alcoholic, jazz saxophonist explores the dynamics of conflicts in contemporary life between workers and intellectuals, Russians and Jews, in the new hyper-realist style.
  • Prisoner of the Caucasus (Bodrov, 1996) - Two Russian Soldiers, taken prisoner, develop complex relationships with the family of their captor in a film, which clearly alludes to Russia's battle against Chechen independence fighters in the 1990s.
  • Brother (Balabanov, 1997) As in the American film genre, the rise of a charming gangster provides the basis for an evaluation of positive and negative aspects of Russia's new capitalist economy.

Check Times, Location, and Availability Cost: 1 Waitlist Code: No Data Given.

SLAVIC 395 / REES 395 / HISTORY 332 / POLSCI 395 / SOC 392. Survey of Russia: The Russian Empire, the Soviet Union, and the Successor States.

Section 001.

Instructor(s): William G Rosenberg (wgr@umich.edu)

Prerequisites & Distribution: (4). (SS). Laboratory fee ($10) required.

Credits: (4; 3 in the half-term).

Lab Fee: Laboratory fee ($10) required.

Course Homepage: No homepage submitted.

See Russian and East European Studies (REES) 395.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

SLAVIC 483. Fundamentals of Slavic Linguistics.

Section 001.

Instructor(s): Jindrich Toman (ptydepe@umich.edu)

Prerequisites & Distribution: (3). (Excl).

Credits: (3).

Course Homepage: No homepage submitted.

A comprehensive overview of the field of linguistics as it relates to Slavic Languages. Starting from the question, What does it mean to know a Slavic language?, the course reviews the areas of phonology, morphology, syntax, pragmatics, semantics, applied linguistics, and sociolinguistics. The main goal is to develop students' skills in analyzing data, forming and testing hypotheses, and arguing for the correctness of solutions.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

Graduate Course Listings for SLAVIC.


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This page was created at 7:59 PM on Thu, Oct 3, 2002.


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