Cultural Syllabus

Yuri Lotman was one of the most prominent and influential scholars of the twentieth century working in the Soviet Union. This approachable collection of translations provides a primer to his vast intellectual legacy with a choice of works that address contemporary concerns such as gender, memory, performance, world literature, and urban life.

A key figure in the Russian Formalist school of literary theory, Yuri Tynianov sought to revolutionize—and liberate—thinking about literature and the other arts. Permanent Evolution gathers together for the first time Tynianov’s seminal articles on literary theory and film.

This collection of Russian short stories from the 21st century includes works by famous writers and young talents alike, representing a diversity of generational, gender, ethnic and national identities. Most of texts in this volume appear in English for the first time. 21 will appeal to anyone interested in contemporary Russia.

The powerful prose of Dostoevsky continues to fascinate readers today. A Dostoevsky Companion: Texts and Contexts aims to help students and readers navigate the writer’s fiction and world and to better understand the cultural and sociopolitical milieu in which he lived and wrote, offering new paths for interpreting his writing.

The first collection of essays devoted to the rich tradition of Russian science fiction on the page and the screen from a variety of disciplinary perspectives. A resource for classroom instruction as well as research, it provides a comprehensive overview of science fiction’s important role in Russian society, politics, technology, and culture.

The second volume of Late Soviet and Post-Soviet Literature: A Reader treats the literature of the Thaw and Stagnation periods (1954-1986). It includes translations of poetry and prose as well as scholarly texts that provide additional material for discussion. The goal of this volume is to present the range of ideas, creative experiments, and formal innovations that accompanied the social and political changes of the late Soviet era. Together with the introductory essays and biographical notes, the texts collected here will engage all students and interested readers of late Soviet Russian literature.

Russian Silver Age writers were full participants in European literary debates and movements. Today some of these poets, such as Akhmatova, Mandelstam, Mayakovsky, Pasternak, and Tsvetaeva, are known around the world. This volume introduces Silver Age poetry with its cultural ferment, the manifestos and the philosophical, religious, and aesthetic debates, the occult references and sexual experimentation, and the emergence of women, Jews, gay and lesbian poets, and peasants as part of a brilliant and varied poetic environment. After a thorough introduction, the volume offers brief biographies of the poets and selections of their work in translation—many of them translated especially for this volume—as well as critical and fictional texts (some by the poets themselves) that help establish the context and outline the lively discourse of the era and its indelible moral and artistic aftermath.

The first volume of Late and Post-Soviet Russian Literature: A Reader introduces a diverse spectrum of literary works from Perestroika to the present. It includes poetry, prose, drama and scholarly texts, many of which appear in English translation for the first time. The three sections, "Rethinking Identities," "'Little Terror' and Traumatic Writing," and "Writing Politics," address issues of critical relevance to contemporary Russian culture, history and politics. With its selection of texts and introductory essays Late and Post-Soviet Russian Literature: A Reader brings university curricula into the twenty-first century.

This two-volume reader is intended to accompany undergraduate courses in the history of Russian cinema and Russian culture through film. Each volume consists of newly commissioned essays, excerpts from English language criticism and translations of Russian language essays on subtitled films which are widely taught in American and British courses on Russian film and culture. The arrangement is chronological: Volume one covers twelve films from the beginning of Russian film through the Stalin era; volume two covers twenty films from the Thaw era to the present. General introductions to each period of film history (Early Russian Cinema, Soviet Silent Cinema, Stalinist Cinema, Cinema of the Thaw, Cinema of Stagnation, Perestroika and Post-Soviet Cinema) outline its cinematic significance and provide historical context for the non-specialist reader. Essays are accompanied by suggestions for further reading. The reader will be useful both for film studies specialists and for Slavists who wish to broaden their Russian Studies curriculum by incorporating film courses or culture courses with cinematic material. Volumes one and two may be ordered separately to accommodate the timeframe and contents of courses. Volume one films: Sten’ka Razin, The Cameraman’s Revenge, The Merchant Bashkirov’s Daughter, Child of the Big City, The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks, Battleship Potemkin, Bed and Sofa, Man with a Movie Camera, Earth, Chapaev, Circus, Ivan the Terrible, Parts I and II. Volume two films: The Cranes are Flying, Ballad of a Soldier, Lenin’s Guard, Wings, Commissar, The Diamond Arm, White Sun of the Desert, Solaris, Stalker, Moscow Does Not Believe in Tears, Repentance, Little Vera, Burnt by the Sun, Brother, Russian Ark, The Return, Night Watch, The Tuner, Ninth Company, How I Ended This Summer. Authors: Birgit Beumers, Robert Bird, David Bordwell, Mikhail Brashinsky, Oksana Bulgakova, Gregory Carlson, Nancy Condee, Julian Graffy, Jeremy Hicks, Andrew Horton, Steven Hutchings, Vida Johnson, Lilya Kaganovsky, Vance Kepley, Jr., Susan Larsen, Mark Lipovetsky, Tatiana Mikhailova, Elena Monastireva-Ansdell, Joan Neuberger, Vlada Petrić, Graham Petrie, Alexander Prokhorov, Elena Prokhorova, Rimgaila Salys, Elena Stishova, Vlad Strukov, Yuri Tsivian, Meghan Vicks, Josephine Woll, Denise J. Youngblood

This two-volume reader is intended to accompany undergraduate courses in the history of Russian cinema and Russian culture through film. Each volume consists of newly commissioned essays, excerpts from English language criticism and translations of Russian language essays on subtitled films which are widely taught in American and British courses on Russian film and culture. The arrangement is chronological: Volume one covers twelve films from the beginning of Russian film through the Stalin era; volume two covers twenty films from the Thaw era to the present. General introductions to each period of film history (Early Russian Cinema, Soviet Silent Cinema, Stalinist Cinema, Cinema of the Thaw, Cinema of Stagnation, Perestroika and Post-Soviet Cinema) outline its cinematic significance and provide historical context for the non-specialist reader. Essays are accompanied by suggestions for further reading. The reader will be useful both for film studies specialists and for Slavists who wish to broaden their Russian Studies curriculum by incorporating film courses or culture courses with cinematic material. Volumes one and two may be ordered separately to accommodate the timeframe and contents of courses. Volume one films: Sten’ka Razin, The Cameraman’s Revenge, The Merchant Bashkirov’s Daughter, Child of the Big City, The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks, Battleship Potemkin, Bed and Sofa, Man with a Movie Camera, Earth, Chapaev, Circus, Ivan the Terrible, Parts I and II. Volume two films: The Cranes are Flying, Ballad of a Soldier, Lenin’s Guard, Wings, Commissar, The Diamond Arm, White Sun of the Desert, Solaris, Stalker, Moscow Does Not Believe in Tears, Repentance, Little Vera, Burnt by the Sun, Brother, Russian Ark, The Return, Night Watch, The Tuner, Ninth Company, How I Ended This Summer. Contributors: Birgit Beumers, Robert Bird, David Bordwell, Mikhail Brashinsky, Oksana Bulgakova, Gregory Carlson, Nancy Condee, Julian Graffy, Jeremy Hicks, Andrew Horton, Steven Hutchings, Vida Johnson, Lilya Kaganovsky, Vance Kepley, Jr., Susan Larsen, Mark Lipovetsky, Tatiana Mikhailova, Elena Monastireva-Ansdell, Joan Neuberger, Vlada Petrić, Graham Petrie, Alexander Prokhorov, Elena Prokhorova, Rimgaila Salys, Elena Stishova, Vlad Strukov, Yuri Tsivian, Meghan Vicks, Josephine Woll, Denise J. Youngblood

The Russian avant-garde was a composite of antagonistic groups who wished to overthrow the basic aesthetics of classical realism. Modernism was the totality of these numerous aesthetic theories, which achieved a measure of coherence immediately after the First World War. This collection of essays by leading scholars examines the major figures, movements, and manifestos of the period. Scholarly attention is given to literature, visual arts, cinema, and theatre in an attempt to capture the complex nature of the modernist movement in Russia. This book would be especially relevant for university courses on the Russian twentieth century as well as for those looking for a comprehensive approach to the various movements and artistic expressions that constitute the Russian avant-garde.

Developed as a reader for upper division undergraduates and beginning graduates, From Symbolism to Socialist Realism offers broad variety of materials contextualizing the literary texts most frequently read in Russian literature courses at this level. These approaches range from critical-theoretical articles, cultural and historical analyses, literary manifestos and declarations of literary aesthetics, memoirs of revolutionary terrorism and arrests by the NKVD, political denunciations, and “literary vignettes” capturing the spirit of its particular time in a nutshell. The voices of this “polyphonic” reader are diverse: Briusov, Savinkov, Ivanov-Razumnik, Kollontai, Tsvetaeva, Shklovsky, Olesha, Zoshchenko, Zhdanov, Grossman, Evtushenko, and others. The range of specialists on Russian culture represented here is equally broad: Clark, Erlich, Grossman, Nilsson, Peace, Poznansky, Siniavskii, and others. Together they evoke and illuminate a complex and tragic era.

The largest, most comprehensive anthology of its kind, this volume brings together significant, representative stories from every decade of the twentieth century. It includes the prose of officially recognized writers and dissidents, both well-known and neglected or forgotten, plus new authors from the end of the century. The selections reflect the various literary trends and approaches to depicting reality in this era: traditional realism, modernism, socialist realism, and post-modernism. Taken as a whole, the stories capture every major aspect of Russian life, history and culture in the twentieth century. The rich array of themes and styles will be of tremendous interest to students and readers who want to learn about Russia through the engaging genre of the short story.