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黄小邪:芝加哥,城南影事

 
 
 

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芝加哥大学课程表:苏维埃想象  

2010-04-29 10:35:00|  分类: 电影 |  标签: |举报 |字号 订阅

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Robert Bird

The Soviet Imaginary

Russ 26701/36701 CMST 24502/34502 

 

 

 

 

    “The Soviet Imaginary” is a study of the structures and themes of Soviet culture, which was rooted in European modernism, was forcibly imposed on other countries in the Eastern Bloc after World War II, and exerted a major influence on other revolutionary cultures over the entire globe. Our major goal is to assess how art (or, more broadly, media culture) contributed to the formation of a new kind of society, and how this role changed the forms and functions of art works. A secondary goal will be to identify strategies of resistance employed by artists in a totalizing media state. A further goal will be to establish working definitions for such key concepts as ideology, utopia, fiction and satire. Our texts are samples of literary works and films from the entire length and breadth of Soviet culture (and into the post-Soviet period), from satire and dissidence to children’s books and school readings. Key authors include: Aleksandr Bogdanov, Evgenii Zamiatin, Andrei Platonov, Il’ia Il’f and Evgenii Petrov, Valentin Rasputin, Aleksandr Solzhenitsyn and Evgenii Evtushenko. Films include classics of the 1920s, the Stalinist period, the Thaw, and late- and post-Soviet cinema.

This course constitutes the third part of the survey of Russian literature in the Department of Slavic Languages and Literatures.

 

Books available at Seminary Co-op

Evgeny Zamiatin, We

Yuri Olesha, Envy

Il’ia Il’f and Evgeny Petrov, Little Golden Calf

Andrei Platonov, Soul (NYRB Books)

Valentin Rasputin, Farewell to Matyora (Nortwestern).

Evgeny Dobrenko and Eric Naiman, eds., The Landscape of Stalinism: The Art and Ideology of Soviet Space (Seattle: University of Washington Press, 2003). 0295983418

 

Other readings will be available on Chalk (Course Documents) or on Library Reserves (available through Chalk).
Course requirements:

It is expected that each student should complete the assigned reading before each discussion period and take active part in discussion. Attendance at all classes and screenings is vitally important regardless of your progress in your reading. You will be allowed one unexcused absence this quarter; all subsequent absences will inevitably affect your class participation grade. (20%)

 

Discussion Board:

Questions for discussion will periodically be posted on Chalk. All students are expected to respond regularly (at least five times during the quarter) (10%).

 

Assignment #1:

Take-home midterm exam with essay questions (30%).

 

Assignment #2:

Final paper due at the time of the scheduled exam (2500 words for undergraduates, 4000 for graduate students) (40%)


Week 1: Bolshevism and the Social Imagination

 

Monday, 29 March: Introduction

 

Tuesday, 30 March:

Screening: Aelita, dir. Iakov Protazanov ( 111m) (FSC DVD328)

 

Wednesday, 31 March

Vladimir Lenin, “On Party Organization and Party Literature” (1905) (Chalk)

Aleksandr Bogdanov, Engineer Menni (1913) (Chalk)

 

Week 2: Total Media State and Social Design

Monday, 5 April

Evgenii Zamiatin, We (1922)

El Lissitzky, “The New City,” Russia: An Architecture for World Revolution 59-63. (Chalk)

Mark Bassin, “The Morning of Our Motherland” (Library Reserve)

 

Tuesday, 6 April

Screening: Stride Soviet, dir. Dziga Vertov; Fragment of an Empire, dir. Friedrich Ermler (1929, 77m; 16mm).

 

Wednesday, 7 April

Yuri Tsivian, ed., “Stride Soviet! in Reviews,” Lines of Resistance (Sacile/Pordenone, 2004) 157-168. (Library Reserve)

Paul Ricoeur, “The Social Imaginary” and “On Utopia” (Reserve).

 

Week 3: A Second Creation

Monday, 12 April

Vladimir Mayakovsky, The Bedbug (Chalk)

Maxim Gorky, “A Letter to the Workers of Magnitostroi” (1931) (Chalk).

Iurii Olesha, Envy.

 

Tuesday, 13 April

Screening: The General Line, dir. Sergei Eisenstein (1930, 76m; FSC 0058); Turksib, dir. V. Turin  (1929, 57m; FSC V1596).

 

Wednesday, 14 April

Emma Widdis, “To Explore or Conquer?” The Landscape of Stalinism, 219-240.

Katerina Clark, “Socialist Realism and the Sacralizing of Space,” Landscape of Stalinism 3-18

Boris Groys, “The Art of Totality,” The Landscape of Stalinism, 96-122.

 

 

Week 4: Canalization and Collectivization

Monday, 19 April

Andrei Platonov, Soul/Dzhan.

Stalin Canal (1934) (Chalk)

Erika Wolf, “The Visual Economy of Forced Labor” (Library Reserve)

Michael Kunichika, “Landscape and Vision” (Library Reserve)

 

Tuesday, 20 April

Screening: Earth, dir. Aleksandr Dovzhenko (1930, 69m; FSC LD243); Happiness, dir. Aleksandr Medvedkin (1934, 64m; FSC 5010).

 

Wednesday, 21 April

Sergei Eisenstein, “Happiness” (Library Reserve)

 

Week 5: Satire and Humor

Monday, 26 April

Il’ia Il’f and Evgenii Petrov, The Golden Calf (1931)

 

Tuesday, 27 April

Screening: Volga-Volga, dir. Grigorii Alexandrov (1937, 90m; FSC V2547).

 

Wednesday, 28 April

Sheila Fitzpatrick, “The World of Ostap Bender.” (Library Reserve)

Evgeny Dobrenko, “The Art of Social Navigation,” The Landscape of Stalinism 163-200.

Mikhail Ryklin, “’The Best in the World” The Landscape of Stalinism, 261-276.

 

 

Week 6:  Modelling Communism

Monday, 3 May

Andrei Platonov, “Among Animals and Plants,” Soul 155-83; “”Fro,” Soul 185-211; “The Motherland of Electricity,” Soul 261-79.

 

Tuesday, 4 May

Screening: Youth in Bloom (1937); Youth in Bloom, dir. Alexander Medvedkin (1938).

 

Wednesday, 5 May

Pageant of Youth (Chalk)

Jan Plamper, “The Spatial Poetics of the Personality Cult,” The Landscape of Stalinism 19-50.

Evgeny Dobrenko, “The Soviet Spectacle”

 

Week 7: The War

Monday, 10 May

Mikhail Prishvin, “Kladovaia solntsa”/”Sun’s Storehouse” (ER).

 

Tuesday, 11 May

Screening: Wings, dir. Larisa Shepit’ko (1966, 82 m.; FSC DVD 2246)

 

Wednesday, 12 May

 

Week 8: The Thaw

 

Monday, 17 May

Valentin Rasputin, Farewell to Matyora.

John McCannon, “Tabula Rasa in the North” The Landscape of Stalinism, 241-260.

 

Tuesday, 18 May

Screening: Vertical Slope, dir. Stanislav Govorukhin (1966)

 

Wednesday, 19 May

Aleksandr Solzhenitsyn, “Matryona’s House” (Chalk)

 

Week 9: From Thaw to Stagnation

Monday, 24 May

Iurii Trifonov, “The Exchange”

Andrei Sinyavsky, “On Socialist Realism”

 

Tuesday, 25 May

Screening: Andrei Tarkovsky, Mirror (1975)

 

Wednesday, 26 May

Robert Bird, “Imaginary,” from Andrei Tarkovsky: Elements of Cinema.

 

Week 10: Collapse and after-life

Monday, 31 May

Mikhail Epstein, “Russo-Soviet Topoi,” The Landscape of Stalinism, 277-306.

Viktor Erofeyev, “The Good Stalin,” New Yorker 28 December 1998; “Murder in Moscow,” New Yorker 27 December 1999. (Library Reserve)

Ilya Kabakov, from “The Palace of Projects.”

 

Tuesday, 1 June

Screening: Aleksandr Sokurov, Second Circle (1990, 85m).

 

Wednesday, 2 June

Concluding discussion

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