Soviet& Post-SovietCulture

Russian 4810, Spring 2012 (CCN 14794)

Tulane University
TTh, 2:00-3:15
Jones 204

Prof. Kathryn Schild

kschild@tulane.edu
office: Newcomb 305C
hours: M 1-2:30, Th 3:30-4:30, by appt.

The Soviet Union was one of the twentieth-centurys biggest ideological experiments and its break-up still
governs the resulting states. How did Soviet identity and ideals permeate cultural life? What does it mean to be
post-Soviet? This class will examine Russian and Soviet literature, film, memoirs, art, websites, music, and
folk genres to discuss state spectacles, science and ideology, the body, Soviet ethnicities, the gulag, WWII,
womens lives, gay culture, dissidence, faith, the war in Chechnya, and humor.

objectives and outcomes

This course will:
discuss the relationship between state and culture;
introduce students to major twentieth century Russian and Soviet writers: Bulgakov, Platonov, Tsvetaeva,
Solzhenitsyn, Tertz, Brodsky, Aitmatov, Iskander, Rasputin, Erofeev, Pelevin, Tolstaya, Petrushevskaya;
relate developments in literature to similar phenomena in film, music, art, historical writing, reportage, and
folk genres;
familiarize students with the works cultural and historical milieu;
develop critical-thinking frameworks for reading, viewing, and analyzing material in translation; and
foster individual responses to the issues raised in these works, and encourage students to find textual support
for their analysis.
By the end of the semester, students will be able to:
identify stylistic and thematic markers of major twentieth century Russian and Soviet writers and artists
(Assessed via papers, final exam, presentations, and class discussion);
apply ideological, essentialist, and performative theories of identity to Soviet and national characteristics in
these works (Assessed via class discussion);
name the major stages of Soviet and post-Soviet culture and identify characteristic elements for each
(Assessed via papers, final exam, and class discussion);
describe the background, literary career, and significance to Russian/Soviet and world literature for each of
the major authors read (Assessed via final exam and class discussion);
explain the multiple, overlapping identities within the Soviet Union and give clear examples of how national
and socially marginalized groups negotiated their position within Soviet and post-Soviet culture;
identify characters, scenes, plots, symbols, and allusions in each work assigned, and explain the
relevance to the work as a whole (Assessed via reading quizzes, papers, presentations, final exam,
and class discussion);
find and interpret culturally and historically specific material within each of the works and
connect it to their understanding of the work as a whole (Assessed via presentations, papers,
presentations, final exam, and class discussions);
analyze each work through close reading/viewing (Assessed via papers and class discussions);
write cogent, persuasive analytical essays that reflect their understanding of these works
(Assessed via papers and final exam);
independently research Soviet and post-Soviet culture (Assessed via presentations); and
articulate their own opinions and relationship to these works (Assessed via class discussions).

reading
All readings are in English translation and no previous knowledge of Russian literature or Soviet history is
expected. Please budget your time carefully to keep up with the reading! Take notes as you read and mark
passages that you want to discuss further.
further.
The following books
books are required reading for this class. Because we will be referring to specific pages, you
must bring the correct translation and edition to class when we discuss these works
works.

Chingiz Aitmatov,
Aitmatov Jamilia.
Jamilia. Translated by James Riordan. (ISBN
9781846590320)
9781846590320
Mikhail Bulgakov,
Bulgakov Heart of a Dog.
Dog. Translated by Mirra Ginsburg.
(ISBN 9780802150592)
9780802150592
Venedikt Erofeev, Moscow to the End of the Line.
Line. Translated by H.
William Tjalsma. (ISBN
(ISBN 9780810112001)
9780810112001
Andrei Platonov, The Foundation Pit.
Pit. Translated by Elizabeth Chandler,
Robert Chandler, and Olga Meerson.
Meerson. (ISBN 9781590173053
9781590173053)
Victor Pelevin,
Pelevin Four by Pelevin: Stories.
Stories Translated by Andrew
Bromfield
Bromfield.. (ISBN
(
9780811214919)
9780811214919
Alexander Solzhenitsyn,
Solzhenitsyn, One Day in the Life of Ivan Denisovich
Denisovich.
Translated by Max Hayward and Ronald Hingley.
Hingley (ISBN
9780553247770)
9780553247770

In addition to these books, I will post shorter

short readings to the class website on
myTulane
myTulane. You must bring a printed copy to class when we discuss these
works.

writing
Papers allow you to show what you have learned, further develop your ideas, and practice communicating them
effectively. This class will have eight response papers (1 page, 250 word max) and one film analysis paper (3-4
4
pages) due during the semester.
semester You must turn in five response papers before Spring Break
reak,, and three after.
Russian majors/minors who have completed three semesters of Russian must write at least two response papers
in Russian. The final exam will have two parts: first, identify and briefly explain characters, events, and quotes
from the semesters material;
material; second, write an openopen-book
book essay on a choice of topics.
Your writing will be graded for ideas, use of source material, and style. Papers are due both by electronic
submission on myTulane and on paper, at the beginning of class. Electronic submissions should be in .doc or
.pdf format and must be submitted through the class website, not by email. All papers should be typed in 12point Times New Roman, double-spaced,
double spaced, with 1 margins. Response papers with question prompts must begin
with a one-sentence
sentence answer in bold (do not repeat the question in your answer!) and use at least one quote (with
page number) from the text. Late response papers will not be accepted
accepted.. If the film paper is late, it will be
graded down one letter grade per day, starting at the end of class, unless you have my approval in advance for
an exception.
You are responsible for knowing and following the Tulane
Tulane Code of Academic Conduct. You are expected to
turn in original work reflecting your understanding of the material. Please do additional research on questions
of interest, but be sure to cite all of your references. If you have any questions, ask befo
before turning in the paper
and attach a copy of your source material with the relevant section highlighted. This course has a zero
zerotolerance approach to academic dishonesty. Failure to cite sources will result in a zero on the assignment, so
when in doubt, cite! Academic dishonesty will result in Honor Board review.

discussing
I expect you to come to class prepared to discuss your ideas about the assigned reading, to listen thoughtfully,
and to maintain a respectful tone when discussing others ideas. Class participation is essential to your success
in this course, so attendance
attendance is important. Unexcused absences will affect the final grade. I am not authorized
to excuse absences that extend calendar holidays. If you are ill or have special circumstances, it is your
responsibility to inform me in a timely manner. I want you to complete the course successfully and will try to
help you if I can, but you have to let me know! Its better to come unprepared than to skip, but students learn
by interacting with each other, so your preparation helps the whole class. If you arent pre
prepared,
pared, talk to me
before class starts so that I dont put you on the spot. You are responsible for tracking your attendance and
preparation level on the selfself-assessment form; I reserve the right to correct your assessments Please come to class on
time. Tardiness
ardiness is disruptive and disrespects both me and your fellow students. If you are freq
frequently
uently tardy, it
will be counted as an unexcused absence.
My office hours are Monday, 1:00-2:30,
1:00 2:30, and Thursday, 3:30-4:30,
3:30 4:30, but I am frequently available for
appointment
appointmentss later in the afternoon. Email me to set up an appointment. Please come by to talk about your
reactions to the reading, get advice on papers, and learn more about Soviet culture in general. If you are
uncomfortable sharing your thoughts to the full class,
class, my office hours will help you maintain full participation
points.

presenting
Each student will help give two group presentations, one before and one after Spring Break. You will introduce
the days material and connect it to other topics we have covered
covered (10
(10-15
15 min), and either lead the first part of
discussion or lead an activity that will help your classmates to better understand the material (10
(10-15
15 min). All
students in a group must present and each group must have a handout or visual presentation. Each member of
the group must submit a bibliography (use MLA style) of sources used and a brief statement of how the group
divided the work. Presentation grades will be assigned individually. You will be evaluated on your research
(including the bibliography),
bibliography), analysis and relevance, presentation skills (clarity, organization, visual or
multimedia aids, engagement, ability to answer questions, quality of discussion generated, etc.), and
collaboration.

grading
Your grade will be calculated as follows:

participation (attendance, discussion, self

self-assessment
assessment), 15%
response papers
papers, 25%
film analysis paper, 15%
group presentation
presentations, 20%
final exam,
exam 25%
% (15%
15% part 1, 10 % part 2).

Any student requiring disability-related

disability related accommodations should
see me during office hours in the first two weeks of class to
discuss those accommodations, emergency medical information,
or other special arrangements for your participation in this class.
Accommodation requests must be approved by the Educational
Resource Center.

This schedule may be revised during the semester.

Topic

Assignment
Five response papers due before Spring Break.

Tu 1/24 (2)

Why were they so happy?

The Party, the new man,
and Socialist Realism
organizing space,
knowledge, and the body
humor, satire, and the
grotesque

Th 1/26

ideals, alienation and

degeneration

Tu 1/31 (3)

the thaw and stagnation,

drinking culture

Tu 1/17 (1)
Th 1/19

Bulgakov, Heart of a Dog 1-45

Sign up for presentation topics
Bulgakov, Heart of a Dog 46-123
Paper A: What does Sharikovs fate suggest for the satires targets?
Tertz, Phentz and excerpts from On Socialist Realism
Tarasova, She Who Bears No Ill [myTulane]

Jan. 27 deadline to add class

quests and questions

Th 2/2
folklore, fakelore, and
literature

Tu 2/7 (4)
Th 2/9
Mo 2/13

Tu 2/14 (5)
Th 2/16

Erofeev, Moscow to the End of the Line 13-78

Paper B: How does scarcity drive creativity in this text?
Erofeev, Moscow to the End of the Line 78-164
Paper C: How does Venichkas degeneration compare to that in
Phentz or She Who Bears No Ill?
Leninist fairy tales and Lagin, Goose Gets a Transfer
Petrushevskaya, The Father and Marilenas Secret
excerpt from Kelly, Comrade Pavlik [myTulane]
Paper D: Write a fairytale about Putin and/or Medvedev.
Platonov, The Foundation Pit 1-66

building socialism,
ideological language, and Paper E: What makes Platonovs writing strange?
realized metaphors
film screening: Circus, 7 pm
childhood and
brotherhood,
collectivization
humor as resistance,
anekdoty

Platonov, The Foundation Pit 66-115

collectivization documents [myTulane]
Paper F: How does Platonov use folklore?
Platonov, The Foundation Pit 115-50

Feb. 17 deadline to drop or audit class

MARDI GRAS (Feb. 21)

mass and individual
identity

Th 2/23 (6)
terror

Tu 2/28 (7)
Th 3/1
the gulag, building
socialism redux

Tu 3/6 (8)
the Great Patriotic War

Th 3/8

Potyomkin diary excerpt, 1935-36

Soviet history websites [myTulane]
Paper G: Write a diary entry about your own life, using Soviet
ideological language.
Shalamov, The Golden Taiga, Berries, and Cherry Brandy
excerpts from Ginzburg, Journey Into the Whirlwind, and Solzhenitsyn,
The Gulag Archipelago [myTulane]
Solzhenitsyn, One Day in the Life of Ivan Denisovich 1-87
Paper H: How does this novel fit Socialist Realism?
Solzhenitsyn, One Day in the Life of Ivan Denisovich 88-144
Ivanova, Labor Camp Socialism [myTulane]
Paper I: Illustrate one of the scenes and write a paragraph explaining
how your illustration analyses the text.
Tolstaya, Sonya; Simonov, Kill Him
Grossman, The Line of the Main Drive; Putiakov diary excerpt
TASS propaganda posters [myTulane]
Paper J: How do the image and text interact in one of the posters?

SPRING BREAK (March 12-16)

Assignment

Topic

Tu 3/20 (9)

the importance of culture

to both official and
alternative narratives,
samizdat and tamizdat

Three response papers due after Spring Break.

The Case of Joseph Brodsky
poems: Brodsky, Fifth Anniversary; Moritz, Over the Mortal Body;
Okudzhava, Lets dream up a despot; Shvarts, Once again... and
The Raven; Yevtushenko, Babi Yar [myTulane]
Start reading Jamilia!

March 21 deadline to change grading option, drop with record

Th 3/22
Th 3/22

Tu 3/27 (10)
Th 3/29

Tu 4/3 (11)
Th 4/5
Tu 4/10 (12)

Th 4/12
Tu 4/17 (13)
Th4/19

Tu 4/24 (14)
Th 4/26
Tu 5/1 (15)

the brotherhood of nations

Aitmatov, Jamilia 7-96

Iskander, Uncle Sandro at Home
Soviet anthem [myTulane]
Paper K: What is the role of Russia in the brotherhood of nations?

film screening: Burnt by the Sun, 7 pm

Mikhalkov, Burnt by the Sun (watch before class)
Soviet and post-Soviet
Memorial website, Victory Day videos [myTulane]
narratives of gulag and
Paper L: How do the stories created by WWII and gulag
WWII
commemorations differ?
in-class film screening
(finish as homework)
Zviagintsev, The Return
Senchin, 24 Hours
Zobern, Bregovichs Sixth Journey
Babchenko, The Diesel Stop
masculinity, the Russian
Paper M: How do Zoberns literary allusions shape your reading of the
military
story?
Baranskaya, A Week Like Any Other
Paper N: How does Baranskayas story compare to contemporary
femininity and feminism
narratives about womens roles?
Borenstein, About That: Sex and Its Metaphors
Russian women websites [myTulane]
sex
Film analysis due
excerpt from Tsvetaeva, Girlfriend
Kharitonov, The Oven
Eurovision videos [myTulane]
Paper O: What effect does suppression/repression have on queer
gay culture
texts? What isnt sayable?
Siberia, the post-Soviet
Rasputin, Live and Love
environment
New York Times, Nov. 2010 article & video on Lake Baikal [myTulane]
Chernobyl, the post-Soviet Gorlanova, Confessional Days
periphery
excerpt from Voices from Chernobyl [myTulane]
Sadulaev, Why the Sky Doesnt Fall
Volos, A Local Man
optional: Derluguian, Chechnya A Brief Explanation [myTulane]
Chechnya
Paper P: Is a Soviet identity possible in the post-Soviet period?
Pelevin, Vera Pavlovnas Ninth Dream (in 4 by Pelevin) and excerpt
why is post-Soviet post?
from Homo Zapiens [myTulane]
ideology, faith, and
Pelevin, Hermit and Six-Toes and The Life and Adventures of Shed
mysticism
Number XII (in 4 by Pelevin)

FINAL EXAM May 9 (Wed), 1:00-4:00

bring paper, writing instruments, and the novels