Echoing Their Lives: Teaching Russian Language and Culture Through the Music of Vladimir S
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Copyright by Ruby Jean Jones 2008 The Dissertation Committee for Ruby Jean Jones Certifies that this is the approved version of the following dissertation: Echoing Their Lives: Teaching Russian Language and Culture Through the Music of Vladimir S. Vysotsky Committee: Thomas J. Garza, Supervisor Cynthia J. Buckley Elaine K. Horwitz John S. Kolsti Gilbert C. Rappaport Echoing Their Lives: Teaching Russian Language and Culture Through the Music of Vladimir S. Vysotsky by Ruby Jean Jones, B.A.; M.S.S.M.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2008 Dedication For my mother who first taught me the value of questioning, and my sister who believed. Acknowledgements The grounding and heart of this dissertation were laid long ago when a former teacher and colleague, Dr. Anna V. Orlenko, willingly shared with me her full collection of the music of Vysotsky, in the days before such music was commercially available. There are no words to acknowledge fully the debt I owe her generosity. Without that impetus and her influence, my interest in this area of Russian culture and this dissertation would never have seen fruition. I wish to express gratitude to my dissertation committee, especially my supervisor, Thomas Garza, without whose guidance in keeping me focused not only on reaching the end of the road, but on acquiring the technical expertise required to navigate it. I would never have completed the dissertation without such guidance, which includes both intellectually challenging classes and stimulating conversations with all members of my committee. The guidance and intellectual challenges fostered by contacts with my committee members, Cynthia Buckley, Elaine Horwitz, John Kolsti, and Gil Rappaport, are, hopefully, reflected in the dissertation. Without the financial support of the Department of Slavic and Eurasian Studies, FLAS Scholarships and ACTR Summer Program for Russian Language Teachers, much of my research would have been impossible. I offer special appreciation to the staff of The State Cultural Center-Museum (GKTsM) V. S. Vysotsky, in Moscow, Russia, for the v immeasurable help they gave me. Not only did they help direct my search for research materials, provide some original materials, but also guided me to other sources of information and materials which I obtained through the kind offices of their staff. I also express deep gratitude to Dr. Tatiana V. Tsiv’ian, Institute of Slavic and Balkan Studies, Moscow, Russia, who gave additional insights and suggestions about directions for my research. I owe a great debt to my friends Oksana Lapshina, Tatiana Segura, and Luda Voskov for their willingness to come to my aid in checking and correcting my transcription of Russian. Karen Polachek showed me that sometimes the simplest things are lost in cultural translation. Special warmest thanks go to my family—my sister Mary Alvania Stevenson and my mother, Ellawee Jones—without whose all-enveloping love and support I would never have been able to devote the resources and years to following my dream. And, last, but not least, to those brave, nameless Soviet citizens, who dared to “go beyond the flags” to record the songs of Vysotsky which are the foundation of this dissertation—thank you! vi Echoing Their Lives: Teaching Russian Language and Culture Through the Music of Vladimir S. Vysotsky Publication No._____________ Ruby Jean Jones, Ph.D. The University of Texas at Austin, 2008 Supervisor: Thomas J. Garza Using vocal music in the foreign language classroom to teach language and culture can become the foundation of an approach specifically geared to encourage students to take charge of their own language learning, and thereby improve their overall language competencies. Many researchers have already noted that the usual classroom program of instruction does not provide sufficient exposure time for students to achieve a level much above the ACTFL Intermediate level. Most students who enter university language programs with plans to major in a language have certain expectations, usually elevated, and the problem is exacerbated by commercial products which promise that, “You will speak like a native in months!” The problem is compounded by the disappointment experienced when these high expectations are not met, and students cease trying before they approach the levels to which they originally aspired. vii One way to help students not go through this dismotivation phase of language learning, is to help them improve their language skills beyond that usually attainable through classroom instruction alone. Training in the use of learning strategies, increased time spent listening to authentic vocal music, and the anticipated personal satisfaction gained by attaining successful results can all be positively related to an increase in motivation. By introducing students to the music of Soviet bard/poet/actor Vladimir S. Vysotsky, early in their language-training career, and using his compositions as supplementary material in a syllabus, the Russian language teacher can provide versatile authentic language material. Selections from the prolific output of approximately 700 poems and songs by Vysotsky can be used to introduce: a) language forms, b) pronunciation, c) cultural idioms and contrast, d) historical- political items, e) social customs, and f) literary works and characters. In the case of language learning and metacognitive strategies, ignorance is not bliss: ignorance is the destroyer. Students who become aware of the strategies available (e.g., memory, cognitive, compensation, affective, social, or metacognitive) and pleasurable ways to improve their own language competence are more likely to be encouraged to continue studying the language and more likely to devote the extra time to the endeavor. viii Table of Contents Chapter One: Introduction .......................................................................................1 The Question of Operationalization of Concepts............................................2 Definition of Terms: “Foreign” vs “Second” Language................................6 Motivation & Affect .....................................................................................10 Music.............................................................................................................12 Cultural &Historical Similarities ..................................................................14 Stylistics / Pragmatics...................................................................................18 Cultural Component......................................................................................20 Research Questions.......................................................................................21 Chapter Two: Literature Review—A System of Competency .............................24 How we Learn...............................................................................................31 Some Underlying Principles of Learning as Applied to Language ..............32 Listening Comprehension .............................................................................34 Learning and the Learner..............................................................................38 Attention .......................................................................................................41 Memories are Made ......................................................................................44 Production and Perception ............................................................................46 Prototypes and Stereotypes:..........................................................................55 Listening Strategy .........................................................................................66 Chapter Three: Vladimir S. Vysotsky in Russian Culture.....................................77 Culture across the Oceans.............................................................................77 Social Background Commonalities...............................................................87 Cultural Literacy-- Idioms ...................................................................88 Blues and Reds.....................................................................................91 Vysotsky’s Use of Metaphor ...............................................................97 Unfree Conditions..............................................................................104 A Question of Soul.............................................................................107 Essential Personal Characteristics......................................................109 ix Vysotsky and the Color Question ...............................................................114 Defining A Source of the Blues..................................................................123 “Winged Words” and the Ubiquity of Vysotsky’s Songs...........................136 Saliency of Vysotsky as Cultural Icon........................................................137 Chapter Four: Conclusion....................................................................................143 Limitations ..................................................................................................145 Additonal Applications ...............................................................................152 Implications for Further Research