DOCSLIB.ORG

UGS 303 Syllabus Page 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UGS 303 Syllabus Page 2 The University of Texas at Austin Department of Slavic and Eurasian Studies http://www.utexas.edu/cola/depts/slavic/index.htm Spring Semester 2012 UNDERGRADUATE SIGNATURE COURSE “A World Apart: Russian Sci-Fi in Literature and Film” UGS 303 (#64010-64085) COURSE SYLLABUS Instructor: Prof. Thomas. J. Garza Offices: Calhoun CAL 406 (mailbox in CAL 415) and Rainey HRH 4.190 Phone: 471-3607 or 475-9649 Email: [email protected] Office hours: T 9:30-11 (CAL 406), M 2-3:30 (HRH 4.190) and any other time by appointment Class time: MW 1:00-2:00 pm in FAC 21 Additional Friday meeting time according to section Teaching Assistants: [Office hours TBA, see BlackBoard site] Cory Hahn [[email protected]] Richard Paikoff [[email protected]] Katie Logan [[email protected]] Mark Smith [[email protected]] Brian Mothersole [[email protected]] Eliot Stone [[email protected]] Paul Osborne [[email protected]] Nathaniel Zingg [[email protected]] Required texts: [available at the UT Co-op or from online sellers] • Worlds Apart: An Anthology of Russian Science Fiction and Fantasy. Alexander Levitsky, New York, NY: Overlook Press, 2008. • We, Evgeny Zamyatin, [Natasha Randall, trans.] New York: Modern Library, 2006. • A Dog’s Heart, Mikhail Bulgakov, [Andrew Bromfield, trans.] New York: Penguin Books, 1998. • Prisoners of Power (The Inhabited Island), Strugatsky Brothers, Moscow. [available on BlackBoard] • Course Packet (CP) [available at Speedway Printers in the Dobie Mall]. Films: [excerpted in class, available online] • Aelita Queen of Mars, «Аэлита», Jakov Protozanov, dir. (1924). • Space Flight, «Космический рейс», Vasily Zhuravlev, dir. (1935). • Planet of Storms, «Планета бурь», Pavel Klushantsev, dir. (1961). • His Name Was Robert, «Его звали Роберт», Ilya Olshvanger, dir. (1967). Spring 2012 UGS 303 Syllabus page 2 • Soliaris, «Солярис», Andrei Tarkovsky, dir. (1972). • Stalker, «Сталкер», Andrei Tarkovsky, dir. (1979). • The Heart of a Dog, «Собачье сердце», Vladimir Bortko, dir. (1988). • The Fatal Eggs, «Роковые яйца», Sergei Lomkin, dir. (1995). • Night Watch, «Ночной дозор», Timur Bekmambetov, dir. (2004). • Day Watch, «Дневной дозор», Timur Bekmambetov, dir. (2006). • The Inhabited Island, «Обитаемый остров», Fyodor Bondarchuk, dir. (2009). Music: [performed in class, available online] • Various artists. • Signal from Space «Сигнал из космоса», Splеаn, Moscow: Mir muzyki, 2009. I. GENERAL The country that brought us Sputnik and reinvented the robot also created some of the world's best creations of science fiction and fantasy. From the works of classic Russian writers (such as Pushkin, Lermontov and Gogol), to the harsh images of Soviet-era utopias (such as Zamyatin’s We and Bulgakov’s Fatal Eggs and The Heart of a Dog), to the films of the 20th century (such as Tarkovsky’s Soliaris and Stalker), and current post-Soviet works (such as the apocalyptic vampire thrillers Night Watch and Day Watch, and the post-colonial Inhabited Island), we'll explore the remarkable world of Russian sci-fi through a variety of media. Whether you're already a sci-fi fan, or a newcomer to the genre, prepare to discover a brave new world! Course Requirements Writing: This course carries the Writing Flag . Writing Flag courses are designed to give students experience with writing in an academic discipline. In this class, you can expect to write regularly during the semester, complete substantial writing projects, and receive feedback from your instructor to help you improve your writing. You will also have the opportunity to revise one or more assignments, and to read and discuss your peers' work. You should therefore expect a substantial portion of your grade to come from your written work. You are strongly encouraged to use the Undergraduate Writing Center, FAC 211, 471-6222: http://www.uwc.utexas.edu/. The Undergraduate Writing Center offers free, individualized, expert help with writing for any UT undergraduate, by appointment or on a drop-in basis. Any undergraduate enrolled in a course at UT can visit the UWC for assistance with any writing project. The consultants there work with students from every department on campus, for both academic and non-academic writing. Whether you are writing a lab report, a resume, a term paper, a statement for an application, or your own poetry, UWC consultants will be happy to work with you. Their services are not just for writing that has "problems." Getting feedback from an informed audience is a normal part of a successful writing project. Consultants help students develop strategies to improve their writing. The assistance they provide is intended to foster independence. Each student determines how to use the consultant's advice. The consultants are trained to help you work on your writing in ways that preserve the integrity of your work. Spring 2012 UGS 303 Syllabus page 3 Attendance and Participation: You are expected to attend all class meetings regularly [both MW lecture sessions, plus one additional Friday discussion section], do all assigned readings and film viewings, and prepare written and oral assignments. Because the readings and films covered in this course are chronological and cumulative in design, your regular attendance is required. Missing more than five (5) class sessions – excused or otherwise – will lose a letter of the final grade. Participants who do not complete all five of the required components of the syllabus cannot pass the course. In extreme and extenuating circumstances, the instructor may excuse certain absences. ECHO 360º: As part of a pilot project in the College of Liberal Arts, all lecture sessions of this course will be recorded and made available to students via BlackBoard. The purpose of these materials is for review of lecture content to prepare for exams or papers, and to allow students who miss a class to help cover the assigned material. They are not a substitute for attending class. Any perception that attendance in the course is being affected by the availability of the online materials will result in a cancellation of the recordings. Reaction Paper: A brief (4-5 pages) reaction paper to one of the readings or media presentations covered in class is due by Wednesday, February 22. While this essay is not research based, it may contain references or support from external sources. Essay: Each student will is required to hand in on Monday, April 16, a more formal paper, 8-10 pages in length, treating any of the subjects covered during the semester. Sample paper topics and treatments will be given out in class well in advance of the due date. Reading/Film Reviews: Three (3) two-page critical reviews of any of the readings or films treated in the syllabus will be due during the course of the semester. One of these reviews will be the basis for in-class presentation during the Friday sessions (See below.). Reading/Film Review Panel: Your TA will group you into “Review Panels” of two or three students to present your critical commentaries to your Friday group. Each of you will be responsible for answering any of your questions or respond to any comments in class. The review may then be revised and rewritten before submitting for grading. Final Exam: An exam – comparable in format to the midterm – covering the material (readings, films, slides, lectures) from the second half of the course -- will be given during the University exam period on Friday, May 11, 2012 from 9:00 a.m. to 12:00 noon. Special Accommodations: Any student with disabilities may request appropriate academic accommodations fro the Division of Diversity and Community Engagement, Services for Students with Disabilities at 471-6259. Any necessary accommodations should be presented to the instructor in written form from the SSD at the beginning of the course. II. GRADING There are five components of the final course grade. These components and their relative weights are: Reaction Paper (4-5 pp.) 15% Reading/Film Reviews (3 @ 2pp.) 15% Review Panel 15% Essay (8-10 pp.) 30% Final exam 25% Spring 2012 UGS 303 Syllabus page 4 III. UT HONOR CODE The University of Texas Honor Codes reads: “The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity and responsibility. Each member of the university is expected to uphold these values through integrity, honesty, trust, fairness and respect toward peers and community.” Each class participant is expected to adhere to these principles throughout the course, in dealing with the instructors, fellow students, and in completing all written assignments for the course. Your instructors will do the same. COURSE OUTLINE AND ASSIGNMENTS Wednesday, January 18 Introduction to UGS 303 Overview of syllabus and course design for UGS 303 • Establishment of scene: Russia and Science Fiction and Fantasy For next meeting, read “Why Science Fiction is the Wrong and Only Name for It” in the CP. Monday, January 23 Toward a Definition of Science Fiction • The need and place of science fiction in Western literature and culture For next session, read “Worlds of Russian Fantasy” (pp. 9-38) in Levitsky, and “The Golden Age of Science Fiction is Twelve” in the CP. Wednesday, January 25 Science Fiction vs. Science Fantasy • Understanding Fantastic Worlds: Fact and Fiction For the next session, read “From Folk Myth to the Fantastic in Poetry and Prose” (pp. 39-56) in Levitsky. Russian Fantasy vs. Fiction Monday, January 30 The Origins of Russian Sci-Fi: Fantasy • The Age of Enlightenment in Russia and Literature • The creation of the “phantasmagoric” For next meeting, read Pushkin’s “The Bronze Horseman” and “The Queen of Spades,” and Lermontov’s “Demon” (pp. 73-106) in Levitsky. Spring 2012 UGS 303 Syllabus page 5 Wednesday, February 1 19th Century Texts • The Supernatural and Fantasy in Russian society • Depicting the “Other” in literature For next meeting, read Gogol’s “The Diary of a Madman” and “The Nose” (pp.
Load more

Recommended publications
  • The Translator-Detective in Post-Soviet Fiction
    Translating the transition: the translator-detective in Post-Soviet fiction Brian James Baer Kent State University This article explores the ways in which the figure of the translator-detective in contemporary Russian literature functions to express and neutralize a range of fears and anxieties engendered by the post-Soviet transition. Tracing the roots of the motif of the translator in Russian literature back to F. M. Dostoevsky’s Crime and Punishment, the paper then examines the translator-hero in the detective fiction of the best-selling contemporary authors Aleksandra Marinina, Boris Akunin, Dar’ia Dontsova, and Polina Dashkova. Representatives of the embattled Russian intelligentsia, their translator-detectives embody resistance to mindless cultural borrowing from the West. 1. A borrowed genre One of the most striking features of the post-Soviet literary scene is the run- away success of detective fiction, as well as that of romance novels and action thrillers, testifying in the words of Nancy Condee and Vladimir Padunov (1995: 141) to the “wholesale social displacement of the cult of high culture”. Anthony Olcott and Catherine Theimer Nepomnyashchy have argued that this striking re-orientation of the literary field is due in part to the fact that detective fiction serves a deep psychological need amidst the political, economic, and social turbulence of post-Soviet society, allowing Russians to “simultaneously express and neutralize” their fears and anxieties over soaring crime rates and the attendant transformation of comrades into
    [Show full text]
  • UGS 303 Syllabus Page 2
    The University of Texas at Austin Department of Slavic and Eurasian Studies http://www.utexas.edu/cola/depts/slavic/ Spring Semester 2013 UNDERGRADUATE SIGNATURE COURSE “A World Apart: Russian Sci-Fi in Literature and Film” UGS 303 (#64810-64885) COURSE SYLLABUS Instructor: Prof. Thomas. J. Garza Offices: Calhoun CAL 406 (mailbox in CAL 415) and Rainey HRH 4.190 Phone: 471-3607 or 475-9649 Email: [email protected] Office hours: T 11-12:30 (CAL 406), M 2-3:30 (HRH 4.190) and any other time by appointment Class time: MW 1:00-2:00 pm in FAC 21 Friday meeting time according to section Required texts: [available at the UT Co-op or from online sellers] • Worlds Apart: An Anthology of Russian Science Fiction and Fantasy. Alexander Levitsky, New York, NY: Overlook Press, 2008. • We, Evgeny Zamyatin, [Natasha Randall, trans.] New York: Modern Library, 2006. • A Dog’s Heart, Mikhail Bulgakov, [Andrew Bromfield, trans.] New York: Penguin Books, 1998. • Prisoners of Power (The Inhabited Island), Strugatsky Brothers, Moscow. [available on Blackboard] • Course Packet (CP) [available at Speedway Printers at 715 W. 23rd Street] Films: [excerpted in class, most available in full versions online or on Netflix] • Aelita Queen of Mars, «Аэлита», Jakov Protozanov, dir. (1924). • Space Flight, «Космический рейс», Vasily Zhuravlev, dir. (1935). • Planet of Storms, «Планета бурь», Pavel Klushantsev, dir. (1961). • His Name Was Robert, «Его звали Роберт», Ilya Olshvanger, dir. (1967). • Soliaris, «Солярис», Andrei Tarkovsky, dir. (1972). • Stalker, «Сталкер», Andrei Tarkovsky, dir. (1979). Spring 2013 UGS 303 Syllabus page 2 • The Heart of a Dog, «Собачье сердце», Vladimir Bortko, dir.
    [Show full text]
  • Transmesis in Slavic Literary Postmodernism
    Transmesis in Slavic Literary Postmodernism: Understanding Translation through Fiction by Roman Ivashkiv A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures Department of Modern Languages and Cultural Studies University of Alberta ©Roman Ivashkiv, 2015 ii Abstract This dissertation examines the phenomenon of transmesis — the mimesis or portrayal of translation in fiction — in three postmodernist novels in Ukrainian and Russian and their English translations: Yuri Andrukhovych’s Perverziia (translated by Michael Naydan), Serhiy Zhadan’s Depesh Mod (translated by Myroslav Shkandrij), and Viktor Pelevin’s Generation “П” (translated by Andrew Bromfield). My objective is to explore the use and identify the purposes of transmesis in fiction, to investigate issues of untranslatability to which it gives rise, and to identify the implications of transmesis for translation theory and practice. Transmesis, a term coined by Thomas Beebee, stands for the representation in fiction of translation, both as a process and a product, as well as for the portrayal of the figure of the translator in a fictional text. In a larger historico-theoretical framework, the concept of transmesis stands at the juncture of the so-called cultural and fictional turns in translation studies. While the former has been pivotal in expanding our understanding of translation as a cultural rather than merely a linguistic act, the latter has unraveled the potential of fictional portrayals of translation,
    [Show full text]
  • A Hero of Two Times: Erast Fandorin and the Refurbishment of Genre
    A Hero of Two Times: Erast Fandorin and the Refurbishment of Genre Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Robert Alan Mulcahy, M.A. Graduate Program in Slavic and East European Languages and Cultures The Ohio State University 2013 Dissertation Committee: Helena Goscilo, Advisor John Davidson Yana Hashamova Jessie Labov Copyright by Robert Alan Mulcahy 2013 Abstract This study investigates the popular Adventures of Erast Fandorin series of Boris Akunin, Russia’s best-selling author of detective fiction. With the aid of Mikhail Bakhtin’s concepts of the chronotope and the zone of maximal contact, it addresses questions of genre (in a transnational context), serialization, and the role of zlobodnevnye voprosy (‘current issues’) in historical fiction. My analysis locates Akunin in the history of international detective fiction in order to appraise his contribution not only to the genre but also to modern Russian literature. To account for Akunin’s influential status in his home country, I hypothesize the reasons for the extraordinary success of his works and the cult around the protagonist of the series, as well as the significance of Fandorin’s values for contemporary Russian society. ii Acknowledgements During the entire course of this project I have been tremendously fortunate to have had the intellectual guidance and moral support of my advisor, Dr. Helena Goscilo, whose enormous patience and enduring trust in me helped to ensure that this thesis was eventually written. I would like to profoundly thank Dr. Goscilo for the time and effort she has invested and for the results of our collaboration.
    [Show full text]
  • Riveting Russianwriting
    Riveting Russian Writing Edition Two, August 2017 Russian EDITORIAL BY ROSIE GOLDSMITH Can you remember your first time? thrillers, sci-fi, satire and surrealism by Mine was with Dr Zhivago. I was fifteen, men and women from all parts of the seduced into reading my first Russian Russian-speaking world which were, literature by Omar Sharif. Then came thanks to a parallel wealth of translators, Anna Karenina, War and Peace, Crime and available in English. Punishment, Turgenev’s short stories, The Publishing in the Age of Putin is not Master and Margarita, Chekhov’s plays, the easy. Pussy Riot and homophobia, Crimea poetry of Pushkin and Akhmatova. I was and Ukraine, have exposed the limits a teenager galloping through the Russian of Kremlin tolerance. Bookshops and Classics, drunk on their depth, breadth libraries are closing, and more writers are and ambition, devouring the descriptions emigrating online. It’s the same all over of imperial cities, tormented aristocrats, the world, but according to The Moscow glittering ballrooms and brave, down- Times, in the capital only 226 bookshops trodden peasants; of war, death, love, cater for a population of 12 million; in religion, of battles for the soul. Russian Paris, a city with a population five times writers seemed to me to aspire to smaller, there are 700 bookshops. something nobler, deeper, darker, richer. But what of creativity in adversity? The Russian Revolution, two world wars, Thanks perhaps to the harsher spotlight the Cold War, Stalin followed, my mind directed at Russia today, possibly also opened to pain and suffering through thanks to this year’s centenary of the Solzhenitsyn and Irina Ratushinskaya.
    [Show full text]
  • Multilingual Communication Space in English Translations of Boris Akunin’S Texts
    Journal of Siberian Federal University. Humanities & Social Sciences 1 (2018 11) 90-97 ~ ~ ~ УДК 81’42:81’25:82.03 Multilingual Communication Space in English Translations of Boris Akunin’s Texts Viktoriya N. Karpukhina* Altai State University 61 Lenina, Barnaul, 656049, Russia Received 10.01.2017, received in revised form 18.12.2017, accepted 09.01.2018 The article considers changes of communication space in the era of globalization. These changes are analyzed in the postmodern fiction text translation. Multilingual communication space in the Boris Akunin’s novel of “Azazel’” translated into English by Andrew Bromfield differs from the type of the communication space in the source text. It deals with the main axiological linguistic macrostrategy used by the translator that is the adaptation macrostrategy. Adaptation macrostrategy shows the diversity of the semantic category of space, textual and cultural alike, in cross-cultural communication. Bipolarity of this macrostrategy (adaptation / foreigning) is caused by translator’s necessity either to acculturate a source text into the culture of a target text, or, vice versa, to make an effect of estrangement of a target text. As a result of this macrostrategy usage, some functions of multilingual communication space of the source text are lost in translation, and the English language loses its role of ‘lingua franca’ in the global communication space. Keywords: communication space, English, Russian, communication fragment, fiction text, translation. DOI: 10.17516/1997-1370-0208. Research area: philology. Introduction communication space to be different from International culture globalization results in that type of semiosphere Yury M. Lotman forming of a new type of communication space.
    [Show full text]
  • The Turkish Gambit Free
    FREE THE TURKISH GAMBIT PDF Boris Akunin,Andrew Bromfield | 229 pages | 18 Apr 2006 | Random House Trade | 9780812968781 | English | New York, NY, United States The Turkish Gambit (Erast Fandorin Mysteries, #2) by Boris Akunin Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error The Turkish Gambit book. Refresh and try again. Open Preview See a Problem? The Turkish Gambit if other :. Thanks for telling us about the problem. Return to Book Page. Andrew Bromfield Translator. In the treacherous atmosphere of a Russian field army, former diplomat and detective extraordinaire Erast Fandorin stumbles upon his most confounding case. Get A Copy. Paperbackpages. Published April 18th by Random House first published More Details Original Title. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Turkish Gambit The Turkish Gambit, please sign up. Saba You don't necessarily need to read the first books to understand this one. This books is not a direct continuation of the first one. There are, howeve …more You don't necessarily need to read the first books to understand this one. There are, however, ties between The Turkish Gambit books. Two characters from the first book will reappear and both will mention stuff that happened in the first book. A thrid character will be mentioned quite cryptically. You won't understand this books any less but The Turkish Gambit detail or two may leave you a bit puzzled.
    [Show full text]
  • The State Counsellor: Further Adventures of Fandorin Free Download
    THE STATE COUNSELLOR: FURTHER ADVENTURES OF FANDORIN FREE DOWNLOAD Boris Akunin,Andrew Bromfield | 304 pages | 22 Jan 2009 | Orion Publishing Co | 9780753826423 | English | London, United Kingdom The State Counsellor by Boris Akunin Overall, a terrific series. Gustave Gauche. More filters. The novel is much better than the Russian TV movie. A crack The State Counsellor: Further Adventures of Fandorin too. She would have given up all the pomp willingly. While this is used to advance the story somewhat, and adds to some of the plot twists, I feel that perhaps some of these could have been executed in a slightly more expedient way. But the hero of this book is not really Erast, but a heroine - Varvara Suvorova - a very modern for the time young lady. Bombay, India. The English title is a random reference to a hotel Fandorin stays at. It Will Never Catch On : In the second part of The Diamond ChariotFandorin regards the notion that Japan could transform itself into a The State Counsellor: Further Adventures of Fandorin power in thirty years as "simply laughable". The family speak of Queen Victoria as granny, and have a disdain for their subjects - the lowly, unimportant "hoi poloi". Other Series By Boris Akunin. The beautiful countryside in the dead of winter is breathtaking. The established order must be preserved at all costs. Anachronic Order : The State Counsellor: Further Adventures of Fandorin entire series. This time, the vicious "old war dog" Khrapov, new Governor of Siberia, is slain on a train — with Fandorin in attendance. Has little wear to the cover and pages.
    [Show full text]
  • The State Counsellor: Further Adventures of Fandorin Free Ebook
    FREETHE STATE COUNSELLOR: FURTHER ADVENTURES OF FANDORIN EBOOK Boris Akunin,Andrew Bromfield | 304 pages | 22 Jan 2009 | Orion Publishing Co | 9780753826423 | English | London, United Kingdom The State Counsellor by Boris Akunin The State Counsellor: Further Adventures of Fandorin Paperback – International Edition, January 1, by BORIS AKUNIN (Author) out of 5 stars 11 ratings. May 5, British Television Series to Follow the Adventures of Boris Akunin's Fandorin “ The Death of Achilles”, followed by “The State Counsellor” and then “The Coronation”. The Fandorin series is set in the late 19th century and is based on the Russia Takes Six More Medals at Youth Olympics in Singapore. The State Counsellor: Further Adventures of Fandorin (Erast Fandorin 6) Hardcover – Import, January 1, "A sure- footed ode to the strength of family, the depth of loss, and the power of forgiveness." - J. Ryan Stradal Learn more. British Television Series to Follow the Adventures of Boris Akunin’s Fandorin Fandorin is a policeman working in late 19th-century Moscow, and as the title of this novel indicates, his successes have now raised him to the rank of State. The first new Fandorin novel available to an American audience in a decade, The State Counsellor tests the handsome diplomat- detective’s guile and integrity like no mystery before. Moscow, The new Governor General of Siberia has been secreted away on a train from St. Petersburg to the former Russian capital. The next book, Jade Rosary Beads, fills in Fandorin's adventures in the s. Then with Also in The State Counsellor, when Fandorin approaches the new.
    [Show full text]
  • 1 the Temptation of the Reader
    1 The Temptation of the Reader: The Search for Meaning in Boris Akunin’s Pelagia Trilogy For more than a decade, Boris Akunin (the pen name of Grigorii Chkhartishvili) has been the king of the Russian detektiv scene. He announced his arrival with the publication of Azazel' (The Winter Queen) in 1998, the first in a series of, to date, fourteen novels featuring the detective Erast Petrovich Fandorin. Seemingly not content with one such series, two years later Akunin published the first in a trilogy of novels starring a Russian Orthodox nun, Sister Pelagia, as the sleuth. And in the same year came a third detective series in which the main protagonist is the British-born grandson of Erast Fandorin, Nicholas, who returns to contemporary Russia to trace his ancestors from the time of Catherine the Great.1 What all three of these series have in common, and what distinguishes Akunin’s detective novels from almost all of the manifold others which have flooded the Russian market in the post-Soviet era, is their combination of detective genre and historical novel.2 Although Akunin enjoys phenomenal success in terms of sales, critical reaction to his detective novels has been somewhat mixed. There are those who consider that the incorporation of both historical and intertextual reference into his novels makes for ‘stylish detective fiction’ and represents an ‘intellectual’ approach to the genre.3 Others, however, are less enamoured, accusing the novelist of vampirically ‘devouring’ the Russian classics, of playing ideologically empty postmodern games or, paradoxically, of anti-Russian extremism.4 Theoretically, of course, each and every work of art has the potential to provoke similarly contrasting responses.
    [Show full text]
  • Masterpieces of Twentieth-Century
    UNIVERSITY OF PITTSBURGH DEPARTMENT OF SLAVIC LANGUAGES AND LITERATURES Course Information Instructor Information RUSS0810: Masterpieces 20th Century Kiun Hwang CL 1218 Spring 2019 [email protected] Tu Thu 1:00PM - 2:15PM Office Hours (In-Office) CL317 Tue 12:00-1:00, Wed 4:00-5:00; By Appointment Credits, Prerequisites, Requirements, and Format Upon successful completion of Masterpieces of 20th Century Russian Literature, students will be awarded 3 credits and will have completed a University-designated writing course. This course is intended for undergraduate students and has no formal prerequisites. Students are required 1) to complete all assignment scheduled for each class meeting, and to be prepared to summarize and intelligently discuss them in class on the pertinent day; 2) to participate actively on a regular basis in classroom discussions; and 3) to submit all papers and revisions on the dates listed on the syllabus. The final paper is due on April 18, 2019. The topic will be formulated in consultation with me. This class will employ a mixture of lecture and discussion format. Discussion may take the form of group work, open discussion, or question-and-answer exchanges between instructor and students. In order to participate actively in the class, it is essential that all students come to class prepared; that is to say, completing all assignments is necessary. Please bear in mind that because the class will present a survey of the prolific Russian literature of the 20th century and will require that you write a minimum of 20 pages, the reading and writing assignments are large and will be difficult to finish satisfactorily if they are put off until the day before they are due.
    [Show full text]