These are the options available in 2017-18. Not all options will be available in all years, and some course content might change.
Literature and Culture of the Russian Enlightenment (MT, HT)
Based on a wide range of literary, historical and philosophical sources this course will address issues of literary and intellectual history of the Enlightenment in Russia, including: the development of national identity and the problem of nationalism; the growth of the public and private spheres; the history of translation and translation theory; the comparative aspect of the Russian enlightenment; the problem of the canon and the idea of periodisation; individual identity and the rise of notions of the self in biography and diary writing.
(Convenor: Prof. Zorin)
Pushkin and Romanticism (MT)
During the Soviet period, discussion of Pushkin’s relationship with the Romantic movement was made problematic by the canonical status of realism. In recent years, however, both Russian and Western scholars have begun to take a more intensive interest in this topic, and some stimulating studies have appeared, whose insights will be incorporated into work for this course. Study will address itself to genres (dealing, for example, with frame narratives, fragments, Pushkin’s adaptations of the eighteenth-century formal ode), and to themes (for example, national identity and the history of Russia; expression of the self and of gender relations; the Romantic landscape and colonial literature); a comparative approach, drawing on participants’ knowledge of other European literatures, will be actively encouraged. The precise texts to be studied are to be agreed with course tutors, but might include, for example, Evgeny Onegin, Boris Godunov, ‘Egipetskie nochi’, Povesti Belkina and Istoriya sela Goryukhina, Istoriya Pugacheva and Kapitanskaya dochka, Kavkazskii plennik and Bakhchisaraiskii fontan, as well as a selection of Pushkin’s lyric poems.
(Convenor: Prof. Zorin)
Gender and Representation in Russian Culture from 1800 (MT, HT)
Since the 1980s, study of gender and identity has been one of the liveliest areas of Russian cultural history. Among particular issues of concern have been the rediscovery of work by forgotten women writers, and discussion of the particular characteristics of this; analysis of ‘the feminine’ as a construct, and of its connections with the representation of national identity (especially in the governing myth of ‘Mother Russia’); study of the representation of sexuality; and examination of the link between normative concepts of masculine and feminine identity and self-expression in literature and other forms of writing, and also in the visual arts (painting, film, etc.) Those taking the course may specialise in any one area of women’s writing in its relation to cultural history over a longer time-span (for example, women’s memoirs, 1890-1970); or they may consider several different topics with reference to a specifically denominated historical epoch (for example, women’s writing, representations of sexuality in the visual arts, and concepts of gender identity in the era of Romanticism). They are urged to contact the Convenor well in advance of their arrival in Oxford in order to discuss possibilities, and to obtain a list of preliminary reading in gender theory and in Russian cultural history.
(Convenor: Prof. Kelly)
The Rise of the Russian Novel (MT, HT)
The first half of the nineteenth century sees a range of experimentation with prose forms by a number of leading writers. Only later, in the 1850s, does the Russian Realist tradition establish itself with the early novels of Goncharov and Turgenev. But from the 1820s, as the ‘Golden Age’ of poetry gave way to prose, writers such as Pushkin, Gogol’ and Lermontov began to explore the possibilities of the novel in verse, ‘folk’ tales, ‘society’ tales, the prose cycle, framed narratives, historical fiction, the epic and the psychological case-study. Many of these works parody or extend the conventions established in earlier — often translated — works, and discover a Russian identity for these genres. This course, which coincides more or less with the reign of Nicholas I, (1825-55), concludes with the pre-exile works of Dostoevsky, Tolstoy’s autobiographical trilogy, and Turgenev’s Huntsman’s Sketches.
(Convenor: Prof. Curtis)
Russian Drama in the 19th and 20th Centuries (MT, HT)
This course proposes to acquaint students with the texts of plays spanning two centuries in the Russian theatre. The course will also provide an introduction to some distinctive features of theatre practice in Russia such as the contributions of directors such as Stanislavsky and Meyerkhol’d. Texts are likely to include the following, although there may be some variation from year to year:
Griboedov — Gore ot uma (1824); Pushkin — Boris Godunov (1825); Lermontov — Maskarad (1835); Gogol’ — Revizor (1836); Turgenev — Mesyats v derevne (1850); Sukhovo-Kobylin — Smert’ Tarelkina (1857-69); Ostrovsky — Groza (1860); Tolstoy — Vlast’t’my (1886); Chekhov — Dyadya Vanya (1899); Mayakovsky — Misteriyabuff (1918); Erdman — Samoubiitsa (1928); Bulgakov — Beg (1928); Pogodin — Kremlevskie kuranty (1940, 1956); Shvarts — Drakon (1943-44); Shatrov — Dal’she… dal’she… dal’she! (1988); Petrushevskaya — Lyubov’ (from Kvartira Kolombiny) (1988).
(Convenor: Prof. Curtis)
The Russian Experience of Modernity, 1905-1945 (MT, HT)
The experience of modernity in this period, encompassing as it does revolutions and civil war, two world wars, the establishing of a new society and its subsequent repression, required a radical shift in literary perceptions and sensibilities. This course will consider the nature of writers’ response, the disparate approaches elicited by an evolving political and philosophical discourse and by the rapidly changing relationships between individuals, and between the state and the individual. From the last years of the Silver Age to the imposition of Socialist Realism and conformity, literature, whether in formal poetic ‘schools’, loose associations of prose writers, or in the work of individuals, reflected a conscious search for new forms and found expression in experimental writing over all genres. A wide-ranging, thematic approach (questions of genre and gender, for example) will be adopted and post-1945 literature relating to the period will be studied alongside texts written before 1945. These latter might include, for instance, Bely’s Peterburg and Mayakovsky’s Oblako v shtanakh, Blok’s Dvenadstat’ and Pasternak’s Sestra moya zhizn’, Bulgakov’s Belaya Gvardiya and Beg, Tsvetaeva’s Lebedinyi stan, Zamyatin’s Peshchera, Sholokhov’s Tikhii Don and Babel’s Konarmiya.
(Convenor: Prof. Bullock)
The Gulag and the Russian Literary Process (Not offered in 2017-18)
The labour camp theme in Russian literature might seem to be locked within fairly familiar literary-historical, literary-political and canonical frameworks. Certainly, it is instructive to contrast the moral and poetic world of Dostoevsky’s Zapiski iz mertvogo doma or the High Stalinist mendacity of Pogodin’s Aristokraty with the stark images of the Soviet labour camps published under Khrushchev and in the samizdat of the 1960s. At the same time, there is room for a nuanced investigation of the post-Stalin camp literature and the divisions within it. For example, a now little-read, but fascinating clutch of loyalist texts (Shelest, D’yakov) was published, and in some cases commissioned, to neutralize the damage caused by Odin den’ Ivana Denisovicha; later Anatolii Zhigulin found himself attempting to defend his poetic landscape of Kolyma against the magisterial pronouncements of Varlam Shalamov; better known is Solzhenitsyn and Shalamov’s falling-out over whether the camps could allow a degree of moral ascent, albeit in extremis, or whether they reflected the leering face of an absurd universe. In the 1980s and 1990s this led to the championing of Shalamov by Viktor Erofeev in the course of his postmodernist dismissal of the teleological mainstream of Russian letters. By 1995, Dmitry Bak was writing that, pace both Solzhenitsyn and Shalamov, the labour camps had found their first, genuinely literary voice in Evgeny Fedorov. The topic lends itself well to the preparation of a portfolio of essays; students following the course can choose whether to opt for a broader approach or close readings of a number of the authors mentioned.
(Convenor: Prof. Jones)
Late-Soviet and Post-Soviet Literature (MT, HT)
Glasnost, perestroika, the abolition of censorship and the disintegration of the USSR have brought about fundamental changes in the circumstances of Russian literature. External factors such as political and economic instability, the possibility of travel abroad, changes in the role of literary journals, the collapse of the Union of Writers, Booker and associated prizes, the advent of the computer, have all conditioned authors’ subjects and working methods. Although the legacy of the social command and the habit of writing in opposition died hard, the period has produced much experimental writing, post-modernist or avant-garde in nature, as well as more conventionally realistic works. Previously taboo subjects such as the religious revival and explicit sexuality were frequently treated; questions relating to gender were discussed; events and writing of the Soviet period were revisited, and the need to amend or amplify the historical record was keenly felt. The significantly diminished role of the creative intelligentsia in society, together with an overall lack of direction and coherence, has added to the unpredictability and excitement of the latest literature. The course will attempt to cover as many of these aspects as possible, while allowing specialisation in areas of particular interest to those following it.
(Convenor: Dr Ready)
Russian Lyric Poetry: Themes and Forms (MT, HT)
This survey course is organised thematically for the study of Russian lyric poetry from the late eighteenth century to the present day. The Russian poetic canon, official and unofficial, is exceptionally rich and diverse. It is full of formal experimentation and original voices, and has proven to be historically and politically alert at all times and in complex dialogue with the nation’s history, European art forms and larger artistic movements. Themes considered will include Formalism, Structuralism, semiotics, inter-textuality, visual poetry and New Criticism.
(Convenor: Prof. Zorin)