Professor Ciepiela, Associate Professors Kunichika and Wolfson (Chair), Senior Lecturer Babyonyshev.
Major Program. The major program in Russian is an individualized interdisciplinary course of study. It includes general requirements for all majors and a concentration of courses in one discipline: literature, film, cultural studies, history, or politics. Eight courses are required for the major, including RUSS 301 and one course beyond RUSS 301 taught in Russian. Language courses numbered 202 and above will count for the major. Normally, two courses taken during a semester abroad in Russia may be counted; 303H and 304H together will count as one course. Additionally, all majors must elect at least one course that addresses history or literature before 1850. Other courses will be chosen in consultation with the advisor from courses in Russian literature, film, culture, history and politics. Students are strongly encouraged to enroll in non-departmental courses in their chosen discipline.
Comprehensives. The College-wide comprehensives requirement is satisfied by completing two projects. The Concentration Essay is required of all majors. Students entering the College in Fall 2018 and later are required to complete a Capstone Project, as described below; students who entered the College before that semester can elect, by the end of the add/drop period in the penultimate semester of study, to pursue a (year-long) Capstone Project or to take the Translation Exam (during that semester).
Concentration Essay and Senior Conversation. By the last day of add-drop period classes in their final semester of study, all students majoring in Russian will complete a draft of an essay, around a thousand words in length, in which they describe the trajectory and primary focus of their studies in the major. Throughout this process, majors will have the help of their advisors. The final draft of the essay, due approximately four weeks later, will be the subject of the Senior Conversation between the student and a committee of departmental readers.
Capstone Project. The Russian major program aspires to prepare students for independent analysis of authentic Russian materials. The College has exceptional resources for such study: the rare book and archive collections of the Amherst Center for Russian Culture and the Russian art collection at the Mead, most of them donated by Thomas Whitney ’37. During their final two semesters in the program, Russian majors will complete a Capstone Project that involves selecting and studying an artifact from one of the collections: a work of verbal or visual art or a document of significance to Russian cultural history. Throughout the process they will be supported by their major advisors, the staff of the Center, and/or the Mead Museum’s Curator of Russian and European Art. During the penultimate semester of study, students will research and establish the contexts that they judge most crucial for understanding the chosen work’s significance. The goal is to prepare a fifteen-minute-long presentation to be shared with the department’s faculty and students at the Russian Department Capstone Symposium, to take place about half way through the final semester of study. Students will confirm selection of the artifact with their advisors by the middle of the penultimate semester of study. By the last day of classes in that semester they will submit to their advisors: (1) a draft of their presentation; (2) an English translation, from the original Russian, of an excerpt from the chosen material (for printed or handwritten documents) or from a Russian-language source consulted in the course of doing research on an object or work of visual art. The final version of the presentation draft and the translation, which respond to comments and notes from faculty, will be due by the first day of classes in the final semester of study.
Departmental Honors Program. In lieu of the Capstone requirement, the Honors candidate will enroll RUSS 498-499 during the final two semesters of study and prepare a thesis on a topic approved by the Department. They will present an overview of their thesis work at the Department Capstone Symposium along with majors pursuing capstone projects. Students who anticipate writing an Honors essay on a topic that focuses on Russia's social history should consult with Professor Glebov (History) or may request to work under his direction. All Honors candidates should ensure that their College program provides a sufficiently strong background in their chosen discipline.
Study Abroad. Majors are strongly encouraged to spend a semester or summer studying in Russia. Students potentially interested in study abroad should begin planning as early as possible in their Amherst career. They should consult members of the Department faculty and Janna Behrens, Director of Global Education, for information on approved programs and scholarship support. Other programs can be approved on a trial basis by petition to the Director of Global Education. Study in Russia is most rewarding after students have completed the equivalent of four or five semesters of college-level Russian, but some programs will accept students with less. One semester of study in Russia will ordinarily give Amherst College credit for four courses, two of which may be counted towards the major in Russian.
Summer language programs, internships, ecological and volunteer programs may be good alternatives for students whose other Amherst commitments make a semester away difficult or impossible. (Please note that Amherst College does not give credit for summer programs.) U.S.-based summer intensive programs can be used to accelerate acquisition of the language, and some of these programs provide scholarship support. Consult the department bulletin board in Webster and the department website for information on a wide variety of programs.
Who is to blame? What is to be done? How can we love, and how should we die? In an age when such larger-than-life questions animated urgent debates about self and society, Leo Tolstoy, Fyodor Dostoevsky, Anton Chekhov and other writers whose famous shorter works we’ll read in this course reinvented the idea of literature itself. Political terrorism and non-violent resistance, women’s rights and imperial expansion, quests for social justice and personal happiness: as nineteenth-century Russian authors explored the cultural anxieties provoked by these challenges of modernity, their ambition was not to mirror experience but to transform it by interpreting its deepest secrets. This is an introduction to the daring, contradictory visions of life and art that forever changed how we do things with words. No familiarity with Russian history or culture expected. All readings in English.
Spring semester. Professor Wolfson. Omitted 2019-20
Other years: Offered in Spring 2018, Spring 2019, Spring 2022, Spring 2023, Spring 2025Russia was launched on a unique path by the Bolshevik Revolution of 1917: it was intended to become the first Communist society in history. The Cultural Revolution that followed sought to remake institutions and even persons in the name of realizing a classless society. This utopian project came up against the actual history of the twentieth century not just in Russia but internationally: world wars, the collapse of empires, and the victory of “capitalism” over “communism.” Much of the best Russian literature and film of the twentieth century addresses the tensions of this historical period. We will trace these tensions in landmark texts, grouping them around particular moments of catastrophic change – the Revolution, the Civil War, the “internationalizing” of non-Russian peoples, collectivization and famine, Stalin’s purges, World War II and the siege of Leningrad, urbanization, and the collapse of the Soviet empire. We will consider, among other texts, Esther Shub’s “The Fall of the Romanovs,” Isaak Babel’s Red Cavalry, Nadezhda Mandelstam’s Hope Against Hope, the poetry of Anna Akhmatova, Alexander Solzhenitsyn’s One Day in the Life of Ivan Denisovich, Vasily Grossman’s Life and Fate, Lydia Ginzburg’s Blockade Diary, Andrei Tarkovsky’s “Stalker,” Alexander Sokurov’s “Russian Ark,” and the installation art of Ilya Kabakov. All readings and discussion in English. No familiarity with Russian history and culture is assumed. Three meetings per week.
Omitted 2019-20. Professor Ciepiela.
2023-24: Not offeredThis course stresses vocabulary building and continued development of speaking and listening skills. Active command of Russian grammar is steadily increased. Readings from authentic materials in fiction, non-fiction and poetry. Brief composition assignments. Five meetings per week, including a conversation hour and a drill session.
Requisite: RUSS 102 or the equivalent. This will ordinarily be the appropriate course placement for students with two to three years of high school Russian. Limited to 12 students. Fall semester. Professor Kunichika.
Other years: Offered in Fall 2011, Fall 2012, Fall 2013, Fall 2014, Fall 2015, Fall 2016, Fall 2017, Fall 2018, Fall 2022, Fall 2023, Fall 2024We will examine the revolutionary upheavals of early twentieth-century Russia through the lens of three modernist texts: Andrei Bely’s experimental novel Petersburg (the failed revolution of 1905), Isaac Babel’s story cycle Red Cavalry (the civil war that followed the Bolshevik takeover in 1917) and Mikhail Bulgakov’s phantasmagorical masterpiece The Master and Margarita (the “cultural revolution” of 1929-32 and the rise of Stalinist society). Reshaped by the crises that they confronted in their works, these Russian writers reached beyond literature – to the images, sounds and ideas of their Russian and European contemporaries – to reimagine the place of artistic innovation and esthetic tradition in times of trouble, and so revolutionized the very idea of what literature can do in negotiating the relationship between text and experience. All readings and discussion in English. No familiarity with Russian history or culture is assumed.
Spring semester. Professor Wolfson.
2023-24: Not offeredA course that examines the stories and novels of rebels, deviants, dissidents, loners, and losers in some of the weirdest fictions in Russian literature. The writers, most of whom imagine themselves to be every bit as bizarre as their heroes, include from the nineteenth century: Gogol (“Viy,” “Diary of a Madman,” “Ivan Shponka and His Aunt,” “The Nose,” “The Overcoat”); Dostoevsky (“The Double,” “A Gentle Creature,” “Bobok,” “The Dream of a Ridiculous Man”); Tolstoy (“The Kreutzer Sonata,” “Father Sergius”), and from the twentieth century: Olesha (Envy); Platonov (The Foundation Pit); Kharms’ (Stories); Bulgakov (The Master and Margarita); Nabokov (The Eye, Despair); Erofeev (Moscow Circles); Pelevin (“The Yellow Arrow”). Our goal will be less to construct a canon of strangeness than to consider closely how estranged women, men, animals, and objects become the center of narrative attention and, in doing so, reflect the writer Tatyana Tolstaya’s claim that “Russia is broader and more diverse, stranger and more contradictory than any idea of it. It resists all theories about what makes it tick, confounds all the paths to its possible transformation.” All readings in English translation.
Not open to first-year students. Limited to 35 students. Fall semester.
2023-24: Not offered(Offered as RUSS 225 and ENGL 315) This course undertakes a sustained examination of the works of Vladimir Nabokov (1899–1977). Drawing on the literary masterpieces of Nabokov’s Russian and English periods, we seek to gain a critical appreciation of his literary art and the cultural and aesthetic contexts from which they emerged. Throughout the course, we will consider his abiding themes such as the complex relationship between art and life, and between the poet, the state, and society; the narration of the experience of time; metafiction, its possibilities and constraints; bad art; the experience of exile; and the privileged position of art and aesthetics. The latter are variously inflected as refuge, asylum, or a space of revolt, as well as what enables the artist to counter, but also to inflict, cruelty. The course will also situate Nabokov’s work with the currents of literary modernism; to that end, readings are also drawn from such figures as Jorge Luis Borges, Franz Kafka, Marcel Proust, and Virginia Woolf. Our access into these themes and the author’s narrative art will be through attentive reading, itself a preeminent theme of Nabokov’s work. No familiarity with Russian history or culture expected. All readings in English.
Professor Kunichika. Omitted 2019-20.
Other years: Offered in Fall 2013, Spring 2016, Spring 2017, Fall 2018, Fall 2020, January 2022, Spring 2022, Fall 2022, Fall 2023Fyodor Dostoevsky’s novels remain relevant to readers across the globe for their daring critique of modernity. A journalist himself, he took his material from the newspapers – stories of crime, corruption, poverty, addiction, terrorism, politics – and mined it for existential meaning. He also drew on his own difficult experience as a political prisoner who spent a decade in Siberia, an eternal debtor, and an incurable epileptic. In this course we will study Dostoevsky’s fiction and journalistic writings, alongside reactions to his work from international thinkers (Sigmund Freud, Friedrich Nietzsche), writers (D.H. Lawrence, Richard Wright, David Foster Wallace) and filmmakers (Alexander Sokurov, Robert Bresson). We will begin with several early works (“Notes from Underground,” “The Double,” House of the Dead) whose concerns persist and develop in the novels that are the focus of the course: Crime and Punishment and The Brothers Karamazov. All readings and discussion in English.
Fall semester. Professor Ciepiela.
Other years: Offered in Fall 2012, Fall 2014, Fall 2015, Fall 2017, Fall 2019, Fall 2023, Spring 2025With the dissolution of the Soviet Union, the great utopian experiment of the twentieth century–a radical attempt to reorganize society in accordance with rational principles–came to an end. This course explores the dramatic history of that experiment from the perspective of those whose lives were deeply affected by the social upheavals it brought about. We begin by examining early visions of the new social order and attempts to restructure the living practices of Soviet citizens by reshaping the concepts of time, space, family, and, ultimately, redefining the meaning of being human. We then look at how “the new human being” of the 1920s is transformed into the “new Soviet person” of the Stalinist society, focusing on the central cultural and ideological myths of Stalinism and their place in everyday life, especially as they relate to the experience of state terror and war. Finally, we investigate the notion of “life after Stalin,” and consider the role of already-familiar utopian motifs in the development of post-Stalinist and post-Soviet ways of imagining self, culture, and society. The course uses a variety of materials–from primary documents, public or official (architectural and theatrical designs, political propaganda, transcripts of trials, government meetings, and interrogations) and intimate (diaries and letters), to works of art (novels, films, stage productions, paintings), documentary accounts (on film and in print), and contemporary scholarship. No previous knowledge of Soviet or Russian history or culture is required; the course is conducted in English, and all readings are in translation.
Professor Wolfson. Omitted 2019-20.
2023-24: Not offeredEach bold innovation in twentieth-century theater sought to redefine in its own way the very idea of theatricality, and so to reshape the relationship between text and performance, experience and interpretation, social reality and cultural tradition. The conviction that a director can, as Peter Brook put it, “take any empty space and call it a bare stage” led the great reformers whose theoretical writings and theatrical practices are examined in this course to conflicting visions of theater’s role in the esthetic, cultural and social revolutions of their times. We explore the experimental esthetics of Konstantin Stanislavsky, Vsevolod Meyerhold, Bertolt Brecht, Antonin Artaud, Jerzy Grotowski, Tadeusz Kantor, Heiner Müller, and Robert Wilson—and each director’s radical reinventions of theater as naturalistic, realistic, symbolist, constructivist, expressionist, epic, cruel, poor, deathlike, painterly, and holy.
Omitted 2019-20. Professor Wolfson.
2023-24: Not offered(Offered as RUSS 245 and FAMS 357) This course focuses on Sergei Eisenstein (1898–1948), whose seminal works in the history and theory of cinema are the subject of our sustained examination. As Eisenstein postulated in 1939, “the method of cinema, when fully comprehended, will enable us to reveal an understanding of the method of art in general.” In our effort to comprehend his work and enduring relevance, we will consider Eisenstein’s stylistics through attentive viewing of his key films: Strike, Battleship Potemkin, October, Old and New, the never completed ¡Que Viva México!, Alexander Nevsky, and Ivan the Terrible. Along with examining their formal features and rich historical and ideological contexts, we will also consider Eisenstein’s theoretical texts on cinema and culture, attending in particular to his theories of montage, method, and his writings on the histories of literature and art. The course aims to situate his work within the broad aesthetic, philosophical, and political currents of his time, which he reflected upon in his work, and to which he, a quintessential modernist, made his distinctive and influential contributions. No familiarity with Russian history or culture expected. All readings in English.
Omitted 2019-20. Professor Kunichika.
2023-24: Not offeredIn this course, we consider the century that lay between the Russian Revolution of 1917 and the present day by focusing on labor. We reconstruct how labor and work have been represented in primarily Russian and Soviet literature and film, while drawing comparisons from American and European cultural sources. We will consider the Revolution as a historical phenomenon, examining central texts in which its ambitions and significance were contested. We then consider chapters in the on-going career of labor from the 1920s to the present-day. We examine the seminal statements of Marx, Lenin, and Trotsky; the groundbreaking films of Dziga Vertov and Sergei Eisenstein; and the enduring literary works of Andrei Platonov and Alexander Solzhenitsyn, among others. Alongside the Russian texts, we will read or screen works by John Steinbeck, Charlie Chaplin, Fritz Lang, and Eugene O’Neill. Throughout, we will be guided by several questions and concerns: how does an artistic work represent labor and conceive its value? What is the nature of work? How is intellectual labor understood in relation to others forms of labor? How are bodies configured by different labor processes? And, lastly, what might this history tell us about the present state and challenge of labor and social inequity at the centennial of the Revolution? All readings in English.
Omitted 2019-20. Professor Kunichika.
2023-24: Not offered(Offered as RUSS 252, BLST 392 [D] and FAMS 352) This course focuses on the modes by which race has been represented in Russian and Soviet culture. We approach this topic in two ways: first, we examine how Russian and Soviet culture grappled with questions of race, focusing on episodes in the representation of minority peoples throughout the empire and the Soviet Union; secondly, we consider how Russian and Soviet culture served as a mirror in which minorities from other countries saw their experiences partially reflected or as a source from which they found models to articulate their own experience of race. These two concerns guide us through the course as we study such works as Fyodor Dostoevsky’s Notes from the Underground as it enters into dialogue with Ralph Ellison’s The Invisible Man and Leonid Tsypkin’s Summer in Baden Baden; the representation of Central Asia by such figures as Langston Hughes and Andrei Platonov; the appeal of the Soviet Union to Western intellectuals, in particular African-American thinkers and writers, from W.E.B. Du Bois, Hughes, and Claude McKay; Alexander Pushkin and the question of his “blackness” and universality; the cinematic representation of minorities in the films of Dziga Vertov and Vsevolod Pudovkin. We will draw our critical theoretical models from Homi Bhabha, Dipesh Chakrabarty, Patricia Hall Collins, Johannes Fabian, Stuart Hall, and Mary Louise Pratt, among others.
Spring semester. Professor Kunichika.
2023-24: Not offered(Offered as RUSS 254 and ENGL 314) The problem with facts is that they can be unwieldy, unbelievable, and also unknowable. The problem with fiction is that it doesn’t have the veracity of facts. Or does it? It is commonplace that fiction can be truer than nonfiction. That, in turn, raises the question of what truth is. The Nobel Prize winner Svetlana Alexievich has talked about the “emotional truth” of her books, the factual accuracy of which has been questioned. In this course, we will read Alexievich’s work and discuss this criticism - and the less-than-certain boundary between fiction and nonfiction. But before we get to that, we will be reading, side by side, works of fiction and nonfiction about the great tragedies of twentieth-century Russia: the Gulag; the siege of Leningrad; the war in Chechnya; and more. We will also watch several films. Reading closely, we will ask how the narratives and characters in fiction and nonfiction shape our understanding of “what really happened.” We will be reading both Russian and English-language authors, but all readings will be in English. This is a writing-attentive course in which students will be asked to write essays and fiction.
Limited to 18 students. Spring semester. Visiting Professor Gessen.
2023-24: Not offeredThis course investigates various figures of imposture. Beginning with Nikolai Gogol’s classic figure of Chichikov from Dead Souls and his genre-bending reversal of the theme in The Inspector General, the course will examine how authors have used confidence games and imposture to reveal particular ploys and gambits in literature. The course will also consider the ways that con-men, swindlers, and pretenders reflect and manipulate the cultural, political, and social dilemmas of their respective periods. While we will focus particularly on the case of Russia—and the distinct place the arts of confidence have had there – we will also consider forms of imposture beyond just a hustle for money and beyond the case of Russia. We will examine imposture in terms of race (as in Nella Larsen's Passing), in the realm of politics (as in Alexander Pushkin's “Boris Godunov”), in relation to the Holocaust (as in Stefan Maechler’s definitive report on the memoirist Benjamin Wilkomirskij), and in such expansive novelistic treatments of this theme by Herman Melville and Thomas Mann. All readings in English. No previous knowledge of Russian culture or history expected.
Fall semester. Professor Kunichika.
2023-24: Not offeredWhat can we learn about Russian culture and what can we learn about the West from the images created by modern Russian thinkers and writers? Beginning with the reforms of Peter the Great through the collapse of the Soviet Union, this course will scrutinize the images and ideas that Russian writers and artists crafted about Western thought, culture, and life. We will consider such debates as the beneficence and dangers of Westernization and modernization, the critique of liberalism and liberal individualism, the crisis of humanism, the attempt to fashion alternatives to both socialism and capitalism, and race relations in Europe and America. The course will draw upon both seminal statements and works from Russian intellectual and literary history, alongside works from journalism, travel literature, and cinema. In reading these works, our aim is to understand how these writers, thinkers, and artists in Russia, and then in the Soviet Union, constructed complex images of the West, and often sought to create forms of life and art that would serve as alternatives to the West and Western modernity. Works will be drawn from such figures as Joseph Brodsky, Fyodor Dostoevsky, Nikolai Gogol, Alexander Herzen, Aleksandra Kollontai, Eduard Limonov, Vladimir Mayakovsky, Pavel Muratov, Vladimir Nabokov, Andrey Tarkovsky, and Nadezhda Teffi.
Omitted 2019-20. Professor Kunichika.
2023-24: Not offeredThis course advances skills in reading, understanding, writing, and speaking Russian, with materials from twentieth-century culture. Readings include fiction by Chekhov, Babel, Olesha, Nabokov, and others. Conducted in Russian, with frequent writing and grammar assignments, in-class presentations, and occasional translation exercises. Two seminar-style meetings and one hour-long discussion section per week.
Requisite: RUSS 202 or consent of the instructor. First-year students with strong high school preparation (usually 4 or more years) may be ready for this course. Limited to 12 students. Fall semester. Professor Wolfson and Senior Lecturer Babyonyshev.
Other years: Offered in Fall 2011, Fall 2012, Fall 2013, Fall 2014, Fall 2015, Fall 2016, Fall 2017, Fall 2018, Fall 2019, Fall 2020, Fall 2021, Fall 2022, Fall 2023, Fall 2024We will be reading, in the original Russian, works of fiction, poetry and criticism by nineteenth-century authors such as Pushkin, Tolstoy, Gogol, Dostoevsky, Turgenev and Chekhov. Conducted in Russian, with frequent writing and translation assignments.
Requisite: RUSS 301 or consent of the instructor. Limited to 12 students. Spring semester. Professor Kunichika.
2023-24: Not offeredA half course designed for intermediate-level students who wish to develop their fluency, pronunciation, oral comprehension, and writing skills. We will study and discuss Russian films of various genres. Two hours per week.
Requisite: RUSS 301 or consent of the instructor. Spring semester. Senior Lecturer Babyonyshev.
Other years: Offered in Spring 2012, Spring 2013, Spring 2014, Spring 2015, Spring 2016, Spring 2017, Spring 2018, Spring 2019, Spring 2020, Spring 2022, Spring 2023, Spring 2025The contemporary Turkish novelist Orhan Pamuk claimed in 1999 that “the book of the millennium is Dostoevsky’s The Brothers Karamazov. I know of no other book which dramatizes with such beautiful intensity, and on almost encyclopedic scale, the problems of living in this world, of being with other people, and dreaming of a next world.” Through a careful reading of Dostoevsky’s final work of fiction (1880) and universally regarded supreme artistic masterpiece, we shall investigate the applicability of Pamuk’s claim, availing ourselves of additional works that shed light on the novel’s socio-political, psychological, religious/spiritual, philosophical and aesthetic dimensions. Other texts to be considered include: 1) Dostoevsky’s early travelogue “Winter Notes on Summer Impressions” (1862); 2) excerpts from Nikolai Chernyshevsky’s utopian novel What is to be Done? (1863); 3) a medieval saint’s life, “The Life of St. Theodosius”; and 4) two critical studies by American Dostoevsky specialists James Rice (Dostoevsky and the Healing Art, 1985) and Liza Knapp (The Annihilation of Inertia: Dostoevsky and Metaphysics, 1996). Our semester-long examination of The Brothers Karamazov will conclude with a discussion of Jose Ortega y Gasset’s “Why Dostoevsky Lives in the Twentieth Century,” from his 1925 essay “Dostoevsky and Proust,” and Leonid Tsypkin’s short novel Summer in Baden Baden (1980), which will help us to articulate further the attractions, the challenges and the ambiguities we encounter when reading a writer as profound, and as controversial, as Dostoevsky.
Limited to 20 students; not open to first- or second-year students, or to students who have taken a course on Dostoevsky.
Spring semester. Professor emeritus Rabinowitz.
2023-24: Not offeredThis course approaches pre-revolutionary Russian cultural history by attending to how key social actors have been represented. We will study the lives of tsar and tsarina, saint, aristocrat, salon hostess, peasant, revolutionary and merchant as represented in letters, memoirs, fiction, verse, painting and performance. Examples of lifewriting will include seventeenth-century archpriest Avvakum’s “autobiography” (the first example of the genre in Russia), revolutionary Alexander Herzen’s My Life and Thoughts (alongside Tom Stoppard’s renovation of his story as a trilogy of plays, Coast of Utopia), the memoirs of women terrorists, and the testimonial of a nineteenth-century serf. Alongside these we will consider fictional representations such as Pushkin's Eugene Onegin, Lermontov's A Hero of Our Time, Karolina Pavlova's A Double Life, and Tolstoy's "Master and Man." Knowledge of Russian history and culture is not assumed, and all course materials are in English. Students studying the Russian language will be provided with excerpts from the originals.
Spring semester. Professor Ciepiela.
2023-24: Not offeredThe topic changes every year. Taught entirely in Russian. Two class meetings per week.
Fall semester. Senior Lecturer Babyonyshev.
Other years: Offered in Fall 2011, Fall 2012, Fall 2013, Fall 2014, Fall 2015, Fall 2016, Fall 2017, Fall 2018, Fall 2019, Fall 2020, Fall 2021, Fall 2022, Fall 2023, Fall 2024Independent Reading Course.
Fall and spring semesters. The Department.
Other years: Offered in Fall 2011, Spring 2012, Fall 2012, Spring 2013, Fall 2013, Spring 2014, Fall 2014, Spring 2015, Fall 2015, Spring 2016, Fall 2016, Spring 2017, Fall 2017, Spring 2018, Fall 2018, Spring 2019, Fall 2019, Spring 2020, Fall 2020, Spring 2021, Fall 2021, Spring 2022, Fall 2022, Spring 2023, Fall 2023, Fall 2024Open to, and required of, seniors writing a thesis.
Spring semester. The Department.
Other years: Offered in Spring 2012, Spring 2013, Spring 2014, Spring 2015, Spring 2016, Spring 2017, Spring 2018, Spring 2019, Spring 2020, Spring 2021, Spring 2022, Spring 2023, Spring 2025Introduction to the contemporary Russian language, presenting the fundamentals of Russian grammar and syntax. The course helps the student make balanced progress in listening comprehension, speaking, reading, writing, and cultural competence. Five meetings per week.
Limited to 12 students. Fall semester. Senior Lecturer Babyonyshev.
Other years: Offered in Fall 2011, Fall 2012, Fall 2013, Fall 2014, Fall 2015, Fall 2022, Fall 2023, Fall 2024Continuation of RUSS 101.
Requisite: RUSS 101 or equivalent. Limited to 12 students per section. Spring semester. Senior Lecturer Babyonyshev.
Other years: Offered in Spring 2012, Spring 2013, Spring 2014, Spring 2015, Spring 2016, Spring 2023, Spring 2025Continuation of RUSS 201.
Requisite: RUSS 201 or equivalent. Limited to 12 students. Spring semester. Professor Ciepiela.
Other years: Offered in Spring 2012, Spring 2013, Spring 2014, Spring 2015, Spring 2016, Spring 2017, Spring 2018, Spring 2020, Spring 2021, Spring 2023, Spring 2025