Classics of Russian Literature (TTC)

Course Lecture Titles - Taught by Irwin Weil Northwestern University Ph.D., Harvard University 1. Origins of Russian Literature 2. The Church and the Folk in Old Kiev 3. Aleksandr Sergeevich Pushkin, 17991837 4. Exile, Rustic Seclusion, and Onegin 5. Decembers Uprising and Two Poets Meet 6. A Poet Contrasts Talent versus Mediocrity 7. St. Petersburg Glorified and Death Embraced 8. Nikolai Vasilevich Gogol, 18091852 9. Russian GrotesqueOvercoats to Dead Souls 10. Fedor Mikhailovich Dostoevsky, 18211881 11. Near Mortality, Prison, and an Underground 12. Second Wife and a Great Crime Novel Begins 13. Inside the Troubled Mind of a Criminal 14. The Generation of the Karamazovs 15. The Novelistic Presence of Christ and Satan 16. Lev Nikolaevich Tolstoy, 18281910 17. Tale of Two Cities and a Country Home 18. Family Life Meets Military Life 19. Vengeance Is Mine, Saith the Lord 20. Family Life Makes a Comeback 21. Tolstoy the Preacher 22. Ivan Sergeevich Turgenev, 18181883 23. The Stresses between Two Generations 24. Anton Pavlovich Chekhov, 18601904 25. M. Gorky (Aleksei M. Peshkov), 18681936 26. Literature and Revolution 27. The TribuneVladimir Maiakovsky, 18931930 28. The Revolution Makes a U-Turn 29. Mikhail Aleksandrovich Sholokhov, 19051984 30. Revolutions and Civil War 31. Mikhail Mikhailovich Zoshchenko, 18951958 32. Among the GodlessReligion and Family Life 33. Boris Leonidovich Pasternak, 18901960 34. The Poet In and Beyond Society 35. Aleksandr Isaevich Solzhenitsyn, Born 1918 36. The Many Colors of Russian Literature Russian literature famously probes the depths of the human soul. These 36 half-hour lectures delve into this extraordinary body of work under the guidance of Professor Irwin Weil of Northwestern University, an award-winning teacher at Northwestern University and a legend among educators in the United States and Russia. Professor Weil introduces you to such masterpieces as Tolstoy's War and Peace, Dostoevsky's Crime and Punishment, Pushkin's Eugene Onegin, Gogol's Dead Souls, Chekhov's The Seagull, Pasternak's Doctor Zhivago, and many other great novels, stories, plays, and poems by Russian authors. You will study more than 40 works by a dozen writers, from Aleksandr Pushkin in the 19th century to Aleksandr Solzhenitsyn in the 20th. You will also investigate the origin of Russian literature itself, which traces to powerful epic poetry and beautiful renderings of the Bible into Slavic during the Middle Ages. All of these works are treated in translation, but Professor Weil does something very unusual for a literature-in-translation course. For almost every passage that he quotes in English, he reads an extract in the original Russian, with a fluent accent and an actor's sense of drama. You may not understand Russian, but there is no mistaking the expressive intonation, rhythm, and feeling with which Professor Weil performs these passages. At one point, reciting verses from Russia's most famous poet, he advises: "Listen to it once as a piece of music, and you will sense the linguistic genius of Pushkin." Classics of Russian Literature explores Russian masterpieces at all levelscharacters, plots, scenes, and sometimes even single sentences, including: * Tolstoy's Anna Karenina, which has one of the most famous first sentences in all of literature, setting the stage for a novel that probes the tragic dimension of a subjectadulterythat had traditionally been treated as satire. * Gogol's Dead Souls, with a concluding passage beloved to all Russians, in which the hero flees the scene of his fiendishly clever swindle in a troikaa fast carriage drawn by three horsesto the author's invocation, "Oh Rus' [Russia], whither art thou hurtling?" * Dostoevsky's The Brothers Karamazov, whose long chapter "The Grand Inquisitor" is a gripping, haunting, mystifying parable that is often studied on its own, but that is all the more powerful in this great novel, which addresses faith, doubt, redemption, and other timeless themes. The Golden Age and After The central core of the course covers the great golden age of Russian literature, a period in the 19th century when Russia's writers equaled or surpassed the achievements of the much older literary cultures of Western Europe. The age commenced with Pushkin, developed with the fantastic and grotesque tales of Gogol', and grew to full flower with Dostoevsky and Tolstoywho at the time were considered in Europe to be lesser writers than their talented contemporary Turgenev. As the 20th century approached, Chekhov's exquisitely understated plays and stories symbolized the sunset of the golden age. Gorky straddled the next transformation, linking the turmoil preceding the Russian Revolution with the political oppression that affected all artists in the newly established Soviet Union from the 1920s on. You examine the brilliant revolutionary poet Maiakovsky; the novelist Sholokhov, who portrayed the revolution as a tragedy for the Cossack people; the satirist Zoshchenko, who used Soviet society as food for parody; and Pasternak, who produced beautiful poems and a single extraordinary novel. Your survey ends with Solzhenitsyn, who became the most influential literary voice speaking out against the tyranny of the Soviet system. Inside, Outside, and Behind the Scenes Professor Weil uses intriguing details to bring these authors and their works to life. For example, readers of English translations are probably unaware of the symbolic names that Russian writers routinely give their characters, names that are especially evocative in Russian: * Roskol'nikov, the protagonist of Crime and Punishment, is named after the term for "schism," signifying a person who is separating himself from society. Dostoevsky gives other characters names that mean "mud puddle" and "intelligence," again, representing the person's inner nature. * Iurii Zhivago, the hero of Doctor Zhivago, has a family name that is an older Russian form of the word "alive." Pasternak uses a grammatical case that emphasizes the animate nature of the noun, signifying life as it should be experienced. In addition to such internal details that enrich your understanding of the text, Professor Weil also points you to outside resources, from films and operas to recommended attractions that you may wish to see if you travel to Russia: * In order to get a sense of the powerful rhythms of Pushkin's masterpiece Eugene Onegin, readers who don't know Russian can turn to Tchaikovsky's famous operatic adaptation, which magnificently catches the meter and texture of the poem. * A trip to Moscow should include a visit to Tolstoy's house, now preserved as a museum. There you will get a vivid sense of the contradictions in this man's lifein the marked contrast between the comfortable Victorian furnishings preferred by his wife and family and the Spartan austerity in which he closeted himself to write, a style that came increasingly to define his life. Professor Weil also recounts behind-the-scenes stories, many of which relate to his own experiences in Russia. These anecdotes add a new dimension to your appreciation of the works covered in this course: * One Day in the Life of Ivan Denisovich, Solzhenitsyn's moving novella about life in a Soviet forced labor camp, might never have appeared in print had not the mercurial Soviet premier Khrushchev found the story spellbinding. After reading the manuscript, Khrushchev admitted that it was one of the few literary works that he had managed to finish without sticking himself with pins to stay awake. The resulting publication stunned the Soviet reading public and the world. * "The History of an Illness," a short story by Zoshchenko, gently lampoons the Soviet health care system, with which Professor Weil has personal experience from his visits to the country. He describes some of the maddening features of Soviet medicine, including a propensity to treat every illness with vodka.