160059 SE Music, Gender, and Sexuality in Russian and Soviet History and Culture (2024S)
Continuous assessment of course work
Labels
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from We 14.02.2024 11:00 to Th 22.02.2024 12:00
- Registration is open from Fr 23.02.2024 09:00 to We 28.02.2024 12:00
- Registration is open from Fr 01.03.2024 09:00 to Fr 15.03.2024 12:00
- Deregistration possible until Fr 12.04.2024 12:00
Details
max. 20 participants
Language: English
Lecturers
Classes (iCal) - next class is marked with N
The course will commence on 11th April. Any sessions cancelled before the Easter holidays will be rescheduled in blocks.
Thursday
11.04.
13:15 - 14:45
Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
Thursday
18.04.
13:15 - 14:45
Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
Thursday
25.04.
13:15 - 14:45
Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
Thursday
02.05.
13:15 - 14:45
Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
Thursday
16.05.
13:15 - 14:45
Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
N
Thursday
23.05.
13:15 - 14:45
Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
Saturday
01.06.
13:15 - 16:30
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Thursday
06.06.
13:15 - 14:45
Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
Friday
07.06.
16:45 - 18:15
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Thursday
13.06.
13:15 - 14:45
Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
Thursday
20.06.
13:15 - 14:45
Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
Thursday
27.06.
13:15 - 14:45
Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
Information
Aims, contents and method of the course
In this course we will explore Russia’s complex, rich, and often turbulent past and present via attention to what are among the most dynamic and often volatile locations where sociocultural forces, structures, and productions converge – specifically, sites in which music/expressive culture, gender, and sex/uality interact, on both material and ideological levels. We will engage texts from numerous academic disciplines (inter alia, gender, film, Post-Soviet, Slavic, media, literary, and queer studies; musicology and ethnomusicology; history; anthropology and sociology; philosophy; criminology), as well as materials from varied non-academic realms. Students will be introduced to a wide array of Russian musics, ranging from nineteenth-century concert repertoire, to traditional practices, to mass-mediated popular forms. In each case, specific pieces, genres, performers, and/or styles will be related to important historical, political, and cultural contexts and constructs related to sometimes seemingly entrenched yet actually ever-shifting and multi-layered representations, constructions, and experiences of gender, sex, and sexuality. The course will be of interest to students from a wide range of humanities and social scientific disciplines, including musicology, cultural anthropology, and Slavic, media, gender, queer, film, and media studies.Course will comprise a combination of lectures, open discussions, and student presentations.
Assessment and permitted materials
Students will be assessed on their ability to critically and productively engage with the concepts and analyses explored via the course readings and lectures, as well as their ability to clearly and convincingly articulate this knowledge in written and oral form. Oral presentations and a final research paper (including a bibliography created by the student) will be used as the bases for assessment. The research paper must be between 20-25 pages, exclusive of bibliography.
Minimum requirements and assessment criteria
Oral presentations and a final research paper will be used as the bases for assessment. The research paper must receive a passing grade; the presentations will be marked on a pass/fail basis, and must receive the former.Students are allowed a maximum of 3 absences.
Examination topics
Students' final exams (research papers) and required presentations must demonstrate that they have acquired the ability to engage with and examine music from a socioculturally contextualized and critical standpoint.
Reading list
Students will have required readings (45-60pp) to be completed before each class meeting, and will also be responsible for compiling/reading additional texts in relation to their research paper. A representative (but not complete) reading list for the course meetings includes the following texts:Amico, Stephen. 2015. “Digital Voices, Other Rooms: Pussy Riot’s Recalcitrant (In)Corporeality.” Popular Music and Society (online;
Amico, Stephen. 2014b. “Music, Form, Penetration.” Roll Over, Tchaikovsky!: Russian Popular Music and Post-Soviet Homosexuality. Urbana: University of Illinois Press. 30-62.
Baer, Brian. 2009. “Russian Gays/Western Gaze: Mapping the (Homo)Sexual Lanscape of Post-Soviet Russia.” Other Russias: Homosexuality and the Crisis of Post-Soviet Identity. New York: Palgrave MacMillan. 19-42.
Baker, Catherine. 2017. “The ‘Gay Olympics’?: The Eurovision Song Contest and the Politics of LGBT/European Belonging.” European Journal of International Relations 23(1): 97-121.
Bartig, Kevin. 2014. “Kinomuzyka: Theorizing Soviet Film Music.” Sound, Speech, Music in Soviet and Post-Soviet Cinema (ed. Lilya Kaganovsky and Masha Salazkina). Bloomington: Indiana University Press. 181-192.
Borenstein, Eliot. 2020. “Gender Troubles.” Pussy Riot: Speaking Punk to Power. New York: Bloomsbury Academic. 65-76.
Fishzon, Anna. 2022. “Queue Time, Animation, and the Queer Childhood of Late Socialism.” The Queerness of Childhood: Essays from the Other Side of the Looking Glass (ed. Anna Fishzon and Emma Lieber). New York: Palgrave MacMillan. 239- 266.
Frolova-Walker, Marina. 2004. “Music of the Soul?” National Identity in Russian Culture (ed. Simon Franklin and Emma Widdis). Cambridge UK: Cambridge University Press. 116-31.
Gasparov, Boris. 2005. “Lost in a Symbolist City: Multiple Chronotopes in Chaikovsky’s The Queen of Spades.” Five Operas and a Symphony: Word and Music in Russian Culture. New Haven: Yale University Press.
Grier, Philip. 2003. “The Russian Idea and the West.” Russia and Western Civilization: Cultural and Historical Encounters (ed. Russell Bova). Armonk, NY: M.E. Sharpe. 23-77
Kaganovsky, Lilya. 2014. “Russian Rock on Soviet Bones.” Sound, Speech, Music in Soviet and Post-Soviet Cinema (ed. Lilya Kaganovsky and Masha Salazkina). Bloomington: Indiana University Press. 252-272.
Kondakov, Alexander. 2021. “The Influence of the ‘Gay-Propaganda” Law on Violence against LGBTIQ People in Russia: Evidence from Criminal Court Rulings.” European Journal of Criminology 18(6): 940-959.
MacFadyen, David. 2001b. “Lyric or Civic: Personality and Theatricality.” Red Stars: Personality and the Soviet Popular Song, 1955-1991. Montreal and Ithaca: McGill- Queen’s University Press. 33-61.
Olson, Laura J. 2004. “Performing Masculinity: Cossack Myth and Reality in Post-Soviet Revival Movements.” Performing Russia: Folk Revival and Russian Identity. New York: Routlede. 160-175.
Omel’chenko, Elena. 2000. ‘My Body, My Friend?’ Provincial Youth between the Sexual and the Gender Revolutions.” Gender, State, and Society in Soviet and Post-Soviet Russia (ed. Sarah Ashwin). New York: Routledge. 137-167.
Salys, Rimgaila. 2009. “Tsirk” (EXC). The Musical Comedy Films of Grigorii Aleksandrov: Laughing Matters. Chicago: University of Chicago Press. 121-182.
Starks, Tricia. 2008. “The Body: Hygiene, Modernity, and Mentality.” The Body Soviet: Propaganda, Hygiene, and the Revolutionary State. Madison: University of Wisconsin Press. 162-201.
Taruskin, Richard. 2009. “Some Thoughts on the History and Historiography of Russian Music.” On Russian Music. Berkeley: University of California Press. 27-52.
Vujošević, Tijana. 2017. “A Home for a Very Industrious Individual.” Modernism and the Making of the New Soviet Man. Manchester: Manchester University Press. 65- 95.
Amico, Stephen. 2014b. “Music, Form, Penetration.” Roll Over, Tchaikovsky!: Russian Popular Music and Post-Soviet Homosexuality. Urbana: University of Illinois Press. 30-62.
Baer, Brian. 2009. “Russian Gays/Western Gaze: Mapping the (Homo)Sexual Lanscape of Post-Soviet Russia.” Other Russias: Homosexuality and the Crisis of Post-Soviet Identity. New York: Palgrave MacMillan. 19-42.
Baker, Catherine. 2017. “The ‘Gay Olympics’?: The Eurovision Song Contest and the Politics of LGBT/European Belonging.” European Journal of International Relations 23(1): 97-121.
Bartig, Kevin. 2014. “Kinomuzyka: Theorizing Soviet Film Music.” Sound, Speech, Music in Soviet and Post-Soviet Cinema (ed. Lilya Kaganovsky and Masha Salazkina). Bloomington: Indiana University Press. 181-192.
Borenstein, Eliot. 2020. “Gender Troubles.” Pussy Riot: Speaking Punk to Power. New York: Bloomsbury Academic. 65-76.
Fishzon, Anna. 2022. “Queue Time, Animation, and the Queer Childhood of Late Socialism.” The Queerness of Childhood: Essays from the Other Side of the Looking Glass (ed. Anna Fishzon and Emma Lieber). New York: Palgrave MacMillan. 239- 266.
Frolova-Walker, Marina. 2004. “Music of the Soul?” National Identity in Russian Culture (ed. Simon Franklin and Emma Widdis). Cambridge UK: Cambridge University Press. 116-31.
Gasparov, Boris. 2005. “Lost in a Symbolist City: Multiple Chronotopes in Chaikovsky’s The Queen of Spades.” Five Operas and a Symphony: Word and Music in Russian Culture. New Haven: Yale University Press.
Grier, Philip. 2003. “The Russian Idea and the West.” Russia and Western Civilization: Cultural and Historical Encounters (ed. Russell Bova). Armonk, NY: M.E. Sharpe. 23-77
Kaganovsky, Lilya. 2014. “Russian Rock on Soviet Bones.” Sound, Speech, Music in Soviet and Post-Soviet Cinema (ed. Lilya Kaganovsky and Masha Salazkina). Bloomington: Indiana University Press. 252-272.
Kondakov, Alexander. 2021. “The Influence of the ‘Gay-Propaganda” Law on Violence against LGBTIQ People in Russia: Evidence from Criminal Court Rulings.” European Journal of Criminology 18(6): 940-959.
MacFadyen, David. 2001b. “Lyric or Civic: Personality and Theatricality.” Red Stars: Personality and the Soviet Popular Song, 1955-1991. Montreal and Ithaca: McGill- Queen’s University Press. 33-61.
Olson, Laura J. 2004. “Performing Masculinity: Cossack Myth and Reality in Post-Soviet Revival Movements.” Performing Russia: Folk Revival and Russian Identity. New York: Routlede. 160-175.
Omel’chenko, Elena. 2000. ‘My Body, My Friend?’ Provincial Youth between the Sexual and the Gender Revolutions.” Gender, State, and Society in Soviet and Post-Soviet Russia (ed. Sarah Ashwin). New York: Routledge. 137-167.
Salys, Rimgaila. 2009. “Tsirk” (EXC). The Musical Comedy Films of Grigorii Aleksandrov: Laughing Matters. Chicago: University of Chicago Press. 121-182.
Starks, Tricia. 2008. “The Body: Hygiene, Modernity, and Mentality.” The Body Soviet: Propaganda, Hygiene, and the Revolutionary State. Madison: University of Wisconsin Press. 162-201.
Taruskin, Richard. 2009. “Some Thoughts on the History and Historiography of Russian Music.” On Russian Music. Berkeley: University of California Press. 27-52.
Vujošević, Tijana. 2017. “A Home for a Very Industrious Individual.” Modernism and the Making of the New Soviet Man. Manchester: Manchester University Press. 65- 95.
Association in the course directory
MA (2008): M01, M02, M03, M04, M05, M07, M10, M11, M13
MA (2022): E.HIN, E.INT, E.POP, H.HIN, H.INT, H.POP, S.HIN, S.INT, S.POP
MA (2022): E.HIN, E.INT, E.POP, H.HIN, H.INT, H.POP, S.HIN, S.INT, S.POP
Last modified: We 01.05.2024 13:26