Achtung! Das Lehrangebot ist noch nicht vollständig und wird bis Semesterbeginn laufend ergänzt.
160059 SE Music, Gender, and Sexuality in Russian and Soviet History and Culture (2024S)
Prüfungsimmanente Lehrveranstaltung
Labels
An/Abmeldung
Hinweis: Ihr Anmeldezeitpunkt innerhalb der Frist hat keine Auswirkungen auf die Platzvergabe (kein "first come, first served").
- Anmeldung von Mi 14.02.2024 11:00 bis Do 22.02.2024 12:00
- Anmeldung von Fr 23.02.2024 09:00 bis Mi 28.02.2024 12:00
- Anmeldung von Fr 01.03.2024 09:00 bis Fr 15.03.2024 12:00
- Abmeldung bis Fr 12.04.2024 12:00
Details
max. 20 Teilnehmer*innen
Sprache: Englisch
Lehrende
Termine (iCal) - nächster Termin ist mit N markiert
Die Lehrveranstaltung beginnt erst am 11. April; die Einheiten, die vor den Osterferien entfallen, werden geblockt nachgeholt.
- Donnerstag 11.04. 13:15 - 14:45 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
- Donnerstag 18.04. 13:15 - 14:45 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
- Donnerstag 25.04. 13:15 - 14:45 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
- Donnerstag 02.05. 13:15 - 14:45 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
- Donnerstag 16.05. 13:15 - 14:45 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
- Donnerstag 23.05. 13:15 - 14:45 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
- Samstag 01.06. 13:15 - 16:30 Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
- Donnerstag 06.06. 13:15 - 14:45 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
- Freitag 07.06. 16:45 - 18:15 Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
- Donnerstag 13.06. 13:15 - 14:45 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
- Donnerstag 20.06. 13:15 - 14:45 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
- Donnerstag 27.06. 13:15 - 14:45 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
Information
Ziele, Inhalte und Methode der Lehrveranstaltung
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.
Art der Leistungskontrolle und erlaubte Hilfsmittel
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.
Mindestanforderungen und Beurteilungsmaßstab
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.
Prüfungsstoff
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.
Literatur
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.
Zuordnung im Vorlesungsverzeichnis
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
Letzte Änderung: Mi 01.05.2024 13:26