Beginning Russian This course is an approach to the language using four skills (speaking, listening, reading, and writing). It provides a firm control of the sound system and the structure of Russian. Although much emphasis is put on the spoken colloquial language, reading, writing, and a conscious understanding of the fundamentals of grammar prepare a strong foundation for work in advanced courses or for reading in specialized fields.

Beginning Russian This course is a continuation of RUSS 0101.

Beginning Russian This course is a continuation of the approach used in RUSS 0102, but with increased emphasis on reading.

The Russian Mind (in English) In this course we will study the dominant themes of Russia's past and their role in shaping the present-day Russian mind. Topics will include: Slavic mythology; Russian Orthodoxy; Russian icons; the concept of autocracy; the legacy of Peter the Great and Catherine the Great; the Golden Age of Russian Literature (Pushkin, Gogol, Tolstoy and Dostoevsky); Russian composers, including the "Mighty Five"; Russian theater and ballet; the origins of Russian radicalism; the Russian Revolution; the legacy of Lenin and Stalin; and Russia from Khrushchev to Putin.

Russian Literature's Golden Age: 1830-1880 (in English) Duels, ghosts, utopias, murders, prostitution, and adultery- these are the raw materials Russian authors turned into some of the world's greatest literature. This course is an introduction to Russian literature of the 19th century, from the short stories of Pushkin and Gogol to the great novels of Dostoevsky and Tolstoy. The centrality of literature in Russian society and the interrelations among the authors and texts will be discussed. How do the authors combine reality, fantasy, and philosophy to make these works both uniquely Russian and universal?

Intermediate Russian Systematic review of grammar and development of the spoken and written skills attained in Beginning Russian.

Intermediate Russian Continuation of the approach used in RUSS 0201. Reading of contemporary Russian texts, conversation, and written assignments in Russian based on reading assignments.

Slavic Myths, Fairy-Tales, and Fantasy (in English) In this course we will explore the world of the Slavic folklore and get acquainted with its most prominent motifs and characters: Baba Yaga the Bone Leg, Vasilisa the Wise, Koschei the Deathless, and many others. We will trace the development of these motifs and characters from their earliest appearance in Slavic myths and fairy-tales, through the works of Russian literature of the 19th and 20th century (Gogol, Pushkin, Bulgakov, the Strugatsky brothers), and, finally, see how they make their way into the texts of contemporary Russian, Ukrainian, Croatian, Polish and American fantasy authors (Tokarczuk, Ugresic, Sapkovski, Arden, etc.).

Putinism and Contemporary Russian Culture The 1991 collapse of the Soviet Union was hailed in the West as a triumph of democracy over totalitarianism; for some observers the event even signaled “the end of history.” Today however it seems history is “back,” with Russia under Putin once again assuming its former role as enemy and the “other” of the West. In this course we will seek a better understanding of this apparent reversal of vectors from within Russian culture, while situating it within larger illiberal trends in world politics, by analyzing literary works, popular cinema, political theory, journalism, social media, and other forms of cultural production.

Russian Culture and Civilization I This course offers a bilingual approach to the study of Russian culture. Works of literature, art, film, and music will be examined in their historical and political context. Particular emphasis will be devoted to the improvement of oral and written skills. As the course topics and emphasis change, depending on the levels of students enrolled, RUSS0311 may be taken a second time with instructor/chair approval.

Russian Culture and Civilization II This course is a continuation of RUSS 0311 but may be taken independently with the approval of the instructor. It offers a bilingual approach to the study of Russian culture.  Works of literature, art, film, and music will be examined in their historical and political context. Particular attention will be devoted to the improvement of oral and written skills. As the course topics and emphasis change, depending on the levels of students enrolled, RUSS0312 may be taken a second time with instructor/chair approval.

Pushkin In this course, we will explore the works of the Russian national poet, Aleksandr Pushkin. Primary readings will be drawn from Pushkin's prose, poetry, drama, and critical writings. Additional readings will include works from 20th and 21st century writers and cultural figures who respond to or challenge Pushkin's ongoing reception within Russian and world literature. No knowledge of Russian required. Open to first year students.

Dostoevsky in Global Context (taught in English) In this course students will read some of the most important works written by literary giant Fyodor Dostoevsky. Readings will include selected early fiction (Poor Folk, The Gambler, and Notes from the House of the Dead); his seminal manifesto Notes from Underground; Crime and Punishment; and The Idiot. In addition to these primary works, we will explore how Dostoevsky’s life, texts and ideas have been adapted and interpreted globally. Possible case studies include Kurosawa’s 1951 screen adaptation of The Idiot, Coetzee’s novella The Master of St. Petersburg, Ellison’s Invisible Man, and Sreedharan’s Like a Psalm. No knowledge of Russian required. Open to first-year students.

Gogol and Romantic Melancholy (In English) In this course we will explore the corpus of one of the canonical figures of nineteenth-century Russian literature, Nikolai Gogol (1809-1852), a Ukrainian subject of the Russian Empire, and situate him within a broader tradition of romantic melancholy in European culture. How does one describe a world where formerly familiar pathways to transcendence and community have been left in ruins by modernity? Can this loss be remedied in art, or only repeated? And what does that mean for nationalism and empire? Twice weekly discussions, materials in English, though students are encouraged to engage with originals; no prerequisites.

The Art of Vladimir Nabokov (in English) A study of the "perverse" aesthetics of this Russian-American writer. We will expose the hidden plots under the surface of his fiction, follow and arbitrate the ongoing contest between the author and his fictional heroes, and search for the roots of Nabokov's poetics in Western and Russian literary traditions. An attempt will be made to show the continuity between the Russian and English works of this bilingual and bicultural writer.

Advanced Russian (in Russian) Most of the course will focus on current events and developments in social, political, and cultural life in contemporary Russia.  Readings will include a variety of authentic materials to further develop students’ ability to read, analyze and discuss complex issues and advance proficiency in reading, writing and oral comprehension. It is designed for students who have already spent a semester or more studying and living in Russia, or who have attained a high level of Russian language proficiency.

Advanced Reading and Discussion (in Russian) This advanced course is for those students who could not study in Russia but have attained a high level of Russian language proficiency. The goal of this course is to help students improve their ability to read, write, and talk about politics, culture and literature in Russia. We will focus on recent events in Russia over domestic political situations, and international relations, read articles, literary works, and follow social media.

Senior Seminar (in Russian) This seminar topic changes every year.  Recent seminar titles have included Research, Recast, Relay, The History of Russian Poetry, and Russian Drama. This course will provide students with the skills to identify and utilize Russian sources, provide professional quality written summaries and analyses, make oral presentations in Russian, and produce a substantial written assignment and project.

Dostoevsky's The Idiot In this course we will read carefully and study closely a recent translation of Dostoevsky's second novel, The Idiot (1868), often described as the most personal of all his major works. It includes descriptions of his intense personal torments, such as his chronic recurring epilepsy, and the unforgettable experience of his mock execution; it also explores the moral, spiritual, and philosophical themes evoked by those inescapable ordeals. We will begin with Notes from Underground (1864) as an introduction to the author’s works, and as we read The Idiot, make use of Dostoevsky's Notebooks for the novel, as well as a ten-part Russian television adaptation. Students will deliver oral presentations during the last week of the course and there will be a final examination on the last day.

Balances Reporting in War Zone In this course we will explore the principles and challenges of ethical, balanced reporting in war zones and high-risk areas. Aimed at aspiring crisis journalists, this course emphasizes accurate, unbiased storytelling in both visual and written forms. Students will examine fundamentals of covering conflicts while reporting on human rights abuses, war crimes or police violence through real-world case studies, ethical discussions, and field drills. The course also covers trauma sensitivity, subject protection, and safety in hostile environments. Taught by a veteran reporter with 30 years of field experience, it features his personal archive of photography and video, practical gear insights, and online sessions with other international journalists sharing acclaimed work and field experiences.  Dmitry Belyakov is an award-winning veteran photojournalist from Russia, with 30 years of experience and seven armed conflicts under his belt. In 2004/2005 was profiled as a character, involved as co-producer in Tribeca film festival EMMY-winning documentary drama about Beslan school massacre, narrated by actress Julia Roberts. Works published at New York Times, Washington Post, WSJ, American Photo Magazine, Newsweek, National Geographic, The Sunday Times (UK), Stern, Der Spiegel, Paris Match, GEO

Reflection of the modern Russian society on Soviet cinematography as nostalgia for social state The USSR was an autocratic model of a social state. For all the shortcomings of this model, the Soviet people had social guarantees and standards of living that were lost in the 90s of the 20th century after the collapse of the country. Over the past two decades, Russians became nostalgic about Soviet cinematographic heritage, which displayed certain values of life in a state that proclaimed social support and equal rights and opportunities for all. We will watch Russian movies (available online) from the Soviet era, with English subtitles, and discuss why they have become so popular in 2000-s in Russia.

Anna Melnikova

Dmitry Belyakov

Irina Makoveeva

Kevin Moss

Liana Battsaligova

Matthew Walker

Michael Katz

Nana Tsikhelashvili

Sasha Portice

Tatiana Smorodinska

Timothy Portice

Victoria Juharyan

Read 84 reviews for Russian courses at Middlebury College. Find the best Russian professors and courses.  Discover your new major today!

There were a lot of readings. The presentation and class time was very very engaging, but fast paced. I wish there was some discussion in small groups but there was none. So prepare for lots of info during class time and lots of readings. The quizes were super easy. Loved the format of testing and essays. Personally I prefer more interactive classes but the content is extremely interesting and informative. 

Very interesting course. Best class I have taken in Middlebury as Prof. Belyakov knew a lot about the wars he worked in. He told a lot of interesting stories about his experience working as a war photographer . If you are interested in conflicts you should definitely take it. He also had a great sense of humor.

Professor Portice is a great professor for this class; he’s obviously passionate about the subject. For the midterm, we were given a choice between a written exam and an oral exam, which was relatively easy. There is lots of reading however, although it is all quite valuable and digestible. In class discussion was always engaging and interesting.