(Offered as RUSS 225, ENGL 315, and EUST 228.)  Nabokov made his literary career after leaving Russia, and he is essentially a writer of exile.

(Offered as EUST 224, HIST 224 [E], and SWAG 224)  In the 1920s and 30s, authoritarian and fascist states across Europe declared that sexuality was not private. Sexual choices in the bedroom, they claimed, shaped national identities and the direction of social and cultural development. Through a variety of programs, propaganda and legal codes, states such as Nazi Germany and Fascist Italy sought to regulate sexual behavior and promote specific gender roles and identities.

(Offered as MUSI 221 and EUST 221.) One of three courses in which music is studied in relation to issues of history, theory, culture, and performance, with the focus of the course changing from year to year. In 2016-17, this course is an introduction to European music in the Medieval, Renaissance, and Baroque eras. We will begin by singing Gregorian chant and will go on to cover such topics as the music of the Troubadours, the polyphonic style associated with Notre Dame, the development of musical notation, Renaissance sacred polyphony, madrigals, court dances, and the birth of opera.

(Offered as HIST 220 [E] and EUST 220) In an interview shortly before her death, Leni Riefenstahl, renowned director of the Nazi propaganda film Triumph of the Will, claimed that art was apolitical and that she was blameless in the crimes of the Nazi state. “I didn’t drop any atom bombs. I didn’t denounce anyone. So where does my guilt lie?” she questioned. This course explores the specific relationship between visual artifacts such as Triumph of the Will and politics and society in modern Europe.

The three decades from 1890 through 1920 marked a time when Russia’s future was being radically reimagined, politically and culturally.  We will study creative revolution in the arts--in literature, painting, theater and dance, and the new medium of cinema--as participating in shaping a national vision, even as Russian artists absorbed and engaged with international models.  We also will study reverberations of this period in later Soviet culture, such as absurdist theater, underground art and the poetic revival of the 60s and 70s.

(Offered as ARHA 145, EUST 145, and SWAG 145.)  This course will explore the self-conscious invention of modernism in painting, sculpture and architecture, from the visual clarion calls of the French Revolution to the performance art and earthworks of "art now." As we move from Goya, David, Monet and Picasso to Kahlo, Kiefer and beyond, we will be attentive to changing responses toward a historical past or societal present, the stance toward popular and alien cultures, the radical redefinition of all artistic media, changing representations of nature and gender, as well as th

(Offered as ARHA 135, ARCH 135, and EUST 135.) This course is an introduction to painting, sculpture, and architecture of the early modern period. The goal of the course is to identify artistic innovations that characterize European art from the Renaissance to the French Revolution, and to situate the works of art historically, by examining the intellectual, political, religious, and social currents that contributed to their creation.

(Offered as HIST 130 [EU] and EUST 130.) The image of the First World War is so iconic that it can be evoked through a handful of tropes: trenches, machine guns, mud, “going over the top,” crossing “no man’s land.” Yet in many ways this is a partial vision, one that focuses myopically on the experiences of European soldiers who occupied a few hundred miles of trenches in northern France. Why is it that a conflict as unprecedented in its size and complexity as “the Great War” has been reduced in our minds to this very limited scale?