(Offered as HIST 439 [EU] and EUST 339) The course will explore a most intense and fascinating period in Russian history: the years 1890-1910. This period witnessed rapid urbanization and industrialization; the rise of professional and mass politics; first instances of modern terrorism and an intensification of nationalist struggles; imperialist ventures in Central Asia, Manchuria, and Korea; several revolutions and wars; and, above all, an unprecedented efflorescence of modernist culture in the late Russian Empire which was readily exported to and consumed in Europe.

(Offered as HIST 339 [EU/p] and EUST 329.)  This seminar reviews the various socio-cultural configurations of economic relations from the high medieval to the early modern era. Drawing on works from a range of disciplines, we focus on the intersection of market and culture, on how people have struggled to arrange and institutionalize market exchange, and how they have sought to make sense of those changing relations. The course is built around a basic question that is also a current debate: What can we and what can we not buy and sell? And why?

(Offered as EUST 259 and SPAN 365.) Taught at the Hampshire County Jail, the course is devoted to close readings and staging of parts of Shakespeare’s plays while exploring in depth his historical context, dramatic and stylistic style, and world view. The topics of bondage, revenge, injustice, and forgiveness will serve as leitmotifs. On this iteration, four plays will be the focus: As You Like It, Macbeth, Hamlet, and The Tempest. Conducted in English.

Spring semester. Professor Stavans.

(Offered as RUSS 246, ARHA 246, and EUST 256.)  This course will offer a comparative overview of how visual art developed in the Soviet Union, the United States, and the “two Germanys” within the intellectual and political climate that defined the Cold War (1947-1991). By considering how the conditions of artistic production and reception differed—and also sometimes converged—under democratic capitalism in the West and state socialism in the East, we will gain new perspectives on the intersection of art and ideology in the postwar period.

(Offered as HIST 231 [EU] and EUST 231.) From the mid-eighteenth century through the 1960s, Britain presided over the most powerful empire in the world. At its height, this small island nation ruled one-quarter of the earth’s surface and more than 450 million of its inhabitants. Not only did British imperialism play a decisive role in shaping world politics, economics, and cultures in its day, it also left a number of profound legacies that continue to affect our lives in the present.

(Offered as HIST 226 [EU^p]. ARHA 226, and EUST 226.) Although overlooked in military histories until recently, women have long been actively involved in warfare: as combatants, as victims, as workers, and as symbols. This course examines both the changing role of women, and the shifting constructions of “womanhood,” in four major European conflicts: the wars of Elizabeth I in sixteenth-century England, the wars and peace of Marie de Médicis in seventeenth-century France, the French Revolution, and the First World War.

(Offered as HIST 225 [EU^P] and EUST 225.) Medieval Europe is often remembered and imagined as a chivalric civilization – a time when men were courageous and courteous, ladies were fair and respected, and the clash of arms was also an embodiment of Christian piety.  This course seeks to uncover the myths and realities of medieval chivalry and thereby provide a window into the material, social, and cultural life of the Middle Ages.

(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 222 and EUST 222.)  One of three courses in which the development of Western music is studied in its cultural-historical context. As practical, in-class performance and attendance at public concerts in Amherst and elsewhere will be crucial to our work. Composers to be studied include Beethoven, Rossini, Schubert, Mendelssohn, Schumann, Chopin, Liszt, Berlioz, Wagner, Verdi, Musorgsky, and Brahms. Regular listening assignments will broaden the repertoire we encounter and include a wide sampling of Classical and Romantic music.

(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.