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Classics of Russian Literature

Classics of Russian Literature

Professor Irwin Weil, Ph.D.
Northwestern University

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Classics of Russian Literature

Course No. 2830
Professor Irwin Weil, Ph.D.
Northwestern University
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4.7 out of 5
60 Reviews
76% of reviewers would recommend this series
Course No. 2830
  • Audio or Video?
  • You should buy audio if you would enjoy the convenience of experiencing this course while driving, exercising, etc. While the video does contain visual elements, the professor presents the material in an engaging and clear manner, so the visuals are not necessary to understand the concepts. Additionally, the audio audience may refer to the accompanying course guidebook for names, works, and examples that are cited throughout the course.
  • You should buy video if you prefer learning visually and wish to take advantage of the visual elements featured in this course. The video version is illustrated with approximately 60 visual elements, including portraits of the authors discussed, key figures in writers' lives, and maps. There are also on-screen spellings, definitions, and English translations of Russian terms to help reinforce material for visual learners.
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Course Overview

Russian literature famously probes the depths of the human soul. These 36 half-hour lectures delve into this extraordinary body of work under the guidance of Professor Irwin Weil of Northwestern University, an award-winning teacher at Northwestern University and a legend among educators in the United States and Russia.

Professor Weil introduces you to such masterpieces as Tolstoy's War and Peace, Dostoevsky's Crime and Punishment, Pushkin's Eugene Onegin, Gogol's Dead Souls, Chekhov's The Seagull, Pasternak's Doctor Zhivago, and many other great novels, stories, plays, and poems by Russian authors.

You will study more than 40 works by a dozen writers, from Aleksandr Pushkin in the 19th century to Aleksandr Solzhenitsyn in the 20th. You will also investigate the origin of Russian literature itself, which traces to powerful epic poetry and beautiful renderings of the Bible into Slavic during the Middle Ages.

All of these works are treated in translation, but Professor Weil does something very unusual for a literature-in-translation course. For almost every passage that he quotes in English, he reads an extract in the original Russian, with a fluent accent and an actor's sense of drama.

You may not understand Russian, but there is no mistaking the expressive intonation, rhythm, and feeling with which Professor Weil performs these passages. At one point, reciting verses from Russia's most famous poet, he advises: "Listen to it once as a piece of music, and you will sense the linguistic genius of Pushkin."

Classics of Russian Literature explores Russian masterpieces at all levels—characters, plots, scenes, and sometimes even single sentences, including:

  • Tolstoy's Anna Karenina, which has one of the most famous first sentences in all of literature, setting the stage for a novel that probes the tragic dimension of a subject—adultery—that had traditionally been treated as satire.
  • Gogol's Dead Souls, with a concluding passage beloved to all Russians, in which the hero flees the scene of his fiendishly clever swindle in a troika—a fast carriage drawn by three horses—to the author's invocation, "Oh Rus' [Russia], whither art thou hurtling?"
  • Dostoevsky's The Brothers Karamazov, whose long chapter "The Grand Inquisitor" is a gripping, haunting, mystifying parable that is often studied on its own, but that is all the more powerful in this great novel, which addresses faith, doubt, redemption, and other timeless themes.

The Golden Age and After

The central core of the course covers the great golden age of Russian literature, a period in the 19th century when Russia's writers equaled or surpassed the achievements of the much older literary cultures of Western Europe. The age commenced with Pushkin, developed with the fantastic and grotesque tales of Gogol', and grew to full flower with Dostoevsky and Tolstoy—who at the time were considered in Europe to be lesser writers than their talented contemporary Turgenev. As the 20th century approached, Chekhov's exquisitely understated plays and stories symbolized the sunset of the golden age.

Gorky straddled the next transformation, linking the turmoil preceding the Russian Revolution with the political oppression that affected all artists in the newly established Soviet Union from the 1920s on. You examine the brilliant revolutionary poet Maiakovsky; the novelist Sholokhov, who portrayed the revolution as a tragedy for the Cossack people; the satirist Zoshchenko, who used Soviet society as food for parody; and Pasternak, who produced beautiful poems and a single extraordinary novel. Your survey ends with Solzhenitsyn, who became the most influential literary voice speaking out against the tyranny of the Soviet system.

Inside, Outside, and Behind the Scenes

Professor Weil uses intriguing details to bring these authors and their works to life. For example, readers of English translations are probably unaware of the symbolic names that Russian writers routinely give their characters, names that are especially evocative in Russian:

  • Roskol'nikov, the protagonist of Crime and Punishment, is named after the term for "schism," signifying a person who is separating himself from society. Dostoevsky gives other characters names that mean "mud puddle" and "intelligence," again, representing the person's inner nature.
  • Iurii Zhivago, the hero of Doctor Zhivago, has a family name that is an older Russian form of the word "alive." Pasternak uses a grammatical case that emphasizes the animate nature of the noun, signifying life as it should be experienced.

In addition to such internal details that enrich your understanding of the text, Professor Weil also points you to outside resources, from films and operas to recommended attractions that you may wish to see if you travel to Russia:

  • In order to get a sense of the powerful rhythms of Pushkin's masterpiece Eugene Onegin, readers who don't know Russian can turn to Tchaikovsky's famous operatic adaptation, which magnificently catches the meter and texture of the poem.
  • A trip to Moscow should include a visit to Tolstoy's house, now preserved as a museum. There you will get a vivid sense of the contradictions in this man's life—in the marked contrast between the comfortable Victorian furnishings preferred by his wife and family and the Spartan austerity in which he closeted himself to write, a style that came increasingly to define his life.

Professor Weil also recounts behind-the-scenes stories, many of which relate to his own experiences in Russia. These anecdotes add a new dimension to your appreciation of the works covered in this course:

  • One Day in the Life of Ivan Denisovich, Solzhenitsyn's moving novella about life in a Soviet forced labor camp, might never have appeared in print had not the mercurial Soviet premier Khrushchev found the story spellbinding. After reading the manuscript, Khrushchev admitted that it was one of the few literary works that he had managed to finish without sticking himself with pins to stay awake. The resulting publication stunned the Soviet reading public and the world.
  • "The History of an Illness," a short story by Zoshchenko, gently lampoons the Soviet health care system, with which Professor Weil has personal experience from his visits to the country. He describes some of the maddening features of Soviet medicine, including a propensity to treat every illness with vodka.
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36 lectures
 |  29 minutes each
  • 1
    Origins of Russian Literature
    Russian literature has its national and spiritual origins in the territory around the ancient city of Kiev, which adopted Christianity in the 10th century with a 100-year-old, magnificent translation of the Bible into Slavic. x
  • 2
    The Church and the Folk in Old Kiev
    One of Russia's most precious literary productions is The Tale of Prince Igor, a 12th-century epic recounting the daring, doomed raid of a Kievan prince against the neighboring Polovetsians, precursors of the Tatars. x
  • 3
    Aleksandr Sergeevich Pushkin, 1799–1837
    The first of five lectures on Russia's greatest poet discusses Pushkin's upbringing and the influences that molded his character and literary style, making him, in his own words, "the Mozart of the 19th century." x
  • 4
    Exile, Rustic Seclusion, and Onegin
    In the 1820s, Pushkin began work on a long poem, a "novel in verse," called Eugene Onegin. Inspired partly by Byron's Don Juan, it became an endless source of inspiration for later writers and composers. x
  • 5
    December’s Uprising and Two Poets Meet
    After reading Shakespeare in French translation, Pushkin wrote the historical tragedy Boris Godunov, based on the life of a Russian tsar whom many people accused of rising to the throne by using murder. x
  • 6
    A Poet Contrasts Talent versus Mediocrity
    Pushkin's drama Mozart and Salieri probed the psychological dimensions of the supposed murder of Mozart by his rival Salieri and inspired the 1980s play and film Amadeus. In Egyptian Nights, one can see elements of Pushkin in the character of Charsky. x
  • 7
    St. Petersburg Glorified and Death Embraced
    The concluding lecture on Pushkin explores his narrative poem The Bronze Horseman, about a poor man pursued by an equestrian statue of Peter the Great. Somewhat later, Pushkin was fatally wounded in a duel provoked by a man flirting with his wife. x
  • 8
    Nikolai Vasil’evich Gogol’, 1809–1852
    The first great master of Russian prose, Gogol' gloried in extensive, often bizarre imagery. In delightfully different ways, The Nose, The Inspector General, and The Overcoat each deal ironically with absurd situations. x
  • 9
    Russian Grotesque—Overcoats to Dead Souls
    Gogol's most famous novel, Dead Souls, concerns the confidence scheme of Chichikov, who buys ownership of dead serfs to use as collateral for a large loan, in the course of which Gogol' creates a gallery of grotesque characters. x
  • 10
    Fedor Mikhailovich Dostoevsky, 1821–1881
    The first of six lectures on Dostoevsky probes the early life of this celebrated chronicler of eternal themes and extreme states of mind. Dostoevsky's first novel, Poor Folk, is a heartrending, sometimes cruel, account of life among the lower classes in St. Petersburg. x
  • 11
    Near Mortality, Prison, and an Underground
    Arrested for his political views, Dostoevsky was condemned to death and put in front of a firing squad, only to be reprieved at the last second. The experience had a searing effect on the author. Some years later, after many difficult experiences, he produced his most consistently cruel work, Notes from the Underground. x
  • 12
    Second Wife and a Great Crime Novel Begins
    Under a draconian deadline, Dostoevsky dictated his novella The Gambler in a month, and then married his stenographer. Around this time, he began work on a story that would grow into the novel Crime and Punishment. x
  • 13
    Inside the Troubled Mind of a Criminal
    Continuing the analysis of psychological portraits in Crime and Punishment, this lecture focuses on the double murder at the heart of the novel and the gradual unraveling of what had appeared to be the perfect crime. x
  • 14
    The Generation of the Karamazovs
    Dostoevsky's last novel, The Brothers Karamazov, tells a story of family conflict and moral struggle. The book's most celebrated chapter, "The Grand Inquisitor," is as mystifying as it is unforgettable. x
  • 15
    The Novelistic Presence of Christ and Satan
    The Brothers Karamazov includes a celebrated interview with the Devil, and the conviction of the wrong brother for patricide. Dostoevsky died shortly after finishing the novel. x
  • 16
    Lev Nikolaevich Tolstoy, 1828–1910
    The first of six lectures on Tolstoy explores his early life and works, including a remarkable account of childhood, adolescence, and youth, and a series of realistic stories based on his experiences in the Crimean War. x
  • 17
    Tale of Two Cities and a Country Home
    Tolstoy's most famous novel, War and Peace, was inspired at least partly by his reaction to the return to European Russia of some of the Decembrists previously exiled to prison in Siberia, and evolved into a sprawling saga centered on the great Napoleonic invasion of 1812. This lecture introduces some of its major characters. x
  • 18
    Family Life Meets Military Life
    What happens when decent family people meet the hideous bloodshed of the most massive war that Europe had yet seen? In War and Peace, Tolstoy paints a huge canvas in which even the smallest detail is astonishingly lifelike. x
  • 19
    Vengeance Is Mine, Saith the Lord
    After War and Peace, Tolstoy turned to an entirely different theme: adultery. Anna Karenina tells the story of a respectable married woman who goes through tortuous confusion and enters into a passionate affair that has tragic consequences. x
  • 20
    Family Life Makes a Comeback
    A parallel plot in Anna Karenina involves a character named Levin, whose name clearly links him to the author, Lev Tolstoy. Like Tolstoy, Levin is preoccupied with the search for happiness and spiritual fulfillment. x
  • 21
    Tolstoy the Preacher
    The final lecture on Tolstoy probes two late novellas, The Death of Ivan Il'ich and The Kreuzer Sonata. The aging Tolstoy grew increasingly obsessed with moral and religious problems. He died in 1910 after fleeing his wife and home. x
  • 22
    Ivan Sergeevich Turgenev, 1818–1883
    In his day, Turgenev's reputation surpassed that of Dostoevsky and Tolstoy, especially in Western Europe. This lecture examines his Notes of a Hunter and First Love. The latter is a tender and beautiful evocation of adolescent passion. x
  • 23
    The Stresses between Two Generations
    In Turgenev's best known novel, Fathers and Sons, he addresses many of the most hotly debated issues of the day, including anarchism, socialism, feminism, and science. Turgenev experienced painful ambivalence in determining his own position on these issues. x
  • 24
    Anton Pavlovich Chekhov, 1860–1904
    Chekhov is renowned for capturing the subtleties of deep human feelings in his plays and short stories. This lecture examines one of each: The Seagull, a formative drama of 20th-century theater, and the poignant story The Darling. x
  • 25
    M. Gorky (Aleksei M. Peshkov), 1868–1936
    As a popular writer and public figure, Gorky came to symbolize the transition between two different political and social systems, separated by the Russian Revolution. His autobiographical sketches are a moving account of the 19th-century Russia that he knew. x
  • 26
    Literature and Revolution
    In the 1920s, Russian writers came under control of the Soviet system. Gorky, despite some misgivings, stayed loyal to the revolution. Many times he tried to protect writers and intellectuals from the murderous fanaticism of officials. x
  • 27
    The Tribune—Vladimir Maiakovsky, 1893–1930
    The brilliant poet Maiakovsky stoked the fires of passionate socialism with his evocation of the sun to visit the proletarian poet, his cry for a creative surge from "the army of the arts," and even, with some ambivalence, in his paean to the Brooklyn Bridge. x
  • 28
    The Revolution Makes a U-Turn
    In 1929 Maiakovsky completed a very ambivalent and moving play, The Bedbug. Woody Allen's film Sleeper is, in part, inspired by this work. One year later, Maiakovsky played Russian roulette with a loaded pistol and lost. x
  • 29
    Mikhail Aleksandrovich Sholokhov, 1905–1984
    The novelist Sholokhov saw the revolution as a tragic force that wiped out a whole community, the Cossacks. In the first part of And Quiet Flows the Don, he gives a vivid picture of pre-World War I Cossack life. x
  • 30
    Revolutions and Civil War
    The second part of And Quiet Flows the Don gives a remarkable picture of what it's like to experience war and revolution. In later life, Sholokhov won a Nobel Prize and shockingly called for the execution of some dissidents. x
  • 31
    Mikhail Mikhailovich Zoshchenko, 1895–1958
    Arguably the most popular writer during the Soviet era was the satirist Zoshchenko, who crafted stories that shed a ridiculing light on the many hypocritical and often downright crazy aspects of Soviet propaganda and life. x
  • 32
    Among the Godless—Religion and Family Life
    Zoshchenko's stories capture the religious piety that survived amid state-promoted atheism. He was also a master at portraying the comforts and vexations of family life amid housing shortages and other external pressures. x
  • 33
    Boris Leonidovich Pasternak, 1890–1960
    Principally a poet, Pasternak partly coped with the dangers of the Stalinist era by translating Shakespeare. In the thaw after Stalin's death, he wrote a politically charged novel on the revolution, Doctor Zhivago. x
  • 34
    The Poet In and Beyond Society
    Doctor Zhivago focuses on its hero's growing isolation in a country torn by war, revolution, and ideology. The novel has breathtakingly beautiful natural descriptions of Russia. x
  • 35
    Aleksandr Isaevich Solzhenitsyn, Born 1918
    In 1962 an unknown high school math teacher electrified the world with a novella called One Day in the Life of Ivan Denisovich, which told the truth about the Soviet Union's slave labor camps. Solzhenitsyn went on to recount other horrors of the Stalinist era. x
  • 36
    The Many Colors of Russian Literature
    Reviewing the territory covered in the course, this lecture points out that Russian literature opens a wide window into the ways of the world and the human condition, enlightened by the writing of Russia's greatest authors. x

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Your professor

Irwin Weil

About Your Professor

Irwin Weil, Ph.D.
Northwestern University
Dr. Irwin Weil is Professor Emeritus in the Department of Slavic Languages and Literature at Northwestern University, where he has been teaching for more than 40 years. He earned his B.A. and M.A. at the University of Chicago and his Ph.D. at Harvard University. Professor Weil has received several teaching awards, including the Northwestern University College of Arts and Sciences Award for distinguished teaching, the...
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Classics of Russian Literature is rated 4.6 out of 5 by 60.
Rated 5 out of 5 by from A Pleasure from Beginning to End I have to admit that I was a bit disappointed that Chekhov only received one lecture (while Maiakovsky got two...what's up with that?) and Lermontov and Leskov didn't even make the cut. However, if they'd included every great poet or novelist of Russian literature, this course would have gone on forever. And because that's my only complaint, I give this course 5 stars. It was truly a pleasure to listen to, especially as I was driving or sitting down with a cup of coffee. I'm already familiar with Russian literature generally, but this course introduced me to several new writers (especially in the Soviet period) and taught me new things about old favorites like Dostoevsky. I loved the anecdotes about the writers, the background details about their political and social situations, the excerpts from the poems, and even the musical bits. It was all very colorful and engaging, and you can hear Prof. Weil's passion for the subject in each lecture. I'm especially happy that he didn't hesitate to quote the original Russian texts (followed by translation, of course). Now my to-read list has suddenly become much longer. Excellent lecture series, highly recommended!
Date published: 2017-08-14
Rated 5 out of 5 by from Buy without hesitation. Really excellent. The professor is probably the best scholar that can be found about the subject. He knows Russia very well. His comments about Russian critique are very well informed. A very erudite and entertaining teacher.
Date published: 2017-07-22
Rated 5 out of 5 by from Fascinating Course My degree is far removed from literature or history, but this course is absolutely fascinating. The instructor is superb. I am on the edge of my seat during each lecture.
Date published: 2017-06-22
Rated 5 out of 5 by from By far the most enjoyable I've purchased 40 courses from The Great Courses and have worked my way through just about half of them. Hands down, this was the most enjoyable, featured my favorite instructor, and the course motivated me to purchase and read the most number of works cited in the journey of its 36 lectures (and I'm only sorry it stopped there. I would have ecstatic if it had gone an additional 36). Dr Weil is simply superb - a gifted storyteller, a talented voice actor, and he uses his wonderful singing voice to convey his insight via a dimension not typically risen to by university professors. As if that wasn't enough, he reaches out to you at whatever level you may be at in familiarity with Russian Literature, and brings you up and along on a journey of insight, history, outrage, sympathy, comedy and tragedy that is as vast and varied as Russia itself. This is a joyful learning experience on so many levels and so enjoyable you will wish that he had taught a follow-up course on the many Russian authors and works he had to leave unaddressed by necessity. The best purchase I've made so far.
Date published: 2017-05-27
Rated 4 out of 5 by from Big Novels in Little Lectures If you’ve always wanted to read Tolstoy’s War and Peace or Anna Karenina or Pasternak’s Doctor Zhivago or Dostoevsky’s Crime and Punishment or The Brothers Karamazov, but you’ve never had time to read such massive tomes, then this course is for you. If you HAVE read them, you may want to buy it anyways to remind you of what’s in them. The course heavily favors the three big giants of nineteenth-century Russian literature: Alexander Pushkin (5 lectures), Fyodor Dostoevsky (6 lectures), and Leo Tolstoy (6 lectures). Together the three receive almost half the coverage of this 36-lecture course. By contrast there are only two lectures each for Nikolai Gogol, Ivan Turgenev, Maxim Gorky, Vladimir Mayakovski, Mikhail Sholokhov (famous for And Quiet Flows the Don), Mikhail Zoshchenko, Boris Pasternak and Alexander Solzhenitsyn, and Anton Chekhov gets just one. Even so, this course provides listeners with a wealth of good stories. There are also interesting sidelights on the latest years of some of Russia’s literary heroes. You know how sometimes one says, “Oh, if only he had lived a longer life and produced more great works?” The composer Mozart would be a good example. Well, in some cases the authors lived so long they undermined their own reputations. Tolstoy became increasingly ascetic and hostile to sexuality, but offended the Russian Orthodox Church into excommunicating him, abandoned his family and then died of pneumonia. Sholokhov gave comfort to Soviet repression in the 1960s when he openly supported the government’s arrest of two dissident writers. Solzhenitsyn returned to Russia as a hero after the fall of Communism, only to get a TV talk show in which he did all of the talking and refused to let his guests get in a word. Professor Weil does a reasonably good job presenting the works, reading selections of poetry in the original Russian so that listeners can get a taste of the poets’ skill. This is especially the case for Pushkin, Mayakovski and Pasternak. Alas, I can’t understand Russian. More oddly, Weil sings some passages. In Lecture 33 he even sings in English a section of the “Sycamore Tree” song from Othello, which Pasternak translated into Russian. Weil’s voice is reasonably pleasant, but he probably won’t be invited to perform at the Met anytime soon. I have a few quibbles. The first two lectures cover the Kievan period with a discussion of the Lay of the Host of Prince Igor, but then there is absolutely nothing until Pushkin springs forth suddenly from nowhere after the early Muscovite centuries. It is as if no Russian writer put pen to paper from 1300 to 1800. Furthermore, Weil at least twice refers to Ivan IV (the “Terrible”--1533-84) as the first Tsar, but it was in fact Ivan III (the “Great”—1462-1505) who first took the title after his marriage to a Byzantine princess who was the niece of the last Emperor in Constantinople, Constantine XI Palaeologus. The final lecture isn’t very interesting, merely repeating certain points in earlier lectures without offering a new perspective. Otherwise I enjoyed the course well enough, and I recommend it.
Date published: 2017-04-10
Rated 5 out of 5 by from I got into this quickly I find this course really engaging. Although it is about literature, it naturally includes a lot of history. The professor is interesting. I love his recitations in Russian.
Date published: 2017-03-10
Rated 4 out of 5 by from Russian Literature Is Addictive I bought this course several months ago. The professor is certainly animated about his subject matter. The only real criticism I have of the course is that the professor tends to ramble a bit on his subject and there seems to be the expectation that you at least know a little Russian history before coming into the course. I knew very little about Russian literature when I started this course and now I want to go out and purchase a few of the novels that were talked about during the lectures.
Date published: 2017-02-03
Rated 5 out of 5 by from Do not rush through Russian Lit This course needs to be savored. It is good all-around intelligent material. Do rush to get it and then enjoy!
Date published: 2016-12-31
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