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1. 1 2024-01-16T10:55:18-08:00 Tatiana Efremova a5bb7c28d4a93f5162046ecddb108baa3d22408c A reference to the bust of Lenin places the piece within the context of sotsart and activates the idea of the 1917 revolution, an important context following the mass protests of 2017 (in the aftermath of Navalny's investigation of Dm Medvedev's property) Tatiana Efremova 2 plain 2024-01-16T10:55:53-08:00 Tatiana Efremova a5bb7c28d4a93f5162046ecddb108baa3d22408c

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• 1 2022-01-11T16:21:35-08:00 Course Description 29 Remediating Protest plain 2024-02-24T13:16:51-08:00

  Remediating Protest

  Transgressive Aesthetics in Soviet and Post-Soviet Culture

  TANYA EFREMOVA
  Office Hours Wed 2pm-3pm or by appointment 
  te2322@columbia.edu
  
  While the strengthening of the authoritarian regime in Russia under Putin has rendered political protest exceedingly dangerous, it has not immobilized the cultural forms of dissent. From a feminist performance in a church to satirical documentary and whimsical trial speeches, contemporary artists, journalists, and activists have been shaping the language of protest essential to understanding post-Soviet space. Why does protest in contemporary Russia take these specific aesthetic forms? Taking our point of departure from Rancière’s idea of resistance – signifying both firm persistence and a practice yielding change – we will explore how contemporary post-Soviet protest genres rely on the communication strategies that return to Soviet parody, poetic form, underground art, and dissident practices of cultural distribution. Looking at laughter as a transgressive communicative device, we will search for the reverberations of Soviet satire in Russian and Belorussian stand-up, as well as in less obvious genres, such as the recent documentary work by Alexey Navalny. We will focus on mimesis as a tool of resistance in Soviet underground art and contemporary performative practices. Exploring the aesthetics of testimony rooted in Soviet show trials, we will examine how Soviet journalistic prose and, later, contemporary theater reclaimed its devices. We will study the persistence of bodily tropes and language of violence in women’s prose, drama, contemporary feminist poetry and performance. Finally, we will discuss how dissident practices of samizdat and tamizdat helped create cultural networks in Soviet Russia and beyond as we reflect on the use of new media platforms and technologies of digital activism in post-Soviet space. Rather than searching for instances of direct influence between cultural producers, we will examine how protest strategies are shaped and remediated while activating multiple layers of cultural memory. Students will learn to annotate images and videos online, write blog posts and carry out an independent research project in consultation with the instructor. At the end of the course they have a choice of presenting the project in the form of a paper or a multimedia digital piece. All primary and secondary readings are in English or have subtitles.
   

  Course Objectives and Learning Outcomes

  By the end of the semester, students will be able to:

  - to present independent and reasoned analysis of primary and secondary sources relevant to the study of cultural forms of protest and cultural memory, both verbally and in writing, adopting appropriate academic conventions;

  - be familiar and able to evaluate a variety of theoretical approaches to the study of aesthetic genres such as satire, documentary, performance, etc. as well as situate primary sources in a wider historical and cultural context;

  - be able to present their work in the digital form and acquire skills of Internet publishing