Chernobyl: Nuclear Narratives and the Environment. This interactive exhibition seeks to facilitate public engagement with the Chernobyl catastrophe and its associated mythology. We hope that this project will allow readers to understand this tradition through both space and time. Russian writers have responded to the experience of incarceration in multifarious ways. With the exception of some editorial revisions, all commentary on this page has been produced by students in RUSS Spring They were tasked with selecting one text from the syllabus and one to be read on their own.
Click on the map on each slide to zoom in. Beards, Braids and Beatings. The final project for Russian Fairy Tales, Spring Students were tasked with creating skits around their favorite Russian Fairy Tales using different story telling props, and then performing them live in accordance with oral tradition.
Bulgakov Museum. The final project for Bulgakov, Spring Each student prepared an exhibit highlighting a certain aspect of Bulgakov's worldview as put forth in his plays and novels. Exhibits highlighted fanciful items such as Margarita's flight over Moscow and the ubiquity of gourmet food, as well as the more sinister, such as missing persons and an overcrowded morgue. Chekhov in the Courtyard. As the culminating project of a course on Revolutionary Theatre Spring , students gave a live reading of two of Chekhov's early farces, The Bear and The Proposal, in the Cosby Courtyard.
I had originally planned to create both Rogozhin's and Myshkin's crosses in the style of Russian icons, but decided to make one large cross instead. The cross is divided horizontally and vertically, into what could be called Rogozhin and Myshkin territories. The fragmentation of bodies ties back to Dostoevsky's descriptions of Nastasya. The orderliness of the brickwork pattern refers to Rogozhin's ability to scheme and calculate. The small amount of green visible between the bricks alludes to another of Rogozhin's greed, his desire to possess everything he wants.
The upper half of the cross, Myshkin territory, represents the spiritual half of the Dostoevsky's original idea. In this portion of the cross, there is a noticeable lack of artifice and of people. Myshkin cares deeply for the suffering of others.
