Visit the Students Working with Video page for complete policies and procedures governing video consent, sharing, and storage. Students Working with Video Students Working with VideoĪll video recording that takes place for Hunter School of Education coursework-in public or private schools, community-based settings, early care settings, etc.-must be done in compliance with FERPA guidelines. She is a published translator and editor, most recently of Russian Love Stories (Peter Lang, 2009).With an account students get a FERPA compliant drive to store your videos, templates, and other materials. Peterson is the author of Subversive Imaginations: Fantastic Prose and the End of Soviet Literature, 1970s-1990s and of a number of articles on various aspects of Russian literature, culture and education. She is a specialist on contemporary Russian prose and womens literature. Peterson is also on the faculty of the doctoral program in the Department of Comparative Literature at the CUNY Graduate Center. She is currently an Associate Professor of Russian at Hunter College of the City University of New York and the Head of the Russian and Slavic Studies Program at Hunter. in Russian literature from Indiana University. Peterson was educated in Moscow, Russia and received her Ph.D. Starr Professor of Russian and East European Studies, Middlebury College About the Author Born in Riga, Latvia, Nadya L. Peterson provides the English speaking reader and audience access to a series of this remarkable authors plays.-Thomas R. Beaujour, Professor of Russian and Comparative Literature, Hunter College and the CUNY Graduate Center Peering into the abyss, Nina Sadur leads us into the darkness of the human spirit as the Russian literature of Gogol and Dostoevsky has so often done, connecting with her reader both universally and viscerally. Her prose works and plays are almost literally spellbinding.-Elizabeth K. 3) Finally English-language readers can be familiar with the disquieting, mysterious, yet disturbingly physical world of Nina Sadur, surely one of the major Russian writers to have emerged since the 1970s. With this admirable achievement, Peterson has performed a commendable service to all Sadur fans and readers of Russian drama, something for which we should be grateful.-Tatyana Novikov, University of Nebraska-Omaha, The Rocky Mountain Review of Language and Literature (Vol. The language of the volume is well chiseled, the translation flows smoothly. Olaf College Canadian Slavonic Papers With Nadya Peterson as editor and main translator, this selection brings Sadur to large new audiences and will probably stand as the best representation of her achievement as a playwright. It includes some of Sadurs best-known works as well as some lesser-known plays. The translations in this new collection of Sadurs plays were collaborative efforts together with the introduction, they will allow practitioners to understand the work of an important late Soviet playwright.-The Times Literary Supplement This new collection of four plays by Nina Sadur is a welcome addition to the fields of both Russian literature and theatre. Review Quotes Sadurs plays are discomforting they uproot certainties, allowing deep and ugly forces to disrupt the strained surface of Soviet life. Working essentially in isolation, Sadur built a bridge between the early twentieth century dramatic discourse and that of the late Soviet era, preparing for the rise of the new Russian drama of the 2000s. They are overtly gynocentric, and have exerted a tremendous influence on contemporary Russian literature. Sadurs plays are inspired by symbolist drama, the theater of the absurd, and Russian folklore, yet are also infused with contemporary reality and populated by contemporary characters. This collection will appeal to readers interested in Russian literature and culture, Russian theater, and womens literature in general. The plays included in this volume off er some of her most infl uential theatrical works to the English-speaking audience for the fi rst time. Nina Sadur, the playwright, occupies a prominent place in the literary pantheon of the period. Book Synopsis With the exception of Liudmila Petrushevskaias dramatic output, Soviet/Russian drama of the 1980s and 1990s has generally been ignored by the Western literary establishment.
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