Anne Lounsbery

s200_anne.lounsberyAssociate Professor of Russian and Slavic Studies
Department Chair
B.A. 1986 Brown University; M.A. in Comparative Literature, 1995 Harvard University Ph.D. in Comparative Literature, 1999 Harvard University

Office Address: 19 University Place, 206 New York, New York (US) 10003
Phone: (212) 998-8674

Areas of Research/Interest
Nineteenth-century Russian prose; the rise of print culture; theories of the novel; Russian literature in comparative perspective; imaginary geographies.

External Affiliations
Modern Languages Association; American Association for the Advancement of Slavic Studies; American Studies Association; American Association of Teachers of Slavic and Eastern European Languages

Select Publications:

Thin Culture, High Art: Gogol, Hawthorne, and Authorship in Nineteenth-Century Russia and America. Harvard University press, 2006.

“On Cultivating One’s Own Garden with Other People’s Labor: Serfdom in Tolstoy’s ‘Landowner’s Morning.’” In Before They Were Titans: Early Tolstoy and Dostoevsky, ed. Elizabeth Cheresh Allen, Academic Studies Press, 2015.

“Rossiia i ‘mirovaia literatura’” (“Russia and ‘World Literature’”). In Voprosy Literatury, 2014. Chinese translation in Forum for World Literature Studies, Wuhan, China, 2015.“ 

‘The World on the Back of a Fish’: Mobility, Immobility and Economics in Oblomov.” Russian Review, January 2011.“Print Culture and Real Life in Dostoevsky’s Demons.” Dostoevsky Studies XI, 2007.

“Dostoevsky’s Geography: Centers, Peripheries, Networks.” Slavic Review, summer 2007.

“‘No, this is not the provinces!’: Provincialism, Authenticity and Russianness in Dead Souls.” Russian Review, April 2005.

“‘Bound by Blood to the Race’: Pushkin in African American Context.” Under the Sky of My Africa: Alexander Pushkin and Blackness. Ed. Nicole Svobodny, Catharine Theimer Nepomnyashchy, and Ludmilla A. Trigos; intro. H. L. Gates. Northwestern University Press, 2006.
Articles by Anne Lounsbery

Teaching Chekhov in the Time of Trump

Chekhov’s stories model a certain way of being in the world. One might describe them as incorrigibly humanist, humanist in the most uncool sense. You can choose to interpret Chekhov in ways that make his texts more difficult than they really are, especially if you subscribe to the Modernist tenet that high art is all about difficulty. But I think if you do so you’re failing to experience what’s best and most important about the stories, which is simply their call to look humbly for truth, to attend carefully to ordinary life, and to practice ordinary human empathy. The prescriptions here are almost embarrassingly simple—but they are not at all easy.

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Slavic Studies’ Heart of Whiteness

SEELANGS may have finally turned me into a Ukrainian nationalist.

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Not Crimea: Stalingrad in 3-D

Stalingrad is a movie that meets a certain need—the need to be able to cheer wholeheartedly when an evil enemy gets blown up.

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