Bookings for our Russian & Slavonic Languages Open Day are now open!
This year, our Russian & Slavonic Languages Open Day will be held on Saturday 4th March, 10.15am-12.30pm at University College, Oxford.
Like our other language-specific open days, this event is smaller and more focused in its scope compared to our wider open day later in the year, allowing more time to explore a subject.
Our Russian & Slavonic Languages Open Day is designed to provide greater insight into our undergraduate degree programmes in Russian and other Slavonic languages such as Czech, Polish and Ukrainian. These languages are all available to study at beginners’ level here at Oxford, so the open day presents a great opportunity to find out more about these options and what the courses entail. It’s also a lovely excuse to come and visit an Oxford college and the city for the day, meet our current students and academics, and experience a taste of student life.
Event programme for the 2023 Russian & Slavonic Open Day
If you are interested in coming along to this event, you can reserve your place on our open days webpage. Please note that bookings are mandatory for this open day and that the deadline for registering is 20th February 2023.
As a reminder, we’re running several language-specific open days over the next six weeks… take a look at the table below for further details and sign up to attend here!
*This open day has been designed to be accessible for students considering beginners’ German. From this year’s admissions cycle, applicants can mix Joint Schools subjects with beginners’ German, so please do encourage students considering degrees in English, History, Philosophy etc. to come along and try out some German!
We look forward to meeting you at these events soon!
Here at the Faculty of Medieval and Modern Languages, we organise and run a range of open days for prospective applicants and their parents/guardians and teachers each year. Open days are one of the best ways for students to get a real feel for a University, helping them to make informed decisions about their futures.
The Taylor Institution Library, Oxford University’s centre for the study of Modern European languages and literatures.
Over the course of February and March, we will be holding our language-specific open days, designed to provide greater insight into our undergraduate degree programmes. In comparison to our wider open day later in the year, language-specific open days are smaller and more focused in their scope, allowing more time to explore a subject in depth.
For example, the German Open Day offers an introduction to German film, German linguistics, and different types of German literature. On the Spanish and Portuguese Open Day, our wonderful academics will provide an introduction to Transatlantic Iberian Culture and attendees will get the chance to learn Portuguese in 15 minutes.
So, if you’re thinking about applying to study languages at Oxford, or want to find out more about a particular course, these open days offer a wonderful opportunity to meet some of our tutors and current students, come along to academic taster sessions which will give you a flavour of what it’s like to study languages, and ask lots of questions.
Below are the details of our 2023 language-specific open days. You will need to book a place at these events, which you can do via our open daywebsite, where you will also find the event programmes.
Language-specific open days 2023
*Our German Open Day has been designed to be accessible for students considering beginners’ German. From this year’s admissions cycle, applicants can mix Joint Schools subjects with beginners’ German, so if you’re considering a degree in English, History, Philosophy etc., why not come along and try out some German!
You may have noticed that there is no specific open day for French: students interested in French should attend the Faculty’s main open day later in the year or one of the University open days in June or September. Keep your eyes peeled for more information about those events in future blog posts.
While you’re here: a reminder that applications to our 2023UNIQ programme are still open! You can read more about this fantastic opportunity for UK state school students in last week’s blog post, or head to the websitefor further information.
Here at the Faculty of Medieval and Modern Languages, we organise and run a range of open days for prospective students and their parents and guardians. Open days are one of the best ways to get a real feel for a University, helping students to make informed decisions about their futures.
Over the course of February and March, we will be holding our language-specific open days, designed to provide greater insight into our undergraduate degree programmes. In comparison to our wider open day in May, language-specific open days are smaller and more focused in their scope, allowing more time to explore a subject in depth.
For example, the German open day offers an introduction to German film, linguistics, and different types of literature. On the Spanish and Portuguese open day, you can explore medieval Iberian literature and learn Portuguese in 15 minutes. The Italian open day will introduce you to Italian literature’s biggest names from the Middle Ages and Renaissance periods.
So, if you’re thinking about applying to study languages at Oxford, or want to find out more about a particular course, these open days offer a wonderful opportunity to meet some of our tutors and current students, come along to academic taster sessions which will give you a flavour of what it’s like to study languages, and ask lots of questions.
Below are the details of our 2022 language specific open days. You will need to book a place at these events, which you can do via our open daywebsite, where you will also find the event programmes.
German: Saturday 19th February, 11am – 3pm, Microsoft Teams
Spanish & Portuguese: Friday 25th February, 10am-3pm, St Anne’s College
Italian: Saturday 5th March, 11am-1.30pm, Microsoft Teams
Russian and Slavonic Languages: Saturday 5th March, further details to be published soon.
You may have noticed that there is no specific open day for French: students interested in French should attend the Faculty’s main open day in May or one of the University open days in July or September. Keep your eyes peeled for more information about those events in future blog posts.
We look forward to having you along to our language-specific open days – don’t forget to book your place!
While you’re here: a reminder that applications to our 2022UNIQ programme are still open! You can read more about this fantastic opportunity for UK state school students in last week’s blog post, or head to the websitefor further information.
The SRTS Teachers’ Conference, pre-pandemic version
We’re delighted to announce that our Oxford University Modern Languages Teachers’ Network, the Sir Robert Taylor Society, is holding its annual conference this year on Thursday 23 and Friday 24 September. If you’re UK modern languages teacher, or have an interest in modern languages teaching at school and university in the UK, you’re warmly invited to attend. Due to Covid, the conference will once again be online this year, with two evenings of roundtable talks and guest speakers.
On Thursday 23 September, from 19:30-21:00 on Microsoft Teams, the theme will be Modern Languages and Careers.
We’ll be talking about, among other things:
Career paths of modern languages graduates
Employability and demand for modern language skills in the workplace
Transferable skills from modern language study
STEM pressure and the value of humanities subjects
On Friday 24 September, again from 19:30-21:00, the theme will be Modern Languages and Diversity.
We’ll be talking about, among other things:
Revisiting the canon: diversifying and decolonizing the curriculum in language, literature and film
Race, gender and sexuality as topics of study in language, literature and film courses
Racism, homophobia and other prejudice in literary texts and film
Diversity in the student body: widening participation in modern language courses
If you’d like to attend either or both events, please email us at schools.liaison@mod-langs.ox.ac.uk, and we’ll send you the link to join.
During the events, participation from delegates through the chat and live discussion will be warmly welcome. If you’d like a seat at the Round Table to talk more substantially about either of these topics in secondary or higher education, please let us know, and we’ll be very pleased to accommodate you.
Recently we held an online open day for potential applicants interested in studying Russian and other Slavonic languages here at the University of Oxford. If you were unable to attend but would like to know more, we are delighted to share a playlist of videos with more information about our undergraduate courses. You can view the videos on our YouTube channel here.
The Oxford Research Centre in the Humanities (TORCH) is a thriving hub of activities bringing together our community of scholars – students and tutors alike – across subjects within the humanities. One of their regular events is the ‘Book at Lunchtime’ series, which is usually a discussion of a recent publication by an academic from Oxford. On today’s blog, we’re featuring the Book at Lunchtime episode starring our very own Polly Jones, Associate Professor of Russian at University College. Prof. Jones discusses her book Revolution Rekindled. The Writers and Readers of Late Soviet Biography with Professor Ann Jefferson, Dr Katherine Lebow, and Professor Stephen Lovell.
Polly Jones offers the first ever archival and oral history study of Brezhnev-era publishing and propaganda production, highlighting the consistent pressure throughout late socialism to find new forms of propaganda and inspiring ‘revolutionary’ narratives, and challenges the widespread idea that these became ‘standardised’ and ‘stagnant’ soon after Stalin’s death. Jones reveals the vitality and popularity of late Soviet culture, especially biography and historical fiction. She emphasises that both writers and readers found in late Soviet ‘official’ publishing opportunities to reflect on complex questions of Russian and Soviet history and identity and employs extensive new archival material, and oral history interviews with some of the leading literary and cultural figures of the Brezhnev era.
Two weeks ago, we posted some snapshots of career destinations from alumni who have studied Russian. From journalism to business, from marketing to translating, it’s fascinating to see where our graduates end up. This week, we’ve included a few more snapshots to give you an insight into the vast range of career options open to linguists. These were originally published on the Creative Multilingualism blog.
“I became a journalist when I left Oxford – and intended to go back to Moscow to become a reporter. However, I ended up in New York instead and took a different path, which led to a career as an author. I have now written 8 books and am about to embark on a 9th. I was awarded an honorary D.Sc. last summer, which is perhaps unusual for an arts graduate and a Russianist. I have done a huge amount of work in making science accessible and entertaining to primary school children, hence the award.”
“After graduation I spent 3 and a half years in Moscow. I worked for a French sports retail company called Decathlon. I spent that time speaking virtually no English. It meant that I am now very fluent in both French and Russian (plus I know how to say every type of sports equipment under the sun in both languages). After Decathlon, I decided that I wanted to pursue a more academic career (law) and I went to work for an English law firm in Moscow as a paralegal for the remainder of my time in Russia. I came back to the UK, did my law qualification and, before starting work in London, I decided I wanted one last adventure. I went to China for a year and taught myself Mandarin. I’ve been working in London since 2011 in an international law firm and have also spent spells working in China. I specialise in EU and competition law.”
“I joined a classical music publisher on leaving Oxford, at first as an intern and then as a permanent member of staff. I have also worked in the Publications team at the National Portrait Gallery.”
“I produce TV commercials.”
“I have been working as an editor for an educational publishing company since graduating from Oxford. Presently, my husband and I are setting up a beer brewery.”
“I went back to Moscow after graduating and tried out various jobs such as English teaching, working as trilingual PA in a Russian bank, a journalist, translator, copy-editor; then I worked for 3 years at an artist management company in London (working with many Russian artists), then for a year at a marketing company with a Russian client base. I’m now back at university doing an M.Sc. in Speech and Language therapy (which involves linguistics and phonetics).”
“I completed a Master’s in Russian and East European Studies at Harvard. I’m now a corporate lawyer by day (and most of the night) where I work heavily with Russian and Eastern European clients (I have used Russian, Czech, Slovak and Ukrainian – picked up at Harvard – at work). For the remainder of the night I am a struggling writer (on things Russian).”
“I continued my study of languages, first Arabic at the School of Oriental and African Studies as part of a Master’s, for which my major was Law in the Middle East and North Africa, then Chinese at BPP University as part of a Graduate Diploma in Law (GDL) and Legal Practice Course (LPC), all funded by the law firm I work for in London as a trainee solicitor. I’m also a freelance producer of short films, comedy and theatre.”
Continuing the careers theme, today on Adventures on the Bookshelf we’re sharing some glimpses of the many career paths our graduates in Russian have followed. These quotations from our former students were gathered in 2016. They were originally featured on the Creative Mulitlingualism website. Here are a handful – more will follow in the coming weeks…
Where has your degree in Russian taken you?
“I now live in Vienna and am working as a translator at the UN, the International Atomic Energy Authority and the Organization for Security and Co-operation in Europe, mostly translating from Russian.”
“I moved to a business intelligence firm in the city, where I specialised as an analyst on Russia and the former Soviet Union. I undertook due diligence and intelligence analysis on businessmen, corporations and politicians, looking for signs of corruption, criminal activity and unsavoury connections. I was using my Russian (and at times also Polish) on a daily basis, scouring Russian-language news articles, legal records, corporate registries and blog sites, as well as speaking to human intelligence sources on the ground. I’ve recently begun a two-year-Master’s of International Affairs in Berlin, and hope to spend the second year of the degree abroad at Columbia University in New York, specialising in security and human rights in Russia and the former Soviet Union.”
“I worked in Moscow for 4 years, first at the BBC Monitoring Service for a year and a half (translating news broadcasts from Russian TV and radio), which I enjoyed very much. I then moved to the Moscow Times. I’ve now gone back to university in London and am doing an M.Sc. in Speech and Language Therapy.”
“I did an M.A. at the School of Slavonic and East European Studies in London, and started working at the BBC. I spent a total of 6 years with the BBC – from admin to on-air journalism, and loved it. From news producing in the World Service newsroom, to a 3-week research trip to Pakistan. Then moved to Moscow to work with the RIA Novosti translation department (on Russian government websites). I’ve been in Moscow for 5 years and am now a Consultant in PR and Financial IR, in a consultancy specialising in Russia, the former Soviet Union and emerging markets.”
“I’m an installation artist and writer, also a translator specialising in art and architecture (from German into English as I live in Austria) and occasionally fiction. I’ve also worked as a cultural journalist.”
“I run a language learning website through which I sell intensive German, Russian and Greek courses and learning materials, while also organising international conferences on language learning and multilingualism, and working with organisations such as the British Council and the European Union to promote multilingualism worldwide, while also writing a book on language learning.”
“I initially worked as the PA to a wine critic for a few months while applying for grad schemes. I ended up in my current job (as a strategist in a branding agency) almost by chance, but am very much enjoying it. As the only person in the agency who speaks Russian, I’m often called on for translations and general cultural insight.”
These are just a handful of the possible career options in languages. Truly, the world is your oyster!
This post originally featured on the Creative Multilingualism blog. It was written by Julie Curtis, Professor of Russian Literature at Oxford and Fellow of Wolfson College. Prof. Curtis is also the Director of Outreach for Medieval and Modern Languages. Here, she reflects on the transformation of a Russian ‘New Drama’ play, Oxygen, by Ivan Vyrypaev, into a UK hip hop version, provoking questions about translation, transformation, and creative ownership.
2002-2018: Ivan Vyrypaev’s play Oxygen, and its 16-year journey between a basement theatre studio in Moscow and a basement rehearsal room at the Birmingham Rep Theatre.
When Ivan Vyrypaev’s play Oxygen was first performed in 2002 at Moscow’s edgiest theatre, Teatr.doc, it caused a sensation. On the one hand it depicted an act of extreme violence – a young man battering his wife to death with a shovel in order to start a new relationship with a woman he believes will offer him more ‘oxygen’ – and it also used aggressively obscene language, transgressing against one of the strongest taboos of Soviet-era theatre. On the other hand, the play had a haunting beauty, deriving from the poetic inventiveness of its use of Biblical motifs, specifically the Ten Commandments, and the musical structuring of the language around refrains, patterning and other compositional devices deriving from both classical and contemporary musical traditions, such as rap.
The play became known as the flagship play of the ‘New Drama’ movement which has arisen in the era of President Putin, and which remains one of the few spheres in which challenges are still offered to official state narratives about society, politics, gender and sexuality, national identity and international relations. It was seen at the theatre by a narrow range of Moscow intellectuals, but gained wider impact within Russia when it was turned by Vyrypaev into a film in 2009; and it also attracted attention internationally – it has been staged in many countries of the world, including a brilliant production (featuring world-champion break-dancers from Russia) staged by the RSC at Stratford in 2009.
Dr Noah Birksted-Breen is a theatre director and Russian scholar who has for many years been exploring contemporary Russian drama and staging it at his London-base Sputnik Theatre. When he joined the Creative Multilingualism team, he attended an event organised by Professor Rajinder Dudrah which brought the grime artists RTKAL, Ky’orion and Royalty from Birmingham to perform on the stage of the Taylor Institution. Their verbal ingenuity, the Rastafarian frame of reference they deployed in their performance, and above all the powerful and infectious rhythms of their art provided a lightbulb moment for me and Noah – we looked at each other, and wondered aloud what would happen if we introduced them to Vyrypaev’s work….
A couple of years later, and that thought has translated into reality, with a performance based on extracts from Vyrypaev’s work being rehearsed in the Birmingham Rep by the brilliant UK rap, hiphop and grime artists Lady Sanity and Stanza Divan, directed by Noah. On Thursday I went along to watch the final research and development session, before the performance later that day curated by Rajinder at Birmingham City University. It prompted all sorts of thoughts in my mind about how issues of ownership and collaboration came together to produce this spectacular meeting of minds across two very different cultures:
Vyrypaev owns his text, and is very protective about performances of it across the world;
But Noah is one of the most admired directors of contemporary Russian drama in Britain, so Vyrypaev willingly licensed the text for Noah’s project in Sasha Dugdale’s translation, trusting to both Noah’s knowledge of Russian culture and his artistic gifts to create something which would be both new and true to the original;
Rajinder knows the rap and hiphop scene in Birmingham via our project partners Punch Records also from the city, and together they recruited artists who would bring their talents to bear on very unfamiliar material, originating from an entirely alien society;
Once Lady Sanity and Stanza Divan got to know the text, they worked with Noah on how to make it their own, retaining the skeleton of the piece and certain elements of the refrains, playing with the ideas of the male and female characters with the same name – the two Sashas became the two Jordans…
Lady Sanity and Stanza Divan have focused less on the violence and the obscenity, but have translated the relationship between the two to fit into the witty ‘clashing’ routines typical of rap/hiphop/grime performances; this allows them to develop a gendered rivalry which is absent from the original, with Stanza Divan using sarcasm (‘Calm down!..’ – to use a phrase typical of some male politicians…) to scorn and disparage the sharp-tongued teasing of Lady Sanity;
But they retain the relative social positions of the two Russian protagonists; she more educated, and from a more comfortable, secure background, he instead from a disadvantaged, broken family and dropping out of secondary education;
And above all they retain the message of the final section of Vyrypaev’s original, concerning the difficulties faced by the young in today’s world, where so many threats loom;
Did their UK hiphop theatre work absorb Vyrypaev into their British world? Or did Vyrypaev lead Birmingham’s hiphop performers into new areas? Above all, they said, they recognised that elements in the text of the original were primarily about the freedom of self-expression, and that chimed in with the same preoccupation in British hip-hop and grime art.
The generosity of very many different people’s collaborations brought this work of art into being: but who ‘owns’ the creative result? Is cultural transposition different from translation?
Watch the below film to find out more about the hip hop theatre version of the Russian play Oxygen.
This week we continue our series on career profiles. We hear from Daniel Milnes, who studied German and Russian at Somerville College and graduated in 2011. Orginally from Leeds, Daniel now works as a Curator for modern and contemporary art at the Hamburger Bahnhof Museum for Contemporary Art in Berlin. Daniel tells us how his languages have fed into his career path…
After graduating from Oxford in 2011 I completed a Master’s degree in Art History at the Albert-Ludwigs-Universität Freiburg with a research period at the European University at Saint Petersburg (2011-2013). This proved to be the first step toward my current career as a curator for contemporary art. After graduation I completed a two-year traineeship in curatorial practice at the Kunstmuseum in Stuttgart where I served as assistant curator on two large-scale exhibition projects as well as curating my own exhibition with the artist Raphael Sbrzesny. This led to my next position as Assistant Curator at Haus der Kunst, Munich, a leading international institution for the display and discussion of contemporary art and culture.
Photo by M(e)ister Eiskalt, used under Creative Commons (https://creativecommons.org/licenses/by-sa/4.0/) via Wikimedia.org
At Haus der Kunst I served as assistant curator for the project “Postwar: Art between the Pacific and the Atlantic, 1945-1965” which redefined the art historical canon of the postwar period from a multifocal and global perspective, deconstructing the traditional narrative that has until recently been dominated by the work of white male artists from the West. For this project I was responsible for the selection of art from the Soviet Union, liaising with artists, curators, theoreticians, and museum workers in Russia. My contact to the contemporary Russian art world was further strengthened through the development of a solo exhibition with media artist Polina Kanis, who works between Moscow and Amsterdam. In addition, I curated two further exhibition projects which analysed how models of identity have changed since digital forms of mediation have come to dominate daily life.
Since 2018 I am working as Assistant Curator at the Hamburger Bahnhof Museum for Contemporary Art in Berlin, where I am currently organizing the exhibition of the winner of the National Gallery Prize, Agnieszka Polska.
In my day-to-day working life I am constantly travelling and shifting between languages in order to coordinate exhibitions, write academic articles, proofread catalogues, give tours through exhibitions, deliver presentations and speeches, and liaise with artists. This would all be unthinkable without my training in Modern Languages and the sensibility for the nuances of language and culture that it fostered.
A blog for students and teachers of Years 11 to 13, and anyone else with an interest in Modern Foreign Languages and Cultures, written by the staff and students of Oxford University. Updated every Wednesday!
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