Dr. I.S. (Irina) Souch
Faculty of Humanities
Literatuurwetenschap
Visiting address
- Spuistraat 134
- Room number: 703
Postal address
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Postbus 1642
1000 BP Amsterdam
Contact details
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Profile
Irina Souch is Lecturer in Comparative Literature and Cultural Analysis in the Department of Literature and Linguistics of the University of Amsterdam and holds a position of Affiliated Researcher at the Amsterdam School for Cultural Analysis (ASCA). She is the author of the monograph Popular Tropes of Identity in Contemporary Russian Television and Film (Bloomsbury 2017) and a coeditor of the contributed volume Heterotopia and Globalisation in the Twenty-First Century (Routledge 2020).
Her current work addresses narrative, aesthetic and political functions of landscape in serial television drama and film.
Teaching
In the academic year 2024- 2025 Irina is teaching the following courses
Master's Thesis Seminar Comparative Literature / Introduction to Literary and Cultural Analysis
ASCA Research seminar "What is Landscape? Theory, Aesthetic and Politics of Landscapes" (with Noa Roei)
Courses taught previously
Concepts for Cultural Analysis (rMA) / Conjunctures: Contesting the Contemporary / Master's Thesis Seminar Comparative Cultural Analysis / Narratological and Discursive Analysis / Academic Writing / Literary Masterpieces / Literature, Crisis and the Contemporary / Contemporary Critical Theory / Literary and Cultural Theory / Analysis and Interpretation / Introduction to Literary Studies (in Dutch)/ Contexts and Frames / Contemporary Literature: the Extreme Contemporary Novel / Russian 19th Century Literature
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Publications
2024
Kenny, I., & Souch, I. (2024). The Goshawk Did It: Nature Writing and Detection in Ann Cleeves’ The Crow Trap. In N. Ashman (Ed.), The Routledge Handbook of Crime Fiction and Ecology (pp. 26-38). (Routledge literature handbooks). Routledge. https://doi.org/10.4324/9781003091912-4 [details]- Souch, I. (2024). The Underground and End of Geologic Imaginations in the Finnish/Swedish TV Series White Wall. Critical Studies in Television, 19(3), 314-331. Advance online publication. https://doi.org/10.1177/17496020241258712 [details]
- Souch, I., Saunders, R. A., & Risum Waade, A. M. (2024). Landscapes in the Frame: Anthropocene screens. Critical Studies in Television, 19(3), 273-291. https://doi.org/10.1177/17496020241259277 [details]
2023
- Kenny, I. M., & Souch, I. (2023). Reconsidering Polar Literature in the Anthropocene: Hope in the Works of Jean McNeil and Barry Lopez . Hungarian Journal of English and American Studies (HJEAS), 29(1), 13-33. https://doi.org/10.30608/HJEAS/2023/29/1/2 [details]
- Saunders, R. A., Souch, I., & Waade, A. M. (2023). Screening Arctic Landscapes in Nordic Television Drama: Anthropocenic Imaginaries, Ecological Crises, National Identities. In D. White, J. Peck, & C. Goldie (Eds.), Disturbed Ecologies : Photography, Geopolitics, and the Northern Landscape in the Era of Environmental Crisis (pp. 257-282). Transcript Verlag. Advance online publication. https://doi.org/10.14361/9783839460269-012, https://doi.org/10.1515/9783839460269-012 [details]
- Souch, I. (2023). Apocalyptic Pandemic in Yana Vagner’s To The Lake. Russian Literature, 138-139, 131-149. Advance online publication. https://doi.org/10.1016/j.ruslit.2022.11.013 [details]
- Souch, I. (2023). The Unknowability of Post-nuclear Landscapes in the Russian Television Series Chernobyl, Exclusion Zone. In M. Hristova, A. DeBlasio, & I. Anisimova (Eds.), Energy/Waste: Approaches to the Environment in Post-Soviet Cultures (pp. 183-204). (Slavica Bergensia; Vol. 14). University of Bergen. https://doi.org/10.15845/slavberg.21.c137 [details]
- Souch, I., Mikhailin, V., & Belyaeva, G. (2023). The waning of the young sincere hero in Averbakh and Maslennikov’s The Private Life of Kuziaev Valentin. Studies in Russian and Soviet Cinema, 17(1), 6-20. https://doi.org/10.1080/17503132.2023.2163960 [details]
2022
- Kenny, I., & Souch, I. (2022). When a Real Storm Hits the Shores: Representing Climate Crisis in the Television Series 'The Swell'. Interférences litteraires/literaire interferenties, 27(2), 77-94. Article 6. http://www.interferenceslitteraires.be/index.php/illi/article/view/1231 [details]
- Souch, I. (2022). Troubling the Water: Hydro-imaginaries in Nordic Television Drama. Akademisk Kvarter, 25(12), 51-63. https://doi.org/10.54337/academicquarter.vi25.7635 [details]
2021
- Noordenbos, B., & Souch, I. (2021). Nostalgic Mediations of the Soviet Past in Nikolai Lebedev’s Remake of The Crew (2016). In E. Cuelenaere, G. Willems, & S. Joyce (Eds.), European Film Remakes (pp. 149-162). (Screen Serialities). Edinburgh University Press. https://doi.org/10.1515/9781474460668-015 [details]
- Souch, I. (2021). Community, Myth, and Metaphor in Pavel Kostomarov’s Outbreak Thriller Series <i>Epidemiia / To the Lake</i> (2019). Apparatus, 12, Article 4. https://doi.org/10.17892/app.2021.00012.252 [details]
- Souch, I. (2021). Reincarnations of Miss Marple on Russian TV: Challenging the Tropes of Female Ageing. MAI: Feminism and Visual Culture, 7, Article 10. Advance online publication. https://maifeminism.com/reincarnations-of-miss-marple-on-russian-television/ [details]
2020
- Ferdinand, S., Souch, I., & Wesselman, D. (Eds.) (2020). Heterotopia and Globalisation in the Twenty-First Century. Routledge. https://doi.org/10.4324/9780429290732 [details]
- Souch, I. (2020). Transformations of the Evil Forest in the Swedish Television Series Jordskott: An ecocritical reading. Nordicom Review, 41(s1), 107-122. https://doi.org/10.2478/nor-2020-0011 [details]
- Souch, I. (2020). Without Witness: Privacy and Normal Life in Late Soviet Cinema. In T. Klepikova, & L. Raabe (Eds.), Outside the "Comfort Zone": Performances and Discourses of Privacy in Late Socialist Europe (pp. 203-226). (Rethinking the Cold War; Vol. 5). De Gruyter Oldenbourg. https://doi.org/10.1515/9783110606874-009 [details]
- Wesselman, D., Ferdinand, S., & Souch, I. (2020). Introduction: Interrupting Globalisation - Heterotopia in the Twenty-First Century. In S. Ferdinand, I. Souch, & D. Wesselman (Eds.), Heterotopia and Globalisation in the Twenty-First Century (pp. 1-18). Routledge. https://doi.org/10.4324/9780429290732-1 [details]
2019
- Peeren, E., & Souch, I. (2019). Romance in the cowshed: Challenging and reaffirming the rural idyll in the Dutch reality TV show Farmer Wants a Wife. Journal of Rural Studies, 67, 37-45. https://doi.org/10.1016/j.jrurstud.2019.02.001 [details]
2017
- Souch, I. (2017). Popular Tropes of Identity in Contemporary Russian Television and Film. Bloomsbury Academic. https://doi.org/10.5040/9781501329050 [details]
- Souch, I. (2017). Notes on Sincerity in Russian Auteur Cinema of the 2010s. Apparatus, 4. https://doi.org/10.17892/app.2017.0004.18 [details]
2014
- Souch, I. (2014). Podonki in Albion: translation strategies in the representation of Russian identities in Suzie Halewood's Bigga than Ben (2008). In L. Engelen, & K. Van Heuckelom (Eds.), European Cinema after the Wall: Screening East-West Mobility (pp. 95-112). (Film and History). Rowman & Littlefield. https://search.ebscohost.com/login.aspx?direct=true&db=e000xww&AN=670407&site=ehost-live&scope=site&ebv=EB&ppid=pp_95 [details]
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Ancillary activities
- No ancillary activities
Kenny, I., & Souch, I. (2024). The Goshawk Did It: Nature Writing and Detection in Ann Cleeves’ The Crow Trap. In N. Ashman (Ed.), The Routledge Handbook of Crime Fiction and Ecology (pp. 26-38). (Routledge literature handbooks). Routledge.