Polina Dimova holds a Ph.D. in Comparative Literature from the University of California, Berkeley and is currently affiliated with Oberlin College. She works on modern Russian, German, and English literature with an emphasis on the relations of literature to music and the visual arts. Among her publications are articles on Sergei Prokofiev, Alexander Scriabin, Russian Symbolism, Evgenii Zamyatin, Oscar Wilde, and Richard Strauss, which appeared in the volumes Hearing Texts, Ulbandus, 2015; Shapes of Apocalypse, Academic Studies Press, 2013; and Performing Salome, Revealing Stories, Ashgate, 2013. Nearing completion, her first book, The Synaesthetic Metaphor, studies how Modernist experiments across the arts stemmed from a fascination with synaesthesia, the figurative or neurological mixing of the senses, for instance, in the perception sound as color. Her second book project explores the appropriations of Scriabin’s music and ideas in twentieth-century Russian culture.
At Oberlin College, Dimova has taught courses on Literature and Music; Literature and the Visual Arts; Inter-Art Modernism; Literary Theory; and Translation Theory and Practice. She also offers courses on Russian Modernist Utopias; Russian Science Fiction; The Russian Novel; and all levels of Russian language, including seminars on such masterpieces as Mikhail Bulgakov's The Master and Margarita and Andrei Bely's Petersburg. These courses have offered creative and performing opportunities to all students and incorporate visits to the Allen Memorial Art Museum and Oberlin Conservatory concerts.
Polina Dimova is a proficient violinist and a composer. She has studied violin with Philipp Naegele and composition with Ronald Perera, and was awarded The Settie Lehman Fatman Prize for the best composition in music at Smith College in 2000 and 2001. In 2000, she worked as an assistant librarian at the Marlboro Music Festival.