Winter 2003 Undergraduate Course Descriptions

AFRICAN LITERATURE

LTAF  120 - Literature and Film of Modern Africa:  Apartheid and Post-Apartheid Representations
Instructor: Robert Cancel
 
We will trace the rise of literature and film by white and black artists in South Africa over the last sixty years. If we assume that for years white-rule sympathizers had "written" South Africa for not only outsiders but for non-white South Africans as well, it is important to recognize the power of artists who come to create their own representations.  In particular, we will consider films and texts before and after the fall of apartheid in South Africa, making, in fact, for a new social and aesthetic set of dynamics.  Political, historical and cultural themes developed by South African writers and filmmakers are as varied as the country itself.  We will explore these many ideas and the forms they take, seeking to derive a means of description for understanding their content and context. The course will feature lectures designed to provide background for the works assigned.  Discussion and participation in class is essential.  Short stories, novels, plays, and films constitute our primary data.
 

LITERATURE OF THE AMERICAS

LTAM 100 - LATINO/A  CULTURES IN THE U.S.
Instructor: Rosaura Sànchez 
      
An introductory historical and cultural overview of the various Latino/a populations in the U.S. with a study of representative texts.
 
LTAM 102 - CONTEMPORARY CHICANO/LATINO LITERATURE: 1960-PRESENT
Instructor: Marta Sànchez
 
This is a cross-disciplinary study of the cultural expression of Chicano, Puerto Rican, and Dominican communities in the U.S..  The different disciplines included are literature, film, history, and music.  The central theme is exile and (im)migration.  We will read narratives and poetry from the three cultural contexts mentioned above, some historical selections, and view (no more than 3) films.  Narratives include Junot Díaz's Drown, Edward Rivera's Family Installments, Gary Soto's The Effects of Knut Hamsun on a Fresno Boy, and Julia Alvarez's In the Time of the Butterflies.  Students must view films on their own time and will be invited to offer musical samples from these cultural groups.
 

CHINESE LITERATURE - No Course Offerings Winter 2003

CLASSICS 
(The following courses in Classical Literature can be found under their respective Literature sub-headings: European, Greek, Latin, and World)

COMPARATIVE LITERATURE - No Course Offerings Winter 2003

CULTURAL STUDIES        

LTCS 87 - FRESHMAN SEMINAR: HOLLYWOOD ROMANCING THE ASIANS (one unit)
Instructor: Yingjin Zhang
 
This seminar examines three stages of Hollywood’s romance with Asians—silent, cold war, and postcolonial as exemplified by six feature films—from The Cheat (1915) to Sayonara (1957) to M. Butterfly (1993)—and explores changes in screen representations of ethnicity, gender and sexuality.
 
Seminar meetings: January 6, 8, 13, 15, 20, 22, 27, 29

EAST ASIAN LITERATURE

LTEA 143 - GENDER AND SEXUALITY/KOREAN LITERATURE AND CULTURE: RACE/NATION/GENDER/SEXUALITY IN MODERN KOREA
Instructor: Jin-Kyung Lee
 
Increasing globalization has rendered it difficult for contemporary South Korean intellectuals to assume the racial and cultural homogeneity of the nation. At the same time, the recent re-emergence of the women’s movement in the wake of the dissolution of student and labor activism has begun to challenge the configurations of gender and sexuality.  This course traces the historical constructions of race/nation/ethnicity and gender/sexuality from the colonial period to the present with an emphasis on the literature from the post-Liberation era.  We will explore the ways in which the construction of Korean national identity has always been necessarily intertwined with the constructions of gender and sexuality and the representation of “other” races/nations/cultures. Our discussion of these issues of race, nation, and gender as represented in literature will be situated within the specific historical trajectory of South Korea: Division, the Korean War, South Korea’s participation in the Vietnam War, U.S. neo-colonial domination.  For a comparative perspective, we will also read texts that deal with the Korean immigrant experience in the United States, focusing on their conceptualizations of gender, racial, and cultural differences in a different multi-ethnic context.

LITERATURES IN ENGLISH

LTEN 22 - LITERATURE OF THE  BRITISH ISLES: 1660-1832
Instructor: Fred Randel

A critical and historical introduction to English literature from the Restoration of the monarchy in England in 1660 to the beginnings of parliamentary reform in 1832. The writers covered include Milton, Swift, Pope, Blake, Coleridge, William Wordsworth, Jane Austen, Mary Shelley, and John Keats.  Among the readings will be the English language's greatest epic and some of its most powerful short poems; its most scathing prose satire; and two of its most brilliant expressions of the female imagination.  Among the works to be discussed are Paradise Lost, Frankenstein, and Persuasion.  The writers chosen represent a wide range of political and philosophical viewpoints--conservatives, liberals, and radicals, the religious and the irreligious, champions of clear rational thinking and advocates of visionary intensity, men and women--and, in this class, all will be treated sympathetically but analytically.  It is a course about great works and great authors, but also about the transformation of literary tradition in a period of political, social, intellectual, and technological revolution.
 
LTEN 27 - INTRODUCTION TO  AFRICAN AMERICAN LITERATURE
Instructor: Camille Forbes
 
From within the belly of the beast, this course narrates the complex saga of American literary history.  In apprehending this narrative, we consider the uses to which the United States has historically put its literature. From the earliest writings on the American experiment to the most recent experimental texts, this course critically proceeds through American literary history from conventional periodization to conventional
periodization.  By tracing the narrative of American literary history, we can appreciate both how the texts are products of their historical moments as well as how they serve the history that has us as its present. We examine how even the most canonical of texts -- ones that essentially never fell out of critical acclaim or popular circulation--contain radically forgotten histories that we can recover if we know how to look for them. When we turn our attention to texts that did fall out of American literary history, we understand more acutely why the development of the literature of the United States took the form that it did.

LTEN 87 - FRESHMAN SEMINAR: CHICANA/O FAMILY NARRATIVES (one unit)
Instructor: George Mariscal
 
An introduction to the place of family narratives in the construction of historical accounts.  Students will base projects on personal family histories and will be taught research skills to link family history to larger historical, cultural, and political events.  Seminar will focus on Mexican American narratives but is open to all students.  Course objectives include introducing students to theories of historiography and collective memory, the history of Spanish-speaking groups in the U.S., and basic research tools.
 
Seminar meeting dates: January 14, 16, 21, 23, 28, 30
 
 
LTEN 87 - FRESHMAN SEMINAR: CHICANO/A – LATINO/A POETRY (one unit)
Instructor: Marta Sánchez
 
This freshman seminar involves reading, hearing, and discussing Chicano-Latino poetry.  Our aim is to begin to understand poetry as a multi-media form of communication.
 
Seminar meeting dates: January 7, 14, 21, 28, February 4, 11.
 
 
LTEN 107 - Chaucer: The Canterbury Tales  (a)
Instructor: Lisa Lampert

In this course we will attempt to situate Chaucer’s Canterbury Tales within historical, cultural, and literary contexts.  We’ll pay special attention to issues of gender and sexuality and how they inflect Chaucer’s poetics and politics and also consider how Chaucer’s work engages with contemporary events, such as the Black Death and the Peasant’s Revolt of 1381.  All readings will be in Middle English, but no prior experience reading Middle English is required.  Graded work will include three quizzes, some short writing assignments, a paper, a midterm, and a final exam. 

A note on our textbook: we’ll be using The Riverside Chaucer, 3rd ed., gen. ed. Larry Benson.  This text isn’t available in paperback in the U.S., but you should be able to order it on-line at http://www.amazon.co.uk.  The paperback version isn’t as sturdy and has smaller print, but it is lighter, smaller (and a bit cheaper).  In any case, we’ll be using the book right away, so please be sure to have a copy by our second class meeting. 
      
LTEN 112 - SHAKESPEARE I: ELIZABETHAN PERIOD (a)        
 Instructor: Louis Montrose
 
A lecture/discussion course exploring the rich and varied achievements of Shakespeare’s earlier plays.  Issues of form, theme, action, and language will be studied in the context of Shakespeare’s theatre and
society.  Six or seven plays will be read, including comedies, histories, and tragedies.  Film versions of a number of these will be viewed and discussed.

LTEN 120A - EIGHTEENTH CENTURY
DULLNESS AND DEPTH: THE EIGHTEENTH-CENTURY IMAGINARY (b)
Instructor: Jordana Rosenberg
 
Dullness seems an obvious concept today: we instinctively know what bores us, don’t we?  However, dullness has a history which this course will examine, beginning with an in-depth reading of Alexander Pope’s poem, The Dunciad.  In the early eighteenth century, the printing and bookselling industries were expanding exponentially; for Pope, as the printing industry becomes more productive, the books it generates become emptier and more worthless.  He uses the character of “Dulness” – a dangerous female goddess who rules over London’s unruly literary landscape – as a way to personify what he sees as the unnaturalness of productivity and thus to satirize the effects of a more universally-accessible literature.  “Dulness,” for Pope, is a shadow-figure, a phantom, a “gust of wind,” an “Emptiness” that, at the same time spawns a host of grotesque progeny – “monsters,” “maggots,” and other foul creatures.  “Dulness” is thus both an abstraction – a “nothingness” – and a form of obscene materiality.  In one tremendous stroke, Pope links bad writing with women as the impossibly abstract and grossly material bodies that spawn the masses and their lowly, chaotic tastes.
 
If  “Dulness” dramatically personifies “low” or “mass” culture, the eighteenth-century is similarly obsessed with the spectacle of dullness’ flip side: depth.  Depth is used to convey value, solidity, and distance from the dizzying market of superficial commodities.  Moving from The Dunciad to novelists, critics, and travel writers like Defoe, Burke, Longinus, Montaigne and Montagu, we will look at the ways in which concepts of dullness and depth play off each other and raise questions about other issues, such as the distinction between imagination and materiality, the wildness of capitalist productivity, Britain’s imperialist encounters, and gender difference.  We will ultimately be using our study of dullness and depth to think about the ways in which these categories are used to organize and represent changes in eighteenth-century economic, cultural, national, and sexual landscapes.
 
LTEN 130A  - MODERN BRITISH LITERATURE: THEMES AND ISSUES
POETRY AND PROSE OF WW I (c)
Instructor: David Crowne
                                   
This course will consider a range of literary representation emerging from the experience of the First World War: poems, novels, and memoirs.  The texts will be viewed against the background of the war itself, made visible in historical writings, contemporary (and rare) film footage, photographs, and the like.  Special topics singled out for emphasis will include the impact of the 1914-18 generation of writers upon the Modernist movement, consideration of the Great War as a cultural watershed dividing the Twentieth Century from the Nineteenth, and the inevitably slippery relations between artistic expression and lived experience.  The course will be conducted principally through discussion, with occasional lectures.
 
Texts: 

• Ford Madox Ford, Parade's End (Penguin)
• E. E. Cummings, the enormous room (Liveright)
• Siegfried Sassoon, Memoirs of a Fox-Hunting Man (Faber)
• David K Crowne, Poetry of the Great War  (self-published anthology; 112 pages)
  

LTEN 132 - MODERN IRISH LITERATURE: CONTEMPORARY IRISH LITERATURE (c)
Instructor: Abbie Cory
 
This course will explore Irish literature from the late 1960s to the present.  Central to the course will be analyses of masculinity, femininity, nationalisms, sexuality, and community.  Other topics addressed include depictions of the “Troubles” (the fight in Northern Ireland over independence from Britain), the role of poetry in political struggles, and the meaning of the persistence of “Mother Ireland” imagery in popular discourse.  We will read novels by Edna O’Brien and Roddy Doyle, a Marina Carr play, a number of short stories, and poetry by Seamus Heaney and Eavan Boland.  We will also watch several recent Irish films, including The Crying Game, and will read a number of first-person narratives of the “dirty protests” and hunger strikes in Northern Ireland in the late 1970s/early 1980s.  The class will be conducted through a mixture of small- and large-group discussion and lecture.  Writing assignments will consist primarily of two papers and a final exam.
 
LTEN 140 - EARLY 19th CENTURY BRITISH NOVEL: JANE AUSTEN (b)
Instructor: Ronald Berman
 
This course, devoted entirely to Jane Austen, will cover her five major novels: Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion.  It's rare for any novelist to write more than one or two world-class works--these form a group comparable to the best of Tolstoy or Balzac or Henry James.  It's a small company.
 
LTEN 154 - THE AMERICAN RENAISSANCE: AUTHORING/WRITING/SCRIBBLING (d)
Instructor: Nicole Tonkovich
 
Readings in U. S. literature from 1840-1865. For a more detailed description of course content, please consult the printed book of course descriptions available from the Literature Department.

LTEN 158 - MODERN AMERICAN LITERATURE: POUND, STEVENS, WILLIAMS (e)
Instructor: Wai-lim Yip
 
In their fight against the regimentation of the lifeworld, the "iron cage" of instrumental reason that has led to a reductive humanity--"one-dimensional man", alienated, reified, commodified, and "colonized"--in other words, a new form of domination, the modernists in the U.S., following the suggestions of Baudelaire, Mallarme, and Rimbaud, have come up with their own counter-discourses, their own forms of aesthetic
resistances rooted in their own socio-political specificities. In this course, we will explore in full three major figures, Pound, Stevens and Williams.
 
The Poundian project, especially as it is disclosed in the Cantos, can be described as a non-matrixed presentation characterized by the destruction of linearity, syntax, and temporal order, calling for a
simultaneous "happening" or acting-out of luminous cultural moments as patterned energies; poetry, stripped of Aristotelian rigidity and superficiality, has become for Pound the medium into which and out of which myth, history and personal drama constantly undergo metamorphoses providing humans an
intelligence for total order. In this dynamic process, Pound tells us, only be resting with the Confucian order and the Eleusian mystery can we reach back to the precise definition of things (Cheng Ming and/or
mot juste ), the root of a totalism in which the ethical, the aesthetic and the cosmic become an indistinguishable whole.
 
The road to this project, which was never, and perhaps can never be completed, is quite tortuous, Therefore, we would begin with some of the early starting-points in his Personae and work through the Chinese translations, the Fenollosa essay on Chinese characters, his "Hugh Selwyn Mauberley" to his
Cantos. Special attention will be given to the development of the following strategic perceptual-expressive nodes: myth-as-mask (phatastikon), monologues (Browning/Yeats), persona, moment (Pater impressionism, symbolism), luminous detail, virtu, image/ imagism (including Hulme's intensive manifold), vortex/vorticism (patterned energies), juxtaposition/montage, ideogram/ideogrammic method, forma, etc. Culturally, we would examine the "touch-stone" cultural moments Pound appropriated from ancient classics and foreign texts to disclose his eclectic cultural vision, including his ambiguous relationship to the Confucian order and to fascism.
 
The odysseys made by Williams and Stevens are very different from that by Pound (and Eliot) who continue to travel away from "real" things and locations in spite of Pound's call for the natural symbol during his imagist period. Pound (and Eliot) allow their transcendental impulses and the human subject to dominate, frame and disfigure the "real" things. Stevens and Williams, in many ways echoing important tangents of Williams. James and A. Whitehead, locate their aesthetic objects on the "real". Both Stevens' statements:  "To see the world with an ignorant eye", " Of Mere being" and those of Williams:  "Not ideas but in things" "To embody in a work of art a new world that is always 'real'...No symbolism is acceptable" can be seen as the first major attempt to break away form transcendental obsessions toward recovering the "immanence" of things as they are. While \Stevens' "unresting mind" still intrudes into his "mere being", his poems-as-aesthetic-discourses about the real, often staged and acted out, not only make him a full terrestrial poet, but also make way for later poets to embark on the journey toward the immanence of things. While strictly speaking Williams is still a Mallarmean expressionist, he has also inherited from Hulme's rejection of abstract thought for concreteness and Pound's anti-discursive imagistic thinking. More importantly, it was William James' emphasis upon the real order of the world and Whitehead's insistence upon "immediate deliverance of experience" that have led him and the other postmodernists to embrace in full, without feeling their ego threatened, their mind in anxiety, the things as they really are in the original real world: "what is, is real." Williams once said, "unless there is/ a new mind there cannot be a new/ line", it is his act of faith in "what is, is real" that makes good and authentic his syntactical innovations. It is these innovations (together with Pound's) that have opened up new vistas for all the postmodern and contemporary American poets, dimensions yet to be matched by other European attempts.
 
LTEN  159 - TWENTIETH-CENTURY AMERICAN LITERATURE AND CULTURE           
“It’s Only Rock ‘n’ Roll”:  1960’s POPULAR MUSIC IN CULTURAL CONTEXT (e)          
Instructor: Robert Cancel
 
Contrary to popular mythology, most popular music during the decade of the 1960s was neither revolutionary nor particularly innovative.  Mainstream radio was mostly AM and the music industry controlled what was played and created for the teen audiences.  It was only in the late 1960s that innovations born of the rise of FM radio, national cultural politics, the confluence of several genres of music, and formerly underground publications began to change the shape of popular musical tastes.  We will consider music
from the entire decade, reading not only histories of the industry and its performers, but also cultural
criticism developed first by the emerging “rock press” of the late 1960s and contemporary cultural studies looking back at that period.  We will listen to a lot of different kinds of music, watch some music history video material, take three short in-class quizzes, write a five-page paper and a ten-page term paper. 
 
We will examine the roots of Rock & Roll (from Blues, R&B, and Rockabilly), the musical streams of the decade (teen-idols, through surf music, the folk revival, the British Invasion, the San Francisco scene, guitar heroes, etc.), and also learn the economics of the industry and the major role played by record producers and song-writers.  Moreover, the political and economic history that shaped the decade will be seen as profoundly influencing the evolution of popular music and its reception.  Readings and listening will be combined with lectures and video material, and discussion will be highly encouraged in class.
 
LTEN 172 - AMERICAN POETRY II: WHITMAN THROUGH MODERNISTS (e)
Instructor: Michael Davidson
 
This course is intended as a survey of modern American poetry from the mid-19th century through World War II. The theme of this course will be “Contested Modernisms,” and the focus will be on the role of poetry among competing versions of Modernism. To this end, we will begin with the foundational work of Walt Whitman and Emily Dickinson to understand the origins of modern American poetry.  We will then move to high modernists such as T.S. Eliot, William Carlos Williams, Hart Crane, and Marianne Moore. We will conclude by looking at ways that poets of the Harlem Renaissance and 1930's Popular Front changed and challenged the Modernism of the teens and twenties through the work of Countee Cullen, Langston Hughes, Gwendolyn Brooks, George Oppen, and Lorinne Neidecker. Evaluation will be based on weekly responses to readings, two short papers and a final research paper.

LTEN 175A - A NEW AMERICAN FICTION: Literature, Popular Culture, and Memory (e)
Instructor: Shelley Streeby
 
Please see the Literature Undergraduate Office for a copy of the course description for this course.
 
LTEN 177 - California Literature: Alternative Histories, Near Futures (e)
Instructor: Shelley Streeby
 
Please see the Literature Undergraduate Office for a copy of the course description for this course.

LTEN Upper Division Codes:

(a) = British Literature before 1660
(b) = British Literature between 1660 and 1832
(c) = British Literature after 1832
(d) = U.S. Literature before 1860
(e) = U.S. Literature after 1860

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EUROPEAN AND EURASIAN LITERATURE

LTEU 87 - FRESHMAN SEMINAR
WAGE-WAR: BRECHT, MOTHER COURAGE (one unit)
Instructor: William O’Brien

One of the 20th century’s most famous plays, Mother Courage, examines the cost and profit of war for everyone it touches: soldiers, civilians, profiteers, and protestors.  Our reading of the play will be supplemented by a video of its performance, with songs and music in “epic theatre” style.

Seminar meeting dates: January 14, 21, 28, February 4, 11, 18, 25, March 4.

LTEU 105  - MEDIEVAL STUDIES: CRUSADE, CONQUEST, CONVERSION IN MEDIEVAL LITERATURE
Instructor: Lisa Lampert

This course will explore visions of the “Other” in Western European medieval literature. We will examine a variety of genres, including epic, romance, travel literature, poetry, and drama and look at a wide range of representations of Jews, Christians, Muslims, and pagans, as well as the depictions of the so-called “monstrous races” in The Travels of Sir John Mandeville.

In Wolfram von Eschenbach’s Parzival, for example, the hero, Parzival, confronts his half-brother, Feirefiz, who as the child of a white Christian knight and a black “heathen” Queen is literally spotted black and white. In the Croxton Play of the Sacrament Jews are depicted as attempting to torture the Eucharist, which instead converts them through miracles. In Chaucer’s Man of Law’s Tale, the Christian heroine Constance escapes near death at the hands of her Saracen mother-in-law to convert pagan and Muslim alike. In each of these texts medieval Christian authors present fantastic representations of non-Christians through and against which they create visions of Christian identity.

Throughout the course we will pay special attention to the Crusades, reading some primary and secondary historical texts written from Christian, Muslim, and Jewish perspectives. We will consider both the impact of the Crusades on medieval literary representation and also their importance today.

In addition to those mentioned above course readings will include the following: The Poem of the Cid, The Song of Roland, Wolfram von Eschenbach’s Willehalm (selections), Boccaccio’s Decameron (selections).

LTEU 150B - RUSSIAN AND SOVIET LITERATURE
(cross-listed with LTRU 110B)
Instructor: Steven Cassedy

A survey of major literary texts from Pushkin through early Dostoevsky and Tolstoy.  Literary readings will be supplemented with readings in social and political history.

LTEU  154 - RUSSIAN CULTURE:  MODERN PERIOD                                      
THE STALIN ERA:  FACTS & FICTIONS
(cross-listed with LTRU 150)
 Instructor:  Susan Larsen 

This course will examine the ways in which Russian, Soviet, and post-Soviet writers, policy-makers, artists, architects and filmmakers articulated and responded to the utopian aspirations of the early Soviet period.   This was a time when many Soviet artists, writers, and cultural critics believed that the new socialist state must produce radically new forms of artistic expression and material culture that would be appealing, intelligible and useful to all of the new state's citizens. This course will explore the links between utopian

ideals and popular culture in works such as  Aleksandr Bogdanov's science fiction novel Red Star (1908);  Marietta Shaginian's Mess-Mend (1925), a suspense-filled novel of magical machines and heroic Russo-American labor unions;  and Grigorii Aleksandrov's musical comedy “Circus” (1936). We will study the cult of the machine in early Soviet film and photography; and the ambitious designs of avant-garde artists like Chagall, Malevich, Tatlin and others for innovative teapots, baby-bottles, textiles, clothing, and public housing.   In all these varied forms early 20th-century Russian writers and artists sought both to portray and to build a more perfect society.   We will also look at the dystopian anxieties of works such as Mayakovskii's

satirical play The Bathhouse (1930); Evgenii Zamiatin's dissident novel We (1927); Andrei Tarkovsky's  film Solaris (1972);  and the parodic inversions of Soviet ideals in the work of underground and dissident artists in the final decades of the 20th-century.  Throughout the course we will consider what it means to speak of "popular" culture, and we will examine the often unexpected connections between avant-garde aesthetic experiments, mass culture, and national identity in the Soviet period.

All lectures and discussions will be conducted in English. Students who register for LTEU154 will be co-reading and writing assignments in English.  Students who register for LTRU150 are expected to do the reading and writing assignments in Russian.  If five or more students are interested I will schedule a one-unit pass/not pass foreign language discussion section to allow more detailed study of the Russian texts and to provide students with practice speaking Russian.

FRENCH LITERATURE

Note:  The final exams for all sections of Literature/French 2A, 2B, and 50 will be held in common.  Please see instructor for further information. Students enrolled in LTFR 2A and 2B must attend both the lecture and discussion portions of this course.
 
LTFR 2A  - INTERMEDIATE FRENCH I
Instructors: T.A.s supervised by Catherine Ploye
 
Second-year course designed to be taken after LIFR 1C/1CX. We undertake a thorough review of grammar while continuing to develop language skills (oral and written) by studying short stories, cartoons, and movies from various French-speaking countries.  May be applied towards a minor in French literature. Prerequisite: LIFR 1C/CX or equivalent or a score of 3 on the AP French language exam.
 
LTFR 2B - INTERMEDIATE FRENCH II
Instructors: T.A.s supervised by Catherine Ploye
 
We continue the review of grammar begun in LTFR 2A.  To strengthen language skill, plays from the 19th and 20th centuries as well as the movie interpretation of Cyrano de Bergerac are studied.  May be applied towards a minor in French literature or towards fulfilling the secondary literature requirement.  Prerequisite: LTFR 2A or equivalent or a score of 4 on the AP French language exam.
 
LTFR 21 - CONVERSATION WORKSHOP I
Instructor: T.A. supervised by Catherine Ploye
 
A one-unit, one-meeting-a-week course, designed to develop and maintain oral skills by discussing current cultural issues of the francophone world.  This course may be taken more than once, alone or in combination with any other literature course.  Prerequisite: LIFR 1C/CX or consent of instructor.
 
 
LTFR 31 - CONVERSATION WORKSHOP II
 Instructor: T.A. supervised by Catherine Ploye
 
A one-unit, one-meeting-a-week course, designed to develop and maintain oral skills by discussing current cultural issues of the francophone world.  This course may be taken more than once, alone or in combination with any other literature course.  Prerequisite: LTFR 2B or consent of instructor.
 
LTFR 50 - INTERMEDIATE FRENCH II/TEXTUAL ANALYSIS
Instructor: T.A. supervised by Catherine Ploye
 
This course emphasizes the development of language skills and the practice of textual analysis. Discussions are based on analysis of poems as well as on a novel and films. May be applied towards a minor in French literature or towards fulfilling the secondary literature requirement.  Students having completed 50 can register in upper-level courses (115 or 116).  Prerequisite: LTFR 2B or equivalent or a score of 5 on the AP French language exam.
 
LTFR  123 - EIGHTEENTH CENTURY: Romans et Aventures
Instructor: Oumelbanine Zhiri
 
Dans ce cours, nous étudierons quelques romans des XVII° et XVIII° siècles, dont les héros et héroïnes mènent des existences aventureuses, hautes en couleurs, voire dangereuses. Nous les étudierons afin de mieux comprendre ce qui, dans ces textes, constitue le romanesque, le pittoresque, l’exotique.
 
 
LTFR 141 - FRENCH LITERATURE: "Le roman policier"
Instructor: Catherine Ploye
 
Longtemps considéré comme un genre mineur, le roman policier a toujours fasciné lecteurs et écrivains (bon nombre de "grands" écrivains écrivent d'ailleurs des romans policiers sous un pseudonyme). Dans ce cours, nous étudierons le développement du roman policier à la fin du 19e siècle puis analyserons quelques textes récents particulièrement représentatifs de la manière dont le texte littéraire contemporain a intégré l'intrigue policière (the course will fulfill 19th or 20th century requirement).
 
Liste possible (mais non définitive): Maurice Leblanc, Patrick Modiano, Daniel Pennac
 
LTFR 170 - FILM: LE CINÉMA CONTEMPORAIN DE LANGUE FRANÇAISE
Instructor: Roddey Reid
 
This class is for students interested in becoming familiar with some of the most talked-about film makers in contemporary cinema in the French language in Belgium, Cameroon, and metropolitan France. Classes will be conducted in French.
 
You will be required to screen films once or twice a week at Geisel. Possible films include Robert Bresson L'Argent (1983), Chantal Akerman,  J'ai faim, j'ai froid (1984) and Golden 80s (1986), Agnes Varda, Sans toit ni loi (1985) and Les glaneurs et la glaneuse (2000), Catherine Breillat, 36 fillette (1988), Claire Denis, Chocolat (1988) and Bon travail (1999), Léos Carax, Les Amants du Pont Neuf (1991), Jean-Pierre Bekolo, Quartier Mozart (1992), Cyril Collard, Les Nuits fauves (1993), Alain Téchiné, Les Roseaux sauvages (1994), Olivier Assayas, Irma Vep (1994) and Fin aoüt, début septembre (1998) Matthieu Kassovitz, La Haine (1995), Merzak Allouache, Salut, cousin! (1996), Luc Besson, Le Cinquième élément (1997),  Bruno Dumont, Vie de Jésus (1999), François Ozon, Regarde la mère (1997), Jean-Pierre Jeunet, Le Destin fabuleux d'Amélie Poulain (2000), Dominik Moll, Harry, un ami qui vous veut du bien (2000), and Agnès Jaoui, Le Goût des autres (2001).

GERMAN LITERATURE

LTGM 2B - INTERMEDIATE GERMAN II
Instructor: Elizabeth Bredeck                     

LTGM 2B is the second portion of the Intermediate German sequence, which aims to improve all four language skills speaking, listening comprehension, reading and writing. To this end, we continue our
grammar review and work with a variety of fictional and non-fiction texts, videos, and a full-length feature film. The language of instruction is German. Prerequisite LTGM 2A or equivalent.
 
LTGM 126 - 20th CENTURY LITERATURE: GERMAN WOMEN WRITERS AND FILMMAKERS
Instructor: Cynthia Walk
 
“Generally speaking, it is to women authors one must turn in order to find anything like an avant-garde sensibility in contemporary German-language prose.”

--New Writing in German: Chicago Review (Summer 2002)
 
It is an open secret that many of the most important, challenging, and provocative voices in contemporary German culture belong to women writers and filmmakers dispersed in countries thoughout the world. Among others, in this course we will study the work of Austrian dramatist, Elfriede Jelinek (winner of the foremost literary award in Germany, the Büchner prize, in 1998), Ruth Klüger (expatriate Holocaust survivor living in America), May Opitz, (Afro-German writer), Seyhan Derin (Turkish-German film director), and Monika Treut (queer German film director who prefers working abroad, most recently in the US, Argentina, and New Zealand).

GREEK LITERATURE

LTGK 2 - INTERMEDIATE GREEK I: INTRODUCTION TO HOMERIC GREEK
Instructor: Leslie Edwards
 
We'll continue to make our way through our introductory Homeric Greek text. There will be longer passages of real Greek (Homer, Plato, Euripides, Theognis, New Testament, etc.) and more complexity.......but also more pleasure! By the end of the term we will be prepared to embark on our reading of the Odyssey in Greek 3. Midterms, quizzes, and final. Prerequisite: Greek 1 or permission of the instructor.
 
LTGK 133 - PROSE: Plato's Ion
Instructor: Anthony Edwards
 
Plato's short dialogue, Ion, a conversation between Socrates and the Homeric rhapsode, Ion, asks how poets are able to affect the emotions of their audience. Socrates is eager, as usual, to convince Ion that, however poets work their magic, it is not by means of knowledge. The dialogue opens up questions of oral versus literate culture, logic versus intuition, and the psychology of pleasure. It's a short dialogue, so I hope we will be able to read it all. In addition to daily class work, there will be papers and a final.

HEBREW LITERATURE - No Course Offerings Winter 2003

ITALIAN LITERATURE

LTIT 1B - THE LANGUAGE OF ITALIAN CULTURE
Instructor: Stephanie Jed
 
A continued study of the elements of Italian conversation, grammar, and dramatic style. We will sharpen and refine our Italian language skills through the study of short movies, a mystery, and songs. This
quarter, we will spend some time studying a mystery featuring characters of the Commedia dell'Arte, Arlecchino, Colombina, e Pantalone. Based on our reading, we will study Commedia dell'Arte, Italian carnevale (mardi gras), and interesting cultural internet sites. Grammar and conversational exercises will be generated from cultural texts. We will focus on an integrated relationship with the language through work on expression of emotions and convictions. The primary work for the course is class attendance, participation, and a willingness to improvise and act silly in Italian. You will prepare in-class presentations and write letters about what you are learning and thinking in the class. Grammar quizzes will also help you keep up as we go along.
 
LTIT 2B - IINTERMEDIATE ITALIAN II
Instructor: Adriana de Marchi Gherini
 
Second in a 2-course series. LTIT 2B will complete the grammar review started in LTIT 2A.  Students will also be introduced to different aspects of Italian literature: theater, prose, and poetry.
Contemporary aspects of Italian life and culture will also be an important part of this course.  Therefore, there will be weekly language assignments dealing with Italian television and radio news.  There will be weekly short quizzes, a midterm, and a final exam, in addition to in-class oral presentations.  Both oral and written production and comprehension will be stressed. Homework will be assigned daily.
 
 
LTIT 122- MODERN ITALIAN CULTURE:  ITALIANS WRITING BEYOND ITALY
TRAVEL NARRATIVES TOWARD SELF-DISCOVERY
 Instructor: Pasquale Verdicchio
 
This course will approach a number of texts by Italian authors that deal with the foreign, that is to say with places and cultures beyond its national confines and beyond the confines of Europe.  Having been on the receiving end of such narratives for centuries (as recounted in the diaries of explorers, grand tourists, and an extensive number of writers and artists from around the world), we will turn to the pages of Italians narrating the world in order to understand how the two optics might correspond or contrast.  Working with an expanded definition of “texts” we will deal not only with novels and the like but also with film and photography as instruments of cultural observation and conditioning.  Among the materials we will consider during the course of the class are the books Italo Calvino's Lezioni Americane, Pasolini's Il Profumo dell'India  Celati's African journals and films such as Rossellini's Voyage to Italy and Salvatores' Mediterraneo.

This class will be conducted in Italian.

KOREAN LITERATURE

LTKO 1B -  BEGINNING KOREAN: FIRST YEAR II
Instructor: Jeyseon Lee
 
First Year Korean 1B (5 units) is the second part of the Beginning Korean series. This course is designed to assist students to develop mid-beginning level skills in the Korean language. These skills are speaking,
listening, reading, and writing, as well as cultural understanding. LTKO 1B is designed for students who
have already mastered the materials covered in LTKO 1A. This course will focus on grammatical patterns, such as sentence structures, some simple grammatical points, and some survival level use of the Korean language. Additionally, speaking, reading, writing, and listening comprehension will all be emphasized, with special attention to oral speech. Upon completion of this course, students will have attained the following in Korean:
 
Speaking: Ability to communicate minimally with learned material. Oral production is often limited to repetition of input as well as some courtesy expressions. Content of speech may consist of common lexical items related to people, objects, and basic numbers.
 
Listening:  Ability to understand some short learned utterances in familiar contexts although misunderstandings and pauses for assimilation are frequent.
 
Reading:  Ability to identify a number of highly contextualized words and/or phrases, including some
borrowed words, in very predictable texts, such as public announcements.
 
Writing:  Ability to copy most Korean script accurately and write a limited number of familiar words with  some inaccuracy. Can produce with inaccuracies a few very simple formulaic sentences consisting of learned material.
 
For details, please visit the Korean Language Course website at:
http://literature.ucsd.edu/litandlang/korean/korean.html
 
 
LTKO 2B -  INTERMEDIATE KOREAN: SECOND YEAR
Instructor: Jeyseon Lee                                              
 
Second-year Korean 2B (5 units) is the second part of the Intermediate Korea series. Students in this course are assumed to have previous knowledge of Korean, which was taught during the Korean 1A, 1B, 1C, and 2A courses. Students in this course will learn mid-intermediate level of standard modern Korean in listening, speaking, reading, and writing, as well as expand their cultural understanding. After the completion of this course, students are expected to acquire and use more vocabularies, expressions, and sentence structures and to have a good command of Korean in various conversational situations.

Students are also expected to write short essays using the vocabularies, expressions, and sentence
structures introduced. Upon completion of this course, students will have attained the following
in Korean:
 
Speaking: Ability to maintain a variety of uncomplicated conversations.  Produces strings or lists of sentences, though speech still does not feature the cohesion or length of a paragraph. Improved accuracy in basic constructions and use of high-frequency verbals and auxiliaries.
 
Listening: Ability to understand main ideas and/or some details from conversations related to a variety of contexts. Listening comprehension may extend beyond face-to-face conversations to include routine telephone conversations and simple announcements over the media, although understanding continues to
be uneven.
 
Reading: Ability to understand main ideas and some details of simple connected written texts, such as advertisements. Reader has an ample vocabulary base and is able to infer meaning from most unknown
vocabulary. Understanding is consistent.
 
Writing:  Ability to write communications expressing simple feelings and desires, reporting on current
activities, and asking for information.  Writing is best defined as a collection of discrete sentences.
 
For details, please visit the Korean Language Course website at:
http://literature.ucsd.edu/litandlang/korean/korean.html
 
 
LTKO 3B - ADVANCED KOREAN/THIRD YEAR II
Instructor: Jeyseon Lee
 
Third-year Korean 3B (5 units) is the second part of the advanced Korean sequence. Students in this course are assumed to have previous knowledge of Korean, which was taught in the Korean 2A, 2B, 2C, and 3A courses. Students in this course will learn mid-advanced level skills in the areas of listening, speaking, reading, and writing in Korean, as well as expand their cultural understanding. Upon completion
of this course, students are expected to acquire and use more vocabularies, expressions and sentence structures, and to have a good command of Korean in formal situations. Students are expected to read and understand daily newspapers and daily news broadcasts. Upon completion of this course, students will be able to do the following in Korean:
 
Speaking:  Ability to satisfy routine social demands and school or work requirements and handle a wide variety of communicative tasks using appropriate speech styles. Can narrate and describe in paragraphs linking sentences together smoothly with cohesive devices. Can state an opinion, but not yet fully
support it, on topics of general interest, such as current events, politics, and social issues.  Can handle situations with a complication or an unforeseen turn of events, such as being stranded at an airport, losing documents, and being late for work. Errors rarely cause misunderstandings, even in communication with
native speakers unaccustomed to interacting with foreigners.
 
Listening:  Ability to understand main ideas and most details of connected discourse on a variety of factual topics beyond the immediacy of the situation. Texts include most face-to-face speech and factual radio and television reports involving description and narration and featuring interviews or short talks on familiar
subjects.
 
Reading:  Ability to understand main ideas and many details of texts of several paragraphs in length, such
as news items featuring narration and/or description and a modest number of Chinese characters.
Comprehension derives not only from contextual and subject matter knowledge but from control of the
language.
 
Writing:  Ability to write texts of several paragraphs in length, narrating, describing, and providing information on familiar, factual topics such as current events, social life, work, and leisure. Can perform additional tasks of expressing emotions and making thoughts adequately with some circumlocution. Native readers have no difficulty understanding writing at this level.
 
For details, please visit the Korean Language Course website at:
http://literature.ucsd.edu/litandlang/korean/korean.html 
 
 
LTKO 100 - ADVANCED READINGS/KOREAN LITERATURE AND CULTURE
Instructor: Jin-Kyung Lee
 
This course is a survey of major issues in modern Korean history from the colonial period to the present. We will read from a variety of sources such as primary and secondary historical material, literature (short fiction, poetry, essays), and journalism. This course is designed both as an advanced reading class and as an introduction to Korean literature, history and culture.  Students who have completed three years of Korean at the college level as well as those who have literacy in Korean through formal and informal training should be able to handle this class. The level of difficulty of the reading materials and class discussion will be adjusted to the linguistic capabilities of the participants. 

LATIN LITERATURE 

LTLA 2  - INTERMEDIATE LATIN I
Instructor: Eliot Wirshbo

Introduction to the study of Latin grammar (subtitle: Wasn't rote memorization outlawed in the '60s?) via the old-fashioned, 'unnatural' method. This means no exposure to the language in its living context, with everyday objects and concerns discussed in idiomatic conversation. Instead, the meanings of sentences will be deduced through the application of principles imparted early on, making the course feel more like one of scientific investigation or mathematical problem-solving rather than literary analysis/appreciation. Daily recitals of homework: four words which should be contemplated carefully before a commitment to this course is made.

LTLA 2  - INTERMEDIATE LATIN I
Instructor: Charles Chamberlain
 
We will cover chapters 17-32 of  Wheelock’s Latin by Frederic M. Wheelock (5th edition).  Expect to have a quiz almost every week, plus a midterm and final.  Quizzes are worth 30%, the midterm 30%, the final is 30%, class participation and other factors 10%.  However, when figuring your final grade, I will take improvement (or the lack thereof) into account.  I also reserve the right to institute written homework assignments and more frequent quizzes if necessary.
 
Latin is not taught as a spoken language, so the emphasis will not be on conversing so much as pronouncing correctly through oral drills.  There are however, many grammatical principles to be learned.  In some ways, Latin is more like math or science than it is a modern foreign language; you will soon find it impossible to “get the gist” of the readings unless you know the grammatical rules thoroughly.  Therefore, I urge you not to fall behind--it is very difficult to catch up.
 
 
LTLA 131 -  PROSE
SUETONIUS: LIFE OF CLAUDIUS 
Instructor: Dylan Sailor
 
We will read in Latin one of Suetonius's scandalous biographies of the Caesars, the Life of Claudius. We'll work at improving our skill in Latin, and we'll think through interpretive issues raised by the Life itself and by the whole idea of imperial biography. Midterm, paper, final.

NEAR EASTERN LITERATURE - No Course Offerings Winter 2003

PORTUGUESE LITERATURE  - No Course Offerings Winter 2003

RUSSIAN LITERATURE

LTRU 1B - FIRST YEAR RUSSIAN
Instructor:  Rebecca Wells
 
Continue exploring the mechanics and mystery of Russian language, culture, and people.  We will journey forth into all forms of communication; reading, writing, speaking, and listening.  We will continue acquiring basic vocabulary and grammar skills and attempt to apply them both mechanically and creatively.  Original Russian materials will supplement the basic text and language lab tapes.  This course meets two days per week for grammar lectures and two days per week for conversation.  Every effort will be made to integrate material on Russian culture into the language curriculum.
 
LTRU  2B  - SECOND YEAR RUSSIAN
 Instructor:  Rebecca Wells
 
Continuing expansion of previous language acquisitions and introduction to new, unexplored territories.  While systematically reviewing grammar, we will begin focusing on the language for more creative purposes in reading, writing, listening, and speaking.  Language lab videos and readings texts will supplement the basic text.  This course meets two days a week for grammar lectures and two days per week for conversation.  Every effort will be made to integrate material on Russian culture into the language curriculum.

LTRU 104B -  ADVANCED RUSSIAN LANGUAGE PRACTICUM
Instructor: Julia Klimova
 
The course works on the development of advanced skills in reading, writing, and conversation.  It is based on written and oral Russian texts of various genres and styles. The focus of this section is on
Russian/Soviet literature and culture of the early 20th century. Individualized work to meet specific student needs and interests.  May be substituted for LTRU 101 A-B-C as requirement for major.  Prerequisite for
104B: LTRU 2C or equivalent.
 
LTRU 110B -  RUSSIAN AND SOVIET LITERATURE: 1860-1917                                        
(cross-listed with LTEU 150B)
Instructor: Steven Cassedy
 
A survey of major literary texts from Pushkin through early Dostoevsky and Tolstoy.  Literary readings will be supplemented with readings in social and political history.
 
              
LTRU 150 - RUSSIAN CULTURE: THE MODERN PERIOD 
THE STALIN ERA:  FACTS & FICTIONS
(cross-listed with LTEU 154)
Instructor: Susan Larsen
 
This course will investigate both official and dissident culture of the Stalin era as it was articulated in fiction, film, painting, public celebrations, memoirs and diaries.    We will pay particular attention to the ways in
which public culture and private life collide in this era as we watch slapstick musical comedies made in
1936 and read memoirs of the purges that were taking place at the same time.  Roughly the first half of the course will focus on works produced in the 1930s, the period of so-called “High Stalinism.”  In the second half of the course we will examine reactions against the cultural legacies of Stalinism in the Thaw era (roughly 1954-1964) and then in the late and post-Soviet period.   Students who assume that Stalinist culture is uniformly dismal, depressing and boring will be surprised to discover that this era inspired some brilliant satirical and comic writing, as well as producing many romantic comedies and musical films.  Readings will be chosen from works by Bulgakov, Akhmatova, Solzhenitsyn, Ginzburg, Shalamov, Prigov and others.  Films will be chosen from Aleksandrov’s musical comedy Volga-Volga, Eisenstein’s Ivan the Terrible,  Larisa Shepitko’s Wings,  Mikhalkov’s melodramatic Burnt by the Sun and Livnev’s transgendered parody Hammer and Sickle.
 
The course format will combine lecture (often illustrated with slides, film and audio clips) and discussion. Course meetings will be conducted in English, but all materials will be available in both English and Russian. The course has no prerequisites.    Students who prefer to do the reading in Russian should register in LTRU150.  Those who prefer to do the reading in English translation should enroll in LTEU154.  Written assignments may be done in either language.
 
LTRU 150XL - FOREIGN LANGUAGE DISCUSSION
 
Course Description and Instructor TBA

SPANISH LITERATURE

LTSP 2A  - INTERMEDIATE SPANISH I: FOUNDATION
Instructor:   T.A.s supervised by Beatrice Pita
 
This five-unit intermediate course meets four days per week and is taught entirely in Spanish. LTSP 2A emphasizes the development of reading ability, listening comprehension, and writing skills. It includes grammar review, short readings, lab work, class discussions, and working with Spanish‑language materials available on the Internet. This course is designed to prepare students for LTSP 2B and 2C.  A diagnostic test will be administered on the first day. Prerequisite: Completion of LlSP 1C/CX or its equivalent.
 
Note: The final exam for LTSP 2A is scheduled for Monday, March 17th.  Please see syllabus or instructor for further information.
 
LTSP 2B -  INTERMEDIATE SPANISH II: READING AND COMPOSITION
Instructor:   T.A.s supervised by Beatrice Pita
 
This intermediate course is designed for students who wish to improve their ability to speak, read, and write Spanish. It is a continuation of LTSP 2A with special emphasis on problems in writing and interpretation. Students meet with the instructor four days per week. Work for this 5-unit course includes grammar review, lab and writing assignments, class discussions on the readings,  and accessing Spanish‑language materials on the Internet. A diagnostic test will be administered on the first day. Prerequisite: Completion of LTSP 2A or its equivalent.
 
Note: The final exam for LTSP 2B is scheduled for Monday, March 17th.
 
LTSP 2C - INTERMEDIATE SPANISH III: CULTURAL TOPICS
Instructor:   T.A.s supervised by Beatrice Pita
 
This intermediate course is a continuation of the LTSP second‑year sequence with special emphasis on problems in writing and translation. It includes class discussions of cultural topics as well as grammar review and composition assignments. The course will further develop the ability to read articles, essays, and longer pieces of fictional and non‑fictional texts as well as to access Spanish‑language materials on the Internet. A diagnostic test will be administered on the first day. Prerequisite: Completion of LTSP 2B or its equivalent. This course satisfies the third course requirement of the college‑required language sequence.
 
Note: The final exam for LTSP is scheduled is scheduled for Monday, March 17th.

LTSP 2D - ADVANCED READINGS AND COMPOSITION: SPANISH FOR NATIVE SPEAKERS
Instructor:  T.A.s supervised by Beatrice Pita
 
Designed for bilingual students seeking to become biliterate. Reading and writing skills stressed with special emphasis on improvement of written expression, vocabulary development, and problems of grammar and orthography. Prepares native speakers with little or no formal training in Spanish for more advanced courses. A diagnostic test will be administered on the first day of class. Prerequisite: Native speaking ability and/or recommendation of instructor.
 
Notes: The final exam for LTSP 2D is scheduled for Monday, March 17th.  Enrollment for LTSP 2D requires department approval.
 
LTSP 31 - CONVERSATION WORKSHOP II
Instructor:  TAs supervised by Beatrice Pita

The one-unit workshop format of this course will allow students to attain a stronger command of skills in matters of conversation, pronunciation, spelling, punctuation, and accent rules. Focus will be on vocabulary development, use of idiomatic expressions, and advancing oral and written proficiency in Spanish. Pre-requisite: LI/SP 1C/CX or consent of the instructor.

Notes: This conversation/discussion class meets once a week. May be taken as an adjunct to lower-and upper-division LTSP courses. Recommended for students planning to study abroad. May be taken 3 times for credit as topics vary. May be taken P/NP or for a letter grade.
 
 
LTSP 50B  - READINGS IN LATIN AMERICAN TOPICS
Instructor:  TAs supervised by Beatrice Pita
 
This course introduces students to literary analysis through the close textual reading of a selection of Latin American texts including novels, plays, short fiction, and poetry. Coursework includes reading of texts, participation in class discussions and written assignments. LTSP 50B prepares Literature majors and minors for upper-division work. LTSP 50A and either 50B or 50C are required for Spanish Literature majors. Prerequisites: Completion of LTSP 2C or 2D or 2 years of college level Spanish.
 
Note: The final exam for LTSP 50B  is scheduled for Monday, March 17th. Enrollment for LTSP 50B requires department stamp.
 
LTSP 119C - CERVANTES: QUIXOTE
Instructor: George Mariscal
 
Un estudio intensivo de las dos novelas escritas en 1605 y 1615. Estudiaremos los textos desde un punto de vista formalista (¿cómo está compuesta y por qué?) tanto como socio-histórico; el profesor dará ponencias sobre el panorama cultural del período. Será la responsabilidad del estudiante leer y comentar con cuidado los textos. Prerequisite: LTSP 50A and either 50B or 50C

LTSP 130B - DEVELOPMENT/LATIN AMERICAN LITERATURE:
PRE-COLUMBIAN TIMES TO 1900
Instructor: Jaime Concha
 
A study of key works in the history of Latin American literature from Pre-columbian times ( Popol Vuh)  to Modernismo  ( Ruben dario's poetry). Las Casas, Sor Juana Ines de la Cruz, Simon Bolivar, Sarmiento, and Marti shall also be considered. Two exams, one intermediate and one final.
 
LTSP 136 - ANDEAN LITERATURE: FROM RURAL TO URBAN ANDEAN NARRATIVE
Instructor: Milos Kokotovic
 
This course attempts to bridge the traditional cultural divide between the rural, indigenous, Andean interior and the urban, criollo (white) coast in Peru and Ecuador.  Rural to urban migrations of the last 50 years have
transformed life in both the Andean countryside and coastal urban centers, giving rise to new cultural formations.  In this course we will follow these migrations through novels, short stories, and some poetry.  Our concern throughout will be to examine emergent cultural formations and identities in the Andes as they are represented in a variety of literary works, and to ask what influence these new cultural formations have had on literature itself: its themes, forms, and relationship to a changing society.  Readings will include works by José Carlos Mariátegui, Jorge Icaza, José María Arguedas, Manuel Scorza, Julio Ramón Ribeyro, Alfredo Bryce Echenique and Mario Vargas Llosa.
 
LTSP 140 - LATIN AMERICAN NOVEL: MODERN LATIN AMERICAN NOVELS
Instructor:  Jaime Concha
 
A study of  significant recent authors in Latin American narrative. Mexican, Chilean, Argentine, and Colombian writers will be considered. One intermediate and one final examination ( 50 p.c. each).
 
LTSP 141- LATIN AMERICAN POETRY: POESIA EN MOVIMIENTO
Instructor: Max Parra
 
Curso de introducción a la poesía española del Siglo de Oro y a la influencia de ésta en poetas del período modernista y vanguardista en latinoamérica. Examinaremos formas y principios poéticos, temas, motivos, para cada época, asi como los contextos históricos y culturales de donde surgen.
 
Lista tentativa de lecturas:

• Elias Rivers, ed., Poetry of the Spanish Golden Age
  
• Rubén Darío, Prosas profanas
  
• Pablo Neruda, Antología poética
• Reader (con poesía y artículos selectos)

• 1 trabajo escrito (4 cuartillas)
  
• 2 reportes (de dos cuartillas cada uno)
  
• 2 exámenes
  

LITERATURE/THEORY

LTTH 115 - INTRODUCTION TO CRITICAL THEORY
Instructor: Don Wayne
 
An introduction to a number of major twentieth-century intellectual movements in which literature and culture are studied from various theoretical perspectives.  The aim of the course is to give the student a foothold in some of the basic categories and terminologies of contemporary theoretical discourse and to examine critically some of the points of contention among different theoretical models.  This is intended as a
foundation for further work, especially for undergraduates with plans for graduate work in literature and cultural studies.  Critical movements studied will include the (now old) “new criticism”, structuralism and poststructuralism, feminist criticism, new historicism, and post colonial criticism.  Selected readings from various sources (to be announced).

LITERATURES OF THE WORLD

LTWL  4B - FICTION AND FILM IN TWENTIETH CENTURY:  HISTORY AND MEMORY IN GERMAN FILM
Instructor: Cynthia Walk
 
In this course we will focus on tumultuous events in 20th century German history and how they have been represented in literature and film: Hitler's war and the Holocaust, the Berlin Wall and Cold War discourse, immigration and ethnic minority cultures, left-wing terrorism in the West, the collapse of socialism in the East, and the challenge of redefining national identity since Germany’s unification in 1990.
 
Readings and films explore different constructions of these events. Our literary texts include stories, essays, interviews and various forms of the personal narrative (letters, memoirs), maps, posters, cartoons and songs. Films emphasize the alternative cinema of independent filmmakers in the West and newly released prints from the former German Democratic Republic in the East, including a selection of renowned feature films as well as documentaries.
 
Film list: Nasty Girl (Verhoeven), The Bridge (Wicki), Germany, Pale Mother (Sanders-Brahms), Jakob the Liar (Beyer), The Marriage of Maria Braun and Ali: Fear Eats the Soul (Fassbinder), Marianne and Juliane (von Trotta), Locked-up Time (Schönemann), When the Wall Came Tumbling Down (Hertle/Scholz), and My Second Life (Shoemaker).
 
LTWL 19B -INTRODUCTION TO ANCIENT GREEKS AND ROMANS:
CLASSICAL AND HELLENISTIC GREECE
Instructor: Leslie Edwards
 
LTWL 19B is the second course in the three-quarter "Introduction to the Ancient Greeks and Romans/Graeco-Roman World" series, though 19A is not a prerequisite for 19B. 19B covers the period from the blossoming of the Athenian city-state under Pericles to the empire forged by Alexander the Great. This period produced literature in a rich variety of genres. We'll read some tragedy and comedy, philosophy, history and oratory, and a (short) Hellenistic epic. Lectures will link readings to the dynamic historical background of war, and to the intriguing social and philosophical debates of the time. Several short papers, midterm, and final.
 
LTWL 87 - FRESHMAN SEMINAR: ANCIENT ROME IN THE MOVIES (one unit)
Instructor: Dylan Sailor
 
We’ll watch a few movies that are set in ancient Rome (definitely Gladiator and Sparticus, plus some others, maybe Fellini’s Satyricon, maybe some ‘Cleopatra’ movies) and try to come to grips with several questions. What is it about Roman civilization that filmmakers and audiences find useful or appealing?  What aspects of ancient Rome get picked up again and again, and what aspects get ignored?  In what ways do these movies deal with contemporary issues—that is, how do they use Rome for thinking about violence and
empire, about gender and sexuality, about authority and community?
 
Seminar meeting dates: January 8, 15, 22, 29, February 5, 12, 19, 26.
 
LTWL 100 - MYTHOLOGY: MYTHS OF ANCIENT GREEKS AND ROMANS
Instructor: Page duBois
 
Study and discussion of the myths of the ancient Greek and Roman gods, goddesses, warriors, heroes, kings, and queens.
 
 
LTWL 115 - CONTEMPORARY LITERATURE/ITALY AND HOLOCAUST: JEWISH  EXPERIENCE
Instructor: Adriana demarche Gherini
 
"The history of the Jews in Italy spans over 22 centuries. It is very rich in contributions, contradictions, moments of cooperations and times of isolation and persecution.  In the first couple of weeks of this
course we will talk and read about this history. The main focus of the course will  be 20th Century authors such as Primo Levi, Natalia Ginzburg, Giorgio Bassani, Umberto Saba, Carlo Levi, Alberto Moravia. We will also read and discuss essays by Alexander Stille, Paul Bookbinder, and more.  Two films will be shown. Midterm exam, oral presentation, take home final exam.  In English.
 
LTWL 116 - ADOLESCENT LITERATURE: THE HERO AS ADOLESCENT
Instructor: Stephen Potts

The literature read by adolescents includes books written specifically for their age group as well as many novels originally published for adults, many of which do not even have adolescents as characters. Or do they? This course will explore the psychological and literary foundations of "the hero" to dig out his (and sometimes her) adolescent characteristics. In the process we will explore the positive and negative traits of the archetypal "adolescent" character and analyze the adolescent as a model of the human condition.
 
LTWL 120 - POPULAR LITERATURE AND CULTURE: JEWISH HUMOR IN U.S. CULTURE
Instructor: Samantha Goldstein
 
This class is a multimedia overview of the influence of Jewish humor in American culture.  While examining jokes (separately and in routines), film, TV, radio, fiction, memoir and critical essay, we will attempt to articulate how Jewish humor has become imbedded historically and culturally in what we recognize as American humor.  From the concentrated entertainment of the Catskills to the popularity of the recently defunct TV show "Seinfeld" (with its Yiddish rhythms, forms, and subject matter) we will explore the contributions of many Jewish performers and writers to the American humor tradition.  While we may acknowledge that some of this material is funny without analyzing exactly why we laugh, we will remain critically aware of the issues of gender, class, and ethnicity which contribute to a more
comprehensive view of American Jewish humor.
 
LTWL 155 - GENDER STUDIES: SEX AND SCIENCE FICTION
Instructor: Susan Larsen
 
This course examines questions of gender, sexuality, sexual difference, and reproduction in science fiction.  It will also consider how the alien worlds of science fiction reconfigure relationships between bodies, technology, and the division of labor.  We will also explore the relationship between sex/gender norms and hierarchies based on race/species or class/caste.  Assigned texts range in date from 1818 to 1997 and include novels, short stories, films, television programs, comic books, fan fiction, and critical essays.  Authors include Mary Shelley, Charlotte Perkins Gilman, Octavia Butler, Margaret Atwood, Samuel R. Delaney, Ursula Leguin, William Gibson, Donna Haraway and Constance Penley.  Films include the Aliens series, The Incredible Shrinking Man, I Married a Monster from Outer Space,  Barbarella,  Tank Girl,  and episodes of Star Trek. The course format will combine lecture and discussion
 
LTWL 160 -  Women and Literature:  Women Modernists
Instructor: Susan Kirkpatrick
 
The emergence of new feminine identities and the destabilization of gender categories were two aspects of modernity that became prominent at the beginning of the twentieth century.  This course will explore how women writing in different national contexts negotiated the conflicts and opportunities arising from their cultures’ response to such changes.  We will focus primarily on fiction and autobiography written in English, French, and Spanish (the latter two in translation), although discussions and assignments will touch on other genres (essay, poetry) and other media (visual art) when relevant.  Some of the writers to be considered are Gertrude Stein, Virginia Woolf, Zora Neale Hurston, Colette, Rosa Chacel, and Victoria Ocampo.  Course requirements will include two short papers, a class presentation, and a final project.
 
LTWL 176  - LITERATURE AND IDEAS: ENVIRONMENTAL MOVEMENTS AND CULTURE
Instructor: Pasquale Verdicchio

This course should appeal to anyone interested in the literary history of environmental literature and issues, in other words, to students of environmental studies and social sciences in addition to literature majors.
 
We will explore the vital relationship between American literature and environmental values, and attempt to explain how literary interpretations of the land have influenced attitudes toward nonhuman nature.  American authors have been consistently concerned with, and inspired by, the idea of wilderness as our culture moved from notions of a hostile wilderness, to the Transcendentalist vision of divine nature, to contemporary nature writers’ concern with imperiled ecosystems.  Through a consideration of these notions, the course will be devoted to a survey of nineteenth and twentieth-century authors such as H.D. Thoreau, John Muir, Aldo Leopold, Wendell Berry, Gary Snyder, and Barry Lopez, and we will look at movements in Ecofeminism, Bioregionalism, and Deep Ecology and their theorists.
 
As we explore these writings, we will also examine the merit of environmental literature as a historical, scientific, political, and literary form.  While this is a literature course, we will never stray far from environmental ethics and environmental history.  Course work will include one paper of interdisciplinary work which links environmental questions to an area of the student’s own interest, and that will give everyone the opportunity to try their hand at nature writing.  I also hope to be able to include a field trip within the course of the class, possibly to Anza Borrego and the Salton Sea.
 
LTWL 176 - LITERATURE AND IDEAS: TAOISM
Instructor: Wai-lim Yip
 
Taoism is a root-awakening forward-looking horizon, which can be best characterized by the double meanings of the English word "Radical". On the one hand, it attacks the root questions of how language affects our conceptions, both of the world and of our selves as beings in the world, leading to opening up a new perception of total phenomena as an interweaving, inter-disclosing, and inter-defining entity free from the restriction and distortion of ideas; on the other, it offers us radical, avant-garde subversive strategies to retrieve and re-inscribe such a space in and out of which we are empowered to move freely. In the Taoist
discourse, we often find words, phrases, statements, or stories of actions that take us by surprise, unconventional, strange forms of logic, or anti-logic, teasing language and rhetoric, including paradoxes and attacks by way of using off-norms to re-inscribe off-norms as possible norms, and challenging norms to expose their acceptance as absolute as treacherous. In the neo-Taoist developments, we find further the
use of actions or activities to tease and assail the life-imprisoning institutions, including the technique of shouting and beating in Chan (Zen) Buddhist kongan or koan. These language strategies and actions or activities of ancient China have anticipated and previewed the three stages of attack often used in Western
avant-garde art events since the Dadaist movement, namely, TO DISTURB, TO DISLOCATE, and TO DESTROY. It is important to note that these triple stages of the Daoist attack are inseparable from their target vision of retrieving the free flow of Nature and humanity to the full. Without this understanding, all the "disturb-dislocate-destroy" attempts in avant-garde art movements since Dadaism, including deconstruction and poststructuralist attempts, will remain merely shock techniques as such.
 
The Daoist Project, in deframing  power structures of  fuedalistic China, reawakens the memories of the repressed, exiled and alienated natural self,  leading to recovery of full humanity. As a counterdiscourse to the tyranny of language, it is at once political and aesthetic. Through the texts of Lao Zi and Zhuang Zi,  we will explore fully the decreative-creative parameters of this ancient Chinese philosophy, as they operate both in life and in the arts and  the new points of departure for rethinking the problems in the modern and postmodern world.
 
LTWL 184 - FILM STUDIES AND LITERATURE: FILMIC TEXT
THE MATRIX AND VIRTUAL REALITY FILMS
Instructor: Alain J.J. Cohen
 
The Matrix  (by A. & L. Wachowski, 1999) is already a cult film, perhaps for its brilliant use of special effects as it interweaves various themes, topics, and tropes of science fiction -- not to mention its already legendary foregrounding in the work of Baudrillard, the French "mediologist" and theoretician of the `virtual' and `simulation theory'. Cronenberg's eXistenZ (1999) may also correspond to the same cognitive model. Clips from several other films will be studied in the same perspective and juxtaposed to The Matrix, or eXistenZ, e.g. Verhoeven's Hollow Man (2OOO), Singh's The Cell_ (2OOO), or Spike Jonze's Being John Malkovich (1999). Given that these films focus upon computer programming, bio-engineering, psychotherapies, etc, students should be able to select their own disciplinary emphasis in studying them.
They may thus highlight the disjunct between fairly banal narratives and spellbinding special effects: What can be assayed regarding New Age aesthetics and ways of seeing? New approaches and filmic technologies? Ideas about the Postmodern age? As usual, precise methods of film analysis - frame and shot composition, shot-by-shot analysis, narrative programs, filmic figures, film genre,
deep structure, integration of specific films to history of cinema, and filmic poetics - will be emphasized during the first weeks of the term. Students will explore their own case of the compelling effect of "special
effects" in film. "Veteran" students will be asked for work building upon their previous research.
 
LTWL 191 - HONORS SEMINAR: WHY TELL STORIES? TIME, CULTURE, NARRATIVE                     
Instructor: Marcel Hènaff
 
"What's your story?" This question could be addressed as well by a journalist to a witness of an accident, by a police inspector to a suspect, by a lab researcher to another colleague speaking of a discovery, by a publisher to novelist, by a psychotherapist to a patient, by anybody to anybody about any project, event, situation or problem. Wherever there is an issue there is a story. The narrative form seems to cover all kinds of situations involving a temporal dimension. We could also say that there is not any situation or experience without temporal dimension. Moreover: any temporal dimension finds its expression in a narrative form. What is the meaning of such a powerful paradigm? - I propose, in this seminar, that we address this question in 3 steps. - First, we will briefly discuss some important philosophical texts devoted to the issue of time, such as texts by Aristotle, Augustine, Hegel, Heidegger, Deleuze ... - Second we will confront these Western approaches with conceptions from other cultures and address this aim by comparing the diversity of cultural representations through some narrative forms like folktales or myths. - Third , we will try to understand the relationship between novel and modernity; and finally we will see under which cultural conditions history has become a global narrative and the most accepted representation of society. The first 3 weeks of this seminar will focus on establishing the basic theoretical concepts about relationships between time, culture, and narrative. Afterwards participants will be encouraged to present their own research, whatever the field: novels, popular culture, short stories films, gender issues, testimonies, memories, etc. And my question to them will be: "What's your story?"

WRITING

LTWR 8A  - CRAFT OF WRITING: FICTION
Instructor: Donald Wesling
 
After an introductory week when we view together and analyze the film of Ambrose Pierce’s story,” An Occurrence at Owl Creek Bridge”, we will work through the elements of fiction week by week: plot and conflict, character, dialogue, description, point of view, style and tone.  This year the course will not use the brief weekly exercises I required in the past; rather than discursive commentary on them from me and other class members.  Every week you will read 2-4 stories in a good anthology, as examples of craft keyed to the weekly topic, and we will discuss these too.  The entire class has this intent: to get writing completed and to seek standards by which to judge your stories.
 
LTWR 8B - CRAFT OF WRITING:  POETRY
Instructor: Michael Davidson
 
This course is an introduction to the basic elements of writing poetry, from syllable and line to stanza and completed poem. Lectures will be devoted to basic structural and rhetorical elements of poetry based on readings in English and American poetry. Workshop sessions will be devoted to peer critiques of student writing based on examples and exercises discussed in lecture. Students will be expected to learn basic terms in prosody (the study of rhythm and metrics in poetry), rhetoric (figurative language, point of view, personification), and poetics (the theory of poetry and literature more generally). Students will be expected to learn how to scan a line, account for metrical variants, and identify various stanzaic patterns. In addition to attending class lectures and workshops, students will be asked to attend at least three poetry readings in the UCSD New Writing Series. Evaluation will include short quizzes, a midterm, a portfolio of writing submitted at the end of the quarter, brief reports on poetry readings, and regular attendance and participation.

LTWR 100  -  SHORT FICTION
Proposed Instructor: Amra Brooks
 
This course will focus on writing short fiction.  The purpose of this course is to inspire you to write and explore the craft and different styles of writing. Students will workshop short stories, or pieces of short prose
writing; chapters or sections of novels are also acceptable although our reading list will be solely comprised of short stories.  We will make a workshop schedule in the first class, which will allows each student to
workshop their writing at least twice.  This means reading your writing out loud to the class when it is your turn.  We will discuss and critique the work as a group each week.  Each student is responsible for making and handing out copies of their work at least three days before their date to workshop. Each student must then read and write comments on their classmates’ stories who are work-shopping before class, and hand it back to them.
 
In addition, there will be several writing assignments based on issues that arise in the course of our discussion as a group.  Each assignment will be 2-3 pages lon, double-spaced.  The purpose of this to get you writing-- to help your work as a writer be a part of your weekly life.  These will be turned into me the following week.
 
Each week we will discuss stories from our reading list, depending on length we will discuss between 1 and 4 short pieces a week.  The literature component is a very important part of the class.  We will start off each
class discussing the assigned reading from that week, to get our minds thinking critically.  Discussion will focus on issues of craft, style and voice.  These discussions and readings will infiltrate our work and the way
we think about writing and generate creativity.  Ideally, I would like something we read to blow your mind and inspire you. 
 
Reading list will include sections or selected stories from

• Week one: Cathedral by Raymond Carver
• Week two: The White Album by Joan Didion
• Week three: Black Tickets by Jayne Anne Phillips
• Week four: Chelsea Girls by Eileen Myles
• Week five: Reasons to Live by Amy Hempel
• Week six: Believers by Charles Baxter
• Week seven: The Pugilist at Rest by Thom Jones
• Week eight: After the Quake by Haruki Murakami
• Week nine: The Love of A Good Woman by Alice Munro
• Week ten: Drown by Junot Diaz
  

LTWR 120 - PERSONAL NARRATIVE
Writing the Literate Self
Instructor: Linda Brodkey

Designed as a writing workshop, students produce a series of texts (such as stipulative definitions of literacy, writing and reading inventories, memory work, and literacy anecdotes) that contribute to their understanding of literacy. In the final narrative they locate and explore places where they learned to write and read and what those sites contribute to how they see themselves as writers and readers. Readings may include educational memoirs, material on examining the social and cultural dimensions of individual experience, and drafts of materials produced by peers.

LTWR 125 - PERSUASION
Instructor: Melvyn Freilicher
 
The major paper (drafts of which will be read and discussed by the whole class) is a “highbrow” literary essay (à la the New Yorker) examining a contemporary trend in popular culture or in particular subcultures.  Students will read and write in a variety of other genres, including pop magazine features.  Readings include James Baldwin’s The Evidence of Things Not Seen; essays by Susan Faludi, Rebecca Mead, Melanie Thernstrom, Mike Davis, Martin Luther King Jr., Joan Didion, Susan Sontag, and others.  Prerequisiste: LTWR 8C.
 
LTWR 127 - GENERAL NON-FICTION PROSE WORKSHOP: BIOGRAPHICAL WRITING
Instructor: Kathryn Shevelow
 
This is a workshop course in biographical writing.  We will spend the first part of the quarter discussing the genre of biography, reading a selection of short biographies (profiles) and individual chapters from longer biographies. We will discuss the ways in which subjects of biography are chosen, the demands posed by various types of biography, and the question of how biographers situates themselves in relation to their  biographies’ subjects.  We will also review research sources and techniques.  Students will be asked to make a brief presentation to the class about a biographical subject of their choice, and will then spend the rest of the quarter working in small workshop groups on their own biographical projects, conceived either as a profile or as a section of a full-length biography.  Students interested in this course are encouraged to consider in advance possible subjects for their biographies; these subjects may be either historical figures or people still living.  Workshop participation in the second part of the quarter will require a weekly submission of 4-5 pages of the biography each student is writing, as well as a written, 2-page critique of that week’s work of another member of the workshop group.  Prerequisite 8C.
    
LTWR 143 - STYLISTICS AND GRAMMAR
Instructor: John Granger
 
“Like everything metaphysical the harmony between thought and reality is to be in the grammar of the language” (Wittgenstein).
 
This course adopts a lecture-workshop format.  An anatomy of grammar in the lectures and discussions (Tuesdays) alternates with workshops (Thursdays) in which students will complete a set of twenty stylistic transformations of some unassuming, page-length composition of their own.  Required texts include Lanham, A Handlist of Rhetorical Terms, 2nd ed. (UC Press, 1991); Queneau, trans.  Wright,  Exercises in Style (New Directions, 1981).  There will be a final exam on the subject of grammar for half of the grade.  Prerequisite: LTWR 8C.