Winter 2005 Undergraduate Course Descriptions

LITERATURE OF THE AMERICAS

LTAM 87 - FRESHMAN SEMINAR: LATIN AMERICAN WOMEN WRITERS
Instructor: Milos Kokotovic

In this seminar we will read and discuss short literary works by twentieth-century women writers from Latin America. We will focus on how these writers have represented their societies and challenged women’s traditional roles in them.

CHINESE LITERATURE - No course offerings Winter 2005

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

LTGK 2 (INTERMEDIATE GREEK I)
LTGK 113 (CLASSICAL PERIOD)
LTLA 2 (INTERMEDIATE LATIN l) - 2 sections offered
LTLA 134 (HISTORY: LIVY)
LTWL 19B (INTRODUCTION TO ANCIENT GREEKS AND ROMANS)
LTWL 100 (MYTHOLOGY: MAGIC IN ANCIENT GREECE AND ROME)

COMPARATIVE LITERATURE - No Course Offerings Winter 2005

CULTURAL STUDIES   

LTCS 150 - TOPICS IN CULTURAL STUDIES
TV NATION: GENDER, RACE, POLITICS OF POPULAR CULTURE
Instructor: Megan Wesling

This course explores the relationship between gender, race, and popular culture by focusing on one of our most under-studied cultural texts: television. Far from downplaying the pleasure involved in watching TV, we will examine how such pleasure is produced, how we are called upon to be model viewers and consumers, and how our relationship to this technology has changed historically since its introduction in the mid-20th century. Beginning by "reading" TV as text, we consider the TV's emergence in the post-war era and its effects on family and public life in the '50s and '60s before moving on to analyze how TV informs our conceptual categories of gender, race, sexuality, family, and nation. We will discuss the politics of representation in corporate media and link such politics to the material demands of production, circulation, and profit in order to conceive of the relationship between pop culture’s material and its ideological functions. Working through critical vocabularies in feminist studies and media studies, we'll trace our popular education through mass media forms in order to consider, finally, how our (viewing) pleasure is produced in relation to our media-saturated world.

LTCS 170 - VISUAL CULTURE:
SHIFTING NOTIONS OF GLAMOUR IN LATE TWENTIETH-CENTURY MEDIA
Instructor: Roddey Reid

This course will look at the changing notions of glamour in the US, UK, France, and Japan from its beginnings in the days of classic cinema and glossy magazines (1930s-1950s) to the rise of television, independent cinema, video, and digital imaging. How were ideas of glamour produced and circulated? Did they apply equally to men and women alike? Were they presumptively heterosexual or were there queer elements? And today in a dressed-down world of designer jeans, high-end sneakers, body tattoos, and digital photography does the word glamour make sense anymore? Or is glamour now simply the expression of nostalgia for another age? Subjects will include glamour as commodity and fetish, glamour as image and performance, the question of camp (as failed glamour), the threat of aging, the social and economic context of glamour.

Students will be asked to do joint research projects on a topic of their choosing in consultation with the instructor.

EAST ASIAN LITERATURE

LTEA 100A - CLASSICAL CHINESE POETRY IN TRANSLATION
Instructor: Wai-lim Yip

Heidegger warns us in an essay that any dialogue using Indo-European languages to discuss the spirit of East-Asian poetry will run the risk of destroying the possibility of saying what the dialogue is about. How much can we understand from English translations the original aesthetic grounding of Chinese poetry? This course attempts to overcome this difficulty by offering the students a chance to witness the original workings of the Chinese poem. This we hope to achieve by a dual process; first, through specially prepared texts which will retrieve, in part, the empty spaces in the Chinese original for the reader to move in and participate in completing the total aesthetic experience; and, second, through careful examination of Chinese aesthetic positions in comparative perspective.

LITERATURES IN ENGLISH

LTEN 22 - INTRODUCTION TO THE LITERATURE OF THE BRITISH ISLES:
1660-1832
Instructor: Kathryn Shevelow

This course covers the literature written in Britain during a period of profound political, economic, social, and literary change. The period from 1660-1832 saw, among other changes, the authority of the monarchy
diminished, the development of industrialization and expansion of empire, the growing power of the middle classes, changes in gender ideology, and revolution, radicalism and political backlash. For the literary world, this was a time of the emergence of the publishing industry, the waning of the patronage system in favor of a literary market, the challenge to elite neoclassical poetic forms by the development of middle-class genres such as the novel, the full-scale emergence of women writers, and the influence of the interrelated phenomena of sentimentalism, radicalism, and romanticism. This course will examine literary texts in various genres in the context of such historical developments. Rather than try to cover 170 years of literary history by reading many small texts and excerpts, we will read longer pieces that are in various ways representative of the period and its writing. Writers will include, among others, Aphra Behn, Daniel Defoe, Alexander Pope, Mary Wollstonecraft, William Wordsworth, Samuel Taylor Coleridge and Jane Austen.
The course will require a midterm, a paper, and final. Books will be available at the University Bookstore.

LTEN 26 - INTRODUCTION TO LITERATURE OF THE UNITED STATES:
1865-PRESENT
Instructor: Meg Wesling

In this survey of literatures written in the U.S. since the Civil War, we’ll take as our theme “We the People,” reconsidering this foundational phrase of U.S. nationhood as a way of posing a number of questions about the relationship between literature and national identity. In particular, we will trace the development of the idea of “the people” across 150 years, considering how literary texts, from late nineteenth-century populism to early twenty-first century popular culture, have constructed competing and often contradictory understandings of U.S. culture. We’ll pay particular attention to the evolution of national identity in relation to major social and economic transformations such as industrialization, migration, and urbanization; to explosive cultural developments like the introduction of mass consumer technologies of film and television; and to radical political reorientations through broad-scale movements like anti-racist struggles, feminist movements, and workers’ rights. Our goal will be to conceive of the literary in dynamic relation to the cultural and political history of the U.S. since 1865, to ask how these literary texts offer their own visions of U.S. history, and to consider how these visions might productively challenge and radically reshape our notions of Americanness in the twenty-first century.

Readings will include, among others, Pauline Hopkins, Kate Chopin, Henry James, W.E.B. DuBois, Nella Larsen, Langston Hughes, Meridel LeSueur, Muriel Rukeyser, Nathanael West, John Dos Passos, Gertrude Stein, William Faulkner, Eudora Welty, Flannery O’Connor, Carlos Bulosan, Gwendolyn Brooks, James Baldwin, Sylvia Plath, Sandra Cisneros, and Fae Ng. Evaluation for the course will include several short papers, a midterm, and a final exam. Regular attendance at lectures and sections will be mandatory.

LTEN 27 - INTRODUCTION TO AFRICAN AMERICAN LITERATURE
Instructor: Camille Forbes

This course will explore multiple forms of black literary production beginning in the late eighteenth-century through the late twentieth-century. We will consider the theme of selfhood, studying ways in which African American writers have sought to define themselves as a people and as individuals in this nation. Questions framing for our investigation include: what terms and what means have blacks in America used to speak of their experience? how have particular historical periods helped shape black literary production in the U.S.? what are some key elements in the African American literary tradition? Our texts will include poetry, autobiography, short stories, novels, and spoken word.

LTEN 113 - SHAKESPEARE lI: JACOBIAN PERIOD (a)
Instructor: Louis Montrose

Please see the Literature Undergraduate Office, room 110 for a copy of the course description for this course.

LTEN - 118 MILTON (a)**UPDATED 11/1/04
Instructor: Fred Randel

A critical examination of the major works, including Paradise Lost and Paradise Regained, by an author who was both a central figure in a revolutionary age and, in the view of most critics, the greatest poet in the English language other than Shakespeare. Paradise Lost, which the class will discuss in detail, is widely considered the English language’s finest poem, greatest epic, and most imaginative expression of the religious imagination. It is also a major political statement, and an influential, but highly controversial, treatment of gender. The course will study Milton’s development in a variety of historical and intellectual contexts with a view toward shedding light on his artistry, as well as his philosophical, religious, and political views.

LTEN - 119 RESTORATION LITERATURE (b)
Instructor: Ron Berman

The Restoration is the period of the return from exile of King Charles II after the exhaustion of the Puritan movement in England. Technically, the Restoration lasted from the date of the return, 1660, until the death of King Charles in 1685. But literary movements resist chronology, and poetry and drama kept up their great
satirical themes for another generation. This course covers some of the major figures of Restoration comedy and tragedy: John Dryden, William Congreve, William Wycherley and George Etherege. It will take
up the new attitude towards the past--part of which included the opinion that Shakespeare needed to be translated back into English.

The new drama of the Restoration was above all realistic. Even the stage itself was transformed--this marks the first time in our theatrical tradition that female roles were in fact played by actresses and not young boys. One consequence was that theater became richer, more intense, and more sexual. It also began to appeal to a new audience, the literate middle class.

LTEN 132 - MODERN IRISH LITERATURE:
JAMES JOYCE’S ULYSSES (b)
Instructor: Michael Davidson

This course will offer a reading of a single book, Ulysses, by James Joyce. Published in 1922 and written while Joyce was in exile in Zurich, Trieste and Paris, Ulysses has come to be one of the most important books of the modern era, a novel that changed the shape of literature well beyond narrative fiction and beyond the British Isles. Its formal complexity and fragmented narrative, its dense layers of allusion and multi-lingual punning became the model for many modernist works--from T.S. Eliot’s The Waste Land and William Faulkner’s Absalom, Absalom! to Julio Cortazar’s Rayuela and Thomas Pynchon’s The Crying of Lot 49. Based loosely on Homer’s Odyssey and detailing the lives of its three main characters in a single day in Dublin in 1904, Ulysses attempts to tell the story of homelessness, racialization, commercialization, and changing gender roles in modern society.

This course will read through Ulysses from start to finish, drawing on secondary sources and other writings by James Joyce. The first six to eight weeks of the course will be spent reading the book, and then in the final weeks of the course students will present projects on the novel in a colloquium format. Weekly responses to the reading will form the backbone of discussion, and in addition two research papers will be required.

LTEN 146 - WOMEN AND ENGLISH LITERATURE: THE “OTHER” JANE AUSTEN (b)
Instructor: Kathryn Shevelow

This is a course designed for students who have already read Jane Austen’s major novels, and are interested in studying her further. This course will focus both on Austen’s less-known work—Northanger Abbey, her juvenilia, her unfinished fiction, and her letters—and on the literature written about her—nineteenth-century memoirs, two centuries of criticism, and modern biography. The course will also look at the construction of the figure of “Jane Austen” since her death, with particular focus on modern appropriations of Jane Austen in film, on the internet, in the contemporary “English heritage” industry, and in literature. Besides Austen’s own work, readings will include memoirs written by members of her family that attempt to establish a particular image of “Jane,” critical articles (on her novels, the films made from them, and her presence in contemporary popular culture), and at least one example of a modern use of her, such as Stephanie Barron’s mystery series featuring Austen as a detective. The films we will view will include both of the 1990’s versions of Emma and the recent Mansfield Park.

Familiarity with Austen’s major novels—gained, for instance, by having taken a course on her or having read the novels on your own—will be a prerequisite for this course. You will be expected already to have read—
and you will be required to write about—Mansfield Park, Emma, and Persuasion. Having read Sense and Sensibility and Pride and Prejudice will be an advantage as well. We will often refer to all these novels in class.

Text will be available at the University Bookstore; there will also be a Course Reader. Writing assignments will depend upon the size of the class, but there will definitely be a paper-project and an in-class final.

LTEN 149 - THEMES IN ENGLISH AND AMERICAN LITERATURE:
REMEMBERING THE WEST (c)
Instructor: Nicole Tonkovich

This course will focus on how the idea of the West was conceived and mythicized, and how it has been persistently re-mythicized and substantively challenged in the present moment. For details of readings and assignments, please see the printed course description booklet available from the Literature Department.

LTEN 155 - INTERACTION BETWEEN AMERICAN LITERATURE AND VISUAL ARTS:
ETHNIC DRAG. RACE AND GENDER IN 20TH CENTURY HOLLYWOOD
Instructor: Fatima El-Tayeb

The visual is a central means of inscribing and reaffirming racial difference. This course will explore how narrative film functioned within this process through a naturalization of "Ethnic Drag", i.e. idealized and artificial images of racial Others as well as a normalized Whiteness. We will move from the Silent Movie era, when white actors literally put on drag to impersonate people of color, to Hollywood's heyday, when minorities acted out (and sometimes subverted) white fantasies of them, and will end with a look at attempts by non-white filmmakers to reverse this tradition by creating their own images. A continuous theme will be the interaction of race and gender in these processes that constructed (implicitly or explicitly) racialized versions of masculinity and femininity.

Readings will focus on postcolonial, feminist, and queer theory as well as techniques of close film readings based on Bordwell/Thompson’s Film Art (2001).

LTEN 156 - AMERICAN LITERATURE FROM THE CIVIL WAR TO WORLD WAR l:
INVENTING POST-WAR AMERICA (d)
Instructor: Nicole Tonkovich

A survey of writing in the continental United States in the late nineteenth century. For details of readings and assignments, please see the printed course description booklet available from the Literature Department.

LTEN 159 - CONTEMPORARY AMERICAN LITERATURE: MUSIC OF THE SIXTIES
IT’S ONLY ROCK ‘N’ ROLL (d)
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 181 - ASIAN AMERICAN LITERATURE (d)
(cross-listed with ETHN 124)
Instructor: Lisa Lowe

The internment of 120,000 Japanese Americans during World War II has figured as the paradigmatic example of Asian Americans in the twentieth century. In this course, we reassess the centrality of the internment as symbol and anomaly, by situating the event within wider international, national, and regional contexts before and after World War II. This includes the scope of U.S. interests in China, Japan, the
Philippines, Korea and other Asian sites, the span of Asian immigration to and settlement in the western U.S., and the wartime relation of Japanese Americans to other Asian immigrant, racial and ethnic groups
working in west coast cities like Los Angeles. Our objective is to understand these different international, national, and regional landscapes as crucial contexts for the emergence of the many meanings surrounding “Asia” and “Asians” in the 20th century.

Literary fiction, such as John Okada’s No-no Boy, Kim Ronyoung’s Clay Walls, Chester Himes’ If He Hollers Let Him Go, Carlos Bulosan’s America is in the Heart, and Hisaye Yamamoto’s “Fire in Fontana,” and plays such as Velina Hasu Houston’s Tea and Luis Valdez’ Zoot Suit, will be read alongside newspapers, magazines, photographs, films, and other primary historical and social scientific materials, including essays by W. E. Du Bois and Himes from The Crisis, excerpts from the Autobiography of Malcolm X, and the sociology of Robert Park and Tamotsu Shibutani. We will read supplementary cultural and historical criticism by Caroline Chung Simpson, Lisa Yoneyama, Henry Yu, T. Fujitani, Karen Shimakawa, John Dower, Luis Alvarez, Grace Kyungwon Hong, Robin Kelley, George Sanchez, Anthony Macias, George Lipsitz, and others. In addition, we will view a cluster of films representing mid-century Los Angeles, including “Chinatown,” “Zoot Suit,” “LA Confidential,” and “Devil in a Blue Dress.”

LTEN 186 - LITERATURE IN THE HARLEM RENAISSANCE (d)
(cross-listed with ETHN 175)
Instructor: Camille Forbes

This course examines the period (roughly 1920 to the early 1930s) that was known as the New Negro Movement, later referred to as the Harlem Renaissance. Although the Harlem Renaissance is often thought of as a literary movement, it was much more than this; it was a time of developing racial consciousness expressed through various media, including the visual arts, the performing arts, poetry and prose. We will take a multitextual approach, incorporating music, the visual arts, and close readings of major writers in the context of cultural history. We seek to understand the sociocultural significance of the historical moment as well as the texts born during it.

LTEN Upper Division Codes:

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

“The department is now listing the current a-d requirements as of fall 2002. If you have any questions regarding the requirements, please contact Christine Fraser at (858) 534-2739.”
 

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EUROPEAN AND EURASIAN LITERATURE

LTEU 87 - FRESHMAN SEMINAR:
ITALIAN COMMEDIA DELL’ARTE
Instructor: Stephanie Jed

We will study Commedia dell’Arte, its stock characters such as Harlequin, Brighella, Colombine, Pantalone, and its practices of improvisation. This seminar will be of special interest to students of LTIT 1B and other students of Italian. We will have a special workshop on Comedia led by a guest from Italy: Marco Luly.

LTEU 130 - GERMAN LITERATURE IN TRANSLATION:
PARZIVAL AND THE GRAIL
Instructor: Lisa Lampert

Wolfram von Eschenbach’s medieval romance, Parzival, is the story of the development of a young knight from a bungling innocent to one of the greatest knights ever known. Wolfram tells this story through vivid depictions of three overlapping realms, the world of Arthur and his knights, the world of the Holy Grail, and the world of the Orient. The narrative contains everything one might hope to find in a medieval romance: noble knights and ladies, stories of true love and betrayal, a mysterious lost source text, a mysterious sorceress, countless battles, and, of course, the Grail. In addition to being an important artifact of courtly culture, the text is also important as an example of early explorations of questions of orientalism, race, and religious difference. We will focus primarily on this single text, but also look at the romance’s sources and its afterlife. Assignments will include short writings, an interpretive essay, and a final exam.

LTEU 130XL - FOREIGN LANGUAGE DISCUSSION
Instructor: Lisa Lampert

FRENCH LITERATURE

LTFR 2A - INTERMEDIATE FRENCH I

Instructors: T.A.s supervised by Catherine Ploye

Second-year course designed to be taken after 1C/CX. 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 2C - INTERMEDIATE FRENCH III: COMPOSITION AND CULTURAL ISSUES
Instructor: Catherine Ploye

Designed for students who wish to further improve writing and conversational skills. Most advanced course in the program that offers a formal review of grammar. Oral skills are practiced through discussions of cultural issues presented in a contemporary novel and a film. May be applied towards a minor in French literature or towards fulfilling the secondary literature requirement. Students having completed 2C 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 21 - CONVERSATION WORKSHOP I
Instructor: T.A. supervised by Catherine Ploye

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 III: 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 115 - THEMES IN INTELLECTUAL AND LITERARY HISTORY:
FEMMES ÉCRIVAINS, DE LA SOCIÉTÉ FÉODALE À LA RÉVOLUTION FRANÇAISE

Instructor: Omelbenine Zhiri

Ce cours sera consacré à l’étude de textes littéraires français écrits par des femmes depuis le Moyen Age jusqu’aux débuts des temps modernes. Poésie, roman, nouvelle, essai, lettre, elles ont illustré des genres divers, avec souvent la conscience très forte de leur marginalité au sein d’une littérature dominée par les hommes. Nous examinerons leur hésitation entre l’acceptation et même la fierté de leur statut de femmes exceptionnelles, et une revendication féministe au bénéfice de toutes les femmes.
Bibliographie: Reader

LTFR 116 - THEMES IN INTELLECUAL AND LITERARY HISTORY
Instructor: Catherine Ploye

Nous analyserons des textes représentatifs des 19e et 20e siècles et les situerons dans leur contexte historique. Le cours est entièrement en français. Prerequisite: Lit/French 2C or lit/French 50 or equivalent.

LTFR 121 - MIDDLE AGES AND RENAISSANCE :
LA TRAGI-COMEDIE DU MARIAGE AU MOYEN AGE ET A LA RENAISSANCE
Instructor : Omelbanine Zhiri

Des fabliaux à Molière, le mariage est souvent traité par la littérature durant le Moyen Age et la Renaissance comme une source inépuisable de comique, autour des thèmes de l’adultère et de la jalousie, et des figures du cocu, de la virago, ou au contraire de la jeune femme naïve. D’autres textes tentent pourtant de définir une éthique sociale et personnelle du mariage, où la question essentielle est celle du statut et des responsabilités de la femme dans la famille. Bibliographie: Reader

GERMAN LITERATURE

LTGM 2B - INTERMEDIATE GERMAN lI
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, AP score of 4 or instructor approval.

LTGM 131 - GERMAN DRAMATIC LITERATURE:
LESSING, BÜCHNER, BRECHT, JELINEK
Instructor: Cynthia Walk

We begin our study of German drama with several plays from the classical repertory of the German theatre since the 18th century by Lessing, Büchner and Brecht. With the unprecedented incursion of women into the theatrical institution in the 20th century, our focus shifts to contemporary women playwrights and the issues they bring to the stage. In this context we examine the strategies feminist theatrical practice has developed to challenge traditional dramatic models. The highlight will be Elfriede Jelinek, who has just been awarded the 2004 Nobel Prize for literature. Throughout this seminar on German drama, we will engage both text and performance, where possible with video clips from stage productions and film adaptations of the plays under discussion.

GREEK LITERATURE

LTGK 2 - INTERMEDIATE GREEK
Instructor: Leslie Edwards

We'll continue to make our way through the same introductory 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 reading the Odyssey in Greek 3. Midterms, quizzes, and final. Prerequisite: Greek 1 or permission of the instructor.

LTGK 113 - CLASSICAL PERIOD:
THE YEAR OF THE THIRTY TYRANTS
Instructor: Anthony Edwards

Following the defeat of Athens in April 404, the victorious Spartans installed a narrow oligarchy to govern the city. As the year wore on, the government of the Thirty Tyrants became increasingly isolated as its violence and greed were unleashed upon an ever larger segment of the citizenry until its collapse in May of 403. Through the vivid accounts provided by Xenophon and Lysias the regime of the Thirty became the model for the ancient world of government through violence and it provides us today with a case study in tyranny. We will read Xenophon's account in Greek, supplemented by selections in English translation from Lysias, the Aristotelian Constitution of the Athenians, and from Diodorus Siculus.

HEBREW LITERATURE - No Course Offerings Winter 2005

ITALIAN LITERATURE

LTIT 2B - INTERMEDIATE ITALIAN Il
Instructor: Adriana de Marchi Gherini

A second-year course in Italian language and literature. Conversation, composition, grammar review, and an introduction to literary and nonliterary texts. Preequisite: LIIT 1C, LIIT 1C/1CX, or equivalent or consent of the instructor.

LTIT 122 - STUDIES IN MODERN ITALIAN CULTURE
A SPECIAL DAY: FILM AS CULTURAL MEMORY AND PROTEST
Instructor: Pasquale Verdicchio

This course, conducted in Italian, will use Ettore Scola’s film Una giornata particolare (A special day) as an element that engenders political and social criticism through cultural memory. During the course of the class we will analyze how the film addresses issues such as women’s social position, homosexuality, the power of ideology, etc. and their manifestation during the Fascist era in Italy (the film is set in 1938). We will then consider how the 1977 film uses Fascism to shed a light on more contemporary social issues and the necessity to keep historical memory alive.

LTIT 143 - MAJOR ITALIAN AUTHORS UNGARETTI: VITA DI’UN UOMO
Instructor: Stephanie Jed

Studieremo le opere di Giuseppe Ungaretti, uno fra i più grandi poeti del ‘900. Esamineremo i suoi scritti, dalle sue prime poesie scritte su foglietti di carta nelle trincee della prima guerra mondiale ai suoi saggi e interventi sulla cultura e la storia. Studieremo la storia di Ungaretti in rapporto al futurismo, la poesia ermetica e le tradizioni poetiche italiane. Discuteremo le sue poesie in rapporto alla vita.

KOREAN LITERATURE

LTKO 1B - BEGINNING KOREAN: FIRST YEAR I
Instructor: Jeyseon Lee

LTKO 1B is designed to help students develop beginning-level (second quarter) skills in the Korean language. Section C00/01 is recommended for students who have no home-Korean language background. Sections A00/01 and B00/01 are recommended for students who have home-Korean language background. The concentration is on the development of basic reading, writing, listening and speaking skills, and cultural understanding.

First Year Korean 1B (5 units) is the second part of the Beginning Korean series, and designed for students who have already mastered the materials covered in LTKO 1A. This course will assist students in developing mid-beginning level skills in the Korean language, such as speaking, listening, reading, writing, and cultural understanding. It 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 be able to do 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.

LTKO 1C - BEGINNING KOREAN: FIRST YEAR II
Instructor: Jeyseon Lee

LTKO 1C is designed to help students develop beginning level (third quarter) skills in the Korean language. This course is recommended for students who have home Korean language background. The concentration is on the development of basic reading, writing, listening, speaking skills, and cultural understanding.

First Year Korean 1C (5 units) is the third part of the Beginning Korean and is designed for students who have already mastered LTKO 1B. This course is designed to assist students in developing high-beginning level skills in the Korean language such as speaking, listening, reading, and writing, as well as cultural understanding. 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 be able to do the following in Korean:

Speaking: Ability to engage in basic communicative exchanges, mainly through recombination or expansion of learned material. Content is still limited to a few topics concerning the self and immediate surroundings, such as family and community.

Listening: Ability to partially understand very simple face-to-face conversations, including some questions, when strongly supported by familiar contexts. May require repetition, rephrasing, and/or slow, careful speech for comprehension.

Reading: Ability to derive some meaning on a consistent basis from simple connected texts, such as straightforward advertisements written for a wide audience. Partial understanding may depend on context and/or extralinguistic knowledge.

Writing: Ability to write with partial success a limited number of personal communications and exhibit some practical writing skills. Can recombine memorized material into simple statements or questions.

LTKO 2B - INTERMEDIATE KOREAN: SECOND YEAR I
Instructor: Jeyseon Lee

This course is designed to help students develop intermediate-level skills (second quarter) in Korean language. Upon completion, students are expected to have a good command of the language in various daily conversational and casual situations.

Second Year Korean 2B (5 units) is the second part of the Intermediate Korean. It is assumed that students in this course have previous knowledge of Korean, taught in the Korean 1A, 1B, 1C, and 2A courses. Students in this course will learn mid-intermediate levels of standard modern Korean in listening, speaking, reading, and writing, as well as the expansion their cultural understanding. After the completion of this course, students are expected to acquire and increase their vocabulary, 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 vocabulary, expressions, and sentence structures introduced. Upon completion of this course, students will be able to do the following in Korean:

Speaking: Ability to maintain a variety of uncomplicated conversations. Produce 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. Student 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.

LTKO 3B - ADVANCED KOREAN: THIRD YEAR ll
Instructor: Jeyseon Lee

This course is designed to help students develop advanced-level skills (second quarter) in the Korean language. Upon completion of this course, students are expected to have a good command of Korean in various formal settings, which includes understanding and reading daily news broadcasts/newspapers, and also writing social and informal business correspondence.

Third Year Korean 3B (5 units) is the second part of the advanced Korean courses. It is assumed that students in this course have previous knowledge of Korean taught in LTKO 2A, 2B, 2C and 3A. Students in this course will learn mid-advanced level skills in the areas of listening, speaking, reading and writing, as well as expand their cultural understanding. Upon completion of this course, students are expected to
acquire and use more vocabulary, 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, school or work requirements, and handle a wide variety of communicative tasks using appropriate speech styles. Also narrate and describe in paragraphs linking sentences together smoothly with cohesive devices. Students should learn to state an opinion, but not yet fully support it, on topics of general interest, such as current events, politics, and social issues. Also, learn to 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, 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 should have no difficulty understanding writing at this level.

LTKO 100 -ADVANCED READINGS IN KOREAN LITERATURE AND CULTURE:
READINGS IN POST-LIBERATION KOREAN LITERATURE AND CULTURE
Instructor: Jin-Kyung Lee

This course is a survey of major issues in modern Korean history from 1945 to the present, including Division, U.S./Soviet occupation, the Korean War, and authoritarian rule, industrialization, and the labor/agrarian movement. 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 informal and formal training may qualify to take 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 l
Instructor: Charles Chamberlain

We will cover chapters 17-32 of Wheelock's Latin by Frederic M. Wheelock (6th edition). Expect to have a quiz almost every week, plus a midterm and final. Quizzes are worth 30%, the midterm 30%, the final 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 like 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 2 - INTERMEDIATE LATIN l
Instructor: Eliot Wirshbo

Dogged students of Latin will bow their heads under the yoke and slog through another twenty-eight
50-minute hours of their chief nemesis. (Alternatively, eager-beaver enthusiasts will gleefully embrace an all-too-short term of the subject that is opening their minds to the world of learning.) There is a slight shift in this quarter, all but imperceptible to those who are actually involved in study, from a focus on morphology to one on syntax. What this means does not affect day to day procedures, but marks a stage in the ascent to interpreting more complex sentences and gaining a better hold on the genius of the Latin language.

LTLA 134 - HISTORY: LIVY
Instructor: Dylan Sailor

We will read in Latin as much as we can of the first book of Livy's history of Rome, and a few short pieces of scholarship about it. Emphasis will lie on contextualizing Livy within the 'Augustan revolution'. Prerequisite: satisfactory completion of LTLA 100 or equivalent. Quizzes, 8-10 page paper, final.

NEAR EASTERN LITERATURE

LTNE 101 - BIBLE: THE NARRATIVE BOOKS
THE BIBLE NOW
Instructor: Richard Friedman

The class will study how the Hebrew Bible relates to major controversial issues of our time including:
women's status, capital punishment, abortion, homosexuality, the environment, the Middle East, terror, war and peace.

PORTUGUESE LITERATURE- No Course Offerings Winter 2005

RUSSIAN LITERATURE

LTRU 1B - FIRST 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 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 PRACTICUM IN RUSSIAN
Instructor: Rebecca Wells

Development of advanced skills in reading, writing, and conversation. Course based on written and oral texts of various genres and styles. Individualized program to meet specific student needs. May be substituted for LTRU 101 A-B-C as requirement for major. Prerequisite for 104A: LTRU 2C or equivalent.

LTRU 110B - RUSSIAN AND SOVIET LITERATURE: 1860-1917
Instructor: Y. Furman

A study of literary works from Pushkin to the present.

SPANISH LITERATURE

LTSP 2A - INTERMEDIATE SPANISH I: FOUNDATIONS
Instructor: T.A.s supervised by Beatrice Pita

This 5 unit intermediate course meets 4 days per week and is taught entirely in Spanish. LTSP 2A emphasizes the development of communicative skills, reading ability, listening comprehension and writing skills. It includes grammar review, short readings, class discussions and working with Spanish-language video and Internet materials. This course is designed to prepare students for LTSP 2B and 2C. A diagnostic test will be administered on the first day. Prerequisites: Completion of LISP 1C/CX, its equivalent, or a score of 3 on the AP Spanish language exam.

Note: The final exam for LTSP 2A is scheduled for Monday, March 14th, 2005.

LTSP 2B - INTERMEDIATE SPANISH II: READINGS AND COMPOSITION
Instructor: T.A.s supervised by Beatrice Pita

This intermediate course is designed for students who wish to improve their grammatical competence, 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 4 days per week. Work for this 5 unit course includes oral presentations, grammar review, writing assignments, class discussions on the readings and
work with Spanish-language video and Internet materials. A diagnostic test will be administered on the first day. Prerequisites: Completion of LTSP 2A, its equivalent, or a score of 4 on the AP Spanish language exam.

Note: The final exam for LTSP 2B is scheduled for Monday, March 14th, 2005.

LTSP 2C - INTERMEDIATE SPANISH III: CULTURAL TOPICS
Instructor: T.A.s supervised by Beatrice Pita

The goal of this intermediate language course is twofold: to further develop all skill areas in Spanish and to increase Spanish language-based cultural literacy. LTSP 2C is a continuation of the LTSP second-year sequence with special emphasis on problems in grammar, 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 the understanding of Spanish-language materials on the Internet. A diagnostic test will be administered on the first day. Prerequisite: Completion of LTSP 2B, its equivalent, or a score of 5 on the AP Spanish language exam. This course satisfies the third course requirement of the college-required language sequence as well as the language requirement for participation in UC-EAP.

Note: The final exam for LTSP 2C is scheduled is scheduled for Monday, March 14th, 2005.

LTSP 2D - INTERMEDIATE/ADVANCED READINGS AND COMPOSITION:
SPANISH FOR HERITAGE SPEAKERS
Instructor: T.A.s supervised by Beatrice Pita

Designed for bilingual students who have been exposed to Spanish at home but have little or no formal training in Spanish. The goal is for students who are comfortable understanding, reading and speaking in Spanish to further develop existing skills and to acquire greater oral fluency, and grammatical control through grammar review, and reading and writing practice. Building on existing strengths, the course will allow students to develop a variety of Spanish language strategies to express themselves in Spanish with greater ease and precision. Prepares native-speakers for more advanced courses. A diagnostic test will be administered on the first day. Prerequisite: Native speaking ability and/or recommendation of instructor.

Note: The Final Exam for LTSP 2D is scheduled for Monday, March 14th, 2005. Enrollment for LTSP 2D requires department stamp. Contact Beatrice Pita with any questions regarding placement.

LTSP 2E - ADVANCED READINGS AND COMPOSITION:
SPANISH FOR HERITAGE SPEAKERS
Instructor: T.A.s supervised by Beatrice Pita

An advanced/intermediate course designed for bilingual students who may or may not have studied Spanish formally, but possess good oral skills and seek to become fully bilingual and 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 a higher level of oral proficiency for more advanced courses. A diagnostic test will be administered on the first day. Prerequisite: Native speaking ability and/or recommendation of instructor.

Note: The Final Exam for LTSP 2E is scheduled for Monday, March 14th, 2005. Enrollment for LTSP 2E requires department stamp. Contact Beatrice Pita with any questions regarding placement.

LTSP 31 - CONVERSATION WORKSHOP Il
Instructor: T.A.s supervised by Beatrice Pita

Designed to allow students with a basic grounding in Spanish to discuss a variety of topics related to literary and current cultural issues. Focus will be on vocabulary development, use of idiomatic expressions and advancing oral proficiency in Spanish. Pre-requisites: LISP 1C/CX or consent of the instructor.

Note: This conversation/discussion class meets once a week. May be taken as an adjunct to lower division LTSP courses, alone, or in combination with any other LTSP course. 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 50 - READINGS IN LATIN AMERICAN LITERATURE
Instructor: T.A.s 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, 2D or 2E or 2 years of college level Spanish.

Note: The final exam for LTSP 50B is scheduled is scheduled for Monday, March 14th, 2005.

LTSP 125 - SPANISH MODERNISMS: THE NOVELS OF MIGUEL DE UNAMUNO
Proposed Instructor: Brian Cope

This course will concentrate on the novelistic production of Miguel de Unamuno. A dominant intellectual figure between 1898 and 1936, we will consider his relationship to the turbulent political climate of Spain and situate his novels in the larger scope of European Modernism. His novels, experimental in nature, contain a strong philosophical component that many see as a precursor to existentialism. The general question to be considered in this course will be to what effect Unamuno employs his predominantly meditative (and sometimes evasive) narrative style.

LTSP 130A - DEVELOPMENT OF SPANISH LITERATURE
Instructor: Susan Kirkpatrick

Beginning with the Cantar de mio Cid and ending with avant-garde works by Federico García Lorca, this course tracks different kinds of literary expression through ten centuries of Spanish history. Readings will include samples from important movements and traditions—the medieval epic, early modern court poetry, baroque drama, romantic poetry, and realist narration. A reading journal, two short papers and a final exam will be required.

LTSP 138 - CENTRAL AMERICAN LITERATURE
Instructor: Milos Kokotovic

We will begin the course with a reading of the 16th century Popol Vuh, the sacred book of the Quiché Maya, and will then examine how some of the themes and concerns of this text are echoed and reworked in selected sections of Hombres de maíz (1949), by Miguel Angel Asturias. We will follow this with short stories, novels, and poetry from the 1960s through the 1990s, a period of intense social conflict, revolution, and U.S.-sponsored counterinsurgency war in Central America. The role of literature in these conflicts; how literature has been used to both represent and intervene in the Central American revolutions; will be the main concern of this second part of the course. The course will thus examine the literary representations of ethnic and political conflict in Central America, focusing particularly on the representations of and self-representations by both women and the indigenous Maya population.

LTSP 153 - CHICANO POETRY
(cross-listed with ETHN 138)
Instructor: Gina Valdez

This course will offer a chronological view of Chicano poetry written from 1850 to the present, with emphasis on the poetry of the last three decades. We will look closely at the poems of several well-known writers, among them, Gary Soto, José Antonio Burciaga, Sandra Cisneros, and Alma Villanueva. Through essays, lectures, and discussions, we will also study the historical and social background of this literature.

LTSP 173 - PROBLEMS IN SPANISH AND LATIN AMERICAN LITERATURE
Instructor: Brian Cope

This course will focus on the realist period in Spain (1874-1900), the death of the folletín, and the naissance of the modern book industry in Spain. We will consider topics ranging from colony and empire, women in
society, industrialization, beliefs, and human values as we examine the first body of literary narration since the Golden Age to focus on contemporary society. We will also consider the conceptual implications of realism as it emerges as the predominant literary paradigm and discuss its impact on the creation of the fiction industry in the twentieth century.

LTSP 177 - LITERATURE AND HISTORICAL MIGRATIONS
Instructor: Maria Bernath

In 1975, the demise of the Franco regime and the resultant democratization of Spanish society, inaugurated an era of tolerance and renewal of intellectualism in Spain. The arrival of democracy in Spain coincided with the rise of dictatorial regimes in Chile, Argentina, and Uruguay, and for the first time in decades, the Spanish government allowed left leaning political refugees into Spain. Within this context, we will explore the political and cultural exchanges that took place between Spanish authors and exiled Latin American authors who found refuge in Spain and the role that such exchanges played in the democratization and cultural transformation of Spain.

We will begin the course by reading a selection of articles published in Spanish newspapers and magazines by exiled authors such as, Mario Benedetti, Eduardo Galeano, Hector Tizón, Cristina Peri Rossi, Antonio di Benedetto and Daniel Moyano. These articles will provide the students with a general overview of the different debates about diaspora and exile taking place in Spain during the late seventies and early eighties. In addition, we will read works of fiction —narrative, poetry and short stories— written and/or published in Spain by exiled authors such as, Mario Benedetti, Cristina Peri Rossi, Daniel Moyano, Juan Carlos Onetti, Clara Obligado, Susana Constante, Sara Rosenberg, Ana Basualdo, Marcelo Cohen, Juan Carlos Martini, Roberto Bolaño, as well as works of fiction —narrative— by Spanish authors such as, Manuel Vázquez Montalbán, Ana María Moix, Rosa Montero and others.

LITERATURE/THEORY

LTTH 110 - HISTORY OF CRITICISM
Instructor: Don Wayne

An introductory, historical survey of literary theory and criticism. The quarter system makes it difficult for us to offer in a single course even a cursory overview of the Western tradition in literary theory. Therefore, we shall have to be selective in our reading which will range from ancient to modern times. The historical background provided in this course is essential for those seriously interested in the most recent developments in the fields of literary criticism and cultural studies. The course will combine lecture and discussion; requirements will include a midterm examination, a term paper, and occasional quizzes on assigned readings.

Text: David Richter, ed. The Critical Tradition, 2nd Edition (Boston: Bedford Books, 1998).
LITERATURES OF THE WORLD

LITERATURES OF THE WORLD

LTWL 4B - FICTION AND FILM IN TWENTIETH CENTURY SOCIETIES:
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. The 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 the former German Democratic Republic in the East, including 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), Berlin is in Germany (Stöhr) and Goodbye, Lenin (Becker).

LTWL 19B - INTRODUCTION TO ANCIENT GREEKS AND ROMANS
Instructor: Eliot Wirshbo

Just the day before yesterday, it used to be said that Classical Greek culture represented the apogee of
civilization, that more geniuses flowered during the heyday of Athens than could be claimed by any other
city, that the study of Greek thought was the basis of a liberal education and the finest moral/intellectual
preparation for life a young person could have.

These claims can no longer be made, because we are now more aware of the variety and brilliance of other
cultures. We have learned that, despite their somewhat distant position on the family tree which constitutes
our own cultural lineage, these more distant cultures are fascinating and rewarding objects of study also.

And yet ... a certain vestigial feeling persists in some of us that there is a heightened vitality, a
unique and deeply penetrating quality in the questions that the Greeks posed about life and the answers they formulated. These q. & a.'s, rooted in specific Greek circumstances, have yet a general aspect which
transcends their time and place and gives them surprising force, even to a jaded undergraduate student of the twenty-first century.

This course offers exposure to some of the much-admired works of classical Greece and attempts to
explicate their enduring power. It is hoped that students will leave the course with a sense of the abiding importance which Greek antiquity still retains.

Mid-term, two five-page papers, final.

LTWL 87 - FRESHMAN SEMINAR: TRAVEL AND STUDY IN AFRICA
TRAVEL WRITING AS AMBIGUOUS RESOURCE
Instructor: Robert Cancel

Westerners have learned about Africa through the writings of explorers, missionaries and settlers. We will read and discuss some of these texts, while constructing an alternate vision of African realities and preparing to study, travel or work on the continent.

LTWL 87 - FRESHMAN SEMINAR: FRENCH FILM
CONTEMPORARY FRENCH AND FRANCOPHONE FILM
Instructor: Winifred Woodhull

Recent films made in France and other parts of the French-speaking world (Mali, Belgium, Quebec), considered in terms of both the social issues they evoke and formal elements such as narrative structure,
setting, lighting, camera work, editing, and sound.

LTWL 87 FRESHMAN SEMINAR: SEX AND LOVE IN THE MIDDLE AGES
Instructor: Lisa Lampert

This course is intended to provide a brief introduction to questions of love and sexuality in medieval texts. We’ll explore topics including “courtly love,” marriage, same-sex love, and the connection between sexuality and spirituality by reading short selections from Andreas Capellanus’ The Art of Courtly Love. Chaucer’s Canterbury Tales, and some surprising selections from medieval legal records and medical treatises.

LTWL 100 MYTHOLOGY: MAGIC IN ANCIENT GREECE AND ROME
Instructor: Page duBois

This course will survey practices of magic, haunting, and witchcraft among the ancient Greeks and Romans. We will consider the value of a distinction between magic and religion, look at ancient rituals and inscriptions, read literary texts, and consider such magical sites as Hellenistic Egypt and Roman Palestine. Readings will include Euripides' tragedy "Medea," Apollonios Rhodios' epic poem, The Voyage of the Argo, The Golden Ass of Apuleius, Daniel Ogden's Magic, Witchcraft and Ghosts in the Greek and Roman Worlds: A Sourcebook, and Jesus the Magician by Morton Smith.

LTWL 115 - CONTEMPORARY LITERATURE: TRUE CRIME WRITING
Instructor: Melvin Freilicher

This course is a broad investigation into some of the genres and many of the compelling issues which constitute “true crime” writing. Viewed in context of our current “post-Enron” era (in which such Orwellian phrases as “jobless recovery” are commonplace), the notion of crime takes on a vast scope, and issues of guilt, victimization, revenge, judgment, compassion become increasingly provocative and urgent. Some of the readings are indictments of governmental/corporate practices, such as sections from Daniel Ellsberg’s memoirs, or Eric Schlosser’s FAST FOOD NATION. Other texts combine such analysis with vivid personal testimonies: e.g. Lonnie Shavelson’s HOOKED: Five Addicts Challenge Our Misguided Drug System. Most
of the readings are within the true crime genre, including Truman Capote’s classic, IN COLD BLOOD;
James Ellroy’s MY DARK PLACES; chapters of prison memoirs; reportage pieces (e.g. Susan Faludi, Elsa Walsh) and psychosocial portraits of serial killer and the Black Dahlia murderer. The course will include quizzes and writing exercises on the readings, an in-class midterm on IN COLD BLOOD, and a final paper.

LTWL 128 - INTRODUCTIONS TO SEMIOTICS AND APPLICATIONS:
THEORY OF NARRATIVE AND FILM ADAPTATION (DANGEROUS LIAISONS)
Instructor: Alain J.-J. Cohen

Please see the Literature Undergraduate Office, room 110 for a copy of the course description for this course.

LTWL 138 - CRITICAL RELIGION STUDIES:
DEITIES OF THE ORIGINS; ORIGINS OF THE DEITIES
Instructor: Marcel Henaff

This course will propose to examine from an anthropological point of view the expressions of religious beliefs and pratices among the most traditional or ancient societies such as those of prehistory (paleo- and neolithic ages,) which are mostly hunter-gatherer societies. Our inquiry will focus on the fundamental forms of symbolism, the shamanistic rituals and relations to the environment, and ask whether or not what has been called «totemism» heligious dimension. From that point we will extend our approach to the more complex agro-pastoral and urban societies and analyze the emergence of new representations of deities and new forms of relations between humans and gods, such as the sacrifice or the cult of the ancestors. We will also study when and how monotheistic religions appear among the dominant polytheistic cultures. We will conclude this enquiry by trying to consider from an anthropological perspective the major contemporary religions such as Buddhism, Hinduism, Christianity, Islam, Judaism and some others.
Most of the course material will be provided in a reader.

LTWL 138 - ISLAM: ORIGIN AND SPREAD AS WORLD RELIGION
Instructor: Vincent Biondo

This upper division survey course will be both historical and thematic. It will assume that the experiences of Muslims around the world are both diverse and unified, and that religion is both timeless and firmly grounded in geographical settings and historical contexts. The course will start in seventh century Mecca and Medina with the Qur’an, the Prophet Muhammad, and the formation of the Five Pillars. We will then shift to twelfth century Baghdad to discuss education, law, and the relationship of religion and politics. We will briefly discuss the convivencia of thirteenth century Spain before jumping to discussions of Colonialism and Reform in modern Egypt, Iran, and Pakistan. Finally we will explore issues relevant to Muslim immigrants in the U.S. and Britain since 1965.

LTWL 149 - THEMES IN ENGLISH AND AMERICAN LITERATURE
REMEMBERING THE WEST:
THE TURN OF THE TWENTIETH CENTURY IN THE WEST
Instructor: Stephen Cassedy

The period from 1880 to 1930 was a time of tumultuous change in Europe and the United States. In this highly interdisciplinary course, we will look at the changes that occurred in everyday life, family life, social attitudes, politics, science, philosophy, and the arts. We will examine how technology changed domestic life and how changes in domestic life led to changes in attitudes toward women and sexuality. We will examine the rise of racial thinking in connection with European and American imperialism and in connection with the modern concept of human rights. We will look at philosophies of mind and new developments in religious thinking. This is the era that brings revolutions in biological sciences and physics. We will look at the rise of modern neurology and relativity theory. Finally we will look at the enormous changes that occurred in the arts, for example, the rise of abstraction in the visual arts, “emancipation of dissonance” in music, the abandonment of conventional forms in literature, and the emergence of cinema as an art form.

LTWL 176 - LITERATURE AND IDEAS: THE CULTURE OF FEAR
Instructor: Pasquale Verdicchio

Through a variety of materials (mostly film) this class will consider a general trend that from the mid-late 1980s to today seems to have constructed what can only be called a culture of fear. There is an obvious connection with the fear mongering of the post WWII period, when science fiction films pre-disposed the American public to the possibility of an external threat. With the end of the cold war and “the end of communism” the cinematographic medium again reflects a socio-political need to identify some other external threat to “our way of life”. Films such as Independence Day, The Siege, Outbreak, along with a whole series of extreme disaster pictures and the TV series X Files go hand in hand with the Star Wars defense system. All the above named fear-scenarios find their culmination in the terrorist attacks of 9/11, which in turn have brought us to the proliferation of a system of institutionalized culture of fear that has made daily terrorist threat alerts and potential strike targets announcements a way of life.

LTWL 184 - FILM STUDIES AND LITERATURE: ANALYSIS AND TEXT
THE MATRIX REVOLUTIONS AND FILMS OF VIRTUAL REALITY
Instructor: Alain J.-J. Cohen

Please see the Literature Undergraduate Office, room 110 for a copy of the course description for this course.

LTWL 191 - HONORS SEMINAR
Instructor: Shelley Streeby

In this seminar, we will read critical essays, novels, non-fiction and poetry, and we will also watch a film or two. Our goal will be to generate research paradigms. That is, we will think about how writers identify objects of analysis; we will consider what kinds of methodologies are appropriate for particular projects; and we will try to understand the various theories of literature and culture upon which different projects depend. Ultimately, the class will be geared toward helping you to produce a research project that you care about, and our readings will be chosen with this goal in mind. Students will also participate in writing workshops and will be asked to produce short written responses to the reading as well as a project prospectus and bibliography that will be due at the end of the class.

Please note this seminar is only for students accepted into the Literature Honors Program and registration must be pre-authorized.

WRITING

LTWR 8A - WRITING FICTION
Instructor: Samantha Goldstein

This course introduces the basic elements of fiction: characterization, dialogue, setting, point-of-view, and narrative structure. To explore craft and technique, there will be a number of brief writing exercises, both in and outside of class, which will help to generate a short story as the quarter progresses. Writing will be reviewed in class workshop groups, as well as by T.A.s and the instructor, and revised based on these critiques. In addition, we will discuss a range of short fiction in class, providing an opportunity to experience in context some of the techniques that will figure in the course.

LTWR 8B - WRITING POETRY
Instructor: Rae Armantrout

This course is an introduction to the basic elements of writing poetry, from syllable and line to stanza and finished poem. Lectures will cover topics such as metaphor, image, sound, and structure, focusing on how a poem does what it does. Students will become more sophisticated readers and writers. They will turn in four poems and two response papers. Workshop sessions will be devoted to peer critique of student writing. In addition to attending lectures and workshops, students will be asked to attend at least three poetry readings in UCSD’s New Writing Series. Evaluation will be based on a midterm, a final, a portfolio of writing submitted at the end of the quarter, brief reports on the readings, and regular attendance and participation.

DEPARTMENT APPROVAL FOR UPPER-DIVISION WRITING COURSES IS AVAILABLE IN THE LITERATURE UNDERGRADUATE OFFICE FROM 9:00-3:30, MONDAY THROUGH FRIDAY. PRIORITY ENROLLMENT BEGINS 11/02 FOR SENIOR WRITING MAJORS, 11/03 FOR JUNIOR WRITING MAJORS, 11/04 FOR SENIOR WRITING MINORS, 11/05 FOR JUNIOR WRITING MINORS, 11/08 FOR PRE-WRITING MAJORS, 11/09 FOR ALL OTHERS (UPPER-DIVISION STANDING WITH APPROPRIATE PREREQUISITE).

LTWR 100 - SHORT FICTION
Instructor: Amra Brooks

The purpose of this course is to inspire you to write and explore the craft and different styles of writing, focusing on short fiction. Students will workshop short stories, or pieces of short prose writing every week; chapters or sections of novels are also acceptable although our reading list will be solely comprised of short stories. There is a strong literature component to 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, structure, language and voice. These discussions and readings will infiltrate our work and the way we think about writing and generate creativity. Be ready to partake in class discussion and to be serious about your writing. In addition to weekly excercises, students will turn in two ten page stories and a 15 page final.

Readings may include Sharon Doubiago, Adam Haslett, Raymond Carver, Frances Stark, Joan Didion, Jayne Ann Phillips, Eileen Myles, Haruki Murakami, Junot Diaz, Alice Munro, Amy Hempel, Jhumpa Lahiri, Linh Dinh, Brett Easton Ellis, Kate Braverman, Marjane Satrapi, Denis Johnson, Derek McCormack and possibly others.

LTWR 102 - POETRY:
A FOCUS ON THE BOOK-LENGTH POEM AND NOVEL IN VERSE
Instructor: Ali Liebegott

This class will be focusing on longer works by poets and probably will not be ideal for very beginning writers. We will read long poems/novels in verse by: Alice Notley, Juan Felipe Herrera, Sharon Doubiago, Bernadine Evaristo and Anne Carson. Students will work in groups to present insight and historical background of the required texts to the rest of the class. We'll also spend some class time presenting student poems to the class. Students will begin writing their own epic. Don't be afraid! Hopefully this class will illustrate the wide variety that poets can tell their own heroic journeys. For a final students will create a chapbook. Come prepared to work hard and laugh a lot.

Required Books:

Alice Notley-- Descent of Alette 0-14-058764-0
Juan Felipe Herrera--Crashboomlove 0826321135
Sharon Doubiago--South America Mi Hija 0822936712
Bernadine Evaristo--Lara 1899860452
Anne Carson--Autobiography of Red 037570129x

LTWR 104 - THE NOVELLA
RELOADING THE CANON: REVISIONISM AND REVISION
Instructor: Anna Joy Springer

In this course, you will rewrite, re-interpret, adapt, unhinge, critique-via-performance, dance around, update, butcher, and/or revise a canonical text such as Frankenstein, Don Quixote, or The Tempest, or a folk tale like “Sleeping Beauty” or “La Llorona.”

As part of our ongoing discussion about the politics, aesthetics, and ethics of textual appropriation, we will examine revisionist works by authors known for their critical reinterpretation of the same well-known stories we are re-writing. Course texts are Poor Things by Alasdair Gray (Frankenstein), A Tempest by Aime Cesaire (The Tempest), Little red riding hood in the red light district by Manlio Argueta ("Little Red Riding Hood"), The Bloody Chamber (various European fairy-tales) by Angela Carter, and Don Quixote by Kathy Acker (Don Quixote). We may also look at artworks and theoretical texts that approach the subjects of intertextuality and critical revisionism.

Importantly, participants will not only be revising another author's text - they'll also be revising their own. Students will write 30 - 40 pages of their 50 - 60 page manuscripts during the first 2 weeks of the course in an intensive writing frenzy. The rest of the course will be devoted to application of a variety of full-text revision techniques, small-group discussion of student texts, and Teaching Presentations.

This will be an extremely rigorous course. It will best serve students who are interested in practicing self-revision, and it should not be taken by those who hate the idea of totally dismantling and re-configuring their own writing.  

LTWR 106 - SCIENCE FICTION, FANTASY, IRREALISM
Instructor: Stephen Potts

This course will provide you with a grounding in the genres of science fiction, fantasy, and literary irrealism (expressionism, surrealism, fabulism, metafiction). We will begin with readings and discussions of representative stories—ideally cleansing you of generic assumptions you may have acquired from other media. Through lectures, exercises, and structured brainstorming, we will work through conventions of narrative, character, setting, and style, while confronting the unique requirements of suspending disbelief in non-realistic fiction. Emphasis is placed on producing a substantial piece of work, and revising it not only to your own satisfaction but to that of your editor and readership (i.e., instructor and workshop).

LTWR 109 - WRITING AND PUBLISHING CHILDREN’S LITERATURE
Instructor: Diane D’Andrade

This course will focus on writing and publishing fiction for children. We will consider picture book texts. Students will be expected to write a number of manuscripts and will have an opportunity to respond to and critique each other’s work. There will be an emphasis on understanding the publishing process and its requirements. Readings will include a variety of children’s books, and a small collection of current reviews and critical studies. Prerequisite: LTWR 8A.

LTWR 110 - SCREEN WRITING:
WRITING THE ORIGINAL FEATURE SCREEN PLAY
Proposed Instructor: Weiko Lin

This workshop will provide a basic knowledge of the screenwriting process from idea, through synopsis, to fully-developed step outline where you will write an original screenplay. The topics include the pitching process, plot structure, character development, dialogue, and themes. The chief objective is to develop students' own unique voices as storytellers in the screenplay medium. With refinements based upon workshop-oriented discussion and table readings, the completion of the first act (30 pages) or the full script is required (100 pages). Students will also study scenes and structures of critically acclaimed films. Writers of all levels welcome.

LTWR 112 - ADAPTING LITERATURE TO THE SCREEN:
WRITING THE FEATURE SCREENPLAY BASED ON OR INSPIRED BY WORKS OF POETRY, PLAYS, OR FICTION
Instructor: Weiko Lin

This workshop will provide a basic knowledge of the adaptation process from synopsis to fully-developed step outline where you will write an adapted screenplay. The topics include the pitching process, plot structure, character development, dialogue, and themes. The chief objective is to develop students' own unique perspectives on existing materials in the screenplay medium. Each class session will be divided into lecture, workshop-oriented discussion, and table readings. The completion of the first act (30 pages) or the full script is required (100 pages). Students will also analyze the scenes and structures of critically acclaimed film adaptations. Writers of all levels welcome.

LTWR 113 - INTERCULTURAL WRITING
Instructor: Wai-lim Yip

We are living in a world of many centers and many interests. Our writings should not be locked inside one cultural system, in particular, they should not be mere variations of ONE Master Set of coding interests as charted out by the consumer oriented, goal-directed, instrumental reason of post-Enlightenment West only. Instead, we would like the students to engage in the richer confrontations, negotiations, convergences, divergences and modifications between and among cultures in a sort of tensional dialogue.

By introducing to the students the perceptual-expressive procedures of classical Chinese poetry which are vastly different from the cultural-aesthetic assumptions of Anglo-American writing, and thus, disclosing the limitations of the English language as a medium for poetic expression, we hope to evoke new language strategies leading to new perceptual horizons. As Williams would say, “Unless there is/a new mind there cannot be a new/line.”

By introducing to the students modernist writings in China, which is one of the most complex forms of antagonistic symbiosis brought about by the battles and negotiations between native sensibility and alien ideologies forced upon her writers by the aggressive acts of Western colonizing activities, we hope to help the students leap out of their still enclosed elitist positions and understand that anxieties, solitudes, hesitations, doubts, nostalgia, expectancy, exile and dreams need not come from an insulated private space. Like the modern Chinese poets or like most Third World and Latin American writers (including American writers of inner cities and internal colonies), they can be, and perhaps should be dialectical transfigurations from tensions and agonies of acculturation in the process of crosshatching and fertilization.

LTWR 115 - EXPERIMENTAL WRITING
Instructor: Melvin Freilicher

This course will be an investigation into the idea of experimental writing today: when individuals tend to feel powerless (and it’s a cliché of some postmodern thought that individual authorship is dead); artistically, it may seem that everything has already been done. In an era of increasing global disaster and devastating territorial wars, basically what can we see as the functions and value of experimental writing? There will be two types of readings. One we’ll look at historically: short plays, cabarets and performances from various 20th century European art/literary movements, starting with Alfred Jarry’s UBU ROI, and going to Artaud’s theater of cruelty, dada, expressionist and Weimar pieces, Beckett’s radio plays. We’ll also read some hybrid contemporary fiction: Kathy Acker (BLOOD AND GUTS IN HIGH SCHOOL), Stephen-Paul Martin, Yoko Tawanda, Clarice Lispector. The first writing project will be a short theater/performance piece which will be critiqued in groups: each group will do a dramatic reading of one student’s work for the class. The major writing project will be in any genres entirely of the student’s own choosing: it will include an attached manifesto/statement, the writer’s rationale on how and why they view this work as experimental. First drafts of this project will be read and critiqued by the whole class; revised drafts will be due finals week. Prerequisite: LTWR 8A.

LTWR 122 - WRITING FOR THE SCIENCES
Instructor: John Granger

This course addresses writing problems that arise in science writing for professionals (a broad definition of science includes most departments at UCSD) and science writing for laypersons, including ‘nature writing.’ Every Tuesday two pages of writing are due. Tuesday’s class consists of lecture and discussion of the readings, including articles from Cell, Nature, Discover, and other magazines and journals. On Thursdays, students workshop their writing in small groups of five or so. A ten-page term project determines 50 percent of the grade. The rest of the grade is determined by reading quizzes, writing exercises, participation, and (above all) peer critiques. There will not be a final exam. Contact the instructor for more information.

LTWR 143 - STYLISTICS AND GRAMMAR
Instructor: Charles Chamberlain

The title of this course being "Stylistics and Grammar", there will be two parts to it -- one involving style, the other grammar. We will begin with a quick review of basic grammar (most of which will be familiar to you from studying foreign languages) then move into new territory -- the clause (main and subordinate), the participle (present active and perfect passive), the voice (active and passive), the substantive, the copula, the absolute construction -- and more! You will discover to your relief that you have been using all these structures in your own prose for years.

As you are mastering the fundamentals of grammar, you will also tackle some style points -- I mean, points of style, like parallel structure, tricolon, tetracolon, zeugma, hyperbaton, anaphora -- and more! Sadly, you will probably discover that your prose is lacking in these structures. Decades of teaching have convinced me that the best way to learn new style moves is through imitation; accordingly, we will read various authors whose style cries out for imitation -- Woolfe, Hemingway, and a few others. Your final grade will be based on your mastery of both style and grammar.

LTWR 148 - THEORY FOR WRITERS (POETICS)
Instructor: Rae Armantrout

What is the role of poetry (or other non-commercial art forms) in the age of mass culture and electronic media? What makes a poem “good?” If judgment is subjective, is it also arbitrary? What would (or does) an avant-garde look like today? In this course we will read essays by poets, critics and theorists who attempt to answer such questions. The class should be valuable to students who hope to publish poems, review poetry, or edit literary magazines as well as to those who want to discuss the place of the arts in contemporary American society. Class members will be asked to write reviews, “poetics statements,” and poems and to do a presentation on the contrasting aesthetics of two recent poetry anthologies.