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LTAF 120 - LITERATURE AND FILM IN MODERN AFRICA
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LTAM 130 - READING NORTH BY SOUTH |
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LTCH 101 - READINGS IN CONTEMPORARY CHINESE
LITERATURE |
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| (The following courses in Classical Literature can be found under their
respective Literature sub-headings: European, Greek, Latin, and World) LTGK 3 (INTERMEDIATE GREEK I) LTGK 133 (PROSE) LTLA 3 (INTERMEDIATE LATIN II) LTLA 111 (PRE-AUGUSTAN) LTWL 19C (INTRODUCTION TO ANCIENT GREEKS AND ROMANS) LTWL 106 (THE CLASSICAL TRADITION) |
| COMPARATIVE LITERATURE No Course Offerings Spring 2006 |
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| CULTURAL STUDIES LTCS 87 - FRESHMAN SEMINAR: ASIAN AMERICAN CINEMATIC INTERVENTIONS RE- ENVISIONING MIGRATION, SPACE, PLACE, IDENTITY Instructor: Yingjin Zhang This seminar examines Asian American cinematic interventions by exploring experiences of migration and constructions of space, place, and identity as re envisioned in Wayne Wang's Chan Is Missing (1981), Mira Nair's Mississippi Masala (1991), and Kaya Hatta's Picture Bride (1995). Seminar will meet April 5,12,19, 26; May 3, 10, 17, 24. LTCS 120 - HISTORICAL PERSPECTIVES ON CULTURE US CULTURE POST- WORLD WAR II 1945-60 Instructor: Don Wayne A study of U.S. culture in a period characterized by the beginning of the Cold War, the rise of McCarthyism, and the growth of the Civil Rights movement. The course will focus on cultural facets of urban centers including New York, Los Angeles, and San Francisco, but will also concern the growth of suburbia, the beginnings of demographic mobility between the east and west coasts, and the social and cultural impact of the renewed migration of African-American and Latino workers from south to north. We will read examples of social and cultural commentary written in the 1950s; we will study movements in literature and film (including noir fiction and film, the Beats, the blend of realism and mid-century formalism); we will study examples of avant garde music (especially bebop) and art (especially abstract expressionism) in the period; and we will look at a variety of forms of popular culture (movies, TV, magazines, advertising, and, of course, rock and roll). Texts and media culture will be examined in relation to the historical context. The course will combine lecture and discussion; two papers will be required. |
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| EAST ASIAN LITERATURE
LTEA 143 - GENDER AND SEXUALITY IN KOREAN LITERATURE AND CULTURE |
| LITERATURES IN ENGLISH *There are also some courses listed under LTWL that will count toward a LTEN course. |
| LTEN 23 - LITERATURE OF THE BRITISH ISLES: 1832-PRESENT Instructor: John Granger This course will focus on (faint) utopian projections on dystopian historical realities as relatively recent British literature encrypted them, the other way around. To this end we'll examine literary records of what happened and what’s happening to men and women, law and order, economics, social types, and the rest of whatever makes Britain a typical case. We'll read Virginia Woolf (Mrs. Dalloway), Kazuo Ishiguro (The Remains of the Day), Muriel Spark (The Driver’s Seat), antiwar poets Siegfried Sassoon and Wilfred Owen, Samuel Beckett (Endgame), and much else. The course grade is based on two papers, daily reading quizzes, attendance & participation. LTEN 26 - INTRODUCTION LITERATURE OF THE UNITED STATES 1865-PRESENT Instructor: Michael Davidson This course is designed as a survey of American Literature since the Civil War. Our theme will be “Modernism and National Identity,” the work of literature in defining and challenging U.S. national culture. We will pay particular attention to the evolution of modernism in the late nineteenth-century as a response to and dimension of social modernization (industrialization, urbanization, technology, migration, populist nativism and progressive reform) through authors such as Walt Whitman, Pauline Hopkins, Kate Chopin, Henry James, W.E.B. DuBois, and Theodore Dreiser. We will then take up issues of national cultural identity at a moment of self-conscious reform and social change during the teens and 1920's, when new formal and stylistic techniques (Imagism, Surrealism, Futurism) were developed to challenge middle class values and mass culture. To this end we will look at the work of Ezra Pound, Gertrude Stein, William Carlos Williams, William Faulkner, and T.S. Eliot. At the same time, we will investigate competing modernisms coming from ethnic minorities, recent immigrants, and African Americans. Included will be the work of Alain Locke, Nella Larsen, Langston Hughes, Anzia Yezierska, and Mourning Dove. The Great Depression brought important challenges to high modernism, as writers sought a more socially engaged literature (Meridel LeSueur, Zora Neale Hurston, James Wright, James Agee, Muriel Rukeyser), at the same time that authors tried to configure modernist formal strategies to new social agendas. The postwar era will be studied as a series of shifting responses to expanded U.S. global authority following the war, first through the cold war (films such as Kiss Me Deadly or The Manchurian Candidate), then through the Civil Rights and Vietnam War periods of the 1960s and 1970s. Authors to be studied will include Ann Petry, Carlos Bulosan, Allen Ginsberg, Toni Morrison, James Baldwin, Maxine Hong Kingston, Amiri Baraka, Adrienne Rich. Evaluation for this course will include a take-home midterm, a final exam, and short responses to weekly prompts. At least one paper will be required, and regular attendance at lectures and sections will be mandatory. LTEN 28 - INTRODUCTION TO ASIAN-AMERICAN LITERATURE Instructor: Lisa Lowe This introductory course focuses on the role of literature and culture in representing the history of Asian immigration to the U.S., racial formation and U.S. citizenship, the settlement of Asian Americans in U.S. society, and Asians within globalization. Novels, short fiction, plays, and films will be our media for studying the relationships within and between U.S. Americans of East Asian, South Asian, and Southeast Asian descent, and other social groups, institutions, and identities. We will read works by Bienvenido Santos, Hisaye Yamamoto, Louis Chu, Fae Myenne Ng, Milton Murayama, Chang-rae Lee, Velina Hasu Houston, Jessica Hagedorn, Jhumpa Lahiri, Le Thi Diem Thuy, Aimee Phan, and others. The course includes response papers, quizzes, discussion sections, a midterm and a final exam. LTEN 87 - FRESHMAN SEMINAR CITIZEN KANE Instructor: Stephen Cox The "world's greatest film" will be used as an introduction to the study of symbols: what they are, how we recognize them, how we interpret them in works of art and literature. Seminar will meet April 3, 10, 17. LTEN 107 - CHAUCER (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, which students will learn to read and to pronounce. LTEN 113 - SHAKESPEARE II: JACOBEAN PERIOD (a) Instructor: Louis Montrose A lecture/discussion course exploring the rich and varied achievements of Shakespeare’s later plays. Issues of form, theme, action, and language will be studied in the context of Shakespeare’s theatre and society. Six plays will be read -- Othello, Macbeth, King Lear, Antony and Cleopatra, The Winter’s Tale, The Tempest. Film versions of a number of these will be viewed and discussed. LTEN 132 - MODERN IRISH LITERATURE SAMUEL BECKETT Instructor: Michael Davidson This course will survey the work of Samuel Beckett, one of Ireland’s greatest writers, recipient of the Nobel Prize and genealogist of modern alienation. His work explores the phrase, “I can’t go on; I’ll go on,” and to some extent all of our readings will attempt to unravel this conundrum in his work. We will survey his contributions to modern fiction by reading Molloy Watt, Stories and Texts for Nothing and Fizzles, and we will study his contributions to modern drama by reading Endgame, Waiting for Godot, Krapp’s Last Tape and some of his short (very story) plays. Where possible, we will see videos of his theatrical productions and discuss the implications for staging his works. And since Beckett wrote many of his later works in French, translating them subsequently into English, he represents a famous example of the writer as self-translator. Thus students interested in modern French literature or translation theory may want to consider Beckett’s contributions to these areas. Students wishing to read him in the original French may do so, but papers must be written in English. Evaluation for this class will be based of three short papers and weekly responses to the reading. LTEN 142 - THE END OF VICTORIANISM FROM STEVENSON TO KIPLING LATE VICTORIAN NOVEL (b) Instructor: Ronald Berman Towards the end of the Victorian period, literature went into a new phase, and the old names of Charles Dickens, Anthony Trollope, and George Eliot became replaced by those of Joseph Conrad, Thomas Hardy, and Rudyard Kipling. “High” literature--the serious social novel of up to a thousand pages which went inexhaustibly into our daily lives was replaced; the new fiction being shorter, more action-oriented, tilted towards a new marketplace. The forms of fiction changed--from Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde to Arthur Conan Doyle’s stories of Sherlock Holmes, there was a new kind of look at life at the end of the nineteenth century. LTEN 152 - THE ORIGINS OF AMERICAN LITERATURE LITERACY AND COLONIAL ENCOUNTERS (c) Instructor: Nicole Tonkovich In this course, we'll read and discuss issues related to exploration and initial intercultural encounters, the establishment of permanent colonies, and proto-national consolidation in the Americas from approximately 1500 to 1750, just before the declaration of U.S. independence. We will read and analyze a variety of print, visual, artifactual, and oral texts originally produced in various regions involved in the cultural encounters spurred by colonial expansion. Necessarily, the readings will be in English translation. The syllabus will seek to arrange these texts to approximate a dialogue among the peoples of New Spain, New France, New England, the New Netherlands and the colonies of Pennsylvania with each other and with the indigenous Americans whose lands they sought to appropriate. As well, these textual groupings will focus on slavery's part in the establishment of colonies, its racializing agendas, and the articulate and compelling textual resistances advanced by several early writers and thinkers who opposed its dominance. As a frame to many of our discussions, we will discuss the importance of ideologies of literacy to enterprises of colonialism. Over the course of the quarter, we will expand our understanding of literacy, and will seek an expanded definition of the concept that recognizes and resists its colonialist overtones. In addition to a mid-term and final exam, students enrolled in this course will write a research-based paper. LTEN 172 - AMERICAN POETRY II CHINESE POETRY AND AMERICAN IMAGINATION (d) Instructor: Wai-lim Yip The course attempts to examine the role of Chinese poetry and poetics in the making of modern American poetry. The word "influence" hardly describes what actually happened. Instead, we will ask these questions: Under what cultural climate and socio-political condition did certain American poets propose perceptual and expressive procedures that are compatible with those in Chinese poetry? Or, to put it slightly differently, what kind of language strategies did they find in Chinese poetry that would help them circumscribe their own problems? Since we must not assume that what is true of the source-model must also be true of its transplanted product, we must find out the native elements--historical and aesthetic obsessions--in the consciousness of these poets that conditioned the process of their appropriation and transplantation. In other words, we must ask: what kind of consciousness crisis prompted them to reject certain traditional dimensions in favor of an alien ideology? In the course of acceptance, what native ideological and aesthetic models were resorted to for support or justification? What kind of modification was being made to localize a given alien model for acceptance?...and more questions of this nature. We will begin with Pound's generation, certain Black Mountain poets, including Cage, the Beat Poets, and end with Rexroth, Snyder and others. LTEN 174 - AMERICAN FICTION II MIDDLE JAMES DREIDER THROUGH HEMINGWAY (d) Instructor: Ronald Berman This course covers American fiction from 1900 to 1930. The reading will be Theodore Dreiser’s Sister Carrie, Willa Cather’s My Antonia, Edith Wharton’s The Age of Innocence, Sinclair Lewis’s Babbit, T. S. Elliot’s The Waste Land and short poems, and short stories of F. Scott Fitzgerald and Ernest Hemingway. LTEN 175B - NEW AMERICAN POETRY POST WWII-PRESENT (d) Instructor: Rae Armantrout This course considers the ways poets both struggled against and reflected the values of American culture in the period between 1950 and the present. We’ll look at the conventions and assumptions of this era and how poetry responded to them politically and aesthetically. Students will read Allen Ginsberg, Robert Duncan, Sylvia Plath, Adrienne Rich, Kamau Brathwaite, Gloria Anzuldua, Lynn Hejinian, and Charles Bernstein (among many others) in the context of the wars and liberation movements of the recent past. Grades will be based on two papers, a final, and class participation. LTEN 181 - ASIAN AMERICAN LITERATURE YELLOW PERIL AND ASIAN AMERICAN CULTURAL RESPONSE (d) Instructor: Lisa Yoneyama Since the Chinese Exclusion Act of the turn of the late nineteenth century, the Asian presence in the U.S. has been understood as posing major political, social and cultural threats. The American relationship to Asia has been dominated by war and militarism, whether in the form of armed conflicts, ideological battles, or economic rivalry. Casting Asians as inscrutable "enemies" – past, imminent, reformed, potential, or ungrateful – has thus been central to dominant representations and understandings of Asians and Asian Americans. The "Yellow Peril" as a gendered, sexualized, classed, racialized and globalized epistemological and affective structure of knowledge has been mediated to us through various forms of representation. It is inscribed in official histories, disseminated through Hollywood films and other popular media, and objectified as academic knowledge. Yet, this "Peril," imagined and real, is constantly contested at various local sites, at the in-between places of Asian/American cultural practices. There we can find various alternative representations and counter-memories. The course will examine the still persistent “Yellow Peril” complex as well as the Asian/American response manifested in diverse cultural forms. LTEN 186 - LITERATURE AND THE HARLEM RENAISSANCE (d) 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. |
| LTEN Upper Division Codes:
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| EUROPEAN AND EURASIAN
LITERATURE |
| No Course Offerings Spring 2006 |
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| FRENCH LITERATURE |
| The introductory sequence (1A, 1B,
1C) is offered in the Department of
Linguistics. Intermediate and upper-level courses are offered in the Department of 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 l Instructors: TAs 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 ll We continue the review of grammar begun in LTFR 2A. To strengthen language skills, 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 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 l One-unit, one-meeting-a-week courses, designed to develop and maintain oral skills by discussing current cultural issues of the francophone world. These courses may be taken up to 3 times, alone or in combination with any other literature course. Prerequisite: LIFR 1C/CX or consent of instructor. LTFR 31 - CONVERSATION WORKSHOP ll One-unit, one-meeting-a-week courses, designed to develop and maintain oral skills by discussing current cultural issues of the francophone world. These courses may be taken up to 3 times, alone or in combination with any other literature course. Prerequisite: LTFR 2B or consent of instructor LTFR 50 - INTERMEDIATE FRENCH lll: TEXTUAL ANALYSIS This course emphasizes the development of language skills and the practice of textual analysis. Discussions are based on the analysis of various poetic texts as well as on a film. 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. *Any 3 of these 4 courses may be applied towards a minor in
French literature: 2A, 2B, 2C, 50 LTFR 60B - FRENCH/READING AND KNOWLEDGE III A continuation of the course for undergraduate and graduate students interested in developing reading skills only. No previous course work in French required, though recommended. Texts are taken primarily from the Humanities and Social Sciences. LTFR 123 - EIGHTEENTH CENTURY A travers quelques pièces de théâtre de quatre auteurs (Marivaux, Crebillon, Didedot, Beaumarchais) nous aborderons quelques problèmes qui préoccupaient leur époque (et qui nous concernent encore): l'amour et l'argent, sincérité et artifice, rôles des hommes et des femmes, maîtres et serviteurs etc. Les pièces proposées seront les suivantes: MARIVAUX - Le jeu de l'amour et du hasard LTFR 142 - GENRES OF FRENCH LITERATURE Contrairement à ce qui se passe aux Etats-Unis, en France et en Belgique la bande dessinée est généralement considérée comme faisant partie intégrante de la culture, et est reconnue par les institutions culturelles telles que musées, bibliothèques, institutions d’enseignement. En même temps, grâce à la lisibilité immédiate de l’image, la bande dessinée est plus accessible que l’écrit au public le plus large, sans distinction socio-culturelle ou ethnique. Le cours se propose de prendre au sérieux la bande dessinée en tant que mode d’expression spécifique intégrant dessin, texte et des codes qui lui sont propres (cases, bulles, pictogrammes...) pour former un langage narratif sans équivalent. Comme les arts visuels, la bande dessinée se prête à une appréhension instantanée, mais comme la littérature, elle se prête à une lecture séquentielle, qui se développe dans le temps. Elle cherche à recréer la continuité temporelle d’une histoire à travers la discontinuité d’une série de cases distinctes. L’objet principal du cours sera, plutôt que la particularité des auteurs, oeuvres, styles ou personnages considérés, ce langage de la bande dessinée. BANDES DESSINÉES ÉTUDIÉES: Christin & Bilal - Les Phalanges de l’ordre noir |
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| GERMAN LITERATURE |
| LTGM 2C - INTERMEDIATE GERMAN III Instructor: Edda Hodnett In LTGM 2C, the third course in the UCSD Intermediate German sequence, we continue using a four-skills approach (reading, speaking, writing, listening comprehension) by working with literary and non-literary texts together with video materials including full-length feature films and short documentaries. The language of instruction is German, and attendance is mandatory. Students will be asked to contribute one oral presentation in addition to three essays in German. There will be three tests and a comprehensive final. REQUIRED TEXTS Dippmann & Watzinger Thorp, A Practical Review of German Grammar. 3rd ed. 2000 Prentice Hall. Andreas Lixl-Purcell, Rückblick. Texte und Bilder nach 1945. Houghton Mifflin 1995. LTGM 2C ARBEITSHEFT RECOMMENDED TEXT Collins German Dictionary (paperback: English-German / German-English). LTGM 60B - GERMAN FOR READING KNOWLEDGE II Instructor: Edda Hodnett This is the second part of a two-quarter program for students, both undergraduate and graduate, who need German primarily in connection with scholarly research. We cover the remaining chapters in German for Reading Knowledge, the text used in LTGM 60A, working on individual sentences as well as passages from subject-specific materials. The class is taught in English and may not be taken to fulfill the secondary literature requirement for a major or minor in Literature. REQUIRED TEXTBOOK Jannach & Korb, German for Reading Knowledge. 4th ed. Boston: Heinle & Heinle, 1997. RECOMMENDED Zorach, English Grammar for Students of German. Oxford-Duden German-English / English German Dictionary. LTGM 126 - 20TH CENTURY GERMAN LITERATURE CONTEMPORARY GERMAN WOMEN WRITERS AND FILMMAKERS Instructor: Cynthia Walk “Generally speaking, it is to women authors one must turn in order to find …an avant-garde sensibility in contemporary German-language prose.” --New Writing in German: Chicago Review 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 throughout the world. In this course we will study the work of Judith Hermann (Berlin author whose short stories heralded a new generation of promising young writers greeted as Fräuleinwunder), Austrian dramatist Elfriede Jelinek (winner of the foremost literary award in Germany, the Büchner prize, in 1998 and the Nobel Prize in Literature 2004), Ruth Klüger (expatriate Holocaust survivor living in America), May Ayim, (Afro-German poet), Seyhan Derin (Turkish-German film director), and Monika Treut (queer German film director who prefers working abroad, most recently in the US, Brazil and Taiwan). |
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| GREEK LITERATURE |
| LTGK 3 - INTERMEDIATE GREEK II: READING
HOMER’S ODYSSEY Instructor: Leslie Edwards Having mastered (most of) the morphology of Ancient Greek, we'll turn this quarter to the reading of Homer's Odyssey. Besides translating passages from the poem, we'll discuss and review forms and constructions as they appear in our reading. Midterm, final, and some quizzes. Prerequisite: Greek 2 or the equivalent, or permission of the instructor. LTGK 133 - PROSE XENOPHON MEMORABILIA-SOCRATES Instructor: Eliot Wirshbo The reason for offering this particular course to the masses is twofold. First, Xenophon's Greek is relatively straightforward, so that he can serve as a good representative of classical Greek prose to practice on. Secondly, his Memorabilia portrays a Socrates who is much more down to earth than the relatively familiar figure of Plato. As such, we get to see a more practical, less ethereal Socrates, who some believe is closer to the actual, historical figure. The chief goal of the course will be to improve students' reading ability, but we'll also do some comparing of the different Socrateses. Mid-term, paper, final. |
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| HEBREW LITERATURE No Course Offerings Spring 2006 |
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| LITERATURES IN ITALIAN |
| LTIT 1C - LANGUAGE OF ITALIAN CULTURE III Instructor: Stephanie Jed A continued study of the elements of Italian conversation, grammar, syntax and dramatic style through the study of film, music and literature. We will study De Giuli and Naddeo's mystery Modelle, pistole e mozzarelle. And we will sharpen and refine our Italian language skills through the study of two short films -- Doom and Camera obscura. LTIT 50 - ADVANCED ITALIAN Instructor: Adriana De Marchi Gherini This course provides an introduction to Italian literature and culture. Students will read 20th century short stories and newspaper articles. Close reading, written assignments, and conversation will prepare them for upper-division literature courses. Prerequisite: LTIT 2B or permission of instructor. LTIT 161 - ADVANCED STYLISTICS AND CONVERSATION Instructor: Adriana De Marchi Gherini Lo scopo di questo corsé di imparare a scriver bene e ad apprezzare testi scritti di vari livelli e intenzioni. Si parlerà di stillistica, metrica, retorica e litteratura e si analizzeranno diversi tipi di linguaggi letterari (letteratura dell’ infanzia, testi canzoni, giornalismo, propaganda politica, pubblicità, ecc.) L’enfasi sulla conversazione si tradurrà in presentazioni orali. Midterm in classe, final a casa, un saggio di circa 5 pagine. |
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| KOREAN LITERATURE |
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LTKO 1A - BEGINNING KOREAN: FIRST YEAR I Please visit our Korean Literature website at: http://korean.ucsd.edu/coursedescription.htm#ltko1a for a course description for this course. LTKO 1C - BEGINNING KOREAN: FIRST
YEAR III Please visit our Korean Literature website at: http://korean.ucsd.edu/coursedescription.htm#ltko1c for a course description for this course. LTKO 2A - INTERMEDIATE KOREAN:
SECOND YEAR I Please visit our Korean Literature website at: http://korean.ucsd.edu/coursedescription.htm#ltko2a for a course description for this course. LTKO 2C - INTERMEDIATE KOREAN:
SECOND YEAR III Please visit our Korean Literature website at: http://korean.ucsd.edu/coursedescription.htm#ltko2c for a course description for this course. LTKO 3C - ADVANCED KOREAN: THIRD
YEAR III Please visit our Korean Literature website at: http://korean.ucsd.edu/coursedescription.htm#ltko3c for a course description for this course. LTKO 100 - ADVANCED READINGS IN
POST-LIBERATION SOUTH KOREAN LITERATURE AND CULTURE |
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| LATIN LITERATURE |
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LTLA 3 - INTERMEDIATE LATIN II |
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| NEAR EASTERN LITERATURE No Course Offerings Spring 2006 |
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| PORTUGUESE LITERATURE No course offerings Spring 2006 |
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| RUSSIAN LITERATURE |
| LTRU 1C - 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 2C - 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 104C - 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: LTRU 2C or equivalent. LTRU 123 - SINGLE AUTHOR RUSSIAN LITERATURE DOSTOEVSKY Instructor: Steven Cassedy A study of three of Dostoevsky's classic novels: The Idiot, The Devils, and The Brothers Karamazov. We will study these novels as literary works and in connection with religious questions and Russian history. |
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| LITERATURES IN SPANISH |
| INTERMEDIATE COURSES IN SPANISH
LANGUAGE/LITERATURE: The introductory Spanish sequence (1ABCD) is offered through the Linguistics Language Program Intermediate language and upper-level language and literature courses are offered through the Literature Department. Contact course instructor for further information and with questions regarding placement in LTSP 2ABCDE & 50ABC. Students in LTSP 2A and 2B must attend both the lecture and discussion sections of the course. Note: The final examinations for LTSP 2ABCDE & 50ABC will be held in common. |
LTSP 2A - INTERMEDIATE SPANISH l: FOUNDATIONS Instructor: TAs 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 JUNE 12TH, 2006 LTSP 2B - INTERMEDIATE SPANISH ll: READINGS AND COMPOSITION Instructor: TAs 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 JUNE 12TH, 2006 LTSP 2C INTERMEDIATE SPANISH lll: CULTURAL TOPICS Instructor: TAs 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 FOR MONDAY JUNE 12TH, 2006 |
| DEPARTMENT APPROVAL FOR LTSP 2D AND 2E IS AVAILABLE IN THE LITERATURE UNDERGRADUATE OFFICE FROM 9:00-3:30, MONDAY THROUGH FRIDAY, BEGINNING 02/14/2006 LTSP 2D IS INTENDED FOR STUDENTS WITH SPANISH-SPEAKING BACKGROUND. PLEASE SEE INSTRUCTOR PRIOR TO ENROLLMENT. |
| LTSP 2D - INTERMEDIATE / ADVANCED SPANISH AND COMPOSITION SPANISH FOR HERITAGE SPEAKERS Instructor: TAs 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 JUNE 12TH, 2006. Enrollment for LTSP 2D requires a department stamp. Contact instructor with any questions regarding placement. LTSP 2E - ADVANCED SPANISH AND COMPOSITION SPANISH FOR HERITAGE SPEAKERS Instructor: TAs 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 JUNE 12TH, 2006. Enrollment for LTSP 2E requires a department stamp. Contact instructor with any questions regarding placement. LTSP 41 - SPANISH CONVERSATION/ORTHOGRAPHY WORKSHOP 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-requisites: LI/SP 1C/CX or consent of the instructor. Note: This conversation/discussion 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 50C - 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 50C prepares Literature majors and minors for upper-division work. LTSP 50A and either 50B or 50C are required for Spanish Literature majors. May be applied towards a minor in Spanish Literature or towards fulfilling the second literature requirement for Literature majors. Prerequisites: Completion of LTSP 2C, 2D, 2E or 2 years of college level Spanish. LTSP 123 - TOPICS IN MODERN SPANISH CULTURE LA INMIGRACION EN EL CINE ESPANOL DE LOS NOVENTA Instructor: Luis Martin-Cabrera El fenómeno de la inmigración en España es relativamente nuevo. De hecho, hasta principios de los años noventa la cuestión de la inmigración no entra en los debates públicos. En este curso, discutiremos películas que tratan el tema de la inmigración del Magreb y de Latinoamérica examinando los modos en que representan y reflexionan sobre el tema. Entre otras cosas, discutiremos la emergencia de discursos neo-racistas, la representación de los inmigrantes y los conflictos laborales, la relación entre los discursos de la inmigración y el pasado colonial español, la representación de los inmigrantes en relación a las categorías de masculinidad y feminidad etc. Algunas de las películas que discutiremos son: Flores de otro Mundo de Iciar Bollaín, Las cartas de Alou Montxo Armendariz, Salvajes de Carlos Molinero, Ilegal de (Ignacio Villar), Cosas que dejé en la Habama de Manuel Gutiérrez Aragón. LTSP 130B - DEVELOPMENT OF LATIN AMERICAN LITERATURE Instructor: Rosaura Sánchez An introduction to major movements and periods in Latin American literature, centered on a study of key works from pre-Columbian to early 20th century. Texts will be seen within their sociohistorical context and in relation to main artistic trends of the period. This course is required of all Spanish literature majors. It is strongly recommended that this course be taken before any other upper-division Latin American literature course. LTSP 142 - LATIN AMERICAN SHORT STORY: FORMAS NARRATIVAS BREVES Instructor: Max Parra En este curso leeremos autores canónicos y no canónicos de la narrativa breve latinoamericana del siglo XX. Examinaremos algunos conceptos sobre este tipo de narrativa elaborados por diversos autores (Poe, Quiroga, Piglia) que servirán para enmarcar nuestra discusión de los textos. Las lecturas del curso incluyen narraciones de Jorge Luis Borges, Gabriel García Márquez, Inés Arredondo, y Julio Cortázar, entre otros. Requisitos del curso: 2 trabajos breves (3-4 páginas cada uno), un examen parcial y un examen final. LTSP 173 - SPANISH AMERICAN LITERARY HISTORY: FANTASTIC LITERATURE Instructor: Kimberly Boys El realismo mágico se considera una de las características más destacadas de la literatura latinoamericana, sobre todo cuando se exporta fuera de América Latina. Por eso, la cuestión del realismo mágico ha sido objeto de un intenso debate dentro de la crítica literaria y cultural tanto en Latinoamérica como en el extranjero . Este debate es complejo y se centra en algunas de las siguientes preguntas que formarán parte de la discusión en clase: ¿Cómo representa el realismo mágico las realidades e identidades sociales y políticas de América Latina? ¿Es el realismo mágico la única y/o mejor manera de representar estas realidades? ¿Cómo es la relación entre el realismo mágico y otras representaciones culturales de América Latina? ¿Es el realismo mágico un lenguaje auténtico para representar América Latina o es un subproducto de los centros modernizadores? En este curso, los estudiantes leerán y discutirán algunos de los artículos críticos más importantes que conforman la historia del realismo mágico. La lectura de estos ensayos críticos complementará una lectura genealógica de algunos de los textos más relevantes del realismo mágico desde la época colonial hasta el presente. Algunos de los autores que leeremos en la clase son Gabriel García-Márquez, Elena Garro, Alejo Carpentier, María Elena Llano, Julio Cortazar y Carlos Fuentes. La evaluación se basará en un examen de medio semestre y un examen final, la participación activa en clase y varios proyectos de escritura asignados a lo largo del semestre. LTSP 174 - TOPICS IN CULTURE AND POLITICS: LA CONQUISTA DE MEXICO Instructor: Jorge Mariscal Una introducción a la literatura producida en los siglos 16 y 17 sobre la conquista de México. Los textos incluyen las cartas de Hernán Cortes, la "verdadera historia" de Bernal Díaz del Castillo, el teatro religioso y algunas crónicas indígenas (mexica y maya). Análisis formal del texto y discusiones sobre la relación entre cultura y colonialismo. Los estudiantes tendrán la responsabilidad de leer y analizar los textos; el profesor dará ponencias breves sobre el panorama socio-cultural. Habrá un énfasis sobre la discusión y la participacion en clase. |
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| LITERATURE/THEORY |
| LTTH 115 - INTRODUCTION TO CRITICAL THEORY Instructor: Philip Gunderson The twentieth century was an extraordinarily productive period in the history of criticism. Although interest in theory for its own sake appears to have abated somewhat at the beginning of the twenty-first century, there can be no doubt that a knowledge of the debates and issues dealt with by theory remains essential for any student planning to pursue graduate studies in literature or cultural studies. In addition to foundational texts in the history of criticism (including the writings of Kant, Marx, Nietzsche, and Freud), we will be examining the following critical movements: Marxism, the Frankfurt School, psychoanalysis, the “New” Criticism, structuralism, poststructuralism, deconstruction, New Historicism, feminist criticism, postcolonial theory, and queer theory. Students who are not planning on graduate studies will find in the course a useful conceptual toolbox for engaging critically with the discourses and images that saturate contemporary society. Readings will be drawn from The Norton Anthology of Theory and Criticism. |
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| LITERATURES OF THE WORLD |
| LTWL 4D - FICTION AND FILM: ITALIAN CINEMA AND CULTURE Instructor: Pasquale Verdicchio LTWL 4D is a course in Italian Cinema that requires no knowledge of Italian or previous training in film studies. It is a course geared to anyone with an interest in Film, Culture, Literature and Social issues. The course will address issues related to the changes in the Italian social and cultural landscape as manifested in film from the immediate post-WWII period to today. From the first days of NeoRealism Italian cinema has carried out an attempt to define a national culture, first in opposition to the fascist regime that reigned from 1922-1944, then as modern nation state participatory in the creation of the United European Nations. Neorealism continues to manifest itself in Italian cinema often in unexpected contexts with re-incarnations, revivals, renewals, citations, etc. As we make our way through the films in this course we will attempt to analyze its influence on successive generations of film-makers not only in relation to the parameters of film-making but also in the social/political function of the manufactured image. LTWL 19C - INTRODUCTION TO ANCIENT GREEKS AND ROMANS Instructor: Charles Chamberlain In the pitifully short time of 10 weeks, we will read a smattering of the major Roman writers, mostly from the 1st centuries BC and AD -- Plautus for comedy, Livy for history, Cicero for oratory, Suetonius for biography, and Catullus, Horace, Vergil, Ovid and Juvenal for glorious poetry. LTWL 87 - FRESHMAN SEMINAR WHITHER GOD? Instructor: Richard Cohen The class surveys influential theories concerning the nature, attributes, desires, and activities of a supreme deity. Atheist and theist thinkers receive equal representation. This is a venue for critical discussions of (a) theological literatures, not for confessions of faith. Seminar will meet April 4, 6, 11, 13, 18, 20, 24, 27. LTWL 87 - FRESHMAN SEMINAR WORK, TRAVEL, AND STUDY IN AFRICA Instructor: Robert Cancel Using a variety of resources--texts, video and visitors--we will look at the realities of work, travel and study opportunities in contemporary Africa. A three-page travel proposal/country description will be required of all students. Seminar will meet April 4, 6, 11, 13, 18, 20, 24, 27 LTWL 87 - FRESHMAN SEMINAR MUSIC IN THE EARLY 20TH CENTURY Instructor: Steven Cassedy In this course, we will examine music in Europe and the United States in the first decades of the twentieth century. This is the era when blues became popular and ragtime and jazz were born. It's also the era when classical composers started tearing down conventions, intentionally featuring dissonance, polytonality, and other techniques unfamiliar to contemporary audiences. And it's an era when American popular music and European classical music traded ideas (as jazz borrowed European harmonies and composers like Igor Stravinsky and Maurice Ravel borrowed harmonies and rhythms from jazz). We'll study the music of Scott Joplin, Claude Debussy, Maurice Ravel, Igor Stravinsky, Arnold Schoenberg, Bessie Smith, Louis Armstrong, and others. LTWL 87 - FRESHMAN SEMINAR ENVIRONMENTAL LITERATURE Instructor: Pasquale Verdicchio 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. The course will look at the writings of H.D. Thoreau, John Muir, Aldo Leopold, Wendell Berry, Gary Snyder, and Barry Lopez, and at movements of Ecofeminism, Bioregionalism, and Deep Ecology and their theorists. 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 students. Seminar will meet April 4, 6, 11, 13, 18, 20, 24, 27. LTWL 106 - THE CLASSICAL TRADITION THE EPICS OF HOMER Instructor: Anthony Edwards The quarter will be devoted to reading and discussing Homer's monumental epics, the Iliad and the Odyssey, in English translation. Some of the topics we'll consider will be the literary conventions and mode of composition of the epics, the heroic code, the historicity of the poems, their educational value, characterization and ethics, their representation of society and social groups, whether Homer really nods, and why Penelope has a fat hand. My main goal, though, is that you should enjoy reading these wonderful stories. Papers and final exam. LTWL 115 - CONTEMPORARY LITERATURE TRUE CRIME Instructor: Mel Freilicher This course is a broad investigation into some of the interrelated genres and 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 and complex scope, and issues of guilt, victimization, revenge, judgment, compassion become increasingly provocative and urgent. Some of the readings are indictments of governmental or corporate practices, such as James Baldwin’s THE EVIDENCE OF THINGS NOT SEEN (about the Atlanta child murders), and sections from Daniel Ellsberg’s memoirs of the Vietnam War era and 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. Some readings are within the traditional 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 on John Hinckley, Jr.) and psychosocial portraits of serial killers and of the Black Dahlia murderer. The course will include quizzes and writing exercises on the readings, a midterm, and a final take-home exam. *This course will also count as an LTEN course. LTWL 122 - FANTASY TOLKIEN AND MIDDLE EARTH Instructor: Stephen Potts J. R. R. Tolkien’s Lord of the Rings inspired an international cult in the 1960s and 70s and a popular movie trilogy in this century. We will consider the materials—historical, mythical, literary, and linguistic—that went into the creation of this fantasy epic before launching on our own quest through the text. In the process we will read the works that frame LOTR: Tolkien’s children’s book The Hobbit and the "Bible" of Middle Earth eventually published as The Silmarillion. Previous knowledge of Elvish not required. *This course will also count as an LTEN course. LTWL 124 - SCIENCE FICTION ALTERNATE WORLDS, NEAR FUTURES Instructor: Shelley Streeby In this course, we will examine visions of alternate worlds and near futures in sf short stories, novels, and films from the 1950s through the present. In science fiction that explores alternate worlds, writers and filmmakers often elaborate critical perspectives on their own world and examine different possibilities by imagining other spaces. During the quarter, we will see how sf producers have invented new worlds inhabited by aliens, cyborgs, and space colonists in order to critically analyze the world around them and to fantasize about the future. We will also discuss how visions of a “near future” in sf reveal as much about the historical moments in which they were produced as they do about what is yet to come. We will start by reading Philip K. Dick’s 1956 short story “The Minority Report” together with the recent Stephen Spielberg film that is loosely based on the story, in order to think about how these “near future” visions of law and order are shaped by their respective historical moments. Next, we will look at Dick’s 1959 novel Time Out of Joint, which is set in a 1950s world that turns out to be the invented past of a 1990s future. We will also consider the fiction of James Tiptree, Jr. (aka Alice Sheldon), a former CIA operative who wrote “The Women Men Don’t See” (1973), a story about a woman and her daughter who travel to Yucatan, where they meet up with space aliens. We will compare this story to three other sf texts about aliens: Derek Bell’s 1992 short story “The Space Traders,” the HBO adaptation of Bell’s story (“Cosmic Slop”), and the 1996 film Independence Day. We will look at three different texts that focus on cyborgs: Dick’s novella Do Androids Dream of Electric Sheep?, the film Blade Runner, and Marge Piercy’s 1991 novel He, She, and It). Finally, we will end with two 1990s novels, one set in a near future California (Octavia Butler’s Parable of the Sower) and the other on Mars (Kim Stanley Robinson’s Red Mars). We will also read essays by Mike Davis, Michael Rogin, Tom Moylan, and Fredric Jameson. *This course will also count as an LTEN course. LTWL 131A - TOPICS IN EARLY CHRISTIAN LITERATURE: THE NEW TESTAMENT Instructor: Shawna Dolansky Overton An introduction to the creation of the New Testament texts, with special attention to the Roman and Jewish historical contexts, the issue of reconstructing a historical Jesus, and the influence of Paul on the development of early Christianity. LTWL 147 - READINGS IN MAHAYANA BUDDHISM Instructor: Richard Cohen This course offers students a chance to read and discuss important sutras belonging to Mahayana Buddhism. Readings include the Heart Sutra, the Lotus Sutra, the Land of Bliss Sutras, as well as several less-known works. Class discussions will focus on the imagination of the bodhisattva, considering this figure in its social, ethical, ritual, doctrinal, polemical, aesthetic, and "mystical" dimensions. Prior knowledge of Buddhism, especially Indian Buddhism, is highly desirable, though not required. LTWL 172 - SPECIAL TOPICS IN LITERATURE MEDIEVAL STUDIES CRUSADE, CONQUEST 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. 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. *This course will also count as an LTEN course. LTWL 176 - LITERATURE AND IDEAS INTRODUCTION TO READING PHILIPPINE LITERATURE IN TAGALOG AND ENGLISH Instructor: Jody Blanco This course is designed as an introductory course in reading poetry and prose in Tagalog and English. We will focus on the reading comprehension and discussion of selected texts from the postwar period of modern Philippine literature. Careful attention will be paid to the impact of Spanish and US colonialism, the relations of US neocolonial dependency after 1946, and the causes of poverty and social unrest. Instruction will be in Tagalog and English. Prerequisites include the completion of LIHL 132 (Heritage Filipino) or equivalent. |
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| WRITING |
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STUDENTS MUST HAVE COMPLETED THEIR COLLEGE WRITING
REQUIREMENTS |
LTWR 8A - WRITING FICTION Instructor: Sarah Shun-lien Bynum 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 TAs 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. In addition to attending class lectures and workshops, students will be asked to attend at least three 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 readings, and regular attendance and participation. Prerequisite: Fulfillment of college writing requirements. LTWR 8B - WRITING POETRY TINY MONSTERS Instructor: Eileen Myles Poetry is either a tiny monster, or a grand proposition, a great cartoon, a message to god or a way to kill time. It's so much more. This class intends to develop both readers and writers. Nothing is more serious than poetry and nothing in your education will necessarily illuminate and inform you fifty years hence but poetry might one night on the beach. We're shooting for now and then. The bias of this class leans towards the great speech-based works of the last fifty five years while peering into the past some for their antecedents. We'll look at film as a way to organize a poem, talk (and try) performance. We will memorize at least one poem, write at least ten, read one hundred poems and write critical responses to readers who come to campus. Some names to look forward to: Juliana Spahr, James Schuyler, Lucille Clifton, Vladimir Mayakovskyk, Ellyn Maybe, Dennis Cooper, John Wieners, Bob Kaufman, Hoa Nguyen, Allen Ginsberg, Velimir Khlebnikov, Johanna Furhman |
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DEPARTMENT APPROVAL FOR UPPER-DIVISION WRITING
COURSES IS AVAILABLE IN THE LITERATURE UNDERGRADUATE OFFICE FROM
9:00-3:30, MONDAY THROUGH FRIDAY. |
| LTWR 100 - SHORT FICTION Instructor: Sarah Shun-lien Bynum How does one transform a glorious chaos of experiences, obsessions, dreams, theories, and observations into a shapely and compelling story? This course will explore a variety of methods, both traditional and experimental, for making that transformation possible. An interest in craft and a sense of adventure are key. In addition to submitting stories for workshop, students will be asked to read widely, throw themselves into writing exercises, and contribute generously to discussions. Refining the ability to critique peers’ work will be of equal importance as developing one’s own writing. Readings may include stories by Angela Carter, Rick Moody, James Baldwin, ZZ Packer, Paul Bowles, Aimee Bender, Jorges Luis Borges, Amy Hempel, Grace Paley, Donald Barthelme, Deborah Eisenberg, Edward P. Jones, Mary Gaitskill. Prerequisite: LTWR 8A LTWR 100 - SHORT FICTION Instructor: Mel Freilicher Students will write two complete short stories in drafts. First drafts of story #1 will be critiqued in peer groups; first drafts of story #2 will be read and discussed by the whole class. There will be a variety of analytic exercises (which are graded check, check minus, check plus) in response to the readings, which include fiction by Nella Larsen, Jane Bowles, Issac Babel, Poe, Edith Wharton, Cortázar, Kafka, Clarice Lispector, Kenzaburo Oe and others. Prerequisite: LTWR 8A. LTWR 102 - POETRY POETIC CHAOS AND WAR Instructor: Eileen Myles This workshop assumes students have proceeded to a level of excitement and commitment to reading and writing poetry and thinking in new ways how it ticks. From there we'll be reading Manuel DeLanda's War in the Age of Intelligent Machines as well as zillions of poems in order to think differently about how non-metric poems evolve and occur. We'll be talking about individual poems, long poems and how to form a book as an expansion of the poetic impulse - getting read and then how you want that reading to proceed. Prerequisite: LTWR 8B. LTWR 104 - THE NOVELLA Instructor: Ali Liebegott FEAR FACTOR FOR FICTION WRITERS. THE NAVY SEALS OF WRITING. NOT FOR THE WEAK OR LAZY. GOT IT? Workshop for fiction writers ready to tackle longer forms. Each student will produce a novella of at least fifty-pages by the end of the quarter. We’ll look at examples of this form as well as examples of novels in verse. We'll work hard, laugh, talk about which animals have the most excellent ears, and eat donuts. Prerequisite: LTWR 8A and LTWR 100. LTWR 109 - WRITING AND PUBLISHING CHILDREN’S LITERATURE Instructor: Diane D’Andrade This workshop will provide students with a basic approach to writing for children as well as an overview of the publishing process. Readings will include well-known picture book texts and a short collection of reviews and critical studies. Students will be expected to write and revise five or six stories. There will be an opportunity to read and critique each other¹s work. We will consider how the demands of the publishing industry might affect an author’s writing; how illustrations are integrated into a project; where “ideas” come from; how to bridge the gap between manuscript and book; and how to approach a publisher. Prerequisite: LTWR 8A. LTWR 110 - SCREEN WRITING Instructor: Laurie Weeks This is an introduction to both the mechanics and aesthetics of screenwriting. It is NOT a course in the various screenwriting word-processing programs. We'll examine story development and treatment, plot construction, character development, and scene analysis. Unless you arrive on the first day with a clearly defined project, you will be given several short stories, one of which you will choose to adapt; novels are beyond the scope of this 10-week course. LTWR 110 - SCREEN WRITING ADVANCED Instructor: Harry Dodge The course explores the art and craft of writing a feature-length narrative screenplay. Participants begin with a detailed outline of a narrative script and a portion of the script in proper form and develop it into a completed screenplay. The focus is on rewriting, with regular presentations of scenes to fellow writers. The emphasis is on characterization, scene structure, visual story telling, dialogue, and creating a unified script. Workshop format. Presentations of work will receive extensive peer critique and feedback from instructor. Prerequisite: LTWR 110 previously. LTWR 115 - EXPERIMENTAL WRITING POP SONGCRAFT / LYRIC WRITING WORKSHOP Proposed Instructor: James Meetze In this workshop, the primary focus will be on your song lyrics. We will also learn about the craft of songwriting by delving into the history of “pop” music to uncover common themes and make an attempt to define what constitutes a “good” song. We will determine who your audience is and what you can accomplish under the guise of a given genre. Additionally, we will explore the limits of what can be said and done in a song while retaining your audience. Because this is a workshop course, you will be required to contribute three pages of lyrics (2 or 3 songs) every other week, participate in critique and discussion, and write 5 music reviews (album, song, or live performance) by the end of the quarter. LTWR 115 - EXPERIMENTAL WRITING GRAPHIC TEXTS-WORD AND IMAGE COMBINED Instructor: Anna Joy Springer This writing class emphasizes visual aspects of literary creation. In it, we will experiment with ways of directing modes of reading interactive image/word meaning-systems, like: Comics, Book Arts, Poetry Broadsides, Hypertexts, Graffiti, Concrete Poetry, Alphabets, Secret Codes, Photo-texts, Tattoos, Altered Advertisements, Illuminated Manuscripts, Illustrated Stories, Political Posters, Sculpted Poems, Literary Installations, Digital Literature, Video Poems, Word-based paintings, and Projected Texts. We'll make them, read them, read theory about them, and learn about others who've experienced the pleasures of creating word/image combinations. Participants will do lots of in-class and at-home exercises, perform a theatrical research presentation on an artist or movement, take reading quizzes, and organize a final gallery showing of their work. LTWR 119 - WRITING FOR PERFORMANCE Instructor: Camille Forbes In workshop style, this course will focus primarily on the production of solo performance texts by the students, and the presentation of these texts for critical feedback within the class. We will examine issues particular to the craft, such as the transformation of a text from the page to the "stage" (performance arena), how performativity affects the writing process, how diction, syntax and meaning shift strategically within the performance text and the performance. We will read a range of performance texts. As work is generated, we will explore performance as praxis, art, entertainment, and polemic device. Prerequisite: LTWR 8A or LTWR 8B. LTWR 121 - MEDIA WRITING WRITING ABOUT THE ARTS AND POPULAR CULTURE Instructor: Amra Brooks This will be a writing workshop focusing on issues and subjects primarily related to the arts and popular culture and finding your voice as a magazine writer. This means writing about music, film, visual art, writing, television, photography, your cats, the piercing voice of your mother, or your obsession with advertising typos. We will focus more on the fringe rather than the mainstream as far as journalism is concerned. We will read magazines and journals, both popular and independent, as well as some writing from the Internet. We will look at self-published zines and journals. In addition to the workshop element, there will be weekly student presentations and we will do a lot of work in small editorial groups. The final will be to make your own magazine or journal compiled of your essays from the quarter, as well as a feature-length article or potential cover story. This can be as high or low tech as you desire, creativity is important, not your computer savvy. Prerequisite: LTWR 8C. LTWR 148 - THEORY FOR WRITERS Instructor: John Granger This course applies philosophy, historical analysis, and literary theory to creative writing projects. To this end we will read Derrida (short passages from Of Grammatology), Gramsci (“The Formation of the Intellectuals”), Benjamin (“The Work of Art in the Age of Mechanical Reproduction”), Foucault (“What is an Author?”), Barthes (“The Death of the Author”), Wittgenstein, and others. Participants will workshop weekly writing exercises written in response to theoretical positions, leading to a ten-page final project representing, with a greater critical awareness, what creative writers do, and loosely modeled on Robbe-Grillet’s “Scene.” Handouts supplement the sole required text, The Norton Anthology of Theory and Criticism (NY: Norton, 2001). Copies of “Scene” are available at the Undergraduate Office desk. Required work & grade breakdown: weekly exercises (50%); final project (50%). |