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LTAF 110 - AFRICAN ORAL LITERATURE: PERFORMANCE
AND CONTEXT |
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LITERATURE OF THE AMERICAS |
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No Course Offerings Fall 2006 |
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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 1 (BEGINNING GREEK) LTGK 110 (ARCHAIC PERIOD: HESIOD’S WORKS AND DAYS) LTLA 1 (BEGINNING LATIN) - 2 sections LTLA 100 (INTRODUCTION TO LATIN LITERATURE: The Satyrica of Petronius) LTWL 19A (INTRODUCTION TO ANCIENT GREEKS AND ROMANS) LTWL 100 (MYTHOLOGY: COMPARATIVE WORLD MYTHOLOGY) |
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| COMPARATIVE LITERATURE No Course Offerings Fall 2006 |
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| CULTURAL STUDIES
LTCS 50 - INTRODUCTION TO CULTURAL STUDIES |
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| EAST ASIAN LITERATURE LTEA 100B - MODERN CHINESE POETRY IN TRANSLATION Instructor: Wai-lim Yip Modern Chinese poetry is weighted with anxieties and solitudes, hesitations and doubts, nostalgia and expectancy, exile and dreams, but these stirrings rarely come from a solipsist of the western type who, in the midst of the fragmentation and dissolution of the human subject occasioned by accelerated industrialization and commodification, has often turned his/her back both on society and on his/her audience to embark upon a voyage into an insulated inner space. The intensities in these Chinese poems represent a profound sense of desperation of a different sort. At once intensely inward-personal and outward-historical, these poems are transfigurations from tensions and agonies of acculturation under the military, economic and cultural colonizing activities of the West. The love-hate complex toward both traditional Chinese culture and intruding Western ideologies has engendered some of the most intriguing dialogues and dialectics of modern times. LTEA 120A - CHINESE FILMS: MAKING SENSE OF THE 1990s Instructor: Yingjin Zhang This class deals with postsocialist filmmaking in China after 1990, a 15-year period marked by profound ideological, socioeconomic, and cultural changes. Different modes of filmmaking have competed with each other and have generated a wide spectrum of representations and practices, and a new generation has emerged to claim critical attention at home and abroad. After a brief survey of competing modes and agencies, we will move from the “fifth generation” to the “sixth generation” and beyond (e.g., the “new urban generation”). Directors to be studied in depth include Chen Kaige, Zhang Yuan, Guan Hu, Jiang Wen, Feng Xiaogang, Lou Ye, Dai Sijie, Li Yang, Jia Zhangke, and Zhang Yimou. Students are required to view all primary films, complete all required readings, make presentations in class, write five short papers and one term paper, and take a midterm and a final exam. All films carry English subtitles; all readings are in English. No knowledge of Chinese is required. Grading 10% attendance and participation 25% 5 short papers on required reading (1 double-space page each, 5% each) 10% 1 class presentation on recommended reading (5-10 minutes) 15% midterm exam (3 essay questions) 15% final exam (3 essay questions) 25% 1 term paper (4 double-space pages) -------- 100% |
| LITERATURES IN ENGLISH LTEN 21- INTRODUCTION TO LITERATURE OF THE BRITISH ISLES: PRE 1660 Instructor: Lisa Lampert This course surveys English literature from Old English to the middle of the seventeenth century. Among the texts we will consider will be Beowulf, Chaucer’s Canterbury Tales, Sir Gawain and the Green Knight, Spenser’s Fairie Queene, Marlowe’s Dr. Faustus, and Milton’s Paradise Lost. We will also examine selections from medieval lyric and drama, Kempe, Donne, Jonson, Herbert, Herrick, and Marvell. Lectures will discuss these texts and their cultural, social, political, and religious contexts, with special attention to issues of gender and sexuality. The course is designed to familiarize students with the traditional “canon” of early English literature, but also to facilitate an understanding of how that canon came to be formed and to encourage questioning of the idea of the “canon” itself. LTEN 25 - INTRODUCTION TO THE LITERATURE OF THE UNITED STATES BEGINNINGS TO 1865 Instructor: Shelley Streeby The goal of this course is to provide an overview of colonial and US literature and culture from the early modern period through the Civil War and to offer critical paradigms for thinking about early American literature and culture in a global frame, with a special emphasis on changing contexts and definitions of literature and on questions of colonialism, nation-building, and empire. In order to accomplish this, we will compare different forms of colonialism and consider texts that require an understanding of the international and transnational dimensions of colonial, early national, and mid-19th century US literature and culture. We will begin by reading several texts by and about encounters between native peoples and colonists in New England and New Spain. We will analyze theories of American “origins” and forms of contact, conflict, and labor that correspond to these two colonial spaces as we study some of the important genres of early American literature and culture, including testimonios; letters; sermons, speeches, and oral literature; translations; and narratives of travel, scientific exploration, captivity, slavery, and war. Then we will turn to the eighteenth century to consider texts that address slavery and labor in international contexts; anti-colonial revolutions in the Americas; the Barbary captivity crisis of 1793; and the Alien and Sedition laws of the 1790s. We will also track the changing meanings of the word “literature” by looking at pamphlets, public documents, newspaper articles, plays, and novels. Finally, we will explore the transformation of the public sphere in the early nineteenth century as the colonies became a nation and an empire. During this part of the course, we will read historical romances, popular histories and crime literature, sentimental and sensational fiction, mediated narratives, and other literature that responds to nineteenth-century imperial rivalries, Indian wars and the Removal Acts of the 1830s, the US-Mexico War, and the Civil War. Primary texts may include work by Las Casas, Cabeza de Vaca, Perez de Villagra, John Winthrop, Roger Williams, Mary Rowlandson, William Apess, Thomas Jefferson, the Federalists and Anti-Federalists, Toussaint L’Ouverture, Susanna Rowson, Olaudah Equiano, Charles Brockden Brown, Jane Johnston Schoolcraft, David Walker, Ann Stephens, JF Cooper, Edgar Allan Poe, George Lippard, Nathaniel Hawthorne, Harriet Jacobs, Frederick Douglass, Harriet Beecher Stowe, Mariano Guadalupe Vallejo, Henry David Thoreau, Walt Whitman, Herman Melville, Emily Dickinson, and others. LTEN 29 - INTRODUCTION TO CHICANO LITERATURE Instructor: Jorge Mariscal This course will focus on the history and cultural production of the Mexican-origin population in the United States from the nineteenth century to the present. We will begin with writings by Mexicans in the Southwest before and after the U.S. invasion of 1848 and then move through the twentieth century and into the twenty-first century. Topics to be covered include Anglo-Mexican relations, the migrant experience, the Chicano/a and Mexicano/a working class, the Chicano Movement of the Viet Nam War period, the construction of a militant collective identity (i.e., the Chicana/o), and the transition in the 1980s to Hispanic identities and markets. In addition to interpreting literary texts we will analyze film, music, performance art, and other cultural forms. LTEN 112 - SHAKESPEARE: ELIZABETHAN PERIOD (a) Instructor: Louis Montrose A lecture/discussion course exploring the rich and varied achievements of Shakespeare’s earlier plays. Issues of form, theme, action, and language will be studied in the context of Shakespeare’s theatre and society. Six plays will be read, including comedies, histories, and tragedies. Film versions of a number of these will be viewed and discussed. LTEN 127A - THEMES AND ISSUES IN THE VICTORIAN PERIOD LITERATURE AND CULTURE OF VICTORIAN ENGLAND (b) Instructor: Margaret Loose Imagine leaping backwards 150 years to an unfamiliar culture to listen in on their disputes, which might have tackled questions such as: how do we reconcile our religious and philosophical values of individual freedom and responsibility with our enslavement of thousands around the world? Are our beliefs about white, English superiority grounded in reality or on the need to solve the dilemma of our professed belief in universal human dignity and our practice of human degradation? What’s happening to our women? Are they the domestic preservers of our morality and peace, or are they insatiably sexual beings whose moral corruption leads them to prostitution? What’s all this flap about education when women aren’t voters or professionals? What impact will the free- thinkers, atheists, and working-class radicals have on our Protestant heritage? Is the Church of England really guilty of gross abuses that should be publicly (not internally) corrected? This course will raise and attempt to answer many such questions by examining what the Victorians themselves wrote about them. In grappling with these issues, we will also study some linguistic and psychological aspects of their poetry and autobiography, the social implications of their essays and painting, and the aesthetic principles of their fiction. I will provide historical, economic, and literary context to introduce these firestorms of Victorian debate, and students will be asked to write two brief essays, take weekly quizzes, and actively participate in discussion. LTEN 132 - MODERN ENGLISH LITERATURE: JAMES JOYCE’S ULYSSES 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. 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 modern homelessness, alienation, commercialization, and changing gender roles. 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 144 - ENGLISH NOVEL IN THE 19TH CENTURY THE VICTORIAN SOCIAL PROBLEM NOVEL (b) Instructor: Margaret Loose Unlikely to appear in advertisements for the Industrial Revolution were such features as sweatshops, famine, unemployment, and overcrowded slums. Faced with such an inheritance, the Victorians became a generation of reformers with radically divergent views on what reform meant and how it should be achieved. An important literary response to the “Condition of England” question, and the political and philosophical movements it engendered, was the social problem novel. We will read some examples of this characteristically Victorian genre to see how each characterizes progress, tries to educate the middle- and upper-classes, represents the working class, and envisions remedy. We will also examine the impact of the novelist’s “having a purpose” on the narrative style of his or her work: how do writers domesticate large social issues in the stories of private lives? what is the role of authorial intervention and outbursts of narrative comment in fiction? how do authors utilize history to contextualize or distance contemporary events? how convincingly portrayed are the lives and personalities of members of opposing classes, and how important is that question? Students will be asked to research particular movements or social problems to enrich our discussions of the texts, which will include but are not limited to Charles Kingsley’s Alton Locke, Tailor and Poet, Charles Dickens’s Hard Times, Elizabeth Gaskell’s Mary Barton, and George Eliot’s Felix Holt: The Radical. The class will also include weekly quizzes and a final interpretive essay.
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| EUROPEAN AND EURASIAN
LITERATURE LTEU 150A - RUSSIAN AND SOVIET LITERATURE: 1800-1860 CROSS-LISTED WITH LTRU 110A Instructor: Steven Cassedy Classic Russian literature from 1800 to 1860. The syllabus will include works by Pushkin, Lermontov, Gogol, Dostoevsky, and Tolstoy. |
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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: 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 ll Instructors: T.A.’s supervised by Catherine Ploye 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: 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 l Instructors: T.A.’s supervised by Catherine Ploye 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 more than once, alone or in combination with any other literature course. Prerequisite: French 21: LIFR 1C/CX or consent of instructor. LTFR 31 - CONVERSATION WORKSHOP ll Instructors: T.A.’s supervised by Catherine Ploye 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 more than once, alone or in combination with any other literature course. Prerequisite: French 31: LTFR 2B or consent of instructor. LTFR 50 - INTERMEDIATE FRENCH lll: TEXTUAL ANALYSIS Instructors: T.A.’s supervised by Catherine Ploye 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. LTFR 116 - THEMES IN INTELLECTUAL AND LITERARY HISTORY Proposed Instructor: Jean-Louis Morhange Cette classe présentera une vue d'ensemble de la littérature française des XIXe et XXe siècles, de son contexte historique et culturel, de ses principales tendances (transformations et extensions successives de la notion de représentation; rejet de l’éloquence et retrait du narrateur comme instance d’évaluation; autonomie de l’écriture, etc.), mouvements (Romantisme; Réalisme et Naturalisme; Surréalisme; Existentialisme; Théâtre de l'Absurde; Nouveau Roman) et auteurs (Chateaubriand, Hugo, Baudelaire, Flaubert, Rimbaud, Proust, Breton, Céline, Sartre, Ionesco, Sarraute, Simon, Duras, etc.) L’évolution de la littérature française au cours des deux derniers siècles sera considérée avant tout et à la fois comme 1. un processus sans fin de découverte, d’exploration et d’approfondissement de nouveaux aspects (matériels, sociaux, existentiels) de la réalité et de l’expérience humaine qui jusque là n’avaient pas été identifiés ou n’étaient pas considérés comme dignes d’être représentés; 2. une recherche jamais achevée des moyens nécessaires pour représenter par le langage ces nouveaux aspects de la réalité et de l’expérience. La classe sera conduite de manière interactive. Une participation active aux discussions sera requise de chaque étudiant. Textes au programme:
LE ROMAN EN FRANCE AUJOURD'HUI Instructor: Catherine Ploye Roman policier, fantastique, science-fiction.... A partir de plusieurs romans publiés récemment, nous nous interrogerons sur la manière dont les auteurs contemporains ont recours à des genres littéraires bien établis pour commenter sur la société contemporaine. Prerequisite: 115 or 116 or equivalent or consent of instructor. Auteurs possibles: Modiano, Pennac, Darrieussecq, Houellebecq |
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| GERMAN
LITERATURE LTGM 2A - INTERMEDIATE GERMAN I Instructor: Edda Hodnett In LTGM 2A, the first course in the UCSD Intermediate German sequence, we are 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. Thursday classes are intended for discussions of the video materials and short oral presentations. If absent, you are still responsible for all materials covered. Written assignments are due on the days indicated on the syllabus; homework will be accepted no later than one class period after the due date. No makeup exams unless arranged in advanced with the instructor. First drafts of your essays are handed in for corrections, and first and second drafts are then graded. REQUIRED TEXTS – in GROUNDWORKS Bookstore on campus
Collins German Dictionary (paperback: English-German / German-English). If you already own a good-size dictionary, you need not buy another. GRADING Class work & Homework = 35% (5% attendance, sign in) Tests (3 in-class ) = 30% Essays (3) = 15% Final Exam = 20% LTGM 101 - GERMAN STUDIES II: NATIONAL IDENTITIES Instructor: Staff What does it mean to be German today? How has Germany been defined in the past? It was only recently in 1990 that Germany (once again) became a unified nation-state. The Berlin Wall is gone, but many feel that invisible psychological and economic barriers still divide East and West. Children and grandchildren of Turkish “guest workers” brought to Germany in the 1960s remain suspended between a homeland they have never known and an adopted country that refuses to grant them citizenship. Memories of Hitler and the Holocaust cast dark shadows over contemporary debates about the state of the German nation. In this course we will explore ways in which Germans have defined themselves from the Reformation to the present. Because Germany did not exist as a single political entity until 1871, Germans have sought a common identity in their language, literature and culture. We will begin with contemporary Turkish-German “Migrant Literature,” circle back to the dawning of national consciousness in the Reformation and the “Age of Goethe,” and conclude with a look at Nazi culture, the Holocaust and the Reunification of 1989. Reading and discussion primarily in German. -- Required course for both German Literature and German Studies majors; also counts toward a minor in both fields. LTWL 181 - FILM STUDIES AND LITERATURE: FILM MOVEMENT: NEW GERMAN CINEMA AND BEYOND Note: For students who would like to take this course for credit in German, there will be a weekly one-hour foreign-language discussion section (LTWL 181 XL). Please see LTWL 181(with subtitle "NEW GERMAN CINEMA AND BEYOND ") for course description. |
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| GREEK LITERATURE LTGK 1 - BEGINNING GREEK Instructor: Leslie Edwards Introduction to the grammar of ancient Greek, with readings appropriate to this level, including some from Plato, Euripides, Homer, the New Testament, and others. This is the first of a three-quarter sequence, by the spring quarter of which we'll be reading Homer's Odyssey in the original Greek. Following successful completion of this sequence (LTGK 1-2-3), students will be eligible to enroll in upper-division Greek Literature courses. Quizzes, midterm, final, and daily homework. LTGK 110 - ARCHAIC PERIOD HESIOD’S WORKS AND DAYS Instructor: Anthony Edwards We will read the poem in English translation early in the quarter for an overview and we should be able to finish the text in Greek as well. Hesiod composed in the Homeric dialect, but his poems are generally assumed to be a bit more recent than Homer's. Works and Days is unique in providing us with a glimpse of the moral, social, and legal world of a Greek village of the Archaic period. We'll discuss some of the central themes of the poem and try to piece together the historical background that Hesiod takes for granted. Midterm, Final, Paper. |
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| HEBREW LITERATURE
No Course Offerings Fall 2006 |
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| LITERATURES IN ITALIAN LTIT 2A - INTERMEDIATE ITALIAN I 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 100 - INTRODUCTION TO LITERATURES IN ITALIAN I FANTASMI E LE OMBRE DI DINO BUZZATI Instructor: Adriana De Marchi Gherini Questo corso è un'introduzione alla narrativa "fantastica" di Dino Buzzati, raro esempio di autore "gotico"nella letteratura italina moderna. Gli studenti leggeranno una selezione da "La boutique del mistero," scriveranno e presenteranno in classe una storia "di fantasmi" e scriveranno un saggio finale. LTWL - 160 WOMEN IN LITERATURE: WOMEN IN ITALY This course is applicable to Italian Literature and Italian Studies majors and minors. Students of Italian may sign up for an extra discussion section conducted in Italian (and an extra unit). Please see LTWL 160 for a course description. |
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| KOREAN LITERATURE
LTKO 1A - BEGINNING KOREAN: FIRST YEAR I
LTKO 2A - INTERMEDIATE KOREAN: SECOND YEAR I LTKO 2B - INTERMEDIATE KOREAN: SECOND YEAR II |
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| LATIN LITERATURE
LTLA 1 - BEGINNING LATIN Instructor: Charles Chamberlain We will cover the first 16 chapters of Wheelock's Latin by Frederic M. Wheelock. This means a pace of about 2 chapters per week overall, though we will go slow at the beginning. Expect to have a quiz every Monday, plus a midterm and final. Quizzes are worth 30 %, the midterm 25 %, the final 35 %, class participation and other factors 10 %. (I also reserve the right to institute more frequent quizzes and to assign graded homework if necessary.) Latin is not taught as a spoken language, so there will be no emphasis on conversing. However, there are many grammatical rules to be learned, perhaps more than you ever imagined. In some ways, Latin is more like math or science than it is like a modern foreign language; it will soon become impossible to "get the gist" of what you read unless you know the grammatical rules thoroughly. Therefore, I urge you not to fall behind -- it is very difficult to catch up. LTLA 1 - BEGINNING LATIN Instructor: Eliot Wirshbo Feeling intellectually listless and logy? Are you beginning to conclude that college isn't all you'd thought it would be? That Literature courses are pretty much to be coasted through, recycling old papers, cramming during the tenth week, falling back on b.s.-ing skills you're amazed you possess to such a degree of persuasiveness? Well, you just might be ready for a course to test what you're made of, one which consistently gets called "the most demanding course I've ever taken," yet a course that forces students to acknowledge that the mental work is all worth it because of the new view of meaning that it fosters. Yes, maybe you should join that groundswell of students from all majors and all cultural backgrounds who are savvy, hip, in the know, au courant, and as removed as possible from nerdiness -- the new breed of Latin students. Just go up to any one of them and ask -- they won't bite -- whence they obtained their savoir-faire, their jaunty insouciance, their joie-de-vivre, intellectual depth, and overall can-do attitude. They'll tell you that Latin changed their lives, transformed them into better readers, better writers, better b.s.-ers even, but now with real substance. Discover for yourself what's causing this new affinity for the old, but recognize that you'll be taking a step that's irrevocable. Your education will never be the same, and you'll be all the better for it. LTLA 100 - INTRODUCTION TO LATIN LITERATURE: THE SATYRICA OF PETRONIUS Instructor: Anthony Edwards We will read all of Petronius's Satyrica in English translation and the "Banquet of Trimalchio" episode in Latin. There will also be a showing of Fellini's adaptation of Petronius's book. Petronius's Latin is artfully colloquial; his characters span the boundaries of Roman and Greek, elite and vulgar; his scenarios mock the artistic and philosophical pretensions of Nero's court with comic vulgarity. Read the West's first novel and discover why the Roman empire declined, or why it lasted so long (it depends on how you look at it). Midterm, Final, Paper. LTLA 134 - HISTORY SUETONIUS Instructor: Charles Chamberlain We will read selections from Suetonius' Life of Nero. You should download the text from the Latin Library (http://www.thelatinlibrary.com); I will provide notes and vocabulary. There will be a midterm, a final, and a paper. The emphasis in this course will be on careful reading of Latin, with much attention to grammatical and style points. |
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| NEAR EASTERN LITERATURE No course offerings Fall 2006 |
| PORTUGUESE LITERATURE No course offerings Fall 2006 |
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| RUSSIAN LITERATURE LTRU 1A - FIRST-YEAR RUSSIAN Instructor: Rebecca Wells Embark on a grand voyage into the mechanics and mystery of Russian language, culture, and people. We will journey forth into all forms of communication--reading, writing, speaking, and listening. We will begin acquiring basic vocabulary and grammar skills and attempt to apply them both mechanically and creatively. Original Russian materials will supplement the basic text and language lab tapes. This course meets TuTh for grammar lectures and MW for conversation. Every effort will be made to integrate material on Russian culture into the language curriculum. LTRU 2A - SECOND-YEAR RUSSIAN Instructor: Rebecca Wells We will recollect and expand on the language acquisitions of our previous voyages and set out into 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 TuTh for grammar lectures and MW for conversation. Every effort will be made to integrate material on Russian culture into the language curriculum. LTRU 104A - 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 110A - RUSSIAN AND SOVIET LITERATURE 1800-1860 Instructor: Steven Cassedy Classic Russian literature from 1800 to 1860. The syllabus will include works by Pushkin, Lermontov, Gogol, Dostoevsky, and Tolstoy. |
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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 (link to info here). 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; see below for dates. |
| LTSP 2A - INTERMEDIATE SPANISH I FOUNDATIONS Instructors: 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, DECEMBER 4TH, 2006. LTSP 2B - INTERMEDIATE SPANISH II: READINGS AND COMPOSITION Instructors: 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, DECEMBER 4TH, 2006. LTSP 2C - INTERMEDIATE SPANISH III: CULTURAL TOPICS Instructors: 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 MODAY, DECEMBER 4TH, 2006. |
| DEPARTMENT APPROVAL FOR LTSP 2D AND 2E IS AVAILABLE IN THE LITERATURE UNDERGRADUATE OFFICE FROM 9:00-3:30, MONDAY THROUGH FRIDAY, BEGINNING WEDNESDAY, 05/09/2006. LTSP 2D IS INTENDED FOR STUDENTS WITH SPANISH-SPEAKING BACKGROUND. PLEASE SEE INSTRUCTOR PRIOR TO ENROLLMENT. |
| LTSP 2D - INTERMEDIATE/ADVANCED READINGS AND COMPOSITION SPANISH FOR HERITAGE SPEAKERS Instructor: TA 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, DECEMBER 4TH , 2006. Enrollment for LTSP 2D requires department stamp. Contact instructor with any questions regarding placement. LTSP 2E - ADVANCED READINGS 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, DECEMBER 4TH , 2006. Enrollment for LTSP 2E requires department stamp. Contact instructor with any questions regarding placement. LTSP 21 - CONVERSATION WORKSHOP l Instructors: TAs 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 50A - READINGS IN PENINSULAR LITERATURE Instructors: TAs supervised by Beatrice Pita This course introduces students to Peninsular literature and literary analysis through the close textual reading of a selection of texts including novels, plays, short fiction and poetry. Coursework includes reading of several texts by Spanish authors, participation in class discussions, oral presentations and written assignments. LTSP 50A 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. NOTE: THE FINAL EXAM FOR LTSP 50A IS SCHEDULED FOR MONDAY, DECEMBER 4TH , 2006. LTSP 137 - CARIBBEAN LITERATURE Instructor: Rosaura Sanchez This course will focus on Caribbean cultural production that deals with issues of labor, race, gender, sexuality, and colonialism/neo-colonialism. Texts to be discussed include Cuban, Puerto Rican and Dominican fiction and film. LTSP 140 - LATIN AMERICAN NOVEL: NOVELA HISPANOAMERICANA CONTEMPORÁNEA Instructor: Jaime Concha El curso consistirá en el estudio de 6 textos narrativos breves producidos por clásicos de la literatura hispanoamericana en la segunda mitad del siglo XX. Representantes de tres generaciones serán incluidos: del grupo de 1960 ( Onetti, García Márquez...), del llamado post-boom ( Puig...) y autores recientes como Roberto Bolano y Laura Restrepo. Se tratará básicamente de lecturas, de análisis textual y temático, estudio de los contextos respectivos y una apreciación de la forma “novella” o novela corta. Medios de evaluación: examen intermedio y examen final o paper, cada uno con el valor de 50 p.c. LTSP 141 - LATIN AMERICAN POETRY Proposed Instructor: Cecilia Ubilla Este curso hará un examen crítico de algunos poetas latinoamericanos de lengua española, enfocándose en sus temas centrales, la evolución de su estilo poético, y la importancia de su poesía en el contexto histórico. El estudio, que abarcará desde fines del Siglo XIX hasta las últimas décadas del Siglo XX, se iniciará con José Martí (Cuba), y concluirá con Ernesto Cardenal (Nicaragua). Además de estos dos nombres, cuya obra es de reconocida importancia, hemos elegido otros—entre ellos César Vallejos—que ilustran la riqueza poética y la diversidad temática de la producción latinoamericana. LTSP 142 - LATIN AMERICAN SHORT STORY 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 174 - TOPICS IN CULTURE AND POLITICS INTRODUCCIÓN AL CINE EN EL MUNDO HISPÁNICO Instructor: Luis Martin-Cabrera El siguiente curso esta diseñado como una introducción al estudio de algunos de los temas más importantes del cine español y latinoamericano. El curso está dividido en cuatro unidades temáticas: memoria y olvido; Inmigración y exilio; las identidades marginalizadas en la historia y el mundo hispano en la globalización. La discusión de las películas será suplementada con otros materiales culturales relevantes para el estudio de los temas arriba mencionados. Los estudiantes deberán hacer presentaciones, escribir informes y realizar dos exámenes LTSP 176 - LITERATURE AND NATION: LITERATURA Y NACIÓN EN MÉXICO Instructor: Max Parra En este curso examinaremos las formas en que la literatura ha abordado la idea de nación y ciudadanía en México desde fines del siglo XIX hasta nuestros días. Las lecturas se organizarán por etapas históricos: el Porfiriato, la Revolución, la modernización económica, el México neo-liberal. Las lecturas incluirán, tentativamente, obras de Ignacio Manuel Altamirano, Martín Luis Guzmán, Elena Poniatowska, y Sara Sefcovich. Requisitos: un examen parcial, un examen final, uno ó dos trabajos escritos. |
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| LITERATURE/THEORY LTTH 110 - HISTORY OF CRITICISM Proposed Instructor: Philip Gunderson The purpose of this course is to give students an overview of the history of literary theory and criticism. We will begin in ancient Greece with Plato’s Republic and work our way forward to the first half of the twentieth century, ending with the rise of the New Criticism in the United States. Course topics include (but are by no means limited to): aesthetics, hermeneutics, mimesis, literary emotion, genre, canon, authorship, form/style, gender, class, and, of course, the question of the value of criticism itself. Course readings will be drawn from The Norton Anthology of Theory and Criticism. |
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| LITERATURES OF THE WORLD LTWL 4M - FICTION AND FILM IN THE TWENTIETH CENTURY Instructor: Stephen Potts Although the Vietnam War lasted officially from 1964 to 1975, it dominated the whole of the 1960s and 70s. Those two decades saw a monumental cultural revolution in the United States, one we are still fighting over today. The Civil Rights movement of the early 60s spawned not only the student militancy of the later decade but other movements built around feminism, sexual orientation, and race. A variety of factors—among them the Beats and the Beatles—bred a youthful counterculture in the 60s that, mainstreamed in the 70s, liberalized social attitudes toward sex, drugs, and alternative lifestyles. As the Vietnam War dragged on, fanning the flames of civil upheaval in the U.S., the nation was forced to re-evaluate long held beliefs about itself. Such radical change also affected Hollywood. When the old studio system finally collapsed at the beginning of this period, taking its restrictive moral code with it, American cinema had the opportunity to stretch its artistic muscles and explore new, even taboo, territories. This course will follow that exploration, examining the changes in American film across genres—from comedy to the war movie—and in reference to parallel developments in literature, politics, and popular culture. We will endeavor to understand how the epoch of our longest war changed the way the nation looked at itself—especially onscreen. LTWL 19A - INTRODUCTION TO ANCIENT GREEKS AND ROMANS Instructor: Leslie Edwards This interdisciplinary sequence (LTWL 19A, B, C) includes the literature, mythology, history, philosophy, and art of ancient Greece and Rome, complex civilizations which had a determining influence on all later Western culture. In 19A we'll focus on Greece from the time of the Homeric poems to Aeschylus in the early fifth century. We shall read texts of the period as expressions of an aristocratic culture which placed emphasis on war and athletics and whose economies, educational systems, sexual politics, ethics and theology were shaped by this emphasis. This sequence partially fulfills lower division requirements for the Literature/Writing major, the Literatures of the World major/minor, the Classical Studies major/minor and the Warren College program in Classical Studies. There will be a midterm, final, and paper. LTWL 100 - MYTHOLOGY COMPARATIVE WORLD MYTHOLOGY Instructor: Page du Bois We will look at the myths, or ancient stories, from many different cultures around the world. Setting them in their historical and social contexts, and considering the theory of myth, we will read creation myths from such diverse societies as Nigerian, Native American, Mayan, South Asian, and ancient Greek, as well as myths about goddesses, gods, tricksters, and sacred places, including Vietnamese, Japanese and Chinese, and Aztec stories. Lit World 100 can be repeated as its content differs from year to year. Students who have taken Lit World 100: Myths of the Ancient Greeks and Romans, or Ancient Magic, can take this course for credit. LTWL 114 - CHILDREN’S LITERATURE: THE GOLDEN AGE Instructor: Stephen Potts As a genre, children’s literature is little more than 200 years old. Rooted in the folk and fairy tale, the genre developed with the spreading availability of print media and public education, and it came into its own—at least in Europe and North America—in the mid-nineteenth century. From then until World War I, it enjoyed what many now call its Golden Age, the period when most of the familiar classics were written. This quarter we will follow the rise of reading for the young from the fairy tales of Perrault, Grimm, and Andersen to the later fantasies of Baum and Barrie and the sentimental realism of Louisa Mae Alcott and Lucy Montgomery. In the process, we will approach individual works from the standpoints of literary history, sociological context, and child development. Just follow the Yellow Brick Road. LTWL 115 - CONTEMPORARY LITERATURE CULTURE OF PARANOIA Proposed Instructor: Philip Gunderson “If they can get you asking the wrong questions, they don’t have to worry about answers.”—Thomas Pynchon, Gravity’s Rainbow (Proverbs for Paranoids #3) This course examines the phenomenon of paranoia in modern and postmodern culture. Is the sense that one is the object of manipulation by inscrutable forces on the rise? If so, what conditions in society lend themselves to the creation of the paranoiac personality? Is there a properly postmodern paranoia that can be distinguished from its modern predecessor? To what extent are the projects of literary and cultural criticism intrinsically paranoid endeavors? While this course focuses on 20th century novels (including Orwell’s 1984 and Pynchon’s Crying of Lot 49), we will also examine films and theoretical discourses on paranoia (with particular emphasis on psychoanalytic models). LTWL 138 - CRITICAL RELIGION STUDIES: AMERICAN RELIGIOUS MOVEMENTS Proposed Instructor: Finbarr Curtis This course will explore how religious movements have shaped and been shaped by political and cultural institutions in the US. Focusing on how diverse religious communities have responded to broad social movements and issues, the course will be organized thematically around topics such as: colonialism and missionary activity, revivalism, sectarianism, immigration and nativism, civil rights, sexual liberation and regulation, creationism/intelligent design, and war. LTWL 138 - CRITICAL RELIGION STUDIES: LITERATURE, CULTURE, AND RELIGION IN MODERN IRAN Instructor: Babak Rahimi This interdisciplinary course will explore the relationship between culture and religion in the Persian literature from the Abbasid to post-revolutionary Iranian history. LTWL 160 - WOMEN IN LITERATURE: WOMEN IN ITALY Instructor: Stephanie Jed Our goal will be to analyze and understand the specificity of Italian feminist writing from Italian unification (1861) to the present day. We will focus on manifestos (such as Carla Lonzi's "Let's Spit on Hegel"), novels, short stories, laws, practices and theories that question the western philosophical and political tradition from an Italian and transnational feminist perspective. In our discussions, we will examine such topics as the "dream of love;" the problems with concepts of gender "equality;" the relation of women writers and thinkers to history, especially to the historical experience of fascism; the relation between Italian feminist theory and practice. This course is applicable to Italian Literature and Italian Studies majors and minors. Students of Italian may sign up for an extra discussion section conducted in Italian (and an extra unit). LTWL 172 - SPECIAL TOPICS IN LITERATURE |
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STUDENTS MUST HAVE COMPLETED THEIR COLLEGE WRITING
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| 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. LTWR 8C - WRITING NON-FICTION: NON-FICTIONAL PROSE Instructor: John Granger It’s all about writing the difficult truth. Classes will alternate from workshop, on Thursdays, to lectures and discussions of readings (and anything else that arises), on Tuesdays. Required work includes eight writing or revision assignments, each two pages long, and weekly reading quizzes. The course grade is based on a ten-page final project (50%), on workshop performance (30%), and on class participation and attendance (20%). |
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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, Stuart Dybek, Aimee Bender, Jorges Luis Borges, Grace Paley, Donald Barthelme, Anton Chekhov, Alice Walker, Gabriel Garcia Marquez, Mary Gaitskill. Prerequisite: LTWR 8A LTWR - 100 SHORT FICTION Instructor: Melvin 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 Instructor: Rae Armantrout This course is for students with an interest in writing (and reading) contemporary poetry. Poetry has been variously defined by modern poets. William Carlos Williams said a poem is a "small (or large) machine made of words." Charles Bernstein described poetry as "turbulent thought" which "leaves things unresolved." We will explore a range of approaches to poetry writing and students will be encouraged to invent their own poetic forms. Assigned readings may include work by Emily Dickinson, William Carlos Williams, Langston Hughes, Sylvia Plath, Charles Bernstein, Frank O'Hara, and Harryette Mullen. There will be intensive small group discussion of student poems. Prerequisite: LTWR 8B. LTWR 109 - WRITING AND PUBLISHING CHILDREN’S LITERATURE Proposed 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 Proposed Instructor: Isaac Artenstein The course is taught as a workshop where students write and present to the class a series of screenwriting exercises as well as a completed short script. The required texts include screenplays of contemporary films to help master script format and appreciate different writing styles of film professionals. Through these exercises, lectures and readings, students learn about the basics of writing for the screen, including dramatic structure, characterization, theme and dialogue. LTWR 112 - ADAPTING LITERATURE TO THE SCREEN Proposed Instructor: Julia Fulton Have you always wanted to know how books become movies? Did you know that 70% of all produced screenplays are adapted from books? If you are an aspiring writer or an avid film buff, come watch films and discuss excerpts of their original sources and their screenplays. Films include The English Patient, Sense and Sensibility, Big Fish, Adaptation, The Hours, Million Dollar Baby and more. No screenplay experience is needed. Come watch and debate with us! Final project will be a choice between writing an adapted screenplay or analyzing a film and its original source. LTWR 115 - EXPERIMENTAL WRITING Proposed Instructor: Laurie Weeks This course is not an overview of the history of experimental writing. Rather, we’ll examine the conditions that make it necessary to use writing strategies outside the mainstream. Don’t take this class unless you have multiply personality disorder. Cyberpunk stuff by Banana Yoshimoto, and Cookie Mueller---do these words mean anything to you? LTWR 126 - WORKSHOPS IN CREATIVE NON-FICTION SOCIOLOGY AND LITERATURE Instructor: Melvin Freilicher Students will read and write texts which focus on both social issues and on stylistic and literary innovation: not academic sociology, the readings will fall within a range of genres, including feature writing, reportage, (photo) essays, social text. This includes James Baldwin’s The Evidence of Things Not Seen, excerpts from Agee’s Let us Now Praise Famous Men, Elias Canetti’s Crowds and Power, and Chassidic Tales of the Holocaust, and essays by Barthes, Susan Faludi, Susan Sontag, Joan Didion, Jonathan Kozol and others. Some writing exercises will focus on analysis of writers’ rhetorical strategies or emulation of their styles. The readings are also models for how to approach the writing project: to create a portrait of a social scene and/or sub/cultural trend and to discuss its ramifications. In all cases, projects will include interviews, observation, research and a discussion of the writer’s own position in relation to the subject matter (which might range anywhere from remote observer to intimate participant). Students will provide first drafts of their projects for everyone in the class which we’ll discuss in the second half of the quarter; students will also provide written critiques for about half of these. Revised projects are due finals week. Prerequisite: LTWR 8C. LTWR 129 - DISTRIBUTING LITERATURE Instructor: Sarah Shun-lien Bynum This course will cover practical and philosophical aspects of advancing yourself as a writer-in-the-world: How to develop a consistent writing practice, how and where and when to apply to graduate school (including how to craft a personal statement), letter-of-recommendation etiquette, how to approach literary agents, where to find out about writing contests and how to enter them, how to self-publish or develop innovative means of distribution for "unpublishable" literature, submitting work for journal publication, starting a writing group, journal, or reading series, supporting yourself as a writer, preparing for public readings of your work, teaching writing among diverse populations, and other issues relevant to your development as a writer. In addition to weekly research and writing assignments, the final project will be the submission of a manuscript (developed outside of class) to an agent, small press, or literary journal, or the development of a chapbook for distribution. Students may also choose to organize readings, chapbook sales, and other events. Participants should come to the class with a significantly developed body of work, such as a chapbook-length series of poems, stories, or hybrid texts. LTWR 143 - STYLISTICS AND GRAMMAR Instructor: John Granger "Like everything metaphysical the harmony between thought and reality is to be in the grammar of the language" (Wittgenstein). This course adopts a lecture-workshop format. An anatomy of grammar in the lectures and discussions (Tuesdays) alternates with workshops (Thursdays) in which students will complete a set of twenty stylistic transformations of some unassuming, page-length composition of their own. Required texts include Lanham, A Handlist of Rhetorical Terms, 2nd ed. (UC Press, 1991); Queneau, trans. Wright, Exercises in Style (New Directions, 1981). There will be a final exam on the subject of grammar for half of the grade. Prerequisite: LTWR 8C.
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