Literature HomeUCSD

Winter 2008 Undergraduate Course Descriptions
African Literature Literature of the Americas Chinese Literature Classics Literature Comparative Literature Cultural Studies
East Asian Literature Literatures in English European and Eurasian Literature Literatures in French Literatures in German Greek Literature
Hebrew Literature Literatures in Italian Korean Literature Latin Literature Near Eastern Literature Portuguese Literature
Russian Literature Literatures in Spanish Literature/Theory Literatures of the World Literature/Writing TRITONLINK
(course dates/times)

AFRICAN LITERATURE - No Course Offerings Winter 2008

LITERATURE OF THE AMERICAS

LTAM 110 -- LATIN AMERICAN LITERATURE IN TRANSLATION
Instructor: Cecilia Ubilla

In this class we shall read and analyze several prose and poetry works by representative Latin American writers from the late 19th and 20th centuries. These texts will be read in English translation and all course work (discussion/papers, etc.) will be in English.

We shall examine theme, form, and meaning, as well as the historical, social, and cultural context of the poetry of Elvio Romero (Paraguay) and Gabriela Mistral (Chile), as well as the prose of Horacio Quiroga (Uruguay) and José Eustacio Rivera (Colombia)—among others.

We shall also explore the translation process and the impact of such a process, if any, on the selected texts, vis à vis language, culture, and meaning.

CHINESE LITERATURE

LTCH 101 -- READINGS IN CONTEMPORARY CHINESE LITERATURE
Instructor: Larissa Heinrich

This course will introduce autobiographical and self-writing genre works by Chinese women authors from the early 20th century to the present day. Reading approximately one novel per week, we will cover works by writers such as Xiao Hong, Zhang Ailing, Chen Xue, Qiu Miaojin, Wei Hui, Mian Mian, Chen Ran, and Chi Zijian. Reading knowledge of Chinese required.
 

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

LTGK 2 (INTERMEDIATE GREEK)
LTGK 120 (NEW TESTAMENT GREEK)
LTLA 2 (INTERMEDIATE LATIN I) - 2 Sections for Winter 2008
LTLA 132 (LYRIC AND ELEGIAC POETRY)
COMPARATIVE LITERATURE - No Course Offerings Winter 2008
CULTURAL STUDIES

LTCS 52 - TOPICS IN CULTURAL STUDIES:
REPRESENTATIONS OF MIGRATION IN CONTEMPORARY CULTURE
Instructor: Winifred Woodhull

This course will examine various modes of cultural expression—literature, film, television, and new media such as the internet—to see how they represent the voluntary and involuntary migration of people from one part of the world to another. We will be concerned to determine how inequalities of wealth, status, and political power shape both migrations and their representations. We will also consider a key question in cultural studies: why culture matters, why it is not merely entertaining, not merely a reflection of “what’s really going on” economically, politically, and socially.

Texts to be studied will include films from China, Europe, Africa, and the Middle East; fiction from the Caribbean, Quebec, and Congo; as well as television shows such as The X Files and scholarly discussions of uses of the internet.

LTCS 87 - FRESHMAN SEMINAR: RE-ENVISIONING MIGRATION, SPACE, AND 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), Nancy Kelly’s Thousand Pieces of Gold (1991), Mira Nair’s Mississippi Masala (1991), and three other recommended films.

Requirements:
Viewing all required films on your own before class
Class attendance and active participation in discussion
Two one-page papers analyzing reviews and critical studies of any two listed films
One 10 minute class presentation on a topic related to one of your papers


LTCS 170 - VISUAL CULTURE: THE POLICITAL OPTICS OF TERROR
Instructor: Randall Williams

This course will examine the representation of brutality (lynching, torture, imprisonment, slaughter, genocide, etc.) through a variety of visual media, including postcards, television, paintings, films, theatre, and photography. We will focus on the increasing circulation of images of violence, terror, and suffering in our public culture. We will consider how the iconography of terror has been used to serve various political agendas and pedagogies and how this structures our perception of threat and danger. *This course will also count as an LTEN course*
EAST ASIAN LITERATURE

LTEA 110A - CLASSICAL CHINESE FICTION IN TRANSLATION
Instructor: Larissa Heinrich

A reading-intensive course designed to introduce the entire classic Chinese novel “Dream of the Red Chamber” (also known as “The Story of the Stone”), in English translation. No prior knowledge of Chinese language or culture required or expected.

LTEA 142 - KOREAN FILM, LITERATURE, AND POPULAR CULTURE
Instructor: Jin-Kyung Lee

This course traces South Korean history from 1945 to the present through a comparative examination of literary works and films, paying particular attention to representations of the colonial past, national division, the Korean War, authoritarianism, industrialization process, family and gender relations, and contemporary popular and consumer culture. Some of the questions we will explore include the following: How do film genres and cinematic forms and literary styles and forms diverge in dealing with common topics? ; What are the respective particularities of visual/cinematic and literary representations of major historical issues? ; Have South Korean films and literary works served different political and social functions in various historical contexts? ; What kind of impact have the flourishing South Korean film and popular culture industry and its globalization in recent years had on South Korean literature, culture and society? We will pair a film with literary works for each week in addition to secondary materials that will help contextualize both films and literature.
LITERATURES IN ENGLISH

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

This survey course covers the literature written in the British Isles from the Restoration period in the second half of the seventeenth century through the Romantic period in the early nineteenth century. These one hundred and seventy years were a time of profound change on all levels: political, economic, social and literary. These changes included industrialization and imperial expansion; the growing power of the middle classes; changes in thinking about gender; revolution (the American, the French and the Haitian), radicalism, and political backlash; the growth of evangelicalism; and the rise of reform movements such as abolition, Catholic emancipation and animal protection. For the literary world, this was a time of the growth of the publishing industry; battles between “high” and “low” culture; the development of a new, important genre that came to be called the novel; and the emergence of professional women writers. This course will examine representative literary texts in the context of these and other historical developments. We will be reading some of the major examples of poetry, drama, essays and novels written during this period. Our primarily textbooks will be the Norton Anthology of English Literature (8th edition) Vol. C: The Restoration and Eighteenth Century, and Vol. D: The Romantic period. We will also read Daniel Defoe’s Moll Flanders and a short novel from the later part of our period.

LTEN 26 - INTRODUCTION TO 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 27 - INTRODUCTION TO AFRO-AMERICAN LITERATURE
Instructor: Camille Forbes

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

LTEN 107 - CHAUCER: THE CANTERBURY TALES
Instructor: Lisa Lampert-Weissig

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. Because we will be learning how to read Chaucer in the original in the first few sessions, this class gets off to a quick start with early assignments. Please be prepared to attend and participate from the first session and bring our text, Geoffrey Chaucer, The Canterbury Tales, ed. Jill Mann, Penguin, 2005 to the first class.

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 120A - 18TH CENTURY: THEMES AND ISSUE: ANIMALS IN THE 18TH CENTURY
Instructor: Kathryn Ann Shevelow

Amidst a storm of controversy, the world’s first national animal protection law was passed by the British Parliament in 1822. Two years after that, the Society for the Prevention of Cruelty to Animals (SPCA) was founded—the first animal protection organization that managed to last longer than a few months. Prior to these moments, animals had legal status only as property, and indifference to their suffering was the norm. Traditionally (and to a large degree still in 1822), most people would have found the very concept of animal protection to be preposterous, if not simply unimaginable. So why did the law appear then? What had begun to change in society’s thinking and feeling about animals that made a national legislature, for the first time in history, take this step to protect some “dumb brutes” from cruelty?

This class will explore some of the answers to this question, by looking at the relationships between humans and non-human animals in the period prior to 1822, during the “long eighteenth century” that we consider to have begun in 1660. We shall examine the religious and philosophical underpinnings of eighteenth-century ideas about the nature of animal life, the many ways that animals were represented during this period, the growing anti-cruelty movement, and the context in other issues of the day, such as abolition, evangelicalism, vegetarianism, anti-vivisection and revolution. Our scrutiny will include historical information about people’s interactions with animals, from references to house pets (the keeping of pets became a widespread practice at this time), beasts of burden, wild, and exotic animals, to accounts of blood sports, animal exhibits in venues such as Bartholomew Fair, and animals’ appearances in legal cases (including their criminal prosecution and execution). We will also be looking at varied kinds of representations of animals in literature (poetry, fiction, essays, novel), painting (from satiric prints to portraiture), and in science writing (case histories and taxonomy, but also the growing debates about animal experimentation and vivisection), as well as some of the ways in which non-human creatures were used as metaphors and moral exempla, and figured in travel writing, and discussions of race, monstrosity and the boundaries of the human.

LTEN 127B - VICTORIAN POETRY:
Poetry of Sensation, Social Statement, or Sensual Symbolism? (c)
Instructor: Margaret Loose

Shake your hips; tap your feet; lend me your ears; let’s talk about poetry. It’s about sound, about soul, about sex; it deals with death, and doubt, and difference. Whether you want to write poetry or just learn to be a better reader of it, it’s indispensable to know about the things you thought you hated: meter, and alliteration, and the difference between sonnets and sestinas. Here is your chance to learn that vocabulary (no experience required) and why it really matters—the Victorians can show you how. The Victorians also struggled with the appropriate subjects for poetry: should it address large, contemporary social issues? the realities of the domestic sphere? the subjective experience of the lyric “I”? They wondered how to (and whether to) represent the individual’s sense of alienation from self, how much poetry should seem like painting or music. They created a wide cast of characters, from the criminally insane to the deeply pious to the prostitute to the classical hero, and we’ll encounter many of them in the course of our study. This will be a strongly participatory class, with grades dependent on weekly portfolio writings, attendance/participation, a mid-term paper, and a final exam.

LTEN 146 - WOMEN AND ENGLISH/ AMERICAN LITERATURE: UNRULY WOMEN IN EARLY AMERICA (c)
Instructor: Nicole Tonkovich

According to historian Laurel Thatcher Ulrich, “Well-behaved women rarely make history.” In this course, we will focus on some ill-behaved women in early American literary history. We will consider how these women contravene our usual stereotypes about colonial dames and good wives, the social, legal, and racial constraints that positioned them as dissenters, and the consequences (real and imagined) of their perceived misbehavior. As the course concludes, we will also examine how history writers (both writers of conventional histories, and writers of literary fictions) in the early nineteenth century represented the lives and acts of these women. Our readings will include the conventionally literary (novels, plays, poems, and letters) as well as histories, political tracts, and legal documents written by and about women of the period (1650-1800).

I will divide the readings for this course into several thematic clusters:

  • Tenth Muses and covered women (Anne Bradstreet, Phillis Wheatley, and others)
  • Errant and erratic women (The Widow Ranter, Mary Rowlandson, Eunice Williams)
  • Coquettes and other sexual renegades (women who committed infanticide; cross-dressed women; prostitutes; The Coquette; The Female Marine)
  • Heretics (Ann Hutchinson; Salem witchcraft trials)
  • Revolutionary women (Judith Sargent Murray, Abigail Adams)
  • Inventing American history (the deification of Martha Washington; Heroic Women of the Revolution; The Scarlet Letter)
LTEN 174 - AMERICAN FICTION II: MIDDLE JAMES: DREISER 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 183 - AFRICAN AMERICAN PROSE: POST-MIGRATION BLACK NARRATIONS
Instructor: Dennis Childs

In this class we will examine narratives of the African American experience after what historians refer to as the “Great Migration”—i.e. the early to mid-twentieth century mass exodus of black refugees from the Jim Crow South to the northern/western “Promised Land.” These narratives of northern and western urban life all point to paradoxical aspects of internal migration—that escape from the South did not represent an attainment of full-fledged citizenship, political power, social/occupational mobility, adequate food or shelter, or protection from outright white supremacist violence. We will analyze how various writers have created unique and related visions of the manner in which the “Promised Land” became a dubious “Re-mix” of southern apartheid. Of particular interest will be issues of space (the places in which southern refugees dwelled, worked, and congregated), time (how each of these narratives continue to look backward toward pre-migratory moments), and gender (the politics of how black women and men experienced urban life).

LTEN 185 - THEMES/ AFRO-AMERICAN LITERATURE: PRISON LITERATURE I
Instructor: Dennis Childs

In this class we will examine US (anti)prison narratives—particularly those of African Americans—and the way captive narration interrogates liberal tenets such as “progress,” “freedom,” and “democracy.” Some questions of concern will be: Why do prison narratives repeatedly invoke the antebellum period (slavery) in reference to supposedly post-slavery moments? What is “crime” in the US context and how has its meaning changed and/or resisted change over time? How do the forms of expression produced by the incarcerated challenge prevailing conceptions of American legal history? What institutional, social, and cultural apparatuses inform America’s current status as the most incarcerating nation in the history of humankind? Our readings of captive narratives will be supplemented by analysis of alternative cultural forms—e.g. chain gang songs—that have been used by the incarcerated to give expression to (and protest against) the experience of state terror.

LTEN 187/ETHN 176 - BLACK MUSIC/BLACK TEXTS: COMMUNICATION AND CULTURAL EXPRESSION
FIRE MUSIC JAZZ AND THE BLACK ARTS MOVEMENT
Instructor: Jason Jeffrey Robinson

This course focuses on the intersection of Black Arts Movement writers and experimental jazz musicians of the 1960s. Using saxophonist Archie Shepps 1965 album Fire Music and Amiri Barakas landmark 1963 book of music and social criticism Blues People: Negro Music in White America as its central focus, we will explore ways in which trends in black literature used music as a model of black identity. We survey the development of the so-called jazz avant-garde and the emergence of the black aesthetic in African American literature. No previous musical training is required to take the course.

LTEN 190 - SEMINAR: SLAVERY 20TH CENTURY AMERICAN LITERATURE (d)
Instructor: Camille Forbes

This course will explore what have been called “neo-slave narratives.” Such texts, written by contemporary African American writers, revisit and revise the “slave narrative” genre and evidence authors’ concerns with not only with history, but also with race and identity in contemporary America. We will begin the course with study of canonical texts in the genre, including Douglass and Jacobs, subsequently focusing our attention on contemporary works in the genre, such as Morrison’s Beloved, Williams’s Dessa Rose, Johnson’s Soulcatchers, and Jones’s The Known World. Our discussions will consider such questions as: Do the neo-slave narratives enable us to rethink the categories of “trauma” and “memory”? How have neo-slave narratives troubled the existing archives? Is there any “generic tension” between the original model of eighteenth and nineteenth century slave narratives and the neo-slave narratives? What is the legacy of slavery, and how does if inform the present? Students should have taken LTEN 27 (Introduction to African American Literature) or equivalent.
The following courses also count as an LTEN Course:

LTCS 170 - (VISUAL CULTURE: THE POLICITAL OPTICS OF TERROR)
LTWL 115 - (CONTEMPORARY LITERATURE: TRUE CRIME WRITING)
LTWL 140 - (NOVEL AND HISTORY IN THE THIRD WORLD )

 

LTEN Upper Division Codes:

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

Return to top of LTEN section

EUROPEAN AND EURASIAN LITERATURE

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

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

LTFR 2A - INTERMEDIATE FRENCH I
Instructor: 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 II
Instructor: TAs 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 TOPICS
Instructor: TAs supervised by Catherine Ploye

Designed for students who wish to further improve writing and conversational skills. Most advanced course in the program that offers a formal review of grammar. Oral skills are practiced through discussions of cultural issues presented in a contemporary novel and a film. May be applied towards a minor in French literature or towards fulfilling the secondary literature requirement. Students having completed 2C can register in upper-level courses (115 or 116). Prerequisite: LTFR 2B or equivalent or a score of 5 on the AP French language exam.

LTFR 21 - CONVERSATION WORKSHOP I
Instructor: TAs 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: LIFR 1C/CX or consent of instructor.

LTFR 21 - CONVERSATION WORKSHOP I
Instructor: TAs 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: LIFR 1C/CX or consent of instructor.

LTFR 31 - CONVERSATION WORKSHOP II
Instructor: TAs 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: LTFR 2B or consent of instructor.

LTFR 50 - INTERMEDIATE FRENCH II: TEXTUAL ANALYSIS
Instructor: TAs 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 60A - FRENCH FOR READING KNOWLEDGE I
Proposed Instructor: Sarah Leibovitz - Dambre

This course is meant for undergraduate and graduate students who wish to develop their ability to read French texts but do not need to speak or write in French. The course will provide basic strategies for reading and understanding French texts, as well as practice in reading and translating from French into English. The class will progress from very simple texts to more sophisticated ones, using a textbook and, later, a wide variety of short texts in the humanities and social sciences (Camus, Bergson, Benveniste, Lévi-Strauss, Ricoeur, Barthes, etc.). When possible, students will also be encouraged to submit French texts that are relevant to their own interests or areas of research so that they can be studied in class.

No active knowledge of French (ability to speak or write in French) is required.
Required textbook: Karl Sandberg, French for Reading, Prentice Hall.

LTFR 115 - THEMES IN INTELLECTUAL AND LITERARY HISTORY:  DU MOYEN AGE AU 18e SIECLE
Instructor: Annick Gentet

Dans ce cours, nous étudierons quelques textes de la littérature française du Moyen Age à la Révolution Française. Prerequisite: LTFR 2C or LTFR 50 or equivalent.

LTFR 123 - EIGHTEENTH CENTURY: TOUTE VIE EST UN ROMAN
Instructor: Marcel Henaff

Au 18e siècle, avec les Confessions de Jean-Jacques Rousseau, apparaît la première autobiographie dans la littérature européenne. Ce qui est nouveau c’est que la vie ordinaire d'un homme ordinaire vaut la peine d'être racontée. On savait déjà, avec le "roman de formation" que le héros désormais pouvait être n'importe qui mais c'était dans le but que, grâce au récit, il devienne exceptionnel. C'était un être de fiction construit pour passer du rien à quelque chose Mais dans les Confessions, c'est tout ce qui arrive à un être réel qui peut être raconté. La vie devient roman. Et cela change notre idée même de la vie comme notre conception du roman.

D’autres auteurs ont su aussi, à cette époque, parler de leur vie: on retiendra pour ce cours Histoire de ma vie de Giacomo Casanova. Mais on étudiera aussi plusieurs témoignages de femmes remarquables par leur science, leur indépendance et leur talent comme Madame du Châtelet, Julie de Lespinasse ou Germaine de Staël.

Except Les Confessions Vol 1 [pocket edition] available at the bookstore, the other texts will be delivered as a reader. Prerequisite: LTFR 115 or LTFR 116 (contact Department) or consent of instructor.

LTFR 145 - CONTEMPORARY FRENCH THOUGHT: BEYOND “FRANCOPHONIE”
Instructor: Winifred Woodhull

This course will look at the work of thinkers, writers, and filmmakers who, in the course of the 20th century, challenged French colonialism and, at the same time, challenged the notion that French culture was a superior one to which other that other French-speaking cultures should assimilate. Initially, the overt assertion of French cultural superiority gave way to a notion of “francophonie,” a sort of cultural commonwealth united by the centrality of the French language. Underlying this notion was an ongoing assumption that France was at the “center” and that other francophone cultures—those of West Africa, North Africa, the Caribbean, The Indian Ocean, Quebec, Romania, and even Belgium and Switzerland—were peripheral, derivative and, indeed, inferior.

We will examine intellectual work that argues for and/or enacts other understandings of the use of French; counter-discourses on the relations of former French colonies to France; and new modes of identification that move beyond the imperial model (metropole/colony; center/periphery) and also beyond national identifications. Throughout the latter half of the 20th century and into the 21st century, intellectuals and artists who express themselves in French have been imagining new linkages across ethnicites, cultures, and languages, linkages that speak to the realities of today’s globalized world. Works to be studied include essays and fiction by Aimé Césaire, Abdelkebir Khatibi (Morocco), Jacques Derrida (Algeria/France), Michel de Certeau (France), André Schwarz-Bart (France), J.-M. G. Le Cllézio (France), Albert Memmi (Tunisia), Assia Djebar (Algeria), Alain Mabanckou (Congo), Marie-Claire Blais (Quebec), Abderrahmane Sissako (Mauritania), Ananda Devi (Mauritius), Kim Lefèvre (Vietnam), and Nadine Labaki (Lebanon).  Prerequisite: LTFR 115 or LTFR 116 or consent of instructor.
GERMAN LITERATURE

LTGM 2B - INTERMEDIATE GERMAN I
Instructor: Edda Hodnett

In this second course of the Intermediate German series, we are using a multimedia approach to trace the dramatic events in post-war Germany, divided into East and West. We will read eyewitness accounts and personal journals about the tremendous impact of the Berlin Wall on everyday life. There will be videos of TV news stories and the feature film "Das Versprechen", an East/West love story. Our readings of several short stories, one of them Brecht's "Augsburger Kreidekreis", will add to our investigation of this period and to what should be lively discussions of these remarkable times. Last, but not least, there will be the usual dose of exciting German grammar topics to help us get the most out the course materials and to refine our writing skills in German.

LTGM 60A - GERMAN FOR READING KNOWLEDGE READING I
Instructor: Edda Hodnett

If you need to read German in connection with your research interests, this course will help you decipher complex German nouns, obtuse grammar rules, and those seemingly endless German sentences- (WHERE is the verb?). Weekly class sessions will be devoted to checking your translations, reading longer passages together, and discussing particularly thorny problems.

LTGM 130 - GERMAN LITERARY PROSE
FANTASTIC SHORT PROSE
Instructor: William O’Brien

From childhood to Hollywood, the modern imagination remains haunted by evil witches and cheerful elves, gallant knights and virtuous maidens, enticing mermaids and repulsive ogres. The enchanted seas and swirling waters of movies such as The Little Mermaid and Lord of the Rings, and the lonely woods and craggy mountains of video games such as Warcraft reproduce a fantasy world that seems as durable as forged steel, more ancient than the medieval costume of its characters.

Yet the modern fabrication of this fairytale ‘world’ was undertaken in the years around 1800—by the Brothers Grimm and a host of now-forgotten authors celebrated in their day. In the small lands of what would later become Germany, in response to the dawn of bourgeois democracy, industrial revolution, and the idea of the nation-state, writers turned to fantasy as the avenue by which they could earn a living free of aristocratic support or patronage. The ‘writer’ emerged as a purveyor of fantasy, a professional money-maker, and a ‘star’ of pop culture by offering his productions to a new ‘middle class’ that feverishly consumed a literature of ‘escape’ and ‘entertainment.’ The world of fairy-tale fantasy that still lives today was created in a time of revolution and sweeping change, as the French Revolution and Napoleonic Wars rushed across the European stage.

Was—Is?—fantasy writing a reactionary escape from our increasingly rational world after Enlightenment? Can it have been a cry of horror at the new, money-based economy? Does fantasy writing give us an idealized image of nature as ‘supernatural’ to protest industry’s daily consumption of the real, natural world? Yes—and No, as surely as elves are political and economic little fellows.

This course will study German fantasy writing from the 1790s to 1820, the famed “fantastic’ of German Romanticism. We will read the Brothers Grimm, E.T.A. Hoffmann, Heinrich von Kleist, and other writers lionized in their day: Ludwig Tieck, Adelbert von Chamisso, Achim von Arnim, and Friedrich de la Motte-Fouqué. The cast of characters will be evil, scheming, innocent, virtuous, sexy and unnatural. The literary style will be finely wrought, inherited from the Enlightenment and Neo-Classicism, yet built on folk traditions and pushing the limits of form and representation.

Prerequisite: LT/GM 2C or the equivalent (two years of university German).
Requirements: Short readings for each class, closely done; three five-page papers to hone your powers of exposition and textual analysis.
Books: A class reader in German will be on sale at the University Bookstore. Everyone is advised to have a large German dictionary or to be adept at such online.
Come have some serious fun with fairy-tales for grownups!
The following course can also count for German Studies requirements or as a LTGM course. (See full course description.):

LTWL 107 - (PROSE FICTION: POST-1945 JEWISH LITERATURE IN EUROPE: MEMORY, DIALOGUE, DIASPORA)
GREEK LITERATURE

LTGK 2 - INTERMEDIATE GREEK
Instructor: Leslie Edwards

We'll continue to make our way through the same introductory text. There will be longer passages of real Greek (Homer, Plato, Euripides, Theognis, New Testament, etc.) and more complexity....but also more pleasure! By the end of the term we will be prepared to embark on reading the Odyssey in Greek 3. Midterms, quizzes, and a final. Prerequisite: LTGK 1 or permission of the instructor.

LTGK 120 - NEW TESTAMENT GREEK
Instructor: Page duBois

We will read one or more of the letters of Saint Paul, in koine, the Greek of the New Testament, as well as the work of commentators on the text. Knowledge of ancient Greek is required.  Prerequisite: LTGK 1, 2, 3, or equivalent
HEBREW LITERATURE - No Course Offerings Winter 2008
LITERATURES IN ITALIAN

LTIT 2B -  INTERMEDIATE ITALIAN II
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. Prerequisite: LTIT 1C, LIIT 1C/1CX, or equivalent or consent of the instructor.


LTIT 110 - ITALIAN LITERATURE: THREE AUTHORS OF CONTEMPORARY ITALY: MORETTI, SALVATORES, AMELIO, COMENCINI, MARRA.
Instructor: Pasquale Verdicchio

Three Authors of Contemporary Italy: Moretti, Salvatores, Amelio, Comencini, Marra.

This course will consider how the written, cinematographic and political work of these three contemporary intellectuals represents extra-national, global as well as regional and more local manifestations inherent to Italian culture. Moving beyond the dictates of nationalism and national culture, Marra, Comencini, Moretti, Salvatores and Amelio manage interactive spheres through a notion of “national-popular” culture and toward what we might define as an “international-popular” space.  Prerequisite: LTIT 100.
KOREAN LITERATURE

LTKO 1B - BEGINNING KOREAN: FIRST YEAR II
Instructors: TAs supervised by Jeyseon Lee

Please visit our Korean Literature website at: http://korean.ucsd.edu/  for a course description for this course.

LTKO 1C - BEGINNING KOREAN: FIRST YEAR III
Instructors: TAs supervised by Jeyseon Lee

Please visit our Korean Literature website at: http://korean.ucsd.edu/  for a course description for this course.

LTKO 2B - INTERMEDIATE KOREAN: SECOND YEAR II
Instructors: TAs supervised by Jeyseon Lee

Please visit our Korean Literature website at: http://korean.ucsd.edu/  for a course description for this course.

LTKO 2C - INTERMEDIATE KOREAN: SECOND YEAR III
Instructors: TAs supervised by Jeyseon Lee

Please visit our Korean Literature website at: http://korean.ucsd.edu/  for a course description for this course.

LTKO 3B - INTERMEDIATE KOREAN: SECOND YEAR III
Instructors: TAs supervised by Jeyseon Lee

Please visit our Korean Literature website at: http://korean.ucsd.edu/  for a course description for this course.

LTKO 100 - READINGS IN COLONIAL KOREAN LITERATURE
Instructor: Jin-Kyung Lee

This course is a survey of literary works from the Japanese colonial period (1910-1945). We will read major authors from the period, such as Yŏm Sang-sŏp, Ch’oe Sŏ-hae, Kim Yu-jŏng, Yi T’ae-jun, and Yi Kwang-su, situating their work in relation to the changing colonial state policies, the ideological struggle between bourgeois nationalists and Marxists, and the import of diverse literary trends from the West. This course is designed both as an advanced reading class and as an introduction to Korean literature, history and culture of the colonial period. Students who have completed three years of Korean at the college level as well as those who have an equivalent level of literacy in Korean through both formal and/or informal training and exposure should qualify to take the class. The level of difficulty of the reading materials and class discussion will be adjusted to the linguistic capabilities of the participants.

LATIN LITERATURE 

LTLA 2 - INTERMEDIATE LATIN I
Instructor: Eliot Wirshbo

In this sequel to Wheelock I: The Beginning, our intrepid students find themselves in Return to Wheelock: Piled Higher and Deeper. The grammatical complexities just keep on cominÕ in this R-rated (for ÔRigorousÕ), fast-paced romp. Students develop an appreciation for their counterparts in the middle ages, when it was thought that the only way to teach students Latin was through beating them. But nowadays, helpful instructors simply Òuse their wordsÓ to cajole, wheedle, and incentivize their charges to ingest the daily grammatical portion. Eager learners will soon look forward to Wheelock III:
The Critical Decision, when they will face the question whether, after all their work, they should become Classics majors.  Daily recitation, six quizzes, mid-term, final.  Prerequisites: LTLA 1 or equivalent.

LTLA 2 - INTERMEDIATE LATIN I
Instructor: Charles Chamberlain

We will cover chapters 17-32 of Wheelock's Latin by Frederic M. Wheelock (6th edition). Expect to have a quiz almost every week, plus two (2) midterms and a final. Quizzes are worth 20 %, the midterms 20 % each (totaling 40 %), the final 30 %, class participation and other factors 10 %. However, when figuring your final grade, I will take improvement (or the lack thereof) into account. I also reserve the right to institute written homework assignments and more frequent quizzes if necessary.

Latin is not taught as a spoken language, so the emphasis will not be on conversing so much as pronouncing correctly through oral drills. There are, however, many grammatical principles to be learned. In some ways, Latin is more like math or science than it is like a modern foreign language; you will soon find it impossible to "get the gist" of the readings unless you know the grammatical rules thoroughly. Therefore, I urge you not to fall behind -- it is very difficult to catch up.

LTLA 132 - LYRIC AND ELEGIAC POETRY
Proposed Instructor: Santiago Rubio-Fernaz

We will read selections from the poetry of Catullus and from the Odes and Epodes of Horace with an emphasis on detailed grammatical analysis of the Latin text, careful translation and commentary on the historical and social context of the poems. There will be a midterm, a final, and two short papers.  Prerequisites: LTLA 1, 2, 3 or equivalent.
NEAR EASTERN LITERATURE - No course offerings Winter 2008
PORTUGUESE LITERATURE - No course offerings Winter 2008
RUSSIAN LITERATURE

LTRU 1B - FIRST-YEAR RUSSIAN
Instructor: Rebecca Wells

Continue exploring the mechanics and mystery of Russian language, culture, and people. We will journey forth into all forms of communication: reading, writing, speaking, and listening. We will continue acquiring basic vocabulary and grammar skills and attempt to apply them both mechanically and creatively. Original Russian materials will supplement the basic text and language lab tapes. This course meets two days per week for grammar lectures and two days per week for conversation. Every effort will be made to integrate material on Russian culture into the language curriculum.

LTRU 2B - SECOND-YEAR RUSSIAN
Instructor: Rebecca Wells

Continuing expansion of previous language acquisitions and introduction to new, unexplored territories. While systematically reviewing grammar, we will begin focusing on the language for more creative purposes in reading, writing, listening, and speaking. Language lab videos and readings texts will supplement the basic text. This course meets two days a week for grammar lectures and two days per week for conversation. Every effort will be made to integrate material on Russian culture into the language curriculum.  Prerequisites: LIRU 33/53, LTRU 1A-B-C or equivalent.

LTRU 104B - ADVANCED PRACTICUM IN RUSSIAN
Instructor: Rebecca Wells

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

LTRU 123 - SINGLE AUTHOR IN RUSSIAN LITERATURE
Instructor: Steven Cassedy

In this course, we will read three classic novels by the great nineteenth-century Russian novelist Dostoevsky: The Idiot, The Devils, and The Brothers Karamazov. In lecture and discussion, we will examine the literary qualities of these works, in addition to the historical, social, and religious issues that they raise.  Prerequisites: LTRU 101C, its equivalent, or consent of instructor.
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
Instructors: TAs supervised by Beatrice Pita

This 5 unit intermediate course meets 4 days per week and is taught entirely in Spanish. Lt/Sp 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 Lt/Sp 2B and 2C. A diagnostic test will be administered on the first day. Prerequisites: completion of LTSP 1C/CX, 1D/1DX, or the equivalent score of 3 on AP Spanish language exam, or instructor consent.

Note: The Final Exam for Lt/Sp 2A is scheduled for Monday, March 17th, 2008. Contact instructor with any questions regarding placement.

LTSP 2B - INTERMEDIATE SPANISH ll: 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 Lt/Sp 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, or the equivalent score of 4 on AP Spanish language exam or 3 on AP Spanish literature exams, or instructor consent.

Note: The Final Exam for Lt/Sp 2B is scheduled for Monday, March 17th, 2008. Contact instructor with any questions regarding placement.

LTSP 2C - INTERMEDIATE SPANISH lll: CULTURAL TOPICS AND COMPOSITION
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. Lt/Sp 2C is a continuation of the Lt/Sp 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. Prerequisites: completion of LTSP 2B, or the equivalent score of 5 on AP Spanish language exam or 4 on AP Spanish literature exams, or instructor consent.  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 Lt/Sp 2C is scheduled for Monday, March 17th, 2008. Contact instructor with any questions regarding placement.

LTSP 2D - INTERMEDIATE/ADVANCED SPANISH: 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 Lt/Sp 2D is scheduled for Monday, March 17th, 2008.

Enrollment for Lt/Sp 2D requires department stamp. Contact instructor with any questions regarding placement.

LTSP 2E - ADVANCED SPANISH READINGS AND COMPOSITION: SPANISH FOR HERITAGE SPEAKERS
Instructor: TA 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: LTSP 2D. Native speaking ability and/or recommendation of instructor.

Note: The Final Exam for Lt/Sp 2E is scheduled for Monday, March 17th, 2008.

Enrollment for Lt/Sp 2E requires department stamp. Contact instructor with any questions regarding placement.

LTSP 31 - CONVERSATION WORKSHOP II
Instructor: TA 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: Li/Sp 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 Lt/Sp courses, alone, or in combination with any other Lt/Sp 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 50B - READINGS IN PENINSULAR LITERATURE
Instructors: 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. Lit/Sp 50B prepares Literature majors and minors for upper-division work. Lit/Sp 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 Lt/Sp 2C, 2D, 2E or 2 years of college level Spanish.

Notes: The Final Exam for Lit/Sp 50B is scheduled for Monday, March 17th, 2008. Contact instructor with any questions regarding placement.

LTSP 130B - DEVELOPMENT OF LATIN AMERICAN LITERATURE
Instructor: Rosaura Sanchez

This course offers students an introduction to Latin American literary movements within a historical context that traces Latin American literature from its indigenous roots and its period of conquest and colonization, to its period of independence, nation formation and modernization. The readings for the course will include a number of short selections of poetry and short stories and essays as well as the following texts: Ignacio M. Altamirano: El Zarco; Ciro Alegrìa: El mundo es ancho y ajeno; Jose Eustasio Rivera: La voràgine; and Carlos Fuentes: Aura. In addition to other class requirements, students will write one five-page paper and two shorter papers, as well as take two exams (a mid-term and a final).  Prerequisites: LTSP 50A and either 50B or 50C.

LTSP 133 - CONTEMPORARY LATIN AMERICAN LITERATURE: THE POETRY OF VALLEJO AND NERUDA
Instructor: Jaime Concha

An introduction to two towering Latin American poets, the Peruvian Cesar Vallejo and the Chilean Pablo Neruda. Their chief works will be considered, especially Los heraldos negros and Poemas humanos by the former, and Residencia en la tierra by the latter. One intermediate exam, and one final paper. Possibly, also an oral presentation.  Prerequisites: LTSP 50B or 50C.

LTSP 142 - LATIN AMERICAN SHORT
Instructor: Jaime Concha

Textual analysis and national international contexts in short-story collections by Julio Cortazar, Gabriel Garcia Marquez, Juan Carlos Onetti, Roberto Bolanho, and other authors. Two exams, one oral and one final, plus an oral presentation (15 minutes).  Prerequisites: LTSP 50B or 50C.

LTSP 150B - CONTEMPORARY CHICANO/A-LATINO/A CULTURAL PRODUCTION: 1960 – PRESENT:
Los 80s: LA ERA DEL REAGANISMO
Instructor: Jorge Mariscal

Un estudio de la década de los 1980s—la llamada “Decade of the Hispanic”--cuando la militancia chicana fue displazada por las presiones de una cultura más conservadora durante la administración de Ronald Reagan. Nuestros objetos de análisis incluyen los autores que inventaron la identidad “Hispanic” (Linda Chavez, Richard Rodriguez), las péliculas y cómo representaban a los personajes hispanos (“La Bamba”), los autores que se aprovecharon del “Hispanic market” (Sandra Cisneros) y otras manifestaciones de un período en el cual las condiciones económicas para la mayoría de los Latino/as se empeoraron de manera significativa.  Prerequisites: LTSP 50B or 50C.
LTSP 177 - LITERARY AND HISTORICAL MIGRATIONS
Proposed Instructor: Maria Bernath

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

We will begin the course by reading a selection of articles published in Spanish newspapers and magazines by exiled authors such as, Mario Benedetti, Eduardo Galeano, Hector Tizón, Cristina Peri Rossi, Antonio di Benedetto and Daniel Moyano. These articles will provide the students with a general overview of the different debates about diaspora and exile taking place in Spain during the late seventies and early eighties. In addition, we will read works of fiction —narrative, poetry and short stories— written and/or published in Spain by some of the authors named above and other ones, as well as two novels: La nave de los locos by Cristina Peri Rossi y Salsa by Clara Obligado.  Prerequisites: LTSP 50A, 50B, or 50C.
LITERATURE/THEORY

LTTH 115 - INTRODUCTION TO CRITICAL THEORY: METHODS AND THEORY IN LITERARY TRANSLATION
Instructor: Amelia Glaser

This course will advance students’ understanding of theories of interpretation and translation, as they collaborate on a high quality translation project from a language of choice. (Note that you do not need to speak a second language in order to take this course.) The first seven weeks of class will be devoted to discussions of readings in literary theory, and will include occasional short translation and language exercises. We will discuss translation as it relates to questions of literary theory, authorship and readership, with particular emphasis on the role of translation in readers’ conceptions of world literatures. Each student will be required to submit a short mid-term theory paper, which discusses a problem of translation, in light of one theoretical text. The last three weeks will be spent work-shopping students’ final translation projects-in-progress, and discussing the practical problems of literary translation. The final translation project will be completed in groups of two or three, from a language that at least one person in the group can read at an intermediate to advanced level.
LITERATURES OF THE WORLD

LTWL 4D - FILM AND FICTION IN TWENTIETH CENTURY SOCIETIES: ITALIAN
Instructor: Pasquale Verdicchio

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

This course continues to explore some of the most important achievements of the ancient Greeks, this time focusing on the classical period (ca. 480 B.C. to 380 B.C.). Though Ôeclectic selectionsÕ is a pleonasm, we will be reading an assortment of texts by disparate authors designed to expose students to the range of interesting and influential ruminations pre-chewed for us by our cultural forebears. Throughout, discussion will be oriented around the similarity-in-difference that emerges from a study of the artifacts of a different culture. That is, the utter otherness of style and of interests exhibited by Herodotus, Sophocles, Gorgias, et al. will be shown to be closer to our own concerns and ways of thinking than they may appear. The justification for a course like this in part involves the truism that studying other cultures broadens us and in part is due to the fact that there is unusual depth and spirit-enhancing content here. Our guarantee to you: if you find that this course fails to enrich you intellectually, just come in and weÕll give you a new intellect, no questions asked.

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

LTWL 107 - PROSE FICTION: POST-1945 JEWISH LITERATURE IN EUROPE: MEMORY, DIALOGUE, DIASPORA
Instructor: Laurel Plapp

The landscape of Jewish cultural life changed drastically in the mid-twentieth century as a result of the Holocaust, exile from Nazi occupation, and the foundation of Israel. This fact has led to the perceived invisibility of Jews in Europe since World War II and the inaccurate equation of Jewish literature with Holocaust literature. In this course, we will explore the vital diversity of Jewish experience in Europe since the war through autobiography, poetry, fiction, and film, from Elie Wiesel’s Holocaust account Night to Wladimir Kaminer’s Russian Disco. We will question assumptions about a monolithic Jewish identity by considering the complexity of Jewish remembering of the Holocaust; the possibilities of dialogue between Germans and Jews, Muslims and Jews, and Ashkenazic and Sephardic Jews; and the choice of Europe as a homeland rather than Israel. We will analyze how the texts use language, politics, memory, ethnicity and gender to construct European-Jewish identity as multiple. Texts will be available in English translation. This course counts toward German Studies requirements; it can also count as a LTGM course if the student works in the original German. (See instructor for details.)
LTWL 115 - CONTEMPORARY LITERATURE: TRUE CRIME WRITING
Instructor: Melvyn 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 Halliburton or “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 Vietnam War memoirs, and Eric Schlosser’s FAST FOOD NATION.

Other texts combine such analysis with vivid oral history or personal testimonies: Lonnie Shavelson’s HOOKED: Five Addicts Challenge Our Misguided Drug Rehab System; LeAlan Jones & Lloyd Newman, OUR AMERICA: Love and Death on the South Side of Chicago. 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 take-home midterm, and final exam.  *This course will also count as a LTEN course.

LTWL 116 - ADOLESCENT LITERATURE: FANTASTIC TEENS
Instructor: Stephen Potts

Adolescent and young adult fiction has long overlapped with genres such as fantasy, science fiction, adventure, and romance. Historically many such novels and stories have ended up on YA shelves, even if originally written for general audiences, while more recently books written for the young—by authors such as Tolkien, J. K. Rowling, and Philip Pullman—have attracted adult readers. In this course we will critically consider a number of novels from these genres, asking ourselves what makes them adolescent literature and what makes them appealing to older readers.

LTWL 138 - CRITICAL RELIGION STUDIES
CHRISTIAN HAGIOGRAPHY
Instructor: Dayna Kalleres

Christian Hagiography: Explores the social and cultural impact of the writings of saints' lives in pre-modern Christianity, with special focus on the issues of religious formation, holiness/sanctity, materiality/embodiment, gender/sexuality, and the relation between text and community as well as discourse and reality.

LTWL 140 - NOVEL AND HISTORY IN THE THIRD WORLD
Instructor: John Blanco

In an often-quoted remark, German philosopher and political theorist Hannah Arendt claimed that: “the Third World is not a reality but an ideology.” Yet over half a century after the coinage of the term “Third World” by Alfred Sauvy, it continues to be used as a way of distinguishing the national economies and politics of western Europe and the US from those of the rest of the world – even the “Second World,” which was originally defined as the Soviet bloc of totalitarian governments from World War II to the fall of the Berlin wall. How does Arendt’s contention affect our study of the novel as a literary genre in the twentieth century? What reality lies behind the ideologies of “development,” “progress,” and “civilization,” as well as their negative counterparts (underdevelopment, backwardness, brutal savagery)? And what other ways of seeing and participating in the world emerge from these realities? This course will focus on a close reading of five novels that address these questions in their complexity.

José Rizal, Subversion
Alejo Carpentier, Kingdom of This World
Kerima Polotan, Hand of the Enemy
Anton Shammas, Arabesques
Le thi diem thuy, The Gangster We Are All Looking For

*This course will also count as a LTEN course.

LTWL 176 - LITERATURE AND IDEAS: DAOISM (TAOISM)
Instructor: Wai-lim Yip

Daoism is a root-awakening forward-looking horizon, which can be best characterized by the double meanings of the English word "Radical". On the one hand, it attacks the root questions of how language affects our conceptions, both of the world and of our selves as beings in the world, leading to opening up a new perception of total phenomena as an interweaving, inter-disclosing, and inter-defining entity free from the restriction and distortion of ideas, on the other, it offers us radical, avant-garde subversive strategies to retrieve and re-inscribe such a space in and out of which we are empowered to move freely.
In the Daoist discourse, we often find words, phrases, statements, or stories of actions that take us by surprise, unconventional, strange forms of logic, or anti-logic, teasing language and rhetoric, including paradoxes and attacks by way of using off-norms to re-inscribe off-norms as possible norms, and challenging norms to expose their acceptance as treacherous. In the neo-Daoist developments, we find further the use of actions or activities to tease and assail the life-imprisoning institutions, including techniques of shouting and beating in Chan (Zen) Buddhist kongan or koan. These language strategies and actions or activities of ancient China have anticipated and previewed the three stages of attack often used in Western avant-garde art events since the Dadaist movement, namely, TO DISTURB, TO DISLOCATE, and TO DESTROY. It is important to note that these triple stages of the Daoist attack are inseparable from their target vision of retrieving the free flow of Nature and humanity to the full. Without this understanding, all these “disturb-dislocate-destroy” attempts in avant-garde art movements since Dadaism, including deconstruction and poststructuralist attempts, will remain merely shock techniques as such.

The Daoist Project, in deframing power structures of feudalistic China, reawakens the memories of the repressed, exiled and alienated natural self, leading to recovery of full humanity. As a counterdiscourse to the tyranny of language, it is at once political and aesthetic. Through the texts of Lao Zi and Zhuang Zi, we will explore fully the decreative-creative parameters of this ancient Chinese philosophy, as they operate both in life and in the arts and the new points of departure for rethinking the problems in the modern and postmodern world.

The first three weeks will be devoted to a series of lectures on some of the topics listed above. This will be done comparatively in a crosscultural, transcultural manner. The students should start reading both texts of Daoism as soon as possible. The next two weeks will be devoted to textual analysis. In the remaining weeks, we will use examples of Chinese poetry, paintings and other cultural activities, including the Chan (Zen) Buddhist texts to illustrate the effect of Daoism on aesthetics.

LTWL 180 - FILM STUDIES AND LITERATURE: FILM HISTORY: "THE OTHER" IN SOVIET FILM
Instructor: Amelia Glaser

This course will be an introduction to filmmaking in Soviet Russia, focusing on portrayals of national minorities. Discussion topics will include the staging of multiculturalism in Soviet cinema, the relationship between film and Marxist-Leninist politics and dissident culture. We will also deal with such questions as gender, the environment, and the Soviet Republics. We will analyze the conventions employed by such cinematic legends as Vertov, Eisenstein, Kalatazov and Mikhalkov. Students will come away with techniques in film analysis, practice writing reviews, and a deepened understanding of the relationship between society and film in the context of one of the most fascinating signposts of the twentieth century. Films will be screened during an optional session outside of class, and will be available on reserve. Students wishing to use this course towards a Russian major will be asked to complete some of their coursework in Russian.

LTWL 184 - FILM STUDIES AND LITERATURE: CLOSE ANALYSIS OF FILMIC TEXT: INGMAR BERGMAN’S MASTERWORKS
Instructor: Alain J. J. Cohen

This class will celebrate the extraordinary work of renowned Swedish film director Ingmar Bergman who died this past summer. Several of his best known films (with clips from several others) will be studied chronologically in close analysis so as to assay the power of his creative work and of his iconography today in the history of international cinema. The main films which will screened in part in class are:
- The Seventh Seal (1957), which features an emblematic medieval knight who plays chess with Death during the XIVth-century Black Plague;
- the admired Wild Strawberries (also 1957), whose main character’s dreams and flashbacks highlight the loneliness and alienation of his present condition;
- Bergman’s study of the psyche in his exploration of a character’s disintegration and descent into madness in Through a Glass Darkly (1961) and Persona (1966);
- Bergman’s study of a couple’s self-destructive struggle through wartime humiliations and traumas in Shame (1968) and The Serpent’s Egg (1977).
If time permits, Saraband (2003) – Bergman’s last film – will also be screened.

Methods: technical analysis of films will be highlighted in the first part of the quarter. This will include shot-by-shot analysis (e.g. Bergman’s legendary voice effects in close-ups), narrative programs vs. plots; in the second part of the quarter, emphasis will be on his filmic metaphors, psychological cinema and philosophy. This course should prove to be a feast for students coming from various disciplines and majors: Students interested in text-to-film transposition may study more closely Bergman’s own screenplays; others interested in psychology and psychoanalysis will be referred to specific articles; those who wish to study Bergman’s close collaboration with his cinematographers may work on filmic aesthetics; etc. Note: “Veteran” Alain J.-J. Cohen’s students are, of course, welcome and will be directed to more advanced work from the start.

LTWL 191 - HONORS SEMINAR: RELATIONS OF RESEARCH IN LITERARY PROCESS
Instructor: Stephanie Jed

In this seminar, our main organizing topic will be relations of research in literary process – both scholarly and creative. We will begin our discussions with a viewing of Verhoeven’s 1990 film The Nasty Girl (Das schreckliche Maedchen) about a young German woman’s research in the municipal archives of her hometown. We will then read historical, critical and fictional works that exemplify particular relations of collecting and research, including: The Captivity and Restoration of Mrs. Mary Rowlandson, Sherley Anne Williams, Dessa Rose, Hanif Kureishi, My Son the Fanatic, and Daphne Marlatt, Ana Historic. We will examine research and writing as socially constructed activities that can take us in unexpected directions. We will work with manuscript material in Special Collections. We will investigate how writers identify topics and develop research itineraries and methodologies from their materials of research.

Readings and discussions will aim to help you produce an honors project that you care about. You will have an opportunity to participate in a writing group and to receive feedback from that group and from the whole seminar. You will keep a reading journal that specifically addresses how readings help you with the development of your project. At the end of the quarter, you will turn in a project prospectus and bibliography.

WRITING
 

STUDENTS MUST HAVE COMPLETED THEIR COLLEGE WRITING REQUIREMENTS
PRIOR TO ENROLLMENT IN LTWR 8 A-B-C
LTWR 8A, B, AND C ARE PREREQUISITE TO DECLARING A MAJOR IN WRITING.
STUDENTS ENROLLED IN LTWR 8B AND LTWR 8C ARE REQUIRED TO ATTEND THREE READINGS IN THE NEW WRITING SERIES (INDICATED BY “LAB” BELOW). SEE LITERATURE DEPARTMENT FOR TIMES AND DATES.

LTWR 8A - WRITING: FICTION
Instructor: Anna Joy Springer

This rigorous, fast-paced course introduces many of the basic elements of contemporary fiction, including characterization, style, point-of-view, dialogue, theme, and narrative structure. Emphasis will be placed upon writing first from your most unfettered imagination, AND upon sculpting these wild writings into shapely short stories through a variety of creative revision techniques. Each week we will read both conventional and unusual short stories published in the last thirty years, in order to discuss in context the fiction-writing techniques you’ll be practicing in your own writing. To explore craft and experimentation, there will be a number of brief writing exercises, both in and outside of class, which will help to generate a final short story as the quarter progresses. Writing exercises and drafts will be reviewed in small groups led by undergraduate workshop leaders, as well as by TAs and the instructor in order to facilitate your creative revision, revision, and revision process. In small groups, we will employ two very different methods to discuss student writings – For weekly exercises we will discuss the writings as if they were already-published works of literature (like you would talk about a short story in a Literature class) without giving any editorial advice. This practice is meant to teach students how to read like writers, rather than as passive readers or as editors. Later in the quarter, we will engage in the more common advice-giving “workshop” model. LTWR 8A demands a substantial number of reading and writing assignments, and students must attend three New Writing Series readings (usually Wednesdays at 4:30) in addition to lecture, small-group discussion, and section. Course texts are: Writing Fiction: A Guide to Narrative Craft by Janet Burroway and Elizabeth Stuckey-French, plus an additional course reader.  Prerequisites: Completion of college writing requirement.

LTWR 8C - WRITING NON-FICTION
Proposed Instructor: Halle Shilling

Craft of Writing: Nonfiction
Like all writers, nonfiction writers build characters, craft descriptions, and create symbols. Unlike poets and novelists, however, they cannot “make something up.” The class will examine multiple types of nonfiction writing, including memoir, narrative journalism and personal essay. We will examine how facts are woven into narrative forms to portray real, rather than imagined, people, places and events. At issue will be the nature of nonfiction writing and how practitioners can write with style while sticking to the facts. Reading assignment will include a broad array of nonfiction models. Students will apply what they learn from the readings to their own nonfiction writing. Prerequisites: Completion of college writing requirement.

DEPARTMENT APPROVAL FOR UPPER-DIVISION WRITING COURSES IS AVAILABLE IN THE LITERATURE UNDERGRADUATE OFFICE FROM (dates TBA)

LTWR 100 - SHORT FICTION
Instructor: Fanny Howe

In this class we will concentrate on writing very short stories in order to focus on the details that contribute to a whole dramatic effect. There will be weekly reading assignments from both a class reader and an anthology, and students will produce written work every week and contribute actively to class discussions.
Prerequisites: LTWR 8A.

LTWR 104 - NOVELLA
Proposed Instructor: Ali Liebegott

This is the Navy Seals of Creative Writing! Not for the frail! In a mere ten weeks each student will write their own 50-70 page novella. We will workshop, edit, read three outside novellas and be astute, compassionate, and hard working. This is a great class for students who are considering a graduate writing program as often times it allows them to produce a body of work used for a MFA submission process. Prerequisites: LTWR 100; department approval

LTWR 110 - SCREEN WRITING
Instructor: Isaac Artenstein

The class emphasizes the pre-eminent visual nature of the screenwriter's craft through a series of exercises and a final short script. Students will read their work in class and participate in critiques. A variety of films will be utilized to discuss technique, dramatic structure and the tools of screenwriting. Readings from various texts will support the writing and help in the appreciation and understanding of the metier. Additionally, students will read screenplays available on-line to support analysis, learn script format and develop a personal style of writing for the screen.  Prerequisites: department approval.

LTWR 112 - ADAPTING LITERATURE TO THE SCREEN
Proposed Instructor: Chris Kraus

By studying adaptation of literature to screenplays, we’re studying form and composition in both genres. We’ll consider adapted film scripts in relation to their literary sources by watching contemporary movies, classics and art/experimental films. Students will choose a short story (of any genre, including our own writing) and adapt as a short (10-30 minute) film during the quarter. By doing this, we’ll carefully examine the compositional strategies used by the original writer, and discover the kinds of changes necessary to transform literary texts to film. By reducing stories to their essential elements and selecting thematic moods, we’ll learn how to use cinema’s narrative and poetic possibilities to maximum effect. This class will be especially useful for those who feel a need to strengthen the grasp of narrative in their own fiction and non-fiction writing.  Prerequisites: LTWR 8A, LTWR 8B, or LTWR 8C; department approval.
LTWR 114 - GRAPHIC TEXTS
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 meaning-systems.

For example: 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 history and theory about them, and learn about artist-writers who’ve experienced the pleasures and frustrations of creating word/image combinations. Participants will do lots of in-class and at-home exercises, lots of reading, take reading quizzes, in-class presentations of work, and organize a final gallery showing of their work. This is not a regular editorial-feedback “workshop,” but each week about half the class will be able to present results of the weekly assignment to the rest of the class. Prerequisites: department approval.

LTWR 115 - EXPERIMENTAL WRITING
Instructor: Rae Armantrout

In this course we will explore the boundary between poetry and fiction. Students will write prose poems and short-short stories, sometimes about the same “thing.” For inspiration, we will read Medieval riddles as well as the work of Anne Carson, Lydia Davis, Robert Coover, Clarice Lispector, Francis Ponge, Wang Ping, and others. There will be intensive small group discussion of student work.

LTWR 117 - WORKSHOP: WRITING LANDSCAPE EAST AND WEST
Instructor: Wai-lim Yip

Representations of landscape in poetry are responses to crises of consciousness. The intriguing differences one finds in the landscape poetry written in East Asia from Western counterparts should form not only as an exciting subject for the scholars to probe into the perceptual grounds of these differences, they should challenge writers to come up with ways of representing them in new expressive tropes that must also challenge the hermeneutical habits of their language.

Most contemporary readers have only a very vague sense of the use of nature in poetry. They have inherited from the Romantics the general idea of returning to Nature for guidance and search for harmonious reintegration. They must be shocked to find out that Nature in the literary and art works in pre-Romantic times played only a secondary role, to put it mildly. The following attitudes must seem quite strange to readers of today. "Nature... was sought, not so much for what she was, as for what she was not." One of the major objects in Nature, the mountains, had been called "Wens, Warts, Pimples, Blisters and Imposthumes." Petrarch had to apologize for having indulged in viewing a pure landscape; he remembered that the proper object for admiration was the human soul. Untrammeled Nature was considered wild, hostile, and not beautiful ....

Suddenly, with the Romantics, Nature's seat was slowly resurrected, so to speak, and was re-invested with what amounted to a mythical status without a myth. What were some of the perceptual priorities or biases that had conditioned the eyes and minds of the pre-Romantics to see and represent Nature the way they did? What epistemological assumptions were there to make it possible for them to give their representations a coherent raison d'etre? When and why such a unifying world view broke up? What new surrogates had the Romantics come up with to replace the "broken circle"? In what ways the re-establishment of heliocentric consciousness had precipitated a series of reactions to, and adjustments of earlier contours of paradigms? These will be only some of the questions raised in the Workshop/ Seminar. We will explore also the evolvement of Ideal Landscape and the development of Classical Prototypes: locus amoenus, hortus conclusus, the idea of “A paradise is a garden; a garden can also be a paradise”, emblematic/ didactic/political/allegorical landscapes, theories of sublime, Wordsworth as an “anti-Nature” (Bloom) Nature poet , question of the adequacy of landscape in Wordsworth (Wesling) etc. We will test these various positions with Oriental and Amerindian philosophical and aesthetic positions so as to achieve a wider circumference of consciousness to retrieve Nature as it is. We will offer the Daoist critique of power-framing in language, leading to our participation in the Free Flow of Nature in Chinese landscape poetry and paintings. We will also explore Amerindian poetics as well as Gary Snyder’s apology for Nature.

We will spend approximately four weeks for discussion of these topics and examples and devote to the rest as a workshop for the students’ writings from the tensional dialogues between these cultural systems. Prerequisites: LTWR 8B; department approval.

LTWR 120 - PERSONAL NARRATIVE: WRITING THE LITERATE SELF
Instructor: Fanny Howe

In this class students will write their own life histories beginning with birth and concluding with the winter of 2008. Writing is required every week along with readings from a class reader and other books that we will discuss.  Prerequisites: LTWR 8C.

LTWR 121 - MEDIA WRITING:  WRITING ABOUT THE ARTS AND POPULAR CULTURE
Proposed 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 which will be 15-20 pages. Your magazine or chapbook can be as high or low tech as you desire, creativity is important, not your design savvy. You also have the option of creating a webzine or blog site instead if you prefer.

Class will begin with a discussion of the reading. We will then have two article presentations, a couple of students will read assignments, and that will be followed by the workshop. The final part of class will be spent with your editorial group discussing. Prerequisites: LTWR 8C; department approval.

LTWR 122 - WRITING FOR THE SCIENCES
Instructor: John Granger

This course is designed for the writing major who wants to write about science or nature, and for the science major who wants to write for laypeople, or would like to improve his/her writing skills. Classes alternate from workshops (Thursdays) to lectures and discussions of the readings, and whatever else arises (Tuesdays). Required work and grade breakdown: weekly writing exercises from Joseph M. Williams, Style: Ten Lessons in Clarity and Grace, 10th ed. (10%); workshop performance (40%); and a ten-page term project begun second week (50%).

LTWR 126 - CREATIVE NON FICTION
Instructor: Linda Brodkey

Designed as a writing workshop, students produce a series of texts (such as stipulative definitions of literacy, writing and reading inventories, memory work, and literacy anecdotes) that contribute to their literacy practices. In the final narrative they locate and explore places where they learned to write and read and determine what those sites contribute to how they see themselves as writers and readers. Readings may include educational memoirs, material on examining the social and cultural dimensions of individual experience, and drafts of materials produced by peers. Writing assignment due most classes.
Prerequisites: LTWR 8C; department approval.

LTWR 144 - THE TEACHING OF WRITING
Instructor: Melvyn Freilicher

This course is designed for students who are interested in teaching writing in high school or college. There are several components: one is your critiquing actual student writing exercises from Lit/writing 8a and discussing these in class. The second is concerned with pedagogy theory: generally, about devising more inclusive and relevant curricula and methodologies for teaching writing; some specific issues in composition theory will also be addressed. For a final project, you will create a syllabus for a high school or college literature/writing course of your choice which will include writing exercises, reading and paper assignments, and a discussion of your classroom practices. How will you use your materials in class? How will this assist students in implementing the assignments? Part 2 will be a pedagogical rationale: how does your syllabus reflect/ critique / modify / expand / contradict some of the theory we‘ve read as well as some which you’ve individually researched. Readings include Paulo Freire’s PEDAGOGY OF THE OPPRESSED, Peter Elbow’s WRITING WITHOUT TEACHERS, and a number of articles.  Prerequisites: LTWR 8A and LTWR 8C.