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Literature Undergraduate Course Descriptions Spring 2017

LTCS 131 - Topics in Queer Cultures/Queer Subcultures
Global Queer Cinema
Instructor: Hoang Nguyen

This course asks, “What can the theories of globalization, transnationalism, and diaspora contribute to the study of same-sex eroticisms in the cinema?” To help us answer this question, we will base our investigation on a corpus of films drawn from across the globe (mostly from non-US contexts) that deal with non-normative sexualities. In doing so, the course disrupts the developmental model of Euro-American queer studies and politics and their concomitant privileging of media visibility as the sign of political progress. By drawing attention to other in/visible modalities of difference that invariably inflect sexuality—such as race/ethnicity, class, gender, region, and nationality, the course aims to offer a more expansive framework for understanding the transnational circulation of images, bodies, and ideologies. Looking at these cross-cultural movements and exchanges allows us to articulate new ways of conceiving “sexuality” and the work of cinema, not as universalist and essentializing entities, but as dynamic and mobile formations, shot through with globalizing and localizing forces. Potential directors we will study include: Lino Brocka, Deepa Mehta, Frances Negrón-Muntaner, Zero Chou, Apichatpong Weerasethul, Tsai Ming-liang, Mohamed Camara, and Lucrecia Martel.

 LTCS 131 will fulfill Literature/World major’s non-European/non-U.S. requirement.
 LTCS 131 is an LTEN equivalent course. 

LTCS 132 - Special Topics in Social Identities and the Media
Children in World Cinema
Instructor: Winifred Woodhull

Because of their youth and the innocence frequently attributed to them, children (as well as young animals) often embody a society’s hopes for the future and its possibilities of renewal in periods of war, material hardship, social conflict such as class and racial strife, and moral breakdown.  Children’s relatively uncensored view of the world, which is often at odds with their supposed innocence, also leads us to see children as truth-tellers: “from the mouths of babes” come frank observations regarding issues that adults are often unwilling to see, much less address.  Yet in the movies, where children do appear as truth-tellers and embodiments of hope, they function in many other ways, too: as outright demons; as people who are as capable of cruelty as anyone else; as hapless victims whose sorry fate exposes humanity in its worst light; and as rebels/heroes who resist oppression and point the way to a better world.  We will look at cinematic lives replete with angst and anger, elation and cluelessness; childhood and adolescent negotiations of gender, sexuality, and sociability (conforming and non-conforming); family dysfunction seen from children’s point of view; domestic abuse and abandonment; murder and mayhem; children’s experiences of war, imprisonment, migration, education, deportation, and forced labor, including that of child soldiers.

 We will examine different genres of film from around the world—drama, action/adventure, fantasy, comedy, romance, and animation from the US, Britain, France, Belgium, Spain, Mexico, India, Argentina, Iran, New Zealand, and Hong Kong.  Films will include Walt Disney, Dumbo, 1941, Louis Malle’s Au Revoir les enfants (Goodbye, children), France 1985; Luc and Jean-Pierre Dardenne, La Promesse (The Promise), Belgium/France 1996; Céline Sciamma, Tomboy, France 2011; Guillermo Del Toro, Pan’s Labyrinth, Spain/Mexico/US 2006, Stephen Spielberg, ET the Extraterrestrial, US 1982, Mohammed-Ali Talebi, Willow and Wind, Iran 2000, Shane Meadows, This Is England, UK 2006, Michael Caton-Jones, This Boy’s Life, US 1995, Cary Joji Fukunaga, Sin Nombre, Mexico/US 2009, Peter Jackson, Heavenly Creatures, New Zealand/Germany 1994, Albertina Carri, La rabia (Rage), Argentina 2008, Amy Heckerling, Clueless, US 1995, Mira Nair, Monsoon Wedding, India/US 2001, Edward Zwick, Blood Diamond, US 2006, and Alex Law, Echoes of the Rainbow, Hong Kong, 2010, Joe Wright, Hanna, US/UK/Germany 2011 .

Course work: weekly journal entries on course readings; one 15 minute presentation on a film and a related reading; active, consistent participation in class discussions; one midterm (short essays), and one comprehensive final exam (short essays).     The second part of the course will focus on Chinese living in 21st century Europe and will include films from Italy and Spain as well as France, such as Olivier Assayas, Clean, 2004 (starring Maggie Cheung); Alejandro González Iñárritu, Biutiful, 2010; and Giani Amelio, The Missing Star, 2006.    

LTCS 141 - Special Topics in Race and Empire 
"The Other" in Russian and Soviet Cinema
Instructor: Amelia Glaser

This course will be an introduction to representations of race and ethnicity in Soviet and post-Soviet Russian film, from the avant-garde to the present. You will be introduced to genre of Russian filmmaking, as well as to the unique discussions of race and ethnicity that took place in the Soviet Union, and that continue to shape conversations about identity in Russia. Class discussions will focus on the way national minorities were staged in Soviet cinema, the relationship between film and Marxist-Leninist politics, the Communist International and dissident culture. We will analyze the conventions employed by such cinematic legends as Vertov, Eisenstein, Kalatazov
and Mikhalkov. We will also deal with such questions as gender, the environment, and the Soviet Republics. 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. This course is equivalent to LTRU150, and students may count it toward a Russian Literature or REEES (Russian, East European, and Eurasian Studies) major or minor. 

 LTCS 141 will fulfill Literature/World major’s non-European/non-U.S. requirement.

LTEA 120A -  Chinese Films
Visions of the City
Instructor: Yingjin Zhang

This course investigates visions of the city constructed in Chinese cinema over 90 years. We will watch films produced as early as 1922 and as recently as 2008. Weekly topics include urban entertainment and teahouse culture (1920s), urban corruption and cosmopolitanism (1930s), urban reconfiguration and idealism (1940s), urban reconstruction and socialist virtues (1950s), urban history and revolutionary aesthetics (1960s-1970s), urban migration and female sexuality (1980s-1990s), urban enigma and male subjectivity (1990s-2000s), urban fantasy and postsocialist nostalgia (1990s-2000s), urban theater and commercialism (2000s), as well as urban transformation and glocalization (2000s).

 LTEA 120A will fulfill Literature/World major’s non-European/non-U.S. requirement.

LTEA 143 - Gender and Sexuality in Korean Literature and Culture 
Rethinking Masculinities and Femininities in Korean Literature and Culture
Instructor: Jin-Kyung Lee

This course is a survey of literary and cinematic representations of masculinities and femininities in modern Korea, produced between 1950s and 2000s. We will read and view major literary works and films, paying close attention to the centrality of gender and sexuality in these works’ conceptualization of the broader historical issues such as Japanese colonialism, the national division/U.S. occupation, the Korean War, South Korean participation in the Vietnam War, military dictatorships, and labor and dissident movements. Alongside the representative masculinist interpretations by both male and female writers, we will examine feminist/female re-inscriptions of South Korean history. 

► LTEA 143 will fulfill Literature/World major’s non-European/non-U.S. requirement.

LTEN 023 - Introduction to the Literature of the British Isles: 1832-Present
Instructor: Margaret Loose

Between 1832 and the present Britain has undergone radical changes socially, politically, sexually, economically, religiously, and . . . literarily.  Besides getting a sense of some major authors of this period, we will also try to grasp the ways in which literature has undergone transformations both to create and to keep up with those other categories of alteration.  One marked transition has been the appearance of more women, more (openly) gay/lesbian, more working-class, and more post-colonial writers, so we will sample writings by all of these.  Another important set of shifts has been in the modes and lengths of narrative and in the formal features and social significance of poetry; these too will occupy our attention, and we’ll spend some time getting an adequate vocabulary to talk about them.  Books will be available at the UCSD Bookstore, and course grades will be based on a mid-term exam, final exam, weekly quizzes, 5-6 page essay, and required attendance/participation in discussion sections.

LTEN 026 - Introduction ot the Literature of the United States, 1865-Present
Instructor: Erin Suzuki

Since 1865, American literature has become increasingly global in scope. By the turn of the century, many American writers and artists were looking westward toward the Pacific and eastward across the Atlantic for inspiration, even while they struggled to define a truly “American” experience during a tumultuous time when technological innovations, world wars, and a growing industrial economy were creating cultural changes at an incredibly rapid pace. In this class, we will see these shifting and global dynamics at play as we survey some of the major works and authors of American literature since the nineteenth century, from Mark Twain to Toni Morrison. By the end of the course, you should not only be familiar with the major literary movements from this period including naturalism, modernism, and postmodernism—but you should also be able to discuss how these authors use literary techniques to address key concepts like democracy, nationhood, and race.

LTEN 027 - Introduction to African American Literature
Cultures of Slavery, American Apartheid, and Liberation

Instructor: Dennis Childs

This course will engage various forms of Black cultural production ranging from the nineteenth century through the present. In doing so we will pay particular attention to the way in which incarceration, state violence, and Jim Crow apartheid have been rendered—often in an oppositional and/or transgressive way—within the written, sonic, visual, and political practices of Black people in the US. Some artistic/historical moments that will be covered will include slave narratives and songs, anti-lynching discourse, the “Harlem Renaissance,” the Black Arts Movement, Black Feminism, and the narratives and music of the Black Liberation movement through the prison industrial complex. Questions to be considered throughout the term will include: What aesthetic/political strategies have Africans in the US deployed in the face of hundreds of years of enslavement, imprisonment, and state violence? What does a wide-ranging glance at Black cultural production in the US from slavery to our current era of mass incarceration allow for in terms of a genealogy of our current moment of structural anti-blackness? In what ways do our texts, songs, and films underline the structural roles of white supremacy and patriarchy under US capitalism? How does this branch of arts, letters, and politics challenge prevailing conceptions of history, temporality, geography, and legality?

LTEN 087 - Freshman Seminar
Performing Stand-up Comedy

Instructor: Camille Forbes

Students will study comics, review and create material, and finally, perform a 3-minute set of original material before an audience (size of audience to be determined).

LTEN 120 - Topics: The Eighteenth Centure (b)
Literature, Economics, and Early Global Capitalism

Instructor: Sarah Nicolazzo

Literature and economics seem like polar opposites: if one is the realm of the creative imagination and the other a discipline founded on hard-nosed numbers, what common ground could possibly exist between them? In the eighteenth century, however, this opposition was not at all as stark as it seems today. Early economists like Adam Smith relied more on stories and metaphors than on equations to illustrate their arguments, while poets and novelists alike intervened overtly into political debates about labor, land use, taxation, monetary policy, and more. From novels written from the perspective of circulating coins to poems that conceptualized global economies in sweeping landscapes, literary texts were deeply engaged with the realm we might now call “economic.” In an era foundational to the history of global capitalism, as economic and technological transformations were laying the groundwork for the Industrial Revolution, economic questions permeated eighteenth-century English literature and culture.

By reading major works of early economic thought alongside literary engagements with concepts like labor, property, value, and trade, we will not only understand the cultural context from which these concepts emerged, but also examine how economic writing drew on literary techniques and genres. Topics include class and labor, land ownership and landscape poetry, global trade, slavery and empire, natural resource extraction and poetic ideals of “nature,” and literary critiques of economic developments from enclosure to industrialization.

LTEN 130 - Modern British Literature (b)   (Course Flyer!)
Postwar British Film and Literature
Instructor: Ameeth Vijay

This class explores British film and literature from the end of the second World War to the present, focusing on representations of urban spaces and architecture. Cities have been an important site of British culture in the postwar period, which witnessed the rise of mass social housing and modernist architecture.  We will study these architectural forms, their impact on contemporary British identity and politics, and their representation in a range of media.  How did these optimistic visions of a modern, technological future become sites of urban decay, danger, and dystopia?  In answering this question, we will examine how representations of the city and its buildings are affected by both changing class divisions and a modern Britian that has become increasingly diverse in a postcolonial, global society.  Authors and filmmakers will include J.G. Ballard, Zadie Smith, Stanley Kubrick, and others.

LTEN 140 - The British Novel: 1790-1830 (b)
Gothic Fiction

Instructor: Sarah Nicolazzo

Fear of war, fear of foreign influence, fear of state repression, fear of popular revolt, and fear of increasingly harsh punishment for voicing dissent: these were among the many fears circulating in England in the 1790s. This time of revolution and reaction also saw the rise of an immensely popular genre of fiction whose major selling point was its ability to inspire terror. Dismissed by reviewers as "terrorist novel-writing" and famously satirized by Jane Austen in Northanger Abbey, the explosion of fiction we now call “gothic” provoked both aesthetic controversy and intense readerly demand. From Horace Walpole's Castle of Otranto to Mary Shelley's Frankenstein, we'll explore the origins of some of the foundational texts, tropes, and ideas that continue to inform our idea of horror today.

Of particular concern for us this quarter will be understanding the gothic in its immediate political context: for example, both the conservative politician Edmund Burke and radical thinkers like William Godwin and Mary Hays drew on gothic tropes to advance their arguments. Across the political spectrum, fear proved a potent political force. By reading some of the most important gothic novels alongside historical newspapers, political pamphlets, and literary reviews, we will ask how this genre responded to its immediate historical context and what its enduring legacy might teach us about the politics of fear and sensation.

LTEN 149 - Topics: English-Language Literature
The 21st Century Immigrant Narrative 
Instructor: Erin Suzuki

What is uniquely American about American literature? This central concern of American literary study takes on additional complexity when it comes to exploring the contemporary literatures of the United States. The diversity of ethnic cultures and subcultures in the United States makes it difficult to generalize about a singular American (or even ethnic American) experience. Moreover, many of these texts are explicitly transnational in scope, deliberately testing or transgressing the political and cultural boundaries of the nation. In this course, we will explore these changing ideas of “American-ness” in the context of an increasingly globalizing world.

LTEN 150 - Gender, Text, and Culture (a)
Jews and Gender in English Lit
Instructor: Lisa Lampert-Weissig

Can we use the terms"race" and "anti-Semitism” when we talk about medieval and early modern texts?  If the terms are anachronistic, do they still have usefulness for us when we read early texts? If so, what is that usefulness and how can we weigh it against the demands of historical accuracy? What are the intellectual and ethical demands placed on post-Holocaust readers of these texts? How do issues of gender and sexuality impact questions of race and anti-Semitism? With these questions in mind, we will examine a series of medieval and early modern texts that bring together representations of gender difference with questions of religious and racial difference. We will read Shakespeare’s Merchant of Venice and Marlowe’s Jew of Malta as well as selections from the Bible, writings from the early Church, selections from Chaucer’s Canterbury Tales and from medieval drama. The course will also include examination of literary figures such as Shakespeare’s Jessica in relation to the lives of actual Jewish women from the period. 

LTEN 154 - The American Renaissance (c)
In Trouble with the Law
Instructor: Nicole Tonkovich

Through themes related to the rule of law and civil disobedience, we will examine when and how citizens and non-citizens of the United States found themselves to be in trouble with the law. We will discuss how law produces citizens, regulates gender, protects its subjects, and, paradoxically, may cause them to embrace outlaw status.

Our readings will include texts written by some of the canonical writers of this period, although often these will be their less well-known works. As well, in an effort to understand how less culturally entitled people wrote, read, and thought, we will read a number of popular texts that use strategies of sensationalism and sentimentalism to engage questions of legal fairness, protection under the law, and legal reform.

LTEN 156 - American Literature from the Civil War to World War I (d)
South/West: Late Nineteenth-Century U.S. Literature and Culture

Instructor: Kathryn Walkiewicz

“South” and “West” served as important regional signifiers in the nineteenth century. However, neither term was fixed. Those states and territories that constituted “the South” or “the West” continued to change throughout the century as the U.S. expanded its borders. In this course we will think through the regional categories of “South” and “West” to understand what they were imagined to depict and why they served as important geographic markers throughout the century. We will read a variety of literary and cultural texts that either attempt to define these spatial categories or to complicate them, helping us unpack what is at stake in such regional distinctions.

LTEN 178 - Comparative Ethnic Literature
Race, Geography, and Literary Maps

Instructor: Kathryn Walkiewicz

This course traces constructions of race and place in American literature and culture. We will read a variety of late-20th and early-21st century texts that explore notions of placemaking, identity, and belonging. Our discussions will be guided by some of the following questions: What is the relationship between geography and identity? How might the literary serve as a site of alternative (potentially emancipatory) mappings? In what ways are certain spaces racialized, gendered, queered, and/or classed? In this class we will look to novels, as well as a number of short stories, poems, and theoretical essays, to think through these questions.

LTEN 185 - Themes in African American Literature (d)
'The Slavery of Prison': Anti-Prison Politics and Poetics from 1865 to the Present

Instructor: Dennis Childs

In this class we will examine what the prison abolitionist scholar Angela Davis describes as the U.S. “slavery or prison” from the end of the Civil War through today’s prison industrial complex. Some questions of concern will be: What are the connecting links between chattel slavery and prison slavery? Why do prison narratives repeatedly invoke the antebellum period (slavery) in reference to supposedly post-slavery moments? How do overlapping social structures such as capitalism, colonialism, white supremacy, patriarchy, and homo/transphobia inform strategies of criminalization across different time-periods? What forms of resistance have the imprisoned marshaled in order to combat regimes of terror, torture, familial dislocation, and re-enslavement? We will be concerned about how narratives of racial capitalist misogynist imprisonment shed light on the current situation of serialized legal lynching of Black people (and other criminally stigmatized groups) from Florida, to Missouri, to New York, to Guantanamo Bay, to the largest immigrant detention facility in the country that sits under 20 miles from our campus at the US/Mexico border. In doing so, we will connect the everyday incidence of legal murder of criminalized bodies in the “free world” to the conditions of slow murder that prisoners endure under the prison industrial complex, a system that now incarcerates well over 2.3 million people both domestically and globally. Our readings of captive narratives will be supplemented by analysis of alternative cultural forms—e.g. prison blues, chain gang songs, hip-hop—that have been used by the enslaved and the incarcerated to give expression to (and resistance against) the experience of racialized, gendered, sexualized, and classed state terror.

LTEN 188 - Contemporary Caribbean Literature
Constructing and Contesting Identities
Instructor: Robert Cancel

Physically, the Caribbean is a region consisting mainly of several strings of islands and waterways.  These constitute numerous nations speaking at least four languages and their related dialects.  Since the history of diverse peoples of the Caribbean is as fragmented as the islands themselves, cultural production and representations are used to create identities and fill gaps in written and oral histories.  Among the experiences and identities considered and constructed are those rooted in race, class, gender, sexual identification and ethnicity.  Caribbean writers transform these sources and experiences into literary and cultural works that, seen in an overview and in relation to one another, comprise an often-shifting mosaic of the region’s recent and past history.  This quarter most of our cultural representations will come from Jamaica.  Working with texts from the English-speaking, or anglophone, Caribbean, we will examine several literary genres—novels, poetry and short stories—as well as forms of contemporary music such as calypso, steel drum, mento, ska, rock steady and reggae in order to understand the ways in which these artists create and recreate their world.  

LTEN 192 - Senior Seminar
Performing Stand-up Comedy

Instructor: Camille Forbes

In this seminar, students will study stand-up comedy performers, discuss and create original material, and finally, perform before an audience (the size of which is to be determined). No previous experience necessary, but it is required that students be willing to perform a 3-minute set by the end of the course. Prerequisites: Upper division standing or consent of the professor. Students should contact the department through the campus Course Pre-Authorization system to be pre-authorized to enroll in the seminar.

LTEU 150B - Survey of Russian and Soviet Literature in Translation, 1860-1917
Instructor: Steven Cassedy

In this course, we will study classic works of Russian literature from the middle of the nineteenth century to the Russian Revolution (1917). We will start with Ivan Turgenev’s Fathers and Sons. Other works will include Dostoevsky’s Notes from Underground and Crime and Punishment; Tolstoy’s Anna Karenina and The Death of Ivan Ilyich; a selection of short stories by Anton Chekhov; and Andrei Bely’s strange modern novel Petersburg. In addition, we will read examples of Russia’s great tradition of social and political commentary. Course requirements include a short term paper, a midterm, and a final.

LTFR 002A - Intermediate French I
Instructor: Catherine Ploye

First course in the intermediate sequence designed to be taken after LIFR1C/CX (If you choose to take LIFR1D/DX, you will still need to take LTFR 2A to continue in the French program). Short stories, cartoons and movies from various French-speaking countries are studied to strengthen oral and written language skills while developing reading competency and cultural literacy. A thorough review of grammar is included. Taught entirely in French. May be applied towards a minor in French literature. 

LTFR 002C - Intermediate French III: Composition and Cultural Contexts
Instructor: Catherine Ploye

Emphasizes the development of effective communication in writing and speaking. Includes a grammar review. A contemporary novel and a film are studied to explore cultural and social issues in France today. Taught entirely in French. May be applied towards a minor in French literature or towards fulfilling the secondary literature requirement. Students who have completed 2C can register in upper-level courses (LTFR115 or 116). 

LTFR 050 - Intermediate French III: Textual Analysis
Instructor: Catherine Ploye

Emphasizes the development of language skills and the practice of textual analysis. Discussions are based on the analysis of various poetic texts (poems, short story, and songs…) and on a film. Taught entirely in French. May be applied towards a minor in French literature or towards fulfilling the secondary literature requirement. Students who have completed 50 can register in upper-level courses (LTFR115 or 116). 

LTFR 116 - Themes in Intellectual and Literary History
Instructor: Winifred Woodhull

This course will be conducted in French with readings in French.  A survey of 19th/20th/21st c. literatures and films in French, this course will examine literary and other cultural figurations of Paris, the provinces, the colonies, and the post-colonies (eg of Africa, the Caribbean, and Vietnam).  The 19th c. segment will focus on poetry and short fiction dealing with the rise of industry, the massive emigration from the countryside to the city, the consequent nostalgia for peasant life, and literary responses to militarist nationalism, notably in Emile Zola’s L’Attaque du moulin, dealing with the Franco-Prussian War of 1870-71.  The 20th/21st c. segment will look at figurations of war and national identity (Louis Malle, Au Revoir les enfants, 1985, dealing with the German occupation during WW II; Laurent Cantet, La Classe, 2008, on racial and ethnic tensions and teacher/high school student relations in today’s multiethnic Paris); anticolonial struggles (Régis Wargnier, Indochine, 1992; Raoul Peck, Lumumba, 2000); and contemporary short texts, films, and videos dealing with the French-speaking world.  Course work: an in-class midterm exam, a 15-minute presentation on one of the course readings or films, and a take-home exam (the equivalent of a 5-to 6-page paper on material from the latter segment of the course), due at the time of the scheduled final exam.    

LTGK 003 - Intermediate Greek II
Instructor: Leslie Edwards

In the third quarter of first-year Greek, we’ll complete the final third of Shelmerdine‘s Introduction to Greek.  Besides some new grammar, this text presents a number of interesting and beautiful passages of real (or slightly adapted) Greek prose from such writers as Plato and Thucydides. There will also be, of course, some quizzes, a midterm, and a final. Prerequisite: Greek 2 or permission of the instructor.  

LTGM 002C - Intermediate German III
Instructor: Jeannette Mohr

Please contact instructor for course description.

LTIT 050 - Advanced Italian
Instructor: Adriana De Marchi Gherini

Third leg of intermediate/advanced journey!  A little bit of grammar, a lot of culture and conversation.  We'll read the screenplay of Mediterraneo, watch the movie, and write and act out the "missing scenes."  2 short quizzes and a final cultural project.

LTIT 161 - Advanced Stylistics and Conversation
Instructor: Adriana De Marchi Gherini

Stilistica e conversazione.  Italiano/latino/dialetti.  In questo corso parleremo dell'evoluzione della lingua italiana dal latino al "volgare."  Parleremo anche dei dialetti (centinaia!!) e del loro ruolo nella cultura italiana e nell'identità italiana.  Il venerdí:  conversazione su temi di attualità.  Gli studenti devono organizzare in parte gli argomenti di conversazioni, e scrivere una tesina finale.

For more information about the UCSD Korean Language Program please visit: http://ucsdkoreanlanguage.blogspot.com/

LTKO 001C - Beginning Korean: First Year III 
Instructor: TAs Supervised by Jeyseon Lee

First Year Korean 1C (5 units) is the third part of the Beginning Korean. This course is designed to assist students to develop high-beginning level skills in the Korean language. These skills are speaking, listening, reading, and writing, as well as cultural understanding. LTKO 1C is designed for students who have already mastered LTKO 1B or who are already in the equivalent proficiency level. This course will focus on grammatical patterns such as sentence structures, some simple grammatical points, and some survival level use of Korean language. Additionally, speaking, reading, writing, and listening comprehension will all be emphasized, with special attention to oral speech. Upon completion of this course, students will become able to do the following in Korean: 

Speaking: Students are able to converse with ease and confidence when dealing with the routine tasks and social situations. They are able to handle successfully uncomplicated tasks and social situations requiring an exchange of basic information. They can narrate and describe in all major time frames using connected discourse of paragraph length, but not all the time.

Listening: Students are able to understand, with ease and confidence, simple sentence-length speech in basic personal and social contexts. They can derive substantial meaning from some connected texts, although there often will be gaps in understanding due to a limited knowledge of the vocabulary and structure of the spoken language.

Reading: Students are able to understand fully and with ease short, non-complex texts that convey basic information and deal with personal and social topics to which they brings personal interest or knowledge. They are able to understand some connected texts featuring description and narration although there will be occasional gaps in understanding due to a limited knowledge of the vocabulary, structures, and writing conventions of the language.

Writing: Students are able to meet all practical writing needs of the basic level. They also can write compositions and simple summaries related to work and/or school experiences. They can narrate and describe in different time frames when writing about everyday events and situations.

LTKO 002B - Intermediate Korean: Second Year II
Instructor: TAs Supervised by Jeyseon Lee

Second Year Korean 2B (5 units) is the second part of the Intermediate Korean. Students in this course are assumed to have previous knowledge of Korean, which was taught during the Korean 1A, 1B, 1C, and 2A courses. Students in this course will learn mid-intermediate level of standard modern Korean in listening, speaking, reading, and writing, as well as expand their cultural understanding. After the completion of this course, students are expected to acquire and use more vocabularies, expressions, and sentence structures and to have a good command of Korean in various conversational situations. Students are also expected to write short essays using the vocabularies, expressions, and sentence structures introduced. Upon completion of this course, students will become able to do the following in Korean: 

Speaking: Students are able to handle with ease and confidence a large number of communicative tasks. They participate actively in most informal and some formal exchanges on a variety of concrete topics relating to work, school, home, and leisure activities, as well as topics relating to events of current, public, and personal interest or individual relevance.

Listening: Students are able to understand conventional narrative and descriptive texts, such as extended descriptions of persons, places, and things, and narrations about past, present, and future events. The speech is predominantly in familiar target-language patterns. They understand the main facts and many supporting details.

Reading: Students are able to understand conventional narrative and descriptive texts, such as extended descriptions of persons, places, and things an narrations about past, present, and future events. They understand the main ideas, facts and many supporting details. Students my derive some meaning from texts that are structurally and/or conceptually more complex.

Writing: Students are able to meet a range of work and/or academic writing needs. They are able to write straightforward summaries on topics of general interest. There is good control of the most frequently used target-language syntactic structure and a range of general vocabulary.

LTKO 002C - Intermediate Korean: Second Year III
Instructor: Jeyseon Lee

Second Year Korean 2C (5 units) is the third part of the Intermediate Korean. Students in this course are assumed to have previous knowledge of Korean, which was taught during the Korean 1A, 1B, 1C, 2A and 2B courses. Students in this course will learn high-intermediate level of standard modern Korean in listening, speaking, reading, and writing, as well as expand their cultural understanding. After the completion of this course, students are expected to acquire and use more vocabularies, expressions, and sentence structures and to have a good command of Korean in various conversational situations. Students are also expected to write short essays using the vocabularies, expressions, and sentence structures introduced. Upon completion of this course, students will be able to do the following in Korean:

Speaking: Students can perform all intermediate-level tasks with linguistic ease, confidence, and competence. They are consistently able to explain in detail and narrate fully and accurately in all time frame. In addition, they may provide a structured argument to support their opinions, and they may construct hypotheses. They may demonstrate a well-developed ability to compensate for an imperfect grasp of some forms or for limitations in vocabulary by the confident use of communicative strategies.

Listening: Students are able to understand, with ease and confidence, conventional narrative and descriptive texts of any length as well as complex factual material such as summaries or reports. They are able to follow some of the essential points of more complex or argumentative speech in areas of special interest or knowledge.

Reading: Students are able to understand, fully and with ease, conventional narrative and descriptive texts of any length as well as more complex factual material. They are able to follow some of the essential points of argumentative texts in areas of special interest or knowledge. In addition, they are able to understand parts of texts that deal with unfamiliar topics or situations.

Writing: Students are able to write about a variety of topics with significant precision and detail. They can handle informal and formal correspondence according to appropriate conventions. They can write summaries and reports of a factual nature. They can also write extensively about topics relating to particular interests and special areas of competence.

LTKO 003 - Advanced Korean: Third Year
Instructor: Jeyseon Lee

Third Year Korean 3B (5 units) is the second part of the advanced Korean. Students in this course are assumed to have previous knowledge of Korean, which was taught in the Korean 2A, 2B, and 2C courses. Students in this course will learn mid-advanced level skills in the areas of listening, speaking, reading, and writing in Korean, as well as expand their cultural understanding. Upon completion of this course, students are expected to acquire and use more vocabularies, expressions and sentence structures and to have a good command of Korean in formal situations. Students are expected to read and understand daily newspapers and daily news broadcasts. Upon completion of this course, students will be able to do the following in Korean:

Speaking: Students are able to communicate with accuracy and fluency in order to participate fully and effectively in conversations on a variety of topics in formal and informal settings from both concrete and abstract perspectives. They discuss their interests and special fields of competence, explain complex matters in detail, and provide lengthy and coherent narrations, all with ease, fluency, and accuracy. They present their opinions on a number of issues of interest to them, and provide structured arguments to support these opinions.

Listening: Students are able to understand speech in a standard dialect on a wide range of familiar and less familiar topics. They can follow linguistically complex extended discourse. Comprehension is no longer limited to the listener's familiarity with subject matter, but also comes from a command of the language that is supported by a broad vocabulary, an understanding of more complex structures and linguistic experience within the target culture. Students can understand not only what is said, but sometimes what is left unsaid.

Reading: Students are able to understand texts from many genres dealing with a wide range of subjects, both familiar and unfamiliar. Comprehension is no longer limited to the reader's familiarity with subject matter, but also comes from a command of the language that is supported by a broad vocabulary, an understanding of complex structures and knowledge of the target culture. Students at this level can draw inferences from textual and extralinguistic clues.

Writing: Students are able to produce most kinds of formal and informal correspondence, in-depth summaries, reports, and research papers. They demonstrate the ability to explain complex matters, and to present and support opinions by developing cogent arguments and hypotheses. They demonstrate a high degree of control of grammar and syntax, of general vocabulary, of spelling or symbol production, of cohesive devices, and of punctuation.

LTKO 100 - Readings in Korean Literature and Culture
Readings in Post-Liberation South Korean Literature and Culture

Instructor: Jin-Kyung Lee

This course is a survey of major issues in modern Korean history from 1945 to the present, including national division, the U.S./Soviet occupation, the Korean War, authoritarian rule, industrialization, and labor/agrarian movements. We will read literary works by major South Korean writers such as Choi In-hun, Cho Se-hŭi, Hwang Sŏk-yŏng, Pak Wan-sŏ, and O Chŏng-hŭi. This course is designed both as an advanced reading class and as an introduction to Korean literature, history and culture. 

► LTKO 100 will fulfill Literature/World major’s non-European/non-U.S. requirement.

LTLA 003 - Intermediate Latin II
Instructor: Eliot Wirshbo

This, the culmination of the three-part introductory sequence, takes students already buried up to their necks in grammar and pours a large dose of subjunctive on them as they gasp for air. But stalwarts who've made it this far should shake off the subjunctive flood quite easily and move swimmingly through the subordinate clauses that complexify {SIC!} things interestingly.

The yewzhe in quizzes and tests will be imposed: 6 quizzes, mid-term, final. Additionally, there will be regular deviations into what a notable student has called, in a nod to the LSD trips of the 60s, "mind-blowing" etymologies. But your instructor has had plenty of experience in bringing people down from the highs that etymology can cause, he being a long practitioner of that particular drug, so fear not for your mental sobriety: no one will be allowed to leave the room until s/he has demonstrated complete mental competence after such revelations as bow>buxom>bagel.  

LTLA 003 - Intermediate Latin II
Instructor: Leslie Edwards

We’ll continue to work our way through English and Irby’s A New Latin Primer. Syntax becomes more complex and interesting, as we learn to read passages with the full range of constructions— purpose clauses, indirect commands, fear clauses, passive periphrastics, and more. As in prior quarters, there will be quizzes, a midterm, and a final. 

LTLA 105 - Topics in Latin Literature
Instructor: Eliot Wirshbo

UCSD students, your long wait has finally ended! For the first time in three generations (11 years), we are offering the one course that will make competent Latin scholars of you all, a course so complete, so bursting with useful knowledge, so enlightening that those who sign up will -- we guarantee it! -- improve their Latin knowledge exponentially.

We speak, of course, of none other than Latin Composition, a course that completely reviews all constructions and takes students through all the niceties of grammar in a patient and probing manner until they can wield the Latin language like, oh, a Cicero or a Vergil. This ability, it need not be said, 'translates' into a concomitant skill: much greater ease of reading Latin, since students will have mastered more fully all of the grammatical nuances that bedevil the normal, I've-never-really-learned-this-stuff-well-enough student.

Those who wish to be able to read documents in Latin, this is your course. Romantics who wish to write Latin poetry, Latin 104 is indispensable to your dream. People who simply want to be able to tell their friends, "I'm taking a course in Latin composition," you will never again be able to reach this height of unlikely accomplishment. But sign up fast, because this one may not come around again for another eleven years. 

LTRU 001C - First-Year Russian
Instructor: Rebecca Wells

Please contact instructor for course description.

LTRU 104A - Advanced Practicum in Russian
Linguistics Skills Development
Instructor: Rebecca Wells

Collaborative work among many levels of advanced speakers. Advanced Russian grammar taught for varying ability levels. Close work with original texts from popular culture and film to develop comprehension, production, and analytical skills. Texts vary each year, and the course is repeatable for credit. 

LTRU 110B - Survey of Russian and Soviet Literature in Translation, 1860-1917
Instructor: Steven Cassedy

In this course, we will study classic works of Russian literature from the middle of the nineteenth century to the Russian Revolution (1917). We will start with Ivan Turgenev’s Fathers and Sons. Other works will include Dostoevsky’s Notes from Underground and Crime and Punishment; Tolstoy’s Anna Karenina and The Death of Ivan Ilyich; a selection of short stories by Anton Chekhov; and Andrei Bely’s strange modern novel Petersburg. In addition, we will read examples of Russia’s great tradition of social and political commentary. Course requirements include a short term paper, a midterm, and a final.

Intermediate courses in Spanish language/literature:

The introductory/beginning Spanish sequence (1ABCD) is offered through the Linguistics Language Program (see http://ling.ucsd.edu/language/llp-spanish.html)
Intermediate language and upper-level language and literature courses are offered through the Literature Department (see: http://ltspoffer.blogspot.com)
Contact Beatrice Pita (bpita@ucsd.edu) 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 2A, 2C, 2E & 50C will be held in common on SATURDAY, JUNE 10th, 2017.

LTSP 002A - Intermediate Spanish I: Foundations 
Instructor: TAs Supervised by Beatrice Pita

This 5 unit intermediate course meets 4 days per week and is taught entirely in Spanish. LTSP 2A emphasizes the development of communicative skills, reading ability, listening comprehension and writing skills. It includes grammar review, short readings, class discussions and working with Spanish-language video and Internet materials. This course is designed to prepare students for LTSP 2B and 2C. A diagnostic test will be administered on the first day. Prerequisites: Completion of LISP 1C/CX, its equivalent, or a score of 3 on the AP Spanish language exam.
Notes: The Final Exam for LTSP 2A is scheduled for SATURDAY, JUNE 10th, 2017.
Contact instructor (bpita@ucsd.edu) with any questions regarding placement. 

LTSP 002C - Intermediate Spanish III: Cultural Topics and Composition
Instructor: TAs Supervised by Beatrice Pita

The goal of this intermediate language course is twofold: to further develop all skill areas in Spanish and to increase Spanish language-based cultural literacy. LTSP 2C is a continuation of the LTSP second-year sequence with special emphasis on problems in grammar, writing and translation. It includes class discussions of cultural topics as well as grammar review and composition assignments. The course will further develop the ability to read articles, essays and longer pieces of fictional and non-fictional texts as well as the understanding of Spanish-language materials on the Internet. A diagnostic test will be administered on the first day. Prerequisite: Completion of LTSP 2B, its equivalent, or a score of 5 on the AP Spanish language exam. This course satisfies the third course requirement of the college-required language sequence as well as the language requirement for participation in UC-EAP.
Note: The Final Exam for LTSP 2C is scheduled for SATURDAY, JUNE 10th, 2017.
Contact instructor (bpita@ucsd.edu) with any questions regarding placement.

LTSP 002E - Advanced Readings and Composition for Bilingual Speakers 
Instructor: 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 SATURDAY, JUNE 10th, 2017.
Enrollment for LTSP 2E requires department pre-authorization; contact instructor (bpita@ucsd.edu) with any questions regarding placement.

LTSP 050C - Readings in Latin American Topics
Instructor: TAs supervised by Beatrice Pita

This course introduces students to literary analysis through the close textual reading of a selection of Latin American texts including novels, plays, short fiction and poetry. Coursework includes reading of texts, participation in class discussions and written assignments. LTSP 50C prepares Literature majors and minors for upper-division work. LTSP 50A or 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.
Notes: The Final Exam for LTSP 50C is scheduled for SATURDAY, JUNE 10th, 2017.
Contact instructor (bpita@ucsd.edu) with any questions regarding placement. 

LTSP 142 - Latin American Short Story
El cuento latinoamericano moderno
Instructor: Max Parra

En este curso estudiaremos los principios narrativos que le dan forma al género cuentístico moderno en América latina. Haremos un lectura detenida de algunos obras clásicas del "boom" asi como de la producción de cuentistas más recientes. Leeremos además algunos textos canónicos en torno a la teoría del cuento latinoamericano. Entre los  posibles autores: Julio Cortázar, Rosario Castellanos, Joao Guimaraes Rosa, Juan Rulfo y Gabriel García Márquez y Roberto Bolaño.

Requisitos: dos exámenes parciales, un trabajo escrito.

 LTSP 142 will fulfill Literature/World major’s non-European/non-U.S. requirement.

LTSP 171 - Studies in Peninsular and/or Latin American Literature and Society
Introducción al estudio de la fotografía y literatura en México
Instructor: Max Parra

La relación entre escritura y fotografía es un área de investigación poco atendido en los estudios literarios mexicanos. Esta desatención se debe, en parte, a la dificultad de integrar dos áreas de conocimiento contiguas e interdependientes, pero formalmente separadas, como lo son el discurso verbal y el discurso visual. En las últimas décadas, sin embargo, se ha intentado superar esta dicotomía y explorar sus puntos de contacto, su relación simbiótica y las características de sus mutuas interacciones. El propósito de este curso es examinar esta intermedialidad con un énfasis en la construcción social de imágenes y su impacto en el establecimiento o rechazo de relaciones de poder en la primer mitad del siglo XX. Estudiaremos: 1) las tradiciones fotográficas del Porfiriato (1878-1911) y los modos en que los distintos sectores sociales son visualmente codificados; 2) la forma en que la revolución altera estos códigos; y 3) el impacto de la fotografía en la imaginación de los escritores durante la posrevolución. Evaluaremos las formas de apropiación de la cultura fotográfica en algunas obras, poniendo énfasis en cuestiones de modernidad visual, de agencialidad social, memoria colectiva e historia.

Requisitos: dos exámenes parciales, un trabajo final.

 LTSP 171 will fulfill Literature/World major’s non-European/non-U.S. requirement.

LTSP 174 - Topics in Culture and Politics 
Instructor: Gloria Chacon

Please contact instructor for course description.

LTSP 176 - Literature and Nation
Instructor: Gloria Chacon

Please contact instructor for course description.

LTTH 150 - Topics in Critical Theory
Learning Language - theory and practice
Instructor: Stephanie Jed

The learning of a language is generally divided from the study of language. Courses (in linguistics, cognitive science, neuroscience, psychology etc.) that examine linguistic structures, language acquisition, language development, language processing, language perception, language and memory, language and learning, language and the sensory motor system, etc. will generally not include any practical experience of language learning. In this course, we will ask what may be lost in this disciplinary division. We will examine how language acquisition grows out of social/cultural interaction and physical movement, beginning with the basic questions that theorists and philosophers have asked about language and movement since Aristotle and arriving at current discussions of performativity, embodiment and affordances. We will examine research on embodied language, the sensory motor system, the mirror neuron hypothesis, and the neural bases of empathy. And we will learn the basics of Italian through our reading of Italo Calvino’s novel Palomar, whose protagonist is a cognitive philosopher. This course is intended as a foundation for further work, especially for undergraduates with plans for graduate work in literature, cultural studies, cognitive science, neuroscience, human development, psychology, and other language-related fields.

 LTTH 150 is an LTEN equivalent course. 

LTWL 019C - Introduction to the Ancient Greeks and Romans
Instructor: Eliot Wirshbo

A survey, in a variety of literary genres (including drama, history, oratory, philosophy, and different species of poetry), of what made the Romans of 200 BCE-100 ACE (or 200 B.C. - 100 A.D.) tick -- their silliness, their grandiosity, their social fault lines, their self-conception. It may be controversial to say it, but the Romans (at least at first glance) were more like us than the Greeks, which makes reading their works a bit more 'relatable' -- often one needs no mass of background information to make sense of what an author is saying.

Part of this alleged relatability is due to the content itself, part to the everyday remarks often dropped by the Romans in their writings (a competing lawyer's scandalous background, say, or a girlfriend's shortcomings, or the attractions of that girlfriend's attendant, or snide asides in a speech/poem/letter). When compared to the austerity of a Parmenides and his Being or the unrelenting intensity of Oedipus the King, the Romans seem as human as the newsworthy people of today.

The format of this course is old-fashioned, perhaps in keeping with the 2,000 year old subject matter: talks (rather than lectures) on an array of readings that at times are grabbers all by themselves, apart from any elucidation offered in class. But attendance in class is necessary, since modern-day enhancements to education will be eschewed: no podcasts, web presences, Tritoned, iClickrs, iPhones®, tablets, or Learning Management Systems of any sort. Your learning, if any does occur, will be accomplished through two 'systems': the instructor's verbal stream and your aural orifices. Writing stuff down will also be useful.

Somewhere in our university, it is mandated that students in a course like this write (or, increasingly, simply 'process') 2,500 words. This is a vestige of a positivistic notion that the act of writing will help students express themselves and even 'think,' or 'think critically.' We have all, of course, grown well past this simple idea, but until the educational powers that be relax their stranglehold on the implicit pact between students and their teachers, we'll have to observe this outmoded rule. Also a mid-term and a final, which are there to make people treat course content seriously. 

LTWL 087 - Freshman Seminar
Vampires in Literature and Film
Instructor: Lisa Lampert-Weissig

We will examine the portrayal of vampires in a series of films ranging from Murnau's 1922 classic Nosferatu to the shows like True Blood and the Vampire Diaries. How has the representation of vampires changed over the years? Students will watch the films outside of class to prepare for our discussions. Visit http://talesofthenight.com for more information.

LTWL 100 - Mythology
Myths of the Near East
Instructor: Jacobo Myerston

Long before the ancient Greeks and Romans had formed their nations, the people of the ancient Near East had developed a wide range of stories about the gods, heroes, and demons.  These are the oldest myths in the history of humanity that have survived in written form; they were of great influence in the ancient world, and even had considerable impact on Greek mythology and the Bible. This class explores these millennia-old mythical stories about the origins of the universe and human kind. During the quarter, we will read Atra-hasis, the oldest attested version of the flood story, which inspired the famous narrative about Noah’s ark, the epic of Gilgamesh, the story of the sage Adapa, the myth of the goddess Ishtar and her journey to the underworld, as well as a series of hymns and magical incantations with mythological context.  

LTWL 116 - Adolescent Literature
Coming of Age
Instructor: Stephen Potts

“Coming of age” marks the culmination of adolescence and the threshold of adulthood. It has been a recurring theme in the modern novel, beginning with the Bildungsroman (development/education novel) of the nineteenth century. In the twentieth century, coming-of-age stories have reflected a number of obsessions of modernity: the role of the individual in society, struggles with personal identity and purpose, the meaning of life in a world of conflicting and evolving values. In the U.S., the coming-of-age novel often portrays the conflict between the myth of individualism and problems of class, race, gender, or social change. We will read and discuss half a dozen novels published in the U.S. from 1920 up to this century. Experience the youth rebellion of the Jazz Age through F. Scott Fitzgerald, the gendered quandaries of Salinger and Plath in mid-century, the more recent multicultural landscapes of Toni Morrison, Amy Tan, and Junot Diaz. The readings will feature journeys of discovery and self-discovery—ideally to entertain as well as enlighten.

 LTWL 116 is an LTEN equivalent course. 

LTWL 128 - Introduction to Semiotics and Applications
Dreams in Cinema

Instructor: Alain Cohen

How do we compare our own analysis of our everyday dreams with the dreams represented in film? Our readings in film interpretation will run the gamut from Freud’s basic Interpretation of Dreams, to today’s psychoanalytic theories and research done in neuroscience so as to elaborate upon this question. Films proposed for extended study will include such classics as Alfred Hitchcock’s renowned Spellbound (1945) and Ingmar Bergman’s Wild Strawberries (1957). Other films which explore dreams and dream-like fantasies will extend to Stanley Kubrick’s Eyes Wide Shut (1999), Chris Nolan’s complex dream-within-dreams in Inception (2010), Michael Haneke’s The Piano Teacher (2001) –whose main protagonist does not dream as her life experience is that of a lived nightmare –, as well as clips from several other contemporary films. These clips will illustrate the relationship of psychoanalysis and cinema which is at the heart of film theory and film history, as are several approaches to the semiotics of cinema. The films with explicit dreams, fantasies, and reveries will be studied with focus on the viewer/character and psychoanalyst/patient interactions, towards the interpretation of symptoms, anxiety, conflict, repression, et al.

The course will be run in seminar style around the main topics of dreams, dream interpretation, the flashback as art and convention, audiences’ involvement, patients and psychoanalysts in cinema, with rf. to the foundational texts of film theory (by C. Metz, L. Mulvey, G. & K. Gabbard). Lectures will also deal with methods of psychoanalytic theory applied to dreams in film – which involve psychoanalysts and semioticians from early Freud to contemporary research in neuroscience.

For their paper on close analysis and for their course project, students will consult with their professor to choose a specific film involving dreams, in conjunction with at least one of the authors selected from the reading list and from the course Reader (made available by week 3 through University Readers.) Several films will be suggested for such, during the first half of the course – e.g., Michel Gondry’s Eternal Sunshine of the Spotless Mind (2004), or his amusing The Science of Sleep (2006), among so many films where dreams appear.

Course may be taken as a LTEN equivalent.
Graduate students are welcome.

 LTWL 128 is an LTEN equivalent course.

LTWL 145 - South Asian Religious Lit: Select Topics
Lived Religions of South Asia

Instructor: Aftab Jassal

What do spirit possession rituals in the Himalayas have to do with statues of Jesus painted blue in Kerala? They are two examples of the diverse sets of beliefs, practices, institutions, and communities that constitute religious life in South Asia and that we will encounter in this course. Rather than view religion as an unchanging, normative set of texts and concepts, we will focus on how religions are interpreted, lived, and practiced by individuals and communities across this region.

This course introduces students to the major religions of South Asia, including

Hinduism, Buddhism, Jainism, Islam, Sikhism, and Christianity. In the course, students will read ethnographic writings about these religions and become familiar with important theoretical and methodological currents within performance studies, anthropology, and the broader academic study of religion. 

 LTWL 145 will fulfill Literature/World major’s non-European/non-U.S. requirement.
 LTWL 145 is an LTEN equivalent course. 

LTWL 158B - Topics in Early Christian Texts and Cultures
Instructor: Dayna Kalleres

Please contact instructor for course description.

 LTWL 158B will fulfill Literature/World major’s non-European/non-U.S. requirement.

LTWL 180 - Film Studies and Literature: Film History
The Film Experience

Instructor: Hoang Nguyen

Although “the movies” constitutes one of our most cherished cultural institutions, we rarely accord it the critical attention commonly given to the other arts, such as the visual or performing arts. Since its inception, cinema has been regarded (and dismissed) as “only entertainment,” in spite of the powerful role it plays in shaping the values and beliefs we hold about ourselves and the wider society. This course takes the institution of the cinema seriously by studying its form, aesthetics, and style, and how they are embedded in broader discourses of film history and theory. The goal here is not to undermine the viewer’s film appreciation, but rather, to interrogate, complicate, and enhance her understanding and enjoyment of film. The course will enable students to develop a critical vocabulary in analyzing films through the structures of mise-en-scène, editing, cinematography, and sound. We will also examine various schools of filmmaking that represent important alternatives to the classical Hollywood model, including German Expressionism, Soviet montage, Surrealism, Third Cinema, political documentary, feminist film, Korean television drama, and digital cinema. Throughout the semester, we direct close attention to the interaction between film form and larger social and historical formations. Overall, the course will provide students with the critical tools to experience and analyze a variety of moving-image texts through novel and exciting perspectives. In addition to written and oral work, students will produce a short video project. No prerequisites in film/media studies necessary.

 LTWL 180 is an LTEN equivalent course. 

LTWL 183 - Film Studies and Literature: Director's Work
Filmmakers' Reflections on WW2
Instructor: Alain Cohen

About seventy years after the fact, the subject of WW II has remained a haunting source of reflection on war, horror and evil for international filmmakers in order to address various ethical, political and psychological concerns through their filming strategies. In recent films, a few directors have added their own configurations and ways of thinking about WW II, the camps, the Holocaust: Both Quentin Tarantino (Inglorious Basterds, 2009) and Bryan Singer (Valkyrie, 2008) ask “what if” questions and fantasize various strategies to undo the past. Instead, Stephen Daldry (The Reader, 2008) proposes in a shrewd way that the past cannot be undone. Their films will be contrasted with past cult films dealing with the same subject-matter. Italian director Luchino Visconti (The Damned, 1969) looked at the advent of Nazism along with the implosion of family and social boundaries in his cult film, while Liliana Cavanni (The Night Porter, 1974) explored in s/m manner the trauma of identification-with-the-aggressor after WWII in her equally masterful cult film. Steven Spielberg (Schindler’s List, 1993) had a very different agenda when he chose to represent a focused and universal aspect of the Holocaust. References will be made to the legendary Hiroshima Mon Amour (1959) by Alain Resnais and Marguerite Duras with regard to survival in the haunting aftermath of nuclear destruction. Through clips of the above- mentioned films, as well as several others, the goal of the course will be to move methodically through these shifting filmic terrains to delineate historical and psychological explorations of war and trauma. Precise methods of film analysis – frame and shot composition, shot-by-shot analysis, narrative programs, filmic figures, film genre, deep structure, integration of specific films into the history of cinema, and filmic poetics. Thereafter, students will explore the case of the compelling effect of WW II cinema. “Veteran” students will work on different films and will be asked for work building upon their previous research. This course may count as a LT/EN course. 

 LTWL 183 is an LTEN equivalent course.
 LTWL 183 will fulfill Literature/World major’s non-European/non-U.S. requirement.

LTWL 192 - Senior Seminar
Zombies: An Unnatural History
Instructor: Lisa Lampert-Weissig

From the Haitian revolution to the social movements of the 1960s, tales of zombies have often emerged at times of great social upheaval. We will look at some classic zombie books and films, including Romero’s Night of the Living Dead and consider what zombie narratives like The Walking Dead might mean for us today.

Read before signing up for LTWR courses: Enrollment in Literature Writing Courses

LTWR 008A - Writing Fiction
Instructor: Anna Joy Springer

Please contact instructor for course description.

LTWR 008C - Writing Nonfiction
Instructor: Camille Forbes

Please contact instructor for course description.

LTWR 102 - Poetry Workshop
Instructor: Brandon Som

As writers we learn by reading other writers. More specifically we close read and analyze how writers did what they did, breaking the writing down into parts—strategies, techniques, and processes—that we might imitate and practice. In this way, we become better writers as we become better readers, engaging in a rich and intimate conversation with the writers that have come before us.

The design of this poetry workshop emphasizes this conversation. We will read contemporary poets and derive our writing exercises and assignments from their texts. You will have the chance to work intimately with a chosen text from our syllabus, immersing yourself in specific poems and generating a writing exercise that you will share with the class.

A large part of this course will be spent in peer workshop, in doing so we will engage in a conversation with our fellow classmates. This work will help us to build our critical skills and our ability to articulate our sense of what makes a good poem. In addition, we will also be building an artistic community. Finally, you’ll have the opportunity to attend readings by contemporary writers and thus participate in a larger literary community outside of the classroom.

LTWR 104B - The Novella II
Instructor: Melvyn Freilicher

Please contact instructor for course description.

LTWR 113 - Intercultural Writing Workshop
African-American Literature Through the Lens of Intersectionality
Instructor: Melissa Chadburn

This course will consider how a range of identity factors, such as gender, race, nationality, class, sexuality, age, physical ability, corporeality, role, or setting interact to shape a character. We will examine novels with richly rendered social worlds, and keep in mind how these representations respond and interact with “majority” culture’s efforts to define race in a different set of terms. Though this course is a survey of African-American literature we will focus on the politics and poetics of black feminist practice. Literature will be our primary object of analysis, however we will also explore black feminist theory, activism, films, and plays. Central themes of this quarter are the intersectionality and the quadrilateral nature of oppression, and the black female body as a site of ideological and political warfare.

LTWR 114 - Graphic Texts Workshop
Graphic Text Explorations of Class & Creativity
Instructor: Melissa Chadburn

What is an agressito? It’s a made up word to mean micro-aggression. These tiny teeny stabs at the heart, that people often get away with. But where do they go after we hear them? In this course we will use graphic texts to present both mainstream and alternative aesthetics to explore issues of sexuality, race, gender, and class. Together, we will look at modes of activism and community engagement, through observation, writing, and drawing by hand. Students will each create a ready to show piece that arrives at the intersection of thoughts, ideas, images in our mind, and images we can see and read.

LTWR 115 - Experimental Writing Workshop
Instructor: Brandon Som

Please contact instructor for course description.

LTWR 120 - Personal Narrative Workshop
Instructor: Melvyn Freilicher

Students will work with autobiographical materials in a variety of ways: readings include sections of autobiographies and memoirs, vignettes based on sensory memories, language learning and usage, experiences of travel and dislocation, and emergent social and political awareness. Students will develop one long paper in stages, using the readings as possible models. The second half of the quarter will be taken up with everybody discussing their class members' first drafts: each student will provide written critiques of about half the class, Final, revised drafts will be due finals week. Readings include sections of James Agee's LET US NOW PRAISE FAMOUS MEN, Michael Pollan's THE OMNIVORE'S DILEMMA, Ann Moody's COMING OF AGE IN MISSISSIPPI, Simone de Beauvoir's MEMOIRS OF A DUTIFUL DAUGHTER, LeAlan Jones & Lloyd Newman OUR AMERICA: Life and Death on the South Side of Chicago, pieces by Elias Canetti, from punk zines, and others. There will be reading quizzes. 

LTWR 124 - Translation of Literary Texts Workshop
Literary Translation
Instructor: Ari Heinrich

A translation workshop focusing on literary works, with an emphasis on experimental writing.  The class will be writing-intensive.  Students will read a selection of translation theory and translated literature, and consider questions of literary translation as a craft.  In addition to take-home exercises and regular in-class presentations, workshopping, and exercises, students will produce a 12-page polished translation by the end of the quarter.  PREREQUISITE:  BILINGUAL IN ENGLISH AND ONE OTHER LANGUAGE. 

LTWR 129 - Distributing Literature Workshop
The Power, Culture, & Art of the Book

Instructor: Melissa Bañales

Writer Mark Todd once wrote, “Zines are not a new idea...People with independent ideas have been getting their word out since there were printing presses.” The power of the written word has always held incredible weight and status in culture. So much so, that at one time in this country it was considered one of the most dangerous avenues of social change and freedom, where even owning a printing press or a banned book could get a person sentenced to a lengthy prison term. Today, writers thrive and survive not just on solid writing but also on creative and accessible distribution of their work. This course aims to examine and explore the power, culture, and art of The Book through the lense of three counter-cultures: zines, small presses, and on-line literature distribution (ebooks, blogs, on-line zines & magazines).  Through these three counter-cultures we will examine the modern history of literature distribution in America; continually meet with writers and publishers who are influencing culture by reimagining The Book and distribution; and participate in these three counter-cultures by creating our own works to be distributed. This class is a critical-thinking and workshop course, where 50% is participation in course discussions, texts, engagement with guest speakers, and critique of student work; 25% weekly writing assignments and exercises; 25% a final creative work created during the course that is a zine, chapbook, short ebook, or on-line zine for distribution. This course will also be a unique opportunity to meet writers and publishers; learn how to start the process of getting published; learn the workings of The Book (conceptualization, writing, distribution); and empower and inspire writers to get their work “out there”. Each week we will have a rotating list of readings as many of our materials will be zines, books available on small presses, as well as on-line sources; but some of the required texts we will encounter are the zines “Tranquila: Chicanas and Chicanx Coping With Anxiety” by Alma Rosa Rivera; “Homegirls” by Brenzy Solarzano; Third Woman Press Zine: Radical Feminist of Color Publishing: “Calling All Goddesses”; and Maximum Rock and Roll; and the books available via small press distribution The Pulse Between Dimensions and the Desert by Rios de la Luz (stories, Ladybox Books), Life Is Wonderful, People Are Terrific by Meliza Bañales (novel, Ladybox Books), and Black Hole by Bucky Sinister (novel, Soft Skull Press) among many, many other print zines and on-line resources. You must have regular access to email and the internet in order to participate fully in the course, as well as be prepared with access to supplies (scissors, printer, copier, tape, etc.) regularly to physically create work.