Literature Undergraduate Course Descriptions Winter 2012


The Chicano Movement 1965-75
Instructor: Jorge Mariscal

A study of the Chicano Movement during the period of the American war in Southeast Asia.  Readings include a variety of literary and historical texts with special attention to the Movimiento in California.  We will analyze principal leaders such as Cesar Chavez, Dolores Huerta, Reies Tijerina, Corky Gonzales, and feminist activists in their efforts to reform U.S. society and achieve equal rights and economic justice.  In addition to readings, we will watch documentaries and listen to music from the period.  We will be interested in the ways in which the issues addressed by the Movimiento may still be relevant today.  Students will have the responsibility of reading and thinking carefully about the texts in order to contribute to class discussions.

► LTAM 108 is a LTEN equivalent course


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

No Courses Offered


Instructor: John Blanco

This course begins by tracing the history of "culture" as an idea and ideal, which social reformers of the nineteenth century used to address the social disruptions and transformations taking place in Europe and the US during the nineteenth century. By examining the various developments within the idea of culture as: 1) a social science developed in tandem with the spread of European and US imperialism, and; 2) an industry for mass consumption, we will come to focus on the emergence of popular culture as a laboratory and field of investigation for modern identities (national, racial, gendered, and class-based), mass social movements, and what Marx called "the fetishism of commodities." It is from a study of popular culture that we can begin to explore, on the one hand, the emergence of subcultures and the counter-culture(s) of the 1960s; and, on the other hand, the "modern" and "postmodern" approaches to globalization.  

Using Visual Cultural Materials in Chinese Literature and Culture Studies
Instructor: Larissa Heinrich

Too often we privilege the written word over the image in literary and historical studies of China.  This course aims to teach students how to incorporate non-cinematic visual cultural materials (advertising materials, newspaper illustrations, woodblock prints, Chinese text art, stereoscopic prints and photography, digital media, and more) into their studies of Chinese literature, history, and culture.  The course will address theoretical issues related to the study of visual culture as well as some of the specific dilemmas related to visual cultural studies in Chinese studies fields.  Students will be expected to produce an original research paper on an aspect of visual culture in Chinese Studies (or other area) by the end of the quarter, as well as to give presentations and participate actively in discussion.  The course is also open to non-Chinese-Studies majors who wish to advance their understanding of visual culture research methods.

LTCS Upper Division Codes:

(a) = Reading Visual Culture
(b) = Popular Cultures
(c) = Culture and Globilization
(d) = Social Identities


Urban Scenes in China, Hong Kong, and Taiwan
Instructor: Ping-Hui Liao

We will read works by Bai Xianyong, Eileen Chang (Ailing Zhang), Dung Kaicheung, Huang Chunmin, Li Yongping, Lin Haiyin, Su Tong, Shyman Rapongan, Wang Anyi, Xixi, Yu Hua, Zhu Tianwen, among others, to explore how these writers define their home cities and address the intersections of art, urban landscapes, and daily life.  We will discuss tropes of space and geography in these varying reflections on the transformation of the city, to explore topics such as emotion and memory, nostalgia and neurosis, and desire for eco-cultural revival.  Readings will be in English though students’ operant knowledge of Chinese is essential.  This course can be taken to fulfill the requirements for advanced Chinese.

Chinese Queer Cultures: A Survey of Fiction, Film, and Theory
Instructor: Larissa Heinrich

This course offers a survey of materials on Chinese lesbian, gay, bisexual, transgender, and gender-nonconforming literature, cinema, culture, and critical theory from contemporary China, Taiwan, Hong Kong and beyond.  All materials will be available in English (i.e. translations of fiction, film with subtitles, and academic writing in English), although Chinese-speaking students may choose to read/view in the original language.  This is a discussion- and writing-oriented course in which we will explore a diverse sampling of materials related to Chinese queer cultures.  The course is open to all students, but will be of particular interest to students with backgrounds in literature, cinema, Chinese studies, critical gender studies, and popular culture studies.

Instructor: Ping-Hui Liao

The class is an introduction to Taiwan cinema, its rise in the local, regional, national, and international stage.  We will examine the multifaceted dimensions of aesthetics and politics as revealed in the films from the Japanese period to post-colonial or post-modern phase.  Ten films will be chosen to illustrate the evolution of Taiwan cinema in terms of camera work, film genre, narrative technique, language policy, state ideology, trans-regional influences, among other themes. The film directors represent a rich diversity of Taiwanese elite or popular culture; they range from Ho Fei-kuang to Li Xing, Wang Tong, Edward Yang, and several others.   Class requirements include readings and screenings, group presentations, four short commentaries, one mid term quiz, and a final paper.  

Instructor: Jin-Kyung Lee

This course is a survey of literary works and other cultural productions such as films and essays, produced both within and outside the Korean peninsula, concerning the experience of migration, emigration and immigration of "ethnic Koreans" to various parts of the globe since the early 20th Century. We will attempt to situate these representations of Korean diaspora between the contexts of modern Korean history and the histories of the regions and nation-states to which ethnic Koreans migrated.  We will also examine the more recent phenomenon of labor migration of Southeast and South Asians and "returning" diasporic ethnic Koreans into South Korea. Our readings will include diverse materials such as South Korean literary works on emigration to the United States, Korean American literature, literature by Korean residents of Japan, films by Korean Chinese directors, historical sources on global Korean diaspora and contemporary theorizations of South Korea’s recent transition into an increasingly multi-ethnic immigrant society.


Instructor: Kathryn Shevelow

This survey course covers the literature written in the British Isles during "the long eighteenth century":  the period that stretched from the Restoration in the second half of the 17th century through the Romantic period in the early 19th century.  These one hundred and seventy years were a time of profound change:  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, 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 an important form of narrative fiction that came to be called the novel; the spread of literacy; 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 fiction 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 at least one novel from this period.   Writing requirements will include a midterm, a final, and a short paper, in addition to section requirements.  Regular attendance of section meetings will be mandatory.

Instructor: Adam Lews

The goal of this course is to provide an overview of colonial and US literature and culture from the early modern period through the Civil War and to offer critical paradigms for thinking about early American literature and culture in a global frame, with a special emphasis on changing contexts and definitions of literature and on questions of colonialism, nation-building, and empire. We will begin by reading about encounters between native peoples and colonists in New England, New Spain, and New France. During the first part of the course we will analyze theories of American "origins" and diverse forms of contact and conflict as we study some of the most important genres of early American literature and culture, including sermons, letters, poetry, and captivity, slave, and explorer’s narratives.  We will also consider how the meanings of American literature changed in the early nineteenth century, as the colonies became a nation and an empire. During these years, the "print revolution" occurred, which meant that books could be produced more cheaply and distributed more widely than ever before: the age of the best-seller had arrived, which also affected the way authors who we now think of as canonical approached the writing of literature.  During the second part of the course, we will read work by the writers we now retrospectively call the canonical authors of the American Renaissance (Melville, Whitman, Hawthorne, Emerson, and Thoreau) as well as other popular and important writers of the era, including Edgar Allan Poe, Emily Dickinson, Frederick Douglass, Lydia Maria Child, and William Apess.

Proposed Instructor: Amanda Soloman

This course examines the cultural texts born from the movements of peoples from the Asia-Pacific regions into the U.S. from the 19th century to the present. Such a diverse group makes impossible a single narrative or history of their movements, motivations and experiences. The purpose of this course, however, is to glimpse how such groups of Asian immigrants have been defined and have defined themselves in light of their shared movement to the U.S. The first half of this course will focus on the mid-19th century up to World War II when Asian immigrants entered the U.S. primarily as laborers necessary to the development of the West Coast and/or as colonial subjects. The key themes for the first half of our readings therefore are: labor, ethnic enclaves, immigration law, colonialism and imperialism. The second half of the class will focus on the effects of 1965 immigration reforms and the changing demographics of Asian America. Important themes will be: model minority versus yellow peril, refugee communities, civil rights, ethnic and racial hierarchies, gender and sexuality, globalization and transnationalism.  Through the study of specific examples of Asian American literature, this course aims to (1) provide an overview of the major waves of Asian immigration to the U.S.; (2) analyze critically the diversity within Asian America due to ethnic, national, gendered, sexualized and classed differences; and (3) consider how the group labeled Asian American has negotiated a space within American history and culture. Course readings may possibly include: Fae Myenne Ng’s Bone, Carlos Bulosan’s America is in the Heart, Mine Okubo’s Citizen 13660, Aimee Phan’s We Should Never Meet, Wen Ho Lee’s My Country Versus Me, David Henry Hwang’s M. Butterfly, Jhumpa Lahiri’s The Interpreter of Maladies.

LTEN 107 (A00) - CHAUCER (a)
The Canterbury Tales
Instructor: Lisa Lampert-Weissig

In this course we will read a large portion of Chaucer’s The Canterbury Tales in the original Middle English. The course will attempt to situate Chaucer’s work within historical, cultural and literary contexts, with special attention paid to issues of gender and sexuality and how they inflect Chaucer’s poetics and politics.  Course assignments include short writings, translation quizzes, paper, Middle English reading oral exam and final exam.   See for texts and further information.  

Proposed Instructor: Heather James

Edmund Spenser, Christopher Marlowe, and William Shakespeare knew at least two authorities by heart.  One was their Bible, which had undergone many transformations by the time of Queen Elizabeth I, and focused (in their day) on the incarnate Christian God.  The other was their Ovid, the great love poet of ancient Rome, who was most famous for his Metamorphoses, an epic poem about the transformation of human bodies to stone, tree, mineral, bird, beast, flower, and star--and every other element of the physical world.  Although medieval thinkers solved the problem of Biblical and pagan forms of knowledge and truth, English poets such as Spenser, Marlowe, and Shakespeare grew up in a world that doubted and debated the viability of pagan inspiration and yet found themselves, time and again, unable to give up the extraordinary powers of inspiration to be found in Ovid.  This course traces the struggle of three English poets as they decided how, precisely, they were to account for the source of poetic--as opposed to religious--inspiration and found themselves torn between competing models and modes of knowing the world and the word.
Because time is short and poetry can sometimes be long, it is a requirement of this course to read the first book of Ovid’s Metamorphoses for the first day of class.
The texts for this course are as follows:
Ovid, Metamorphoses, trans. David Raeburn (Penguin)
Spenser, Faerie Queene Books I and III (Norton Critical Edition)
Marlowe, Doctor Faustus and Other Plays (Oxford World Classics)
Shakespeare, Titus Andronicus (Arden 3rd ed, ed. Jonathan Bate)
A Midsummer Night’s Dream (Oxford UP, ed. Peter Holland)

Proposed Instructor: Heather James

This is a course about plays from the first half of Shakespeare’s career, their poetic and dramatic techniques, and their social and political contexts in late sixteenth and early seventeenth century England.  We will read seven plays alongside of a range of literary, social, and political texts that were, for Shakespeare and his audiences, sources of dramatic inspiration.  We will consider the challenges and opportunities that Shakespeare found in putting traditional genres--especially comedy, tragedy, and history--on the contemporary stage.  We will also consider the ways in which historical change in Shakespeare’s day influences the theater.  We may also discuss the image and afterlife of Shakespeare in literature, film, and popular culture.  We will, in addition, consider the ways in which modern educators, editors, and publishers present Shakespeare to students:  how does the publishing industry, which competes intensely for the rights to represent Shakespeare to students, shape the playwright and his plays?  The plays include The Taming of the Shrew, A Midsummer Night’s Dream, Romeo and Juliet, Titus Andronicus, Richard III, Henry IV, Part 1, and Hamlet.
Required Texts
The Taming of the Shrew: Texts and Contexts, ed. Frances Dolan (Bedford Shakespeare)
A Midsummer Night’s Dream, ed. Peter Holland (Oxford World Classics)
Romeo and Juliet (Folger Shakespeare Library)
Titus Andronicus, ed. Jonathan Bate (Arden Edition)
Richard III (Folger Shakespeare Library)
Henry IV, Part One, ed. David Bevington (Oxford World Classics)
Hamlet, ed. John Jowett (Oxford World Classics)

Wordsworth, Coleridge and Revolution
Instructor: Fred Randel

William Wordsworth is widely considered the greatest English poet since Milton, and Samuel Taylor Coleridge, his friend, collaborator, and rival, is generally regarded as perhaps the most eminent example in English of a major poet who was also a great literary and philosophical critic.  They came of age just as the French Revolution erupted, and both of them were early supporters, and eventual critics, of it.  Their major writing often wrestles with the meaning of that revolution, of the ideals of liberty and equality which it sought to put into practice, and of the terror which became one of its most discussed features.  "Revolution" is also an apt name for the striking innovations-still influential today-that they introduced into poetry and for the new kinds of ecological thinking which have made Wordsworth a seminal figure of modern environmentalism.  Both men likewise experimented with new ways to reconcile some form of deeply experienced religion with the skepticism, distrust of traditional institutions, and immersion in materiality widespread in Europe after the Enlightenment.  Both produced some of the English language’s most haunting and meaningful poetry.
This course will aim to assist students to become more discerning and appreciative readers of poetry in general and of these two poets in particular.  It will seek to show, through close analysis and attention to relevant historical contexts, why Wordsworth and Coleridge matter.

James Joyce
Instructor: Michael Davidson

This course will offer a reading of two major novels by James Joyce, Portrait of the Artist as a Young Man and Ulysses. The latter, published in 1922 and written while Joyce was in exile in Zurich, Trieste and Paris, has become one of the most important books of the modern era, a novel that changed the shape of literature well beyond narrative fiction. Its formal complexity and fragmented narrative, its dense layers of allusion and multi-lingual punning became the model for many modernist works--from T.S. Eliot’s The Waste Land and William Faulkner’s Absalom, Absalom! to Julio Cortazar’s Rayuela and Thomas Pynchon’s The Crying of Lot 49. Based loosely on Homer’s Odyssey and detailing the lives of its three main characters in a single day in Dublin in 1904, Ulysses tells the story of modern homelessness, Irish colonialism, racial intolerance, the rise of commercialization, and changing gender roles.
This course will read through Portrait in the opening two weeks and then will devote the remainder of the quarter to Ulysses, drawing on secondary sources and other writings by James Joyce. Because the reading load is particularly heavy, students are advised to consult their schedules and make sure they can sustain the pace. It would be good of students could read Portrait of the Artist ahead-of-time so that we can begin discussion of the novel by the second class. Weekly responses to the reading will form the backbone of discussion, and in addition two research papers will be required.

Remembering the West
Instructor: Nicole Tonkovich

This course focuses on how the idea of the USAmerican West has been mythicized, re-mythicized, and substantively challenged. We will focus on several distinct locales understood at various times in the past to have been quintessentially Western. We will study both historical and contemporary texts relating to these places, constructing layered understandings of their importance to the American cultural imaginary, both in the past and in the present. To our filmic and textual studies, we will add extended discussions of the production of these western spaces as contemporary tourist destinations and the commodified nostalgia associated with them. Our topics of discussion will include Davy Crockett and the Alamo, Calamity Jane and Deadwood Dick, Joaquin Murietta and Zorro, Wounded Knee, Owen Wister’s The Virginian, David Milch’s Deadwood, and the films The Searchers and Lone Star.

Early Native American Indian Literatures: Shaping and Contesting the Nation
Instructor: Andrea Marie Dominguez

This course will consider early Native American cultural production from the seventeenth to early twentieth century.  Through a close study or oral literatures, speeches, performances, drama, poetry, and prose, we will study these works in relation to American Indian discourse and the rise of nationhood in the United States.  Some of the questions we will consider are:  How have Native writers and performers written the "nation"?  How have these authors helped create an "American" culture and literary heritage? How are these works a viable medium of political inquiry and/or activism?   How has writing contributed to the process of imagining the space of the nation in the wake of colonization? In order to explore these questions and develop our understandings of these frameworks, we will draw on work by indigenous authors, including Handsome Lake, Samson Occum, and Zitkala-Sa.  In addition, we will consider key cultural moments, such as Native American travels to Europe, King Philip’s War, Buffalo Bill’s Wild West Show, the politics of display, and the rise of race science and American anthropology.  These texts and cultural moments will ground our discussion in the historical context of colonial/U.S. Indian policy and the legal and cultural context of Native sovereignty.

Philippine and Vietnamese American Diasporic Cultureres: Texts and Contexts
(Crosslisted with ETHN 124)
Instructor: John Blanco

This course will explore the comparative experiences of Philippine- and Vietnamese Americans in the US as represented in postwar (World War II) 20th century literature and film. Focus will be given on the history of US empire in southeast Asia; the militarization of Asian countries against the "red" scare; the traumas and continuing legacies of the Vietnam War; cultural responses to the enforced invisibility of Asian-Americans; and the paradoxes of a perpetually stalled or interrupted cultural "assimilation" project to the US.

19th Century African American Literature
(Crosslisted with ETHN 174)
Proposed Instructor: Adam Lews

This class will examine different forms of African American literature written from the late eighteenth century to the end of the nineteenth century, focusing primarily on early narrative fiction such as novels and short stories, slave narratives and other biographical writings, and nonfiction writing including political speeches, pamphlets, and newspapers.  A particular theme addressed throughout the course will be the formations and contradictions of racial identity and difference during the eras of slavery and emancipation.  That is, we will examine the ways in which literature interrogates and challenges the dominant constitution of racial identities marked by histories of economic, political, and sexual violence.  In doing so, we will consider how literature and other print cultures functioned as important mediums for articulating African American political agency and community.
The course will also pay particular attention to different literary geographies that look beyond the national boundaries of the United States such as the transatlantic world, the larger hemisphere of the Americas, including the Caribbean, Canada, and Latin America.  These different frameworks for analyzing African American literature highlight the global networks and solidarities forged in opposition to colonialism and slavery in the Americas and the Atlantic world in addition to the enduring legacies of that resistance in our current moment of neoliberal globalization.  Readings will include work by Victor Séjour, Maria Stewart, William Wells Brown, Frederick Douglass, Martin Delany, Harriet Jacobs, Frances Harper, Ida B. Wells, and Charles Chestnut, among others.  

The following courses(s) are also considered LTEN equivalent:


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


Dante's Journey and Our Own
(Crosslisted with LTIT 115)
Instructor: Stephanie Jed

Dante (and we, his readers) awaken in the dark wood of Inferno.  We know that we are lost, that we cannot ignore the "beasts" we encounter, but must experience suffering, hopelessness, alienation, deceit, and betrayal within ourselves.  We are overcome by suffering and a fear "so bitter it is close to death" (Tant’è amara che poco è più morte).  We will journey with Dante through Inferno and sections of Purgatorio and Paradiso, struggling to understand the meaning his journey holds for us, enduring the pain of gruesome suffering and hopelessness, savoring the grace involved in hard work, finally experiencing a moment in which concepts and words no longer serve.  
We will use bilingual texts.  No previous knowledge of Italian is necessary.

Modern Period Modern Jewish Fiction
(Crosslisted with LTRU 150)
Instructor: Amelia Glaser

In this course, we will explore a wide selection of Modern Jewish fiction, from its rise in nineteenth-century Eastern Europe through the contemporary period, worldwide. We will pay close attention to the exchange of stories and languages in the Russian Jewish literary tradition, beginning with tales by Hassidic rabbis and their followers, and the enlightenment writers (Maskilim) who originally wrote in Hebrew, Russian and Yiddish, who rejected traditional religious writings. Topics of discussion will include portrayals of the shtetl (market town), how the multiple languages of Jewish civilization in the Russian Empire influenced the development of Russian Jewish literature during and after the Soviet Union, and the uses (and abuses) of Russian-Jewish jokes. Although the class focuses on the East European Jewish literary tradition, we will discuss the relationship between Eastern Europe and the development of Modern Jewish fiction worldwide, including in North and South America, and Israel and other parts of the Middle East. (An occasional Russian language section will be available to those students wishing to read some of the texts and discuss them in Russian.)

(Crosslisted with LTRU 123)
Instructor: Steven Cassedy

In this course, we will read Tolstoy’s monumental War and Peace (1869), a number of shorter works of fiction, and some of Tolstoy’s non-fiction. We will study his works in the context of their historical, cultural, political, and religious context.


Instructor: TAs supervised by 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.

► Prerequisite(s): LIFR 1C/CX or its equivalent, score of 3 on French language AP exam or consent of instructor.

Instructor: TAs supervised by Catherine Ploye

Plays from the 19th and 20th centuries as well as movies are studied to strengthen the skills developed in LTFR 2A. Includes a grammar review. Taught entirely in French. May be applied towards a minor in French literature or towards fulfilling the secondary literature requirement.

► Prerequisite(s): LTFR 2A or its equivalent, score of 4 on French language or score of 3 on French literature AP exams or consent of instructor.

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

► Prerequisite(s): LTFR 2B or its equivalent, score of 5 on French language or score of 4 on French literature AP exams or consent of instructor.

Fantastique, exotisme et idéalisme au 19e siècle
Instructor: Catherine Ploye

En réaction au mouvement réaliste qui domine le 19e siècle, certains auteurs choisissent la voie de l’évasion que ce soit dans le rêve, le voyage ou l’utopie. Nous analyserons des textes de Théophile Gautier, George Sand et Pierre Loti. Le cours aura lieu entièrement en français.

► Prerequisite(s): LTFR 115 or LTFR 116.

Paris versus the Provinces in French and Francophone Literature and Film
Instructor: Winifred Woodhull

Because France is, historically, a centralized country, and because Paris was long recognized internationally as perhaps the world's greatest cultural and political capital, the City of Light has figured prominently in much literature and film in the French and francophone world (as well as other places).
But of course Paris means different things to different groups of people who live, work, or study there, depending on a number of factors: their wealth; their status as "native French," tourists, university students, or "immigrants" of color; their education and access to "high culture"; their attitude toward the government at any given time, and so on.  Paris is by turns a burgeoning site of artistic and architectural production, the world's fashion capital, the birthplace and the preserve of democratic and social freedoms, as well as the power center of racism and colonial oppression, class struggle, and lethal enforcement of laws serving the elites.
Similarly, depending on the perspective from which they are viewed, "the provinces" (everything outside Paris in the French hexagon) are variously seen as the boondocks inhabited by hicks and backward-looking small-town conservatives; as deceptively tranquil places that are in fact stifling and swarming with lust, petty yet virulent rivalry, and murderous impulses.  On the other hand the provinces are sometimes considered to be places where one can be close to nature--a beautiful, restorative escape from the noise, pollution, grime, traffic, and energy-sapping pace of the big city.  Alternatively, they may be seen as a welcome refuge from violent political conflicts in the capital, the constant struggle against urban poverty and personal isolation, or simply the daily grind.
These are the questions we will address in analyzing a variety of readings and films.
Students will write two 5-page papers and will take a comprehensive final exam. Lectures and class discussion will be complemented by small-groups work, brief in-class writing assignments, and 10-minute presentations.

► Prerequisite(s): LTFR 115 or LTFR 116.


Instructor: Isa Murdock-Hinrichs

In LTGM 2B, the second course in the UCSD Intermediate German sequence, we will emphasize the development reading, speaking, writing, listening skills by working with literary and non-literary texts and films. We will focus on the pivotal role of Berlin during the Weimar Republic, in post-war Germany, and post-unification Germany. The language of instruction is German, and attendance is mandatory. The course will continue to review German grammar.

► Prerequisite(s): LTGM 2A or score of 4 on AP German lanaguage exam or consent of instructor.

Modern Lyric Poetry
Instructor: William O'Brien

In this course we will read-slowly, carefully--some of the most famous German poems of the last 200 years.  Our authors will include Goethe, Hölderlin, Novalis, Rilke, Trakl, Lasker-Schüler, Benn, Brecht, Celan, and Bachmann.  
All our class discussions will be devoted to reading and discussing shorter lyric poems.  Our goals will be to develop skill in reading poetry, ease in speaking about it, and clarity in writing about it.
Because our texts will be short, they will be accessible to students with two years of German; and they will also, for obvious reasons, be of interest to students at any level of German.
Throughout the course, we will be attentive to the well-known concerns of lyric poetry (love, sex, and death) as well as its lesser-known ones (conflict, politics, and society).  While concentrating on close reading, our discussions will open into considerations of the poems’ formal developments, their historical contexts, and the social changes they both embody and address.
Requirements: preparation for class discussions; occasional one- or two-page responses to readings; a final 5-page paper.
Required texts will be distributed in class.

Instructor: Todd Kontje

From the late 1960s until the early 1980s, German film experienced a renaissance that has come to be known as the New German Cinema. Deliberately opposed to the commercial aesthetic of Hollywood films, the German directors stamped their works with distinctly individual creative visions. We will view and discuss the works of such filmmakers as Margarethe von Trotta, Volker Schlöndorff, Alexander Kluge, Rainer Werner Fassbinder, Wim Wenders, and Werner Herzog in works that engage the difficult topics of the times: feminism, terrorism, the place of foreigners in Germany, the image of America, and the looming presence of the Nazi past.


Instructor: Leslie Collins Edwards

We’ll continue to work our way through Schoder and Horrigan’s A Reading Course in Homeric Greek.  By the end of this quarter, we’ll be ready to start reading the Odyssey in the original Greek.  As in Greek 1, there will be weekly quizzes, two midterms, and a final exam.

► Prerequisite(s): LTGK 1 or equivalent.

Instructor: Anthony Edwards

Anyhow, what we’ll be reading is selections from the poets Theognis and Solon. Their grammar and vocabulary will be familiar to you from the Homeric dialect of the  first-year Greek course. Theognis is from the city of Megara, immediately to the north-west of the territory of Athens, probably born in the middle of the 6th century BCE. We have about 1220 lines of poetry attributed to him, of which we feel certain that about 380 lines are actually his. But it’s all good and was very popular in the 5th and 4th centuries. Solon was born around a century earlier, ca. 640, and became an important Athenian political leader and a legendary law-giver of archaic Greece. He also wrote a lot or poetry, a good bit of which was preserved by quotations from later authors. As we read these poems, we’ll attend to their formal qualities as poetry, to the insights that they can provide into the values and culture of archaic Greece, and in particular to what they can tell us about the transformation of the Greek polis during this period.
In addition to reading the poetry, there will be occasional days devoted to secondary, background reading. Midterm, final, 4,000 words writing.

► Prerequisite(s): LTGK 1, 2, 3 or equivalent.


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(s): LTIT 2A or its equivalent, or consent of instructor, or a score of 4 on the AP Italian Language and Culture exam.

Dante's Journey and Our Own
(Crosslisted with LTEU 105)
Instructor: Stephanie Jed

Dante (and we, his readers) awaken in the dark wood of Inferno.  We know that we are lost, that we cannot ignore the "beasts" we encounter, but must experience suffering, hopelessness, alienation, deceit, and betrayal within ourselves.  We are overcome by suffering and a fear "so bitter it is close to death" (Tant’è amara che poco è più morte).  We will journey with Dante through Inferno and sections of Purgatorio and Paradiso, struggling to understand the meaning his journey holds for us, enduring the pain of gruesome suffering and hopelessness, savoring the grace involved in hard work, finally experiencing a moment in which concepts and words no longer serve.  
We will use bilingual texts.  No previous knowledge of Italian is necessary.

The Periferies of Literature
(Crosslisted with LTGN )
Instructor: Pasquale Verdicchio

Through the writings of writers such as Dacia Maraini, Pier Paolo Pasolini, Cesare Pavese and Italo Calvino we will attempt to outline the language by which the margins of inhabited spaces have formed the focus and a central mode of representation  of much of modern Italian writing.  The course will be taught in Italian. Students should be prepared to read, write and discuss in Italian.  Participation in class discussions is of primary importance and will constitute part of the final grade.


For more information about the UCSD Korean Language Program please visit

Instructor: Jeyseon Lee

► Prerequisite(s): LTKO 1A.

Instructor: Jeyseon Lee

► Prerequisite(s): LTKO 1B or placement test required.

Instructor: Jeyseon Lee

► Prerequisite(s): LTKO 1C or placement test for 2A; 2A is prerequisite for 2B; 2B for 2C.

Instructor: Jeyseon Lee

► Prerequisite(s): LTKO 2A or placement test required.

Instructor: Jeyseon Lee

► Prerequisite(s): LTKO 2C or placement test required


Instructor: Eliot Wirshbo

In this course, the amount of vocabulary starts to subside, but the grammatical constructions start to become more complex as we climb the mountain that is Latin grammar. Same text, same format, same workload; more complex sentences, more subtlety, more rewards for the student soul (as healthy as chicken soup). Six quizzes, mid-term, final, daily recitation of homework assignments. Random grammatical gems, philosophical pearls, linguistic lozenges, semantic slurpees, historical honeys, moral musings, thought thickets, metaphorical muddles, metonymic mysteries, synecdochic swamps  [help! I'm caught in a copse of alliterative asininity!]

► Prerequisite(s): LTLA 1 or equivalent.

Instructor: Charles Chamberlain

We will cover chapters 23-44 of Beginning Latin for College Students by Charles Chamberlain.  This means a pace of 2 chapters per week overall.  There will be 5 quizzes, a midterm and final.  Quizzes are worth 30 %, the midterm 25 %, the final 35 %, class participation and other factors 10 %.  (I also reserve the right to institute more frequent quizzes and to assign graded homework if necessary.)  Please note the heavy weight given to the final.  That is because it will be an actual cumulative test of everything you have learned this quarter.  Please prepare for it accordingly.
Latin is not taught as a spoken language, so there will be no emphasis on conversing.  However, there are many grammatical rules to be learned, perhaps more than you ever imagined.  In some ways, Latin is more like math or science than it is like a modern foreign language; it will soon become impossible to "get the gist" of what you read unless you know the grammatical rules thoroughly.  Therefore, I urge you not to fall behind--it is very difficult to catch up.

► Prerequisite(s): LTLA 1 or equivalent.

LTLA 131 (A00) - PROSE
Instructor: Eliot Wirshbo

Of Cicero's various quasi-philosophical works, the de Senectute is a little more quasi than most. It's really just a compilation of anecdotes about what some notable Romans accomplished in their waning years. Though this may make it more interesting to an elderly person than to a student, it's still a fairly decent, variegated read that never gets bogged down in too much detail -- that is, the anecdotes just keep on coming. Perhaps more important for our purposes, it's a fine example of Cicero's mature, assured style and a perfect text to practice one's Latin on. There's no danger of having to become involved in tedious discussions of the nature of the soul or the gods or of obligations -- it's just one remarkable old guy after another, doing amazing things at ages when you'd figure they should be senile or dead. So don't expect anything passionate (Catullus), titillating (Ovid), or profound (Seneca), only a series of hearty little glimpses into the lives of noble Romans (or at least the edifying stories that circulated about them).
Mid-term, paper, final, and daily text-poring-over.

► Prerequisite(s): LTLA 1, 2, 3 or equivalent.


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.  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.

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.  Videos and readings texts will supplement the basic text.  This course meets two days a week for grammar lectures and requires conversation section meetings and participation in web discussions.  Every effort is made to integrate material on Russian culture into the language curriculum.

► Prerequisite(s): LTRU 1A-B-C or equivalent.

Instructor: Rebecca Wells

Extensive practical work on advanced skills in reading, writing, and conversation.  Course based on written and oral texts of various genres and styles.  Seminar style course with individualized program to meet specific student needs. May require additional discussion section time outside of lecture.

(Crosslisted with LTEU 158)
Instructor: Steven Cassedy

In this course, we will read Tolstoy’s monumental War and Peace (1869), a number of shorter works of fiction, and some of Tolstoy’s non-fiction. We will study his works in the context of their historical, cultural, political, and religious context.

Modern Period Modern Jewish Fiction
(Crosslisted with LTEU 154)
Instructor: Amelia Glaser

In this course, we will explore a wide selection of Modern Jewish fiction, from its rise in nineteenth-century Eastern Europe through the contemporary period, worldwide. We will pay close attention to the exchange of stories and languages in the Russian Jewish literary tradition, beginning with tales by Hassidic rabbis and their followers, and the enlightenment writers (Maskilim) who originally wrote in Hebrew, Russian and Yiddish, who rejected traditional religious writings. Topics of discussion will include portrayals of the shtetl (market town), how the multiple languages of Jewish civilization in the Russian Empire influenced the development of Russian Jewish literature during and after the Soviet Union, and the uses (and abuses) of Russian-Jewish jokes. Although the class focuses on the East European Jewish literary tradition, we will discuss the relationship between Eastern Europe and the development of Modern Jewish fiction worldwide, including in North and South America, and Israel and other parts of the Middle East. (An occasional Russian language section will be available to those students wishing to read some of the texts and discuss them in Russian.)

► Prerequisite(s): Upper-division standing.


Instructor: TAs supervised by Beatrice Pita

This 5 unit intermediate course meets 4 days per week and is taught entirely in Spanish. LTSP 2A emphasizes the development of communicative skills, reading ability, listening comprehension and writing skills. It includes grammar review, short readings, class discussions and working with Spanish-language video and Internet materials. This course is designed to prepare students for LTSP 2B and 2C. A diagnostic test will be administered on the first day. Prerequisites: Completion of LISP 1C/CX, its equivalent, or a score of 3 on the AP Spanish language exam.
Note: The Final Exam for LTSP 2A is scheduled for Monday, March 19th, 2012
Contact instructor ( with  any questions regarding placement.

► Prerequisite(s): Completion of LISP 1C/1CX or LISP 1D/DX, or the equivalent or score of 3 on AP Spanish Language Exam, or placement result of 3 or 4 the Language Placement Exam—Spanish, or consent of instructor.

► Intermediate Language Spanish Program

Instructor: TAs supervised by Beatrice Pita

This intermediate course is designed for students who wish to improve their grammatical competence, ability to speak, read and write Spanish. It is a continuation of LTSP 2A with special emphasis on problems in writing and interpretation. Students meet with the instructor 4 days per week. Work for this 5 unit course includes oral presentations, grammar review, writing assignments, class discussions on the readings and work with Spanish-language video and Internet materials. A diagnostic test will be administered on the first day. Prerequisites: Completion of LTSP 2A, its equivalent, or a score of 4 on the AP Spanish language exam.
Note: The Final Exam for LTSP 2B is scheduled for Monday, March 19th, 2012.
Contact instructor ( with  any questions regarding placement.

► Prerequisite(s): LTSP 2A or score of 4 on AP Spanish language or 3 on AP Spanish literature exams or consent of instructor.

► Intermediate Language Spanish Program

Instructor: TAs supervised by Beatrice Pita

The goal of this intermediate language course is twofold: to further develop all skill areas in Spanish and to increase Spanish language-based cultural literacy. LTSP 2C is a continuation of the LTSP second-year sequence with special emphasis on problems in grammar, writing and translation. It includes class discussions of cultural topics as well as grammar review and composition assignments. The course will further develop the ability to read articles, essays and longer pieces of fictional and non-fictional texts as well as the understanding of Spanish-language materials on the Internet. A diagnostic test will be administered on the first day. Prerequisite: Completion of LTSP 2B, its equivalent, or a score of 5 on the AP Spanish language exam. This course satisfies the third course requirement of the college-required language sequence as well as the language requirement for participation in UC-EAP.
Note: The Final Exam for LTSP 2C is scheduled for Monday,  March 19th, 2012.
Contact instructor ( with  any questions regarding placement.

► Prerequisite(s): LTSP 2B or equivalent or score of 5 on AP Spanish language or 4 on AP Spanish literature exams or consent of instructor.

► Intermediate Language Spanish Program

Instructor: TAs supervised by Beatrice Pita

Designed for bilingual students who have been exposed to Spanish at home but have little or no formal training in Spanish. The goal is for students who are comfortable understanding, reading and speaking in Spanish to further develop existing skills and to acquire greater oral fluency, and grammatical control  through grammar review, and reading and writing practice. Building on existing strengths, the course will allow students  to develop a variety of Spanish language strategies to express themselves in Spanish with greater ease and precision. Prepares native-speakers for  more advanced courses. A diagnostic test will be administered on the first day. Prerequisite: Native speaking ability and/or recommendation of instructor.
Note: The Final Exam for LTSP 2D is scheduled for Monday, March 19th, 2012.
Enrollment for LTSP 2D requires department pre-authorization.
Contact instructor ( with  any questions regarding placement.

► Prerequisite(s): Native speaking ability and/or recommendation of instructor.

► Intermediate Language Spanish Program

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 Monday, March 19th, 2012
Enrollment for LTSP 2E requires department pre-authorization.
Contact instructor ( with  any questions regarding placement.

► Prerequisite(s): LTSP 2D and/or recommendation of instructor.

► Intermediate Language Spanish Program

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. 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 19th, 2012.
Contact instructor ( with  any questions regarding placement.

► Prerequisite(s): LTSP 2C or 2D or 2E or the equivalent.

► Intermediate Language Spanish Program

Instructor: Jaime Concha

Se estudiará la poesía de Neruda, Borges, Cardenal y otros peces gordos.
Análisis textual y contextos históricos respectivos.
Dos examenes, uno intermedio y otro final.
Se entregará Reader.

► Prerequisite(s): LTSP 50B or 50C.

Instructor: Rosaura Sanchez

The course will focus on three novels and several short stories that deal with different periods of Caribbean history from decidedly different vantage points.  The novels include Alejo Carpentier's El reino de este mundo; Mayra Montero's Como un mensajero tuyo; and Leonardo Padura Fuentes' Adios, Hemingway.   Additional short stories representative of different countries of the hispanophone Caribbean will be available in a Reader.   Students will write two papers and take two exams (a mid-term and a final) as well as participate in class discussions and do an oral presentation.

Latin American Detective Fiction
Instructor: Milos Kokotovic

¿Qué es el crimen cuando el sistema mismo es criminal?  ¿Quién defiende el orden público cuando el estado ni está en orden ni pertenece al público?  En este curso vamos a leer novelas negras o policiacas recientes de varios países latinoamericanos.  Analizaremos la forma en que estas obras representan la creciente pobreza, desigualdad, corrupción, crimen y violencia de los últimos 25 años en América Latina, y la manera en que critican estos fenómenos y sus causas.  Como la novela negra es un género predominantemente urbano, también estudiaremos la representación de las ciudades latinoamericanas en estos textos (e.g. México D.F., Santiago, Bogotá).

► Prerequisite(s): LTSP 50B or 50C.

Instructor: Max Parra

En este curso haremos una lectura crítica de algunas de las obras clásicas del cuento latinoamericano del siglo XX, concentrándonos en el período de 1940-1970. Leeremos obras de Borges, Rulfo, Cortázar, Castellanos, y García Márquez. Algunas obras de autores más recientes también serán incluidas en el curso. Objetivo: realizar una lectura básica, rigurosa, de los textos, tanto para dilucidar las estrategias narrativas de cada autor como las ideas que ponen en juego, y, también, vincular las obras con la dinámica social y cultural de América latina. También se discutirán algunas de las reflexiones teóricas acerca del género que se han producido dentro y fuera de América Latina.
Requisitos: dos trabajos breves, dos exámenes parciales.

► Prerequisite(s): LTSP 50B or 50C.

Andean Indigenismo
Instructor: Milos Kokotovic

En este curso vamos a leer obras indigenistas del Perú y Ecuador.  Escritas durante un período de rápida modernización entre 1920 y 1970, estos ensayos, cuentos, y novelas denuncian el abuso y explotación de los pueblos indígenas del Perú y Ecuador por los terratenientes semi-feudales, el estado, y las empresas transnacionales. Aunque intentaron representar los intereses de los pueblos indígenas, los autores indigenistas no fueron indígenas sino intelectuales mestizos de provincias.  Usaron la literatura no sólo para criticar las élites criollas y defender los derechos de las comunidades indígenas que buscaban representar, sino también para promover sus propios intereses como clase social ascendente.  Estudiaremos las formas literarias que usaron los indigenistas para representar las diferencias culturales y los conflictos sociales provocados por la modernización en el Perú y Ecuador durante el medio siglo que va de 1920 a 1970.

► Prerequisite(s): LTSP 50B or 50C.

LTSP Upper Division Codes:

(SP) = Spanish Peninsular literature before 1900
(LA) = Latin American literature before 1900


New European Cinema
Instructor: Roddey Reid

This class introduces students to exciting new currents in contemporary European cinema including films from France, Germany, Great Britain, Italy, Portugal, Spain, Denmark, Turkey, and Bosnia-Herzegovina. Students will have the opportunity to analyze innovative films and to learn to appreciate them in the context of the “New Europe” of the European Union that now includes many countries of Eastern Europe and the former Soviet Union. We will begin with two questions that we will pursue all quarter: What is Europe? What is cinema? Accordingly, we will follow issues that the new cinema addresses such as: the very definition of "Europe" itself (for ex., does it include Russia? Turkey? Ukraine?); the economic crisis; the recent Balkan wars; the expansion of the free-market into all areas of public and private life; immigration; and changing national, religious, sexual, and ethnic identities. The focus will be primarily on new productions emerging since the end of the Cold War in Europe in 1989 and some of the issues that challenge contemporary filmmakers: tensions between art-house cinema and quality commercial cinema, European cinema’s often contentious relationship to U.S. cinema (Hollywood), and the recent dominance of transnational co-productions.
Films include Cédric Klapisch’s comedy, Auberge espagnole (France/Spain), Thomas Vinterberg’s family melodrama, The Celebration (Denmark), Danis Tanovic’s war satire, No Man’s Land (Bosnia/Herzegovina), Gurinder Chadha’s sport comedy, Bend It Like Beckham (UK/Germany), Manoel De Oliveira, A Talking Picture (Portugal/France), Fatih Akin, The Edge of Heaven (Germany/Turkey), Pedro Almodóvar’s sexual satire, Women on the Verge of a Nervous Breakdown (Spain), Gianni Amelio, Lamerica (Italy/France), and Luc Besson’s sci-fi extravaganza, The Fifth Element (France). All films in languages other than English are sub-titled.
This course qualifies for credit towards Gen Ed requirements; lower-division pre-requisites for different International Studies tracks; the European Studies minor:; and Literature major and minor requirements.

The Greco-Roman World
Instructor: Eliot Wirshbo

In the days before a hierarchical ranking of authors or works had become offensive, the authors and works to be read in this course would have been placed high on a scale of ultimate value. We no longer speak of 'ultimate value' in the academy, but maybe we can get away with using terms like 'humanistic interest,' or 'ongoing vitality,' or 'direct impact.' The material in this course, composed 2,400 years ago, retains a relevance and an immediacy surprising to students shaped by 21st century ways of responding to the world. Part of the goal of the course is to foster that old-fashioned, humane attitude which sees the present world and its 'issues' as not so very different from those of long ago.
To achieve this goal it will be necessary to read our texts not as artifacts of a particular era but as documents that speak their meanings without having to be fully 'contextualized.' This approach presumes a generalized 'humanity' that we all share, one which allows us to appreciate a distant world and its creations without some secret knowledge that only an expert can impart to us. Part of the excitement of learning about the ancient Greeks is the discovery that their concerns and insights are often like our own.
The readings will reflect the diversity of interests of the ancient Athenians -- this course mostly covers what is considered the fullest flowering of the Greek city-state in Athens during the fifth century B.C. -- and will range from tragedy to comedy, philosophy to rhetoric, history to social criticism. Unfashionable as it is to say, your instructor considers these texts edifying: if not character-building, certainly intellect-building.
Two five-page papers, mid-term, final.

Vampires on 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 2008 blockbuster Twilight. How has the representation of vampires changed over the years? Students will watch the films outside of class to prepare for our discussions. Visit for more information.

Instructor: Stephen Potts

J. R. R. Tolkien’s Lord of the Rings inspired an international cult in the 1960s and 70s and a popular movie trilogy in this century. It also spawned an entire popular genre as well as a considerable body of sophisticated literary criticism. We will consider the materials--historical, biographical, mythical, literary, and linguistic--that went into the creation of the twentieth century’s best-known fantasy epic before launching on our own quest through the text. In the process we will read the works that frame Lord of the Rings: Tolkien’s children’s book The Hobbit and the "Bible" of Middle Earth eventually published as The Silmarillion, along with related tales not published in Tolkien’s lifetime. Previous knowledge of Elvish not required.

► LTWL 120 is a LTEN equivalent course

Psychoanalysis of Deams in Cinema
Instructor: Alain J.-J. Cohen

Clips of 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 Alain Resnais’s Hiroshima mon amour (1959), Stanley Kubrick’s Eyes Wide Shut (1999), Michael Haneke’s The Piano Teacher (2001), Michel Gondry’s amusing The science of Sleep (2006) and Chris Nolan’s complex Inception (2010) as well as clips from several other contemporary films. They 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. Thus the films with explicit dreams, fantasies, and reveries will be studied with focus on the psychoanalyst and patient interaction, and 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), and the methods of psychoanalytic theory applied to dreams in film wich involve psychoanalysts and semioticians from early Freud to contemporary research in neuroscience.
Readings in film interpretation will thus run the gamut from Freud and early Lacanian feminist theory all the way to contemporary psychoanalytic theory and neuroscience. Students will be responsible for the close analysis of at least one film in conjunction with at least one of the authors selected from the course Reader (made available through University Readers).
Course may be taken as a LTEN equivalent.
Graduate students are welcome.

Instructor: Richard Cohen

This class provides an introduction to Buddhist thought and practice. The material will be treated thematically -- e.g., the connection between cosmological models and liberative practices; the conflict/symbiosis of wisdom and compassion; renunciation vs. accumulation of wealth -- and temporally -- the movement from early Buddhism to Mahayana to Tantra. Our sources will be Buddhist narrative and doctrinal literatures, supplemented by archaeological and art historical artifacts.

Literature of the Middle Ages: PARZIVAL AND THE GRAIL
Instructor: Lisa Lampert-Weissig

The story of Parcival and the Grail describes how a young man develops from a bungling innocent to one of the greatest knights ever known. 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 wondrous and perhaps dangerous sorceress, knightly quests, and, of course, the Grail castle and the Holy Grail.

We will explore the origins and legends of the Grail and also use the details in Parcival’s story as the basis for exploring medieval life.  What was it like to live in a castle?  What did people wear and eat?  What was an actual medieval joust like? In addition to being an important artifact of courtly culture, Parcival’s story is also important as an example of early explorations of questions of orientalism, race, and religious difference.

This course now fulfills the "a" requirement for the LTEN major. For more details contact Prof. Lampert-Weissig (

► LTWL 172 is a LTEN equivalent course

Zarathustra, Thus Spoke Zarathustra, The Gay Science, Beyond Good and Evil.
Instructor: William O'Brien

This course will center on the reading and discussion of the book that Nietzsche considered his masterpiece: Thus Spoke Zarathustra.
Zarathustra contains the most detailed presentation of Nietzsche’s most famous—and infamous—philosophical doctrines: the Death of God, the Superman, the Eternal Return, and the Will To Power.
A notoriously strange, rich, and difficult book, Zarathustra mixes together philosophy and poetry: it forces us to read the metaphors in its philosophy and the concepts in its poetry.  We will become skilled and comfortable with this type of reading (which, you will find, you can apply to anything you read or analyze).
We will spend ten weeks working through Zarathustra, analyzing its philosophy and enjoying its poetry—or is it the other way around?  Come find out.
Requirements: preparation for class discussion; occasional one- or two-page responses to our readings; a 5-page paper.
Required text: Thus Spoke Zarathustra, translated by Walter Kaufmann (available at UCSD Bookstore).
Suggested text: Before the course begins, it will be helpful for you to read (in whole or part) either The Gay Science or Beyond Good and Evil.

Woody Allen from Manhattan to (Midnight in) Paris
Instructor: Alain J.-J. Cohen

One of the most creative contemporary American directors, “Woody” has created a vast and distinct body of work of about forty films which are manifestly intertwined with the history of cinema, literature, philosophy and psychotherapy. How did Woody Allen succeed in proposing his particular version of «New York», «neurotic», «Jewish», «intellectual», into a compelling universality abroad as well as in the USA? Is there not, however, a reticence and a resistance in and about his films, his aesthetics and his philosophy, which warrants the scrutiny of the film analysis that this course will offer?
Excerpts from two or three of his classic earlier films Manhattan (1979), Stardust Memories (1980), Zelig (1983), Deconstructing Harry (1997) will be studied in detail, in association with films by Ingmar Bergman and Federico Fellini to which he payed homage (Stardust Memories salutes Fellini while Deconstructing Harry (1997) is indeed a postmodern appropriation and kitsch deconstruction of Bergman’s Wild Strawberries). Woody Allen may have reconquered his innovative power after Celebrity (1998), in such recent films as Match Point (2006) and Midnight in Paris (2011) which will be studied during the second half of the term.
Attention will also be paid to Woody Allen’s place in the history of comic films and comic actors (Chaplin, Keaton, Lloyd, W.C. Field, G. Marx, J. Lewis, et al.) and the gamut from wit and humor to slapstick. The focus of this course will be upon his triple self-referential stylistic trademark: a) playful reference to the history of cinema, e.g. Casablanca, The Lady from Shanghai, 8 1/2, or Bergman’s Wild Strawberries or Interiors, etc;  b) deliberate confusion between his director persona and his actor persona; c) success in proposing his particular version of Manhattan in its everyday life, urban design and architecture.
Precise methods of film analysis (e.g. frame and shot composition, shot-by-shot, narrative programs, filmic poetics, film genres, integration of specific film to history of cinema) will be introduced during the first weeks of the term.
Course may be taken as a LTEN equivalent.
(Graduate students are welcome.)

"Unspeakable Things Unspoken"
Instructor: Michael Davidson

This seminar offers an introduction to critical methods and research directed toward the completion of an honors project. By reading a range of critical and creative texts (and with an eye to blurring the distinctions between these two adjectives), we will develop various ways of constructing that project, whether it be an essay on a novel or a manuscript of poems. The seminar will alternate readings with peer critiques in small groups in order to give students a chance to read and evaluate each other's work. We will also visit the reference section of the UCSD Library to learn about on-line research, data bases, academic journals, textual scholarship, and reference volumes. The ultimate goal of the seminar will be to offer students strategies for framing a long paper, developing a set of research parameters, and writing a rhetorically powerful and intellectually rich thesis or creative manuscript.
Readings for the seminar will be based on the thesis that literature is concerned with what Toni Morrison calls "unspeakable things unspoken" and with her premise that "invisible things are not necessarily not-there." Literature is manifestly about saying and representing, but it is also about words that cannot be spoken, either because of overt censorship or private repressions and avoidances. In this sense, literature is intimately bound up with ghosts, with apparitional forms that haunt the text, or with identities that have yet to find a name. How is it possible as critics to reveal presences that strive to speak while respecting the ghost's refusal to become flesh? Or, as literary artists, how to create a form that does not reify what is, by its nature, unstable and fugitive? What forces make it necessary to remain invisible and how is literature complicit in processes of erasure and silencing? These are some of the questions we will ask as we seek to reveal what Wallace Stevens called the "Nothing that is not there and the nothing that is."
We will focus on three key areas of analysis: the historical, the aesthetic, and the cultural, exploring the interlocking frames by which each is tied to the other.. Evaluation will be based on the following: 1) weekly writings on the texts; 2) participation in class and peer discussion; 3) an annotated bibliography in preparation for the thesis; 4) a five-page paper in response to one of the texts; 5) a prospectus for the thesis. Enrollment is through invitation by the department.


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

Instructor: Ben Doller

This course will introduce us to many of the central concepts in poetry writing, for instance: form, image, sound, fragment and line. We will also look at many examples of poems, as written by both experienced practitioners of the art form and ourselves.  In particular we will focus on the notion of process over project, seeking to become informed and inspired makers of language art. You will be required to write one poem a week, usually under a specific prompt; to read weekly doses of poetry, poetics, and theory; and to prepare comments on the poems written by your fellow poets.

► Prerequisite(s): Completion of college writing requirement.

Introduction to Writing Nonfiction
Instructor: Camille Forbes

Whereas this course is generally titled "writing nonfiction," we will take a further focus, concentrating our efforts on what has been called "creative," or "literary," nonfiction. What’s the difference? (You might ask.) We will use a basic definition. For our purposes, "literary" nonfiction has three central characteristics: it’s based on actual events, people, and places; it’s written with a special focus on language; and it’s written generally with more engagement with the personal (view, and experience) than other types of nonfiction writing, and with a distinct difference from fiction.  So, for us, creative nonfiction will exclude: journalism, with its focus on accuracy, straightforwardness and objectivity (whether realized or not); academic writing (reports, academic research, and other scholarly writing); and fiction, as invented material, characters, etc. (although we might argue about the details).
This course introduces three forms of literary nonfiction: personal narrative; interview/biographical sketch; and criticism. Our focus will be mainly on reading and discussing various forms of nonfiction, although we will cover relevant terms generally related to writing and craft (perhaps, at times, using fiction to illustrate them--I will make such examples clear). Throughout the quarter, our discussions will serve as a springboard for individual work on the three key assignments in each of the previously-mentioned nonfiction forms.

► Prerequisite(s): Completion of college writing requirement.

Instructor: Cristina Rivera-Garza

Not too long ago, Mexican writer Alberto Chimal published a series of 86 novels, none of which included more than 140 characters. Indeed, he was using, as many contemporary writers do, the platform of twitter to create works of extreme brevity in a format that, by necessity, questioned the strict border between prose and poetry. From the "petite prose poems" by Charles Baudelaire to the relatively autonomous life of the new sentence in the new prose poems of language poets, from the flash fiction practiced by so many narrators around the globe to novels written entirely in verse by poets of diverse traditions, the practice of short fiction still manages to pose crucial questions to genre boundaries otherwise seen as natural or inevitable. In this class, we will use the technological support offered by twitter to dynamically work with various historically based definitions of short fiction. Based on writing exercises issued on weekly basis, we will use the 140-character constraint and the collaborative nature of the Time Line to write short texts of auto/biographical nature.

► Prerequisite(s): LTWR 8A; department approval.

Instructor: Rae Armantrout

This course is for students with an interest in writing (and reading) contemporary poetry. Poetry has been variously defined by modern poets. William Carlos Williams said a poem is a "small (or large) machine made of words." Charles Bernstein described poetry as "turbulent thought" which "leaves things unresolved." We will explore a range of approaches to poetry writing and students will be encouraged to invent their own poetic forms. Assigned readings may include work by Emily Dickinson, William Carlos Williams, Langston Hughes, Frank O'Hara, Charles Bernstein, Harryette Mullen, Claudia Rankine, and others. There will be intensive small group discussion of student poems.

► Prerequisite(s): LTWR 8B; departmental approval.

Writing with/about/through Other
Instructor: Cristina Rivera-Garza

In this class, we will use the documents of the Archive for New Poetry (ANP) in order to write the story of a life of/with/through Other -- in this case, the poet of your choice: Based on your careful reading of the archival material and the Writing Exercises I will issue on weekly basis, teams of at least two students will write texts (fiction and non-fiction, in paragraphs or in lines) resulting from the contact with both the required reading material and the personal documents housed at the ANP. Be aware of the schedule of the ANP and plan your visits accordingly.

► Prerequisite(s): LTWR 8A,8B, or 8C; department approval.

Graphic Texts: Word and Image Combined
Instructor: Anna Joy Springer

Every picture frames and stages a story, and all writing is both visual mark and cognitive prompt.  What kinds of meaning can we conjure when we combine illustration with writing and when we blur distinctions?  In this class we will study and create texts in which visual design and illustration do as much work to perform the meaning of our works as the words do.
You will leave this course with a well-developed object, a revised and ready-to-show Word & Image piece.  It may be a book or something like a book, a hypertext, a short film, a series of posters or postcards, or a series of wall-mounted or standing artworks which provide a complex reading experience via multiple routes of perception and recognition.  You will organize a public showing of these final projects for the end of the quarter.

► Prerequisite(s): LTWR 8A or 8B or 8C; department approval.

Instructor: Ben Doller

An experiment is an operation or act performed for the purpose of discovering something unknown-in that sense most creative writing can be classified as "experimental". However, in this course we will treat the classroom as a kind of laboratory, creating weekly works under extreme conditions. In some cases this work will be severely (sometimes arbitrarily) formally constricted; in others the work will be written under more kinetic prompts. In some cases, the work will approach the conceptual. In all cases we will seek an understanding of where writing is at this moment, and how we can take it further.

► Prerequisite(s): LTWR 8A, 8B, or 8C; department approval.

Solo Performance
Instructor: Camille Forbes

In workshop style, this course will focus primarily on the production of solo performance texts by the students, and the presentation of these texts for critical feedback within the class. While our aim is to create powerful original monodramas, it is nonetheless important that we study the roads traveled and the work produced by those who came before us.  For this reason, we will engage the visual, literary and aural products of earlier monologists/monodramatists, examining issues particular to craft, such as the transformation of a text from the page to the "stage: (performance arena), how performativity affects the writing process, and how diction, syntax and meaning shift strategically within the performance text and the performance.

► Prerequisite(s): LTWR 8A, 8B, or 8C; departmental approval.

Travel Writing
Instructor: John Granger

In this writing workshop we’ll be reading a number of short travel narratives written by Ryszard Kapuscinski, Rory Stewart, Eileen Myles, Stephanie Elizondo Griest, Jules Verne, Charles Baudelaire, Elias Canetti, John Washington, and lots of other writers.  Classes alternate from workshop (Thursdays) to discussion of the readings, and whatever else arises (Tuesdays).  You’ll be asked to compose twenty pages of new travel writing.  Not from memory: you’ll have to really travel somewhere.
It’s open.

► Prerequisite(s): LTWR 8C; department approval.

Literature and Social Text
Instructor: Melvyn Freilicher

You will read and write texts which focus both on social issues and stylistic and literary innovation.  Readings fall within a range of genres, including feature writing, reportage, (photo)essays, oral history: James Baldwin’s THE EVIDENCE OF THINGS NOT SEEN; excerpts from Canetti’s CROWDS AND POWER, James Agee’s LET US NOW PRAISE FAMOUS MEN, Susan Faludi’s STIFFED, Jones & Newman’s OUR AMERICA: Life and Death on the South Side of Chicago; works by Joan Didion, Susan Sontag, and others.  The reading are possible models for how to approach your major writing project: to create a portrait of a social scene (a neighborhood; organization; community; mall) and/or sub/cultural trend, and to discuss some of its chief ramifications.  Your project could take a variety of forms, but they will all entail observation, research, interviews, and clearly articulating your own point-of-view or position in relation to the subject matter (which might range anywhere from remote observer to intimate participant).  We’ll discuss drafts of all student projects in the second part of the quarter, and you’ll provide written critiques for half the class.  Final, revised projects are due finals week.

► Prerequisite(s): LTWR 8C; department approval.

Finding Your Niche
Instructor: Charles Chamberlain

How does one convey the truth in a creative and compelling way by using nonfiction as the medium?   In this class, we will read texts on a variety of topics, including travel, food, family, science, art and music and discuss how authors have successfully written them. Students will be expected to read deeply and thoughtfully, participate in class discussions with enthusiasm, complete short weekly writing assignments, occasionally write peer critiques, and write one long final nonfiction masterpiece (8-10 pages minimum).

► Prerequisite(s): LTWR 8C; department approval.

Instructor: Linda Brodkey

Students will read and write about materials on the theory and practice of teaching composition in American post-secondary schools in the late 20th and early 21st centuries.  Each student will compile a double-entry reading  journal, write a short (seven to ten- page) research paper on a topic of interest and design a syllabus for a college composition course.  Class members will also prepare short  class presentations on research topics and updates on syllabus preparation along the way.  
Primary text: Susan Miller, ed.  The Norton Book of Composition Studies.
Satisfies Lit/English requirement

► Prerequisite(s): departmental approval.