Literature Undergraduate Course Descriptions WI19

LTCH 101 - Readings in Contemporary Chinese Literature

Twentieth Century Chinese Women Writers.

Ari Heinrich

This course covers important Chinese women writers from the twentieth century, including authors such as Xiao Hong and Ding Ling.  Be prepared to work:  This class will involve a) weekly writing assignments, b) mandatory in-class discussion, c) a mid-term exam, and d) a full-length final paper.  You should expect to spend as much time on your homework (reading and writing) as you do for your STEM laboratory classes.  You should be able to read and research fluently in Chinese, although English translations will be available for most materials.

LTCH 101 Chinese

LTCH 101 Asia

LTCS 52 - Topics in Cultural Studies

Ping-hui Liao

The course considers the recent emergence of Sinophone discourse around the shifting notions of China as a geopolitical entity and of Chinese culture as part of transnational lived experience.  We shall examine theories of Sinophone and Chinese Diaspora around issues of identity performance—gender, racial, national, transnational, translational, and so on. Our main focus will be on artists from a rich diversity of pan Chinese speaking communities, particularly on the ways in which they reinvent traditions to develop new visions of being Chinese along the direction of linguistic innovation and literary imagination. Students need to do group presentations, write up journal entries and in-class responses to weekly reading, on top of submitting a term paper on a Sinophone artist in depth.

LTCS 108 - Gender, Race, and Artificial Intelligence

Fatima El-Tayeb

This course explores the idea of artificial intelligence in both art and science, its relation to the quest to identify what makes us human and the role gender and race have played in both. Employing a critical gender studies perspective, we will look at dominant (scientific, political, economic) models, their critiques - in particular those from marginalized perspectives - and at alternative forms of engaging with new technologies. Sources will range from scientific writing to speculative art, from the 18th century “Mechanical Turk” to Microsoft’s Tay.

LTCS 108

LTCS 108

LTCS 131 - Topics in Queer Cultures/Queer Subcultures

The Future of Queer/Trans History

Sarah Nicolazzo

Do queer and trans futures depend on visibly queer and trans pasts? How do we narrate histories of gender nonconformity and sexual dissidence that predate the contemporary categories through which these histories resonate as recognizable, powerful, political, or desirable? Do we look for pasts we can identify with, or do we look to the past as a source of productive estrangement from what’s familiar today? What do we do with pasts we want to reject? Do the methods developed for theorizing queer history work for thinking through trans history, or do these categories of analysis demand different approaches?

These questions have profoundly shaped queer and trans theory in recent decades, as archives of gender and sexual diversity that predate Stonewall—sometimes by centuries—demand that we generate new methods for theorizing what “queer” and “trans” might mean for an unfamiliar past, while also proposing how the past might help us rethink what we believe about the present. This course centers on theoretical and methodological approaches to queer and trans pasts and the impact of historiography on theoretical conversations about gender and sexuality more broadly. We will read a variety of both classic and recent theoretical texts on queer/trans historical methods, the politics of history, and queer/trans theories of time itself. We will also work with a variety of case studies: theoretical and methodological interventions based on the examination of particular historical individuals, social phenomena, texts, and archives from all over the world. Topics will include the place of race and empire in the history of gender and sexuality, psychoanalysis and the genre of the case history, queer/trans histories of science and religion, queer/trans literary histories and historical fictions, theories of temporality, the politics of the archive, and the place of desire, emotion, and identification in the writing of history.

This course is applicable for the CGS major or minor.  

LTCS 150 - Topics in Cultural Studies

Images of the Yakuza

Kimberly Icreverzi

Stories of nation tend to begin from their heroes. In the context of Japan, this has often meant the samurai. This course asks: what can we access about the power and pull of the imaginaries of Japan if we instead look to its outlaws? We’ll adopt the frame of the image as a rubric for examining not only visual representations, but also the associations, stereotypes, and mythologies that circulate around the yakuza. After reading a text from visual studies to develop a methodology for interpreting images we will proceed to look at representations of the yakuza in photography, political history, journalism, and film. In the process, we will ask ethical questions about what is invested in images and what remains or is made invisible in them. This will involve examining how Japan is figured in and by the yakuza, or what the image means to Japan, both domestically and extraterritorially. It will also ask how images of the yakuza have been constructed and transformed over time, taking into account the historical legacies that inform images of the yakuza today.

LTEA 120B - Taiwan Films

Ping-hui Liao

The course is an introduction to teenager and apprentice films from Taiwan, with concentration on the father-son (or daughter) relationships.  We examine in detail scenes in which characters react to patriarchal values while trying to cope with multifarious life situations and to develop arts of survival as they grow up and mature on the island.  Quite a few films will be used to illustrate the evolution of Taiwan cinema in terms of bildung apprenticeship, camera work, narrative technique, language policy, state ideology, transregional influences, among other themes.  The course will highlight works by a rich diversity of Taiwanese and Taiwanese American film directors. Students need to e-screen the films, write up weekly journal entries in response, and do a term paper.


LTEA 120B Asia

LTEA 132 - Later Japanese Literature in Translation

Gender & Sleep

Kimberly Icreverzi

You need not look far for signs of our recruitment to sleeplessness: in what Jonathan Crary calls our 24/7 world, there are constant injunctions to more and greater productivity. This course looks to a set of transnational literatures that persistently associate a desire to preserve rest with Japanese women’s bodies in support of the rest of others. We’ll begin by reading Kawabata Yasunari’s novella House of the Sleeping Beauties, the text cited again and again to explain why this supporting labor is so overwhelmingly associated with Japan. We’ll then watch an Australian adaptation of the story, Julia Leigh’s Sleeping Beauty, before moving to read Crary on sleep and several other pairs of short literary texts (including the Spanish writer Jose Marias’ “While the Women are Sleeping, Yoshimoto Banana’s “Asleep,” and Sakaguchi Ango’s “One Woman and War” ) and their cinematic adaptations. We’ll thus think about the role of adaptation in the context of the demands of these narratives. By looking finally at relevant comparisons to other media, periods, and geographical locations, we’ll be able to develop a fuller picture of the texts’ implications in terms of exploitation, the ethics of care, and the gender and power systems that support them.

LTEA 132 Asia

LTEA 142 - Korean Film, Literature, and Popular Culture

The Korean Wave and New Racial Hierarchies

Jin-kyung Lee

The course examines cultural productions in all mediums, film, television drama, television variety shows, literature, and music/musical video, that belong Hallyu, the Korean Wave, in particular relation to the issue of race. Race as a political, cultural and experiential category has become part of South Koreans’ daily lives, both in the virtual and non-virtual worlds.  The Korean Wave also generated, by definition, non-Korean fans, i.e., racially diverse fandom. Keeping in mind this new kind of “racial interaction,” made possible by the globalized (South Korean) entertainment industry, how would we critically think about race? We will attempt to think through the following questions: How has the mode of inter-racial interaction changed through these virtual cultural flows? Has the earlier global racial hierarchy changed and if so, how has it been modified? How are “whiteness,” “Korean-ness,” “Northeast Asian-ness,” “Southeast Asian-ness,” “Western-ness,”and other races figured in the Korean cultural productions? If global fandom for the Korean Wave is racially diverse, how is that racial diversity represented or excluded from the productions? What determines the “new” or revised global racial hierarchy and how does the Korean Wave contribute to the new criteria? 

LTEA 142

LTEA 142 Asia

LTEN 22 - Introduction to the Literature of the British Isles: 1660-1832

Sarah Nicolazzo

Are poets the "unacknowledged legislators of the world," as Percy Shelley wrote in 1821? Can literature build or topple empires? Is literature a business like any other, or does it transcend the logic of the market? Can anyone write literature, or is literary fame only accessible to those with the right family, gender, race, education, innate genius, emotional experience, or marketing savvy? Should literature represent entire nations, or reveal one individual's inner world?

These were pressing questions for British authors and readers between 1660 and 1832, a time period that included massive expansion in both literacy and the print industry, the birth of new genres like the newspaper and the novel, the Industrial Revolution, and Britain's transformation into the world's major imperial power. This class will offer an introduction to British literature of this tumultuous period, with particular focus on how authors defined the value of literature in a changing world. At the same time, we will practice the fundamental skills of literary analysis, learn the vocabulary of literary form, and learn how (and why) to read and write like a literary scholar. Throughout, we will return to the very questions that preoccupy the authors of our texts: what is literature, what does it do, and why does it matter?

LTEN 26 - Introduction to the Literature of the United States, 1865 to the Present

Meg Wesling

In this survey of literatures written in the U.S. since the Civil War, we’ll take as our theme “Narrating Our Americas,” reconsidering the concept of “America” as a concept constantly in the process of revision.  In particular, we will trace the development of national consciousness across 150 years, considering how literary texts, from late nineteenth-century populism to early twenty-first century popular culture, have constructed competing and often contradictory understandings of U.S. culture.   

LTEN 29 - Introduction to Chicano Literature

Rosaura Sanchez

This course will focus on literature that deals with major issues affecting the Chicano/a - Latino/a population in the United States.  We will begin with the novel by Anaya that traces the Spanish colonization of New Mexico through a 20th century detective novel.  We will also examine issues of immigration, labor, gender/sexuality and gentrification in two additional novels, two plays and several short stories. Film viewing will also be required.  The stories will be available in a Cal Copy Reader.  Students will write two short papers, take a midterm and a final exam.

LTEN 107 - Chaucer a

Lisa Lampert-Weissig

What was it like to live in the Middle Ages? We will explore this question through Chaucer’s masterpiece The Canterbury Tales.  Our examination of The Canterbury Tales will explore its historical, cultural and literary contexts.  Special attention will also be paid to issues of gender and sexuality and how they inflect Chaucer’s poetics and politics, as well as to the role of Christianity in Chaucer’s works.  We will also reflect on Chaucer’s influence in the present day, including the BBC’s 2003 adaptions of the tales, poems from Patience Agbabi’s Telling Tales, and the Refugee Tales project, There is only one required text, Jill Mann’s Penguin paperback edition of The Canterbury Tales (ISBN: 978-0140422344).  Please bring it to class on the first day so we can jump into the text immediately. For more information visit

LTEN 107

LTEN 110 - Topics: The Renaissancea

The Global Renaissance: Voyagers and Their Tales

Daniel Vitkus

The Renaissance was a great cultural flowering and “rebirth” in Europe:  Michelangelo adorned the ceiling of the Sistine Chapel, Albrecht Dürer produced his great engravings, Michel de Montaigne penned his essays, and Shakespeare wrote poetry and plays.  But it was also the time when the New World was “discovered” by Columbus and when Magellan first circumnavigated the globe.  As the Europeans reached out to the rest of the world to trade and to expand their empires, fascinating stories about these early encounters between Europeans and others began to circulate.  Each journey produced new tales, and new forms of travel literature proliferated.  This course will lead students on a journey of their own to explore these tales about travel to faraway lands, including stories about “first contact” between Europeans and other peoples. 

This course will pursue the premise that the Renaissance was not only a European phenomenon but was, in some sense, a “global” process of cross-cultural exchange.  We will look at Renaissance texts from a global perspective, tracing a cultural history of travel, exploration, trade, conquest, piracy, and slavery through the sixteenth and seventeenth centuries. Students will address questions of cultural, racial and religious difference, with reference to journeys and encounters that were recorded during the early modern period.  We will read and discuss a range of texts that linked Europe to the rest of the global matrix, and our examination of Renaissance culture will incorporate a variety of genres.  We will also look at visual culture, including paintings, prints, and engravings as well as film versions of The Tempest.  Students will chart the changes in European identity that took place during this era of accelerated mobility, commerce, and hybridity. The course will begin with accounts of Columbus’s initial voyage in 1492 and will conclude in the seventeenth century with texts like Shakespeare’s play The Tempest, and accounts of travel to the early Virginia colony.  There will be an opportunity for the class to visit the recently completed San Salvador, a replica, built here in San Diego, of the galleon that Juan Cabrillo sailed when he and his crew were the first Europeans to land on the California coast in 1542.

LTEN 110

LTEN 127 - Victorian Poetry b

Margaret Loose

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

LTEN 149 - Topics: English-Language Literatured

Indigenous Speculative Fiction

Kathryn Walkiewicz

In one of her most recent books, As We Have Always Done: Indigenous Freedom Through Radical Resistance (2017), Nishnaabeg writer, scholar, and activist Leanne Betasamosake Simpson insists that “a lot of what science fiction deals with—parallel universes, time travel, space travel, and technology—is what our Nishnaabeg stories also deal with.” In other words, science fiction (and speculative fiction more broadly) is nothing new—at least not for Anishinaabe/Ojibwe people. By making this claim Simpson disrupts two dominant literary assumptions. First, that science fiction is a Western literary development. Second, that Indigenous literature typically focuses on notions of “tradition” and realism. This second literary assumption is a stereotype not only challenged by Simpson’s claim, but also by a rich body of Indigenous speculative literature that resists—sometimes explicitly—the reinscription of a singular Indigenous narrative. Our class takes up both of Simpson’s claims by engaging a series of questions: What does Indigenous speculative fiction read like? How might we understand the genre? Is it a redundant literary categorization? In order to think through these questions, we turn to examples of First Nations and Native American literature that uses the tropes of speculative fiction (horror, sci-fi, fantast, and everything in between) to think through issues of Indigeneity, colonization, climate change, virtual reality, social inequalities, and numerous others in their writing. Texts will include: The Marrow Thieves, Riding the Trail of Tears,  Mongrels, and Trail of Lightning, as well as comics and short fiction.

LTEN 153 - The Revolutionary War and the Early National Period in US Literaturec

Revolutions and the Early Republic

Kathryn Walkiewicz

This course delves into the historical events, cultural questions, and political debates key to the U.S. nation-state’s formation. The early republic was the era in which terms like “democracy,” “liberty,” and “freedom” became key (but vexed) tenets of U.S. national identity. To better understand this era literarily, culturally, and politically, we will read across various genres, including political tracts, biographies, poetry, and prose, as well as look to visual culture from the late-eighteenth and early-nineteenth centuries. In our own moment there is particular interest in the early republic and what it symbolically represents in the twenty-first century. We will end the course with a discussion of why this might be, and what narrations of the past might reveal about the present, turning to a number of contemporary depictions of the “age of revolutions.”

LTEN 178 - Comparative Ethnic Literature


Hoang Nguyen

Queer of color critique (QoCC) is a mode of criticism with roots in women of color feminism, post-structuralism, critical race theory, and queer studies. QoCC focuses on intersectional analyses. That is, QoCC seeks to integrate studies of race, sexuality, gender, class, and nationalism, and to show how these categories are co-constitutive. In doing so, QoCC contends that a focus on gay rights or reliance on academic discourse is too narrow. QoCC therefore addresses a wide set of issues from beauty standards to terrorism and questions the very idea of “normal.” This course introduces students to the ideas of QoCC through key literary and film texts. They may include: James Baldwin, Giovanni’s Room Audre Lorde, Zami: A New Spelling of My Name Cherrie Moraga and Gloria Anzaldua, This Bridge Called My Back: Writings by Radical Women of Color Monique Truong, The Book of Salt Sherman Alexie, The Business of Fancydancing FIERCE/New Neutral Zone/Paper Tiger Television, Fenced OUT Frances Negrón-Muntaner, Brincando el charco: Portrait of a Puerto Rican Daniel Peddle, The Aggressives and selected videos by Vaginal Davis, Chris Vargas, and Narcissister.

LTEU 105 - Medieval Studies

Dante’s Journey and Our Own

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, exploring the meaning his journey holds for us, enduring the pain of gruesome suffering and hopelessness, savoring the grace involved in hard work, finally experiencing the “curved space” of a universe in which concepts and words no longer serve. 

We will use bilingual texts.  No previous knowledge of Italian is necessary.

LTEU 105

LTEU 105 The Mediterranean

LTEU 105 Europe

LTEU 140 - Italian Literature in Translation


Adriana De Marchi Gherini

Niccoló Machiavelli, statesman, diplomat, humorist, historian...  A nice guy by certain accounts, a horrible, bitter person by others (not completely unjustified...).

In this course we will read his best known works, the treatise/manual The Prince, and the satyrical-allegorical play The Mandrake, plus a few other works, mostly theatrical, considered "minor."  Certainly less known, but we'll try to decide together if less important.

If possible, we'll stage part of one or more of his plays.

Course is in English.

4 units.  One oral presentation, one paper.

Students who have completed LTIT 100 may petition LTEU 140 to count towards the Italian language focus.

LTEU 140 The Mediterranean

LTEU 140 Europe

LTFR 2B - Intermediate French II

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. 

LTFR 2C - Intermediate French III: Composition and Cultural Contexts

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. 

LTFR 116 - Themes in Intellectual and Literary History

De la révolution française à aujourd’hui

Catherine Ploye

Une introduction à  quelques grands moments littéraires replacés dans leur contexte historique. Textes, films et discussions en classe seront en français. 

LTFR 116 French

LTFR 116 The Mediterranean

LTFR 116 Europe

LTFR 141 - Topics in Literatures in French

Oumelbanine Zhiri

Please contact instructor for course description.

LTFR 141 French

LTFR 141 The Mediterranean

LTFR 141 Europe

LTGK 2 - Intermediate Greek (I)

Alexander Petkas

A continuation of LTGK 1.  In this section, students will focus on expanding their vocabulary and reading fluency, while continuing to solidify their grasp of Greek Grammar and Syntax.

LTGK 105 - Topics in Greek Literature

Ancient Greek Magic

Jacobo Myerston

In this class students will be introduced to the exciting field of Greek magic that has received much attention in the last years.  Greek magical texts were written in lead tablets, amulets, gems and papyri, and contain hymns, incantations, and curses. Some of the texts were produced to make people fall in love as well as to repel unwanted lovers, to cure illnesses, to bring good luck, but also to harm enemies. This variety in their materiality and contents makes Greek magical texts particularly suitable to understand how common ancient Greeks thought about their health, sexuality and life in general.  This class will have the format of a seminar, consisting of reading short texts in the original language as well as academic articles on magic and its logic. The class is coordinated with a workshop lead by one of the most important scholars in the field, Christopher Faraone.  Professor Faraone will arrive in San Diego in week 10th and will read with us magical texts preserved in Greek amulets.  If there is enough interests among participants, the class will meet again in the Getty Villa for the reading of texts in the special collection. 

LTGK 105

LTGK 105 Greek

LTGK 105 The Mediterranean

LTGK 105 Europe

LTGM 2B - Intermediate German II

Eva Fischer-Grunski

2B is an intermediate-level course conducted entirely in German. The course provides a review and an expansion of the four German language skills. 2B emphasizes reading authentic literature, culture texts and discussions of current events and films. Another focus is the review of grammar and gaining more communication skills in the target language. 

LTIT 2B - Intermediate Italian II

Adriana De Marchi Gherini

Conversazione, Cultura, Cinema e Cucina (e naturalmente un po' di ripasso grammaticale)!!

Il nostro viaggio in Italia continua con nuove letture, nuove ricette, nuovi utili idiomi, film e conversazione.

5 units.  Stessi textbooks di 2A. Per informazioni, contattatemi a

LTIT 115 - Medieval Studies

Dante’s Journey and Our Own

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, exploring the meaning his journey holds for us, enduring the pain of gruesome suffering and hopelessness, savoring the grace involved in hard work, finally experiencing the “curved space” of a universe in which concepts and words no longer serve. 

We will use bilingual texts.  No previous knowledge of Italian is necessary.

LTIT 115

LTIT 115 Italian

LTIT 115 The Mediterranean

LTIT 115 Europe

LTKO 1B - Beginning Korean: First Year II

Jeyseon Lee

First Year Korean 1B (5 units) is the second part of the Beginning Korean series. This course is designed to assist students to develop mid-beginning level skills in the Korean language. These skills are speaking, listening, reading, and writing, as well as cultural understanding. LTKO 1B is designed for students who have already mastered the materials covered in LTKO 1A 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 the 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 be able to do the following in Korean: 

Speaking: Students are able to handle successfully a variety of uncomplicated communicative tasks in straightforward social situations. Conversation is generally limited to those predictable and concrete exchange necessary for survival in the target culture. They are capable of asking a variety of questions when necessary to obtain simple information to satisfy basic needs.

Listening: Students are able to understand simple, sentence-length speech, one utterance at a time, in variety of basic personal and social contexts. Comprehension is most often accurate with highly familiar and predictable topics although a few misunderstandings may occur.

Reading: Students are able to understand short, non-complex texts that convey basic information and deal with basic personal and social topics to which they bring personal interest or knowledge, although some misunderstandings may occur. They may get some meaning from short connected texts featuring description and narration, dealing with familiar topics.

Writing: Students are able to meet a number of practical writing needs. They can write short, simple communications, compositions, and requests for information in loosely connected texts about personal preferences, daily routines, common events, and other personal topics.

LTKO 2B - Intermediate Korean: Second Year II

Jeyseon Lee

Please contact instructor for course description.

LTKO 2B - Intermediate Korean: Second Year II

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 and narrations about past, present, and future events. They understand the main ideas, facts and many supporting details. Students may 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 3 - Advanced Korean: Third Year

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, 2C and 3A 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 Colonial Korean Literature and Culture

Jin-kyung Lee

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

LTKO 100 Korean

LTKO 100 Asia

LTLA 2 - Intermediate Latin (I)

Eliot Wirshbo

The slog continues, with exciting new grammatical features to be learned every day. The format will stay the same: daily recitation, hilarious comedy, dramatic roles parceled out among students, six quizzes, etc. And all the while, surreptitiously, hard-working students will acquire a broader acquaintance with Latin, English, and, more abstractly, Language generally and its arcana. Latin is close to English in much of its vocabulary, yet alien in its structure this makes for a familiarity-in-difference that entices [!] and challenges. And notice the new, prime-time scheduling -- no mid-afternoon sluggishness!

LTLA 2 - Intermediate Latin (I)

Kourtney Murray

In this enigmatically-named course, we will be continuing the journey begun in LTLA 1 -- Beginning Latin 1.  That is to say, we will strengthening and adding to a foundation of Latin with exciting new noun declensions, paradigm-breaking irregular verbs, and verb tenses so ideal that some would call them perfect. Because we will be relying on the same text we used in the first part of this sequence, we will also necessarily be meeting more Plautine anti-heros and strengthening our understanding of Roman comedy and culture therein.  Grading is based on weekly quizzes, attendance and participation, mid-term, and final.

LTLA 105 - Topics in Latin Literature

Cicero's Oratory

Alexander Petkas

In this course we will read Cicero's famous oration Pro Caelio, discussing its arguments, style, and the legal and political context of the late Roman republic.  There will be a modest composition element to the course as well.

LTLA 105

LTLA 105 Latin

LTLA 105 The Mediterranean

LTLA 105 Europe

LTRU 1B - First-Year Russian

Rebecca Wells

Please contact instructor for course description.

LTRU 2B - Second-Year Russian

Rebecca Wells

Please contact instructor for course description.

LTRU 104C - Advanced Practicum in Russian: Analysis of Text and Film

Rebecca Wells

Please contact instructor for course description.

LTRU 104C Russian

LTRU 104C Europe

LTSP 2B - Intermediate Spanish II: Readings and Composition

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 Spanishlanguage 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 SATURDAY, MARCH 16th, 2019. Contact instructor ( with any questions regarding placement.

LTSP 2C - Intermediate Spanish III: Cultural Topics and Composition

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, MARCH 16th, 2019. Contact instructor ( with any questions regarding placement.

LTSP 2D - Intermediate/Advanced Spanish: Spanish for Bilingual Speakers

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 SATURDAY, MARCH 16th, 2019. Enrollment for LTSP 2D requires department pre-authorization contact instructor ( with any questions regarding

LTSP 2E - Advanced Readings and Composition for Bilingual Speakers

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, MARCH 16th, 2019. Enrollment for LTSP 2E requires department pre-authorization contact instructor ( with any questions regarding

LTSP 50B - Readings in Latin American Literature

Beatrice Pita

This course introduces students to cultural 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 50B prepares Literature majors and minors for upper-division work. Two classes from the LTSP 50ABC series (any two) 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 50B is scheduled for SATURDAY, MARCH 16th, 2019. Contact instructor ( with any questions regarding placement.

LTSP 135A - Mexican Literature before 1910

Rosaura Sanchez

This course will deal with 19th and early 20th century issues of positivism, eugenics, liberalism and revolution in Mexico and the role that gender plays.  We will read 3 novels  and several short stories and discuss several films.  Students will write two short papers and take a Midterm and a Final exam.

Texts:  Federico Gamboa.  Santa.

            Eduardo Urzaiz.  Eugenia.

            Mariano Azuela.  Mala Yerba

            Nellie Campobello.  Cartucho.


LTSP 135A Spanish

LTSP 135A The Americas

LTSP 138 - Central American Literature

Literatura Centroamericana 1950-1990

Milos Kokotovic

En este curso analizaremos representaciones literarias de los conflictos étnicos y políticos del siglo XX en Centroamérica. Empezaremos con el Popol Vuh, el libro sagrado de los Quiché Maya y analizaremos como Miguel Angel Asturias utilizó algunos de los temas y preocupaciones de este texto Maya siglos después en su novela Hombres de maíz (1949).  Seguiremos con poesía, cuentos, testimonios y novelas escritos entre los 1960s y los 1980s, durante las guerras revolucionarias. Analizaremos como varios autores usaron la literatura tanto para representar estos conflictos como para tomar parte en ellos. Aparte del Popol Vuh y Hombres de maíz, leeremos obras de autores como Claribel Alegría, Manlio Argueta, Gioconda Belli, Ernesto Cardenal, Roque Dalton, Rigoberta Menchú, y Sergio Ramírez.

LTSP 138 Spanish

LTSP 138 The Americas

LTSP 140 - Latin American Novel

Gloria Chacon

This class will introduce you to the Latin American novel from a historical, political, and aesthetic point of view.  We will cover important periods, movements, and approaches to the novel.  Moving from the Boom novel to performance, memory, and the narco novel, we will interrogate linear history, heteronormativity, memory, and redemption.  The novels will take us across South America, Mexico, and Central America.  

LTSP 140 Spanish

LTSP 140 The Americas

LTSP 172 - Indigenista Themes in Latin American Literature

Gloria Chacon

The “encounter” in the Americas gave birth to an entire corpus of texts about the “Indian.” The “Indian” becomes a constant trope in Latin American literary, political, and cultural discourses. In this course, we will focus on a particular movement coined as indigenismo in the 20th century.   This political, literary, and cultural expression emerged in countries with diverse indigenous communities and continues to wield its influence today. Students will learn about the particularities and intricacies of indigenismo through analyzing representative texts from Mexico and Central America. We will complete the second half course by reading indigenous writers and their distance from this trend as well as their own projects of intellectual autonomy. 

LTSP 172 Spanish

LTSP 172 The Americas

LTTH 115 - Introduction to Critical Theory

Daniel Vitkus

This course offers an introduction to the most important concepts and critical issues in literary and cultural studies today.  Our primary focus will be literary theory and critical methodology.  The study of literary theory will lead us to explore exciting, foundational questions having to do with textual interpretation, cultural production, and the making of meaning. Students will learn about the most important schools of recent and contemporary literary theory and then apply these theories to the interpretation of literature and other cultural productions. We will ask not only “What do these texts mean?” but also “How do they mean?” Some of the other questions we will raise and discuss include the following: what is “literature”? What is the purpose and function of literary studies? How do we determine what a text means? Where does meaning reside—in the author, the reader, or the text? What is the relationship between literature and society? Between text and historical context? Our study of critical theory will help us to understand the ways in which literature and culture both respond to and shape the world around us. 

LTWL 19B - Introduction to the Ancient Greeks and Romans

Eliot Wirshbo

This central course in the classical sequence has as its focus the Golden or Periclean Age of ancient Greece. There is a variety of literary genres to fascinate students and titillate even the most unfocused mind: rhetoric, philosophy, comedy, tragedy, history, anthropology. The instructor's new-found ability to attach a plug to a cable may even bring about the occasional distraction of still pictures[!]: a way of offering students exposure to art and architecture. 

The ancient Greek ways are still relevant to how we think, for these small-town citizens initiated a still-lively debate in areas of undying concern: what political system is best? how are we to manage the relations between the sexes? where should we come down in the choice between idealism and realism? how can we best present our thoughts and political stances to others? to what extent is our make-up molded by our own and our predecessors' past or created by our own selves?

Apart from all that, the course helps to satisfy some requirement and may offer just enough challenge to pique the interest of those UCSD students still climbing after knowledge infinite. Five surprise quizzes, mid-term, final, two five-page papers.

LTWL 87 - Freshman Seminar

Dystopia in Film and Lit

Lisa Lampert-Weissig

Please contact instructor for course description.

LTWL 87 - Freshman Seminar

Vampires on Film

Lisa Lampert-Weissig

Please contact instructor for course description.

LTWL 100 - Mythology

Comparative World Mythology

Page duBois

We will read the myths, that is, the ancient stories, of the world, from the ancient Greek and Roman to the Norse, Korean, Chinese and Vietnamese, Aztec, Maya, and Pacific Islander, myths of Africa, Asia and the Americas. Among these amazing stories are myths of creation, of the female divine, of male gods and heroes, of tricksters, and sacred places. Literatures of the World 100 can be repeated for credit if the material covered, that is, the subtitle, differs.

Assigned text: Scott Leonard and Michael McClure, Myth & Knowing: An Introduction to World Mythology (available at UCSD Bookstore and on reserve at Geisel Library). All reading assignments refer to this text.

LTWL 100

LTWL 114 - Childrens Literature

Seth Lerer

This course introduces students the historical range of children’s literature, from Classical Antiquity, through the Middle Ages, Renaissance, Modern period, and to the present. Our goal will be to understand the enduring forms, themes, and social contexts of writing for children and teaching children how to read. Thus, we will begin with education in Classical Antiquity: with Aesop’s Fables and with the teaching of language. We will move through stories of adventure, poetry of comfort and devotion, and tales of fantasy and the imagination. We will examine the social creation of “boys” and “girls,” the impact of exploration and science, and the making of the illustrated children’s book. The course will have some familiar authors (Lewis Carroll, Dr. Seuss, J.K. Rowling, Neil Gaiman), some classics (e.g., The Wind in the WillowsPeter Pan), and some historical works that, I hope, will be a revelation to the modern reader (e.g., Sarah Fielding’s Female Academy of 1749). Finally, I hope this course in children’s literature will provoke students to reread “adult” works of poetry, adventure, and imagination in new ways, and to see how, throughout history, certain writers (Defoe, Swift, Twain) became reworked and appropriated as children’s writers. Assignments will include a creative paper (writing a beast fable, with explication), a critical paper (7-10pp. piece of analysis of a text), and a scheduled final exam.

LTWL 114

LTWL 128 - Introduction to Semiotics and Applications

Analysis of Dreams in Cinema

Alain J.-J. Cohen

How do we compare our analysis of our everyday dreams with the dreams represented in film? Our readings in film interpretation will run the gamut from Freud’s foundational Interpretation of Dreams, to today’s psychoanalytic theories and to 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, trauma, 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 current research in neuroscience (e.g. J. Fosshage.)

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.

Graduate students are welcome.

LTWL 128

LTWL 172 - Special Topics in Literature

Nietzsche’s Thus Spoke Zarathustra.

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 Eternal Return, and the Will To Power.  A notoriously strange, rich, and difficult book, Zarathustra mixes philosophy and poetry in a way that demands careful and agile reading, as it forces its reader to tune into the metaphors of its philosophy and the concepts of its poetry.

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 discusssion 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).

LTWL 180 - Film Studies and Literature: Film History

Russian Sci-Fi

Amelia Glaser

Russia and Eastern Europe have yielded many of the most important science fiction writers and film makers since the early 20th century. In this course, we will study the Russian Science Fiction film as a genre, from the Bolshevik Revolution to the present day. We will look closely at how sci-fi film envisioned utopias and dystopias in the modern world. We will examine, and challenge, the idea that sci fi is often put into a category below “high art,” despite the fact that some of the most intellectually and psychologically sophisticated films are science fiction. We will also discuss overlaps and differences between American and Russian sci fi film. Students will watch one film each week at home, in addition to reading complementary articles on the sci fi genre, Russian society, film analysis, and some literary science fiction texts. 

LTWL 180

LTWL 180 Europe

LTWL 183 - Film Studies and Literature: Director's Work

Filmmakers’ Reflections on WW2

Alain J.-J. 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. More recently, Hungarian filmmaker Nemes positions his characters and the viewers in the heart of Auschwitz (Son of Saul, 2015.) 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. 

LTWL 183

LTWL 183

LTWR 8A - Writing Fiction

Anna Joy Springer

Please contact instructor for course description.

LTWR 8C - Writing Nonfiction

Camille Forbes

In this course on "writing nonfiction," we will specifically zero in on what has been termed "creative nonfiction." For our purposes, creative 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 engages personal views and experiences. In this course, you will move away from academic or journalistic writing styles, turning your concerted and sustained attention to writing informed by literary craft, particularly the techniques utilized by fiction writers. In essays based on "the real," you will not merely seek to represent "the truth," but will also seek to vivify your observations, insights, and memories in inventive and compelling ways. Major course requirements will include three essays, which will focus on a place, a thing/object, and a person. 

LTWR 100 - Short Fiction Workshop

Making-Up the Truth

Melissa Banales

Writer Neil Gaiman once said, “Short stories are tiny windows into other worlds and other minds and other dreams. They are journeys you can make to the far side of the universe and still be back in time for dinner.” In this workshop we will explore the basic fundamentals of powerful short fiction, most especially through the art of the short story. Unlike novels, short stories function more as “photographs” or snapshots of a reality-- a reality that could still be happening, still being imagined, or still not quite worked out but settled. Short stories are the tales we tell everyday or experience in moments and have no idea how thoughtful or important they may be until we choose to center our lens on them. In this workshop we will also push the limits of the short story by exploring form, style, and choosing subjects that are bite-sized in presentation but hearty in content. We will also explore what it means to “make-up” the truth-- if “fiction” is really “truth” in another outfit, how does one imagine or dress the truth? How do short stories have the power to be strong works of make-believe but also powerful portraits of real life or real human experience? This class is a critical-thinking and workshop course where 50% is engagement in course discussions, texts, engagement with guest speakers, and critique of student/peer work 25% weekly writing assignments and exercises 25% a final consisting of a single, 1-5 page short story that is a writer’s best from the quarter. We will explore an array of masters of the short story as well as authors who push the boundaries of short fiction altogether, most especially David Sedaris, Maggie Estep, Meliza Bañales, Rios de la Luz, Nicki Giovanni, Leslie Marmon Silko, Mark Twain, Sherman Alexie, Sandra Hunter, Cookie Mueller, and many others.

LTWR 102 - Poetry Workshop

Ben Doller

Please contact instructor for course description.

LTWR 103 - Digital Poetics Workshop

Ben Doller

Please contact instructor for course description.

LTWR 113 - Intercultural Writing Workshop

Brandon Som

“Living in a multicultural society, we cross into each other’s worlds all the time,” observes the writer, scholar, and activist Gloria Anzaldúa. Building from this observation, this writing workshop will explore how such crossings may inform, as well as find form within, our writing and writing practice. To help us with that practice, we will turn to writers such as Anzaldúa as well as others—Layli Long Soldier, Fred Moten, Lily Hoang, Ari Banias, Sesshu Foster, Artsuro Riley, John Keene, and Carole Mazo. Writing assignments will ask students to engage with communities, to work critically and inclusively through experimental techniques, and to work across languages and translation. Students will have the opportunity to participate in workshops, both giving and receiving critical feedback. Students will also be required to participate in the larger literary community on campus by attending and writing about New Writing Series events.

LTWR 114 - Graphic Texts Workshop

Illustrating the Word & The Art of Visual Storytelling

Melissa Banales

Author Karin Slaughter says, “Graphic novels let you take risks that just wouldn’t fly in the conventional book form.” In the same breath, director and writer John Ridley says, “...the true cognoscenti know graphic novels are-- at their best-- an amazing blend of art literature and the theater of the mind.” These attitudes are the prime sentiments we will explore this quarter in learning how images, graphics, and visuals insight, inspire, and push text. This class will examine numerous examples of strong graphic text such as comics, graphic novels, zines, broadsides, short media, and illustration. This workshop is not a class for skilled artisans of graphics or images, but rather a workshop for writers to explore the limits of their well-crafted writing through reimagining them in a visual way. This workshop will also explore how particular cultures and communities define themselves through graphic text. This class is a critical-thinking and workshop course where 50% is engagement in course discussions, texts, engagement with guest speakers, and critique of student/peer work 25% weekly writing assignments and exercises 25% a final consisting of 3-5 pages of a writer’s best graphic text work from the quarter. Some of the writers we will explore this quarter are Octavia E. Butler, Isabel Quintero, Alison Bechdel, Nicole J. Georges, Cristy C. Roads, Frank Miller, Lydia Lunch, and Razorcake Magazine among others. 

LTWR 115 - Experimental Writing Workshop

Rae Armantrout

It’s never been very clear just what “experimental writing” is. Is it any writing that differs from historical or contemporary norms? Are there contemporary norms? This course will focus on writing that somehow responds to and embodies change. In every generation there are writers who attempt to do this. We will read and discuss examples, including genre-bending books by Claudia Rankine, Rodrigo Toscano, and Susan Howe. Real experimentation requires both rigor and flexibility. There will be generative writing assignments which encourage student writers to try different approaches and perhaps stretch beyond their comfort zones. Grading will be based on how seriously students engage with the course material.

LTWR 143 - Stylistics and Grammar

Melissa Banales

Joan Didion once said, “Grammar is a piano I can play by ear.” It is with this spirit that this course will enter: studying a masterful eye towards grammar (the rules of speech and language), while at the same time exploring how these rules can shift through writing in the form of style (the way these rules are bent in order to create new languages and linguistics). What happens to the rules when they are played with? How do we master the rules just so we can reimagine them in our own work? How does the power of a sentence change a text or even change history? This workshop will explore the basics of grammar through regular practice, discipline, and thoughtful discourse around tense, punctuation, and presentation on the page. We will also engage in the exploration of how grammar can create, enhance, enforce, control, inspire, and free language. We will spend our time mastering technique so that we may explore how this part of language affects our writing, most especially the style in which we choose to use grammar to define ourselves. Creative work will be informed by the practice of being a “rule-follower” yet also finding ways to subvert the rules and push style and language to its limits. This course is a critical-thinking and workshop course where 50% is engagement in course discussions, texts, engagement with guest speakers, and critique of student/peer work 25% weekly writing assignments and exercises 25% a final consisting of a 3-5 page creative work that shows both the “rule-follower” and “subverter” working together in the same piece. Our required texts are The Elements of Style by William Strunk Jr. and The Penguin Guide to Punctuation. Along with classic examples of grammar and style by Proust and Joyce, we will also study contemporary masters and subverters such as Joan Didion, Charles Bukowski, Kathy Acker, Anne Carson, Kamau Brathwaite, Adrienne Rich, Gloria Anzaldúa, Annah Antipalindrome, and bell hooks. 

RELI 1 - Introduction to Religion

Dayna Kalleres

Please contact instructor for course description.

RELI 101 - Tools and Methods in the Study of Religion

Babak Rahimi

Please contact instructor for course description.

RELI 189 - Seminar in Religion

Babak Rahimi

Please contact instructor for course description.