This course surveys literary texts and films produced by African writers and filmmakers from the 20th century to the present. It invites students to think through these crucial questions: What constitutes the “modern” in modern African literature and film? How do African writers and filmmakers (re)imagine modern Africa? How do they fashion new narratives and ways of thinking about African historical, cultural, social, economic, psychological, and spiritual experiences to deconstruct the colonial imagination of Africa? Why do these African narratives and ways of thinking matter today? We will address these questions in our close analysis of the form, content, and style of diverse genres of African literary texts and films. We will focus on film adaptations of literary texts to reflect on the intertextual and intermedial modalities of African cultural production. In this course, students will learn the core concepts and debates in African literature and film. While learning to analyze how African writers and filmmakers engage with the questions of tradition, modernity, language, knowledge, representation, violence, home, migration, and identity in their work, students will also learn to situate these questions in their cultural, historical, and geographical contexts. They will learn to critically analyze the aesthetic, political, and ethical dimensions of African texts. 

LTAF 120

LTAF 120 Africa

This course presents an introduction to Cuban culture using literature, music and visual arts. We examine historical moments that have been integral to the development of the nation, including the colonial era, the Wars of Independence against Spain, the Republican period, and the 1959 Revolution. We explore the concept of an equitable society according to the politics of the moment, from the mambises of the nineteenth century to the contemporary diaspora. Novels, short stories, essays and poetry are read alongside musical narratives (rumba, salsa, timba), films and graphic arts in search of how la Cubanidad/Cubanness has been influenced by imperial projects and the legacy of plantation slavery.

LTAM 111 The Americas

The course looks at the relationship between love and time in contemporary romantic comedies. It examines rom-com relationships that follow traditional life courses and those that reject romantic chronology altogether. Films may include How to Lose a Guy in 10 Days, 50 First Dates, The 40-Year-Old Virgin, I Give It A Year, and Weekend. Students will learn foundational skills in film analysis.

This course will read some of the major theoretical texts that have framed work in cultural studies, with particular emphasis on those drawn from critical theory, studies in colonialism, cultural anthropology, feminism, semiotics, gay/lesbian studies, and media studies. Students will read from a variety of scholarly sources and practice analyzing cultural objects like advertisements, cultural rituals, and museum displays.

Please contact instructor for course description.

This course presents an overview of key literary, cultural, and cinematic patterns in modern and contemporary China. By engaging in close readings of fiction, poetry, essays, and film, we will trace the changes that have occurred in China from the early 20^th century to the present. As we discuss various transformative moments in modern Chinese history, we will discover how the influx of Western ideas merges with persisting classical Chinese aesthetics to mold the form and content of modern Chinese literature, poetry, and thought. In addition, we will study several Chinese films so as to gain insight into the evolution of Chinese cinema, and also the ways in which the visual/cinematic is interconnected with historical, political and cultural events. We will discuss the May Fourth Movement (1917-1921) the evolution of women’s writing and thought the intersection of the avant-garde and “the popular” the Cultural Revolution (1966-1976) and its aftermath the emergence of dissident writers in the post-Mao era and key writers of our contemporary era. Throughout the course, we will delineate the various modes of modernist innovation and experimentation that are taking place in Chinese literary and cinematic art. We will read all works in English translation, and all films will be in Chinese but have English subtitles.

LTEA 110C Asia

In this course we will consider a number of representative Taiwan films that address gender and primordial issues around Asian family values, patriarchy, nationalism, gender equality, minority rights, and LGBTQ discourses.  From The Bell of Sayon to Small Talk and Dear Ex, we will use a wide range of texts to show the paths of transnational or multisensory queer cinemas as they evolve in Taiwan.  Students can take this course to fulfill their Chinese major or minor requirements.

LTEA 120B

LTEA 120B Asia

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 20^th 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. 

LTEA 144 Asia

This course surveys English literature from Old English to the middle of the seventeenth century. Among the texts we will consider will be Beowulf, Chaucer’s Canterbury Tales, Sir Gawain and the Green Knight, Spenser’s Fairie Queene, Marlowe's Dr. Faustus, and Milton's Paradise Lost. We will also examine selections from medieval lyric and drama and writings by Kempe, Donne, Jonson, Herbert, Herrick, and Marvell. Lectures will discuss these texts and their cultural, social, political, and religious contexts, with special attention to issues of gender and sexuality. The course is designed to familiarize students with the traditional "canon" of early English literature, but also to facilitate an understanding of how that canon came to be formed and to encourage questioning of the idea of the "canon" itself.

This course surveys an expansive body of literature and culture, beginning with precontact material and ending just before the U.S. Civil War. In this class, we will take up various notions of myth and destiny to unpack the many ways writers articulated American identity and culture. The term “American,” however, is a slippery one. What precisely does it mean? Who is considered an American? Is America the same things as the United States? What makes a narrative “American literature”? Throughout the quarter we will turn to speeches, fiction, poetry, personal essays, maps, art, and periodicals to work through these questions. In addition, we will pay particular attention to the ways nation-formation, enslavement, colonization, and industrialization shaped understandings of the United States specifically and the notion of “America” more broadly. 

Please contact instructor for course description.

This course will interrogate the longstanding relationship between text, imagery, and Indigenous America. Since Europeans’ first contact with Indigenous peoples, illustration and narration have played critical roles in the colonization of the Americas. Through portraiture, maps, ethnographic descriptions, and fiction, colonizers use visual and textual representations of Indigenous peoples and their homelands to justify conquest and colonization. This class will focus on the role of visual art (paintings, etchings, maps, illustration, photography) and literature (fiction, poetry, non-fiction, oral storytelling, and song) in European colonization, U.S. westward expansion, and the ongoing project of settler colonialism. More importantly, we will attend to Indigenous peoples’ rich traditions of story and art that endure and adapt, despite hundreds of years of colonization. The class is organized thematically, not chronologically. Possible class units may include some or all of the following: captivity, map, story, portrait, photograph, treaty.  

LTEN 155

LTEN 155 The Americas

In this course we will examine Arab-American literature, a genre comprising writings by authors of Arab descent in the United States. We will interrogate what this categorization means for its participants and the works they create. What is the history of Arab racialization in America? What is the relationship between Orientalism and American Empire? How do authors navigate the intersections of race, queer  and/or female identity? What are the varieties of “Americas” they inhabit and represent? And how do these lived realities inform artists’ creative output? The objective of this course is to introduce students to the cultural history and breadth of Arab-American life and its literature. 

Over the past few years, the genre of “dark academia” has emerged as a popular literary and aesthetic trope emphasizing the legacies of violence that haunt the hallowed halls of elite educational institutions. In this class, we will explore recent work by Asian Anglophone writers in this genre to explore the ways they engage these dark academic tropes alongside considerations of race, class, gender, and colonial histories. This class will be reading intensive.

LTEN 181 The Americas

Please contact instructor for course description.

LTEN 185 The Americas

If you grow up in Italy, you either love or hate this novel, but you have read it and discussed it.  If you do not read Italian, you probably are not familiar with it, mostly, in my opinion, due to translations issues.  No longer the case!! Finally English readers have a new contemporary translation which is going to make their experience of this work more enjoyable and closer to the author's intent.

This is a one-book course.  

The Betrothed  has a complex cast of characters that includes two young lovers, an arrogant and villainous nobleman who is trying to prevent their wedding, several members of the clergy, including a very blackmailable nun, a cowardly priest, a murderous criminal, and a monk with a secret past, plus several comical and some tragic supporting characters.  Some are real historical figures.  It mostly takes place in Lombardy, near and in the city of Milan, in the 17^th Century, but it is understood that the time of the events is used to "disguise" more contemporary situations.  There are fights, betrayals, kidnappings, food riots, conversions, as our main characters try to overcome a long series of difficulties, and when things seem to have taken a turn for the better, here comes the Great Plague of Milan, a pandemic which is estimated to have killed about 35% of the population of Northwestern Italy!

It is a story of adventure, it is a love story, it is a historical novel, and more.

A great book to read and use as a springboard to discuss Italian history and culture.

The course meets in person on M-W-F.  

Please contact me with any questions at demarchi@ucsd.edu

LTEU 140 The Mediterranean

LTEU 140 Europe

Please contact instructor for course description.

LTEU 154 Europe

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. Successful completion of LTFR 2A satisfies the language requirement in Revelle and in Eleanor Roosevelt colleges. Prerequisite: LIFR 1C/CX or equivalent or a score of 3 on the AP French language exam or a score of 4 or 5 on the Language Placement Exam. 

Plays from the 19th and 20th centuries as well as movies are studied to strengthen the skills developed in LTFR 2A. Continues the grammar review started in LTFR 2A. Taught entirely in French. May be applied towards a minor in French literature or towards fulfilling the secondary literature requirement. Prerequisite:  LTFR 2A or equivalent or a score of 4 on the AP French language exam.

Emphasizes the development of language and analytical skills through the close reading of texts. Taught entirely in French. May be applied towards a minor or a major in French literature. Counts towards a concentration in French regional concentration on Europe and the Mediterranean. Prerequisite: LTFR 2C or equivalent or consent of instructor. 

LTFR 104 French

LTFR 104 The Mediterranean

LTFR 104 Europe

Please contact instructor for course description.

We will read passages from the first Greek historian, Herodotus, in ancient Greek. Previous study of ancient Greek is required. 

LTGK 104

LTGK 104 Greek

LTGK 104 The Mediterranean

LTGK 104 Europe

This intermediate-level course is conducted entirely in German and emphasizes the four language skills: speaking, listening, reading and writing while focusing on cultural awareness, developing higher level literacy skills and a review of grammar. Course activities include cultural readings on historical content as well as current events, discussion of films and classroom practice in the target language.

In this Intermediate language course, we'll review Italian grammar and practice conversation and reading skills, focusing on the topic of food and travel, essential to really understand the Italian identity.  It is a participation-based course, so bring your own food and travel experiences to it.

The course meets in person M-W-F and "Live on Zoom" on Tuesdays, and it is the first part of the second year Italian Language series (LTIT 2A, 2B, 50) .

You should have completed Italian 1C/1CX (or equivalent) to register.

Please contact me with any questions at demarchi@ucsd.edu

First year Korean 1A (5 units) is the first part of the Beginning Korean series. This course is designed to assist students to develop low-beginning level skills in the Korean language. These skills are speaking, listening, reading, and writing, as well as cultural understanding. This course will begin by introducing the writing and sound system of the Korean language. The remainder of the course will focus on grammatical patterns such as basic sentence structures, some grammatical points, and expressions. Upon completion of this course, students will be able to do the following in Korean: 

Speaking: Students are able to handle successfully a limited number of uncomplicated communicative tasks by creating with the language in straightforward social situation. Conversation is restricted to some of the concrete exchanges and predictable topics necessary for survival in the target-language culture. They can express personal meaning by combining and recombining what they know and what they hear from their interlocutors into short statements and discrete sentences.

Listening: Students are able to understand some information from sentence-length speech, one utterance at a time, in basic personal and social contexts, though comprehension is often uneven.

Reading: Students are able to understand some information from the simplest connected texts dealing with a limited number of personal and social needs, although there may be frequent misunderstandings.

Writing: Students are able to meet some limited practical writing needs. They can create statements and formulate questions based on familiar material. Most sentences are re-combinations of learned vocabulary and structure.

Pre-Requisite: No Prior Study of Korean.

Second Year Korean 2A is the first part of the Intermediate Korean. Students in this course are assumed to have previous knowledge of Korean, which was taught in the Korean 1A, 1B, and 1C courses. Students in this course will learn low-intermediate 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 various conversational situations. Students are expected to write short essays using the vocabularies, expressions, and sentence structures introduced. Upon completion of this course, students will be able to do the following in Korean:

Speaking: Students are able to handle a variety of communicative tasks. They are able to participate in most informal and some formal conversations on topics related to school, home, and leisure activities. Students demonstrate the ability to narrate and describe in the major time frames in paragraph-length discourse. They show the ability to combine and link sentences into connected discourse of paragraph length.

Listening: Students are able to understand short conventional narrative and descriptive texts with a clear underlying structure though their comprehension may uneven. They understand the main facts and some supporting details. Comprehension may often derive primarily from situation and subject-matter knowledge.

Reading: Students are able to understand conventional narrative and descriptive texts with a clear underlying structure though their comprehension may be uneven. These texts predominantly contain high-frequency vocabulary and structure. Students understand the main ideas and some supporting details. Comprehension may often derive primarily from situational and subject-matter knowledge.

Writing: Students are able to meet basic work and/or academic writing needs. They are able to compose simple summaries on familiar topics. They are able to combine and link sentences into texts of paragraph length and structure. They demonstrate the ability to incorporate a limited number of cohesive devices.

Pre-Requisite: LTKO 1C or equivalent level of Korean language proficiency 

Third Year Korean 130F (4 units) is the first part of the advanced Korean. Students in this course are assumed to have previous knowledge of Korean, which was taught in the Korean 2A, 2B, and 2C courses. Students in this course will learn low-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 130F Korean

LTKO 130F Asia

Please contact instructor for course description.

Please contact instructor for course description.

Please contact instructor for course description.

Please contact instructor for course description.

LTRU 104B Russian

LTRU 104B Europe

Please contact instructor for course description.

LTRU 150 Russian

LTRU 150 Europe

Emphasizes the development of communication skills, listening comprehension, reading ability, and writing skills. It includes grammar review, compositions, and class discussions. This course is for students who began learning Spanish in a classroom environment. Students who have experience with Spanish outside of the classroom (at home, in their community) should take courses for heritage learners (LTSP 2D, 2E or 100B).

Review of major points of grammar with emphasis on oral communication and critical reading and interpretation of Spanish texts through class discussions, vocabulary development, and written compositions. It is a continuation of LTSP 2A. This course is for students who began learning Spanish in a classroom environment. Students who have experience with Spanish outside of the classroom (at home, in their community) should take courses for heritage learners (LTSP 2D, 2E or 100B).

Continuation of LTSP 2B, with special emphasis in speaking and writing. It includes discussion of cultural topics, grammar review, composition and presentations to further develop the ability to read longer fiction/nonfictional texts. This course is for students who began learning Spanish in a classroom environment. Students who have experience with Spanish outside of the classroom (at home, in their community) should take courses for heritage learners (LTSP 2D, 2E or 100B).

This course is designed for those students who learned Spanish at home and/or other students from Spanish-speaking backgrounds that have little or no formal training in the language. The main goals of the course are to enhance students' reading, writing, speaking and listening skills in a culturally relevant setting. Students also explore their cultural heritage and learn about Hispanic cultures in the United States and the language diversity of its speakers.

This course is designed for students who have been raised in a Spanish-speaking environment and speak some Spanish as a result of hearing it in the home, and in the community by family, friends, and neighbors, or some experience with Spanish in the classroom. The main goals of this course are to further develop and expand the Spanish language skills in reading, writing, listening, and speaking, while promoting a greater connection with the Hispanic cultures of the students' heritage.

This course is an advanced conversation and writing course for second language learners of Spanish. The objective of the course is to develop oral, reading and writing academic proficiency in Spanish. Students will explore a variety of cultural, literary and writing genres from the Spanish speaking world in both class discussions and writing assignments. This course has the purpose of preparing students to work in a professional context in Spanish. 

LTSP 100A Spanish

For students who learned Spanish at home and/or who went to school in a Spanish speaking country. This course allows students to expand their oral, reading, and writing academic proficiency in Spanish and, through class discussions, promotes critical thinking in a relevant cultural context for Latinx Students. Additionally, students will explore a variety of cultural, literary, and writing genres. This course has the purpose of preparing students to work in a professional context in Spanish. 

LTSP 100B Spanish

Please contact instructor for course description.

LTSP 155 Spanish

LTSP 155 The Americas

Please contact instructor for course description.

LTSP 172 Spanish

LTSP 172 The Americas

Please contact instructor for course description.

LTSP 174 Spanish

Please contact instructor for course description.

The course explores​ how young adulthood ha​s​ been conceived and transformed in the late twentieth and early twenty-first centuries. This quarter's focus is sexual coming of age in the YA novel and ​the ​teen movie ​from ​1975 ​to​ the present​. Our discussions will be informed by scholarship in cultural history, literary studies, trauma studies, film​/media​ studies, gender and sexuality studies. We will look at genres such as the realist novel, the graphic novel, the historical novel, the short story, along with the teen movie, the horror film, and the fantasy romance. Topics of discussion may include: didacticism, market demographics, censorship and book banning, intergenerational readership, literary merits, and stylistic experimentation.​ Books may include ​Forever (1975)​, ​The Perks of Being a Wallflower (1999)​, ​Blankets (2003)​, ​Fun Home: A Family Tragicomic (2006)​, ​​All Boys Aren't Blue (2020), and ​Gordo (2021)​. Films may include ​Fast Times at Ridgemont High​ ​​​​(1982​)​, ​Kids (1995), ​American Pie (1999), Jennifer’s Body​ (2009)​, The Twilight Saga: Breaking Dawn ​(2011​), and Lady Bird (2017).​

This course examines the genre of horror in various narrative media (e.g., literature, film, television, video games and other digital media), attending closely to how the genre has been appropriated to explore instances of perceived injustice and trauma in America’s history from longstanding religious intolerance and conflict to prominent examples of racial, gender, and sexual violence. The course employs recent theorization of monstrosity in religious studies to explore the production and consumption of horror in American Culture.

What is “queer”? What is a queer film? How are same-sex desires pathologized, affirmed, and contested in different cinematic genres and historical contexts? What role does cinema play in the formation of modern lesbian, gay, bisexual, trans desires, identities, and movements? Bent Is Beautiful examines the ways in which communities, cultures, and subjects that we today designate as “queer” have been rendered in/visible from cinema’s beginning to the present. It seeks to account for how queer subjects have responded to that in/visibility in their construction of queer communities and identities, in particular, through their non-normative viewing practices and their own film and video production. It begins by exploring the politics of representation as it relates to the dialectics of visibility/invisibility, stereotyping/authenticity, and homophobia/affirmation. The rest of the course investigates key areas of queer cinematic production: documentary, avant-garde and experimental film, New Queer Cinema, AIDS activist video, trans politics, queer of color critique, and LGBTQ+ television. Films may include Mädchen in Uniform (1931), Rope (1948), All about Eve (1950), Flaming Creatures (1963), Dyketactics (1974), Female Trouble (1974), Word Is Out (1977), Tongues Untied (1989), The Living End (1992), Mosquita y Mari (2012), Tangerine (2015), and Titane (2021).

LTWL 180

More than 75 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. This course may count as a LT/EN course. LTWL 184 will fulfill the Film Studies minor. 

LTWL 184

LTWL 184

This course is designed to give an overview of some of the major themes and topics in contemporary literary scholarship. Topics covered will include 1) an overview of current literary theories and methodologies 2) refining or developing literary research skills 3) preparation for writing works of original literary criticism and 4) how to apply the skills developed through literary study in a range of future careers. While this course is a prerequisite for students who plan to write an honors thesis, you do not have to write an honors thesis to take this course. All Literature majors with senior standing are welcome to enroll.

Please contact instructor for course description.

Please contact instructor for course description.

In this class, you will adapt, that is, “respin” popular allegorical tales to address contemporary concerns. You’ll write vibrant, high-impact short fictional adaptations of classical folklore stories while practicing intermediate devices of fiction craft, with special emphasis on narration. You’ll also learn more about the histories and uses of popular illustrative tales from around the world, including myths, legends, fables, and fairytales. We will have up to 2 full-class workshops of stories for all course participants in addition to small group discussion, student presentations, and lectures.

Please contact instructor for course description.

Please contact instructor for course description.

Please contact instructor for course description.

In a world stitched together by colonization and migration, the very idea of intercultural communication can be a site of linguistic friction through which one can consider how language dictates, negotiates, subverts, and contests power relations. Where different identities, modes of being, or socio-economic relations encounter each other, language falters, stutters, but always retools itself and in that retooling has the potential to alter the parties involved and generate entirely new identities and bodies. We will read a wide variety of texts that both in form and in theme explore these frictive/productive points of contact, and we will write our own pieces that explore places where we are situated between multiple cultures and look for new and inventive language to adequately imagine our places in the world.

Both creative nonfiction and science aspire to the “truth,” some accurate modeling of the world around us (and within us).  Both depend on careful observation and reality-testing, whether by experimentation or through an ideal of narrative verisimilitude. Yet both also require imagination for discovery.  How can science power insightful narratives about the world?  How can the craft of writing nonfiction illuminate and communicate the work of science? In this course students will be reading a wide variety of writing across all genres that addresses science in creative ways, and then take cues from those readings to develop their own pieces of writing about science. Science students with an interest in creative writing and creative writing students with an interest in science are equally encouraged to register. 

Please contact instructor for course description.

Please contact instructor for course description.

Please contact instructor for course description.