Most RC courses are open to LS&A students and may be used to meet distribution requirements.
105. Logic and Language. (4). (N. Excl).
Argument is the focus of this course, both in symbols and in language. We deal with the forms of arguments, the applications of them, what makes them valid or invalid, weak or strong. We do this in two concurrent ways: a) Microcosmically, we examine the structure of arguments, what makes them tick. In the deductive sphere we deal with the relation of truth and validity, develop logic of propositions, and enter the logic of quantification. In the inductive sphere, we deal with argument by analogy, and causal analysis, and with elementary probability theory. b) Macrocosmically, we do the analysis of real arguments in controversial contexts, as they are presented in classical and contemporary philosophical writing: ethical arguments (in Plato); argument about religion (in Hume) and about knowledge (in Descartes); political argument (in J. S. Mill); and legal arguments as they appear in Supreme Court decisions. In all cases both substance and form are grist for our mill. Time demands on students are substantial. Class periods (two 1-hour meetings and one 2-hour meeting each week) are a mixture of lecture and discussion. Open to all LS&A students. (Cohen)
190. Intensive French I. No credit granted to those who have completed French 100, 101, 102, or 103. (8). (FL).
Intensive courses meet twice a day in lecture and discussion, four days a week. Students may also become involved in language lunch tables, coffee hours, and other social events. There is a language laboratory in the College, and the language teachers are available for counseling and additional help. If a student begins a new language, proficiency is normally attained in one year through the Residential College program. The goal of this course is to provide the student with a basic but solid knowledge of grammatical structures and syntax, a functional vocabulary, a familiarity with intonation patterns and native pronunciation, and practice in speaking and writing. Upon completion of this course the student can understand simplified written texts or short spoken passages without the aid of a dictionary, and carry on a short, elementary conversation. (Carduner)
191, 193, 194. For information on these intensive language courses (191: German; 193: Russian; 194: Spanish) see description for 190 (above). (191: Zorach; 194: Moya-Raggio)
290. Intensive French II. Core 190. No credit granted to those who have completed French 230, 231, or 232. (8). (FL).
The goal of this course is to expand vocabulary and mastery of grammatical structures and syntax to the level of competency required to pass the Proficiency Exam. This entails communication with some ease in speaking and in writing with a native speaker and understanding the content of a text of a non-technical nature (written and spoken), and presenting a general (non-literary) interest. (Carduner)
291, 294. For information on these intensive language courses (291: German; 294: Spanish) see description for 290 (above). (291: Zorach; 294: Moya-Raggio)
269. Elements of Design. (4). (Excl).
This course will instruct students in the basic principles of design, with emphasis on providing students with skills for critical assessment of structured works of art, architectural spaces, environmental planning, etc. Through a series of construction problems, students will cover elements of both two and three-dimensional design: in the process of solving problems, the "muscle" of visualization and ideation, as well as perception, are exercised. Material covered will include line, form, shape, volume, space, contour, texture, pattern, rhythm, proportion, color, tone, value, light, tension, and balance. Students will be individually evaluated on the development and quality of design problem solving, and class critiques will be frequent. This course is intended for undergraduates majoring in areas other than the visual arts, particularly students in the Humanities. It offers non-art majors a unique opportunity to develop and refine their visual literacy by working in the studio as well as the library. (Savageau)
285. Photography. (4). (Excl). Materials fee.
An introduction to the medium of photography from the perspective of the artist. It includes an overview of photography's role in the arts, the development of an understanding of visual literacy and self-expression as they relate to the photographic medium, and the development of basic technical skills in black and white and color photographs. A visual emphasis is maintained in both presentation and course work, and the student works with the medium towards a goal of personal expression. (Hannum)
287. Printmaking. (4). (Excl). Materials fee.
Developing an understanding of the art of printmaking through lectures, demonstrations, practical studio experience, examples, and individual and group discussions. The course will focus on creating original prints, exploring images, visual ideas, and the possibilities of self-expression. Emphasis will be placed on linoleum cut, wood-block, and silk-screen techniques. Field trips to the School of Art to observe intaglio and lithography, and to the University of Michigan Museum of Art will be a part of the class experience. Approximately eight projects will be assigned. A sketchbook/notebook is required. Class attendance is mandatory, as well as lab time spent outside the scheduled class period. There will be a studio lab fee. (Cressman)
289. Ceramics. (4). (Excl). Materials fee.
This course presents basic problems in forming clay, both throwing and handbuilding techniques, calculating, preparing, and applying glazes, stacking and firing kilns, and operating a ceramics studio. The student is required to participate in the complete process: the assumption of studio responsibilities and regular class attendance are mandatory. The theory, practice, and history of ceramics are integral parts of this study and are used to encourage individual sensitivity to the material. There will be a studio fee. (Crowell)
290. The Experience of Arts and Ideas in the Twentieth
Century. (4). (HU).
The Creation of the Avant-Garde. This course will examine the beginnings of the avant-garde in literature, music, and the visual arts, focusing first on the invention of cubism in the years before World War I (Jarry, Picasso, Stein, Stravinsky); second on the Dada movement which developed in response to the war experience (Tzara, Duchamp, Arp); and finally on the heritage of Dada which arose during the 1920's (Kafka, Pirandello, Chaplin, Brecht). The artists of this period were involved in experimentation which had far-reaching consequences for the art of the 20th century as a whole. They consciously and sometimes violently repudiated the past in their search for a new language – whether verbal, visual, or acoustic – with which to express the 20th century; indeed, these artists claimed not only to explore the new age, but to create it. Their work is always intriguing from an aesthetic point of view, but it is also disturbing; for, in the words of Gertrude Stein, the 20th century is a century of splendor and destruction. (Sowers)
330/German 330. German Cinema. (3). (HU).
See German 330. (Zorach)
445. Linguistic Paradigms and Verbal Art. (4). (HU).
This course describes and investigates the interrelationship between linguistic paradigms as analytical devices and verbal art as the expression and manipulation of verbal structures in conveying cultural attitudes. It provides familiarity with the oral tradition in early literature and the analysis of myth and legend, courtly epic, and more contemporary fiction as cultural vectors in time in terms of linguistic models (structural, relational, etc.) as evolved by, for example, Claude Levi-Strauss, Georges Dumezil, and Franz Boas. It attempts to define poetic function in terms of structural position by identifying correlations between shifting social and linguistic patterns. Intended for sophomores and juniors. (Markey)
451/Russian 451. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).
See Russian 451. (Brown)
214. Prose. (4). (HU).
Fundamentals of Prose Fiction. "Once upon a time. . . ". We choose to read stories because we expect to experience. . . what? How does the story teller exploit our expectations and shape our responses as we are enticed to enter a particular fictional world? These are some of the questions we will ask ourselves as we read, in order to enhance our pleasure in and understanding of the experience. We want to think about the complicated ways in which fiction – always a made-up story – is at once like and unlike life, and why we care intensely about events and people that are in fact made up of nothing but words and sentences. Our goal will be to explore some of the vast territory that fictional narrative covers, to gain some sense also of the diverse cultural contexts of its many forms. Readings will include fairy tales, detective stories, fantasy, a Western, a popular romance, as well as works by major authors. Book list includes Conrad, Heart of Darkness; Woolf, To the Lighthouse; Dostoevsky, Crime and Punishment; Tolstoy, The Death of Ivan Ilych; Kafka, The Trial; Pynchon, The Crying of Lot 49; Morrison, Song of Soloman; Carroll, The Adventures of Alice in Wonderland; Lang (ed.), The Blue Fairy Book; Lu Xun, A Madman's Diary; Conan Doyle, The Adventure of the Sussex Vampire; L'Amour, The Ferguson Rifle; Powers, Affairs of the Heart and others. (Feuerwerker)
310. Medieval Sources of Modern Culture. Sophomore standing or permission of instructor. (4). (HU).
This course will examine some aspects of medieval life and culture through selected works of art, both literary and visual. Throughout the course, selections from the Bible will be used to demonstrate changing patterns of Christian thought and the evolution of a living tradition. Beginning with the transition from Pagan to Christian culture in late antiquity, we will proceed through the tumultuous period of the early epic and the formation of the monastic ideal to the high medieval syntheses represented by scholasticism, Dante's Divine Comedy, and Chartres cathedral. From this point, the focus of the course will shift to more secular concerns – the 14th century crisis of values between sacred and profane love, and the problem of suffering, human and divine. The course is interdisciplinary: literature and the visual arts will be experienced and analyzed on an equal basis. (Bornstein and Sowers)
410. Upperclass Literature Seminar. (4).
Free Verse Structure and Meaning. During the centuries when the term "verse" meant the presence of a series of "measured" lines, the measure (or meter ) was considered the basis of rhythm in poetry – and rhythm in turn was seen as the key factor in enabling poems to communicate meaning in a special way. The 20th century, in many cultures, witnessed the abandonment of strictly "measured" verse in favor of "free" verse. Yet the capability of poetry to capture special meaning, and its role in culture in general, did not diminish. In this seminar, we will explore why free verse "works": examining the rhythmic, euphonic, syntactic, and typographical structures used by various "free" verse poets and how these techniques are essential to creating the poems' meanings. We will study the works of such poets as "e e cummings", William Carlos Williams, Lawrence Ferlinghetti, Allen Ginsberg, Gregory Corso, Denise Levertov, John Berryman, Sylvia Plath, Gary Snyder, Diane Wakoski, and Marge Piercy. To the extent that the abilities of the class allow, we will read and study some free verse in languages other than English. At the same time, we will read several recent important studies on verse semantics. (Eagle)
220. Narration. Permission of instructor. (4). (HU).
Suggested assignment: 1250 words of prose fiction every two weeks. The class meets as a group up to two hours per week. Collections of short fiction and short novels by established writers are read and discussed. Every student meets privately with the instructor each week. (Hecht)
221. The Writing of Poetry. Permission of instructor. (4). (HU).
The amount of poetry each student is required to submit is determined by the instructor. The class meets three hours per week as a group. Student's poems are presented to the class for appraisal and criticism. In addition, each student received private criticism from the instructor every week. Contemporary poetry is read and discussed in class for style. Students are organized into small groups that meet weekly. (Mikolowski)
222. Writing for Children and Young Adults. (4). (HU).
Individualized instruction, group discussions, and readings emphasize development of original story ideas and narrative techniques relevant to the authorship of children's books. Preliminary assignments - a picture book, folklore adaptation, and two short stories (one in conjunction with a writing workshop with children) – prepare for a self-directed final project. Overall, students may expect to build a portfolio of 35 to 40 pages of prose. (Balducci)
320. Advanced Narration. Hums. 220 and permission of instructor. (4). (HU).
This course is designed for writers of longer fiction who can benefit from instruction and peer feedback. Three 15-20 page short stories or three 20-25 page segments of longer works are due at evenly spaced intervals during the term. Everyone in the class reads everything submitted. The class meets three times a term, as a workshop, to discuss everyone's work. Each student meets with the instructor each week for private discussion of work both completed and in progress. Enrollment is limited to a maximum of six students, usually students who have completed narration and/or tutorials. Permission of instructor is required. (Hecht)
325, 326. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4 each). (HU).
Tutorials allow students whose writing has attained a high degree of sophistication to work in an extended project under close supervision. Tutorials also provide an opportunity for students who want to write, no matter how sophisticated their work, to have their efforts recognized both with constructive criticism and academic credit. Reading may or may not be assigned, depending upon the background needs of the individual student. Tutorial students meet privately with the instructor each week. Permission of instructor is required. (Hecht, Mikolowski, Balducci)
425, 426. Creative Writing Tutorial. Permission of instructor. (4 each). (HU).
See 325, 326 for description.
280. Fundamentals of Drama Study. (4) (HU).
This course is open to all University undergraduates and is designed especially to introduce students to the world of theatre and drama. No prior experience or particular disposition (like "artistic" or "literary") is required – only an open curiosity about plays, playwrights, theatres, and theatre experiences at different times in Western cultural history. We will read, discuss, see, and experimentally perform pieces of seven dramas by playwrights preeminent in the theatre's history. Each of these major plays represents a different set of theatrical conditions – stage size and shape, acting style, costuming and scenic decor, audience make-up – within which the dramatist worked and by which the theatrical performance communicated to its audience. The aim is to know these seven plays and their potential theatrical "meaning(s)" intimately enough to want to see them performed again and again. Augmenting this group of plays will be six or seven more, of which a reading acquaintance is required. The method of the course is a combination of discussion, practical experiment, and guest lecture. Visitors from several University departments will give formal lectures on broad background topics; most classes will include both prepared and impromptu scene presentation and discussion. There are two short (3-5pp.) analytic writing exercises required, as well as a midterm exercise (not a graded exam) and an end-of-term presentation which involves the entire class in concert. Plays, playwrights, and readings: Euripides, The Bacchae; Shakespeare, Macbeth and Twelfth Night; Molière, Tartuffe; Ibsen, A Doll's House; Chekhov, The Three Sisters; Brecht, The Resistable Rise of Arturo Ui; Beckett, Waiting for Godot; Arthur Miller, Death of a Salesman; William Wycherly, The Country Wife; Racine, Phaedra; Shaw, St. Joan; Stoppard, The Real Inspector Hound; J.L. Styan, The Elements of Drama. (Walsh and Cohen)
282. Drama Interpretation I: Actor and Text. (4).
Playwriting. The playwright, like the boatwright or the cartwright, is a craftsman. As such, certain tools and techniques are available to him, the mastery of which will greatly benefit his art. This course in playwriting is designed to familiarize the novice playwright with the tools of his trade and to develop the skills necessary for writing an effective play. Through lectures, classroom discussions and private meetings with the instructor, the student will focus his energies on the conception, outline and writing of a play fully suitable for stage presentation. Weekly writing assignments will be augmented by analysis of dramatic masterpieces and attendance of current theatre productions. All class discussions will treat the script as a blueprint for performance and will analyze the various effects of performance on the audience. No prerequisites. (Cummings)
380. Greek Theatre. (4). (HU).
During Fall Term, 1982, students enrolled in Greek 463 (an LS&A course) may concurrently enroll in this course. A special seminar section will be held in the Residential College once a week. Particular stage elements and production elements will be explored. (Buttrey and Cohen)
383. Ibsen and Strindberg. (4). (HU).
The course focuses on Ibsen (principally) and Strindberg as major figures in the development of modern western drama. The best-known "naturalistic" plays of both authors are studied together in the historical-critical context of dramatic realism. The later plays of each (Ibsen's symbolic and mystical, Strindberg's expressionist) receive independent treatment, to show how their artistic developments diverged and ultimately influenced the chief forms and types of twentieth-century drama. Prerequisite: Humanities 280 or permission. (Ferran)
388. Restoration and Georgian Comedy. (4). (HU).
As a special study in period drama, this course focuses on the outstanding social comedies of the London theatre from 1660 to the mid-18th century (e.g., Etherege, Wycherley, Congreve, Fielding, Gay, Goldsmith, and Sheridan). Students examine the conditions which gave rise to this form of theatre, using key scenes for discussion and demonstration. This course is part of the concentration in drama (Period-Drama III), but is open to all students. Prerequisites: Humanities 280 or permission. (Walsh)
389. The Modern Theatre. Hums. 280 or
permission of instructor. (4). (HU).
Modern American Drama. The course will explore American drama in the 20th century. Students will read selected plays of O'Neill, Wilder, Odets, Williams, Albee, Miller, Shepard, among others. Plays will be studied as performed events, but in their particular social, political, and artistic context. Thus, such topics as the Group Theater, the outgrowth of the American Method acting from the Stanislavskian System, the Federal Theater Project, the House Un-American Activities Committee, and the development of experimental and minority theater in the 60's and 70's will be considered. Students will be required to prepare at least two scene presentations from the plays under study and to write two papers. Prerequisite: Humanities 280 or 282 or 381 or permission. (Cummings)
250. Chamber Music. (1). (Excl).
All students who are interested in participating in small vocal and instrumental ensembles can enroll for one hour of credit. Ensembles have included: madrigal singers (meeting time has been M &/or T 6-7:30); mixed ensembles of strings and winds (meeting M &/or T 7:30-9:00); brass quintet; intermediate recorder ensemble; string quartet; woodwind quintet; and some other duos and trios. Responsibilities include 3-4 hours of rehearsal time per week (some individual and some group rehearsal) and participation in one or more chamber music concerts per term, if appropriate.
251. Operatic and Choral-Orchestral Masterworks, 1700-1825. (4). (HU).
This course deals with an in-depth aesthetic and musical analysis of several significant masterworks in which the composer has combined one or more of the other performing and creative arts with the art of music. Opera, orchestral, and choral works, oratorio, and song cycles are among the musical forms studied. Open to all undergraduates.
253. Choral Ensemble. (1). (Excl).
The "Residential College Singers" ensemble is a combination of recitation and lab activities. The group meets for a three hour period each week. Besides rehearsing and performing some of the great choral literature from 1600 to the present, the class studies the historical significance of each composition and its composer and the way in which it reflects the period of history that it represents. A complete musical and aesthetic analysis is made of each work studied. The course may be elected each term for credit and will satisfy the arts practicum requirement.
350. Creative Musicianship. (4). (HU).
Tools and Skills for the Non-Music Major. This music theory-composition course is designed to give students the skills necessary to create and to understand music. Nothing is assumed in the way of musical background. Those apprehensive about composition will be welcomed and guided through a process that enables them to create music of their own. Twenty students will be accepted, including some who are already composing music. Each student works at his or her own pace and level within the context of the musical element under consideration (rhythm, melody, harmony). This course meets for four class hours, and one should plan to spend a minimum of 10 hours per week preparing material for class. The accompanying lab (Humanities 351) is required unless excused by the instructor.
351. Creative Musicianship Lab. Hums. 350. (1-2). (Excl).
This is a required lab course to be taken with Humanities 350. It will deal with the three basic elements of music (melody, harmony, rhythm) through music, reading, writing, singing, and the use of ear-training tapes. The class will meet together as a group and students will also work individually and with a lab partner. It may be elected for either one or two credits.
350. Special Topics. Concurrent enrollment
in an associated course. (1-2) (Excl). May be repeated for a total
of 6 credits.
War and Peace in the Nuclear Age. The course will serve as a core resource for several other courses in the Residential College - Freshman Seminars, Humanities, Social Science courses, and Interdivisional 355, "Nuclear Warfare". Presentations will focus on the proliferation of nuclear weapons, the possible effects of nuclear war, the historical context of twentieth century warfare and arms control, the possibilities of nuclear war and the strategies of the anti-nuclear peace movements in Europe and the United States.
355. Nuclear War. (2). (Excl).
The course examines the history of nuclear war from l945 to the present. It covers the development of nuclear weapons and of the political objectives and military strategies for their use. It gives particular attention to the present arms race and to future developments that will influence that race. An important theme is the role and responsibility of scientists and engineers in past and future nuclear developments. Other themes include the technology of nuclear weapons and delivery systems; the physical and social effects of nuclear war; the political, economic, and military ramifications of a nuclear arms race; and the responsibilities of citizens of nuclear states. (Collier)
370. Western and Non-Western Medicine. Permission of instructor. (4). (Excl).
This course is a cross-cultural offering in the sociology of knowledge, using basic concepts involved in health and medical practices of classical China, India, and the contemporary West. It will compare how three major cultural traditions have understood the relation of health to physical, mental, emotional and spiritual processes, the kinds of interventions that are appropriate, and the social arrangements that are needed for health care. Students will be introduced to areas in which the traditions are beginning to come together, and to the implications these could have for health care. (Heirich)
113. Introductory Biology Forum. Concurrent enrollment in Biology 112 and permission of instructor. (1). (Excl). Offered mandatory credit/no credit.
This one-hour course addresses historical, philosophical, and social issues associated with the material presented in Biology 112. The main purposes of the course are: to examine the historical and philosophical background to the theories and concepts treated in Biology 112 (e.g., the history of the development of DNA model); to examine social issues associated with theories and concepts of Biology 112 (e.g., the recombinant DNA issue, eugenic theories and their social implications); to discuss the lecture and reading material of Biology 112. In a general sense, the course follows the organization of Biology 112, treating in turn, topics in molecular biology, genetics, and botanical science. Possible readings include James Watson, The Double Helix; Erwin Chargaff, Heraclitean Fire; and Nicholas Wade, The Ultimate Experiment. Students must be concurrently registered in Biology 112.
261. Cosmology I. (4). (NS).
During Fall Term, 1982, this course is jointly offered with Astronomy 162. For description see Astronomy. (Haddock)
263/Urban Planning 263. Energy and the Environment. (4). (NS).
This course introduces the concepts of energy and the environment, which then serve as a basis for discussion of pollution, scarcity of resources, possible technological catastrophe, and man's future. Basic science and the political-economic aspects of problems and possible solutions are emphasized. Topics include alternative energy sources, the ultimate limit to consumption of resources, risks associated with nuclear power, and fossil fuel resources. Possible energy futures for America and their implications in terms of life-styles, policies, and ethical considerations are explored through lectures, discussions and simulation games. Only rudimentary concepts in science and mathematical reasoning are assumed. Prerequisite: 2-1/2 years high school math. (Rycus)
220/Soc. 220. Political Economy. (4). (SS).
This course is designed to develop a critical comparative analysis of modern socio-economic systems from a political-economic perspective. We begin with a study of modern capitalism examining the views of both its defenders and its critics. Then we go on to consider alternatives to modern capitalism, including both existing systems and possibilities envisaged by movements for fundamental social change. Students will be encouraged to explore their own interests and ideas about alternative systems as well as to develop their capacity for political-economic analysis. This year the course will include study of the political economy of militarism in modern societies. (Weiskopf)
310/Geography 310. Food, Population, and Energy. Sophomore standing or permission of instructor. (4). (SS).
The aim of this course is to examine the relationships between growing populations, their agricultural resources and their energy sources through the study of the continuing food supply issue. How are people's nutritional needs satisfied by traditional diets and farming systems? What is a "good" diet? Why do famines and malnourishment occur? What effects do government policies have on the equitable supply of food and the development of farming: in industrialized countries, in Third World countries? How have multi-national corporations shaped food preferences and supplies through commercialization? How does population growth complicate the food supply problem in many countries? What has been the effect of rising cost of fuel and fertilizer? These and other questions will be considered in a lecture and discussion format. (Larimore)
330. Urban and Community Studies I. (4). (SS).
This course provides an introduction to field studies of social change in the American city and community. The presentations by community residents, faculty, and students will be directed toward an analysis of contemporary America and the formulation of effective strategies for change. Topics to be discussed will include: planning, welfare, university-community relations, housing, prisons and law enforcement, community organizing, electoral politics, transportation, and educational innovation. One goal of the course is to give each student the conceptual background and the sense of alternative possibilities which will make possible an effective extramural project in Social Science 340. To this end, smaller seminars will be created for more detailed explorations with faculty and community resources persons. (Bidol)
360. Social Science Junior Seminar. Upperclass
standing. (4). (SS).
Section 001 – Power in America. This course will explore the question: who rules America and how? In the first segment, we will identify common concerns, theoretical problems, and core themes in contemporary politics. We will attempt to sketch out the sources of power in American society. We will then examine the exercise of power by the state, using several contemporary cases: on the national level, energy policy and defense policy; on a regional level, revenue sharing as it affects relations between federal and state power; and on the local level, the fiscal crisis of cities like New York, Cleveland and Chicago. Through these case studies we will try to establish the interaction between the exercise of power (policy) and the sources of power (interest), elucidating the theoretical relationship between state and economy by focusing on public policy issues and political mediation. In the second segment we will trace the emergence of the corporate economy and of an interventionist 'welfare' state in the 20th Century. We will examine three key historical moments: (1) the so-called 'compromise of 1877' which established a northern, industrial-Republican hegemony on the national level, while consolidating a landed Democratic oligarchy in the deep south – examining in particular here the role of corruption in the consolidation of this alliance and the success of this alliance in defeating the populist insurgency of the 1890s; (2) the emergence of the Democratic hegemony with the Roosevelt-New Deal coalition of the depression – focusing in particular on the relationship of business and industry to the New Deal and the state's role in creating an organized labor movement; and (3) American imperial foreign policy since 1945 as a function of domestic power blocs – looking in particular at defense policy and the linkages between bureaucratic competition and economic interest during the 1950s and 1960s. In the final segment, we will return to the contemporary scene and our case studies for deeper analysis, examining them in the light of the on-going presidential elections. Three papers (8 pages) will be required; no midterms or finals. (C. Bright)
Section 002 – Popular Politics in America. This course explores the political cultures, organizations and movements that operate outside the electoral system in America. We develop a general framework for analyzing popular politics and political mobilization in America, then examine a series of movements in some detail: populism, the unemployed workers' movements of the 1930's, and the civil rights, feminist and anti-war movements of the 1960's. The origins, growth and decline of movements are discussed, as well as their organizations and strategies, the role of government in facilitating and repressing movements, and the cyclical nature of American political mobilization. The final section of the course focuses on the community action and worker's control movements of the 1970's, the crises that underlie them, and their prospects for the 1980's. The course format is lecture/discussion. (Harding)
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