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)
300. Writing and Theory. Not open to freshmen. (4). (HU).
This course is designed for students interested in improving their expository writing. It is not a creative writing course; rather it emphasizes the communication of ideas, insights, opinions, analysis, and personal narrative clearly, honestly, and effectively. Students will be encouraged to write from the first person point of view in the active voice. To help achieve satisfying improvement in written communication, students will look critically at selected writing of others (e.g., Orwell, E.B. White), examine carefully their own writing and that of their colleagues, and write, write, and rewrite. Students will submit written material every week and will consult at least once every two weeks with the instructor for custom built help and encouragement. Students should purchase copies of Strunk and White's Elements of Style and Eight Modern Essayists, edited by William Smart. Prerequisite: sophomore standing or permission of instructor. This course will also count as an Honors course. (Robertson)
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.
191, 194. For information on these intensive language courses (191: German; 194: Spanish) see description for 190 (above).
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.
291, 293, 294. For information on these intensive language courses (291: German; 293: Russian; 294: Spanish) see description for 290 (above).
320. Seminaire en français. Proficiency
test. (4). (HU).
Section 001 – The Theme of War in Modern French Literature. Since 1870, France has been invaded three times. Since l945, wars of decolonization (in Indochina and Algeria) have made the French aware that they, in their turn, have been occupiers of other people's territory. Not surprisingly, the themes of occupying and being occupied – which have moral, philosophical, and political ramifications well beyond questions of warfare itself – have been dominant in French thinking about war. We will read some key texts that exemplify this thinking, and compare them with the historic experiences of North Americans in the same period. One of the texts, in fact, concerns North American experience: that of a remote village in Northern Quebec during World War II. Class time will mainly be given over to discussion of the texts, but regular sessions will be devoted also to questions of writing, including practice in "re-writing" the texts (so as to bring out their narrative techniques and the options that determine their meaning). Students will be expected to write a total of about 20 pages in French (either analysis and interpretation of texts; or original writing inspired by the texts; or a diary of the course; or some combination of these). Midterm by interview with instructor. No final. (Chambers)
Section 002 – Ousmane Sembene: Writer & Filmmaker. A successful francophone Senegalese writer, Ousmane Sembene is also a filmmaker of renown. In this course we shall read several of his short stories (from Voltaique and LeMandat ) and a novel (Xala), some of which Sembene himself has turned into films. (Such is the case with La noire de... and Xala, for instance.) We shall also screen those of his films that are available in the USA. This will be done with a view to gaining an understanding of what accounts for the success this artist, who never went far in his formal education, has met with in Africa. (Ngate)
Section 003 – Brittany in Novels and Short Stories. After having situated Brittany in France, we will try to see its originality. Through readings about Brittany we will study its culture and history. We will also see Brittany through its writers, poets and singers. Throughout the term we will have the chance to view slides on Brittany and Chateaubriand's itinerary in Brittany where he was born. We will listen to traditional music and revolutionary songs connected with the M.L.B. (Mouvement de Liberation de la Bretagne). (Masson)
324. Readings in Spanish. Proficiency
test. (4). (HU).
Section 001. In this class the students and instructor will read and discuss Mario Vargas Llosa's lengthy (500+ pages) novel, La Guerra del Fin del Mundo. Since this novel is a fictional account of an actual event in the history of Brazil, and since it is based largely on a Brazilian account of the event (written in Portuguese), the instructor will provide a cultural and historical background to the novel as well as guide discussions on the readings. In addition to regular participation in class discussion, students will write bi-weekly essays on the material read and discussed. (Brakel)
Section 002 – The New Song Movement. This course will study the origin, development and characteristics of the New Song Movement in Latin America. It will be based on the example of the Chilean movement, but it will present selected examples of other countries as well, like NUEVA TROVA (Cuba), TALLER DE SONIDO POPULAR (Nicaragua), Daniel Viglieti (Uruguay) MISA POR UN CONTINENTE (Paraguay), etc. The Chilean New Song Movement began in the early sixties almost surreptitiously in "penas" and universities. It developed into a rich and diverse cultural component of a period of social and political change in the country. The songs are, therefore, closely tied to those changes. The songs become social commentaries and sometimes, in major works, they rescue for the listener forgotten or ignored pieces of history. These songs are a wonderful example of the union between word and music as well as a vital and creative new possibility for musical expression which draws from popular tradition as well as folklore. Violeta Parra and Victor Jara are among the individual singer/composers who will be studied. Groups like QUILAPAYUN, INTIILLIMANI and APARCOA will be studied especially in their major works. (CANTATA DE SANTA MARIA and CANTO GENERAL). We will also look into the rupture produced in the movement in the seventies. Some pieces written and composed in exile will be presented as well as a major work created inside Chile and sung, in 1978, in the Metropolitan Cathedral of Santiago: CANTATA DE LOS DERECHOS HUMANOS. The course will have the help of Cindy Page, a Residential College graduate and a musician herself, to assist with the musical part. (Moya-Raggio)
269. Elements of Design. (4). (Excl).
New Directions in Fiber Art: Experimental Methods and Materials. The fiber arts have undergone an extraordinary transformation in the past two decades. There has been a resurgence of interest in traditional, sometimes forgotten, techniques, such as felt-making, Coptic and Peruvian weaving, and twining. At the same time, there has been a proliferation of new processes and materials made possible by technological advances in the 20th century. New processes include color Xerox on fibers, sun-developed dyes, and blueprint on fibers. New materials used by fiber artists cover a broad range, from strips of film to plastic tubing. The focus of this course will be an exploratory, experimental approach to fiber art. Students will learn and utilize new, as well as traditional materials and techniques in the creation of innovative works. Traditional processes will include weaving, plaiting, knotting, basketry, and felt-making, among others. While a number of new processes will be taught, students will be encouraged to develop their own. Unconventional materials such as wire, paper, polyethylene, and plastic tubing will be utilized, as well as traditional fibers such as cotton, linen, and wool. (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 appying 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).
Classic Modernism/Post Modernism. This course is divided into two parts. In the first, we will examine the creative explosion which took place in Europe around the time of World War I. This is the period of Classic Modernism, the time of the creation of the avant-garde, which set the tone of tragic exuberance, of comic defiance in the arts for the rest of the century. Our exemplars of this period will be: Joseph Conrad, Heart of Darkness; Alfred Jarry, Ubu Roi; Gertrude Stein, Tender Buttons; Franz Kafka, The Trial; Picasso, Cubist works; Marcel Duchamp, Dada anti-art. The second part of the course will be devoted to the Post-Modern era (1945-1980), and to a group of artists who were engaged in a further exploration of the challenges offered by the Classic Modernists. In this period, the nature of the work of art itself is deeply explored: does art liberate us, release us from the past? Or does it involve us more deeply in antique patterns? Where is the artist in respect to his or her work? Imprisoned? Masked? Metamorphosed? Irrelevant? In this section of the course we will examine Samuel Beckett, Ends and Odds; Bertolt Brecht, The Threepenny Opera; Jean Genet, The Maids; Jorge Luis Borges, Labyrinths. In the visual arts, Jasper Johns, Andy Warhol, Alfred Hitchcock, and possibly (time permitting) Robert Rauschenberg, Claus Oldenberg, Frank Stella. (Ferran, Kleinfelder, Rohn, Sowers)
311. Intellectual Currents of the Renaissance. Sophomore
standing or permission of instructor. (4). (HU).
The Rabelaisian Cosmos. This course will center on a single work, the five books of Francois Rabelais' Gargantua and Pantagruel, one of the most inventive and truly encyclopedic works of world literature and an almost inexhaustible compendium of Renaissance speculative thought, classical erudition, and popular culture. The course will be divided into five units, each devoted to one Book of Rabelais' quincuncial Work; within these five units is inscribed the venerable triad of Mind, Body, and Spirit. Each book will be considered in relation to other works of Renaissance visual art, literature, and philosophy. The syllabus will include: Literature: Gargantua and Pantagruel; Pico Della Mirandola, Oration of the Dignity of Man; Tomaso Campanella, City of the Sun; John Heywood, Farces; Erasmus, In Praise of Folly. Visual Arts: Hieronymous Bosch; Titian; Breugel, and Durer. (Sowes, Walsh)
330/German 330. German Cinema. (3). (HU).
See German 330. (Zorach)
333. Art and Culture. One History of Art or Arts and Ideas course, or permission of instructor. (4). (HU).
This course aims to develop an understanding of the basic differences between the Western and Indian religious traditions, through an examination of painting, sculpture and architecture. Major Old and New Testament Themes will be discussed, both to show how attitudes and interests have changed over the centuries, and to develop a familiarity with the work of major western artists – such as Michelangelo, Durer, and Rembrandt. In the Indian tradition, concentration will be on the life of Krishna, as child-god, hero, lover, and sage; but other aspects of Hinduism and Buddhism will be discussed. (Spink)
414/German 414. Vienna 1890-1918. Junior standing or permission of instructor. (4). (HU).
See German 414. (Seidler)
410. Upperclass Literature Seminar. (4).
Section 001 – Moral Issues in the Novel. We will look into some questions about the nature of moral actions and the process of moral growth. We will try our answers to these questions on some novels. The idea is to bring fiction out into the practical world to some extent and also to bring some non-aesthetic ways of seeing from the practical world to the work of art. More emphasis on character than plot. We will read selections from Aristotle's Nichomachean Ethics, and perhaps selections from recent writers on moral and cognitive growth. Novels include Lord Jim, by Joseph Conrad; Robert Penn Warren's All the King's Men; The Invisible Man, by Ralph Ellison; Sinclair Lewis' Babbitt; Morte D'Urban, by J.F. Powers; Portnoy's Complaint, by Philip Roth; Surfacing, by Margaret Atwood, and The Fall, by Albert Camus. Conceivable additions: Portrait of the Artist as a Young Man, by James Joyce; Ring Lardner short stories; A Flag for Sunrise, by Robert Stone. The class will run as a true seminar. Each seminar member will write a paper every two or three weeks, copies of which will go to all other seminar members before our weekly meeting. No midterm. Final depends on performance of class as a whole. The reading load is moderately heavy. Open to sophomores by permission of instructor only. (Clark)
Section 002 – Literature as Dissent in Eastern Europe. In Eastern Europe literature has become a vehicle for exploring political, philosophical, and social issues which cannot be raised more directly and openly because of ideological constraints on public debate. During "liberal" periods, works of fiction addressing such issues have been published. In more repressive times, the writers have developed subtle stylized forms which enable their works to allude metaphorically to actual contemporary issues while appearing to be historically removed in time or place, or to be fantastic, abstractly poetic, or absurd. Finally, there is a large body of underground literature "published" without official approval by using the mimeograph or the typewriter. We will read and discuss a varied sample of recent works by the leading writers of Czechoslovakia, Poland, Hungary, and the Soviet Union, both from the point of view of their social and political thematics and of their intrinsic aesthetic structure. Evaluation will be based on class discussion and four short (6-7 page) papers. (Eagle)
411. Translation Seminar. Reading proficiency in a foreign language. Upperclass standing or permission of instructor. (4). (HU).
Was Martin Luther right when he wrote that we have to look the common woman, man and child in the mouth to translate well, or is it true as the Italians say, "Traduttore, traditore", a translator is a traitor? Translation is an interpretive act in which the translator must come to terms with all the complexities of a text, its language, structure, meaning, social, and historical context. Yet, as readers of translated works, we often forget how profoundly this process shapes our experience of literature not written in English. This seminar will be concerned with the theory and practice of translation as a means of increasing sensitivity to literary works and developing the critical skills essential to the study of literature. Students will be asked to consider the merits of diverse approaches to translation (from "equivalent" to "free poetic" versions) and the views of practicing authors (whether translations can create a new poetic language or serve merely to tide one over "dry" periods). Participants will engage in translation exercises and undertake a project, such as a translation, a comparison of various translations of a single text, or a paper on translation theory. Tentative readings include various versions of the Bible, stories on the subject of translation (Kafka, Borges, Twain), "imitations" (Pound, Lowell), and essays by writers and critics on the subject of translation (Bassnett-McGuire: Translation Studies, Steiner: After Babel, and others). Prerequisites: Proficiency in a foreign language. (Melin)
451/Russian 451. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).
See Russian 451. (Brown)
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).
No prerequisites, however : a thorough reading background in children's books – or the willingness to compensate for its lack – is presumed. Please do not take this course expecting "lectures" about children's books or child development. This is a writing course emphasizing story-writing skills and aesthetics. (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. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (HU).
Tutorial 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)
326. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (HU).
See 325. (Hecht, Mikolowski, Balducci)
425. Creative Writing Tutorial. Permission of instructor. (4). (HU).
See 325. (Hecht, Mikolowski, Balducci)
426. Creative Writing Tutorial. Permission of instructor. (4). (HU).
See 325. (Hecht, Mikolowski, Balducci)
280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
See English 245. (McNamara)
282. Drama Interpretation I: Actor and Text. (4). (HU).
This is a performance workshop. Class members will train in various methods of contemporary performance technique, and apply them directly to exploration and free adaptation of a classic text (yet to be determined). Participation in an end-of-term production of the final product and two research papers required. (Brown)
389. The Modern Theatre. Hums. 280 or
permission of instructor. (4). (HU).
Chekhov and Stanislavsky. This course is open to juniors and seniors, or students who have passed RC Humanities 280 "Fundamentals of Drama Study". The course will study in depth, by close reading, discussion, scene presentation and experiment, writing, and critical research, the four major plays of Anton Chekhov: The Seagull, Uncle Vanya, The Three Sisters, and The Cherry Orchard. In addition, the chief writing of Konstantin Stanislavsky (An Actor Prepares, Building a Character, and Creating a Role), and selections from other writings on his practice and productions for the Moscow Art Theatre will be read and discussed in detail. Supplementary reading will include: several one-acts and short stories by Chekhov, selected letters, reviews, and descriptions of Chekhov productions from 1900 to the present, and selected dramatic criticism by major commentators. Three analytic papers (3-5 pp. each), several scene presentations (one accompanied by a descriptive-critical piece of writing), and a final project are also required. "Chekhov and Stanislavsky" is intended for serious students of drama and theatre who want to get their teeth well into the artistic accomplishments of these two giants of modern theatre. (Ferran)
484. Seminar in Drama Topics. Upperclass standing, Hums. 280, and three 300 or 400 level drama courses, or the equivalent, or permission of instructor. (4). (HU).
"Mummers, Mollies, Boogers, and Banshees: An Introduction to the Folk Drama and Calendar Ceremony of Europe and North America." This short course will focus upon masked impersonation and related customs surrounding the great festivals of Autumn and Winter from the late Middle Ages to the present. The English, French, German, and "Celtic Fringe" traditions will be especially emphasized and their survivals in North America will be traced. Attention will also be paid to the influence of these folk practices upon the work of such figures as Rabelais, Bruegel, Shakespeare, and Ben Jonson. The course will proceed calendrically from Harvest Home to New Year. Recordings, slides and films, and folkloric collections will supplement selected readings in the field. The course will feature a full-scale folkloric investigation of East Quad's own, well-established Halloween tradition, as well as a performance of a Yuletide mumming. Prerequisites: permission of instructor. Those electing RC Humanities 311 "Intellectual Currents of the Renaissance" are especially encouraged. (Walsh)
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. Special Topics. Concurrent enrollment
in an associated course. (1-2) (Excl). May be repeated for a total
of 6 credits.
Health and Lifestyle. This is a one credit mini-course consisting of six two-hour seminars exploring concepts of health promotion and personal responsibility for health. The course will cover subjects including: how people make decisions about their health, effective strategies for changing health-related behaviors, identification of areas in which individuals can take charge of treating illnesses, and specific health topics such as stress, nutrition, exercise, alcohol, and smoking. The course focus will be aimed toward students interested in changing personal health habits as well as those who may be considering health-related careers. (McLaren)
355. Nuclear War. (2). (Excl).
Never mind the answers; what are the right questions about nuclear war? This course asks some of them while covering the development of nuclear weapons systems and of the political objectives and military strategies for their use since 1938. It asks in particular about the responsibilities of scientists, and also of statesmen, soldiers, and citizens. It covers the technology of the weapons systems, the effects of their use, and the many consequences of today's arms race, including a look at how that race may end. Readings, discussions, and films in one two-hour and one one-hour class per week; September 10 to October 17 only. No credit to those who took University Course 330 "Nuclear Weapons and Nuclear War". For wait list, see RC Counseling Office, 134 Tyler, East Quad. (Collier)
437/French 437/MARC 437. French Culture and Literature in the Middle Ages with Visual Assistance. French 438 is recommended. (3). (HU).
See French 437. (Mermier)
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.
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 devoted to the comparative analysis of socio- economic systems from the perspective of political economy. The first part of the course will focus on modern capitalism, particularly as it has developed in the United States. We will examine the operation of the capitalist system by drawing on the writings of a variety of different social scientists, emphasizing the work of radical political economists and exploring how their approach differs from more conventional schools of thought. The second part of the course will concentrate on actual and potential alternatives to capitalism in a modern industrial society. Here we will consider a variety of alternative socio-economic arrangements at the societal and the local level, ranging from existing socialist societies to visions of a socialist America. (Weisskopf)
260. Sources of Social Science Theory. (4). (SS).
This course will closely examine selected works of several classic social science thinkers – Karl Marx, Alexis de Tocqueville, Max Weber, Èmile Durkheim, and Sigmund Freud. We shall preface our reading of these works with a brief historical overview of some important historical events, the French Revolution and the Industrial Revolution. Our purpose will be two-fold: first, to understand in some depth the specific way in which each thinker views the world; second, to develop a general understanding of human beings as social and historical creatures. The class will emphasize discussion, group presentations and individual writing. Particular attention will be paid to developing the ability to analyze critically the ideas of each of these thinkers. Tentative readings include R.R. Palmer's The World of the French Revolution; selections from Robert Tucker's The Marx-Engels Reader; Tocqueville's Democracy in America; Weber's The Protestant Ethic and the Spirit of Capitalism; Durkheim's Suicide, and selections from Freud. (Heirich)
360. Social Science Junior Seminar. Upperclass
standing. (4). (SS).
Section 001 – Power and Politics in America. This course addresses the question: who rules in the United States and how? It combines theoretical, historical and contemporary perspectives in an effort to understand power configurations and political dynamics in the United States in the 1980's. Analysis centers on the American state and the role that the state plays in mediating the relationship between capitalism and democracy – economics and politics – in American society. We will examine the period of Republican hegemony (1896-1932) and the concepts of the promotional state and associative corporatism common to these decades, and the period of Democratic hegemony (1932-1980), and the concepts of state security capitalism common to this era. The last segment of the course will deal with the contemporary situation, the crisis of the Democratic coalition and of the corporate business sector and the relationship of the Reagan presidency to both. Behind this investigation lies the assumption that a study of the state, or of the shifting fortunes of particular politicians or political coalitions, must be rooted in an analysis of the political economy and of the possible configurations or alliances that are available to politicians at any particular moment for the purpose of governing American society. Consequently, there is considerable discussion in the course of political parties and coalition politics and of the relationship between political issues and business interests or economic power in general. (Bright)
Section 002 – Gender Consciousness and Social Change. In this course we will explore the lives of women in various cultures and examine the social systems that shape gender beliefs, roles and behavior. Case studies focus on tribal, peasant and urban societies in South America, Europe, Africa, the Near East, and America. We will define and identify social forms of male and female dominance, review the debate concerning matriarchies, and explore the effects of particular social systems and historical trends on gender relations. Concluding sessions present an anthropological interpretation of the contemporary American feminist movement and its opposition. There will be explicit emphasis throughout the course on the development of skills of social analysis and textual criticism. The format will be lecture and discussion, and three short papers are required. (Harding)
Section 003 – African Social Movements. During the more than half century when most of Africa was under colonial rule, African people not only felt the impact of external conquest and political control, but of outside intervention in their social and economic lives. Many people, even sympathetic ones, have tended to view African's role in this history as that of passive victims. On the other hand, since most African nations became independent, scholars have been more likely to see every incident in the colonial era as one more step toward the triumph of nationalism. Yet, falling down before colonialism or attacking it was not all Africans had to do. They had to make sense, collectively, of the changes in their lives, and to adjust to or struggle against the changes in their relationships with each other that derived from the economic and social transformations of the colonial era. This course attempts to look at the widest possible range of collective movements in a colonized continent. Reading and discussion each week will cover resistance movements based on the pre-existing social organization of African society, the reaction of peasant societies to economic change, the ways in which religious movements, spirit possession cults, and witchcraft eradication movements tried to come to grips spiritually and emotionally with social change, the ways Western educated came to think of their own role in society and in changing it, the kinds of associations Africans developed to cope with life in rapidly growing cities, and the importance of strikes, riots, and peasant disorders in the politics on anti-colonialism. These sessions will cover only part of the term. The rest will be spent on student projects on particular social movements. These projects will allow students to learn more about materials on Africa – including work by Africans as well as about them – and to explore further the significance of social organization and action in the non-western world. While previous study of Africa is desirable, it is not required. (Cooper)
460. Social Science Senior Seminar. Senior
standing. (4). (SS).
The Internationalization of Labor: Impact on Women and Families. This course will examine two interrelated contemporary trends that have increasingly drawn Third World people (particularly women) into an international division of labor. These are (1) the expansion of export manufacturing industries abroad and (2) immigration from underdeveloped to developed areas (Caribbean, Latin, and Asian immigrants to the U.S.; "guest workers" in Western Europe). Both trends have triggered significant changes in the culture, work, and household organization of Third World families. We will examine the sources and consequences of these processes with a particular focus on the women who are both employees of multinational industries and consumers in the "global supermarket". We will use case studies (i.e., textiles and electronics) to determine how changes in the economic mode and state policies toward development affect women's lives. We will also look at the impact of corporate domination of media and marketing on the roles of Third World women as traditional providers of health care, food and household needs, as well as on the cultural images and stereotypes of "feminine" behavior (for example, the infant formula controversy). Finally, we will explore the impetus and consequences of migrant labor on women and their families. (Frankel)
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