Most RC courses are open to LSA 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 LSA students. (Cohen)
334. Special Topics: The Making of the Multi-racial
U.S. Working Class. (4). (SS).
International Studies: Western Europe. Most of us take nation-states as the basic political culture, historical, and economic reality of western Europe. We ascribe national characteristics to language, political culture, literature, and history. While we acknowledge regional diversity and variations in each country, nonetheless we affirm that the national boundaries are the dominant reality. The aim of this course is to show the historical contingency of nation-states and national cultures. The course examines political, economic, and cultural- linguistic unification of the major nations of western Europe as regionally-based processes. In the first half of the course, we will develop an analysis of nation-building as "internal colonization" based on the economic and military power of dominant regions. Systems of national education and political participation established complex sets of negotiations and accommodations between "rulers" and the "ruled", but integration was never complete. Regional economic inequalities and cultural-linguistic underrepresentation persist. The second half of the course will consider contemporary regionalist and separatist movements. This course is designed as an introductory course on European studies open to concentrators and prospective concentrators in International Studies: Western Europe. Sophomore standing. No prerequisites. (Liu)
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 (five in Russian) 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, 193, 194. For information on these intensive language courses (191: German; 193: Russian; 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, 294. For information on these intensive language courses (291: German; 294: Spanish) see description for 290 (above).
320. Seminaire en français. Proficiency
test. (4). (HU). May be repeated for credit.
Section 001 – Women Writing Women. In the history of French literature, female characters have usually been the work of male writers. This course will look at the literary representation of women by French women novelists of the 19th and 20th centuries. Can we recognize marked differences between familiar portraits of women by men and portraits of women by women? Do such differences form a pattern common to the work of all female authors? If not, are varying representations of women a function of the female author's society (19th as opposed to 20th century), of her politics (feminist, as opposed to non- feminist), of her chosen plot (love story, as opposed to ...)? Students will also write their own portraits of women throughout the term. Readings will include George Sand, Valentine (excerpts); Colette, La Maison de Claudine; Simone de Beauvoir, Les Mandarins (excerpts); Marguerite Yourcenar, Le Coup de Grace; Nathalie Sarraute, Le Planetarium. (Gravdal)
Section 002 – The "Human Condition" in French Short Stories. Despite their popularity with readers, short stories, perhaps overshadowed by the novel, have received less critical attention than other narrative forms. Yet they are admirably suited by their length and structure to capture a moment in human time and to reveal, like an instant replay, the secret complexities of that which happens quickly. Masters of the story form in France, from Maupassant to Sarraute and Camus, have used brief tales to describe, each from a personal standpoint, what it is to be human. With readings from a good collection (such as Vingt et un contes, Irvin & King, eds); Camus' L'Exil et le royaume, and a small course pack, the class will seek to discover the nature of these viewpoints and their evolution, as well as the workings of the structures selected to express them. Then, using these discoveries, we will develop our own stories in French, looking at our personal insights into the human condition and undertaking to express creatively through narrative an intelligent perspective on experience. (Nelson)
Section 003 – French Literature of Belgium. Did you know...that Waterloo is in Belgium? Simenon, Maeterlinck, Magritte? Yes they are Belgian. Through a variety of books, paintings, songs, we shall see how to be Belgian. We shall also try to analyze the political, linguistic and social problems between the two ethnic groups: "Wallons et Flamands". Belgian literature cannot be separated from painting, architecture and sculpture. We shall focus on that interaction through the works of some 19th and 20th century Belgian writers. This will be the opportunity to escape from the attraction of France, without being too far in distances and in ideas, to study the context in which these works were born, and to practice reading as a dialogue between Arts. (Skenazi)
321. Readings in German. Proficiency test. (4). (HU). May be repeated for credit.
German Readings will focus on literature by major 20th century German writers, such as Boll, Brecht, Grass, Kafka, and Mann. Materials will include short stories, drama, poetry, and pertinent texts on German culture. Through readings and discussions in German, students will become aware of stylistics, vocabulary, and subtle points of grammar, and will develop a more sophisticated command of the language. Specific course requirements include weekly assigned essays, hourly exams, a ten minute presentation, and a final exam. In addition, students will prepare a research project, presented as a paper, which will involve use of the available library resources (bibliographies and journals) in German area studies. (Melin)
324. Readings in Spanish. Proficiency
test. (4). (HU). May be repeated for credit.
Section 001 – The Second Spanish Republic and the Civil War. This course will cover a wide variety of aspects of this key period in recent Spanish history, 1931-1939. Readings for class commentary and discussion will be drawn from a range of sources: historical writings on the period, contemporary political, cultural, and literary newspaper and magazine articles, poetry, drama and fiction from the period, particularly that concerned in some way with the contemporary political and social events, theoretical writings on the links between politics, ideology, propaganda and literature, and so on. It is expected that all this material will be made up into one large course pack. Student evaluation will, as always, be on the basis of class participation, periodic papers, and a final exam. (Anderson)
Section 002 – Contemporary Latin American Short Story. The short story has traditionally been a very popular literary genre in Spanish speaking Latin America. This course is based on the reading of a series of short stories written by famous contemporary Latin American writers. A brief history of the development of the short story in Latin America will be presented, as well as different views on the general characteristics and different types of short stories. The importance and advantages of this literary form will be discussed and the perspective of Latin American writers and critics on this particular literary form will also be explored. Following Julio Cortazar's idea that the short story is "the end result of a struggle between life and the written expression of that life, a living synthesis as well as a synthesized life," the short stories to be read in this class will lead the reader beyond the mere anecdote to the discovery of a different world: the despair of Juan Rulfo's peasants in El Llano en llamas, the suffocating atmosphere of rural Colombia in Gabriel Garcia Marquez Los Funerales de la Mama Grande and El Coronel no tiene quien le escriba, the conflict of contemporary urban man in Jose Donoso's Cuentos, the decadence of a class in pre-revolutionary Cuba as seen by Guillermo Cabrera Infante in Asi en la paz como en la guerra and the almost fantastic world of Julio Cortazar's El final del juego. (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)
236/Film Video 236/Hist. of Art 236. The Art of the Film. (4). (HU). A fee is assessed to help defray the costs of film rentals.
This course examines through lectures, demonstrations, and discussions the psychological dramatic effects of various film elements (e.g., camera movement, editing, acting, sound, and special effects). Each week we view two films which make outstanding use of one of these basic techniques. The technological and artistic history of film from its beginning through the early years of sound is also emphasized. During the recitations we discuss the meaning of the week's films as well as the techniques employed. We also write five short exercises, a ten-page analysis of a current movie, and final exam. A lab fee is assessed to help pay for film rentals. (Cohen)
291. The Experience of Arts and Ideas in the Nineteenth
Century. (4). (HU).
Romanticism and Realism. This interdisciplinary course will examine the development of Romanticism, Realism, and the beginnings of Symbolism through the study of 19th century short stories, poetry, drama, novels, prints, and paintings. In selected works by such artists as Poe, Goya, Byron (or Goethe), Friederich Buchner, Casper David Friederich, and Gericault, we will explore the struggle of the Romantic artist to free himself from the bonds of social convention and from the prison of history. This leap of freedom was an act of aesthetic and moral defiance: not only did the artist project alternate realities (or alternate histories) of the imagination, but he also chose to play within those fantastic worlds, the lonely role of the outlaw, the brooding anti-hero, the satanic genius. In some respects realism represents a criticism of the Romantic leap to freedom yet it also continues the revolutionary search for truths. In the works of Dickens and Courbet, we will see the evolution of a grittier and more compromising struggle: the struggle to find one's role within society as a participant in the social and political world. The tensions between these opposing aesthetic impulses – the Romantic escape versus the Realist participation - find a complex expression in the works of James, Degas, Monet, and the Symbolist-oriented works of Edward Munch and Ibsen. These artists explore the paradox of the aesthetic object which is at once within society, within the historical moment, yet always magically removed from it. Readings will include: Selected Tales, Poe; Manfred, George Gordon, Lord Byron, or Goethe; Faust, Danton's Death, Woyzeck, Buchner; Great Expectations, Dickens; The Portrait of a Lady, James; Hedda Gabler, Ibsen. (Feuerwerker, Kleinfelder, Rohn)
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)
214. Prose. (4). (HU).
"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 be asking ourselves in the belief that a better understanding of the experience will enhance our pleasure in reading. We want to think about the complex ways in which fiction – 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 is to explore some of the vast territory that fictional narrative covers, and to gain some sense also of the diverse cultural contexts of its many forms. Readings will include fairy tales, mysteries, fantasy, a Western, a popular romance, as well as the following major works: Crime and Punishment, Dostoevsky; Heart of Darkness, Conrad; To the Lighthouse, Woolf; The Trail, Kafka; The Death of Ivan Illych, Tolstoy; Song of Solomon, Morrison; Monkey, Wu Chengen. Course format: lecture/discussion. Requirements: occasional in-class writing, five or six short papers and a final. Prerequisites: none, but a love of reading is helpful. (Feuerwerker)
310. Medieval Sources of Modern Culture. Sophomore
standing or permission of instructor. (4). (HU).
Quest and Confession. This interdisciplinary course is an introduction to the literature and the visual arts of the Middle Ages by means of a selection of works drawn from the whole period between the Late Roman Empire and the early Renaissance. Each work will be studied in and of itself, to hone and polish our skills of literary and visual analysis. In addition, we will trace the development of two organizing structures: the Confession and the Quest. The first will lead us into considerations of how the inner life of the individual was represented in Medieval art. What strategies of language or of image were used to uncover this hidden life? How do artists represent an "inner world"? The second structure, that of the quest, will take us into a study of narrative pattern: how does the writer or artist take us "there and back again"? Through what landscape do we pass? What is the map unfolded by the Medieval artist as he or she embarks upon the mysterious journey? Readings: Apuleius, The Golden Ass; St. Augustine, The Confessions ; Beowulf; Hildegard von Bingen, Poetry; Marie de France, Lays; Wolfram von Eschenbach, Parzival; Boccaccio, The Decameron; Francois Villon, The Testament; Calkins, Monuments of Medieval Art. (Sowers)
451/Russian 451. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).
See Russian 451 for description. (Brown)
465/Russian 465. Turgenev. A knowledge of Russian is not required. (3). (HU).
See Russian 465 for description. (Mersereau)
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).
Se English 245 for description. (Brater)
281. Introduction to Comedy and Tragedy. (4) (HU).
This is an introductory level course focusing on the genre of comedy and using tragedy as a contrast rather than as a focus in its own right. The course will trace comedy from its origins in Dionysiac ritual to the summit of 18th century opera buffa. It will cover such historic and generic topics as 1. "Old Comedy" to "New", (Aristophanes and Plautus); 2. Comedy as Counterpoint to Sacred History (Second Sheperd's Play ); 3. The Buffo Tradition (Roman mime, Commedia dell'arte, early Molière and Goldoni); 4. Satiric Comedy, Volpone; 5. Romantic Comedy, As You Like It; 6. Tragicomedy, Measure for Measure; 7. Comedy within Tragedy, The Changeling; 8. Comedy on the border of Tragedy, The Misanthrope; 9. Comedy of Wit, The Man of Mode; 10. Comedy collapsing into Sentiment, The Conscious Lovers, and 11. Comedy aspiring to the Condition of Music, Marriage of Figaro. These playtexts will be supplemented by and contrasted to very contemporary "comic" plays by such authors as Dario Fo, Sam Sheperd, and Christopher Durang. Practical workshops (in basic juggling techniques, Commedia dell'arte, wit and repartee) will be balanced by readings in the theory of comedy and tragedy (Aristotle to Bergson). Scene work, discussion and experimentation, quizzes and short written assignments, as well as frequent theatre-going will be required of all. (Walsh, Ferran)
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 20th century drama. Prerequisites: Humanities 280 or permission of instructor. (Ferran)
389. The Modern Theatre. Hums. 280 or permission of instructor. (4). (HU). May be repeated for credit.
This course will survey American life, liberty and the pursuit of happiness as it is reflected on the stage. It will be divided into three units. A brief introductory section will examine the American theatrical tradition from its origins in Federalist comedy of manners, to frontier farce, racist melodrama and Eugene O'Neil's flirtation with European Expressionism. The second section will comprise a detailed study and exploration of the three great American domestic tragedies: Arthur Miller's Death of a Salesman; O'Neil's, Long Days Journey into Night, and Tennessee William's, Streetcar Named Desire. The third and concluding section will pursue themes so far encountered in the absurdist and post- modern playwrights of the 60's, 70's, and 80's, particularly Albee, Bullins and Baraha, and Sam Sheperd. Dramatic analysis and experimentation will be measured by scene work, discussion, quizzes, short papers and theatre-going assignments. The principle text will be, The Longman Anthology of American Drama. (Walsh, Brown)
390. Special Period and Place Drama. Hums. 280 or permission of instructor.
(4). (HU). May be repeated for credit.
Art and Politics in Weimar Germany. Germany in the 1920's (The Weimar Republic), was one of the richest periods of artistic innovation and achievement in the 20th century. This course, a combined Arts and Ideas, Drama, and Social Science offering, will attempt to explore the kaleidoscopic interplay of art and politics in the period. The general problems of linking two distinct universes, of tracing art in politics and politics in art while preserving their distinct realms of development, will be explored through close examination of the early Brecht, Drums in the Night, Threepenny Opera, and St. Joan of the Stockyards; expressionist drama (Kaiser's Gas I and II), and constructivism (the Productions of Erwin Piscator) and the Volkstucke. We will also take up film (The Cabinet of Dr. Caligare, Metropolis, and Triumph of the Will ); visual arts (expressionists Kathe Kollwitz, Paul Klee, and Ernst Kirchner; Berlin dadaists Grosz and Heartfield; and Bauhaus artisans Klee, Schlemmer and Mies van der Rohe), and fiction (Eric Maria Remarque's All Quiet on the Western Front ). These artistic currents will be examined in the context of concrete historical developments, intellectual and political, of the Second Empire, World War I and revolution, and the Republic of the 1920's. The course will end by examining the racist revolution of National Socialism in the light of Weimar culture. Readings will include selections from Nietzsche, Max Weber, Spengler, Walter Benjamin, and Rudolf Arnheim. John Willett, Art and Politics in the Weimar Period, will serve as a basic text. Two papers and participation in a term project will be required. Tuesday evening sessions will be devoted to films and plays. Walsh's section of the course will concentrate on drama and its development during the period. Rohn's section will focus on the interdisciplinary concerns of the course. Bright's section, Social Science 360, will concern itself mostly with historical and political matters. Students should sign up for the section that has the focus they want. (Walsh, Rohn, Bright)
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. Topics in Music. (4). (HU).
Musical Style in the Eighteenth Century as a Reflection of Changing Social Attitudes. This course will investigate changing attitudes in 18th century European society and their effect upon the function, structure and performance of music. The changing musical style will be noted in writings by 18th century authors on the subject and, most importantly, demonstrated in the music to be studied. Repertoire will include works by such masters as J.S. Bach, Handel, Rameau, C.P.E. Bach, Haydn, Mozart, and the early works of Beethoven as well as those works by lesser composers – such as Jean Rousseau - whose compositions or writings about music were influential. (Gordon)
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. Course will meet October 5 through November 11. (Sarris)
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. Course will meet September 9 through October 16. (Collier)
430. Perspectives on High Technology Society. Upperclass standing. (4). (Excl).
Technological developments have differential impacts on different groups of people. This course looks at the effects of technological change on Latino people, concentrating on Puerto Ricans, Chicanos, Mexicans, Cubans, and Central Americans, both those living in and outside of the continental United States. Reading proficiency in Spanish advisable. (Vandermeer)
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)
230. Alternative Approaches to Economic Development. (4). (SS).
This course focuses on the economies of Africa, Asia, and Latin America, on the changes that their past involvement in the global economy has brought, and the possibilities for the future. It focuses as well on alternative ways of thinking about the economy, on the theoretical and ideological assumptions within each framework, on the insights and limitations of each approach when confronted with concrete experiences, and on the relationship of social science analysis to practical programs. The theories of neo-classical economics, dependency theory, and Marxism will each provide a focus for examining, re-examining, and comparing different historical and contemporary experiences of economic change. The course stresses that development economics – like other branches of social science - is not a technical problem of how to achieve a goal on which all agree, but a matter of conflicting approaches to basic questions. Aimed at freshmen and sophomores, the course will juxtapose different theories against different case studies, the discipline of history against economics, and the possibilities for future changes against the experiences of the past. It should provide an introduction to theory and analysis in the social sciences as well as an examination of a particularly important issue. One five-page paper, one ten-page paper, and a final (take-home exam) or a term paper in lieu of the final will be required. (Cooper)
360. Social Science Junior Seminar. Upperclass
standing. (4). (SS). May be repeated for credit.
Section 001. For description see RC Humanities 390. (Walsh, Rohn, Bright)
Section 002 – Neuropsychology of Memory. This course surveys current theories of brain-behavior relationships, with a focus on the behavior we call "remembering". Our study will be concerned with the physiological and with the subjective: we will examine neural models of memory, and we will probe the experience of the rememberer. We will study how psychology – both academic and clinical – categorizes memory into different types (e.g., semantic versus visual-spatial; short-term versus long-term), and we will relate those categories to our conceptual models and to our subjective data. Much of those data will come from case studies of persons with impaired memory or with extraordinary powers of memory. This course combines material typically taught in courses on human neuropsychology, psychology of memory, cognitive psychology, physiological psychology, and behavioral neurology. Sophomore standing or permission of instructor. Introductory psychology provides helpful background. (Evans)
Section 003. Approaching Armageddon. For
description see Cultural Anthropology
Section 004. This course examines a critical example of the history of imperialism, the attempt of European powers beginning at the end of the 19th century to remake Africa. It is thus a study of the domination of one people over others, and the fragilities, ambiguities, and contradictions of domination. It will ask to what extent European powers tried to extract wealth from the societies they found in Africa, or to what extent they tried to remake those societies in the light of European models. It looks as well at how Africans tried to adapt to or resist the changes of these eras, focusing on new forms of thought as well as on political action. It will conclude with a brief analysis of post-colonial society, seen in the context of African history and of the international system which new states faced. The course will consist of a mixture of lectures and class discussions, based on a variety of materials, including African novels, contemporary documents, and scholarly studies. The course should thus give students a comprehensive overview of 20th century Africa, but one which centers on basic questions about the political, social, economic, and ideological dimensions of colonial domination. Active student participation is expected throughout. (Cooper)
412/Geography 412. Problems in European Regional Geography. (3). (SS). May be repeated with permission of instructor.
This course is designed to be an introduction to the lands and peoples of Western Europe: Scandinavia, the member states of the European Community, and, in Central Europe, Switzerland and Austria. General physical characteristics, development and present state of farming, sources of energy, centers of industry, transportation systems: these are some of the topics to be discussed, together with distribution patterns of languages and religions. Readings will be recommended during the term; a general reference is George W. Hoffman (ed.), Geography of Europe. (Kish)
460. Social Science Senior Seminar. Senior
standing. (4). (SS). May be repeated for credit.
Section 001 – Social Theory: Recent Paradigm Contenders. In The Structure of Scientific Revolutions, Thomas Kuhn argues that fields of inquiry in science go through periods of "revolution" in which the conventional wisdom from the past comes under basic questioning. New "paradigms" or "exemplary models" of how to ask questions and answer them redefine what is at issue and how it can be understood. The vast majority of social science work today depends on "paradigmatic" statements of what is at issue that stem from the work of Karl Marx and then reactions from the next generation of European minds like Freud, Durkheim, Max Weber, and their cohort. (Major works by each of these authors were studied in RC 260: Sources of Social Science Theory). Many observers of the contemporary scene believe that the past twenty years have been (and continues to be) a comparable time of intellectual ferment, with some fundamentally new questions and modes of answering them being asked about the character of social life and the individual's place within it. This course will explore some of these more recent paradigm contenders. The reading list is still being chosen. "Musts" include Herbert Marcuse, One Dimensional Man; Peter Berger's, The Homeless Mind (re: modern consciousness); Gregory Bateson's, Steps Toward an Ecology of Mind; and Fritchof Capra's, Turning Point. A wide range of other authors currently are being explored, as well, including radical feminist theorists, ecologists, political figures like Gandhi and Mao who have rethought bases of power and integration in modern life, decentralists like Hazel Henderson, E.F. Schumacher, Mark Satin, a variety of Third World social analysts and critics, and physical scientists like Ilya Prigogine who are rethinking the nature of "structure" and qualitative change. The course will be run as a seminar, with close mutual reading of several key works that others have not read, and a series of short papers. (Heirich)
Section 002 – Culture as Environment: "Man", "Land", and "Nature". How do cultural patterns shape a human group's relationship to its natural environment, especially to the land which supports it? What happens when cultural patterns of land use come into conflict? Can any group "win"? This course will explore how particular culture groups perceive their environments, construct geographies, conceive of human beings as part of the natural and supernatural universe, organize their territories, and use technology to exploit natural resources. We will consider especially the role of religious beliefs and national ideologies. First, we will consider a current regional case of conflict over American land. We will study the cultural patterns underlying the struggle between the Hopi, the Navaho, and the United States, which is expected to result in the strongly-resisted forced relocation of Navaho homesteads. Our investigation will aim to reveal the underlying geographies and world views of each group which form the perceptual frame for the current political conflict. In this section of the course, we will also be concerned to master the conceptual and analytical skills necessary to compare analytically the geographies on which groups base their world views. We will then shift focus to consider the contrasts between the cultural views toward land of the United States, the Soviet Union, and the emerging international Environmentalist group which create the basis for contemporary global scale conflict. Finally, we will devote the last few class sessions to presentations of case studies which students have been investigating as term projects. Students can expect to work in study groups, participate in and occasionally lead seminar discussions, write two or three brief papers as well as a term research project and take a midterm exam. (Larimore)
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