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)
300. Writing and Theory. Not open to freshmen. (4). (HU).
This course is designed for students interested in improving their writing. It is not a creative writing course; rather, the emphasis is on personal narrative – on writing about people, experiences, reflections, and opinions from the perspective of the writer. Students will be encouraged to write in the first person active voice, e.g., "I think...," rather than "It was thought that...." We will look at essays by modern authors (e.g., Orwell, White, Woolf, Thoreau, Didion), but the primary emphasis will be to write, write, and rewrite – an essay each week. Constructive criticism will come from other students in the class as well as from the instructor in bi-weekly conferences. Texts are Strunk and White, Elements of Style, and Eight Modern Essayists, 4th Edition, editor William Smart. (Robertson)
334. Special Topics: The Making of the Multi-racial U.S. Working Class. (4). (SS).
International Studies: Western Europe. Regions and Regionalism in Europe. Most of us take nation-states as the basic political, cultural, 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. 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 advising 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 – Contes et Nouvelles francophones: Afrique, Antilles. We shall read, in historical context, a variety of tales and short stories from the francophone parts of Africa and the Caribbean. This should help us come to some understanding of their political, social and literary significance. The reading list will include texts by; Francis Bebey (Cameroon); Bernard Dadie (Ivory Coast); Rene Depestre (Haiti); and Ousmane Sembene (Senegal).
321. Readings in German. Proficiency test. (4). (HU). May be repeated for credit.
The course will concentrate on selected writings by major German authors of the twentieth century, including Kafka, Mann, Boll, Kaschnitz, Aichinger, Wolf, Schubert, and others. There will be occasional discussion of themes and topics of current interest extracted from newspapers and elsewhere. We will aim at increasing comprehension both of the poetic voice and of the language of daily life. Although there will be review of basic grammar when necessary, our linguistic focus will be on stylistics and grammatical nuance as we react to and analyze the various texts. Class will be devoted primarily to discussion, in which students are expected to teach each other through their responses to the readings as well as through prepared oral presentations and correction of each other's work. Course requirements include at least one oral presentation, approximately one short essay per week, hourly and final exams. Students will also prepare a final research paper, for which they will select a topic early in the term and will utilize reference works and sources available in the library throughout the term. (Fries)
324. Readings in Spanish. Proficiency test. (4). (HU). May be
repeated for credit.
Section 001. To be arranged.
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).
This course provides non-art majors with the opportunity to practice, as well as study, visual skills. It attempts to give students a broad experience through (1) exposure to art history, anthropology and art, and the psychology of visual perception, presented in slide lectures; (2) technical mastery of a range of media, including pencil, charcoal, and paints; (3) development of creative and technical skills, and (4) critical assessment of works of art during class discussions and critiques. During the first part of the course students acquire a visual vocabulary by working with the basic elements of design, including line, shape, tone, texture, perspective, balance, and color. Students complete projects dealing with these visual elements. During the final part of the course students apply their new visual skills to longer, more complex projects. Students are evaluated individually on their progress and the quality of their projects. Class critiques are frequent, and attendance is mandatory. (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)
290. The Experience of Arts and Ideas in the Twentieth Century. (4).
Avant-garde and Aftermath. "So the twentieth century is that, it is a time when everything cracks, where everything is destroyed, everything isolates itself, it is a more splendid thing than a period where everything follows itself." (Gertrude Stein). In this course we will trace the evolution of the avant-garde as it emerged in the literature, drama, and visual arts during the years that led directly up to World War I and in the period that immediately followed. These were years of radical experimentation as artists consciously and often violently repudiated the past in search of a new language and new forms of representation. But these were years also marked by a desire to return to tradition, a desire to reconstruct a firm foundation for representation. The art that emerges out of this period of conflict is always intriguing from an aesthetic point of view, but also disturbing, unsettling; in exploring it, we will also be exploring how the Twentieth Century is indeed a century of splendor and destruction. The syllabus for the course will include the beginnings of the Avant-garde: Cubism; Joseph Conrad, Heart of Darkness; Alfred Jarry, Ubu Roi; Pablo Picasso, paintings and collages; Gertrude Stein, Picasso, Tender Buttons; The Great War: Dada; Wilfred Owen/Tristan Tzara, poetry; German Dada; Marcel DuChamp, paintings and ready-mades; Franz Kafka, The Trial; aftermath: requisitioning tradition; Max Beckmanns, paintings; T.S. Eliot, The Wasteland; Rene Magritte, paintings; Bertolt Brecht, A Man's a Man; Orson Welles, Citizen Kane (film). (Feuerwerker, Kleinfelder, Sowers)
313/Slavic 313. Soviet Cinema. (3). (HU).
See Slavic 313. (Eagle)
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)
456. Video: Autobiography and Documentary. Introductory video
or film course or permission of instructor. (4). (HU).
Advanced Seminar. This class is centrally concerned with the relation of theory to practice for the videomaker. Students develop independent projects initially from a concept of genre (or anti-genre) and their analysis of the signifying practices specific to their chosen genre; that concept is taken from synopsis, to treatment, to script, to storyboard, through production to post-production. Each student produces one tape or film in which they function as "auteur": writer/producer/director. Each student also serves on the crew of the productions of two other students. Students articulate and defend their preproduction decisions in the class, which functions as advisor/critic in developing successful aesthetic strategies: although, of course, in that lonely hour of the final decision the auteur alone reigns. Readings will give an overview of current theorizing about media and such issues as: technology and cultural form; the high/mass culture split; the relation of psychic structures to film language; the politics of visual pleasure; theories and practices of realism. We will survey music video; art and independent video; the visual codes of broadcast TV and narrative cinema. Texts: Karel Reisz's The Technique of Film Editing and a course pack of readings including Roland Barthes, Raymond Williams, Freud, Laura Mulvey, current criticism and genre studies. Attendance is required. Prerequisites: Film/Video 201 or be checked out in LS&A Media, or instructor's permission. You must be at the first class. (Kipnis)
210. Classical Sources of Modern Culture. (4). (HU).
This course is designed to introduce students to a selection of works, both literary and visual, from the Greek and Roman periods. We will examine these works in a variety of ways: first, through close reading and visual analysis we will try to understand the individuality of each work, its unique form, its voice, the questions it answers and those it asks, the conflicts in which it is caught. Second, we will trace the theme of destiny as it evolves through the period and is reformulated in each work. What is the shape of destiny? How does it operate? Is it a palpable structure or an invisible force, the echo of a word or a wind? What marks does it leave upon the individual? Is a consciousness of individual personality dependent upon a model of fate? Finally, we will trace through these works the transition from an oral to a literate culture. The period of Classical Antiquity saw the replacement of the traditional singer, the memory of the people, by the scribe, one who with stylus and waxed tablets, with pen and papyrus, translated the heard word into a visual abstraction. This translation was not only technological; it was also an alteration of consciousness. It did not happen all at once, but gradually, with much overlapping of modes and values. What happens to stories and to pictures when they are caught halfway between the old song and the new text, between the glorious handiwork of the goddess and the emperor's imagination? The course syllabus will include Homer The Odyssey; Geometric Art; Aeschylus, The Oresteia; Archaic Sculpture; Sophocles, Oedipus Rex; Classical sculpture and vase painting; Euripides Medea, The Bacchae; Plato, Phaedo; Hellenistic art; Vergil, The Aeneid; Roman portrait sculpture; Petronius, The Satyricon; Wall painting from Pompeii and Herculaneum; Marcus Aurelius, Meditations; late style in Roman art. (Sowers)
214. Prose. (4). (HU).
Fundamentals of Narrative Fiction. "Once upon a time...." This phrase arouses our curiosity and leads us to expect to experience...what? How does the writer of stories exploit our expectations and shape our responses as we are enticed to enter a particular fictional world? Why do we care intensely about events and people that are in fact made up of nothing but words on paper? How do we as readers participate in creating the fictional text? We will ask these and other questions as we explore some of the vast territory that fictional narrative inhabits. Readings will include complex classics like Crime and Punishment (Dostoevsky); To the Lighthouse (Woolf); Lolita (Nabokov) Metamorphosis (Kafka), but also a few examples of popular fiction, the mystery, and romance. Through novels like Song of Solomon (Morrison), and The Woman Warrior (Kingston), we will consider the important role of stories in relation to problems of culture and identity. We will look at works that play with narrative conventions and comment on their own nature; Kiss of the Spider Woman (Puig), and stories by James, Barth, and Borges. Requirements: some in-class writing, four short papers, and a final. No prerequisites, but a love of reading is helpful. (Feuerwerker)
318. Critical Approaches to Literature. (4). (HU).
The theory and practice of modern literary criticism from Marxism and Psychoanalysis to Structuralism, Semiotics, and Deconstruction. University departments of literature have in recent years become the scene of fierce battles between traditional prevailing practices of literary criticism and radical new views imported from Europe. Every aspect of critical literary discourse has been attacked and redefined: the text, the author, the reader, critical evaluation, and the very nature of literature itself. Never before has there been a period in history of literary criticism when so many critics have approached literature from so many different perspectives and with so little agreement about the fundamental principles of interpretation. But the task of literary criticism remains the same: to offer a comprehensive theory of the ways in which we make sense of various kinds of texts and our experiences of these texts. THEORY: This course will examine the contemporary rejection of the principles of New Criticism and the concomitant development of alternative critical perspectives offered by Marxism, Psychoanalysis, Phenomenology, Hermeneutics, Reader-response theory, Structuralism, Semiotics, and Deconstruction. Some general questions to be raised: What is the meaning of a literary text? How relevant to this meaning is the author's intention? What constraints and pressures – cultural, psychological, and ideological as well as text-generated – operate when we read a text? Should literary criticism commit itself to social change? Can we hope to understand works which are culturally and historically alien to us? How can literary analysis be applied not just to literary texts but to the world regarded as a text consisting of multiple codes and systems of signs? PRACTICE: We shall study the theories of Benjamin, Lukács, Gadamer, Saussure, Levi-Strauss, Barthes, Derrida, Foucault, Lacan, Holland, de Man and Bloom and then, in a number of short papers, apply these theories to several of the same short stories in order to compare and contrast the "critical yield" of each method of interpretation. No written examinations. Six short papers. (Peters)
410. Upperclass Literature Seminar. (4). (HU). May be repeated
Section 001 – Readings in Environmental Literature. We will first read a group of nature writers active in the period 1850-1910. These will certainly include Henry Thoreau, George Perkins Marsh, John Wesley Powell, John Muir, Theodore Roosevelt, and Frederick Jackson Turner (an historian). We will then read the work of some more recent writers including Edward Abbey, Rachel Carson, Annie Dillard, and Aldo Leopold. If all goes well and time remains, we will conclude by dropping back to the 18th century to read Gilbert White's famous book, The Natural History and Antiquities of Selbourne. The business of this course will be entirely conducted in class and in your journal. In the latter you will keep any class notes you care to, enter exercises, both in and out of class, take notes on your own observations of your environment and respond to readings (which will come at about the rate of one per week). You will be expected to enter your journal outside of class at least five times per week. I will read the journal once during the term and again at the end. Both reading and writing will be on a regular basis. There will be no papers, midterm or final. You may be asked to give one class presentation during the term. Evaluation of your work will be 80% on the journal and 20% on performance in class. This course cannot be used to meet the upper level writing requirement. (W. Clark)
Section 002 – Medieval Romance. Suddenly across Medieval Europe romance appeared in profusion: from Welsh and French the evolving cycle of Arthur with its ethics of loyalty and trickery, reverence for woman and religious devotion, and the cycle of Tristan with its domination by passion; from England and France the "degeneration" of epic into ribaldry and the fantastic; from Ireland humor, the grotesque, the beheading game; from the Vikings the exotic and the giant; from the Russian byliny the ideal hero Vladimir. This course introduces us to medieval romance by tracing the cycle of Arthur from its dim chronicle beginnings through epic forms into romance in full foliage. We will gather characters, themes, motifs, and significances of structure and movement from poetry to prose from the Mabinogion; Wace's Brut; the Lays of Marie de France; romances of Chrétien de Troyes, Sir Gawain and the Green Knight. We will consider these ways of seeing a society differently from ours but with familiar passions and paradoxes. Students can then choose to follow the mainstream through Malory or a branch through Gottfried's Tristan; we will share our findings. With this basis we will explore more widely through European romance. Critical theory and selected passages will illuminate the Byzantine, Classical, and Indic connections. We are ready to see themes and idiosyncracies in Early Irish Myths and Sagas, Middle English Verse Romances, Seven Viking Romances, and selections from the Russian byliny. Late in the course each student will follow the connections of a particular romance of his or her choice for class presentation. Varied writings in class are part of the exploring process; four short papers are due in stages of revision. (F. Clark)
Section 003 – Dissent in East European Prose. Thirteen novels and short collections from Czechoslovakia, Poland, Hungary, and Yugoslavia (by authors such as Milan Kundera, Tadeusz Konwicki, Gyorgy Konrad, and Danilo Kis) constitute the course's basic texts. Since 1948 these countries have experienced significant cultural and ideological collisions. Possessing rich national, religious, and philosophical traditions of their own, they fell under a Stalinist system which dictated not only the basic organizational parameters of economic and political life, but also the officially sanctioned versions of ideology, civic education, and art. Nonetheless, aspects of these countries' humanistic, democratic, and religious traditions did not yield easily, and, after a period of rigidly enforced "socialist realism," writers began to question the ideological and moral foundations of their societies. Ultimately, the intense interrogation of values went beyond purely political issues and applied not only to Communist societies, but to the problematic legacies of Western intellectual culture as a whole. Lectures and discussion will focus on such issues and problems, as well as psychological and aesthetic dimensions of the works read. In addition to participating in discussion, students will be expected to write three critical papers. No exams. (Eagle)
451/Russian 451. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).
See Slavic 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. Students' poems are presented to the class for appraisal and criticism. In addition, each student receives 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 aim at the development of original story ideas and the perfection of narrative techniques relevant to the authorship of children's books. Preliminary assignments - picture book, folklore-narrative, and media – prepare each student for a self-directed final project. 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. (Walsh)
389. The Modern Theatre. Hums. 280 or permission of instructor.
(4). (HU). May be repeated for credit.
Chekhov and Stanislavsky. Open to Juniors and Seniors or students who have passed RC Humanities 280, Fundamentals of Drama Study. This 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 Stanislavky (An Actor Prepares, Building a Character, and Creating a Role) and selections from other writing 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. (Ferran)
390. Special Period and Place Drama. Hums. 280 or permission of
instructor. (4). (HU). May be repeated for credit.
Major Currents in Drama, 1890-1930. This is a course in modern drama that was written and performed in western Europe between 1890 and 1930. Using the Irish Dramatic Movement as its main subject (the plays of Yeats, Synge, and O'Casey), the course will examine the drama, theatre styles, and theories which represent the early twentieth century's big aesthetic "-isms": Realism, Symbolism, Surrealism, and Expressionism. Playwrights to be read include Strindberg, Wedekind, Wilde, Jarry, Kaiser, Cocteau, Hauptmann, Shaw, Chekhov, Pirandello, and Brecht. Descriptions and theories of dramatic and theatrical style will be surveyed through the prose writings of several of the playwrights and of the following theorists or manifesto-makers: Gordon Craig, Otto Brahm, Adolph Appia, Tristan Tzara, Andre Breton, Konstantin Stanislavsky, and Vsevelod Meyerhold. Three short analytical papers, prepared scene presentations, class discussions, and a final group presentation fill out the course's requirements. Sophomore standing and previous acquaintance with drama and theatre are prerequisites. (The RC course, "Fundamentals of Drama Study," or its equivalent, plus at least one other course in drama, will satisfy the requirement). Permission of instructor may also be obtained by individual consultation. (Ferran)
481. Play Production Seminar. (4). (HU).
Max Frisch's The Firebugs. An upper level seminar which conducts an intensive study of all the essential activities preparatory to the realization of a single full-length play in production. "Essential activities" means: analysis of the text, researching and practical application of conventions of acting and of costume and scenic design/construction, and composition of the audience which prevailed at the time of the play's origin; the consequent formation of a production interpretation of the play. Members of this seminar may think of themselves as a collective in dramaturgy, together experiencing the entire process of readying a play text for production. In addition to detailed study and exhaustive exploration of the Swiss playwright's masterpiece The Firebugs (Biedermann und die Brandstifter), the course will also examine Frisch's other works for the theatre, make excursions into Frisch's novels and the plays of his Swiss contemporary, Friedrich Durrenmatt, examine Frisch's relationship to Brecht, and generally survey German-language theatre of the early post-war years. (Walsh)
482. Drama Interpretation II: Performance Workshop. Hums. 280 and either Hums. 282 or playwriting, or permission of instructor. (4-6). (HU).
A workshop/seminar combining practical experiments in staging with theoretical discussion on the role of the director as a creative artist and his/her relation to a given dramatic text. Background readings intended to provide a historical perspective on the development of contemporary acting/directing styles will include exposure to the theoretical works of Stanislavsky, Artaud, Brecht, Strasberg, Growtowski and Chaiken, and plays from Shakespeare and on. Requirements include participation as both actors and directors in a number of prepared scenes (rehearsed outside of class), one analytical paper, one quiz, and a final "in depth" directing project of student's own choice (long scene or one-act play). (Brown)
250. Chamber Music. (1). (Excl). Offered mandatory credit/no credit.
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. (Barna)
251. Topics in Music. (4). (HU).
Contemporary Vocal Music: 1890's-Present. This course is designed to introduce the student to contemporary music in the Western Classical tradition using texted music. The inclusion of the voice by contemporary composers in musical genres that are traditionally instrumental, such as the symphony (Mahler) and the string quartet (Schoenberg), is indicative of the importance of texted music in the Twentieth Century. During the past century, composers employed the voice in a greater variety of musical genres and settings than ever before in the history of music. While concentrating on song, opera, and vocal works of a theatrical nature, this course will also deal with other musical settings, in order to provide full spectrum of the use of the voice in contemporary works. Readings will consist of writings by the individual composers studied, artistic manifestos, and selected excerpts from history and music history texts. In this course, we will first establish a context for studying the vocal works of this century by surveying the vocal music of the previous decade, or earlier if directly related to later developments. We will then examine specific vocal works by Debussy, Ravel, Poulenc, Schoenberg, Berg, Prokofiev, Ives, Britten, Boulez, Stockhausen, Crumb, Cage, Babbitt, Berio, Reich, and Davies. At the conclusion of this course, the student will have become familiar with many of the most important Western composers of the Twentieth Century through their vocal works. In the process, they will have been exposed to the stylistic developments of Impressionism, Expressionism, Exoticism, Futurism, Neo-Classicism, serialism, electronic music, musique concrete, chance music, and Minimalism. (Schwab)
253. Choral Ensemble. (1). (Excl). Offered mandatory credit/no credit.
The Residential College Singers is a choral ensemble open to any interested member of the University community, including but not limited to Residential College students, CEW students, and residents of East Quad. The class focuses on improving singing and music reading skills, interpreting choral works, and preparing music for performance. The course may be elected each term for credit and will satisfy the arts practicum requirement. Grades are not given; credit is based primarily on regularity of attendance. No audition or prerequisites are necessary. (Schrock)
350. Special Topics. Concurrent enrollment in an associated course.
(1). (Excl). Offered mandatory credit/no credit. May be repeated for a total
of 6 credits.
Section 001 – Health and Lifestyle. This particular topic of Health and Lifestyle may not be repeated for credit. 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. The course will meet October 6 through November 12. (Sarris)
Section 002 – Mental Health Issues for Young Adults. This course will survey predictable areas of growth and stress for college age individuals from several perspectives with an emphasis on theories of life span development. "Life tasks" or areas of mastery for the young adult that may be particularly vulnerable to disturbance will be explored. Topics may include: Intimacy and Relationship Competence; Substance Use/Misuse in Early Adulthood; Depression, Anxiety, and Self Reliance; and Autonomy and Goal Setting. In addition to readings, discussion, and guest presentations the course will require the use of thought journals, a final paper, and participation in the design of class proposals for specific developmental support services for students. Selected sections of the following readings will be assigned: Experiencing Youth, Geothals and Kloss; Lives through Time, J.Bloch & N.Hann; The Modern American College, A.W.Chickering et al; Adolescence: The End of Childhood, L. Kaplan; Identity: Youth and Crisis, E.Erikson; The Impact of College on Students, K.A. Feldman & T.M. Newcomb. This course will meet from October 15 through November 26. (Hassinger)
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. (M. Heirich)
450. Science and Social Responsibility. (4). (Excl).
This course will examine in historical detail how advances in science and technology affect nuclear strategies and the possibilities of nuclear war or disarmament. The course begins with the early days of the arms race when the U.S. had a monopoly on nuclear technology and hardware, through the days of effective parity, to the present day when counterforce weapons are actively considered in first use, limited and prolonged nuclear war, and disarming first strike options. At all points, the interaction between technical capabilities and political strategies will be emphasized. The course will cover not just some technical aspects of nuclear weapons, technical familiarity with the properties and effects of nuclear weapons, but also the central role that they play in foreign policy. Also emphasized will be an analysis of the divergent stands of various governments and groups (including scientific groups and protest movements) as they promote or react to the new technological possibilities. The goals are: (1) to increase students' understanding of the nuclear arms race and its connection to overall foreign affairs; (2) to discuss how, where, and by whom nuclear policy might be affected, and (3) to stimulate thinking about the social responsibilities of scientists and professionals in general. (Axelrod)
261. Cosmology I. (4). (NS).
This course will acquaint the students with up-to-date results and speculations concerning the origin of the universe; its development by rapid expansion; the formation of stars and planets; the nature of galaxies and quasars, radio, infrared, and x-ray sources. The evolution and death of stars, ending as dwarf stars, neutron stars or pulsars, or perhaps as black holes will also be covered. The rebirth of new stars and planets, many containing infinite expansion or cessation of expansion, then collapse to a singularity or black hole, perhaps rebirth in another cycle of existence, repeated forever, will be described. (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. (Ross)
343. Scientific Change. Any introductory science course or permission
of instructor. (4). (NS).
Evolution or Revolution ? Is the development of scientific theory a logical process, or does it consist of a series of radical changes that are not logically related? Is the development of scientific theory influenced by the social and cultural environment in which it develops? Do scientific findings vary with the values and pressures of the institutions which support research? And what do answers to these questions imply about the existence of such entities as electrons, quarks, and DNA molecules? This course will examine these and other questions concerning the nature of scientific theory through detailed studies of scientific development drawn from contemporary physics and biology and from the history of science. The first part of the course will begin with an examination of what was, until the early 1960's, the prevailing view, namely, that scientific theory is based on an objective, unbiased empirical foundation and that scientific progress means the progressive accumulation of scientific facts. We shall then examine some prominent attacks on this view, particularly the work of Thomas Kuhn and Norwood Hanson, and some responses from those who defend science as a rational enterprise whose logic of development is independent of social factors. Finally, we shall explore more recent positions on the nature of science, according to which science and its development is shaped as much by the social world as by the physical one. The second part of the course will treat two recent developments in biology. First, the transformation of molecular biology from an academic field into a field with strong commercial ties and the impact of this transformation on the norms, practices, and content of the field will be explored. Second, John Vandermeer (Biological Sciences) will examine the direction of research in the United States on agriculturally important plants, using tomato research as a case study. (Wright)
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)
352/Anthro. 352. Social Perspectives: Cross
Cultural Study of Women. One social science course or permission
of instructor. (4). (SS).
Third World Women in Development. Hunger. Most of the world's hungry are Third World women and the children they care for. Refugees. Most of the refugees – the most the world has ever known – are women and children in Africa, Asia and, increasingly, Latin America. Poverty. After 25 years of international economic development, the last 10 of which have been the UN Decade for Women, the situation of women has deteriorated so that the world's poor are predominately women and their children. How has this happened? This course considers the issues in gender relations between women and men raised by these impacts of international development processes. We will focus on the testimonies, analyses, and theories of Third World women themselves as well as studying scholarly research findings. Through specific case studies such as women's resistance in South Africa, Navajo women herders' fight for land in Arizona, and some Muslim women's rejection of Westernization, we will examine the intertwining of development issues and women's political struggle. Specific aspects of Third World women's unequal access to resources which will be addressed include education, employment, health services, credit, and land. The course will include lectures, films, guest speakers as well as work in discussion groups. Readings will be drawn from works by Third World women, ethnographies, scholarly research, and publications of the international women's movement such as Women in Development by the ISIS Collective, Sisterhood is Global edited by Robin Morgan, and the forthcoming Atlas of the World's Women. Students will have a brief report and a longer research paper to write as well as a midterm exam. (Larimore)
360. Social Science Junior Seminar. Upperclass standing. (4).
(SS). May be repeated for credit.
Section 001 – Power and Politics in America in the 20th Century. This course combines theoretical, historical, and contemporary perspectives in an effort to understand power configurations and political dynamics in the United States. Analysis centers on the American state and the role the state plays in mediating the relationship between capitalism and democracy – economics and politics – in American Society. We will begin with a theoretical discussion of power, the sources of power, and the interrelationship of sites of power. We will then proceed with a three-fold examination of political history, studying the period of Republican hegemony (1896-1932) and the concepts of the promotional state and associative corporatism common in these decades; the period of Democratic hegemony (1932-1976) and the concepts of state security capitalism and global power common in this era; and finally, the conservative mobilization and the triumph of Reagan in the 1980's. (Bright)
Section 002 – Culture and Conflict at Work. This seminar will focus on three broad questions: how and why workers with specific backgrounds and characteristics (gender, race, class, location, etc.) are recruited into different jobs; and what kind of culture and consciousness emerge from various work experiences. Within this framework we will examine such topical issues as comparable worth, the growth of part-time work, unemployment and plant closings, on-site childcare, sexual harassment, occupational health, and automation. Cross-cultural and historical material will complement study of work in the contemporary U.S. This course will be organized in a seminar format with films and field trips supplementing reading and discussion. Course requirements include extensive reading, participation in discussion, a midterm take-home essay, and a final library or field research paper. (Frankel)
Section 003. The Viewpoint of Liberation Theology. During Fall Term 1986, this section is jointly offered with Religion 380. (Gutierrez)
460. Social Science Senior Seminar. Senior standing. (4). (SS).
May be repeated for credit.
Section 001 – Ann Arbor Church and Temple. Several hundred religious communities lie in the shadows of the great secular universities that dominate the Ann Arbor/Ypsilanti landscape: Baptist, Buddhist, Jewish, Nazarene, Catholic, Mormon, Baha'i, Quaker, Apostolic, Moslem, Unity, Word of God, Christian Science, Lutheran, Jehovah Witness, Methodist, Scientology, and many more. This course explores processes of religious creativity differentiation, schism, conflict, growth, organization, decay, and change in America through the study of local religious bodies. Requirements include general readings about religion, American religious history, a survey of local sects by the whole class, and individual or small-group studies based on field work and interviews of specific churches and temples. Readings include the work of Will Herberg, H. Richard Niebuhr, James Peacock, Barbara Myerhoff, Robert Wuthnow, Mary Douglas, and Victor Turner. (Harding)
Section 002 – Special Topics in Neuropsychology. Neuropsychology is interdisciplinary, combining observations of behavior (thinking, feeling, doing), with knowledge of the brain. In this seminar we will explore a series of topics, including clinical syndromes such as the amnesias; theoretical models such as motor theories of cognition; specific functions such as visual-spatial imaging, and disease states such as cerebral myopia. Technical background necessary to understand these topics will be provided as needed, including basic neuroanatomy and physiology. Prerequisites: Junior standing and introductory psychology or physiology, or permission of instructor. (Evans)
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