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, 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)
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).
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, Brecht, Fleisser, Kaschnitz, Aichinger, Boll, and Wolf. We will aim at increasing comprehension both of the poetic voice and of the language of daily life. Although there will be review of 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 – various kinds of individual oral presentation are also possible. Course requirements include regular preparation of vocabulary lists for class use, approximately five short papers and a final research paper involving utilization of library resources; tests and exams where advisable. (Fries)
269. Elements of Design. (4). (Excl).
This course provides non-art concentrators 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 several area museums will be 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, throwing and handbuilding techniques, testing, preparing, and applying glazes, stacking and firing kilns, and operating a ceramics studio. Students are required to learn the complete ceramic process and the assumption of studio responsibilities and regular class attendance is 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 and transformations of Romanticism and Realism in selected works of art – novels, plays, poetry, painting, and graphics – made in the 19th century. What is the relation between aesthetic form and historical context in this period? In what way did the traumatic experience of the French Revolution affect the voices and visions we encounter in these works? In the first half of the course, 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 to freedom was an act of aesthetic and moral defiance: not only did the artist project alternative realities (or alternate histories) of the imagination, but he also chose to play within those fantastic worlds the role of the outlaw, the monster, the satanic genius. In some respects, Realism represents a criticism of the Romantic leap to freedom, while itself continuing the revolutionary search for truth. 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 place and one's identity within a social and political context. The tensions between these opposing aesthetic impulses – the Romantic escape versus the Realist participation - find a complex expression in the works of James, Degas, Ibsen, and Van Gogh. These artists explore the paradox of the aesthetic object which is at once within society, within the historical moment, yet always, unaccountably, removed from it. Readings will include: Mary Shelley, FRANKENSTEIN; Byron, MANFRED; Buchner, DANTON'S DEATH and WOYZECK; Dickens, GREAT EXPECTATIONS; selections from English Romantic Poets; James, A PORTRAIT of a LADY; Ibsen, HEDDA GABLER. Visual art: Goya, Delacroix, Turner, Gericault, Courbet, Degas, Van Gogh. (Crow, Feuerwerker and Sowers)
311. Intellectual Currents of the Renaissance. Sophomore standing or permission of instructor. (4). (HU).
THE WORLD of RABELAIS. This course will be devoted to a close reading and analysis of the five books of Rabelais, called GARGANTUA and PANTAGRUEL. In our analysis, we will address issues of narrative structure and technique, the problem of storytelling in writing (or the struggle between speech and writing), the problem of sources of authority and originality, and of course the transformations of language or the nature of the word. Because this course is interdisciplinary, we will compare Rabelais' text with selected works by four Renaissance painters, Bosch, Titian, Brueghel, and Durer. How does narrative unfold in visual space? What are the similarities and differences between verbal and visual space? Finally, we will probe these works for evidence of a significant contradiction: as both exponents and critiques of humanism, as simultaneously promulgating and undermining the Renaissance myth of authoritative rebirth. Course syllabus will include: Rabelais, GARGANTUA and PANTAGRUEL; More, UTOPIA; Plato, SYMPOSIUM, LITTLE FLOWERS of ST. FRANCIS; Erasmus, PRAISE of FOLLY; Bosch, Titian, Brueghel, Dürer. (Sowers)
313/Slavic 313. Soviet Cinema. (3). (HU).
See Slavic 313. (Eagle)
456. Video: Autobiography and Documentary. Introductory video or film course or permission of instructor. (4). (HU).
Section 001 – TOWARD a FEMINIST VIDEO AESTHETIC. In Fall Term, 1987, this course is jointly offered with Women's Studies 480.002. (Kipnis)
214. Fundamentals of Narrative Fiction. (4). (HU).
"Once upon a time..." When we see this phrase our curiosity is aroused and we expect to experience...what? How does the writer of stories exploit our expectations and shape our responses while enticing us to enter a particular fictional world? Why do we care intensely about events and people that are made up of nothing but words on a page? How do we as readers participate in creating the fictional text? These are a few of the questions we will ask while exploring some of the vast territory covered by fictional narrative. We will read carefully several complex classics like CRIME and PUNISHMENT (Dostoevsky), TO the LIGHTHOUSE (Woolf), LOLITA (Nabokov), METAMORPHOSIS (Kafka), but also take a quick look at examples of popular fiction – mysteries, a Western, and a romance – to discuss the relationship between fictional formulas and social values. Through SONG of SOLOMON (Morrison), and THE WOMAN WARRIOR (Kingston) we will consider the role of stories in relation to problems of culture and identity. Finally, we will examine works of fiction that play with narrative conventions and comment on their own nature: KISS of the SPIDER WOMAN (Puig) and stories by James, Barth, Borges. Requirements: some in-class writing, four short papers; 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, Lukacs, 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 for credit.
Section 001 – ENVIRONMENTAL LITERATURE. This course calls for steady application. Students in 1986 described it as demanding, but worthwhile. Although it has neither an hour exam, final, nor paper, you will make journal entries at least five times a week outside of class. I will read your journal at least once during the term and again at the end. You may be asked to give one class presentation. Evaluation of your work will be 80% on the journal and 20% on class performance. The course REQUIRES class attendance and records are kept. The class is run as a SEMINAR not a lecture, which means that students are asked to share responsibility for furtherance of its intellectual purposes. The aim, in rough terms, is to THINK about the present state of man's relation to nature in the context of a variety of readings, past and present, on the American landscape and ecology. This thinking is cast in the form of class DISCUSSION and journal WRITING. Readings will include works by the following authors: Thoreau, John Muir, Annie Dillard, Edward Abbey, John Wesley Powell, John Passmore, John Burroughs, Rachel Carson, John McPhee, Theodore Roosevelt, and Gilbert White. (W. Clark)
Section 002 – This is an interdisciplinary lecture/seminar for students with some prior preparation in the humanities. In a focused way, we examine the impact of late 19th and early 20th century visual art on the fiction of Henry James, D.H. Lawrence, Wyndham Lewis, and Virginia Woolf, concentrating mostly on Lawrence and Woolf. As an introduction, we survey recent critical thought about interartistic relationships (for example, Torgovnik's VISUAL ART, PICTORIALISM and the NOVEL and Caws' READING FRAMES in MODERN FICTION). From there we move to a series of units each of which examines a novel, its visual context, and relevant critical essays by the author or artist that provide an intellectual context for our study of interartistic relationships. We pose these questions: "How did this novelist know and think about visual art and visual artists?" and "What impact did the visual arts have on his or her practice and achievement as a novelist?" Close and carefully critical reading of novels will be paramount, and in-class writing assignments will be frequent, to focus attention and develop critical skills. Class attendance and discussion is essential. There will be one short paper and one longer paper. (20-25 pp.) required. We will view and discuss paintings, prints, and essays of early continental expressionism, Italian Futurism, Vorticism, Bloomsbury, and late Victorian British art. Novels include James' PORTRAIT of a LADY, Lawrence's SONS and LOVERS, THE RAINBOW, and WOMEN in LOVE; Lewis' TARR, and Woolf's TO the LIGHTHOUSE. The course pack will include readings from the essays of Kandinsky, Marc, Marinetti, Boccioni, Lewis, Roger Fry, Clive Bell, James, Lawrence, Woolf and others. (Kushigian)
Section 003 – PSYCHOANALYSIS and MODERN GERMAN LITERATURE in ENGLISH TRANSLATION. First, this course will offer a basic introduction to the Freudian and Jungian theory of human psychology and psychopathology: the nature of the personal and impersonal unconscious; theories of the instincts and their transformation; the development and function of the ego; the mechanisms of defense and repair, and theories and methods for the interpretation of dreams and works of art. Second, this course will conclude with two studies in applied psychoanalysis. 1. Kafka and Freud: Kafka's childhood and his relationship to his father will be examined in light of the trauma of the bourgeois nuclear family as described by Freud. Also, the Freudian theory of dream interpretation will be applied as a technique for the analysis of Kafka's literary fantasies of guilt, punishment and suicide. Texts: Freud's THE INTERPRETATION of DREAMS; Kafka's short stories and THE TRIAL. 2. Hesse and Jung "The Search for Identity" of Hesse's protagonists will be examined in the perspective of Jung's individuation process, the persona, the shadow archetypes of the Collective Unconscious, and man's quest for mystical illumination. Texts: Selections from THE PORTABLE JUNG; Hesse's SIDDHARTHA and STEPPENWOLF. Kafka's and Hesse's lives will also be analyzed from the perspective of theories of neurosis and artistic creativity. Midterm and final exam. (Peters)
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. (Nightingale)
282. Drama Interpretation I: Actor and Text. (4). (HU).
ACTOR and TEXT. This is a performance workshop. Class members will train in various methods of contemporary performance technique, and apply them directly to the exploration and free adaptation of a classic text (yet to be determined). Participation in an end-of-term production of the final product and two research papers required. (Brown)
385. The Theatre of Bertolt Brecht. (4). (HU).
The drama of Bertolt Brecht, represented by a selection of his plays in English translation, is the subject of this course. We aim to arrive at an informed understanding of the generally used adjective "Brechtian." To do this we will become intensely conversant with seven plays, less intensely so with another eight, with all of which we may appreciate the variety of Brecht's dramatic style. We will also read and discuss some of his writing on the theory of Epic Theatre, on the "dialectics in the theatre," and on his general idea of a theatre that should represent the twentieth century world as alterable. In addition to the fifteen plays, readings will include substantial amounts of secondary material on Brecht's life and his European background. Four short analytic papers (total 24 pages), a long book report/essay, a final project of presentational kind, and participation in class presentations complete the requirements. (Ferran)
390. Special Period and Place Drama. Hums. 280 or permission of instructor. (4). (HU). May be repeated for credit.
ART and POLITICS in IMPERIAL and WEIMAR GERMANY. Between 1890 and 1930, Germany went through an enormous cultural, social, and political upheaval which culminated, artistically, in one of the richest periods of innovation and experiment in the 20th century (the Weimar years) and, politically, in one of the most murderous regimes of modern times (National Socialism). This course explores the interrelationship of art and politics in this era, seeking to understand how social and cultural crises worked themselves out dialectically in creativity and destruction. To gain focus, we will concentrate primarily on the art of theatre and film and on the development of political thought, although we will take up representative visual artists and consider key political events of themes in the history of the Empire, the First World War, and the Weimar Republic. For the imperial period, readings will include selections from Nietzsche, Max Weber, Gerhardt Hauptmann, Heinrich Mann, and Expressionist drama; for the period of the 1920s, readings will include works by Georg Kaiser, Bertolt Brecht, Erwin Piscator, Oswald Spengler, and Walther Benjamin, as well as a number of films from the period including THE CABINET of DR. CALIGARI, METROPOLIS, and KULHE WAMPE. There will be two lectures and one section meeting a week. Walsh's section will concentrate on drama and its development in the period; Bright's section will focus on historical and political matters. In addition, there will be a series of evening sessions, on Tuesday nights, for film showing, guest appearances, and scene work. All students will be expected to do some work on stage. Two papers and participation in an end-of-term project will be required. (Walsh and Bright)
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 6-9:00); mixed ensembles of strings and winds (meeting T 6-9:00); 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)
253. Title. (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. (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 short 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 10 through November 9. (Sarris)
Section 002 – CONVERSATIONAL GERMAN. This course is intended for third and fourth year level students who want more practice in spoken German. We will discuss topics in contemporary German culture and politics in an informal setting. Participants will prepare for each session by reading materials (course pack) geared specifically to the current discussion topic and by studying vocabulary lists relevant to it. In the first half of the term, we will cover materials from various sources related to topics such as "Die Grunen," "Die BRD – ein EG-Land," "Jugend und Drogen," "Die Veramerikanisierung der deutschen Kultur," "Der Film 'MANNER'" und seine Rezeption in der BRD," "Sind deutsche Menschen emanzipiert?" Students themselves will be responsible for finding and selecting materials to be used during the second half of the term. Each student and the instructor will give a report (10-15 minutes) on a topic of their interest. (Zahn)
351. Special Topics. (2). (Excl). Offered mandatory credit/no credit. May be repeated for a total of 8 credits.
Section 001 – DEVELOPMENTAL PERSPECTIVES on the MENTAL HEALTH PROBLEMS of 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, Goethals and Kloss; LIVES THROUGH TIME, J. Bloch & N. Hann; THE MODERN AMERICAN COLLEGE, CHILDHOOD, L. Kaplan; IDENTITY: YOUTH and CRISIS, E. Erikson; THE IMPACT of COLLEGE on STUDENTS, K.A. Feldman & T.M. Newcomb. (Hassinger)
Section 002 – CHILDREN'S DIALOGUE in CHILDREN'S LITERATURE. This is a course on children's dialogue. We look at how children talk to each other and we compare that to how fiction writers for children represent children talking to each other. We also write fictional dialogues of our own. Each student will pick an age group to study (anywhere from preschool to junior high). The student will tape record children talking to each other and will read stories to children and make note of their reactions to the stories. In class we will listen to the tapes and discuss the children's literature on Tuesdays. Then on Thursdays we will hold a writer's workshop. Student's are required to elect both sections of this course. There are no prerequisites. The readings include Peter Elbow's WRITING WITHOUT TEACHERS and a lot of children's fiction. There are weekly writing exercises. Class size is limited to 15. (Napoli)
Section 003 – WRITING WORKSHOP on DIALOGUE in CHILDREN'S FICTION. This is a writing workshop offered in conjunction with R.C. Interdivisional 351, section 002. (Napoli)
360. History of the New Biology. High school biology. (4). (Excl).
This course examines the development of recombinant DNA technology from its inception in 1972 to the present. The principal aim of the course is to provide a broad historical perspective on the development of the field, one which emphasizes the contexts in which the field has evolved, the forces that have affected both promotion and control of the field, and the terms on which the field has advanced. In 1972, the development of the gene splicing techniques made possible the construction of micro-organisms with new biological functions as well as the genetic manipulation of higher forms of life. This technical achievement promised to yield both scientific advances and new and powerful forms of technology for industry, agriculture, medicine, and for the military. It also posed important ethical and social issues: the principles that should guide assessment of a technology in the face of varying technical opinion about its implications; questions of freedom and responsibility in science; the nature of the institutions of technical decision making; the contributions of technical experts and the wider public to policy decisions; and the pressing question of social use of a powerful new technology. How these issues have been addressed are central themes of the course. Readings include Sheldon Krimsky, GENETIC ALCHEMY; James Watson and John Tooze, THE DNA STORY; and Clifford Grostein, A DOUBLE IMAGE of the DOUBLE HELIX. (Wright)
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. Prerequisites: 2-1/2 years of high school math. (Rycus)
360. Social Science Junior Seminar. Upperclass standing. (4). (SS). May be repeated for credit.
Section 001 – ART and POLITICS in GERMANY 1890-1933. Between 1890 and 1933, Germany went through an enormous cultural, social, and political upheaval which culminated, artistically, in one of the richest periods of innovation and experiment in the twentieth century (the Weimar years) and, politically in one of the most murderous regimes of modern times (National Socialism). This course explores the interrelationship of art and politics in this era, seeking to understand how social and cultural crises worked themselves out dialectically in creativity and destruction. To gain focus, we will concentrate primarily on the art of theater and film and on the development of political thought, -although we will take up representative visual artists and consider key political events or themes in the history of the Empire, the First World War, and the Weimar Republic. For the imperial period, readings will include selections from Nietzsche, Max Weber, Gerhardt Hauptmann, Heirich Mann, and Expressionist drama; for the period of the 1920s, readings will include works by Georg Kaiser, Bertolt Brecht, Erwin Piscator, Oswald Spengler, and Walther Benjamin, as well as a number of films from the period, including THE CABINET of DR. CALIGARI, METROPOLIS, and KULHE WAMPE. There will be two lectures and one section meeting a week. Walsh's section will concentrate on drama and its development in the period; Bright's section will focus on historical and political matters. In addition, there will be a series of evening sessions, on Tuesday nights, for film showings, guest appearances, and scene works. All students will be expected to do some work on stage. Two papers and participation in an end-of-term project will be required. (Bright and Walsh)
Section 002 – BORN-AGAIN RELIGION and CULTURE. Born-again Christians in America today are, culturally, descendants of the Protestants who rejected "the domestication of religion" in the late nineteenth and early twentieth century. These Protestants, who came to be known as fundamentalists after 1910 and, more accurately, evangelicals after World War II, resisted various cultural, social, political and intellectual pressures to limit the influence of religion to their private lives, and within their lives, to church activities. For born-again Christians, religion is not a set of beliefs and ritual practices but a total way of life. This course surveys born-again religion and culture in America and its history in this century. Topics, figures and traditions we will cover include: the Pentecostal-Holiness movement; fundamentalist Baptists; the Black gospel music movement; charismatic Catholics and Episcopalians; self, family and sex among fundamental Christians; Bible institutes and parachurch organizations; the Scopes trial and the Moral Majority; Billy Sunday and Billy Graham. TENTATIVE books, in whole or part: Shirley Nelson, THE LAST YEAR of the WAR; Marshall Frady, BILLY GRAHAM; David Harrell, ALL THINGS are POSSIBLE; Tony Heilbut, THE GOSPEL SOUND: GOOD NEWS and BAD TIMES; Hatch and Noll, editors, THE BIBLE in AMERICA. (Harding)
Section 003 – CULTURE as ENVIRONMENT: COMPARATIVE LAND SYSTEMS. How do cultural patterns shape a human group's relationship to its natural environment, especially the land system which binds a community to the resources which support it? What happens when cultural patterns of land use come into conflict? Is modernization ever compatible with traditional land systems? In this course, we will study 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. We will also be concerned to master the conceptual and analytical methods necessary to compare analytically the effectiveness of specific land systems. This course has three major sections: (1) The Yanoamo Tropical Horticultural Land System in Brazil and Venezuela. We will study one of the most productive autonomous farming systems in South America as a cultural ecological system; (2) The Turkish Village Mixed Farming Land System based on wheat and herd animals. This land system is an ancient production system developed in a water-scarce environment which has been transformed by the introduction of modern western agricultural technology and organization; (3) The American Land System of Private Commodity Farming. We will investigate the transformation of family farming into hyperproductive agribusiness during the past thirty years. The major focus of the course will be on these three case studies; however, other land systems will be introduced when pertinent. Students can expect to write three research papers, work in study groups, and actively participate in seminar discussions. (Larimore)
460. Social Science Senior Seminar. Senior standing. (4). (SS). May be repeated for credit.
FAMILY and REPRODUCTIVE POLITICS. This seminar will examine family life from a sociological and policy-oriented perspective. We will discuss the impact of class, gender, and race on family formations and resources. A particular focus will be on the current debate concerning the "family crisis" in the United States; at the heart of this debate are conflicting ideas about women's rights, family and social responsibilities; the needs of children, and the role of the State. We will explore a number of critical family/social issues, including: women, children, and poverty; adolescent sexuality and teenage pregnancy; shared parenting and work-family conflicts; the abortion controversy; new reproductive technologies; violence and sexual abuse; and alternatives to conventional families. Readings will be drawn from the following (or additional) sources: ALL OUR KIN: STRATEGIES for SURVIVAL in a BLACK COMMUNITY, Carol Stack; ABORTION and the POLITICS of MOTHERHOOD, Kristen Luker; HARD CHOICES; HOW WOMEN DECIDE ABOUT WORK, CAREER, and MOTHERHOOD, Kathleen Gerson; TEST-TUBE WOMEN, ed. by Rita Arditti, et al.; BROKEN PROMISES: HOW AMERICANS FAIL THEIR CHILDREN, W. Norton Grubb and Marvin Lazerson; FAMILIES, POLITICS, and PUBLIC POLICY, ed. by Irene Diamond; RETHINKING the FAMILY, Barrie Thorne; and a choice of novels by Margaret Atwood, Doris Lessing, John Irving, Gloria Naylor, Harriette Arnow, Paula Marshall and others. (Frankel)
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