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)
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. FRENCH THROUGH THEATRE. Nous commencerons par etudier une vingtaine de textes poetiques francais, qu'ensuite nous travaillerons activement sous une approche dramatisee afin de presenter un spectacle public les 15 et 16 avril 1988. La classe se reunira pour repeter le mardi et le jeudi de 17 heures a 18 h 30. Vers la fin mars, quelques heures de travail supplementaire seront sans doute necessaires. Toutes les repetitions auront lieu en francais. L'accent sera mis sur les divers registres oraux correspondants aux poems a jouer aussi bien quenir l'expressivite corporelle et le sens de l'espace. La creativite et l'imagination seront appreciees. Roles multiples possibles. La presence, l'assiduite et le devouement sont imperatifs. Auditeurs exclus. Polycopie (course pack). Condition d'admissibilite: RC Proficiency. (Gabrielli)
SECTION 002. NARRATIVE WITHOUT A SUBJECT: INTRODUCTION TO THE 20TH CENTURY
FRENCH NOVEL. This is an invitation to explore some of the significant turns
in the development of the 20th century French novel. We will ask ourselves
such questions as: How and why the realist convention of writing stories
came to be discarded? How does a new perspective on the human subject and historical reality alter narrative techniques (the manipulation of narrative
voice and point of view, the contrivance of fictional time and space, the
undoing of plot and character)? What happened to the "traditional"
genres (e.g., the romance, the autobiographic novel, the detective story)?
Glimpses into recent theories of narrative will give us a critical insight
into this experimental trend in writing, which is still under way. Requirements
include regular participation and weekly assignments (such as keeping an
up-to-date reading journal). A twenty page essay will be expected at the
end of the term, but no final. Texts to be read:, NADJA
Gida, LES CAVES DU VATICAN
Perec, UN HOMME QUI DORT
Duras, MODERATO CANTABILE (Clej)
SECTION 003. THE FICTION OF CHARACTER. This is an ambitious readings course that should have different goals for different students. Primarily it will involve a general introduction to French literature through intensive readings from the Middle Ages to the present. In order to limit our discussions, we will concentrate on the idea of literary character – what are the paradigms for literary character in different periods? Is character a fixed category that does not really change through history? Or, do we finally impose our twentieth century idea of the individual and character on discourses from the past? We will discuss some strategies of interpretation and analysis of character (humanist, structuralist, feminist, psychoanalytic), and more ambitiously, we will try to question these strategies i pretation. This is the general theoretical direction of the course. On a more concrete level we will spend a lot of time talking about how to read, what we read for, how to get by the obstacles of reading a foreign language, and finally, how to make this whole process a pleasure rather than a burden. I will expect a lot of effort on the part of the students – both in terms of reading and classroom discussion. This is a seminar, not a lecture course. In other words, the class discussions will go where the students take them. I will ask for about five short papers (around five pages), but will be very happy if students use these papers to explore their own interests. Creative papers will be welcome. We will begin the course with the Middle Ages and ask questions about types (male and female), and the importance of the myth of courtly love. As we move towards the Renaissance we will discuss satirical literature of courtly love and medieval types, and then finally the "discovery" of the autobiographical mode. In the seventeenth century we will look at a classical play and explore the importance of rhetoric in the creation of character. In the eighteenth century we will examine the recuperation of romance and another type of satire of courtly love. In the nineteenth century we will encounter the new importance of the unconscious and the mystery that it adds to our notion of character. Finally, in the twentieth century we will look at several versions of modern challenges to the idea of character: the essential division (psychological) of the individual, the disappearance of rounded, full characters, and the importance of the definition of the individual (especially regarding female characters). The reading list (subject to minor changes) will include the following books (available at Shaman Drum, course pack at Accu Copy): Marie de France, Chrétien de Troyes, LES CENT NOUVELLES NOUVELLES (selections); Montaigne, Molière, Maupassant, Colette, Camus, Duras, Beckett. (Root)
321. Readings in German. Proficiency test. (4). (HU). May be repeated for credit.
Course objectives: Students will gain further insight into major aspects of contemporary German culture, society, and politics, and will polish their skills in reading, speaking, writing, and understanding spoken German. Topics will include: 1) Germans in two Germanies (artists as tightrope dancers); 2) the ecological movement (alternative, green, motley); 3) economic necessities? (the demise of the Ruhrgebiet; the plight of foreign workers); 4) are we headed toward a "police state"? (terrorism and public fear). A course pack containing short stories, poems, song texts, newspaper articles, and essays will be provided. Cassette tapes, movies and videos (reviewed in class and/or during specially scheduled sessions) will complement the course pack. Students will write one short paper per week and prepare two short oral reports during the term. There will be a midterm and a final exam. (Zahn)
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. 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). (HU).
ABSTRACTION/EXPRESSIONISM, ABSTRACT/EXPRESSIONISM. The artist Paulo Klee once remarked that the more terrifying the world, the more abstract the art. During the early twentieth century, a period of unusual upheaval and a deep questioning of cultural norms, traditional forms of narration and representation were challenged by new forms of abstract expressionism. But what is abstraction? Where does it come from? Can abstraction impart the spiritual, political, psychological, and aesthetic meanings that we expect in our experience of art? This course will explore the process and dilemma of creating meaning out of the basic elements of form, language, sound, and color – the abstract modes of the visual art and the literature of the twentieth century. We will base our discussion of the abstract on select groupings of text and image: Thomas Mann, DEATH IN VENICE; Wassily Kandinsky; Paul Klee; Bertolt Brech, BAAL; Emil Nolde; T.S. Eliot, THE WASTELAND; Max Beckmann; Virginia Woolf, TO THE LIGHTHOUSE; Henry Moore; Barbara Hepworth; William Faulkner, THE SOUND AND THE FURY; Jackson Pollock; Mark Rothko. Through such an interdisciplinary approach, this course hopes to gain insight into the influence, analogies, and interplay between different art forms as well as the distinctive mode of each. (Sowers, Feuerwerker, Simon)
313/Slavic 313. Soviet Cinema. (3). (HU).
See Slavic Film 313. (Eagle)
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 period. 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 the "outsider" as it evolves through the period and is recast in new forms. Inside each work, from the voyages of Odysseus to Tacitus' early ethnographic account of the Germanic tribes conquered by Rome, imaginative maps are unrolled. These maps allow each artist to set the coordinates of his reality, to establish the boundaries and limits to exploration. Because boundaries create safe spaces, the activity of boundary-marking is magical; in ancient cultures, each text, object, or image must be protected by a magic line. What is on the other side of the line? Each map, after all, has its uncomfortable edges, its vague and wrinkled margins inhabited by sirens, centaurs, witches, and the shades of the dead. How are these "outsiders" represented? What makes them so strange, so alien and threatening? What happens when they find a break in the line, slip out of their margin and invade the center? The course syllabus will include Neolithic and Minoan cultures (sculpture and painting); Mycenaean civilization; Homer, THE ODYSSEY; Geometric art; Aeschylus, THE ORESTEIA; Archaic sculpture and painting; Sophocles, ANTIGONE; Classical Sculpture; Classical vase painting; Euripides, MEDEA; Hellenistic sculpture; Plutarch, MORAL ESSAYS; Roman portrait sculpture; Tacitus, AGRICOLA; Tacitus, GERMANIA; Roman wall painting at Pompeii and Herculaneum; Petronius, THE SATYRICON; the late style in Roman art; THE PASSION OF ST. PERPETUA. (Sowers)
214. Fundamentals of Narrative Fiction. (4). (HU).
"Once upon a time...." This phrase places us at the threshold of a fictional world and leads us to expect....what? How does the writer of stories exploit our expectations and shape our responses while enticing us to enter? 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 producing the fictional text? These are a few of the questions we will ask while exploring some of the vast territory covered by fictional narrative and thinking about it as a distinctive literary form. We will read carefully several complex classics like CRIME AND PUNISHMENT (Dostoevsky), LOLITA (Nabakov), THE TRIAL (Kafka), and short stories by Chekhov, Faulkner, and Hemingway, but also take a quick look at examples of popular fiction – mysteries, a Western, and a romance – to consider the relationship between fictional formulas and social values. Through SONG OF SOLOMON (Morrison) and THE WOMAN WARRIOR (Kingston), we will examine the role of stories in relation to problems of culture and identity. Finally, we will discuss 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, three short papers, a final. No prerequisites, but a love of reading is helpful. (Feuerwerker)
410. Upperclass Literature Seminar. (4). (HU). May be repeated for credit.
SECTION 001. This will be a literature seminar offered in conjunction with the New England Literature Program Fall Semester in New England. Permission of instructor is required. (W. Clark)
SECTION 002. FATHERS AND SONS. Lovingly tender or wrenchingly antagonistic
relationships between fathers and sons are the subject of some of the world's
major myths and literature: Uranus is overthrown – and castrated – by his
son Kronos; King of Priam braves death to return his son's corpse; Hamlet
sacrifices his life to revenge the murder of his beloved father; Kafka wants
to confront his father for having maimed him psychologically; Cal Trask
in EAST OF EDEN hungers for his father's love and respect. Sons want fathers
after whom they can pattern themselves; some never satisfy their need for their father's affection; some are driven to escape their father's domination.
Guilt and violence are often a by-product. On the other side there are fathers
who cannot love, or who love or make demands on or control their sons too
much, or who compete for the attentions of the woman they share (lover or
wife/mother). Possible texts: on the Oedipal Complex
O'Neill's, DESIRE, UNDER THE ELMS, and LONG DAYS JOURNEY INTO NIGHT
Kafka's, "The Judgment" and "Letter to His Father"
Miller's, THE DEATH OF A SALESMAN
Deeping's, SORRELL AND SON
Bellow's, SEIZE THE DAY
Berman's, THROUGH A GLASS DARKLY and THE GREAT SANTINI
Students will write at least two papers, a midterm and final exam. Film showings will be at night. (H. Cohen)
SECTION 003. EAST BY WEST AND WEST BY EAST: IMAGES IN CONTRAST. To explore the nature, intention, and reasoning formulating the contrasting images and portrayals of the East by the West and of the West by the East through a study of modern fiction in English and of the western visual arts (painting, cinema, TV), as well as of the modern fiction and the visual arts from Asia, Africa, and the Caribbean. Reading of non-fictional writings of Marx, Mill, Carlyle, Barthe, Fanton, and Said will constitute the initial framework to critically examine the differences in attitude, treatment, and conceptualization pertaining to people and customs, institutions, and cultures. The study will combine both aesthetic (style, form, characterization), and philosophic (structuralist, phenomenological), Marxist approaches to the analysis of literary and artistic works by Kipling, Conrad, Cary, Forster, Orwell, Hemingway, Bellow, Delacroix, Gauguin, for example, from the west; and, from the east, Maipual, Jhabvala, Juminer, Aidoo, Selvan, Salih. What are the ideational and ideological formulations behind such portrayals in arts and literature? What value in art and culture? What about cultural conditioning? What does "orientalism" imply? How does one gather and interpret knowledge of the "other"? The reading material and the particular approach would challenge us to re-evaluate the relationship of art, literature, and ideology, to reexamine the traditional critical assumptions about art, literature, and culture, to be aware of alternate critical instruments in analyzing them, to gain some understanding of phenomenological issues pertaining to the notions of "I-Thou," "the Other," territoriality, the appropriation and interpretation of knowledge and history and, finally, to probe our own patterns of thinking, feeling, and behavior with regard to what is separate and different. An important benefit for the students will also be their introduction to some of the finest creative work done in Africa, Asia, the Caribbean, and the Arab world. (Patnaik)
451/Russian 451. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).
See Russian 451.
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).
SECTIONS OO1, OO2, AND 003. Tutorials allow students whose writing has attained a high degree of sophistication to work in an extended project under close supervision. Tutorials also provide an opportunity for students who want to write, no matter how sophisticated their work, to have their efforts recognized both with constructive criticism and academic credit. Reading may or may not be assigned, depending upon the background needs of the individual student. Tutorial students meet privately with the instructor each week. Permission of instructor is required. (Hecht, Mikolowski, Balducci)
SECTION 004. This tutorial will consist primarily of journal writing in connection with the New England Literature Program Fall Semester in New England. Permission of instructor is required. (W. Clark)
326. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (HU).
See RC Humanities 325. (Hecht, Mikolowski, Balducci)
425. Creative Writing Tutorial. Permission of instructor. (4). (HU).
See RC Humanities 325. (Hecht, Mikolowski, Balducci)
426. Creative Writing Tutorial. Permission of instructor. (4). (HU).
See RC Humanities 325. (Hecht, Mikolowski, Balducci)
280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
See English 245. (Nightingale)
389. The Modern Theatre. Hums. 280 or permission of instructor. (4). (HU). May be repeated for credit.
THE MODERN THEATRE: VARIETIES OF POLITICAL DRAMA. This course will examine four aspects of modern political drama, a) the adaptation of classical texts focusing primarily upon Antigone and Coriolanus plays; b) the appropriation of popular forms by such playwrights as John Arden, John McGrath, Dario Fo; c) the struggles with dramatic form in the presentation of a major historical upheaval, the French Revolution (Buchner's DANTON, Weiss' MARAT/SADE, Theatre de Soleil's 1789); d) the struggles with dramatic character in portraying our two great icons of evil, Hitler and Stalin (Brecht's ARTIRP UI, Breton's WEAPONS OF HAPPINESS...). Some secondary readings in theory, theatre reports and reviews, etc. will also be included. (Walsh)
480. Dramatic Theory and Criticism. RC Hums. 280 and three drama courses or permission of instructor. (4). (HU).
This course is intended for upperclass concentrators in drama. Permission
of instructor is required for non-concentrators. The course has two strains, one purely theoretical, the other practical. The theoretical one consists
of reading several thinkers who have wondered what drama is and have inquired
philosophically into the matter. The assumption behind this strain of the
course is that we need to be acquainted with a wide variety of theories
about the drama before we can either settle upon our own or confidently
criticize a play. The wisdom of the best drama theorists will increase our
own critical abilities. The practical strain will consist of writing critical
reviews of several area productions. In addition to the written reviews
(at least three), a long term paper on some theoretical topic, to be chosen
in consultation with the instructor, is required. Also, everyone will keep
a journal, which will be handed in frequently. The readings include the three or more plays to be reviewed and the following theoretical/critical
works (some in excerpt only): THEORY AND CRITICISM, Dukore
FEELING AND FORM, Langer
THE THEORY OF THE MODERN STAGE, Bentley
THE IDEA OF A THEATER, Fergusson
THE THEATER, Young
THE SEVEN AGES OF THE THEATRE, Southern
DRAMA, STAGE, AND AUDIENCE, Styan
THE EMPTY SPACE, Brook
POETICS(ed. Francis Fergusson), Aristotle
THE MESSINGKAUF DIALOGUES, Brecht
DYNAMICS OF DRAMA, Beckerman. (Ferran)
481. Play Production Seminar. (4). (HU).
CHRISTOPHER MARLOWE'S DR. FAUSTUS. 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 texts, 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 Marlowe's five other plays and fragments, we will be studying, in detail, the Faustus VOLKSBUCH and it's various medieval and Renaissance analogs; surveying earlier Elizabethan tragedies such as CAMBISES and GORBODUC; and sampling some of the Faustus drama after Marlowe, notably Goethe's UR-FAUST. (Walsh)
485. Special Drama Topics. Sophomore standing. (1-2). (HU). Offered mandatory credit/no credit. May be repeated for a total of 4 credits.
SHAKESPEAREAN CRITICISM. Students will attend at least four Shakespeare productions at Stratford, Ontario, during a long weekend field trip in late September/early October. They will be responsible for mastering two books of contemporary criticism relating to these plays in preparation and will write detailed critiques of two of the four productions (due at end of the term). (Walsh/Ferran)
250. Chamber Music. (1). (Excl). Offered mandatory credit/no credit.
SECTION 00l: MADRIGAL SINGERS WITH JANE HEIRICH; SECTION OO2: INSTRUMENTAL ENSEMBLES WITH MARIA BARNA. All students who are interested in participating in small vocal and instrumental ensembles can enroll for one hour of credit. No audition is necessary, although intermediate-level skill is assumed for the instrumental ensembles. A student may participate only as a singer, or only in instrumental ensembles, or may do both. Responsibilities include: three to four hours of rehearsal time per week (some individual and some group rehearsal) and participation in one Chamber Music concert per term, if appropriate. Rehearsal times are somewhat flexible, but Madrigal Singers have met Monday 7:30-9 PM and Tuesday 6-7:30 PM; while the Chamber Orchestra has met 6-7:30 PM on Monday, with smaller ensembles to be announced. This course satisfies the RC Arts Practicum requirement and may be elected for credit each term one participates. (Heirich, Barna)
251. Topics in Music. (4). (HU).
A SURVEY OF RUSSIAN AND SOVIET ART MUSIC: 1800-PRESENT. A survey of important developments in Russian art music from the beginning of the nineteenth century through the major figures of the second half of the century. The impact on music and composers of the socialist revolutions of the early twentieth century will be examined and the significant Soviet composers to emerge under the communist regime will be studied. This course is intended for non-music majors and the rudiments of music will be treated at the beginning of the course as an introduction to the terms and forms of music. Composers to be studied include Mussorgsky, Rimsky-Korsakov, Tchaikovsky, Rachmaninoff, Shostakovich, Prokofiev, and Stravinsky. There are no prerequisites for this course. Students will each make a class presentation and write a term paper. There will be a midterm exam and a final exam. Knowledge of spoken or written Russian is not required. Attendance at appropriate concerts may be required. (Knoll)
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)
254. The Human Voice as An Acoustical Instrument. (4). (HU).
BASIC TECHNIQUES FOR SINGERS AND ACTORS AND THE ALEXANDER TECHNIQUE. This course is open to any student who wants to develop the vocal instrument for speaking and singing, to sing more comfortably, and to maintain a healthy voice. The course is directed toward singers (with or without previous vocal training), speech and drama students, and actors. Most voices are undeveloped (or underdeveloped) in a mechanical sense, yet we can learn how to develop our vocal equipment for whatever our own purpose. Because our voices are housed within, we must consider the whole voice-body-mind as the subject of our study. Ms. Heirich is a STAT and NASTAT- certified teacher of the Alexander Technique, and this work will inform all that we do in the course. Be prepared to schedule large and small group, as well as individual sessions during these blocks of time: Monday 1-3:30, Wednesday 12:30- 4:30, and Friday 1-3:30. There will be one text, many optional readings, daily preparations, and an individual term project required. Among the required readings will be "Miracles Usually Can't be Learned," a basic vocal text by Jane Heirich, available at Kinko's as a course pack. (J. Heirich)
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 3 through November 7. (Sarris)
351. Special Topics. (2). (Excl). Offered mandatory credit/no credit. May be repeated for a total of 8 credits.
SECTION 001. PSYCHOLOGICAL DEVELOPMENT DURING YOUNG ADULTHOOD. Drawing on psychological theory, literary accounts, and interview data, this course explores patterns of personal development during young adulthood. Among the covered topics are: the process of leaving home, changing relationships with parents, anxiety and depression in development, patterns of friendship and intimacy, identity and career choice, involvement in social issues, and the development of an integrative life purpose. In addition to lectures, readings, and class discussion, the class will draw heavily on interviews to be conducted by the students themselves. Through analysis of these interviews, the class will be involved in CREATING psychological theory – not only learning and applying it. (Greenspan)
343. Scientific Change. Any introductory science course or permission of instructor. (4). (NS).
This course examines the revolution in theories of the nature of science that has occurred since the publication of Thomas Kuhn's STRUCTURE OF SCIENTIFIC REVOLUTIONS in 1962. Particular attention is given to recent work by historians, sociologists, and feminist theorists of science according to which science is shaped as much by society and culture as by nature. Collectively, these studies have powerfully challenged the traditional empiricist view of science, according to which science is a cumulative form of knowledge, firmly based on the results of unbiased observation of nature. In contrast to traditional empiricism, this recent work has sought to establish the essential roles of society and culture in the development of science. The course examines some leading examples of these challenges to empiricism, and their implications for the objectivity and rationality of science, and the responsibility of the scientist. Readings include: Thomas Kuhn, THE STRUCTURE OF SCIENTIFIC REVOLUTIONS, A.D. Chalmers, WHAT IS THIS THING CALLED SCIENCE? and Michael Mulkay, SCIENCE AND THE SOCIOLOGY OF SCIENTIFIC KNOWLEDGE. (Wright)
419/IPPS 519/Nat. Res. 574/Physics 419. Energy Demand. Basic college economics and senior standing. (3). (SS).
The natural resource impact of any particular human activity can usually be drastically reduced – given technological development and institutional change. (This is true for a variety of resources: fuels, forests, clean water, clean air....) The focus of this course is the end use of a resource and its efficiency – in contrast with a focus on the supply of the resource. Thus we will not find out how to provide more electricity or how to clean up power plants, but how we could provide the needed lighting with much less electricity. The course will examine the use of energy in the U.S. to provide space, comfort, and lighting, for transportation and for processing of materials by industry. The examination will be done from the perspectives of physics, economics, behavior, social organization and politics. Because of the timing, there will be an emphasis on policies for the next U.S. administration. The text for the course is OUR ENERGY: REGAINING CONTROL, co-authored by the instructor. The course will require a paper on an issue involving a particular end use of energy and a project on some aspect of energy use in the locality. (Another resource, like clean water, could be selected by the student.) Prerequisites are a college-level course in mathematics or economics or physical science, and SENIOR standing. The course will require establishment of minimum proficiency in analytical techniques concerning energy. (Ross)
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).
WOMEN IN THE THIRD WORLD. 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. 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 002. THE NEW SOCIAL HISTORY OF THE SOVIET UNION. This course will examine recent scholarship on Soviet society, in particular the attempt to establish new paradigms for the study of the Soviet Union. To what extent have historians, sociologists, and anthropologists created a "social" analysis of the USSR? What are the assumptions underlying this new scholarship and what is its relationship to the scholarly inquiry in the Soviet Union in recent years? The readings and discussions will analyse works that concern the following topics: social interpretations of the revolution; cultural politics in the 1920's and 1930's; the construction of Soviet politics; the question of Stalinism; ritual, gender, and music in Soviet society. Students will write two papers. (Burbank)
SECTION 003. POWER AND POLITICS IN AMERICA. 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 begin with a theoretical discussion of power, the sources of power, and the interrelationship among sites of power. We then proceed to a three-fold examination of American 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 (1932-1968) and the notions of state security capitalism and global hegemony popular in this era; and finally, the conservative mobilization of the 1970's and the triumph of Reaganism in the 1980's. Particular attention will be paid this year to the 1970's/80's as part of developing a background for the on-going presidential elections. There will be considerable reading and two papers assigned. (Bright)
SECTION 004. POLITICAL PSYCHOLOGY. This course will focus on some aspects
of psychological theory and research that are especially relevant to politics
and history, including the following four major topics: 1) psychobiography
and other ways of studying the personality of political leaders at a distance;
2) national character, or model patterns of personality among groups; 3)
leadership, charisma and social status; and 4) psychological dimensions
of war and peace. Readings will be selected from among the following: , R., THE PSYCHOPATHIC GOD: ADOLF HITLER (NAL paperback)
Shakespeare, W., RICHARD II (Pelican paperback)
Weber, M., THEORY OF SOCIAL AND ECONOMIC ORGANIZATION (recommended Free Press paperback)
Domhoff, G., WHO RULES AMERICA NOW? (Prentice-Hall paperback)
White, R.K., PSYCHOLOGY AND THE PREVENTION OF NUCLEAR WAR (N.Y.U. Press paperback).
Course requirements will include a term paper and several brief projects carried out in connection with class discussion. (Winter)
SECTION 005.BORN-AGAIN RELIGION. 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 in America
and its history in this century. Topics, figures and traditions we will
cover include: the Pentecostal-Holiness movement; fundamentalist Baptists;
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. Books, in whole or
part: Nelson, THE LAST YEAR OF THE WAR
David Harrell, ALL THINGS ARE POSSIBLE
Watch and Noll, editors, THE BIBLE IN AMERICA
Barbara Hargrove, THE EMERGING NEW CLASS
Nancy Ammerman, BIBLE BELIEVERS
Frances FitzGerald, CITIES ON THE HILL. (Harding)
460. Social Science Senior Seminar. Senior standing. (4). (SS). May be repeated for credit.
THE SOCIALIST IDEA OF THE RUSSIAN REVOLUTION. This seminar examines the interpretation of the Russian Revolution of 1917 by Western socialists, from 1917 to 1930. Our readings, discussions, and research will focus on the various responses of intellectuals to events in Russia and on the revolution's impact on socialist theory in the West. We will start with an examination of socialist theory before 1917 and then follow the arguments and theoretical constructs of socialist intellectuals from 1917 until approximately 1930. The readings will include theoretical and polemical works by Sorel, Bernstein, Lenin, Trotsky, Kautsky, Goldman, Lukacs, Gramsci, and others. Students will write two papers, a short interpretive essay and a research paper, and lead discussions on their research. (Burbank)
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