Most RC courses are open to LS&A students and may be used to meet distribution requirements.
RESIDENTIAL COLLEGE WAITLIST PROCEDURES: Unless otherwise indicated, waitlists for all Residential College courses are maintained in the Residential College Counseling Office, 130 Tyler, East Quad. When a course fills, students should come to the RC Counseling Office to be placed on a waitlist. Policies and procedures for the waitlist will be explained then. Residential College students are given priority in all Residential College courses.
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 application 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 relations of truth and validity, develop the logic of propositions, and enter the logic of quantification. In the inductive sphere, we deal with argument of 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); arguments about religion (in Hume); and about knowledge (in Descartes); political arguments (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. (Cohen)
190. Intensive French I. No credit granted to those who have completed or are enrolled in French 100, 101, 102, or 103. (8). (FL).
Intensive foreign language courses meet in lecture and discussion twice a day four days a week (five days per week for Russian). The language programs have 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 usually 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 can 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 or are enrolled in French 230, 231, or 232. (8). (FL).
The goal of this course is to expand vocabulary and to master grammatical structures and syntax to the level of competency required to pass a proficiency exam. This entails developing the ability to communicate with some ease with a native speaker, in spoken and written language. Students must be able to understand the content of texts and lectures of a non-technical nature, and of 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). (Excl). May be repeated for credit.
SECTION 001. Fairy Tales and Other Stories. "Il etait une fois...," "Once upon a time...": for millions of children, these magic words opened a world where wonders assuaged fears, where fairy godmothers saved sweet princesses from cruel stepmother, and familiar animals protected their little abandoned masters and brought them power and riches. As adults, we remember some fairy tales fondly, probably because they helped us to grow up with some assurance that all would end well. After Freud, psychologists and scholars like Marc Soriano in France, have uncovered the deep meanings of fairy tales, and they will show us how tales indirectly teach about despair, hopes, and methods of overcoming tribulations and finding oneself. We will also learn from those who have studied the recurrent structure of tales: after the Russian Vladimir Propp and his "Morphology of the Folktale," the theses of Claude Bremond and his "Logique de la narration." Perrault's tales, written when Louis the Fourteenth was king, and very well known, as "Les Contes de ma mere l'Oye," will anchor our study. We will also read several tales and short stories written by contemporary French writers and see to what extent they take up the traditional symbolism and structural patterns of the fairy tales of old. We will continue to see how tales reflect time and place by reading folk tales that belong to cultures other than the French: tales from Africa and from the Basque country. Accessory aspects of the tale will be examined: imagery made real in book illustrations, films; the role of voice inflexion, pauses and listener responses in oral telling of tales. Students will be invited to practice telling tales in French, they will also write several papers, the last one will be either an analysis of themes and characteristics found in different tales, or a new tale, with or without fairies. Assigned works: Charles Perrault Histoires ou Contes du temps passe; avec des Moralites. Paris, 1697; Mademoiselle Lheritier Finette ou l'adroite princesse; Madame d'Aulnoy L'Oiseau bleu, La Chatte blanche; Madame Leprince de Beaumont La Belle et la Bete; and a selection of other tales by modern writers: Pierre Gripari, Michel Tournier, Jean-Marie Gustave LeClezio, Pierrette Fleutiaux. Films to be viewed include Jean Cocteau, La Belle et la Bete; Jacques Demy Peau d'Ane. Cost:1 (Carduner)
SECTION 002. Social Criticism in the Contemporary French Novel. The novel, more than any other literary genre, offers a representation of the individual within a particular society. Writing a novel always involves, in this sense, an at least implicit critique of the society in which it is placed and by which it is read. This course will examine how various French novelists have approached the inevitable question of the work's status as social criticism. How does the novel speak to us about family relations, about social classes, about racism, and about consumer society? This course will address itself to these questions. In our individual work and in our class discussions we will try to determine how the reading of these works of fiction both sends us back and forth between two continents and refers us to our own personal experience. Students will be asked to write a short essay on each of the novels we will be reading for a total writing assignment of approximately twenty-five pages. Required readings will include: Sempe/Goscinny: Les vavances du petit Nicolas; Paul Guimard: Les choses de la vie; Claire Etcherelli: Elise ou la vraie vie; Georges Perec: Les choses. We will also view the film: Marche a l'ombre. Cost:2 (Kavanagh)
SECTION 003. Seminaire en francais. Premiere personne. This seminar will be a critical and personal exploration of different first-person genres in French. Students will read and discuss autobiographies, first-person fiction, lyric poetry, monologues, and interviews. A substantial portion of the written work will be original first-person writing these genres. Class time will be devoted not only to discussion, but also to the oral interpretation of first-person writing (both course readings and texts written by students in the class). Tentative list of readings: Rousseau, LES CONFESSIONS ( first half); Camus, LA CHUTE; Laye, L'ENFANT NOIR; poems by Baudelaire, Rimbaud, Apollinaire, excerpts from plays, interviews, etc. COST:NA (Paulson)
321. Readings in German. Proficiency test. (4). (Excl). May be repeated for credit.
To be announced.
324. Readings in Spanish. Proficiency test. (4). (Excl). May be repeated for credit.
SECTION 001. 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 Chilean example, a movement that began in the early sixties and flourished in the late sixties and early seventies. Among its accomplishments was the re-valoration of traditional indigenous instruments like the quena, the zampona, the charango, different drums as well as several variations on the Spanish guitar. The movement became well known all over the world when some of its participants had to abandon Chile and lived and worked, for a long period of time, in Italy, France, and other European countries. They continued to write and interpret music and absorbed different musical influences; nevertheless, they remained truthful to their original ideas: giving a voice to the life of their people. From a small movement of university students who formed groups like INTILLLIMANI and QUILAPAYUN, now famous all over the world; from singers and composers like Violeta Parra and Victo Jara, who began the tradition of the penas, places where people would gather to make music, the movement developed into a rich and diverse component of a period of social and political re-evaluation and of profound search for authenticity in the musical expression of Latin America. The songs are excellent examples of the union between words and music as well as of the vital and creative new possibilities for a musical expression which draws from popular and folkloric tradition, from historical events, from religion and from human love, and from the people's search for justice. We will look into the cyclical pieces that the movement produced, some are called CANTATAS, others are called ORATORIOS and other, CANTOS. They are characteristic of the Chilean movement, and have remained as an example of the fruitful working relations established between composers from the School of Music at the University of Chile and the members of the New Song Movement. The cyclical pieces brought together classical and folkloric/popular musical traditions. Special attention will be given to the concept of popular culture in Latin America, its importance and permanence, as well as it links to the consciousness of the people. (Moya-Raggio)
SECTION 002. To be announced.
267. Introduction to Holography. (2). (Excl).
An introductory art studio class in basic holography which stresses the visual characteristics of the medium through hands-on production of holograms. The class will cover the technical skills involved in making simple reflection and transmission holograms and the inherent visual problems presented by this new imaging medium. It is essentially a lab oriented class with image production being the students' major responsibility. (Hannum)
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. Please note: there are two section of Elements of Design offered during Fall Term. Please consult Time Schedule for days and times. (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 photography. A visual emphasis is maintained in both presentation and course work, and the student works with the medium towards a goal of personal expression. There will be a studio fee. (Hannum)
287. Printmaking. (4). (Excl). Materials fee.
Developing an understanding of the art and history of printmaking through lectures, demonstrations, practical studio experience, 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 screenprinting techniques. Field trips to area museums and gallery exhibitions will be part of the class experience. Approximately eight projects will be assigned. A sketchbook/notebook is required. Class attendance is mandatory, as is lab time spent outside the scheduled class period. There will be a studio lab fee of approximately $40.00. (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 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. Cost:4 (Crowell)
236/Film Video 236. The Art of the Film. (4). (HU).
Through lectures, demonstrations and discussions, we analyze the psychological and dramatic effects of various film elements and techniques (e.g., camera movement, sound, pacing, lighting, lenses, acting, special effects), and note film's technological history. Two evenings a week we view films which make outstanding use of these elements and techniques, and during Friday discussions we interpret these films. Students write five two-page exercises, a ten-page analysis of a current movie, and a final exam. A lab fee of $30.00 is assessed to pay for the film rentals. The cost of books/materials with lab fee should be less than $60.00. (H. Cohen)
291. The Experience of Arts and Ideas in the Nineteenth Century. (4). (HU).
This interdisciplinary course will offer an introduction to major movements in European art and cultural history of the nineteenth century – Romanticism, Realism, Impressions and Symbolism – by analyzing and comparing representative works of literature, music, dance and the visual arts. Among works studied will be paintings by Delacroix, Courbet, Manet, Monet, and Degas; novels by Zola and Flaubert; poetry by Mallarme and the English Romantic poets; music of Berlioz, Chabrier, Wagner, and Debussy; and choreography of Perrot and Bournonville. How, for example, does Perrot and Gautier's ballet Giselle, the Symphony Fantastique of Berlioz, and certain poems of Lord Byron reflect the Romantic aesthetic? Can we find similar aims in the realist novels of Dickens and Zola and the realist painting of Courbet? Can we relate the radical "painting of modern life" to the music of his friend Chabrier who looked to popular song and dance to infuse old musical forms with new life? Can we compare the revolution in the structure of painting brought about by Wagner and Debussy? (Genne)
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). (Excl).
To be announced.
476/Chinese 476/Asian Studies 476. Writer and Society in Modern China. (4). (HU).
See Chinese 476.
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 examine the themes of sacrifice and prophecy as they unfold through these works. When Odysseus descended into the Underworld, he had to perform a ritual in which sheep were sacrificed. Only when the "dark-clouding blood" of the sheep ran into the pit were the wispy shades of the dead enabled to speak and to prophesy. What is the relation between sacrifice and speech? What is the relation between the body and the story? How was this relation enacted in the myth and ritual of the ancient world? Can we trace an organic development of this relation through time, or do we see a structural constellation that persists intact throughout this period? Our exploration of this problem will guide us through the texts and the works of art selected for study; it will also lead us into the complex and broken labyrinth of ancient religion. Texts will include the following: Homer, The Odyssey; Aeschylus, The Oresteia; Sophocles, Antigone; Euripides, The Bacchae; Plutarch, On Isis and Osiris, The Decline of Oracles; Tacitus, Agricola, Germania; Petronius, The Satyricon; Vibia Perpetua et al., The Passion of St. Perpetua and St. Felicitas. Visual arts to include The Art of Greece and Rome, Woodford. (Sowers)
214. Fundamentals of Narrative Fiction. (4). (HU).
Once upon a time..." This phrase places us at the entrance 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: Crime and Punishment (Dostoevsky), The Trial (Kafka), short stories by Chekhov, Faulkner, and Joyce; but also take a quick look at some 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 storytelling in relation to problems of gender, culture, and identity. Finally we will discuss self-reflexive texts that play with narrative conventions, comment on their own nature, or call into question our very activities of reading and interpretation: Kiss of the Spider Woman (Puig), stories by Borges and James. Requirements: some in-class writing, three short papers, and a final. No prerequisites, but a love of reading is helpful. (Feuerwerker)
215. Poetry. (4). (HU).
This course teaches you how to read carefully. It deals with poetry because poetry is very dense (complicated). In learning to read and, I hope, to enjoy poetry you will also be improving your ability to read other kinds of writing such as novels, law texts, etc. This is a good course to take relatively early in your college career. The method is one of taking apart and putting together. Taking apart (analysis) calls for learning some of the terms critics use to isolate parts of poems. You can expect to study such things as metre, rhythm, diction, tone, imagery, poetic form, etc. The putting together will be of two sorts. You will be asked to do interpretations; that is, to say what you take poems to mean. You will also be asked to complete poems with missing parts, and later to write some poems yourself. The purpose of these exercises is to provide a balance for the analytic parts of the course and to get a feeling for how poems are made. You will translate poems from a foreign language of your choice. At the start we will read a few modern poems very slowly and carefully, while learning a basic vocabulary of critical terms. most of our time will go to reading typical poems by English and American poets of the last four hundred years. The final two or three weeks will be taken up with extensive reading of a single poet, probably Robert Frost. There will be four or five short papers and numerous in-class exercises. PLEASE DON'T TAKE THIS COURSE IF YOU CAN'T COME TO EVERY CLASS. (W. Clark)
360. The Existential Quest in the Modern Novel. Junior/senior standing, or permission of instruction. (4). (Excl).
"God is dead. God remains dead. And we have killed him." (Nietzsche). "If there is no God, then everything is permitted." (Dostoevsky). "Everything that exists is born without reason, continues to live out of weakness, and dies by chance." (Sartre). Existentialism combines the investigation of major issues in the history of Western philosophy with daily problems of intense personal concern. In this course, existentialism will be viewed as a literary as well as a philosophical movement united by a number of recurrent and loosely related themes: (1) Theological: the disappearance of God; the condition of being "thrown" into an indifferent and ultimately absurd universe; man's encounter with nothingness beneath the floor of everyday reality revealed when familiar objects and language drop away. (2) Psychological: man's imperfection, fragility, and loneliness; the feeling of anxiety and despair over the emptiness of life and the terror of death; arguments for and against suicide; human nature as fundamentally ambiguous and hence not explicable in scientific thought or in any metaphysical system; the absence of a universally valid morality; and human nature as undetermined and free. (3) Social: man's rebellion against the inhumanity of social institutions that suffocate the "authentic self"; the escape from individual responsibility into the "untruth of the crowd." (4) Finally, man's various attempts to transform nihilistic despair into a creative affirmation of life. Philosophic texts by Pascal, Kierkegaard, Nietzsche, Buber, Jaspers, and Heidegger; fiction by Dostoevsky, Tolstoy, Camus, Sartre, and Kafka. Two examinations and one term paper will be required. (F. Peters)
410. Upperclass Literature Seminar. (4). (HU). May be repeated for credit.
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 on 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, Said will constitute the theoretical 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, Gaugin, for example, from the west; and, from the east, Naipaul, Jhabvala, Juminer, Aidoo, Selvan, Salih. What are the ideational and ideological formulation behind such portrayals in the arts and literatures? 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 reevaluate 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 behaviour 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). (Excl).
Suggested assignment: 1250 words of prose fiction every two weeks. Rewriting is emphasized. The class meets as a group up to two hours per week. Collections of short fiction by established writers are read. Every student meets privately with the instructor each week. (Hecht)
221. The Writing of Poetry. Permission of instructor. (4). (Excl).
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. 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). (Excl).
Individualized instruction, group discussion 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). (Excl).
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. This course satisfies the Junior-Senior writing requirement for Creative Writing majors only. Enrollment is limited to a maximum of six students, usually students who have completed Narration and/or Tutorials. Permission of instructor is required. (W. Hecht)
321. Advanced Poetry Writing. Hums. 221 and permission of instructor. (4). (Excl).
This is an advanced poetry writing workshop. Students must be willing to read their poems in class and actively participate in the critical evaluation of other students' work. A finished manuscript of 25-30 poems is a course requirement. Permission of instructor is required. (Mikolowski)
325. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (Excl).
Tutorials provide an opportunity for students who want to write, no matter how sophisticated their work, to have their efforts recognized with constructive criticism and academic credit. Readings 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. This course satisfies the Junior-Senior Writing Requirement for Creative Writing majors only. (Hecht, Mikolowski, Balducci, Levin)
326. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (Excl).
See RC Humanities 325. (Hecht, Mikolowski, Balducci, Levin)
425. Creative Writing Tutorial. Permission of instructor. (4). (Excl).
See RC Humanities 325. (Hecht, Mikolowski, Balducci, Levin)
426. Creative Writing Tutorial. Permission of instructor. (4). (Excl).
See RC Humanities 325. (Hecht, Mikolowski, Balducci, Levin)
280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
See Theatre and Drama 211. (Ferran)
380. Greek Theatre. (4). (Excl).
In-depth study of representative tragedies of Aeschylus, Sophocles and Euripides in translation, with emphasis on their stage life - under original fifth century B.C. performance conditions and in the modern theater by way of major productions and adaptations. A strong emphasis will be placed on the visual and performing arts of Greece directly related to the tragic stage. Some attention will be paid as well to Seneca's tragedies and their afterlife. Scene-work and other experiments with the plays as performances will be complemented by short research papers and periodic quizzes. (N.B. this course inaugurates the first term of the newly reconstituted Drama Concentration at the Residential College.) Secondary texts: Berhard Zimmerman, Greek Tragedy: An Introduction and Oliver Taplin, Greek Tragedy in Action, etc. Prerequisites: Hums 280 (Theatre and Drama 211), or permission of instructor. (Walsh)
383. Ibsen and Strindberg. (4). (HU).
The course focuses on Ibsen (principally) and Strindberg as major figures in the development of modern western drama. The best known "naturalistic" plays of both authors are studied together in the historical- critical context of dramatic realism. The later plays of each (Ibsen's symbolic and mystical; Strindberg's expressionist) receive independent treatment, to show how their artistic developments diverged and ultimately influenced the chief forms and types of twentieth century drama. Prerequisites: Hums 280/Theatre 211 or permission of instructor. (Stanton)
390. Special Period and Place Drama. Hums. 280 or permission of instructor. (4). (Excl). May be repeated for credit.
Old Comedy, New Comedy, and the Grotesque. In-depth study of representative comedies of Aristophanes, Menander, Plautus and Terence in translation, with emphasis on their stage life – under original performance conditions and in the modern theater by way of major productions and adaptations. Art and archaeology of the grotesque comic in the Ancient World will be emphasized. Subliterary theatrical phenomenon such as Phlyax and Antellan farce, and the Roman mime will also be explored, together with the satyr play (Euripides' Cyclops and fragments). Scene-work and other experiments with the plays as performances will be complemented by short research papers and periodic quizzes. (N.B. This course inaugurates the first term of the newly reconstituted Drama Concentration at the Residential College.) Secondary texts: Kenneth McLeish, The Theatre of Aristophanes; Niall W. Slater, Plautus in Performance, etc. Prerequisites: Hums 280 (Theatre and Drama 211), or permission of instructor. (Walsh)
482. Drama Interpretation II: Performance Workshop. Hums. 280 and either Hums. 282 or playwriting, or permission of instructor. (4-6). (Excl).
Director and Text (Performance Project in Ancient Drama). Collaborative performance project directly related to either Hums 390 or Hums 380, to be determined. As examples only – we might mount a studio-production of Euripides' Cyclops; or the Mimes of Herondas; or an interface of Antigone scenes from Brecht and Anouilh, or of Amphitryon scenes from Molière, Kleist, Giraudoux. (N.B. This course inaugurates the first term of the newly reconstituted Drama Concentration at the Residential College. Drama concentrators who wish to use this course as part of the play production seminar requirement must be simultaneously enrolled in the relevant RC Drama course.) Prerequisite: Hums 280 (Theatre & Drama 211) plus one drama course. (Brown)
485. Special Drama Topics. Sophomore standing. (1-2). (Excl). 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 surveying and contemporary criticism relating to these plays in preparation and will sit for a two-hour exam on critical questions evolved from the productions viewed. This season's productions may include Hamlet, Much Ado About Nothing, Twelfth Night, School for Scandal. (Walsh/Brown)
250. Chamber Music. (1). (Excl). Offered mandatory credit/no credit.
SECTION 001. Madrigal Group.
SECTION 002. Instrumental: Chamber Orchestra and Small Ensembles, (Maria Kardas Barna)
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; mixed ensembles of strings and winds; brass quintet and intermediate recorder ensemble; string quartet; woodwind quintet, and some other duos and trios, including piano and harpsichord. Responsibilities include three to four 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. No audition required. Course may be used to fulfill the RC Arts Practicum Requirement.
251. Topics in Music. (4). (HU).
The Musical – Broadway, Hollywood and America. The musical has been called the one purely American art form, but as an art form there is nothing pure about it – it is an amalgam of music, dance, theatre, and, in the Hollywood musical, film. In its eclectic and highly fluid configurations, the musical is, however, uniquely American. Unlike the aesthetic ideal of an art for art's sake, the musical is openly dependent on economic survival, yet, within that commercial framework the musical has been able to give us incisive or evocative glimpses into society, as well as a great deal of first-rate entertainment and a large measure of artistry. This course will examine the musical from the standpoint of creators, performers, and audiences. The approach will be topical rather than historical, and issues covered will include music and dance as dramatic tools; the relationship of musical theatre to art music and popular music, including economic considerations; treatment of social issues (religions, race, ethnicity, gender); and transformations - revivals, recordings, and Hollywood vs. Broadway. No musical background is required. Class will consist of listening, viewing, and discussion; assignments will consist of listening, some readings, and short (2-3) page written assignments every other week or so; there will be a midterm, a final, and one major written assignment (10-12 pages). (Stilwell).
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.
254. The Human Voice as An Acoustical Instrument. (4). (Excl).
Basic Technique for Singers and Actors, including 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. The class meets together Monday and Friday from 1-3. Your schedules should temporarily remain flexible between 12-5 P.M. on Wednesdays for scheduling of small group sessions; this scheduling will be done during the first class session. There will be one text, some optional readings, daily preparations, and an individual term project required. The required reading will be "Miracles Usually Can't Be Learned," a basic vocal text by Jane Heirlich, available from Kinko's. Cost:1 (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 is a one credit hour mini-course consisting of six two-hour seminars exploring concepts of health promotion and personal responsibility for health. The course will cover subjects including how people make decisions about their health; effective strategies for changing health-related behaviors; identification of areas in which individuals can take charge of treating illnesses; and specific health topics such as stress, nutrition, exercise, alcohol, and smoking. The course focus will be aimed toward students interested in changing personal health habits as well as those who may be considering health-related careers. Course will meet September 9 through October 14. The course is intended for lower division undergraduates yet is not restricted to lower division students. It is intended that students will achieve the following objectives: 1) Individuals will gain information and behavioral skills which will enable them to initiate individual lifestyle changes, 2) Individuals interested in health-related careers will understand the lifestyle factors related to the major causes of death in this country and will be able to utilize acquired skills to help others change their behavior patterns; 3) Individuals will acquire skills and knowledge important for healthy development and maturation not usually addressed in the academic setting. (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, life histories, and the arts, this course explores patterns of development during late adolescence and young adulthood. Among the topics to be covered are: the process of "leaving home," changing relationships with parents and siblings, work and identity, "youth culture" in social and historical context, development within friendship and intimacy, and the development of faith and life purpose. Along with lectures, readings, and class discussions, we draw on interviews that are conducted by the students themselves. Thus, training in the qualitative methodologies of research interviewing and the creation of case histories is part of this course. Additionally, we use interactive theatre, contemporary music, and poetry in order to represent to development within this phase of the life cycle. (Greenspan)
391. The Politics of Quantification. (4). (Excl).
Statistical Answers to Social Science Questions. Is the United States headed for another recession? Do worker-focused organizational structures explain greater productivity in Japanese companies? Are there differences in intelligence between men and women, people of color and whites, rich and poor? Did the general population shift to a more politically conservative ideology during the 1980's? Is there convincing evidence to support Freudian or Marxist theory? What type of community project is likely to succeed in reducing teenage pregnancy? Questions like these are asked by social scientists every day, and form the basis by which knowledge grows and theories are evaluated. Statistics and other quantitative methods are often used to explore the answers to these questions. With the advent of cheap electronic computing, people have been bombarded with a large column of statistical information; the ability to understand and evaluate it is now an important skill to acquire. At the same time, individuals can now undertake their own research projects to answer social science questions relevant to their work and interests. This course is designed as an introduction to statistics and quantitative methods in the social sciences through a question-focused approach. Students will gain skill in reading and evaluating research reports as well as completing a basic statistical analysis from raw date. The first part of the course will focus on the process of translating a social science question into a research question, and from there, developing appropriate measures and methods for answering that question. The second (and largest) part of the course will present basic descriptive and inferential statistical techniques, focusing on interpretation of results and utility for answering particular types of research questions. The third part of the course will focus on writing reports to communicate the results of social science research, using statistical information appropriately to support a policy, theory, or other finding. Students in this course will be introduced to the SPSS (Statistical Package for the Social Sciences) statistical package on MTS (mainframe computer). SPSSx is a user-friendly program used widely in universities, industry, and government. SPSSx can be used from any terminal in any of the computing centers on campus. The members of this class, as a group, will conduct a small scale survey of students in the RC on a topic of their choice (after approval by the Human Subjects Review Committee). The data from this survey will be analyzed by the students, producing a final report available to all RC students and faculty. Students will complete a number of required exercises to gain mastery of quantitative and statistical techniques. Each student will write a critique of a published research article and a research report based on the RC survey data. Two exams covering concepts and computations will be offered on a mastery basis; students can retake an exam after further study. Required text: Lucy Horwitz and Lou Ferleger, Statistics for Social Change (Boston: South End Press). There will be a required course pack with articles covering concepts and techniques not discussed in the Horwitz and Ferleger text. Recommended text: Maria Norusis, SPSSx Guide to Data Analysis (Chicago: SPSS Inc. 1987) This text presents a second, more traditional description of a variety of statistical procedures and the SPSSx commands required to compute them. (Bogue)
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, technological impacts, and man's future. Basic science and the political-economic aspects of problems and possible solutions are emphasized. Topics include a survey of non-renewable and current energy use patterns, nuclear (fission and fusion) power issues, and the prospects for, and problems with, alternative energy scenarios. 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. There are no college physics prerequisites. (Rycus)
343. Scientific Change. Any introductory science course or permission of instructor. (4). (NS).
This course examines the development of a major debate about the nature of science that began in the 1960's and continues today. The course begins by examining the empiricist view of science that dominated both philosophy and science before 1960 and remains today deeply embedded in the general culture. According to this traditional conception of science, the purpose of scientific inquiry is to produce an objective account of the natural world that existed independently of the inquiry. The application of scientific method ensures the progressive elimination of error and bias in a movement towards an ever more complete picture of the natural world. (In other words, universal truth will eventually out.) This traditional view of science was strongly challenged in the 1960's most prominently by historian of science Thomas Kuhn who argued, in The Structure of Scientific Revolutions (1962), that observation is irremediably "theory-laden," and that science, far from following a logic of development, progresses through irrational changes in what Kuhn called "paradigms" (thereby launching a new usage in the English language). The course will explore the ways in which the work of Kuhn and others stimulated research in the history and sociology of science purporting to show that science is as much a product of its social and cultural environment as an account of natural phenomena. In the final part of the course, we examine some post-structuralist positions on the nature of knowledge, claims that have been stimulated in part by Kuhn's ideas and that have recently claimed some adherents in the history and sociology of science. These positions are far more radical - some would say nihilistic – than the position Kuhn developed. But can they be sustained? And, if not, are there ways to conceptualize scientific knowledge that escape the forms of reductionism that characterize traditional empiricism on the one hand and post-structuralism on the other? The central issues addressed in the course are examined with reference to case studies drawn from the history of physics and biology. There will be guest lectures given by scientists and social scientists. Readings will include selections from the following books: Thomas Kuhn, The Structure of Scientific Revolutions (2nd ed., 1970)*; Michael Mulkay, Science and the Sociology of Knowledge, (1979); Norwood Russell Hanson, Patterns of Discovery (1958); Sandra Harding, The Science Questions in Feminism (1986); Nancy Tuana (ed.) Feminism and Science (1989); Peter Novick; That Noble Dream: The "Objectivity Question" and the American Historical Profession (1989); Michael Foucault, Power/Knowledge (1980); Terry Eagleton, Literary Theory: An Introduction (1983); Bruno Latour and Steve Woolgar, Laboratory Life: The Construction of Scientific Facts (1986); Steve Woolgar, Science, the Very Idea (1989). Prerequisite: An introductory science course or permission of instructor. (Wright)
230. Alternative Approaches to Economic Development. (4). (SS).
This course focuses on the economics 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 on alternative ways of thinking about the economy, 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 science as well as an examination of a particularly important issues. Two five-page papers, and a final (take-home) exam will be required. (Cooper)
320. Exploring Alternatives to Capitalism. RC Soc. Sci. 220, Econ. 407, or permission of instructor. (4). (SS).
This course is designed for students who are familiar with political-economic analysis and criticism of capitalist societies, and who wish to explore other forms of socio-economic organizations that have been proposed or established in an effort to overcome some of the perceived shortcomings of capitalism. We will review (briefly) the kinds of critiques that have been leveled at capitalist societies, and examine (at much greater length) various conceptions of socialism advanced by critics of capitalism – from Karl Marx to contemporary socialist thinkers and activists. We will consider from a theoretical perspective the problems raised by efforts to develop alternatives to such basic capitalist institutions as private property and the market. Finally, we will examine the real-world experience of a number of different actually existing alternatives to capitalism as we know it in the United States - including Western European social democracy, Eastern European "market socialism," and various micro-level efforts to establish more cooperative and egalitarian modes of production. Readings will be drawn from the work of a great variety of social scientists, including critics as well as advocates of various alternatives to capitalism. Examples of some key readings are: Lindblom, Politics and Markets; Nove, The Economics of Feasible Socialism; Schweickart, Capitalism or Worker Control?; and Zimbalist, Sherman & Brown, Comparing Economic Systems. This course satisfies the theory requirement for RC Social Science concentrators. Prerequisites for admission are RC Social Science 220 (Political Economy), Economics 407 (Marxist Economics), or permission of the instructor. The course will meet twice weekly for an hour and a half, and it will be organized partly in lecture and partly in seminar format; students will be expected both to participate actively in classroom discussion and to write papers on different topics addressed by the course. Cost of books and materials for this course should be $25.00 but less than $50.00. (Weisskopf)
360. Social Science Junior Seminar. Upperclass standing. (4). (Excl). May be repeated for credit.
SECTION 001. Power and Politics in America. This course combines theoretical, historical, and contemporary perspectives in an analysis of the dynamics of power in the United States. The theoretical focus is on the American state as a capitalist democracy, and the role that politics plays in mediating the relationship between capital interests and popular democracy. The historical focus, this term, will be on the history of the cold war as domestic politics: we will examine the role of cold war policies in shoring up and then undercutting the Democratic coalition, the collision between civil rights at home and intervention abroad in the 1960's, and the subsequent use of cold war themes in the neo-conservative revival. In the final weeks, awe shall focus on the contradictions of American politics since the mid- 1980's – the legacies of Reaganism and the problems of forging viable domestic coalitions or a foreign policy consensus in a post-cold war context. The course will involve considerable reading and two papers. (Bright)
SECTION 002. Race Class and Gender in Caribbean Society. This course will explore key components of the historical and contemporary make-up of English-speaking Caribbean societies. The latter are considered particularly in their uniqueness as "constitutionally" and culturally independent Black-and-American societies, with a past rooted in slavery and European colonialism and a present mired in economic dependency and United States geopolitical hegemony. While the focus will be on the Anglophone Caribbean (Jamaica, Barbados, Guyana, Grenada, etc.), there will be a concern to explore issues of race, class and gender which are critical to all Afro-American and "plural" Third World societies. The first part of the course will be devoted to setting up a conceptual framework for understanding "race," ethnicity, class and gender as individual and intersecting variables in the contexts of colonial slavery and contemporary Caribbean formations. The readings will reflect a concern to expose students to analytical works by prominent Caribbean and Caribbeanist scholars and intellectuals, as well as different approaches taken in the interpretation of Caribbean social dynamics. Course requirements include a midterm test and a research paper. (Green)
SECTION 003. Culture as Environment: Native American Struggles for Their Land. This junior seminar provides you the opportunity to do research tracing how Native American ethnic groups have resisted Euro-Americans' relentless pursuit of their land and resources which U.S. government policy has backed. We will together study cases where Native American tribes have been embattled, struggling to preserve their farmlands from encroachment and seizure by others with different world views. During the course you will do individual research projects which the class will share together. An essential aspect of this struggle is the conflict between differing world views which frame the issues being contested. World views are the core of religions and ideologies. How should land resources be used? How do ethnic cultural patterns shape groups' relationships to their environments, especially to the plant, animal and land communities which support them? What happens when groups come into conflict over land? We will also consider how ethnic groups shape their world views and thus their perceptions of their environments, construct geographies, conceive of human beings as parts of natural and supernatural worlds, organize their territories, and use technology to exploit land resources. This small seminar provides you with the chance to learn in depth about a Native American group of your own choosing. To provide you with a research framework, I will be explaining the method of ethnically- sensitive human systems analysis. This comparative geographical research method is particularly useful in issue-oriented research. While learning ethnically-sensitive comparative systems analysis, we will focus on the roles and actions of politicians, warriors, religious leaders, activists, traders, and land- hungry entrepreneurs all of whom in some way control the governments involved. You will be required to participate fully in class sessions and work, and to write three linked research papers using the University's superb library facilities. (Larimore)
460. Social Science Senior Seminar. Senior standing. (4). (Excl). May be repeated for credit.
SECTION 001. For Fall, 1991, this section is jointly offered with Amer. Cult. 410. between anthropology and its neighboring disciplines in an attempt to understand what life is like for Latinos involved in migration to and from the United States. Focusing on people from Mexico, the Spanish-speaking Caribbean and Central America, it examines their experiences in relation to issues such as the changing character of capitalism as an international system, the organizing role of networks and families, changing patterns of gender relations, the emergence of a second generation, and the cultural politics of class formation. Organized as a seminar, it makes a close reading of required texts with detailed classroom discussion. The final grade is based on contributions to these discussions and on three papers that expand on issues raised by the readings. (Rouse)
SECTION 002. Evaluation Research: Designing and Evaluating New Approaches to Health Care. How does one design, implement, and evaluate social experiments that offer new approaches to health care? American health care is going through major changes in the organization of health services, in the understanding of the health/disease process, and in the kinds of health services people use. Key interest groups in government and industry, as well as participants in alternative social movements, are actively exploring different ways to deal with health and disease in America. This research seminar will offer "hands-on" opportunity to participate in social research that is relevant to the changes currently underway. In this seminar students will read relevant literature concerning contemporary changes in health care policy and practice and social science approaches to evaluation research. They will have access to some current research data and an opportunity to work with research teams analyzing the effects of current worksite wellness programs. Seminar participants also will have an opportunity to participate in the design of health interventions and in the evaluation of experimental programs currently being used at worksites and with persons with AIDS. (M. Heirich)
University of Michigan | College of LS&A | Student Academic Affairs | LS&A Bulletin Index
This page maintained by LS&A Academic Information and Publications, 1228 Angell Hall
of the University of Michigan,
Ann Arbor, MI 48109 USA +1 734 764-1817
Trademarks of the University of Michigan may not be electronically or otherwise altered or separated from this document or used for any non-University purpose.