Most RC courses are open to LS&A students and may be used to meet distribution requirements.

RESIDENTIAL COLLEGE WAIT LIST PROCEDURES: Residential College students are given priority in all Residential College courses during the pre-registration and registration periods, and from wait lists. Certain RC courses are reserved for RC students only (e.g., RC language courses). These are courses which fulfill specific Residential College graduation requirements. Wait lists for Residential College courses are maintained in the Residential College Counseling Office, 134 Tyler, East Quad. When a course fills, students should contact the RC Counseling Office (747-4359) to be placed on a wait list if one is being maintained.

The following Fall 1992 courses are reserved for RC students only: RC Core 190, 191, 193, 194 (Intensive First Year Language Courses); RC Core 290, 291, 294 (Intensive Second-Year Language Courses); RC Core 320, 321, 324 (Readings in French, German, Spanish); RC Arts 285 (Photography). Non-RC students who are on a wait list will be admitted to these courses on a space-available basis on the first day of classes, after all RC students from the wait list have been admitted.

Core (Division 863)

Written and Verbal Expression

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 to 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); 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. (C. Cohen)

Intensive Language

Intensive 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 counseling and additional help. If a student begins a new language, proficiency is usually attained in one year through the Residential College program.

Core 190, 191, 193, 194. Intensive French, German, Russian, Spanish I.
The goal of this course is to provide the student with a basic but solid knowledge of grammatical structures and syntax, a functional vocabulary, 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.

Core 290, 291, 294. Intensive French, German, Spanish II.
The goals 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 general (non-literary) interest.

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 stepmothers, 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 and Jean Bellemin-Noel, 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 structures of tales: after the Russian Vladimir Proff 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 see how tales reflect time and place by reading folk tales that belong to cultures other than the French: tales from Senegal, Mali, Rwanda-Burundi, the Comoros (in Africa), from Viet-Nam, from Haiti, and a tale of the Montagnais Amerindians (Quebec), as well as very early tales from the Basque tradition. 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. Accessory aspects of the tale will be examined: imagery made real in book illustrations and 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. (Carduner)

Section 002. Voyage and Travel Literature in the French Tradition. Writing about voyages and travel is part of a long and important tradition within French literature. Currently, this literature is the object of renewed interest as seen in the recent Festival International du Livre d'Aventures et de Voyages as well as the large number of special book collections and journals devoted to the subject. This course, cutting across periods, continents, and literary forms, will study both travelers who wrote and writers who traveled in an attempt to understand how it is that travel affects the act of writing. Using extracts from logbooks of the great explorers (Bougainville and Laperouse), memoirs of missionaries (la Pere Huc), ethnological studies (Jean Malaurie) as well as literary narratives (Paul Morand, Alexandre Dumas, etc.) and poems (Baudelaire, Rimbaud, Cendrars. Michaux, Segalen), we will try to grasp what it is we discover about ourselves and others through the description of a different culture. Students will be asked to write short essays on the readings and an account (free form) of their (real or imaginary) travels. Total writing assignment: approximately 25 pages. Regular participation in class discussions is expected. Required readings: course pack; Qui se souvient des Hommes, a novel by Jean Raspail. (Kavanagh)

Section 003. La Poesie et le plaisir. Since the sexual revolution of the 1960s, the notion of pleasure has come to play a highly problematic role. Reproductive politics, feminism, gay rights and the increasing commercialization of all facets of culture have blurred the (retrospectively!) simple lines of demarcation between hedonists and puritans. To speak of pleasure is to speak not only of sex, but of power as well. How has this new attitude toward pleasure affected that traditional pleasure of Western culture, the reading of poetry? In this course we will explore how one might read today the corpus of French erotic poetry and what pleasures one might identify and even experience in the act of reading. Students will read and discuss selected poems, and write a minimum of 20 pages, to be divided between a diary of readings and two critical essays, each focusing on a single poem. Class time will be split between a weekly lecture, class discussion, and the oral interpretation of poetic texts. Readings will include: Bernart de Ventadorn, SONGS; Labe, SONNETS; Racine, PHEDRE; Baudelaire, LES FLEURS DU MAL; Rimbaud, POESIES; Apollinaire, CALLIGRAMMES. (Graham).

321. Readings in German. Proficiency test. (4). (Excl). May be repeated for credit.

Description not available.

324. Readings in Spanish. Proficiency test. (4). (Excl). May be repeated for credit.
Section 001.
The focus of this class will be on two or three television programs coming directly from Chile. Designed and created by Chileans, for a Chilean audience, these programs would familiarize students with important social issues of Chilean society, enabling them to engage in a rich cultural reading, plus the authenticity of the spoken language in its own medium and the possibility of getting to know the country through its people and it geography. If everything works out, the weekly debate of The Apple of Discord, a program of social issues, the conversation and concerns about art in Keep an Eye on Art, and/or the ecological concerns of The Land in Which We Live, would constitute the main working material. My idea is to establish links with others courses, programs or student's interests. For each segment I hope to invite a sociologist, an art instructor and an instructor from the Natural Resources area with knowledge of Spanish. I selected these materials on my recent stay in Chile. I hope this will be the first step in a broader project. (Moya-Raggio)

Section 002. Description not available.


267. Introduction to Holography. (4). (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)

268. Introduction to Visual Thinking: Adventures in Creativity. (4). (Excl).

This is a studio course designed to develop and enhance visual thinking skills, flexible problems-solving strategies, and creativity. No previous art t raining is necessary. There will be daily activities designed to overcome perceptual and conceptual blocks and nurture creative strategies. Four longer 3-D projects will give students the opportunity to put these strategies into practice. Slides, lectures, readings and discussion about the creative process will supplement studio work. Cooperative learning in groups will be emphasized. Students will keep a comprehensive notebook of sketches and ideas, plus a daily log making explicit the creative strategies they use for a given problem. Major projects are equivalent to written exams. Readings include Robert von Oech, A Kick in the Seat of the Pants (Harper and Row, 1986), plus selected articles on visual thinking and creativity. (Savageau)

269. Elements of Design. (4). (Excl).

This course provides non-art majors with the opportunity to practice, as well as study, visual skills. It attempts to give students a broad experience through 1) exposure to art history, anthropology and art, and the psychology of visual perception, presented in slide lectures; 2) technical mastery of a range of media, including pencil, charcoal, and paints; 3) development of creative and technical skills; and 4) critical assessment of works of art during class discussions and critiques. During the first part of the course students acquire a visual vocabulary by working with the basic elements of design, including line, shape, tone, texture, perspective, balance, and color. Students complete projects dealing with these visual elements. During the final part of the course students apply their new visual skills to longer, more complex projects. Students are evaluated individually on their progress and the quality of their projects. Class critiques are frequent, and attendance is mandatory. (Savageau)

285. Photography. (4). (Excl). Materials fee.

An introduction to the medium of photography from the perspective of the artist. It includes an overview of photography's role in the arts, the development of an understanding of visual literacy and self-expression as they relate to the photographic medium and the development of basic technical skills in black and white and color photography. A visual emphasis is maintained in both presentation and course work, and the students works with the medium towards a goal of personal expression. There will be a studio fee. (Hannum)

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 ceramics 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. (Crowell)


Arts and Ideas

236/Film Video 236. The Art of the Film. (4). (HU).

The Art of the Film examines the dramatic and psychological effects of the elements and techniques used in film making and television, and some of the salient developments in film's artistic and technological history. This course provides students with the basic tools and methods for film appreciation and study. 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. (H. Cohen)

290. The Experience of Arts and Ideas in the Twentieth Century. (4). (HU).
Modernism and its Myths.
The period of modernism in the first half of the 20th century saw an extraordinary amount of artistic and critical activity, much of it experimental and avant-garde in nature, entailing a radical break with the past. A coherent and finely articulated body of critical thought emerged which exercized, especially in the visual arts, considerable influence over how that arts was understood, and even to some extent, how it was produced. Modernist theory emphasizes the autonomy of the work, its self-sufficiency and even indifference to other areas of human endeavor, such as literature, philosophy, or religion. The defining gesture was the "self-reflexive turn" - the work's centripetal reference to the materials and means of its own making. This gesture sought a state of innocent opacity. In some respects, modernist art theory enacted its own project and found itself removed from the work of artists it ostensibly represented. These artists remained persistently, if covertly, transparent to traditional sources of inspiration and reference; they invoked in ciphers and frames and magic mirrors the guilty past from which modernist critics had attempted to liberate them. modernist theory was a myth about art, and in many cases a myth quite different from the uneasy ones present at the numerous creations of the works themselves. In this interdisciplinary course, we will explore both literature and the visual arts, addressing the ways in which writing is present in the abstract image, as an operative figuration. In addition, we will also read a selection of critical essays considered seminal in the study of modernism. (Sowers)

311. Intellectual Currents of the Renaissance. Sophomore standing or permission of instructor. (4). (HU).
This course will be devoted to a close reading and analysis of the five books of Rabelais, called Gargantua and Pantagruel. In our analysis, we will address problems of narrative structure ("story" and "discourse"), narrative space (symbolic versus illusionistic), and the myths of authorship, originality, and literary genealogy that are both embodied in and problematized by this work. We will also explore Ancient, Medieval, and Renaissance constructions of madness (ecstacy, folly, melancholia) in order to see to what extent they have determined Rabelais' text. Because this course is interdisciplinary, we will compare Rabelais' text with selected works by four Renaissance painters: Bosch, Titian, Brueghel, and Durer. How does narrative unfold in visual space? What sorts of narratives or visions are made possible by the invention of one-point perspective? What is necessarily excluded by this space? What is the connection between vision and madness? Finally, we will probe these works for evidence of a significant contradiction: as both exponents and critiques of humanism, as simultaneously promulgating and undermining the Renaissance myth of rebirth. Texts will include: Rabelais, Gargantua and Pantagruel (five books); Plato, The Symposium; The Little Flowers of St. Francis; Thomas de Cantimpre, The Life of Christina Mirabilis. (Sowers)

313/Slavic 313. Soviet Cinema. (3). (HU).

See Slavic 313. (Eagle)

333. Art and Culture. One History of Art or Arts and Ideas course, or permission of instructor. (4). (Excl).

No description available.

476/Chinese 476/Asian Studies 476. Writer and Society in Modern China. (4). (HU).

See Chinese 476. (Feuerwerker)


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 be asking as we explore some of the vast territory covered by fictional narrative and think 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 sample 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), City of Glass (Auster), stories by Borges and James, etc. Requirements: some in-class writing, three short papers, and final. No prerequisites, but a love of reading is helpful. (Feuerwerker)

360. The Existential Quest in the Modern Novel. Junior/senior standing, or permission of instructor. (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 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, Rilke, and Kafka. Two examinations and one term paper required. (Peters)

410. Upperclass Literature Seminar. (4). (HU). May be repeated for credit.
Section 001. 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 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 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 formulations behind such portrayals in the arts and literature? What value in art and culture? What about cultural conditioning? What does "orientalism" imply? How does one gather and interpret 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 understanding of phenomenological issues pertaining to 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)

Section 002. The Hero as Outsider, Outcast, or Outlaw. In this course we try to define the human need for heroes and the (changing) character of heroism by examining the eccentric hero that mainstream society attempts to suppress, dismiss, ignore, or condemn because it regards him or her as perverse, subversive, vicious, or beyond the pale of tolerance: the saint, criminal, psychotic, visionary, egoist, tramp, pervert or monster. Some of the works we will read and see are Melville's "Bartleby, the Scrivner;" Hawthorne's "The Minister's Black Veil" Kafka's "The Hunger Artist" Kosinski's The Painted Bird; Kundera's The Book of Laughter and Forgetting; Fugard's Master Harold and the Boys; O'Connor's Wise Blood; Michael Mann's Thief; Martin Scorsese's King of Comedy; Woody Allen's Zelig. The student will be evaluated on the bases of class discussion, papers, a mid-term and final exam. (H. Cohen)

Section 003. Environmental Literature. The aim of this course, in rough terms, is to think about the present state of man's relation to nature in the context of a variety of readings, past and present, on the American landscape and ecology. Most of our readings will be literary, but a couple might be described as scientific, political or historical in their orientation. Since the tutelary genius of this gathering is Henry Thoreau, we will nibble at Walden and the Journals throughout. There will be two lengthy field exercises (requiring a Saturday or a Sunday) intended to detach you briefly and partially from the technological matrix in which we all live. The course has neither hour exam, final, nor paper, but requires daily journal entries at least five times a week outside of class. Your journal will be read at least once during the semester and again at the end. You will give one presentation to the class on a topic relevant to the course, and may choose to accompany this with a paper for all to read. There will be periodic opportunities to share journal entries with other students. The class is exploratory in nature. It operates as a seminar, not a lecture, which means that students share responsibility for furtherance of its intellectual purposes. Regular attendance is therefore an expectation. Evaluation of your work will be 80% on the journal and 20% on class performance. (W. Clark)

451/Russian 451. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).

See Russian 451. (Bartlett)

Creative Writing

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 of 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. This course satisfies the Junior-Senior Writing Requirement for Creative Writing majors only. Permission of instructor is required. (Hecht)

325, 326, 425, 426. Creative Writing Tutorials.
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. 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. This course satisfies the Junior-Senior Writing Requirement for Creative Writing majors only. (Hecht / Mikolowski / Balducci)


280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).

See Theatre and Drama 211. (Walsh/Brown)

282. Drama Interpretation I: Actor and Text. (4). (Excl).

The actor's work in the theater is to act as the interpreter of the dramatic text. This course will explore this process. The first part of the course will focus on acting technique, to provide a common set of skills and a common language for the students. The remainder of the course will concentrate on the exploration of plays from the late 17th and 18th century, particularly the work of Molière and the English Restoration Comedy. These texts require tremendous skill from the actor, both in physical comedy and in the manipulation of language. There will be a performance component to the course work, either in workshop or full production of one or more of the dramatic texts we study. There will be ample opportunities, too, for the students who are interested in directing, and they are encouraged to enroll in the course. (Mendeloff)

382. Molière and His Theatre. Hums. 280 or permission of instructor. (4). (HU).

The second half of the seventeenth century was a great age for comedy in both France and England. Paris in the 1660s witnessed the flourishing of Molière's genius and London, from the mid-70s to the end of the century saw a string of brilliant wits dominating the comic stage Etherege, Wycherley, Congreve, Vanbrugh, Farquhar. This course will survey Molière's comedy from its roots in the commedia dell'arte to his mature works, with an emphasis on the masterpieces Tartuffe and The Misanthrope. Links between the French comic stage and the English will then be explored (e.g., Wycherley's Plain Dealer as a Misanthrope variant) and the largely independent course of English Restoration comedy charted. Critical analysis will focus upon the creative tensions between French neoclassic clarity compression vs. English expansiveness and multiple plots, between the scourge of Satire and the embrace of Comedy, between "Farce" (always a negative word in English critical vocabulary, often attached to Molière) and the elusive comedy of "wit." The lapse of both the French and English traditions into "sentimental" comedy at the outset of the eighteenth century will also be briefly examined. Significant scene-work will supplement quizzes and "percept" papers as course requirements, affording opportunities to explore a wide variety of styles from the accomplished slap-stick of early Molière to the brilliant intellectual duelling of the mature Congreve. Participation in an end-of-term performance project or an individual research project in a playwright or comic mode not covered will serve as the final exam. (M. Walsh)

485. Special Drama Topics. Sophomore standing. (1-2). (Excl). Offered mandatory credit/no credit. May be repeated for a total of 4 credits.
Section 001. Introduction to Shakespearean Criticism.
Students will attend at least four Shakespeare production 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. Limit of 14 students. Down payment of $50 absolutely essential by May 1. Likely production for early-mid October: Love's Labours Lost, Romeo and Juliet, Measure for Measure, The Tempest. (M. Walsh / S. Stanton)

Section 002. Pre-production Seminar. This seminar is for RC Drama Concentrators (or other pre-approved students of Junior or Senior standing) who will be engaged together in a major performance project of a pre-determined play or author in Winter 1993. It is designed to initiate and supervise the dramaturgical preparation as well as to aid the overall planning of the upcoming production. Issues covered will range from the purely theoretical (aspects of the genre chosen, historical background and "reception history" of play, etc.) to the purely practical (maintenance of professional attitudes, rehearsal techniques and actor-training, "out-reach" and other advertising initiatives, etc.). All RC Drama Concentrators who will be using the Winter 1993 production for their Play Production requirement or as a Senior Project must complete this seminar in the Fall. N.B. The course will not take place if the core of a production team (director(s) plus designer(s) or principal actor(s)) is not in place at the outset of the semester. Sufficient prior consultation with the instructor is therefore absolutely essential. (M. Walsh)


250. Chamber Music. (1). (Excl). Offered mandatory credit/no credit.
Section 002 Instrumental: Chamber Orchestra and Small Ensembles.
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 and Mixed Choral Ensembles; 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's Arts Practicum Requirement. (M. Kvamme / M. Kardas-Barna)

251. Topics in Music. (4). (HU).
Living Traditions: Issues in North American Folk and Popular Musics.
This course is structured to introduce contemporary issues and multi-cultural perspectives of vernacular musics in North America. We will study five distinct musical cultures: the Anglo-American ballad tradition; Delta Blues and Jazz; Ranchero and Tex Mex genres; First Nations (Native) Powwow music; and Country and Western songs. Each genre allows for unique discussions, such as the impact of "race records" among Blues artists, Native musical syncretism, and gender and performance issues in Country and Western music. At a broader level, connections shared among these traditions will be explored by considering the function of music in each community, the role of performers, and the impact of media and the music industry in transforming musical style. Through discussion and performance, we can develop a better understanding of the diverse North American musical landscape, and broaden our concepts of traditional and contemporary culture. No musical background is required. Students will develop basic analytical skills in order to approach each genre and will keep a music journal based on listening assignments. The course will also include two exams and a term paper; students may elect to perform a musical work in lieu of the final paper. Although the course is not a seminar, student participation is encouraged. (S. Cronk)

253. Choral Ensemble. (1). (Excl). Offered mandatory credit/no credit.
Section 001. Women's Choral Ensemble.
Group rehearses twice weekly and prepares thematic concert of music from the vast Women's Chorus Repertoire. Vocal skills, sight singing, and basic musicianship are stressed. No prerequisites, but a commitment to the group and a dedication to musical growth within the semester are required. (M. Kvamme)

Section 002. Mixed Choral Ensemble. Four-part works from a variety of musical styles are rehearsed and prepared for performance in concert. Meets twice weekly. Vocal skills, sight singing, musicianship and ensemble singing are stressed. No prerequisites, but a commitment to the group and musical growth within the semester are required. No audition. (M. Kvamme)

254. The Human Voice as An Acoustical Instrument. (4). (Excl).
Basic Technique for Singer and Actors, Including the Alexander Technique.
This course is open to any student who want 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 P.M. 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, dome 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 Heirich, available from Kinko's. The cost of books and materials for this course should be approximately $25.00. (J. Heirich)


257. Cultural Confrontation in the Arts. (4). (HU).

This is a cross-cultural, interdisciplinary, multi-media course which explores the works of art produced as a consequence of the contact and confrontation between diverse cultural traditions. The focus of this course is to study the aesthetic responses of different people when they come into contact with a dominant "Western" culture. The emphasis is on an intensive engagement with representative texts or visual images that are produced at such "moments" of confrontation. Examples of fiction, film, music / dance, paintings, poetry will be presented in order to encourage an awareness of cultures other than one's own. Among some of the objectives of this course are: a) to foster an awareness of the cultures of others by letting them speak in their own voice (even if we can only hear it through translation) and by learning to listen very carefully to what is said and HOW it is said; b) to understand that the response of these cultures to the impact of the West (or dominant culture) whether it involves conflict, compromise, assimilation, or resistance (or any combination of these) has to be explored through questions of form and language, and that these questions are related to the undermining of tradition and the crisis of cultural identity; c) to help students refine their skills in verbal and textual analysis so that they will not fall back on simplistic answers, but acquires some sense of the range and complexity of the issues raised by what is a world wide phenomenon and, in fact, is the story of our modern / modernizing world. The course will be divided in three segments covering three different cultural areas: Afro-American (including Caribbean region), Asian-American and Latino/a in the United States. A number of guest lecturers, from different disciplines, will constitute the core of each segment. Classes will be an hour and a half in order to include lecture and discussion at the same time. (Moya-Raggio)

370. Western and Non-Western Medicine. Permission of instructor. (4). (Excl).

This course is a cross-cultural offering in the sociology of knowledge, using basic concepts involved in health and medical practices of classical China, India, and the contemporary West. It will compare how three major cultural traditions have understood the relation of health to physical, mental, emotional and spiritual processes, the kinds of interventions that are appropriate, and the social arrangement that are needed for health care. Students will be introduced to areas in which the traditions are beginning to come together, and to the implications these could have for health care. (M. Heirich)

450. Science and Social Responsibility. (4). (Excl).
The Physicist & the Bomb.
The course will consider the role played by physicists in the development of the Atomic Bomb, its precursors, and its aftermath. We will deal with technical, political, and ethical aspects of this episode, and will also consider its impact on literature, language, film, and popular culture. Some of the principal players, including J. Robert Oppenheimer and Edward Teller, continue to interest authors and audiences. We will hear from individuals who were themselves involved in some of the events. Students will be asked to write short discussion paper as well as a research paper on aspects of this story. Typical readings include: Kurt Vonnegut, Cat's Cradle; Haakon Chevalier, The Man Who Would Be God; Samuel Goudsmit, Alsos (1947); U.S. Atomic Energy Commission, In the Matter of J. Robert Oppenheimer; (Transcript of hearing before the Personnel Security Board, 1975); Heinar Kipphardt, In the Matter of J. Robert Oppenheimer: A Play Freely Adapted on the Basis of the Original Document. (1967); J. Robert Oppenheimer, Letters and Recollections (1980); Leo Szilard, Leo Szilard, His Version of the Facts: Selected Recollections and Correspondence (1978); Herbert York, The Advisors: Oppenheimer, Teller, and the Superbomb (1976). (Sanders)


391. The Politics of Quantification. (4). (Excl).
Statistical Answers to Social Science Questions.
This course is designed as an introduction to statistics and quantitative methods in the social sciences through a question-focused approach. The course requires an adequate background in high school algebra, including working with equations and using formulas to calculate answers to problems. Students will gain skill in reading and evaluating research reports as well as completing a basic statistical analysis from ray data. 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. 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 Subject 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. (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 resources 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.

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 1960s 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 1960s 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. (Wright)

419/IPPS 519/Nat. Res. 574/Physics 419. Energy Demand. Basic college economics and senior standing. (3). (SS).

See Physics 419.


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 new-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 questions. Aimed at freshman 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 particularly important issues. Two five-page papers, and a final (take-home) exam will be required. (Cooper)

360. Social Science Junior Seminar. Upperclass standing. (4). (Excl). May be repeated for credit.
Section 001. American Politics in the Cold War Era.
This course combines theoretical, historical and contemporary perspectives in an analysis of the dynamics of organized power in the United States. The theoretical focus is on the American state as a capitalist democracy, and the role that political practices and discourse plays in mediating the relationship of capital interests and popular forces. The historical focus this term will be on the cold war era and its aftermath: we will examine the role of cold war policies in shoring up and then undercutting the Democratic coalition and the political economy of post-war growth, the collision between civil rights themes in the neo-conservative revival of the 1970s. The final third of the semester will explore the problem of how the end of the cold war affects the composition and terms of domestic political competition and the capacity of American politicians to govern. While the presidential elections will form a background and touchstone for these investigations, the focus of the course will be on the long-term historical patterns that are shaping the trajectory and content of American politics at the end of the 20th century. Students should plan to do a considerable amount of reading and to write two essays. (Bright)

Section 002. Sources of Social and Cultural Theory. This course will closely examine selected works by classic thinkers in the field of social and cultural theory, including Karl Marx, Emil Durkheim, and Max Weber. Covering the period from the late eighteenth century to the 1940s, it will relate these works to major developments of the period such as the French Revolution, industrialization and the growth of imperialism. At the same time, it will indicate how these classic works continue to serve as important sources in our attempts to understand human beings as social, cultural and historical actors. The class will emphasize discussion, group presentations, and individual writing. (this course forms part of a two-semester sequence that will be completed in the winter by a class dealing with social and cultural theory from the 1940s to the present. It is perfectly acceptable for students to take one part of the sequence without taking the other. (Rouse)

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 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. This course fulfills the RC Social Science Concentration research requirement. (Larimore)

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