RESIDENTIAL COLLEGE COURSES

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

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 requirement.

Wait lists of 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.

Following is a listing of Fall 1993 courses 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 (all sections)

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 lists 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)

Foreign 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 simple written texts or short spoken passages without the aid of a dictionary, and can carry on a short, elementary conversation.

193/Russian 103. Intensive First-Year Russian. No credit granted to those who have completed or are enrolled in Russian 101, 102, 111, or 112. (10). (LR).

See Russian 103.

Core 290, 291, 294 Intensive French, German, Spanish II. 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 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 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 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. Assigned works: (a selection of tales in a course-pack, and two books) 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 tales, some of them by the following modern writers: Piere Gripari, Michel Tournier, Jean-Marie Gustave LeClezio, Pierrette Fleutiaux. Films: Jacques Demy Peau d'Ane; Jean Cocteau La Belle et la Bete. (Carduner)

Section 002 The Literature of Quebec and the Notion of Alienation. How does one feel when standing alone as a minority inside an oppressive majority, oppressive by its status as a majority? How does one react to marginalization? How does the individual constitute him or herself? In this course we will explore the question of alienation in the literature of the Canadian province of Quebec where a community of 6 million francophones survives in the presence of an English-speaking majority. We will attempt to define the concept of "alienation" while reading a variety of literary texts (novels, poems, short stories and essays) written between 1965 and 1975, the years of the "Revolution tranquille". This quiet revolution was the site of a number of social, political and economic changes in Quebec, changes that translate into literary works, topics, "genres" and styles. Students will be required to read novels by Gerard Bessette (Le Libraire), Marie Claire Blais (Une saison dans la vie d'Emmanuel) and Rock Carrier (La guerre, yes sir!), poems by Gaston Miron and Michele Lalonde, essays by Hubert Aquin and various excerpts of feminist works. Students will be asked to produce a maximum of twenty pages of both creative and essay style writing. (Delvaux)

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

The theme of this course will be the demise of the German Democratic Republic and its absorption into the Federal Republic of German, as reflected in both East-German and West-German writings. The aim of the course is to acquaint the students with this dramatic political process and its effects on the lives of the people in both parts of Germany. It should also enrich the students' vocabulary of everyday language and reinforce grammatical and stylistic principles of German. Students will be expected to present oral summaries of current reading assignments whenever called upon. Each student will also submit three short typed essays on topics discussed in the course and, at the end of the term, a five- to eight-page typed essay discussing the overall theme of the course. Active participation in class is essential. (Meyer)

324. Readings in Spanish. Proficiency test. (4). (Excl). May be repeated for credit.

The focus of this class will be on the reading of a series of video programs developed and produced in Chile, with the special purpose of bringing to the attention of the people in that country some major environmental problems the country is confronting. Each program presents a rich description of physical and human geography of a particular region of the South American country; the ecological/environmental problems presented are common to all countries negotiating the difficult tasks of economic development and protection of the environment. The challenge of resource management and population and environment interactions will constitute a major focus of the class. The class will offer the opportunity to develop specialized lexical knowledge and will establish connections with other areas of knowledge, such as Natural Resources, and/or Biology. The class will be team-taught, an expert on the subject matter, native speaker of Spanish, together with an expert on language usage, will constitute the team. (Moya-Raggio)

370/French 370. Advanced Proficiency in French. RC Core 320, or French 362, or permission of instructor. (3). (Excl).

This course includes development of speaking skills in informal and formal contexts, and initiation into writing formats and styles customary in French universities. A rich cultural component will prepare students socially and mentally, as well as technically and intellectually, for living and studying in France. Emphasis will be put on modern France and current events. Students will write daily exercises and weekly papers of various lengths. Among the techniques practiced will be: the French "dissertation," "contraction de texte," and "commentaire compose:" how to write an introduction, a conclusion, a paragraph, a text with logical development with the use of cohesive devices, precise and accurate wording and syntax. Directed as well as liberated practice of oral production will activate a wide range of functional expressions. Formal discourse such as "l'expose" will also be practiced. Training in reading intricate current newspaper prose and aural comprehension of lectures with note-taking will be included. Final exam; a short "expose", a brief conversation, and a written French style essay ("dissertation"). Prerequisite: RC Core 320 or French 361/362 or permission of instructor. (Carduner)

ARTS (DIVISION 864)

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)

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; 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 work 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, exloring 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 clas 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. (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 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)

HUMANITIES (DIVISION 865)

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)

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, Impressionism and Symbolism - by analyzing and comparing representative works of literature, music, dance and the visual arts. Among the works studied will be paintings by Delacroix, Courbet, Manet, Monet, and Gauguin; 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. We will explore some of the following issues: how does Perrot and Gautier's ballet Giselle, the Symphonie Fantastique of Berlioz, and the poetry of Lord Byron reflect the ideals of Romanticism? 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" of Manet 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 Impressionist and Symbolist painters to the revolution in form brought to music by Debussy and Wagner? These and other questions will be considered in class discussions. (Genne).

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

See Slavic Film 313. (Eagle)

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

See Chinese 476. (Feuerwerker)

Comparative Literature

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 and analyze carefully several complex novels and stories that are acknowledged classics, but also take a quick look at examples of popular fiction mysteries, a Western, and a romance to consider the relationship between fictional formula and social values. Through two novels by minority writers we will examine the role of storytelling in relation to problems of culture, gender, and identity. Finally we will discuss several self-reflexive texts that play with narrative conventions, comment on their own nature, or call into question our very activities of reading and interpretation. Requirements: some in-class writing, three short papers, and a final. No prerequisites, but a love of reading is helpful. Readings will include The Hound of the Baskervilles, Doyle; City of Glass, Auster; Dostoevsky, Crime and Punishment; Morrison, Song of Soloman; Kingston, The Woman Warrior; Borges, "The Circular Ruins", "Death and the Compass", "The Library of Babel; Puig, Kiss of the Spider Woman; Kafka, The Trial; James, The Figure in the Carpet. Selected short stories by Maupassant, Chekhov, Joyce, Faulkner, Jackson and others will also be included, as well as a Western and a Romance. (Feuerwerker)

310. Medieval Sources of Modern Culture. Sophomore standing or permission of instructor. (4). (HU).

During the medieval period, a major revision of the representation of the body took place in Western art. The classical paradigm, in which the body occurs as a mathematical canon, an idea, or an illusion, is subverted, stood on its head, and sometimes repudiated altogether. Instead, the concrete physicality of the body interior space as well as surface, internal organs as well as external appearance becomes the starting point for such literary genres as confession, song, narrative, and meditation. Very often, the body is projected into these genres as the imaginative landscape within which they unfold. Even more, the body and its organic transformations become the site of verbal and visual figuration; they generate a rhetoric. This refigured body does not always observe the syntax assigned to it by classical convention. Instead, it begins to speak an extravagant language: the skin is a book, tongues of fire burst from every side, hearts have ears, bellies have mouths, and genitals flourish an array of musical instruments. Nor are the well-bred hierarchies of classical decorum preserved: humiliation, decay, and the collapse of the body under the blows of violence, disease, and time, are all rhetoricalized with the intensity usually reserved for displays of power and invulnerability. In Medieval Sources, we will explore this new representation of the body in both literature and the visual arts. This interdisciplinary approach will involve the close reading of texts and the careful analysis of images. Our goal will be to improve these skills, reading and looking, and to become both more sophisticated and more confident in the way in which we generate our own interpretations from the material. Some of the material covered will include: Plato, Phaedo; Classical Sources of early Christian art; Lives and Sayings of the Desert Fathers; The Life of St. Mary the Egyptian; Early Christian art of the Eastern Empire: Egypt, Syria, Constantinople; St. Augustine, Confessions; Byzantine art, Ravenna; Anglo-Saxon poetry; Iro Celtic illumination; Hildegard von Bingen, Songs and sequences; Romanesque portals, Moissac; Romanesque sculpture, Reliquaries, The Throne of Wisdom; Marie de France, Lais; Gothic sculpture: the portal program of Chartres; Julian of Norwich, Revelations of Divine Love; Matthias Grunewald: The Isenheim Altarpiece. (Sowers)

341. Latin American Literature. (4). (Excl).
Latin American Literature. Literature and Society in Latin America.
From the outside, especially from the perspective of the United States or Europe, Latin America sometimes appears as picturesque or even folkloric; it also appears as an homogeneous entity. Nevertheless, in spite of some commonalities of history and language, each part has its own past as well as its own present, a particular social context and a language that modulates and resonates differently. It is possible to say that the homogenizing factor comes always from the outside. The difference found among the many parts is also the distance beyond the geographical one in language and vision, between a writer of Caribbean Latin America and one from the Southern Cone. Yet, writers in Latin America have expressed considerable concern for the continent as a whole, recognizing its mestizo characteristics not only in relation to race, but also in relation to influences and aspirations. They recognize that although not one of them may represent the whole, all of them contribute to the emergence of a common language. To find that common language and concern will be the focus of this class; we will do that through some of the major voices of Latin America. The list might include: Carlos Fuentes, Gabriel Garcia Marquez, Alejo Carpentier, Augusto Roa Bastos, Marta Traba and Elena Garro and/or others. Course is taught entirely in English; however, a knowledge of Spanish is welcome. (Moya-Raggio)

410. Upperclass Literature Seminar. (4). (HU). May be repeated for credit.
Section 001 Psychoanalysis and the Modern European Novel.
First, this course will offer a basic introduction to the Freudian and Jungian theory of human psychology and psychopathology: the nature of the personal and interpersonal unconscious; theories of the instincts and their transformation; the development and function of the ego; the mechanisms of defence and repair; and theories and methods for the interpretation of dreams and works of art. Second, this course will conclude with two studies in applied psychoanalysis. (1) Kafka and Freud: Kafka's childhood and his relationship to his father will be examined in light of the trauma of the bourgeois nuclear family as described by Freud. Also, the Freudian theory of dream interpretation will be applied as a technique for the analysis of Kafka's literary fantasies of Guilt, punishment and suicide. Texts: Freud's The Interpretation of Dreams; Kafka's short stories and The Trial. (2) Hesse and Jung: "the search for identity" of Hesse's protagonists will be examined in the perspective of Jung's individuation process, the persona, the shadow, archetypes of the Collective Unconscious, and man's quest for mystical illumination. Texts: selections from The Portable Jung; Hesse's Siddhartha and Steppenwolf. Kafka's and Hesse's lives will also be analyzed from the perspective of theories of neurosis and artistic creativity. Mid-term and final exam, and term paper required. (Peters)

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

See Russian 451. (Titunik)

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 or three 20-25 page segments of longer works are due at evenly spaced intervals during the term. Everyone in the class reads everything submitted. The class meets three times a term, as a workshop, to discuss everyone's work. Each student meets with the instructor each week for private discussion of work both completed and in progress. Enrollment is limited to a maximum of six students, usually students who have completed Narration and/or Tutorials. This course satisfies the Junior-Senior Writing Requirement for Creative Writing majors only. Permission of instructor is required. (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)

322. Advanced Creative Writing for Children and Young Adults. Hums. 222 and permission of instructor. (4). (Excl).

This course provides students with an opportunity to continue work on stories, novellas, picture books or other media intended for young audiences. It will expand the skills and techniques already developed in RC Hums 222. Class meetings, a manuscript exchange, and private conferences with the instructor provide the structure, critical skills, and peer support that aid the writing process. The seminar will meet as a workshop on alternate weeks throughout the term. Students will also meet privately with the instructor by appointment. Readings, revision and critiques of fellow students' work will form the basis for evaluation/grade. Enrollment is limited to eight. Prerequisite: RC Hums 222 and permission of instructor. (Balducci)

Hums 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)

Drama

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

See Theatre and Drama 211. (Cardullo)

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

This course will explore texts from the actor's perspective. Under consideration are plays by Ibsen and Chekhov, or possibly a new script by OyamO. The first part of the term will be spent in dramaturgical research in period and place and intensive script analysis of our chosen play(s). The majority of the course will involve the rehearsal for a workshop production of the text(s) under study. Students will be required to do outside reading and at least one major research project. They will also be required to devote the required extra rehearsal hours to the project. The course will be open to all students who have had a previous acting course, such as Acting 101, or previious significant performance experience. Admission will be by interview/audition with the instructor. Theatre Department students, particularly those in the B.A. program are encouraged, as well as RC students with a serious interest in acting. (Mendeloff)

385. The Theatre of Bertolt Brecht. (4). (HU).

The drama of Bertolt Brecht, represented by a selection of his plays in English translation, is the subject of this course. We aim to arrive at an informed understanding of the generally used adjective "Brechtian". To do this we will become intensely conversant with seven plays, less intensely so with another eight, with all of which we may appreciate the v ariety of Brecht's dramatic style. We will also read and discuss some of his writing on the theory of Epic Theatre, on the "dialectics in the theatre", and on his general ideas of a theatre that should represent the twentieth century world as alterable. In addition to the fifteen plays, reading will include substantial amounts of s econdary material on Brecht's life and his European background. Twp short analytic papers (total 15 pages), a minimum of two prepared scene presentations, a final project of presentational kind, and active participation in class discussions complete the requirements. (Brown)

390. Special Period and Place Drama. Hums. 280 or permission of instructor. (4). (Excl). May be repeated for credit.
Section 001 Currents in Modern Drama, 1890-1930.
This course will examine the drama, theatre styles, and theories which represent the early Modern Period's big artistic "-isms": Realism and Naturalism, Symbolism, Expressionism, Dada and Surrealism. Playwrights to be read include Zola, Strindberg, Chekhov, Wedekind, Yeats, Synge, Jarry, Apollinaire, Cocteau, Kaiser, and Pirandello. Dramatic theories and descriptions of productions will be surveyed through the prose writing of several of these playwrights and of theorists such as Gordon Craig, Otto Brahm, Adolph Appia, Tristan Tzara, Andre Brenton, Stanislavsky and Meyerhold. Two short analytic papers, two prepared scene presentations, class discussion and a final project (one or more of Yeats' Celtic mythological dramas in a fully realized studio production). Sophomore standing and RC Hums 280/Theatre & Drama 211 are prerequisites. Permission of instructor may also be obtained through individual consultation. (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 productions at Stratford, Ontario, during a long weekend field trip in late September/early Octoer. 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 $50.00 absolutely essential by May 1. Likely productions for early mid-October: (Anthony and Cleopatra, Midsummer Night's Dream, Moliere's Imaginar Invalid). (Walsh)

Music

250. Chamber Music. (1). (Excl). Offered mandatory credit/no credit.
Section 001 Instrumental: Chamber Orchestra and Small Ensembles.
All students who are interested in participating in instrumental ensembles can enroll for one hour of credit. Ensembles have included: Mixed ensembles of strings and winds; brass quintet and intermediate recorder; 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. (Kardas-Barna)

Section 002 Handbells. Students who read music are invited to learn to play handbells. Four octaves of bells provide an opportunity for performance and improvement of music skills. No audition required. Course may be used to fulfill the RC's Arts Practicum Requirement. (Halsted)

251. Topics in Music. (4). (HU).
Section 001 American Country Music.
(Manheim)

253. Choral Ensemble. (1). (Excl). Offered mandatory credit/no credit.
Section 001 Women's Choral Ensemble.
Group rehearses twice weekly and prepares a 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 term are required. No audition.

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 term are required. No audition.

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 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, and those who want to find out if they can sing. Most voices are undeveloped (or underdeveloped) and 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 2-4 P.M. Your schedules should temporarily remain flexible between 12-6 P.M. on Wednesdays for scheduling of small group sessions; this scheduling will be done during the first class meeting. 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 Heirich, available from Kinko's. (Heirich)

NATURAL SCIENCE (DIVISION 875)

260. Science and Societal Issues: The Immune System. Introductory science course or permission of instructor. (4). (NS).

This course introduces students to the field of immunology and to societal issues raised by contemporary scientific and biomedical research. The course concentrates first on the biological basis of the immune response. An understanding of biological concepts, in turn, serves to prepare students to examine some of the social and ethical issues that derive from this active area of scientific research. The course is intended for Students who want to gain a basic understanding of the biology of the immune system and also examines the larger context within which scientific knowledge is gained and used. Topics include: autoimmunity, immunization, tissue and organ transplantation, allergy, AIDS, cancer therapy, media presentation of science, and the impact of funding and the impact of funding and policy decisions on the direction and progress of scientific research. Readings include an introductory immunology text, research articles and reviews, and articles and books about the scientific enterprise. Evaluation will be based on two examinations, a short paper, a research paper/project, and class participation. Prerequisite: one college-level science course or permission of instructor. (Sloat)

263/Urban Planning 263. Energy and the Environment. (4). (NS).

See Physics 250. (Rycus)

270. New Biotechnology: Scientific, Social and Historical Perspectives. High school biology or permission of instructor. (4). (N.Excl).

This course examines the development of genetic engineering and other biogenetic technologies that provide powerful methods for intervening in the genetic constitution of living things. It asks some of the questions that the scientific community asked itself when these techniques were invented in several California laboratories in the early 1970's: what principles should guide assessment of a new form of technology in the face of varying technical opinion about its implications? Should scientific research be controlled? What should be the roles of technical experts and the wider public in policy making? Where should decisions be made? And who should decide such matters? How these issues have been addressed are central themes of the course. The principle goal of the course is to develop a broad historical perspective in the emergence and development of a new field of scientific achievement, the contexts in which the field is evolving, the terms of development, and the social and ethical issues associated with the development and application. This term, group projects on the social and ethical issues associated with emerging or projected applications of biotechnology - for example, the patenting of life forms, military use, the release of genetically engineered organisms into the environment, agricultural applications, genetic engineering in humans, the human genome project are planned. Readings will include Dangerous Diagnostics (1990), Dorothy Nelkin; Preventing a Biological Arms Race, Susan Wright (ed) (Cambridge, MA: MIT Press, 1990); Genetics, David Suzuki (Cambridge, MA: Harvard University Press (1989). Prerequisite: High school Biology or permission of instructor. (Wright)

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

See Physics 419. (Ross)

SOCIAL SCIENCE (DIVISION 877)

202. The Twentieth Century: A Global View (4). (Excl).

The aim of this course, designed for sophomores, is to help students locate themselves in the world they inhabit. We will attempt to "map" the world of the late-20th Century, developing an analytically precise and historically grounded description of the contemporary world so that it can be seen as the product both of continuous historical processes and of specific, historically unique conjunctures. This will involve an investigation on three tiers: we will study process of global integration, the circuits of finance and exchange, of information-flow and migration, that selectively bind the world together; we will examine how the global flow of material goods and ideas percolate into and get appropriated to local contexts and needs, producing contests over meaning, identity and everyday practice; and we will explore how the interactions of global and local worlds produce crises and realignment in the "middle ground" of states, national politics, and national identities. The central problem is to understand how processes of global integration create disjunctures and fields of contestation that, in turn, make the proliferation of difference a key characteristic of an integrating world. There are no prerequisites for the class; students will be asked to read five books and a number of articles and to write two papers. (Bright)

360. Social Science Junior Seminar. Upperclass standing. (4). (Excl). May be repeated for credit.
Section 001 Hands-on Research: Exploring Gender Issues in the U of M Classroom.
This social science research seminar will give students the opportunity to take part in a survey research project, learning about and gaining experience in all aspects of the research process. Students will participate in questionnaire design, data collection, coding, data analysis and report writing. The research project will examine student values, beliefs and experiences regarding gender issues in the classroom, such as differential enrollments, classroom dynamics, and instructor/student interactions. Because this research is a collaborative project, students will be expected to contribute approximately eight hours per week outside of scheduled class time (some days we will not hold regular class meetings) and to attend some evening and weekend sessions. There are no prerequisites. (Jayaratne)

460. Social Science Senior Seminar. Senior standing. (4). (Excl). May be repeated for credit.
Section 001 Witchcraft: Social and Cultural Dimensions in the Early Modern Period.
For Fall Term, 1993, this course is jointly offered with History 397.008. (Kivelson)

Section 002 Crossing Borders: Latino Migration to the United States. For Fall Term, 1993, this course is jointly offered with American Culture 410.003. (Rouse)

Section 003 Armenia and the Armenians in the 20th Century. For Fall Term, 1993, this course is jointly offered with History 535. (Suny)


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