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 1994 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.

The Natural History Writer's Project: Fall Term At The Biological Station

This program is sponsored by the Residential College and the College of Literature, Sciences and the Arts.

The Natural History Writer's Project is an academic program that occurs at the University of Michigan Biological Station in Pellston, Michigan, during the Fall term. It entails three integrated courses one each from natural science, social science, and humanities. The natural science component will emphasize ecology taught primarily in the field. The social science unit will involve local history, regional literature, and community service. The writing component will involve both expository and creative writings, stimulated by readings of the literature of natural science, regional history, and personal discovery. Despite the three course titles and numbers, the program is a unity and some writing assignments, including journal writing, will bridge all three courses. Each class will have some activity ongoing throughout the semester. Wilderness excursions, including a canoe trip and a backpacking trip of several days' duration, are also class activities. We anticipate visiting scholars for each of the three courses.

Students interested in participating in this program must contact Catherine Badgley, Residential College, 103 Tyler, East Quad, (747-4344) regarding registration procedures.

Core 331. Field Ecology and Natural History. This course introduces students to the physical and biological processes that interact to produce local ecological communities. Students should become familiar with the influence of geological history on landscapes and habitats and of climate on local vegetation, the rates of change of physical and biological processes, the history of and threats to biodiversity, the evolutionary response of organisms to local circumstances, and processes of population regulation and the balance of nature. With this background of natural science, we will evaluate which aspects of the natural world are and which are not vulnerable to human modification. We will also consider the sustainability of various natural-resource policies in relation to the health of human communities and environmental systems. Readings will be predominantly in ecology (Ecology by Michael Begon, John Harper, and Colin Townsend; The Ecological Web, by H. G. Andrewartha and L. C. Birch), with additional selection from the literature of exploration (e.g., Aldo Leopold, A Country Almanac), resource policy (e.g., Robert Repetto, World Enough and Time), and creative writing inspired by natural history (e.g., H. D. Thoreau, Faith in a Seed; Ursula LeGuin, selected short stories; Mary Oliver, poetry).In the field, students will learn how to make a topographic map as a base for recording physical and biological data, identify common elements of the flora and fauna, document the distribution and abundance of plants and animals, measure physical and biological gradients across terrestial and aquatic habitats, and compare the current landscape and ecological community to conditions during the last ice age as represented by local sediments and fossils. (Badgley)

Core 334. Special Topics. Culture and Environment. Objectives of the course are to provide students with materials, skills, and opportunities to wrestle with how cultural assumptions and biases shape a society's relationship to the environment, examine how their own assumptions and biases influence that relationship, and create the experience of a different culture for exploring other perspectives and approaches. These objectives will be accomplished through literature that relates culture and environment, community service and advocacy, and self reflection. Activities, readings, and writings are organized around three themes. 1) Literature. Students in small groups will develop research topics and presentations on the subject of culture and environment. Readings include selections from David Orr, Ecological Literacy; Neil Postman, Conscientious Objections; David Kline, Great Possessions; Marge Piercy, Simple Pleasures; and Ursula LeGuin, Always Coming Home. Each student will write a paper that synthesizes the scientific view of the environment with another way of viewing the environment. 2) Community service. Students will initiate and conduct a project in the local community. Possible examples include an oral history project for the library or schools or an environmental contribution such as a cleanup. Readings for this area will emphasize social change and the role of groups and individuals; included are Eliot Wiggington (Foxfire) and Fran Peavey (Heart Politics). The writing for this section will depend on the nature of the community project. 3) Self-reflection. Wilderness outings, a visit with local Native Americans, and living a different ethic for a week are activities for this section, with relevant readings from Stephanie Mills on bioregionalism, Helen Nearing (Living the Good Life), H. D. Thoreau (journals and The Maine Woods), and Gretel Ehrlich (The Solace of Open Spaces). The writing for this section is in journals. (Bardwell)

Hums 325 Creative Writing Tutorial. Section 004. This extensive journal-writing course will be based on Thoreau's journals, with which students will become thoroughly familiar. Students will be expected to write daily in their journals, which will also be used regularly for in-class writing assignments, both creative and analytic. Students' journals will serve as home base for writing in all three courses of the program. The purpose of the journal is to join in one place all the various kinds of writing that pertain to the semester, both academic and personal, viewed in the broadest perspective. Readings will include selections from Henry David Thoreau's journals. The Maine Woods, and Walden; Aldo Leopold's A Sand County Almanac; John Muir's The Story of My Boyhood and Youth; Edward Abbey's Desert Solitaire, and John Passmore's Man's Responsibility for Nature. Students will keep a record of their canoe trip in the journal and will write a long essay, in imitation of and inspired by Thoreau's The Maine Woods, using journal material as their main resource. Also, students will be required to write a long essay on some matter pertaining to the environment, drawing on materials gathered into the journal over the entire semester. (W. Clark)

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.

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.

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.

310. Accelerated Review-French. Permission of instructor. (4). (LR).

This course will meet on Tuesday and Thursday from 1:00 pm till 2:00 pm. Weekly meetings with the instructor and compulsory attendance at French table and/or French club for a total of an additional two hours per week is mandatory. French table will meet Monday, Thursday and Friday from 11:00 am until 12:00 noon and/or Tuesday and Wednesday from 12:00 noon until 1:00 pm. French club meets on Thursday from 3:00 pm until 5:00 pm. The goal of this course is to bring students to the level of Proficiency defined in the brochure, "The French Program at the Residential College", in the four linguistic skills. Students who take 310 typically have not reached this level in two or more skill areas, but do not need the intensive course, Core 290, to do so. "Accelerated Review-310" is taught on a semi-tutorial mode: students meet twice a week in class as a group and once a week individually with their instructor to work on specific problems they have. In addition, attendance is required at the French lunch table and/or the French club (Baratin) for a total of two hours per week. In this course, emphasis is placed on correctness and fluidity of expression in speaking and in writing. Speaking skills are developed through weekly conversation sessions on current topics; personalized pronunciation diagnoses are administered and exercises prescribed. Writing skills are refined through a review of deficient grammar points and composition assignments which give students the opportunity to improve the accuracy and expressiveness of their style. In addition, exposure to primary source materials (current magazines or newspapers) and to texts of cultural and literary value develops reading ability and vocabulary. Listening skills are trained in informal conversational exchanges and in lectures with note-taking in French. (Butler-Borruat)

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. (Carduner)

Section 002 Les Miroirs Du Moi": The Study of the Self Through Diaries and Autobiographies. Do you keep a diary? Have you ever? Are you a fan of autobiographical works? Have you ever wondered what is meant by the term "the self", what it really is and how one may apprehend it and speak about it? In this seminar, we will study the diary and the autobiography, the two literary genres whose object is unequivocally the self, its quest, discovery or affirmation. The reading of Montaigne and Descartes will highlight the birth of individualism and subjectivity which the 16th and 17th centuries witnessed, and will lead us to the 18th century, when format "writings of the self" began to flourish, as in, for instance, J. J. Rousseau. Using works from the 18th to the 20th centuries, we will initially establish the specificity of the diary and of the autobiography as literary genres. We will then examine the different problematics emerging as one undertakes the project of portraying oneself. As we question the intentions and the results of the writer's project, as well as the reliability of the narrator, we will attempt to define the concept of the self what it is, how or whether it can be apprehended and fully expressed, and so forth. Our discussion, enriched by conceptions of the self developed in the philosophical and psychological fields, will encourage us to formulate our own conception of the self. Students will be asked to write short essays on the readings as well as to keep a diary. Active participation in class discussions is expected. Readings will include excerpts from diaries and autobiographies by Jean-Jacques Rousseau, Benjamin Constant, Stendhal, Rene de Chateaubriand, George Sand, Marcel Proust, Simone de Beauvoir, Andre Gide, Michel Leiris, Nathalie Sarraute and Marguerite Duras, to name a few. (Butler-Borruat)

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

The focus of this course will be on German culture before the two World Wars as reflected in texts selected from the classic, romanatic, symbolist and romantic/realist movements. We will explore the drama, poetry, and fictional prose, sample the texts and music of the romantic lyric song cycles, and take a look at German romantic painting. Authors included are Goethe, La Motte-Fouque, Morike, Eichendorff, Heine, Rilke, Hesse & Mann. The students are expected to write five shorter compositions on specific aspects of the course and one longer textual analysis on a work of their own choice. Concurrently the grammatical and stylistic principles of German will be reinforced. Texts: Goethe, (portions of) Faust Part I; La Motte Fouque, Undine; Marike, Muller, Eichendorff & Heine, Romantic Songs; Runge & Friedrich, Slides and Discussion of Paintings; Rainer-Maria Rilke, Selections of Poetry; Hermann Hesse, Die Morgenlandfahrt; Thomas Mann, Tod in Venedig. (Paslick)

324. Readings in Spanish. Proficiency test. (4). (Excl). May be repeated for credit.
Section 002.
Tres novelas latinoamericanas. En esta clase se leeran tres novelas contemoraneas de America Latina. Del escritor peruano, Mario Vargas Llosa, Quien mato a Palomino Molero? (1986); de Gabriel Garcia Marquez, escritor colombiano, se leera Cronica de una Muerte Anunciada (1981); y de Isabel Allende, escritora chilena, se leera De Amor y De Sombra (1984). Esta novelas tienen algo en comun, la memoria cumple un papel importante en la reconstruccion de hechos ya sucedidos que no pueden ser cambiados. Sinembargo, la memoria no es siempre fiel a los hechos, y el recordar es, en cierta forma, querer saber y entender, pero tembien luchar con el pasado y re-ordenario, desde la perspectiva del narrado y de multiples informantes. A traves de la lectura y comprensin de los textos, trataremos de descifrar el codigo que rige las acciones de los personajes y el poder que manega sus acciones. Mientras Vargas Llosa y Garcia Marquez trabajan con la noticia,el anuncio, (la anunciacion) como punto de partido, Isabel Allende centra su narracion en la rescate y la preservacion de un hecho sucedido, pero re-creado para salvarlo del olvido. (Moya-Raggio)

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). Materials fee ($30).

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 ($50).

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 ($40).

Developing an understanding of the art and history of printmaking through lectures, demonstrations, practical studio experience, and individual and group discussions. The course will focus on creating original prints, exploring images, visual ideas, and the possibilities of self-expression. Emphasis will be placed on linoleum cut, wood block, and screenprinting techniques. Field trips to area museums and gallery exhibitions will be part of the class experience. Approximately eight projects will be assigned. A sketchbook/notebook is required. Class attendance is mandatory, as is lab time spent outside the scheduled class period. There will be a studio lab fee. (Cressman)

289. Ceramics. (4). (Excl). Materials fee ($75).

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 $45.00 is assessed to pay for the film rentals. (H.Cohen)

290. The Experience of Arts and Ideas in the Twentieth Century. (4). (HU).
Section 001 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 exercised, especially in the visual arts, considerable influence over how that art 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. Texts, paintings and drawings to be studied will include the following: Thomas Mann, Death in Venice; Rainer Maria Rilke, Sonnets to Orpheus; Wassily Kandinsky, paintings and drawings; Virginia Woolf, To the Lighthouse; Henry Moore, sculpture and drawings; Barbara Hepworth, sculpture and drawings; William Faulkner, As I Lay Dying; Jackson Pollock, paintings; Samuel Beckett, Waiting for Godot; Mark Rothko, paintings and drawings. (Sowers)

309(210). Classical Sources of Modern Culture. (4). (HU).

This course is designed to introduce students to a selection of works, both literary and visual, from the Greek and Roman periods. We will examine these works in a variety of ways: first, through close reading and visual analysis we will try to understand the individuality of each work, its unique form, its voice, the questions it answers and those it asks, the conflicts in which it is caught. Second, we will examine the themes of sacrifice and prophesy as they unfold within these works. When Odysseus descended into the Underworld, he had to perform a ritual in which sheep were sacrificed. Only when the "dark-clouding blood" of the sheep ran into the pit were the wispy shades of the dead enabled to speak and to prophesy. What is the relation between sacrifice and speech? What is the relation between the body and the story? How was this relation enacted in myth and ritual of the ancient world? Can we trace an organic development of this relation through time, or do we see a structural constellation that persists intact throughout this period? Our exploration of this problem will guide us through the texts and the works of art selected for study; it will also lead us into the complex and broken labyrinth of ancient religion. TEXTS will include the following: Homer, The Odyssey; Aeschylus, The Oresteia; Sophocles, Antigone; Euripides, The Bacchae; Plutarch, On Isis and Osiris, The Decline of the Oracles; Tacitus, Agricola, Germania; Petronius, The Satyricon; Vibia Perpetua, et al. The Passion of St. Perpetua and St. Felicitas. VISUAL ARTS: Woodford, The Art of Greece and Rome. (Sowers)

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

See Slavic Film313.

333. Art and Culture. (4). (Excl).
Section 001 Interdisciplinary Studies in Dance & Related Arts: Collaboration in Art and Dance in the Twentieth Century.
A major "type" of dance in the twentieth century has been what British critic PJS Richardson has called "the synthesis of the arts" dance work. Stemming from the theories of Richard Wagner, these are dance forms in which the set and costume designer, choreographer and composer are meant to collaborate equally to create a unified work of art. This course will concentrate on an analysis of major works of this type, breaking them down into their component parts of art, dance, music, and scenario, and discussing the nature of the collaborative process concentrating in particular on the interaction of artist and choreographer. These dance works lend themselves extremely well to working across disciplines because they are inherently interdisciplinary. From the beginning, the artist's involved are meant to approach the work with the understanding that their individual contributions will be affected and modified, must interact with, the contributions of their collaborator-colleagues. Whether they actually do successfully or not will be one of the issues discussed in the course, for the concept of the "synthesis of the arts" is an ideal. We will begin by examining some of the works of the company which pioneered the form and established a standard for the rest of the twentieth century Diaghilev's Ballet Russes (Russian Ballet). Diaghilev employed artists like Picasso, Matisse and others to work with innovative young choreographers like Balanchine, Nijinska, and Massine. Works examined will include the Picasso and Massine ballet Parade and The Three Cornered Hat; the Nijinska-Goncharova Les Noces; Balanchine Rouault's The Prodigal Son; and the Nijinsky-Bakst collaboration in Afternoon of a Faun. We will continue with an examination of artist-choreographer collaborations in America including Martha Graham and Isamu Noguchi and others and study the concept of collaboration as it is challenged and changed by Merce Cunningham, Andy Warhol and Robert Rauschenberg. We'll also look at artist-choreographer collaborations in England including Richard Alston's work with British artists and the work of Frederick Ashton and Sophie Fedorovitch. Note: Out discussions of the Graham-Noguchi collaborations will coincide with the residency of the Martha Graham Company on campus during the fall semester and students will be able to take advantage of the activities associated with this event. You need not be an art, dance or music major to take this course. There are no prerequisites. This class will be small and seminar-like in nature. Several short papers and a longer paper at the end are required. (Genne)

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 bout events and people that are made up of nothing bu words on a page? How do we as readers participate in producing the text of fiction? 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), To The Lighthouse (Woolf), short stories by Chekhov, Joyce, and others; 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 natures, or call into question our very activities of reading and interpretation: Kiss of the Spider Woman (Puig), City of Glass (Austen), "The Figure in the Carpet" (James), etc. Requirements: some in-class writing, 3 short papers, and final. No prerequisites, but a love of reading is helpful. Requirements: some in-class writing, three short papers, and a final. No prerequisites, but a love of reading is helpful. (Feuerwerker)

340. Four Interdisciplinary Studies in 19th and 20th Century Intellectual History: Psychoanalysis, Mysticism, Nihilism and Marxism. Junior/senior standing, or permission of instructor. (4). (HU).

This course will compare and contrast the presentation of several ideas that have fundamentally redefined western man's concept of himself in the last 100 years as reflected in four different disciplines (political science, philosophy, theology, and psychology) and three literary genres (drama, novel, and short story). These ideas center upon the rise of the totalitarian state, the emergence of "psychological man," and the destruction of the concept of God as well as of all absolute value systems. How do the styles of each discipline and genre differ according to the writer's aim and intended effect upon the reader? Can we isolate and describe the particular techniques (discursive and metaphoric) used, respectively, by the political scientist, philosopher, theologian, and psychologist to explain and convince? In particular, how does literature as a genre differ from the four other disciplines in its function as a "living laboratory" for the exploration of and experimentation with new visions of the self and society? I. Literature and Psychology: Psychoanalysis in the Short Story. Theories of psychosexual development and the father-son conflict. Texts by Freud, Kafka. II. Literature and Theology: The Irrational in the Novel. Man's religious, mystical self-interest. Texts by Kierkegaard, Dostoevsky. III. Literature and Philosophy: Existentialism in the Novel. Nihilism and the concomitant destruction of Christian morality and the Western concept of the self. Texts by Nietzsche, Camus. IV. Literature and Political Science: Communism and the Drama. The ethics and psychology of communist revolution and terrorism. Texts by Marx, Lenin, Brecht. Two examinations and one term paper. (Peters)

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

See Russian 451. (Bartlett)

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

See Chinese 476. (Feuerwerker)

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)

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)


280/English 245/Theatre 211. Introduction to Drama and Theatre. No credit granted to those who have completed or are enrolled in RC Humanities 281. (4). (HU).

See Theatre and Drama 211. (Brown)

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

This course will explore texts from the actor's perspective. The first part of the semester 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. (Mendeloff)

389. The Modern Theatre. Hums. 280 or permission of instructor. (4). (HU). May be repeated for credit.
Section 001 Theatre in English of Colonized Peoples.
A study of representative modern plays, all originally written and performed in English, by non-Anglo-Saxons belonging to nations formerly or currently within the British Empire. These works examine, in one form or another, the problems of colonialism, racism, and Third World or minority self-identity. Guest lectures in background by experts in particular areas will supplement extensive stage-oriented exploration of the plays and evaluation of their particular contributions to contemporary drama. Short critical papers, individual research into other relevant playwrights, and participation in a culminating performance project are the principal requirements. Among the areas, playwrights, and plays covered: Ireland (Colonialism Begins at Home): Brian Friel's Translations; Africa: two or three major works of Wole Soyinka (Death and the King's Horseman, Lion and the Jewel, etc.) and Athol Fugard (Siswe Banzi is Dead, Boesman and Lena, Statements After an Arrest, etc.); Caribbean: two major plays of Derek Wolcott (Pantomime, The Last Carnival, etc.); Indian Subcontinent: works by Vijay Tendulkar, Girish Karnad or Harwant Bains; Native America: Tomson Highway's Rez Sisters. The course will be team-taught with Professor Walsh conducting the class lectures and Professor Mendeloff coordinating scene-work and the final performance project (examples: an interface of scenes from plays of the syllabus, or complete one-acts by two or more of the above playwrights, or a staged reading of one of OyamO's recent works, etc.). Prerequisites: "Intro to Theatre & Drama" or equivalent, or permission of instructors. (Walsh/Mendeloff)


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. (Barna)

Handbells. Section 002 Advanced (Wednesdays, 4-5:30 PM); Section 003 Intermediate (Thursdays, 4-5:30 PM). 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 Music of the Far East: China, Japan, Korea.
A general survey course on music of China, Japan, and Korea. Various types of traditional music of these three East Asian countries, divided into four categories art, folk, ritual, and theater - will be studied within the context of social, cultural, philosophical, and religious implications. We will discuss similarities and differences within the same musical genres between cultures. We will analyze basic musical systems, and musical instruments. Then specific musical examples of a representative repertoire will be discussed with the aid of audio and video recordings. Since the main goal of the course is to provide better understanding of East Asian culture and their contemporary societies through music, a brief introduction of history and literature of each country will also be included. This is a general survey course for non-music majors; no musical background is required. (Chae)

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 semester are required. No audition. (Blanchard)

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. (Blanchard)

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. (J. Heirich)

Interdivisional (Division 867)

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 the 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 acquire 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)

310/Women's Studies 312. Gender and Science. An introductory course in natural science, engineering, social sciences or women's studies. (4). (N.Excl).

This course introduces students to the complex relationship between gender and science, and emphasizes both pragmatic and theoretical approaches. Students will examine the history of women's participation in the sciences and the social and cultural factors that have contributed to their under representation. The course is intended for students who are interested in women's experiences in nontraditional fields, in the ideology and enterprise of science, and for those who are considering careers in the sciences. We will study the lives of individual scientists, the history and patterns of women's participation in the sciences, and critiques of science itself. Students will gain an understanding of the ways in which the institution of science affects the condition of women both within science and within the larger culture. Readings will include selections from E.F. Keller's Gender & Science, M.W. Rossiter's Women Scientists in America, L. Schiebinger's The Mind Has No Sex?, P.G. Abir-am and D. Outram's Uneasy Careers and Intimate Lives: Women in Science, S. Harding's The Science Question in Feminism and others. Evaluations will be based on a combination of short papers, a research paper/project, and class participation. Class meets in a lecture/discussion format. (Sloat)

351. Special Topics. (2). (Excl). Offered mandatory credit/no credit. May be repeated for a total of 8 credits.
Section 001 Marxism.
The objectives of this course are to help students achieve a full understanding of the philosophy of Marxism its roots, its theoretical integrity, and its applications, both in the 19th century and today. We will read and study some classic texts, by Marx and others. Both defenses and attacks on these views will be discussed; our object throughout will not be advocacy but the comprehension of the work of one of the greatest philosophers of the modern world, and of the great movement of which Karl Marx is the central philosophical force. Texts: The Economic and Philosophical Manuscripts, K. Marx; The Communist Manifesto, K. Marx and F. Engels; Socialism, Utopian and Scientific, F. Engels; Left Wing Communism: An Infantile Disorder, V.I. Lenin; plus a small course pack, with selections (from Hegel, Feuerbach, and Marx) taken from my book: Communism, Fascism, and Democracy. (C. Cohen)

450. Science and Social Responsibility. (4). (Excl).
Section 001 Politics of Chemical & Biological Arms Control & Disarmament.
Chemical and biological weapons have come into prominence in recent years, first, because they are objects of longstanding efforts to achieve an international regime prohibiting their possession, of their roles in various conflicts; second, because of their roles in various international conflicts; and third, because scientific advances continue to stimulate military interest in them. There are sweeping international treaties banning both chemical and biological weapons but how well these are being observed and how they should be strengthened are matters of considerable international controversy. This course focuses on the politics of the chemical and biological disarmament regime as a case study in the theory and practice of international relations. how were the chemical and biological treaties achieved in the first place? What are their strengths and limitations? What kinds of problems are posed by the implementation of these treaties? The course will emphasize the influence of various international relations paradigms on the perception of problems as well as solutions. Participants will write several papers for discussion in class as well as a research paper based on primary sources. (Wright)

Natural Science (Division 875)

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

For Fall Term, 1994, this course is offered jointly with 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: Dorothy Nelkin, Dangerous Diagnostics (1990); Susan Wright (ed.), Preventing a Biological Arms Race (Cambridge, MA: MIT Press, 1990); David Suzuki, Genethics (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)

220/Soc. 220. Political Economy. (4). (SS).

This course develops an analysis of social systems from a political economic perspective. The first part of the course will focus on modern capitalism, especially as it has developed in the United States. The writings of a variety of social scientists will be explored and discussed with an emphasis on recent work by radical political economists. The second part of the course will concentrate on potential alternatives to capitalism for contemporary economically developed societies. Students will be encouraged to explore their own interests and ideals about alternative social institutions as well as to develop their capacities for insightful political economic analysis. (Thompson)

357. A History of Crime and Punishment in the U.S. (4). (Excl).

This course seeks to put contemporary issues of crime and punishment in historical perspective. Rather than attempt a sociology of crime, or engage in philosophical debates about the nature of human depravity, we will focus on the concrete means of policing and punishment as these developed over time and attempt to build on this basis an analysis of the interaction between the political economy of crime and the means of state retribution. We will explore the pairing of law with order and their opposites in theories of social disorganization; we will unpack the themes of reform and reinclusion that are embedded in American punishment systems and study the crisis of these assumptions in recent years; and we will attempt, through a study of the policing and punishment of crime to access questions of power how it is organized and operates over time. The course will be organized in three general segments: we will begin with recent debates about crime and its causes, examining underlying assumptions about who criminals are and what makes them misbehave; we will then read some of the major theoretical formulations of the problem of punishment (Foucault, Radzinowicz, Rushe and Kirchheimer) and assess their relevance to current debates; we will then develop an historical treatment of crime, policing, and punishment in the United States, focusing on the twentieth century and seeking to understand the roots of the contemporary "crime problem" and the current crisis of the criminal justice system, especially its prisons and regimen of punishment. While the course will involve lectures, guest talks, and films, students will find that considerable emphasis is placed upon reading and participation in class discussions. Everyone will be required to do a seminar presentation, a book review, and a term paper. (Bright)

360. Social Science Junior Seminar. Upperclass standing. (4). (Excl). May be repeated for credit.
Section 001 Alternative Perspectives on Economic Policy Issues.
This course has several major objectives; to introduce students to the kind of reasoning that underlies contemporary mainstream economics, as well as the way in which it is applied to contemporary policy issues; and to enable students to undertake a critical analysis of mainstream economic reasoning, in the context of alternative perspectives on policy issues. During the semester we will consider a series of economic policy issues that are heatedly debated in this country: examples include (1) whether or not to support free trade of the kind promoted by the North American Free Trade Agreement (NAFTA); (2) how best to protect the environment; (3) how best to develop a national health care system; (4) how to improve the educational system; and (5) whether or not rent control is a good idea. After a general introduction to mainstream economic theory and criticism thereof, we will proceed to examine some of the above policy issues (and perhaps others). We will consider the way in which mainstream economic theory approaches each issue and explore alternative approaches suggested by different perspectives. We will seek to determine just how and why the alternative approaches differ from the mainstream, and to what extent and in what ways various alternatives can be justified vis-a-vis mainstream arguments. There are no formal prerequisites for this course. Student who have already taken an economics course may find some of the course material a little more accessible, but I will not presume any background in economics just an interest in economic policy issues. Course requirements will include active participation in a computer conference and in classroom discussion (including debates to be organized on each policy issue) as well as a series of writing assignments, one of which will be collective in nature. Readings for the course will be drawn from a great variety of sources and compiled in several course-packs. Apart from numerous journal and periodical articles, we will make use of extensive selections from the following books: 1. Carson & Thomas, The American Economy: Contemporary Problems & Analysis; 2. Herman Daly & John Cobb, For the Common Good (1989). (Weisskopf)

Section 001 Prophetic Rebels: The Cultural Politics of Resistance to European Colonialism. Some of the most powerful examples of resistance to the expansion of European power in the nineteenth and twentieth centuries were religious in form. In this course we shall examine the historical anthropology of popular protests to colonial rule. The course will begin with a review of contemporary theories of peasant resistance; this will include an introduction to debates surrounding the concept of religious millenialism. In order to better contextualize these conceptual approaches to anti-colonial revolts, we will focus on the complex history of Southern Africa, looking at both the theory and history of resistance in this region. By the end of the course, students should have a firm grasp of some of the more interesting interactions going on between history and anthropology, as well as a fuller understanding of the history of political conflict in southern Africa. Assigned readings will include: Peter Worsley, The Trumpet Shall Sound: A Study of Cargo Cults in Melanasia; James Scott, Weapons of the Weak: Everyday Forms of Peasant Resistance; and J.L. Camaroff, Of Revelation and Resistance: Christianity, Colonialism, and Consciousness in South Africa; J. Peires, The Dead Shall Arise: Nongqawuse and the Great Xhosa Cattle-Killing Movement of 1856-57. (Breckenridge)

388. Transitions to Capitalism. A 200-level Social Science course. (4). (SS).

The course examines one of the most basic transformations in economic and social history first by a close reading of a social theoretical work Marx's Capital and then by comparison of two cases: England from the late seventeenth century through the early phases of the industrial revolution, and southern Africa in the late nineteenth and early twentieth centuries. The first is the classic case of the development of capitalism, the second an instance of change in the context of an already developed and expansionist European economy. Yet in both instances, cultivators who had complex rights in land and varied obligations to landlord lost many of those rights and ties to individual landowners, and wage labor became the central feature of agricultural organization. In both areas, changes in agriculture were closely related to industrialization. Yet the social structure and economic context out of which both transitions arose were vastly different, and the meaning of race and class in the economies that emerged from the transition periods were equally distinct. Those differences will form a way of getting at the most basic questions of what the concept of capitalism signifies, and how theory can be both used and critically examined. These will be some lecturing in the course, but the emphasis will be on reading and discussion. Students will write a short essay on the readings plus a longer one on a topic of their choosing. This course fulfills the Social Science Theory Requirement. (Cooper)

460. Social Science Senior Seminar. Senior standing. (4). (Excl). May be repeated for credit.
Section 001 Culture as Environment: Worldviews and Cultural Agendas.
This senior research seminar provides you the opportunity to learn bout the landscapes that Native Americans created in their homelands before European and EuroAmerican encroachment and conquest. What was the look of the land? How did various peoples inhabiting Turtle Island sustain themselves with the help of land and animals? What landscapes were created and maintained? How was spirituality expressed in human relations with the land? We will also investigate the current state of these lands 100 to 500 years after European and EuroAmerican settlement. What have been the changes? How have the relations between Native American groups and their homelands been changed? How have conflicts between profoundly different world views driven the transformations of these homelands? How have these conflicts changed? In this research seminar, we will learn a comparative geographical research method, that of ethnically-sensitive human systems analysis framed by world view comparison. you will be responsible for writing two research papers using this methodology about a Native American group of your own choosing. The course will be taught using collaborative pedagogical method. This course fulfills the RC Social Science Concentration research requirement. (Larimore)

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