Most RC courses are open to LSA students and may be used to meet distribution requirements.
105. Logic and Language. (4). (N.Excl).
Argument is the focus of this course, both in symbols and in language. We deal with the forms of arguments, the applications of them, what makes them valid or invalid, weak or strong. We do this in two concurrent ways: a) Microcosmically, we examine the structure of arguments, what makes them tick. In the deductive sphere we deal with the relation of truth and validity, develop logic of propositions, and enter the logic of quantification. In the inductive sphere, we deal with argument by analogy, and causal analysis, and with elementary probability theory. b) Macrocosmically, we do the analysis of real arguments in controversial contexts, as they are presented in classical and contemporary philosophical writing: ethical arguments (in Plato); argument about religion (in Hume) and about knowledge (in Descartes); political argument (in J.S. Mill); and legal arguments as they appear in Supreme Court decisions. In all cases both substance and form are grist for our mill. Time demands on students are substantial. Class periods (two 1-hour meetings and one 2-hour meeting each week) are a mixture of lecture and discussion. Open to all LSA students. (Cohen)
300. Writing and Theory. Not open to freshmen.
Section 001. This course is designed for students interested in improving their expository writing. It is not a creative writing course; rather it emphasizes the communication of ideas, insights, opinions, analysis, and personal narrative clearly, honestly, and effectively. Students will be encouraged to write from the first person point of view in the active voice. To help achieve satisfying improvement in written communication, students will look critically at selected writings of others (e.g., Orwell, E.B. White), examine carefully their own writing and that of their colleagues, and write, write, and rewrite. Students will submit written material every week and will consult at least once every two weeks with the instructor for custom built help and encouragement. Students should purchase copies of Strunk and White's Elements of Style and Eight Modern Essayists, edited by William Smart. (Robertson)
Section 002. This course will combine theory with practice. The assumption is that writers will be more effective if they understand the theory behind the writer-reader interaction. The theoretical part of the course will be readings on the composing and the reading process and on discourse structure. The practical part will include assignments designed to get at the theory. Papers will be required in both parts of the class. Once we move into the application part of the class, expect weekly papers and occasional daily writings. Revision will be an important part of the course. Some of the assignments will give practice in academic writing; some will be more expressive and personal; and some will look towards the kinds of writing done outside the University. This class could be of interest to those wanting to improve their own writing, or to those who plan to work professionally as writers, editors, or teachers. (Dougherty)
190. Intensive French I. No credit granted to those who have completed French 100, 101, 102, or 103. (8). (FL).
Intensive courses meet twice a day in lecture and discussion, four days a week. Students may also become involved in language lunch tables, coffee hours, and other social events. There is a language laboratory in the College, and the language teachers are available for advising and additional help. If a student begins a new language, proficiency is normally attained in one year through the Residential College program. The goal of this course is to provide the student with a basic but solid knowledge of grammatical structures and syntax, a functional vocabulary, a familiarity with intonation patterns and native pronunciation, and practice in speaking and writing. Upon completion of this course the student can understand simplified written texts or short spoken passages without the aid of a dictionary, and carry on a short, elementary conversation.
191, 194. For information on these intensive language courses (191: German; 194: Spanish) see description for 190 (above).
290. Intensive French II. Core 190. No credit granted to those who have completed French 230, 231, or 232. (8). (FL).
The goal of this course is to expand vocabulary and mastery of grammatical structures and syntax to the level of competency required to pass the Proficiency Exam. This entails communication with some ease in speaking and in writing with a native speaker and understanding the content of a text of a non-technical nature (written and spoken), and presenting a general (non-literary) interest.
291, 293, 294. For information on these intensive language courses (291: German; 293: Russian; 294: Spanish) see description for 290 (above).
320. Seminaire en français. Proficiency
test. (4). (HU).
Section 001 – 1981 Update on France: Politics, Society, and Culture. While the trend in Europe is toward more conservative policies, the French managed, in the Spring of 1981, to elect a socialist president and socialist parliament. Does it mean that France is actually becoming a socialist country? To understand what happened we will read books and articles dealing objectively with various aspects of French reality: economy, social classes, political institutions, culture. But we will also attempt to discover how the individual French person reacts, what he/she likes to do, how he/she thinks, lives, behaves. This more subjective aspect of French reality will be studied through a variety of current magazine articles, essays, fiction, and "temoignages" (oral history). (Carduner)
Section 002 – Cultural Politics in Black Africa. Through close readings and discussions of excerpts from newspaper articles, selected literary texts and theoretical pronouncements on such concepts as Negritude, Authenticite, and Negrisme, we shall try to come to an understanding of the many attempts by Black Africans to define and re-define themselves in relation to the changing world they live in. Since no understanding of present-day Africa is possible without references to colonialism and neo-colonialism, our approach will be both historical and critical. The focus will be primarily on francophone Black Africa and also on the links between political, economic, and cultural emancipations. (Ngate)
Section 003 – The Middle-East: Cultural, Historical, and Social Approaches. American newspaper and television speak constantly about the Middle-East. Unfortunately, few American students are really well informed about that region of the world. The Middle-East, its traditions, customs, and people, still remain mysterious to Americans. The purpose of this course is to make accessible and familiar to the student what seems unclear and to provide him/her with some knowledge about culture and society there. The course is not a course in memorization, it will deal with many different subjects and give the student the opportunity to discuss, argue, and give his/her opinion. The course is divided into two main parts. The first part, which is the biggest, gives a descriptive idea of the geographical situation, history, education, customs and religions of the Middle-East. The second part raises the issue of France's role in this area, and the effects that French people have had there. (Rahal)
324. Readings in Spanish. Proficiency
test. (4). (HU).
Cultural Confrontation in the Arts. What is the role of art in developing or "underdeveloped" countries? What happens to art and culture in those countries at times of drastic social and political changes? What happens to artistic expression in countries suffering from repressive military dictatorship? Historically, Latin America has been a place of cultural confrontation. In more recent times the situation departs from the traditional colonizer-colonized dichotomy to assume more sophisticated forms. The imposition of foreign economic models of development has had a strong impact. The struggle for cultural identity has been a long and arduous one and it has been reflected in the different forms of art produced in the continent.
We will attempt – in this section of the course – to understand the present situation in Latin American cultural and artistic creation. In order to do that we will consider the major forces which have an impact on it: struggles of liberation and the consequent internal conflicts, censorship, consistent violation of human rights, family dislocation and exile – in general, lack of supportive environment. The major examples will be drawn from the case of Chile. Students will work with poetry, short stories, one novel, and testimonies, and will have access to films, arpilleras (tapestries made by Chilean women), and songs.
Independent Study, Fieldwork, and Tutorials
400. Senior Seminar. (4). (HU).
Self-portrait in a Convex Mirror: Changing Images of the Self in Art and Literature. The title of this course is taken from a 16th century painting by Parmigianino and a recent poem by John Ashberry. Our theme will be changing images of the self as portrayed through a variety of art forms. Although we will begin with Montaigne's essays on himself ("I have no more made my book than my book has made me") and some Durer portraits, we are by no means attempting a historical survey of a vast subject. While we shall be looking into the cultural contexts and the implied world views of a highly selective gallery of verbal and visual portraits, we want to examine also how the conventions and formal demands of the chosen medium ("the convex Mirror") define and shape perceptions of the self. The work of art, long conceived as an illusionistic representation of reality, turns self-reflective in modern times – the mirror itself becomes the object of reflection. Other issues that will come up include: the cult of the individual, the self-conscious creative act, the emergence of the other self. We also want to look at photography and the art of film and read some critical essays. (Feuerwerker)
286. Sculpture. (4). (Excl).
New Directions in Fiber Art: Experimental Methods and Materials. The fiber arts have undergone an extraordinary transformation in the past two decades. There has been a resurgence of interest in traditional, sometimes forgotten, techniques, such as felt-making, Coptic and Peruvian weaving, and twining. At the same time, there has been a proliferation of new processes and materials, made possible by technological advances in the 20th century. New processes include color Xerox on fibers, sun-developed dyes, and blueprint on fibers. New materials used by fiber artists cover a broad range, from strips of film to plastic tubing. The focus of this course will be an exploratory, experimental approach to fiber art. Students will learn and utilize new, as well as traditional materials and techniques in the creation of innovative works. Traditional processes will include weaving, plaiting, knotting, basketry, and felt-making, among others. While a number of new processes will be taught, students will be encouraged to develop their own. Unconventional materials such as wire, paper, polyethylene, and plastic tubing will be utilized, as well as traditional fibers such as cotton, linen, and wool. (Savageau)
287. Printmaking. (4). (Excl). Materials fee.
Developing an understanding of the art of printmaking through lectures, demonstrations, practical studio experience, examples, and individual and group discussions. The course will focus on creating original prints, exploring images, visual ideas, and the possibilities of self-expression. Emphasis will be placed on linoleum cut, wood-block, and silk-screen techniques. Field trips to the School of Art to observe intaglio and lithography, and to the University of Michigan Museum of Art will be a part of the class experience. Approximately eight projects will be assigned. A sketchbook/notebook is required. Class attendance is mandatory, as well as lab time spent outside the scheduled class period. There will be a studio lab fee. (Cressman)
289. Ceramics. (4). (Excl). Materials fee.
This course presents basic problems in forming clay, both throwing and handbuilding techniques, calculating, preparing, and appying glazes, stacking and firing kilns, and operating a ceramics studio. The student is required to participate in the complete process: 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)
385. Interdisciplinary Photographic Applications. Arts 285 or the equivalent and permission of instructor. (4). (Excl).
An advanced course in photography requiring the application of the medium to problems or ideas in another discipline of the student's choosing. Research into the possibilities for the proposed interdisciplinary work plus actual image production in that area will constitute the bulk of the course work. Existing student skills as well as newly introduced ones will be employed, depending upon the particular problems to be approached. Close consultation with the instructor and other students in both laboratory and seminar sessions will be practiced. Simultaneous consultation with resource persons in the area of the student's second discipline will be employed when pertinent. (Hannum)
312/Slavic 312. Soviet and East European Cinema. A knowledge of Russian is not required. (3). (HU).
See Slavic 312. (Eagle)
452/Russian 452. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).
See Slavic Languages: Russian 452. (Mersereau)
456. Video: Autobiography and Documentary. Introductory video or film course or permission of instructor. (4). (HU).
An advanced video production seminar; members of the seminar should have background in video, film or photography. Students begin the term with the production of a group videotape; the remainder of the term is spent in the development and production of an individual autobiographical or documentary videotape. Writing is a central requirement of this course: a proposal for the individual project, a preliminary script, a working script, and a final paper with descriptive script attached. The final video-tapes will be juried for inclusion in the annual F. Stop Fitzgerald Video Festival in April. (Morris)
470. Philosophy and Public Affairs. Senior standing or permission of instructor. (4). (HU).
Makers of public policy – legislators and administrators - often cannot escape serious moral issues. This course aims to explore a number of these controversies, to present and evaluate conflicting ethical arguments, and to read and write essays that seek to achieve their resolution. Some of the issues that might be dealt with are: (1) The rights and wrongs of abortion; (2) Free speech for Nazis; (3) Selective conscientious objection; (4) Medical experimentation on human beings; (5) Moral issues in recombining DNA; (6) Neutrality and the university; (7) Compensatory justice and ethnic quotas; (8) Capital punishment. (Cohen)
210. Sources of Modern Literature: Classical-Biblical.
Classical Sources of Modern Culture. This course will provide an introduction to selected works, both major and less well known, of Classical Antiquity. Through these works we will trace the origins and development of the great themes of the journey, the descent into the underworld, and the quest of love. At the same time, we will examine the discovery of writing and of visual illusionism in Western art, and the way in which these technologies altered not only aesthetic form, but also personal values. This course is interdisciplinary, involving a study of both literature and the visual arts of this period. (Sowers)
214. Prose. (4). (HU).
Fundamentals of Prose Narrative: In the Labyrinth. This course is designed first of all to introduce students to (or in some cases, to renew their acquaintance with) a collection of fascinating and enigmatic works of literature. Second, we will explore in these works the idea of disguise, and the many disguises of disguise: for this strategy of evasion and diversion can occur as a physical place (the labyrinth), as a personal concealment (the mask), or as a structure of language (the metaphor, the fable, the myth). What is the purpose of disguise, both within literature and as literature? Obviously it serves to hide away the great secret of one's experience, one's history, one's true self. But is disguise also a way – and sometimes the best way – these secrets are revealed? (Sowers)
215. Poetry. (4). (HU).
This course teaches you how to read carefully. It deals with poetry because poetry is very dense (complicated). In learning to read and, I hope, to enjoy poetry you will also be improving your ability to read other kinds of writing such as novels, law texts, etc. This is a good course to take relatively early in your college career. The method is one of taking apart and putting together. Taking apart (analysis) calls for you to learn some of the terms critics use to isolate parts of poems. You can expect to learn about such things as metre, rhythm, diction, tone, imagery, poetic form, etc. The putting together will be of two sorts. You will be asked to do interpretations; that is, to say what you take poems to mean. You will also be asked to complete poems with missing parts, and later to write some poems yourself. The purpose of these exercises is to provide a balance for the analytic parts of the course and to give you a feeling for how poems are made. At the start we will read a few modern poems very slowly and carefully, while learning a basic vocabulary of critical terms. Most of our time will go to reading typical poems by English and American poets of the last four hundred years. The final two or three weeks will be taken up with extensive reading of a single poet, probably Robert Frost. There will be four or five short papers and numerous in-class exercises. DON'T TAKE THIS COURSE IF YOU CAN'T COME TO EVERY CLASS. (Clark)
410. Upperclass Literature Seminar. (4). (HU).
For this course students read folktales, legends, and ballads, study folk art, folk speech, and folk belief, and write a series of papers on various aspects of folklore. Readings include World Folktales and Folklore from the Working Folk of America. Every student confers with me to develop at least one paper that connects this course with his or her special interest or field of concentration: art and art history students may choose to write about one of the famous illustrators of folktale collections; historians might study the local legends about witches that help us understand the Salem Witch Trials; psychology majors could write about Freud on jokes. The longest paper is a report on lore that students themselves collect. Some of the many possible topics are: Folk Medicine, Campus Horror Stories, Tales My Grandmother Told Me, My Uncle Is a Waterwitch, Children's Games, Superstitions of Theatre (or any other) Folk. (Isaacson)
411. Translation Seminar. RC literature concentrators or permission of instructor. (4). (HU).
The twentieth century has witnessed an extraordinary renaissance of poetic translation as writers have sought to follow Ezra Pound's dictum to "Make It New." Translation has become a means of cultural renewal, as well as a way of extending the boundaries of one's own language. In this seminar we will examine a wide variety of translations from many languages and ponder theoretical discussions of the problems of translation. Practical experience in translation will be equally important, and students will have ample opportunity to prepare translations of their own from English language dialects. Thus comparative analyses, theoretical considerations, and practical experiences will reinforce each other and provide the student with new perspectives on an old art. (McDougal)
417/MARC 417. Medieval Epic and Saga. (4). (HU).
We will read the following works in English translation: The Elder Edda, Volsunga Saga, Beowulf, Grettir the Strong, The Ulster Cycle, The Song of Roland. Our chief concerns will be with 1) literary values, 2) cultural implications, 3) the movement from oral to written tradition. The first four works, from the Germanic sources, provide rich comparative questions when we explore samples of the original languages and trace stories, scenes, and evidences of the authors' concerns. The Irish and French epics, then, contrasting in style and mood, add dimension to questions of the war ethic, religious inspiration, fealty, and the hero. Among the notable arguments of oral-traditional research, we will look at those of Albert Lord and Ruth Finnegan, which both seek to distinguish traits of orally composed works of literature. Varied writings in class will be part of the learning process; four short papers will be due in stages; independent research will be encouraged. (F. Clark)
220. Narration. Permission of instructor. (4). (HU).
Suggested assignment: 1250 words of prose fiction every two weeks. The class meets as a group up to two hours per week. Collections of short fiction and short novels by established writers are read and discussed. Every student meets privately with the instructor each week. (Hecht)
221. The Writing of Poetry. Permission of instructor. (4). (HU).
The amount of poetry each student is required to submit is determined by the instructor. The class meets three hours per week as a group. Student's poems are presented to the class for appraisal and criticism. In addition, each student received private criticism from the instructor every week. Contemporary poetry is read and discussed in class for style. Students are organized into small groups that meet weekly. (Mikolowski)
222. Writing for Children and Young Adults. (4). (HU).
Individualized instruction, group 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. (Balducci)
320. Advanced Narration. Hums. 220 and permission of instructor. (4). (HU).
This course is designed for writers of longer fiction who can benefit from instruction and peer feedback. Three 15-20 page short stories or three 20-25 page segments of longer works are due at evenly spaced intervals during the term. Everyone in the class reads everything submitted. The class meets three times a term, as a workshop, to discuss everyone's work. Each student meets with the instructor each week for private discussion of work both completed and in progress. Enrollment is limited to a maximum of six students, usually students who have completed Narration and/or tutorials. Permission of instructor is required. (Hecht)
325, 326. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4 each). (HU).
Tutorials allow students whose writing has attained a high degree of sophistication to work in an extended project under close supervision. Tutorials also provide an opportunity for students who want to write, no matter how sophisticated their work, to have their efforts recognized both with constructive criticism and academic credit. Reading may or may not be assigned, depending upon the background needs of the individual student. Tutorial students meet privately with the instructor each week. Permission of instructor is required. (Hecht, Mikolowski, Balducci)
381. Shakespeare on the Stage. Hums. 280 or permission of instructor. (4). (HU).
This course serves not only as an introduction to Shakespeare as an artist but also as an introduction to the study of drama as an art form. Emphasis is placed on the study of Shakespeare's plays as performed events. Students will read, discuss, analyze, and demonstrate outstanding scenes from ten major plays in order to discover how Shakespeare's drama communicates its meaning to an audience in a theatre. Other topics will include the conventions and conditions of the Elizabethan stage, the shape of Shakespeare's career as a whole, modern interpretations of the Bard, and the historical, philosophical and social contexts of Shakespearean drama. The reading list, representing tragedies, comedies, histories, and the so-called "problem plays," will include: King Lear, Hamlet, Macbeth, Julius Caesar, Twelfth Night, A Midsummer Night's Dream, Henry IV, Part One, Richard III, Measure for Measure, and The Tempest. (Walsh/Cummings)
386. Comparative Medieval Drama. (4). (HU).
During Winter Term, 1982, this course is jointly offered with Theatre & Drama 425/MARC 451. For description, see Theatre & Drama. (Pilkinton)
389. The Modern Theatre. Hums. 280 or permission of instructor. (4). (HU).
An in-depth study of German-language theatre since 1945 in the context of modern theatre in general and of the post-war social, economic and political situation in Central Europe (the "economic miracle," lingering effects of Nazism, Baader-Meinhoff terrorism, Ostpolitik, etc.). Beginning with Brecht's last full-length play, The Days of the Commune, the course will examine characteristic works of the first post-war generation of playwrights - Max Frisch, Friedrich Durrenmatt, Karl Zuckmayer – and proceed to the major figures of the 60's and 70's – Peter Weiss, Gunter Grass, Heinar Kipphardt, Rolf Hochhuth, Peter Handke, Dieter Forte, F.X. Kroetz, Wolfgang Bauer, Thomas Bernhard. Plays will include Weiss' Marat/Sade, Kipphardt's In the Matter of J. Robert Oppenheimer, Grass' Plebeians Rehearse the Uprising, Handke's Kaspar and the Ride across Lake Constance. Critical/historical text: Modern German Drama: A Study in Form by Christopher Innes. Frequent reference will also be made to the new wave in German cinema. (Walsh)
480. Drama and Literature Theory and Criticism. Upperclass RC Humanities concentrators or permission of instructor. (4). (HU).
This course is intended for upperclass concentrators in drama. Permission of instructor is required for non-concentrators. The course has two strains, one purely theoretical, the other practical. The theoretical one consists of reading several thinkers who have wondered what drama is and have inquired philosophically into the matter. The assumption behind this strain of the course is that we need to be acquainted with a wide variety of theories about the drama before we can either settle upon our own or confidently criticize a play. The wisdom of the best drama theorists will increase our own critical abilities. The practical strain will consist of writing critical reviews of several area productions, chiefly Saroyan's The Time of Your Life and Schiller's Mary Stuart (the Winter offerings of UM's Guest Artist Series). In addition to the written reviews (at least three), a long term paper on some theoretical topic to be chosen in consultation with the instructor, is required. Also, everyone will keep a journal, which will be handed in frequently. The readings include the three or more plays to be reviewed and theoretical/critical works. (Ferran)
482. Drama Interpretation II: Performance Workshop. Hums. 280 and either Hums. 282 or playwriting, or permission of instructor. (4-6). (HU).
Actors act. Directors direct. Playwrights play. Right? Wrong! Too often in this age of specialization, students of theatre lose sight of the fact that drama is always created by people, regardless of their job title, working together, sharing their ideas and talents and inspiration in the service of the play and the audience. This course will stimulate the collaborative environment of the theatre in the classroom in an effort to improve individual skills, develop ensemble theatre techniques, and create an original play to be presented to the public at the end of the term. Performance Workshop is an upper-level six-credit course intended for experienced theatre/drama students. We will form a working group of 10-15 actors, 3-5 directors, 3-5 playwrights and, I hope, a company manager, a musician, a designer/technician, and a dramaturge. The first part of the course will consist of a series of short-term workshops exploring different performance issues or aspects. All interested students are asked to attend a brief informational/organizational meeting on Monday, November 23, at 5: 30 pm in the RC Auditorium. For more information, contact Scott Cummings at 763-1172. (Cummings)
484. Seminar in Drama Topics. Upperclass
standing, Hums. 280, and three 300 or 400 level drama courses, or the equivalent, or permission of instructor. (4). (HU).
Three Canadian Playwrights: The Frontier Experience. Examination of recent historical/political plays by our little known neighbors. Unlike their American counterparts, Canadian playwrights do not shy away from large-scale plays which grapple with the North American experience. Readings will include James Reaney's trilogy The Donnelys, a chronicle of two generations of blood feud among the Irish settlers of S.W. Ontario; Herschel Hardin's Esker Mike and His Wife, Agiluk, a tragedy of the Mackenzie River fur trade, and The Great Wave of Civilization, an epic play on the destruction of the Blackfoot Confederacy; and George Ryda's The Ecstasy of Rita Joe, an indictment of the welfare and justice systems with regard to native population. The course will also include a trip to Windsor, London or Stratford for a performance of a Canadian play. (Walsh)
250. Chamber Music. (1). (Excl).
All students who are interested in participating in small vocal and instrumental ensembles can enroll for one hour of credit. Ensembles have included: madrigal singers (meeting time has been M &/or T 6-7: 30); mixed ensembles of strings and winds (meeting M &/or T 7: 30-9:00); brass quintet; intermediate recorder ensemble; string quartet; woodwind quintet; and some other duos and trios. Responsibilities include 3-4 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. (Heirich)
252. Operatic and Choral-Orchestral Masterworks, 1825-1946. (4). (HU).
This course deals with an in-depth aesthetic and musical analysis of several significant masterworks in which the composer has combined one or more of the other performing and creative arts with the art of music. Opera, orchestral, an choral works, oratorio and song cycles are among the musical forms studied. Open to all undergraduates.
253. Choral Ensemble. (1). (Excl).
The "Residential College Singers" ensemble is a combination of recitation and lab activities. The group meets for a three hour period each week. Besides rehearsing and performing some of the great choral literature from 1600 to the present, the class studies the historical significance of each composition and its composer and the way in which it reflects the period of history that it represents. A complete musical and aesthetic analysis is made of each work studied. The course may be elected each term for credit and will satisfy the arts practicum requirement. (Wallace)
350. Creative Musicianship. (4). (HU).
Tools and Skills for the Non-Music Major. This music theory-composition course is designed to give students the skills necessary to create and to understand music. Nothing is assumed in the way of musical background. Those apprehensive about composition will be welcomed and guided through a process that enables them to create music of their own. Twenty students will be accepted, including some who are already composing music. Each student works at his or her own pace and level within the context of the musical element under consideration (rhythm, melody, harmony). This course meets for four class hours, and one should plan to spend a minimum of 10 hours per week preparing material for class. The accompanying lab (Humanities 351) is required unless excused by the instructor. (Heirich)
351. Creative Musicianship Lab. Hums. 350. (1-2). (Excl).
This is a required lab course to be taken with Humanities 350. It will deal with the three basic elements of music (melody, harmony, rhythm) through music, reading, writing, singing, and the use of ear-training tapes. The class will meet together as a group and students will also work individually and with a lab partner. It may be elected for either one or two credits.
210. Perspectives on Careers in Medicine and Health Care. (4). (Excl).
This seminar is designed for students who are considering a future in one of the health-related professions and who want to obtain more perspectives to aid in making a career decision. Writing as a means of exploration will be used throughout the term. We shall begin the term by taking a quick look at some aspects of the medical school track. Following this we plan to spend some time on health care delivery with some people who work in that field. We then move on to consider some of the ethical questions most closely related to health care; among these is the current issue of the uses of DNA recombinant research and the issues of death and dying. We will try to get a maximum exposure to a variety of service, research, and practice careers in the health professions. Some of this exposure will be from visitors to our seminar, but much will come from material obtained by students individually exploring resources outside class time. While the group as a whole proceeds, individual students will be responsible for taking definite steps toward the development of their own goals through a self-inventory and a statement of individual goals to be accomplished in the course. (Zorn)
257. Cultural Confrontation in the Arts. (4). (HU).
This cross-cultural, interdisciplinary, multi-media course explores the works of art produced as a consequence of the contact and confrontation between diverse cultural traditions. In this third offering of the course we will be focusing on examples of fiction, poetry, drama, film, painting, architecture and other forms of visual arts in the Third or non-Western World – the aesthetic responses of several different peoples to the dominant, Western culture. By providing exposure to artistic works not often encountered in the university curriculum, the course aims to encourage an awareness of cultures other than one's own. The contact among peoples and cultures brought about by the expansion of the West is a world-wide phenomenon, but the resultant issues of interpretation, domination, assimilation or resistance can be particularly observed in some of the arts around us. Each work of art we examine will be found to display in both its form and content the tensions of cultural confrontation. The twice weekly lectures will be shared by a teaching team composed of instructors from the fields of literature and art history, plus guest lectures from the fields of anthropology, history, literature, and art history. The class will meet for an additional two hours a week in two separate discussion sections. (Feuerwerker, Floyd, Moya-Raggio)
437/French 437/MARC 437. French Culture and Literature in the Middle Ages with Visual Assistance. French 387, 388, or 389, or equivalent. (3). (HU).
See French 437. (Mermier)
262. Cosmology II. (4). (NS).
During Winter Term, 1982, this course is jointly offered with Astronomy 164. See Astronomy for description. (Haddock)
343. Scientific Change. Any introductory science course or permission of instructor. (4). (NS).
Is the development of scientific theory a logical process, or does it consist of a series of radical changes that are logically related? Is the development of scientific theory influenced by the social and cultural environment in which it develops? Do scientific findings vary with the institutions which support research? And what do answers to these questions imply about the existence of such entities as electrons, quarks, and DNA molecules? This course examines these and other questions concerning the nature of scientific theory. Particular attention will be given to what was, until the 1960's, the dominant view, namely, that scientific theory is based on an objective, unbiased, empirical foundation, and to several alternative positions formulated more recently, especially the view that science is shaped as much by the social world as the physical one. The course uses case studies drawn from contemporary physics and biology and from the history of science. (Wright)
202/Hist. 202. The Twentieth Century: A Global View (4). (SS).
See History 202. (Bright)
260. Sources of Social Science Theory. (4). (SS).
Social Science 260 will closely examine selected works of several classic social thinkers – Karl Marx, Alexis de Tocqueville, Max Weber, Émile Durkheim, and Sigmund Freud. We shall preface our reading of these works with a brief historical overview of some important historical events, the French Revolution and the Industrial Revolution. Our purpose will be two-fold: first, to understand in some depth the specific way in which each thinker views the world; second, to develop a general understanding of human beings as social and historical creatures. The class will emphasize discussion, group presentations, and individual writing. Particular attention will be paid to developing the ability to analyze critically the ideas of each of these thinkers. Tentative readings include R.R. Palmer's The World of the French Revolution, selections from Robert Tucker's The Marx-Engels Reader, Tocqueville's Democracy in America, Weber's The Protestant Ethic and the Spirit of Capitalism, Durkheim's Suicide, and selections from Freud. (Himmelstein)
330. Urban and Community Studies I. (4). (SS).
This course provides an introduction to field studies of social change in the American city and community. The presentations by community residents, faculty, and students will be directed toward an analysis of contemporary America and the formulation of effective strategies for change. Topics to be discussed will include: planning, welfare, university-community relations, housing, prisons and law enforcement, community organizing, electoral politics, transportation, and educational innovation. One goal of the course is to give each student the conceptual background and the sense of alternative possibilities which will make possible an effective extramural project in Social Science 340. To this end, smaller seminars will be created for more detailed explorations with faculty and community resources persons. (Bidol)
352(315)/Anthro. 352. Social
Perspectives: Cross Cultural Study of Women. One
social science course or permission of instructor. (4). (SS).
Women in the Third World. Women in Africa, Asia, and the Americas, especially women from non-Western cultures, find themselves engulfed in the global processes of economic development and state-building. To begin to understand the struggle implicit in their lives, the complexity of the oppressive situations in which many find themselves, we will consider four topics. First, who are Third World women and what is happening to them? We will study their fragmentation into Westernized elites and workers, squatter-settlement poor, and rural peasants; their induction into the wage labor force; their changed role as urban migrants; their transformation into refugees. Secondly, we will examine feminist responses to these women's plight and struggle; the theories and interpretations offered by American and European feminists as well as by Third World elite scholars. We will also look at the kinds of action being taken by feminists on their behalf. Next, we will study how Third World women have lived in culturally diverse autonomous societies. These women have played critical roles in preserving long-enduring ways of life now threatened. This section will give us a chance to study how women live in specific African, Asian, and other non-Western cultures. Finally, we will attempt a critical appraisal of the shape that women's struggles are taking in the Third World and the kind of roles that we might play.
Some class sessions will be conducted in small study groups to discuss material from reading and lectures and to prepare a class presentation. You will have the opportunity to learn group participation skills so that you can take active part in organizing the small group work. Readings will include selections from works such as Reiter, Toward an Anthropology of Women, Rosaldo and Lamphere, Women, Culture, and Society, Zeidenstein, Learning about Rural Women, Tinker and Bramsen, Women and World Development, Minai, Women in Islam, Etienne and Leacock, Women and Colonization, Boserup, Women's Role in Economic Development as well as more specialized articles, government documents, novels and ethnographies. Your written work for the course will include a take-home essay midterm, two short papers and a critical literature review/journal which focuses on women in a particular region of the Third World. (Larimore)
353. Dealing with the Past: The Third Reich and U.S.
Involvement in Vietnam. Sophomore standing or permission
of instructor. (4). (SS).
Dealing with the Past: The Third Reich and the U.S. Involvement in Vietnam. "We can no longer afford to take that which was good in the past and call it our heritage to discard the bad and simply think of it as a deadload which by itself time will bury in oblivion." (Hannah Arendt) Both Germany and the U.S. have had to come to terms with national trauma. This course investigates the nature of the trauma and the adjustment in each society. The course is organized around an analysis of Nazi Germany and the U.S. involvement in Vietnam. Major topics include the following: U.S. and German orientations toward the past; the character of totalitarian Germany vs. the nature of decision-making in a democracy; the social, economic and political causes of the rise of Nazism vs. the process by which the American engagement in S.E. Asia emerged; and the post-war responses of each nation. Monday evenings (7:00-9:00) should be reserved for films, which will include Hearts and Minds, Far From Vietnam, The 17th Parallel and The War at Home. There will be a small lab fee to cover film rental. (Reiff, Simmons)
360. Social Science Junior Seminar. Upperclass standing. (4). (SS).
This seminar will examine some current trends in American health care, placing them within a larger social context and noting both their relation to the larger political economy and to a series of deeper cultural dilemmas that have surfaced with particular force in the health care arena. The seminar will address four related topics. First it will develop a social history of American health care, showing the origins of scientific medicine, its alliance with particular interest groups and the means by which it came to dominate its competition and to drive some competitors from the field. That history will look, as well, at rival interest groups within scientific medicine itself, at their coalitions with other power groups, and at how this has affected the emerging character of the health care system. A second theme addresses unsolved issues and dilemmas in contemporary health care, as seen from different points of view without our larger political-economic-cultural system. Noting how divergent interests have jointly created a definition of the health care system as in "crisis," we will compare their critiques of what currently is wrong and how these problems might be addressed. Third, we will examine a series of innovations in approaches to health care, including some that Max Heirich visited during his recent sabbatical leave. Finally, as time permits we will explore prospects and dilemmas inherent in current efforts to move health care in some new directions. (Heirich)
460. Social Science Senior Seminar. Senior
standing. (4). (SS).
Section 001. The purpose of this seminar is two-fold: 1) To become familiar with psychological and biographical approaches to the study of lives. We will emphasize blending the influence of individual organization of thoughts and emotion, and of cultural ideas and social structures – especially the family – to form our understanding of themes in the lives of persons. This will occupy us almost to midterm, and the format will include discussions of readings and occasional lectures. 2) To apply those approaches to one life of each student's choosing. This half of the term will be a workshop format in which students present and discuss material and collaborate on the framing of questions and on the clear written presentation of their analyses. (Evans)
Section 002. Culture shapes people's experience of themselves and the world, but what is culture? How do we know culture when we see it? How do we interpret the pattern of ideas and sentiments that gives meaning to a person's experience and actions? What, for example, are the cultural ideas and sentiments that give meaning to one group's support of a woman's right to have an abortion and another group's opposition to it? What does it mean to be a Dead Head? What is the worldview of University administrators? This is a seminar in cultural interpretation. It is intended for students with some background in the interpretive social sciences, preferably in cultural analysis. Aside from readings and a few brief written assignments, students are expected to carry out an in-depth field project in the Ann Arbor area. In initial sessions of the course, we will read cultural theory, discuss field strategies, and talk with practiced fieldworkers about how they interpret cultural patterns. Later sessions will be devoted to an on-going discussion of students' field findings. (Harding)
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