Most RC courses are open to LSA students and may be used to meet distribution requirements.
300. Writing and Theory. Not open to freshmen. (4). (HU).
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. In this course students work at making their writing clear, precise, appropriate, and effective. To this end they write a series of papers about themselves and the people, the institutions, the art, and the ideas that shape our lives. At least once every two weeks students meet with me to plan the revision of first drafts. Reading materials for the course include essays, tales, interviews, case studies, reports, and selections from biographies and autobiographies. In class students discuss these readings, examine the work in progress of their colleagues, and participate in workshops. Working with a small team, each student is responsible for helping design and carry out an original research project. Not open to freshman. (Isaacson)
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 – French through Songs. The following categories of French songs will be studied: historical and patriotic, playful, love songs, militant, operettas, American-inspired songs, French-Canadian songs, folk, etc. Two songs will be presented each week. Additional material will be used. Coursepack will feature full text of songs and related background articles. Also, "La Chanson francais" by E. Marc (Ulrich's bookstore). (M. Gabrielli)
Section 002 – Joan of Arc and her Legend. Students will read a series
of texts, literary (novels, plays, poetry) as well as historical. The class
will include oral discussions of texts assigned in class and also written
assignments. In addition, each student will give an oral presentation during the term. Students will be encouraged to undertake research on Joan of Arc
in the library. They will be asked to submit a bibliography of the books, articles, etc., read or consulted, at the end of the term. Audio-visual
aids will be used as much as possible to illustrate the class. (Mermier)
Section 003 – A Socialist France or a French Socialism. In this course we will discuss the French political system with special emphasis on the events leading up to and following the elections of May and June, 1981. After an introduction to French politics in general, we will look in more detail at how and why the Socialists were able to win in 1981, and at the policies of the new Socialist government. Special emphasis will be placed on class participation and discussion of current controversies in French politics. Readings will include three to five recent books on different aspects of French politics as well as a heavy dose of articles taken from leading French newspapers and magazines. Readings will be chosen not only for their informative value, but also to stimulate discussion (and, hopefully, debate). Students will write several short papers during the term, as well as one longer (8-12 page) one. All work – readings, writings, and discussions - will be in French. (Frank Baumgartner)
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 or 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)
257. Visual Sources. (4). (HU).
Visual Sources will explore the way we see and how our visual environment affects us. The course has no prerequisites. Any student who has the least interest in such subjects as art history, perceptual psychology, film, video or the studio arts, is encouraged to join us. We will meet twice a week for two hours each time. The first hour will usually be devoted to lectures with the second hour giving way to discussion or in-class projects (from time to time we will try our hands at the media we are discussing; no artistic skills are required for this). Guest lecturers will join us on occasion, and we will also take field trips to local museums and explore the architecture of Ann Arbor and the University. This course is intended for anyone who wants to become more visually literate. We will examine the visual arts from as many approaches as time permits: the physiology and psychology of seeing, materials and techniques, basic design, art history, cultural history, and, at the end, a synthesis of all these. Requirements will include several papers and projects, several short visual exercises, and selected readings as well as a final exam. (Bornstein)
311. Intellectual Currents of the Renaissance.
Sophomore standing or permission of instructor. (4). (HU).
Shakespeare on the Stage. This is a combined Arts and Ideas/Drama course. Its purpose is to explore the intellectual currents of the Renaissance with specific reference to dramatic art of Shakespeare, arguably the most influential of all Renaissance artists. The course will be organized into four or five units of material, each of which will culminate in a detailed and stage-oriented analysis of a Shakespearean masterpiece, e.g.: "The Waning of the Middle Ages"; Machiavelli's The Prince; the art and politics of the Tournament; selections from Erasmus' Education of a Christian Prince; Shakespeare's Richard II and Henry IV, Part I; Epilogue: Pillage and Feasting in Pieter Brueghel; "Venus, Cupid, Folly and Time"; Castiglione's Book of the Courtier; portrait miniatures and pastoral landscapes; Erasmus' In Praise of Folly; sonnets of Petrarcha, Sidney, Shakespeare; "The Occult: Black, White and Beyond"; Marlowe's Dr. Faustus; Ficino's Five Questions Concerning the Mind and Pico della Mirandola's Oration on the Dignity of Man; Paracelsus and Columbus; Shakespeare's The Tempest. There will also be a central section on the spiritual values of Renaissance architecture and how they relate directly to the Elizabethan playhouse and Shakespearean dramaturgy. All students will be required to write one 8-10 page paper, take part in a Shakespeare scene, and participate in some form of "multi-media" End-of-Term Project. Requirements beyond these will be tailored according to one's concentration or interest, either Arts and Ideas or Drama. Students taking the course for the ECB Junior-Senior Writing Requirement will write two additional 5-6 page papers, all of which will be reworked and rewritten. (Walsh)
312/Slavic 312. Soviet and East European Cinema. A knowledge of Russian is not required. (3). (HU).
See Slavic Film 312. (Eagle)
400. Senior Seminar. Upperclass standing or permission of instructor.
Decadence, Artifice, Exhaustion. This interdisciplinary course is intended primarily for seniors concentrating in Arts and Ideas, although other students with a background in literature or in the visual arts are cordially welcome. Our study will focus on the idea of decadence: what do people mean when they describe an historical period as "decadent"? What assumptions do they make about the nature and the shape of time and history? Is there really such a thing as a decadent work of art? How do artists embody their ideas concerning decadence in their works of art? How is the concept of decadence related to the nature of art itself as an unmasking of art, an end of time? This course is structured so that students will have an opportunity to explore their own special field of inquiry and research within the larger framework of the course. This exploration will lead to a research paper of about 30 pages. I would like to work with each student fairly closely at every stage of the writing, from bibliography to final product. Students who are not seniors may choose an alternative plan, consisting of four papers (7-10 pages) based on the works directly studied in the course. Readings will include: Oscar Wilde, The Picture of Dorian Gray; James M. Whistler, paintings; Thomas Mann, The Blood of the Walsungs; Richard Wagner, Tristan and Isolde; Djuna Barnes, Nightwood; Giorgio di Chirico, paintings; Christopher Isherwood, Goodbye to Berlin; Georg Grosz, paintings; Max Ernst, Une semaine de bonte; Thomas Pynchon, Gravity's Rainbow. (Sowers)
452/Russian 452. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).
See Russian 452. (Proffer)
456. Video: Autobiography and Documentary. Introductory video or film course or permission of instructor. (4). (HU).
Students who enroll in this seminar produce two high-quality five-minute videotapes during the term: a documentary and a dramatized documentary. For each of the two video projects students carefully determine the objectives of their productions: the subject matter (its scope and limitations), the purpose of the project, and the audience for whom it is intended. Proposals, scripts, and written evaluations of work in progress are required for each videotape. Students who enroll in this advanced course should have completed introductory film/video courses. Seminar members will screen and discuss examples of films in each genre and readings in film theory, production, and criticism will be assigned. Evaluations of work completed, papers, and exams will be used to determine a final grade for the course. (Morris and Frierson)
214. Prose. (4). (HU).
"Once upon a time...." We choose to read stories because we expect to experience...what? How does the storyteller exploit our expectations and shape our responses as we are enticed to enter a particular fictional world? These are some of the questions we will ask ourselves as we read, in order to enhance our pleasure in and understanding of the experience. We want to think about the complicated ways in which fiction – always a made-up story – is at once like and unlike life, and why we care intensely about events and people that are in fact made up of nothing but words and sentences. Our goal will be to explore some of the vast territory that fictional narrative covers, to gain some sense also of the diverse cultural contexts of its many forms. Readings will include fairy tales, detective stories, fantasy, a Western, a popular romance, as well as works by major authors. Book list includes Conrad, Heart of Darkness; Woolf, To the Lighthouse; Dostoyevsky, Crime and Punishment; Tolstoy, The Death of Ivan Ilych; Kafka, The Trial; Pynchon, The Crying of Lot 49; Morrison, Song of Solomon; Carroll, The Adventures of Alice in Wonderland; Lang (ed.), The Blue Fairy Book; Lu Xun, A Madman's Diary; Conan Doyle, The Adventures of the Sussex Vampire; L'Amour, The Ferguson Rifle; Powers, Affairs of the Heart, and others. Prerequisites: none, but a love of reading is helpful. Occasional in-class writing, five or six short papers, and a final. (Feuerwerker)
215. Poetry. (4). (HU).
This course teaches you how to read carefully. It deals with poetry because poetry is very dense (complicated). In learning to read and, I hope, to enjoy poetry you will also be improving your ability to read other kinds of writing such as novels, law texts, etc. This is a good course to take relatively early in your college career. The method is one of taking apart and putting together. Taking apart (analysis) calls for 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)
341. Latin American Literature. (4). (HU).
Politics, History and Art in the Latin American Novel. This course is designed to explore the interplay between politics, history and art in the Modern Latin American Novel. Through a study of selected novelists' use of character, tradition, ideology and authorial presence, students will learn how the novel can be used to illuminate human, cultural, historical and political points of view. We will primarily look at politics and history in terms of human relations; we will study who has the power and how the exercise of power affects individuals as well as shapes the consciousness of the nation. Major literary issues will be introduced as they arise in successive work. The course work will be divided into three parts. In the first five weeks students will read three Latin American novels. During this period students will be expected to participate in class discussions and record their reactions to the discussions and readings in journals, due at the beginning of every week. During the next three weeks students will be invited to choose two novels by one author, two novels written during a particular time period, or two novels by authors of the same nationality and, with the guidance of the instructor, apply the ideas and methods discussed in the first part of the course to these works. During the last six weeks students will write one fifteen-page paper, in three rough drafts, give one oral presentation and read two more Latin American works. The class discussions will be conducted in English, but the texts will be available in English or Spanish so that those wishing to obtain foreign language reading credit may do so. (Golson)
410. Upperclass Literature Seminar. (4). (HU).
Critical Approaches to Literature. This course is intended for students who have a fairly strong background in literature (or at least a strong interest) and who are now ready to approach this subject from a theoretical standpoint. Our study will address three issues: (1) how ancient myths structure literary texts; (2) how the analytical methods developed by Freud help readers to understand the special qualities of literary language and special strategies of interpretation; and (3) how the world itself can be seen as a text to be interpreted or decoded. Finally, we will examine some literary works which are themselves myths of literature, which embody in a concrete form the problems encountered by writers in writing and by readers in understanding the patterns, dreams, and cryptograms of art. There will be four papers, 7-10 pages in length. (Sowers)
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).
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). (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)
425, 426. Creative Writing Tutorial. Permission of instructor. (4 each). (HU).
See 325, 326. (Hecht, Mikolowski, Balducci)
282. Drama Interpretation I: Actor and Text. (4). (HU).
Playwriting. The playwright, like the boatwright or the cartwright, is a craftsman. As such, certain tools and techniques are available to him, the mastery of which will greatly benefit his art. This course in playwriting is designed to familiarize the novice playwright with the tools of his trade and to develop the skills necessary for writing an effective play. Through lectures, classroom discussions and private meetings with the instructor, the student will focus his energies on the conception, outline and writing of a play fully suitable for stage presentation. Weekly writing assignments will be augmented by analysis of dramatic masterpieces and attendance of current theatre productions. All class discussions will treat the script as a blueprint for performance and will analyze the various effects of performance on the audience. No prerequisites. (Ferran)
381. Shakespeare on the Stage. Hums. 280 or permission of instructor. (4). (HU).
During Winter Term, 1983, this course is jointly offered with RC Humanities 311. (Walsh)
389. The Modern Theatre. Hums. 280 or permission of instructor. (4). (HU).
The course will explore twentieth-century American drama, beginning with the plays of Eugene O'Neill, including those of Tennessee Williams, Thornton Wilder, Arthur Miller, Lillian Hellman, Edward Albee, and Sam Shephard, and concluding with a section on experimental theatre of the 60's and 70's. The course method will be a combination of discussion and student participation in prepared scenes and extemporaneous experiments. Students will read approximately twenty plays, take part in at least two scenes, write several short in-class essays and one longer paper, and participate in an end-of-term presentation. (H. Cohen)
390. Special Period and Place Drama. Hums.
280 or permission of instructor. (4). (HU).
Art and Politics in Weimar Germany. Germany in the 1920's (the Weimar Republic) was one of the richest periods of artistic innovation and achievement in the 20th century. This course, a combined Drama and Social Science offering, will attempt to explore the kaleidoscopic interplay of art and politics in the period. The general problem of linking two distinct universes, of tracing art in politics and politics in art while preserving their distinct realms of development, will be explored through close examination of the early Brecht (Drums in the Night, Threepenny Opera and St. Joan of the Stockyards), expressionism (Kaiser's Gas I & II) and constructivism (the productions of Erwin Piscator) and the Volkstucke (Horvath's Tales of the Vienna Woods). We will also take up film, visual arts, and fiction (The Cabinet of Dr. Caligari, The Last Laugh, Metropolis, and Triumph of the Will; the work of Georg Grosz, Kathe Kollwitz, Otto Dix, Max Bechmann and John Hartfield; and two novels, Thomas Mann's Mario and the Magician, and Eric Maria Remarque's All Quiet on the Western Front, as well as giving some attention to developments in architecture and design from Bauhaus to Albert Speer. These artistic currents will be examined in the context of concrete historical developments – the revolutions of 1918-1919, the stabilization of the mid-1920's, and the period of depression and political dissolution, culminating in the victory of fascism. The course will end by examining the racist revolution of National Socialism in the light of the Weimar culture. Two general readings will serve as texts: John Willett, The New Sobriety: Art and Politics in the Weimar Period, and Otto Friedrich, Before the Deluge. Two papers and participation in a term project will be required. Projects and assignments will be tailored to diverse student interests and concentrations. (Walsh and Bright)
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).
Research Project in Medieval Drama: The Chester Cycle's Coming of Antichrist. The Poculi Ludique Societas will be producing the entire Chester Cycle in Toronto at the end of May, 1983. They have invited RC/LSA Drama to participate by contributing a production of the penultimate play of the cycle, The Coming of Antichrist. This special course will prepare for this production through practical research and detailed analysis of all dramaturgical issues. Such historical and theatrical problem areas as: Chester c. 1570, the guilds, costuming, set elements for the pageant wagon, original dialect vs. modernized text, parodic ritual, the legendary vs. political/satirical Antichrist, and so on, will be explored. In addition to substantial portions of the Chester Cycle itself, readings will include selections from Travis' Dramatic Design of the Chester Cycle, Lucken's Antichrist and the Prophets of Antichrist in the Chester Cycle, Emmerson's Antichrist in the Middle Ages, as well as other scholarship on the play and its cycle. Scene work and experimentation will also be featured. This course is modeled on the RC senior level "Play Production Seminar." Like it, the class will function, as a whole, as the dramaturgical unit for a specific, future production. Research and analysis will lead directly to practical choices as to the production's concept and values. Auditions for the play will be held before spring break, but actual rehearsal will not begin until after final exams. It is recommended, therefore, that all those electing the course be free through late May to attend final rehearsals and previews here in Ann Arbor and the performances in Toronto (transportation and lodging provided). All those interested in acting, directing, or technical realization, as well as researchers per se, are encouraged to enroll. (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).
American Music in the 1920's and 1930's. This course will focus on trends and developments in American music in the period, roughly, between World Wars I and II. Topics to be covered include: concert music and the rise of an American avant garde; popular song; dance music; Afro-American forms such as jazz, blues, and spirituals; attempts to fuse popular and classical traditions; the effect of radio and films on musical life; Broadway musical theatre and revues; social consciousness in the music of the 1930's. Special attention will be given to the following figures: Duke Ellington, George Gershwin, Aaron Copland, Paul Whiteman, Edgar Varese, Henry Cowell, Roy Harris, Virgil Thomson, Jelly Roll Morton, Carl Ruggles, Cole Porter, Marc Blitzstein. Some music background helpful, but not essential. Course requirements include reading and listening assignments, two papers, and two exams. (Tucker)
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)
254. The Human Voice as An Acoustical Instrument. (4). (HU).
This course is open to any student who wants to develop the vocal instrument for speech and/or singing. All persons who want to speak and sing comfortably and to keep a voice healthy need the same basic vocal technique. This course is directed toward singers with some and with no previous training, speech and drama students, and actors. The course has two dimensions: (1) practical training of the mind (through exercises and songs) teaches control of the vocal mechanism for acoustically correct singing. (2) The study of acoustic and physiological principles enables us to understand what is going on, in so far as is known at the present time. Class will meet as a whole on Monday and Friday and will break up into small groups on Wednesday. Students should reserve all six hours until a definite Wednesday schedule is arranged. (Heirich)
210. Perspectives on Careers in Medicine and Health Care. (4). (Excl).
This seminar is designed for students who are considering a career in one of the health-related professions and who want to acquire perspectives to aid them in making a career decision. To do this, we will have professionals visit the seminar and share with us their educational and professional experiences. The term's activities will begin with a quick look at some aspects of the medical and dental school tracks. Following this we will spend some time on health care delivery before moving on to consider some of the ethical questions most closely related to health care; for example, we will discuss issues related to death and dying. All students will be expected to attend the day long Conference on Ethics and Humanism in Medicine held in late March. In addition we will try to get a maximum exposure to a variety of service, research, and practice careers in the health professions. Students will be expected to respond in writing and in class discussions to our visitors, to the reading materials, and to films especially selected for the seminar. All students will be expected to explore a possible career choice outside class time and report their findings in a term paper. 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 of their values, skills and interests. (F. Zorn)
320. Development of Recombinant DNA Technology. Sophomore standing or permission of instructor. (2). (Excl).
This course examines the development of recombinant DNA (also known as "gene splicing") technology from its inception in 1972 to the present. My aim is to provide a broad historical perspective on the development of the field, one which emphasizes the contexts in which the field evolved, the forces that affected both promotion and control of the field, and the terms on which the field ultimately advanced. In 1972, the development of gene splicing techniques made possible the construction of micro-organisms with new biological functions as well as the genetic manipulation of higher forms of life. This technical achievement promised to yield both scientific advances and new and powerful forms of technology for industry, agriculture, medicine, and for military purposes. It also posed major ethical and social problems: Is use of the technology for military purposes morally acceptable? Should either scientific knowledge or the genetic heritage of human beings be appropriated for private gain? How should potential costs and benefits be weighed? How should decisions be made in the face of wide uncertainties regarding potential hazards? Who should decide these issues, and how? Readings: Clifford Grobstein, A Double Image of a Double Helix (a short paperback) plus a wide selection of articles drawn from popular, academic, and government sources. Main requirement: a 10-15 page paper. (Wright)
350. Special Topics. Concurrent enrollment in an associated course.
(1-2) (Excl). May be repeated for a total of 6 credits.
Health and Lifestyle. This is a one credit short course consisting of six two-hour seminars exploring concepts of health promotion and personal responsibility for health. The course will cover subjects including: how people make decisions about their health, effective strategies for changing health-related behaviors, identification of areas in which individuals can take charge of treating illnesses, and specific health topics such as stress, nutrition, exercise, alcohol, and smoking. The course focus will be aimed toward those students interested in changing personal health habits as well as those who may be considering health-related careers. The course is intended for lower division undergraduates yet is not restricted to lower division students. It is intended that students will achieve the following objectives: (1) Individuals will gain information and behavioral skills which will enable them to initiate lifestyle changes; (2) Individuals interested in health-related careers will understand the lifestyle factors related to the major causes of death in this country and will be able to utilize acquired skills to help others change their behavior patterns; (3) Individuals will acquire skills and knowledge important for healthy development and maturation not usually addressed in the academic setting. Course will meet Monday evenings, 6: 30 to 8: 30 P.M., on February 7, 14, March 7, 14, 21, 28. (McClaren)
262. Cosmology II. (4). (NS).
This course acquaints students with the latest results and speculations on the nature of active and exploding galaxies, quasars, and pulsars. New data on and modifications of the black-hole model for quasars will be presented. Lectures will also be given on space, time, simultaneity, and causality in special relativity; the principle of equivalence and geodesics in curved spacetime in general relativity, includng photon paths and time changes near black holes. The course objective is to increase in and understanding of science by students with little background in science and mathematics. (Haddock)
202/Hist. 202. The Twentieth Century: A Global View (4). (SS).
See History 202. (Bright and Geyer)
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)
360. Social Science Junior Seminar. Upperclass standing. (4).
Art and Politics in Weimar Germany. This course is jointly offered with RC Humanities 390. See RC Hums. 390 for description. (Bright and Walsh)
385. Democracy in the Workplace. Introductory sociology or social science course. (4). (SS).
This course examines a variety of new approaches to organizing work in this country, with some examples from other countries. These include employee ownership, producer cooperatives, various quality of worklife efforts, autonomous work groups, participatory management, job enrichment and worker-community efforts. We put these efforts into a larger framework by analysing the development of modern work organizations in the U.S. We then turn to the potential of the different approaches for change and discuss various strategies for their development. The course is designed as a practicum for students who wish to gain some direct experience in addition to a theoretical understanding of developments in the U.S. workplace. The course is organized in the following way: the class will meet for an average of one hour each week throughout the term. In two intensive weekends (January 28, 29, and 30; April 8, 9, and 10) the class will meet as a workshop before and after a week of fieldwork in Boston during spring break (February 20-25). During the week in Boston, groups of 3-4 students will conduct research in several innovative workplaces or in organizations devoted to developing changes in work. Examples would be worker-owned enterprises, plants with "quality circles," or organizations that provide technical assistance and training to workers and communities interested in forming cooperatives and worker-owned enterprises. The class as a whole will help to design the research questions before the Boston week, meet together to compare findings during the week in Boston, and afterwards in Ann Arbor. (Gamson, Heirich, Zimbelman)
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 by a close comparison of two cases, England from the late 17th century through the early phase of the industrial revolution and southern Africa in the late 19th and early 20th 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 landlords lost much 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. The course will involve a juxtaposition of theoretical reading – most importantly in Marx's Capital – and historical studies. There will be some lecturing in the course, but the emphasis will be on reading and discussion. Students will write a short essay on the reading plus a longer one on a topic of their choosing. (Cooper)
460. Social Science Senior Seminar. Senior standing. (4). (SS).
African Social Movements. During the more than half century when most of Africa was under colonial rule, African people not only felt the impact of external conquest and political control, but of outside intervention in their social and economic lives. Many people, even sympathetic ones, have tended to view Africans' role in this history as that of passive victims. On the other hand, since most African nations became independent, scholars have been more likely to see every incident in the colonial era as one more step toward the triumph of nationalism. Yet, falling down before colonialism or attacking it was not all Africans had to do. They had to make sense, collectively, of the changes in their lives, and to adjust to or struggle against the changes in their relationships with each other that derived from the economic and social transformations of the colonial era. This course attempts to look at the widest possible range of collective movements in a colonized continent. Reading and discussion each week will cover resistance movements based on the pre-existing social organization of African society, the reaction of peasant societies to economic change, the ways in which religious movements, spirit possession cults, and witchcraft eradication movements tried to come to grips spiritually and emotionally with social change, the ways those educated in the West came to think of their own role in society and in changing it, the kinds of associations Africans developed to cope with life in rapidly growing cities, and the importance of strikes, riots, and peasant disorders in the politics of anti-colonialism. These sessions will cover only part of the term. The rest will be spent on student projects on particular social movements. These projects will allow students to learn more about materials on Africa – including work by Africans as well as about them – and to explore further the significance of social organization and action in the non-western world. While previous study of Africa is desirable, it is not required. (Cooper)
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