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).
In this course students learn to use writing to develop and refine ideas and insights and work to improve their writing in order to communicate their views clearly, appropriately, and effectively. To this end they write a series of papers about themselves and the people, the institutions, the art, and the ideas that shape lives. Working with a small team, each student is responsible for helping design and carry out an original research project. A course pack of readings includes essays from different fields of scholarship, tales, interviews, field reports, and selections from biographies and autobiographies. Class time is used for workshops aimed to strengthen particular writing skills, for discussion of reading materials and of student work, and for small collaborative group sessions. At least once every two weeks, students meet with me individually and/or in small groups to discuss work in progress. (Isaacson)
400. Senior Seminar. Upperclass standing
or permission of instructor. (4). (HU).
The Spatial Imagination. The Senior Seminar this year will explore how the spatial imagination endows diverse art forms with meaning. The French philosopher Gaston Bachelard's treatise, The Poetics of Space, will provide the major theoretical basis for our work. Bachelard believes that, "Art...is an increase of life, a sort of competition of surprises that stimulates our consciousness and keeps it from becoming somnolent." Moreover, he contends that, "Space that has been seized upon by the imagination cannot remain indifferent space subject to the measures and estimates of the surveyor." We will begin the term sensitizing ourselves to the dynamics of actual space, using anthropologist Edward T. Hall's book, The Hidden Dimension, to help us in this effort. A careful reading and discussion of Bachelard's book will follow. Then, we will turn to an analysis of Joseph Conrad's Heart of Darkness and William Shakespeare's Macbeth to see how individual works of art in two disparate media make powerful use of the spatial imagination. Presentations previewing the class' research or creative projects will conclude the term. Assignments will include two short essays during the first part of the term and a ten-page term paper or a creative project, providing students an opportunity to explore the spatial imagination in a medium of their choice, due by the term's end. The course is open to any student interested in the arts who is willing to shoulder the responsibilities that make for a good, lively seminar. (Rohn)
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 – Paris in Literature. Paris has meant various things to various people and the purpose of this course is to introduce students to Paris through the works of certain 19th and 20th century French writers. While concentrating on the works themselves and attempting to understand the interaction between reality and myth, we will consider them as guides for a trip through Paris as it was and is. The aim of this course is (1) to familiarize students with literary techniques, (2) the cultural and ideological contexts in which particular works were produced, (3) appropriate methods of literary analysis. Students will need a map of Paris and will read and write (about 20 pages in all) on the following works: Balzac, Le Pere Goriot; Baudelaire, Les Fleurs du Mal; Zola, Therese Raquin; Maupassant, Yvette; Queneau, Zazie dans le metro. (Gray)
Section 002 – The Political Economy of Development in Sub-Saharan Africa. The economies of Africa can only be understood within the context of the physical, political and historical background of the continent. We begin the course with a discussion of the geography and resources of the subcontinent, and history of the pre-colonial, colonial, and post-independence periods. We will then consider the major economic philosophies which have shaped the African development experiences. With this background we will focus on sectors and problems involved in developing each of them: agriculture, livestock, industry, health, education, etc. We will consider the constraints on economic development, and the interaction of the different sectors. If possible, we may also consider existing national, regional, international development institutions and their role in the development process. The students will be encouraged to follow a specific country in the francophone press, using the Graduate and CRED library facilities. There will be three short essays on selected topics, and a term paper. The paper should be on the economic experience of one country, or a discussion of an economic issue of interest to the student. (Sherman, Josserand)
Section 003 – Provence: Its Culture and Is People. The aim of this course will be to provide students with a cultural "tour" of Provence, which will enable them to discover Southern France, its traditions and its people, through reading a variety of texts placing the emphasis upon cultural and social aspects of this region. Press articles, interviews, literary texts will used both to acquaint students with what Provence is and to stimulate discussion and participation. A reading list will be provided later. (Zoubir)
324. Readings in Spanish. Proficiency
test. (4). (HU).
Section 001 : This course will examine the relations between education and social change in Latin America. With this objective in mind, we will focus on certain educational programs that have been organized to support given projects of development and social change. These programs have all attempted to integrate socially marginal groups into national development tasks and/or increase their level of participation and organization in the decision-making spheres. Special attention will be given to the approach to social change and development which influence these programs as well as on their social impact. The cases of Brazil, Chile, Cuba, Mexico, Nicaragua, and Peru will serve as examples. The class will be essentially participatory and completely conducted in Spanish. The reading material will include (a) historical and social development of education in Latin America; (b) theoretical perspectives on the relation of education/social change; (c) analysis of literacy programs, rural education and community development. (Zuniga)
Section 002 – The History of Medieval Spain Viewed Through Literary Texts. The course will provide an introduction to the historical, political, and social background of the medieval period in Spanish literature. Readings will be selected from epic poems, but they will also include legends and ballads. Most of the texts will be modern Spanish translations. The emphasis is on literature as a reflection of the medieval Spanish society. The discussions will center around a broad cultural background including moral and political themes as well as formal aspects of the texts. There will be one short report to be given orally in class, two 3-4 page papers in Spanish on the texts, and one final exam consisting of essay questions on readings. Students will be evaluated on the basis of papers, exams, and class discussion. (Vaquero)
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)
288. Beginning Drawing. (2). (Excl).
The world of drawing is rich and varied. This course will be an exploration into the many aspects and various approaches that exist today, both contemporary and historical. Emphasis will be on the eye (seeing) and the hand (doing). Basic techniques and methods will be covered including some work with the figure. Class attendance is mandatory as well as course work outside the scheduled class time. (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)
312/Slavic 312. Soviet and East European Cinema. A knowledge of Russian is not required. (3). (HU).
See Slavic Surveys 312. (Eagle)
315. Seminar on the Twentieth
Century Novel (4). (HU).
African and Afro-American women writers. This course will examine a variety of fictional and non-fictional texts written by African and Afro-American women writers. It will address questions of narrative structure as well as the interrelation between race, class, and gender. We will begin with two African narratives, an anthropological account entitled Nisa: The Life and Words of a !Kung Woman and Buchi Emecheta's novel The Slave Girl. We will then focus on four works by Afro-American authors: Toni Morrison's, Sula; Alice Walker's, The Color Purple; Audre Lorde's, Zami; and Gloria Naylor's, The Women of Brewster Place. The remainder of the course will include works by both white and Black South Africans, including Olive Schreiner's, African Farm; Nadine Gordimer's, Burger's Daughter; and Bessie Head's, A Question of Power. The main texts will be supplemented by sources from political science and anthropology. There will be two essays, a class presentation, and a final paper. (Herrmann)
363/Phil. 363. Philosophical Bases of Communism, Fascism, and Democracy. One Philosophy Introduction. (4). (HU).
In this course the three major political philosophies of the 20th century will be examined in series. Students will read philosophical works ranging from early classical accounts of each system to contemporary criticisms and defenses of each. The aims will be: to provide a full and fair statement of important, conflicting political philosophies, to promote deeper understanding of them, and to encourage independent, critical judgment in this sphere. (Cohen)
457. Video Production Seminar: Fiction, Fantasy, Fairy Tale. Film-Video 200 or permission of instructor. (4). (HU).
Students enrolled in this seminar produce a group videotape and two five minute original video documents (one of these may be an 8 mm film production). For each of the two individual projects, students produce: a proposal, a working script, a final script, and a narrative description of the production process. Class time will be devoted to screening and analysis of examples of films and tapes produced by professionals or former class members and by discussions of the processes required for class members' productions. Readings will be provided. Lectures will be given on such topics as screenwriting, editing, composition, etc. Students are expected to have completed basic film/video courses or to have done equivalent work in the field. (Morris, Frierson)
470. Philosophy and Public Affairs. Junior 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. (9) Equality of the sexes. (10) Rights of animals. (Cohen)
214. Prose. (4). (HU).
Whether the story begins with the familiar phrase "Once upon a time..." or disrupts our complacency by telling us that "As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect...," fiction immerses us in an imaginative world as vivid as life itself. We find ourselves caught up in these experiences and care intensely about events and people even when we know that prose is nothing but words on paper. How does the storyteller arouse our interest and entice us to enter this fictional world? Our goal will be to enhance the pleasure of reading by understanding this experience. As we explore some of the possibilities of narrative fiction, we will consider its diverse cultural contexts and many forms. Tentative readings will include fairy tales, detective stories, and romances as well as works by major authors. Instruction format: lecture/discussion. Prerequisites: none, but a love of reading is helpful. Requirements: four or five short papers, a midterm, and a final. (Melin)
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 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. DO NOT TAKE THIS COURSE IF YOU ARE NOT WILLING TO COME TO EVERY CLASS. (W. Clark)
310. Medieval Sources of Modern Culture. Sophomore standing or permission of instructor. (4). (HU).
This course will examine some aspects of Medieval life and culture through selected works of art, both literary and visual. Beginning with the transition from Pagan to Christian culture in late antiquity, we will proceed through the tumultuous period of the early epic and the formation of the monastic ideal to the high medieval synthesis represented by scholasticism, Dante's Divine Comedy, and Chartres cathedral. From this point the focus of the course will shift to more secular concerns - the 14th century crisis of values between sacred and profane love, and the problem of suffering, human and divine. Throughout the course, selections from the Bible will be used in conjunction with the other reading. The course is interdisciplinary: literature and the visual arts will be experienced and analyzed on an equal basis. Readings: Apuleius, The Golden Ass; St. Augustine, Confessions; Beowulf; Song of Poland; Dante's Inferno; Boccaccio, Decameron; Villon, Testament. Art: Calkins, Monuments of Medieval Art; Panofsky: Gothic Architecture and Scholasticism. Four six-page papers will be required, two of which will be devoted to literary analysis and two to visual analysis. There will be a two-hour written final exam. (Bornstein, Sowers)
410. Upperclass Literature Seminar. (4).
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. 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. Readings include Rilke, Sonnets to Orpheus; James, The Aspern Papers; Borges, Labrinths; Lawrence, The Prussian Officer; Nabokov, Lolita; Hoffman, Tales; Pynchon, The Crying of Lot 49; Shakespeare, The Tempest; and reading in Levi-Strauss, Freud, and Barthes. (Sowers)
417/MARC 417. Medieval Epic and Saga. (4). (HU).
We shall look closely at epic and saga in the early Medieval Germanic tradition, and from that foundation explore the epic genre across diverging traditions. In the first half term the readings (in English translation) are the Elder Edda, Saga of the Volsungs, Beowulf and Grettir's Saga, where our chief concerns will be literary values and cultural and religious implications. These sources provide rich comparative questions when we trace story, scenes, and evidence of author's focus, including original language passages. In the second half term, we shall move to The Cattle Raid of Cooley (Celtic), The Song of Igor's Campaign (Russian), The Ballads of Marko Kraljevich (Serbo-Croatian), The Sundiata (West African), and an epic of the student's choosing. These works add dimension to our questions of the war ethic, contrasting values, and the hero; in them we can see patterns among oral and written traditions and variant structures that make up heroic narrative. Varied writings in class are part of the exploring process; four short papers are due in stages; independent research is encouraged. (F. Clark)
452/Russian 452. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).
See Russian 452. (Proffer)
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)
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)
389. The Modern Theatre. Hums. 280 or
permission of instructor. (4). (HU).
Modern British Drama. Detailed study of representative plays from the early, middle and late careers of four contemporary British playwrights – Harold Pinter, Tom Stoppard, John Arden, and Edward Bond. The dramaturgy of these playwrights will be explored through scene work and analysis and set in the social, political and cultural context of post-war Britain. Playwrights of the 70's – Brenton, Hare, Churchill, Griffiths, Barnes – will be introduced by means of individual research and class presentations. (Walsh)
390. Special Period and Place Drama. Hums.
280 or permission of instructor. (4). (HU).
Theatre of the Industrial Revolution, 1730-c. 1900 The 19th century was a period of major theatrical innovation: Ibsen, Chekhov, Strindberg, Shaw and the Naturalists all contributed to the founding of the modern theatre. These innovators responded to (and frequently borrowed from) the lively popular theatre of the day: romantic drama, melodrama, the well-made play, the problem play. It is the purpose of this course to examine that popular theatre in its historical and sociological, as well as aesthetic, contexts. Readings will be chosen from a host of little discussed French and English playwrights, including Dumas fils, Augier, Sandeau, Boucicault, Robertson, Taylor, et al. A number of German luminaries, notably Goethe, Schiller, and Hauptmann, will also find their way onto the reading list. We will focus on the development of important genres, especially the melodrama and the well-made play, and trace the parallels between the increased "bourgeoisification" of European society which begins with the Industrial Revolution, and the development of a bourgeois drama. Starting with Lillo's The London Merchant and Diderot's conception of the drame. Participants will be asked to complete a research project and a performance project. (Auslander)
482. Drama Interpretation II: Performance Workshop. Hums. 280 and either Hums. 282 or playwriting, or permission of instructor. (4-6). (HU).
A joint workshop for actors and directors that will combine physical and vocal training with theoretical discussions on the role of the actor/director as a creative artist and his/her relation to a given text. Background readings intended to provide an historical perspective on the development of contemporary acting styles will include exposure to the works of Stanislavski, Meyerhold, Artaud, Brecht, Strasberg, Grotowski, Chaiken, and Blau. No papers will be required, but constant attendance, prepared involvement in discussions, and eager participation in scene presentations prepared outside of class will be closely monitored and evaluated. Although all class members will be given some opportunity to participate both as actors and directors, students should be prepared to declare themselves as one or the other from the onset, (with approval of instructor). Students may elect the course for an additional two credits (also with instructor's approval) if they participate in the Brecht Company's major winter production (most likely St. Joan of the Stockyards). (Brown)
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).
Avant Garde Theatre. A survey of the development of avant garde theatre and performance from turn-of-the-century Europe to the present-day United States, from Apollinaire and Jarry to Spalding Gray and Robert Wilson. The first half of the course will examine a number of major European avant garde movements, including Cubism, Italian Futurism, Dada and Surrealism, their aesthetic theories and the realization of those theories in the visual and performing arts. Important unaffiliated artists, notably Luigi Pirandello and Antonin Artaud, will also be discussed. The second half will examine Artaud's American legacy and the development of avant garde theatre in the United States from the late 1950's to the present. Groups, individuals and phenomena to be discussed include: The Living Theatre, Happenings and Events, The Open Theatre, Allen Kaprow, Robert Whitman, and the aforementioned Gray and Wilson. A critical framework for this material will be derived from readings by major scholars of the avant garde, including Renato Poggioli and Ortega y Gasset. Major critical issues, such as the "deaths" of character and plot and the "dehumanization" of art will be addressed. Participants will be asked to complete a research project and a performance project. (Auslander)
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.
Music and Society in the Eighteenth Century. This course will begin with a study of music in the late Baroque Era and the role of musician and composer in society. An emphasis will be placed upon the transition in musical style from the Baroque to the Classic and how a changing society reflected the development towards a new musical style. The works of Handel, J.S. Bach, Telemann, C.P.E. Bach, Gluck, Mozart, and Haydn will be among those discussed. Several genres will be examined including orchestral works, chamber compositions, keyboard works, opera and choral compositions. Analytical and listening skills will be emphasized. (Gordon)
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 ten 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 lab will be divided into three sections according to ability and experience levels. All three sections 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. (Heirich)
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 fourth offering of the course we will focus on examples of fiction, poetry, drama, film, painting, architecture and other forms of the visual arts produced in Latin America, with an emphasis on Chile; in Africa, with an emphasis on South Africa; and in China and Japan – 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. Each work of art we examine will be found to display in both its form and content the tensions of cultural confrontation, and raise the resultant issues of interpretation, domination, assimilation or resistance. The twice weekly lectures will be shared by a teaching team of instructors from the fields of literature and art history, plus several guest lecturers. The class will meet for an additional two hours in smaller discussion sections. No prerequisites. (Floyd, Moya-Raggio, Rohn)
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 4:00 to 6:00 P.M., on February 6, 13, March 5, 12, 19, 26. (McClaren)
262. Cosmology II. (4). (NS).
In Winter Term, 1984, this course is jointly offered with Astronomy 164. See Astronomy 164 for description. (Haddock)
202/Hist. 202. The Twentieth Century: A Global View (4). (SS).
See History 202. (Bright)
230. Alternative Approaches to Economic Development. (4). (SS).
This course focuses on the economies of Africa, Asia, and Latin America, on the changes that their past involvement in the global economy has brought and the possibilities for the future. It focuses as well on alternative ways of thinking about the economy, on the theoretical and ideological assumptions within each framework, on the insights and limitations of each approach when confronted with concrete experiences, and on the relationship of social science analysis to practical programs. The theories of neo-classical economics, dependency theory, and Marxism will each provide a focus for examining, reexamining, and comparing different historical and contemporary experiences of economic change. (Weisskopf, Cooper)
360. Social Science Junior Seminar. Upperclass
standing. (4). (SS).
Section 001. This course is limited to concentrators and prospective concentrators in the Residential College Social Science Program.
Section 002 – Culture and Consciousness in America. What are the basic meanings and symbols in contemporary American culture? To what extent do these meanings express and validate individuals' personal experiences in everyday life? How are cultural meanings learned, reproduced, challenged, and changed? How does our culture effect our consciousness of self, relationship to others, responsibility, power, freedom, inequality, justice, and the possibility of personal and political change? This course will address these questions theoretically and historical and anthropological case studies. It is hoped that students will learn to recognize particular cultural meanings and to think and write critically about them. The course will meet once a week as a three-hour seminar. The writing requirement will be four 5-7 page papers including a critical essay on one of the major values of American culture and personal interpretations of cultural forms such as rituals, films, T.V. programs and commercials, newspaper reporting, and styles of communicating. (Stewart)
Section 003 – Personal Relationships: The Transformative Process. Personal relationships help form our lives; they are not merely reflections of our past or of our immediate needs. How are we, as individuals changed by a friend, a teacher, a lover? This course concerns the inner workings of the transformative process that is involved in relationships. The multiple case interview method of psychological research will be introduced as a method for comprehending such transformations and making them concrete. Readings will draw on literary, theoretical, and methodological sources, including actual correspondences between people. Students will be helped to think through, conduct, and interpret life-historical interviews. Readings, discussions and the interview projects will interweave through the term, mutually expanding our understanding of the transformative process. Several short papers and a final paper interpreting the interview texts will be required. (Gross)
385. Democracy in the Workplace. Introductory sociology or social science course. (4). (SS).
This course is designed as a practicum for students with junior or senior standing and social science coursework background who are prepared to gain some direct experience in addition to a theoretical understanding of developments in the U.S. economy and the workplace. The first six weeks of the term will be organized as a seminar in preparation for a one-week field trip to Massachusetts during Spring break. The second half of the course will focus on organizing the information we gathered during our trip and writing analytic research reports. We will examine the organization of the macro-economy, the micro-economic order in the traditional workplace, and theoretical perspectives and case studies of a variety of new approaches to organizing the economy and work in this country. Comparisons will be drawn with experiments in Western Europe. Students will be responsible for contributing to the seminars by criticizing the readings, analyzing case studies, and presenting research findings. There is a great deal of reading during the first six weeks of the term in preparation for the field trip. Students should be aware that the trip will cost no less than $150.00 and the bulk of the cost will probably have to be met individually. There will be an expanded description of this course available in the Residential College Time Schedule about mid-November. (Gamson, Kaboolian)
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 phases 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 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).
Section 001 – Women in Action. This course will explore women's involvement in collective action across a range of settings and social movements including labor, civil rights, health, peace and political movements. We will address such issues as the salience of class, race, and gender to women's activism, alliances or divisions between working class and middle class (or professional) women, varieties of organizational forms, and the consequences of power and powerlessness. The format for this course will be a seminar with independent group research projects. The instructor will share her work on women's participation in a textile union and strikes in a Southern mill town. A series of films and articles will provide core background material. Building on this framework, students will work in small groups to explore specific cases of women's collective action using contemporary and historical resource material. This research will provide the focus for the remainder of the seminar sessions. (Frankel)
Section 002 – Social Theory: Recent Paradigm Contenders. In The Structure of Scientific Revolutions Thomas Kuhn argues that fields of inquiry in science go through periods of "revolution" in which the conventional wisdom from the past comes under basic questioning. New "paradigms" or "exemplary models" of how to ask questions and answer them redefine what is at issue and how it can be understood. The vast majority of social science work today depends on "paradigmatic" statements of what is at issue that stem from the work of Karl Marx and then reactions from the next generation of European minds like Freud, Durkheim, Max Weber, and their cohorts. (Major works by each of these authors are studied in RC 260: Sources of Social Science Theory). The reading list is still being chosen. "Musts" include Herbert Marcuse, One Dimensional Man; Peter Berger's, The Homeless Mind (re: modern consciousness); Gregory Bateson's, Steps Toward an Ecology of Mind; and Fritchof Capra's, Turning Point. A wide range of other authors currently are being explored as well, including radical feminist theorists, ecologists, political figures like Gandhi and Mao who have rethought bases of power and integration in modern life; decentralists like Hazel Henderson, E.F. Schumacher, Mark Satin, a variety of Third World social analysts and critics, and physical scientists like Ilya Prigogine, who are rethinking the nature of "structure" and qualitative change. The course will be run as a seminar, with close mutual reading of several key works, some small group responsibility for works that others have not read, and a series of short papers. (Heirich)
University of Michigan | College of LS&A | Student Academic Affairs | LS&A Bulletin Index
This page maintained by LS&A Academic Information and Publications, 1228 Angell Hall
of the University of Michigan,
Ann Arbor, MI 48109 USA +1 734 764-1817
Trademarks of the University of Michigan may not be electronically or otherwise altered or separated from this document or used for any non-University purpose.