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 these ideas clearly, and effectively. To this end they write a series of papers about themselves and the people, the institutions, the art and the theories that shape their 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)
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). May be repeated for credit.
Section 001 – Life and Death of the Character. How do fictional characters live and die – or do they? How important are point of view and the "authorial" voice? Can characters disappear from fiction altogether? We will read a variety of short works, from Maupassant to Beckett. We will meet characters from all walks of life, from loving mothers to werewolves. Each student will create his or her own set of characters and, using them, write a series of short stories, imitating techniques observed in the readings. Several short papers will thus be written in the course of the term. Readings (in a course pack available from Kinko's Copying) will include works by Maupassant ("Le papa de Simon," "Une Partie de campagne," excerpts from "Le docteur Heraclius Gloss"), Barbey d'Aurevilly ("Une Page d'Histoire"), Apollinaire (excerpts from Le Poete assassine, Queneau (Exercices de style, poems varies), Vian ("Le loup-garou"), Beckett (Pour finir encore). (Chorier)
Section 002 – French Women, French Feminism. This course will be a survey of the various movements within contemporary French feminism. Having started with selections from Simone de Beauvoir's Second Sex, we will then read articles and excerpts from works by Gisele Halimi, Evelyne Sullerot, Benoite Groult and Francoise d'Euabonne. We will examine the feminist press and a sample of women's magazines; interview some French women who live in Ann Arbor and discuss films directed by women (Duras, Varda, Bellon, Kurys, etc.) which will be screened by one of the film co-ops. The last part of the course will be devoted to feminist critical theorists (Irigaray, Cixous) and to the study of Wittig's Les Guerilleres. Students should be prepared to lead discussions, report on the readings, share reactions on the films and write at least five papers. (Raynaud)
Section 003 – Comic Strips and/as Culture. Comic strips are not serious, comic strips are not literature. Therefore let us study comic strips. At least we already know what kind of prejudices we bring with us to the class. The purpose of this course will be to discover how this specific medium deals with typically French politics, feminism, history and customs. We will focus on the particular language used in comic strips (as departing from spoken and traditionally written French). The course will include several characteristic texts by contemporary authors such as Uderzo, Bretecher, Gott...and a course pack will feature a few articles related to our purpose. (We hate to discourage potential talents, but the total of about twenty pages expected from the students will not be in comic book form...). (Rosello)
321. Readings in German. Proficiency test. (4). (HU). May be repeated for credit.
German Readings will focus on the Kurzgeschichten and Erzahlungen of the major 20th century German writers including Boll, Brecht, Grass, Kafka, Mann, and Tucholsky. Through readings and discussions, students will become aware of stylistics, vocabulary, and subtle points of grammar, and will develop more sophisticated command of the language. Specific course requirements include weekly assigned essays, hourly exams on each writer, a ten-minute presentation, and a final exam. In addition, students will prepare a research project, presented as a paper, enabling them to explore the available library resources (bibliographies and journals) in German area studies. (Hegman)
324. Readings in Spanish. Proficiency
test. (4). (HU). May be repeated for credit.
Images of Women in Latin American Literature. The class will focus on several themes presently being discussed in relation with women's literature; existence or non-existence of a specifically feminine literature, contributions of women writers to the literature of the 20th century in Latin America, the problem of censorship, self-censorship and social repression. The relation between women's literature and society will also be discussed. The class is based on a critical reading of a series of works by Latin American contemporary women writers. The material is chronologically ordered, to appreciate the continuation or transformation of certain themes. Assuming that the literary structuring of human experience helps to gain greater insight into the feminine situation we will progress from the intimate world of Maria Luisa Bombal in the 30's to the testimonial voice of Elena Poniatowska in the 80's. (Moya-Raggio)
285. Photography. (4). (Excl). Materials fee.
An introduction to the medium of photography from the perspective of the artist. It includes an overview of photography's role in the arts, the development of an understanding of visual literacy and self-expression as they relate to the photographic medium, and the development of basic technical skills in black and white and color photographs. A visual emphasis is maintained in both presentation and course work, and the student works with the medium towards a goal of personal expression. (Hannum)
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)
257. Visual Sources. (4). (HU).
Visual Sources explores 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, film, video, perceptual psychology, or the studio arts, is encouraged to join us. We will meet twice a week for lectures and discussion. Guest lecturers will join us on occasion, and we will take field trips to local museums, the architectural environments of Ann Arbor and into artists' studios, where you will try your hand at different media (don't worry, no artistic skills are needed for this). The 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. Requirements include several short papers and projects and a final examination. (Rohn)
312/Slavic 312. Soviet and East European Cinema. A knowledge of Russian is not required. (3). (HU).
See Slavic 312. (Eagle)
333. Art and Culture. One History of Art or Arts and Ideas course, or permission of instructor. (4). (HU).
Faced with a crisis in Western culture, modern artists have turned to primitivistic forms of expression. But what exactly is primitivism, and what values does it offer art and culture? Through lectures and discussions, as well as the experiencing of works of art, we will examine these issues in depth. The course will be structured thematically and will probe a variety of primitivistic concerns: the quest for new traditions, formal reductivism, psychoanalytic discovery, authentic versus unauthentic uses of sources, and so on. A tentative list of works to be studied includes: short stories by Thomas Mann, Chinua Achebe's Things Fall Apart, Richard Wright's Native Son, Alfred Jarry's Ubu Roi and Bertolt Brecht's Bal, Igor Stravinsky's ballet score The Rite of Spring, and a host of theoretical writings by such individuals as Nietzsche, Freud, Arnheim, Worringer, and Levi-Strauss. The monumental primitivism exhibition now on view at the Museum of Modern Art will be at the Detroit Institute of Arts during the winter, and we will make substantial use of it. Students will write two short, analytical papers and do a term paper or project. (Rohn)
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)
456. Video: Autobiography and Documentary. Introductory video or film course or permission of instructor. (4). (HU).
Students enrolled in this seminar produce two group videotapes and one five minute original video document (may be an 8mm film). For the individual project, 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. Class projects are critiqued. Readings will be provided. Lectures will be given on screenwriting, editing, composition, etc. Students are expected to have completed basic film/video courses or to have done equivalent work in the field. (Morris)
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)
472. Arts and Ideas Senior Seminar. (4).
Images of the Self in Literature. Our theme in this interdisciplinary course will be the different ways artists have portrayed themselves in literature and the visual arts. We will begin with Dürer, painter of the first recognized self-portraits in German art, and Montaigne, creator of the autobiographical essay. We want to ask: why are self-portraits made? Then we will move through a selected and varied gallery of verbal and visual portraits to focus on a group of images from the 20th century by such artists as Nabakov, Borges, Picasso, Duchamp, and Fellini. Students will be asked to write two short papers and present in class: (1) a research project of 20-30 pages; (2) a self-portrait or self-portraits in words or any other medium. (Feuerwerker)
210. Classical Sources of Modern Culture. (4). (HU).
This course is designed to introduce students to a selection of works, both literary and visual, from the Greek and Roman Periods. We will examine these works in a variety of ways: first, through close reading and visual analysis we will try to understand the individuality of each work, its unique form, its voice, the questions it answers and those it asks, the conflicts in which it is caught. Second, we will trace the theme of destiny as it evolves through the period and is reformulated in each work. What is the shape of destiny? How does it operate? Is it a palpable structure or an invisible force, the echo of a word or a wind? What marks does it leave upon the individual? Is a consciousness of individual personality dependent upon a model of fate? Finally, we will trace through these works the transition from an oral to a literate culture. The period of Classical Antiquity saw the replacement of the traditional singer, the memory of the people, by the scribe, one who with stylus and waxed tablets, with pen and papyrus, translated the heard word into a visual abstraction. This translation was not only technological; it was also alteration of consciousness. Reading selections will consist of The Odyssey, The Orestia, Oedipus Rex, Trojan Women, The Bacchae, Phaedo, The Aeneid, The Satyricon, Meditations and Greek and Roman visual arts. (Sowers)
214. Prose. (4). (HU).
Fundamentals of Prose Fiction. 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 surrounds us with 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 story teller arouse our interest and entice us to enter this fictional world? Our goal will be to enhance the pleasure of reading by analyzing this experience. As we explore some of the possibilities of narrative fiction we will study the elements of story telling, basic plots, narrative structure, and our quest for meaning via theme. Instruction format: lecture/discussion. Prerequisites: none, but a love of reading is helpful. Requirements: five short papers, a midterm, and a final. Tentative readings include: short stories by Welty, Kleist, Bierce, Poe, and James; Biblical parables, "The Snow Queen" (Anderson), The Right Stuff (Wolfe), Jane Eyre (Brontë), Chronicle of a Death Foretold (Garcia Marquez), Heart of Darkness (Conrad), Monkey (Wu Ch'eng-en), "Death in Venice" (Mann), "Metamorphosis" (Kafka), A Portrait of the Artist as a Young Man (Joyce), The Death of Ivan Illych (Tolstoy), Crime and Punishment (Dostoevsky), and Song of Solomon (Morrison). (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, 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 or Thomas Hardy. There will be four or five short papers and numerous in-class exercises. DON'T TAKE THIS COURSE IF YOU ARE NOT WILLING TO COME TO EVERY CLASS. (W. Clark)
318. Critical Approaches to Literature. (4). (HU).
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: (l) How do the structures of ancient myths continue to shape literary texts? (2) How do the analytical methods developed by Freud help readers to understand the special qualities of literary language? In what way are the interpretive strategies of psychoanalysis useful in literary interpretation? (3) How do literary works become themselves myths of literature, myths which embody in a concrete form the problems encountered by writers in writing and by readers in reading the patterns, the dreams, and the cryptograms of art? Readings will include selections from Virgil, Rilke, James, Levi-Strauss, Nietzsche, D.H. Lawrence, Freud, Brontë, Barthes, Pynchon, deChirico (paintings), Manuel Puig, Shakespeare. (Sowers)
410. Upperclass Literature Seminar. (4).
(HU). May be repeated for credit.
Fiction in China and the West: Narrative Theory and Practice. This course will explore the nature of fictional narrative through a mixture of theoretical considerations and close readings of works selected from two independent traditions: China and the West. What characterizes and distinguishes fictional narratives? What makes a story? Can we identify "universals" as we look at works produced from distinctive cultural contexts? What is it that we do as readers, especially when it comes to transcultural texts? Other topics for discussion: history and the emergence of fiction; story-tellers and narrators; stories made from other stories; fiction about the writing of fiction. Reading in theory will include selections from Chatman, Story and Discourse; Rimmon-Kenman, Narrative Fiction; Iser, "Indeterminacy and the Reader's Response." Fictional readings will emphasize works early or modern. Selections in Chinese in translation will come from Si-ma Qian, Records of the Historian; Ma and Lau, Traditional Chinese Stories; Wu Ch'eng-en, Monkey; Lu Xun, "A Madman's Diary." Western selections will come from Cervantes, Don Quixote; Boccaccio, The Decameron; Chaucer, The Canterbury Tales; Gogol, "Diary of a Madman"; Borges, Labyrinths. Requirements: four short papers, a take home exam, and a term paper. Students with a reading knowledge of Chinese should sign up for one extra hour of discussion and credit. (Feuerwerker)
417/MARC 417. Epic and Saga. (4). (HU).
By looking closely at a selection of epic and saga in the early Medieval Germanic tradition, we shall set a foundation from which to explore the epic genre across diverging traditions. In the first half term the readings (in English translations) 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 questions for the medieval comparatist, allowing us to trace story, scenes, and evidence of author's focus, at times in original language passages. In the second half-term we shall move continually wider in geography, time, and culture, reading The Cattle Raid of Cooley (Celtic), The Song of Igor's Campaign (Russian), The Ballads of Marko Kraljevich (Serbo-Croatian), Sundiata (West African), and adding the perspective of an epic of each student's choosing. These works add both dimension and caution to questions of contrasting values, including those of war and the hero. Recent critical approaches inform our search for characteristics of oral and written tradition and for structures within varying epic narratives. Writing is integral to our approach. 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. (Mersereau)
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. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (HU).
Tutorial 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)
326. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (HU).
See 325. (Hecht, Mikolowski, Balducci)
425. Creative Writing Tutorial. Permission of instructor. (4). (HU).
See 325. (Hecht, Mikolowski, Balducci)
426. Creative Writing Tutorial. Permission of instructor. (4). (HU).
See 325. (Hecht, Mikolowski, Balducci)
280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
This course is open to all undergraduates of at least sophomore standing, and is designed especially to introduce students to the world of theatre and drama. No prior experience is required - only an open curiosity about plays, playwrights, theatres, and theatre experiences at different times in Western cultural history. We will read, discuss, see, and experimentally perform pieces of seven dramas by playwrights preeminent in the theatre's history. Each of these major plays represents a different set of theatrical conditions – stage size, shape, acting style, costuming, scenic decor, audience make-up – within which the dramatist worked and by which the theatrical performance communicated to the audience. The aim is to know these seven plays and their potential theatrical "meanings(s)" intimately. Augmenting this group of plays will be eight more, of which a reading acquaintance is required. The method of the course is a combination of discussion, practical experiment, and guest lecture. Visitors from several University departments will give formal lectures on broad background topics; most classes will include both prepared and impromptu scene presentation and discussion. There are two short (3-5 pp.) analytic writing exercises required, as well as a midterm exercise (not a graded exam) and an end-of-term presentation which involves the entire class in concert. The plays being performed in the Ann Arbor/ Detroit area during the term will serve as our primary texts, but we will also deal with a "classic" from each of the following areas: Ancient Greek, Medieval, Elizabethan, 18th Century, Late 19th-Early 20th Century, Post World War II. (Walsh)
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, Twelfth Night, A Midsummer Night's Dream, Henry IV, Part One, Richard II, Much Ado About Nothing, Measure for Measure, and The Winter Tale. (Ferran)
386. Comparative Medieval Drama. (4). (HU).
Survey of the various genre-Latin liturgical drama and the vernacular mystery plays, miracle and saints plays, moralities, interludes, popular farces and folk plays with an emphasis on the English, French and German traditions. Theatre historical perspectives and iconographic/art historical research will be put to the test in extensive scene work and live demonstrations. Those with early music experience or backgrounds in theology and medieval art or history are also encouraged. In its final stages the course will focus on the Wakefield Master's play The Buffetting as preparation for a fully realized production to be taken to the University of Toronto's Medieval Drama Festival at the end of May. (Participation in this project will be contingent upon one's standing in the course and availability for work beyond the end of the Winter term. Extra credit for work on this project will be available). Principle text: The anthology Medieval Drama (1975) edited by David Bevington. (Walsh)
481. Play Production Seminar. (4). (HU).
An upper-level seminar which conducts an intensive study of all the essential activities preparatory to the realization of a single full-length play in production. "Essential activities" means: analysis of the text; researching and practical application of conventions of acting and of costume and scenic design/construction, and composition of the audience which prevailed at the time of the play's origin; the consequent formation of a production interpretation of the play. Members of this seminar may think of themselves as a collective in dramaturgy, together experiencing the entire process of readying a play text for production. The chosen play will be either one from the 19th century European theatre or one from the contemporary American theatre. Enrollment is limited to 18. Upperclass drama majors in Residential College must elect this course to complete their course requirements. Entry into the class is gained by permission of instructor for other than RC Drama concentrators. (Ferran, 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). May be repeated for credit.
Permission of instructor required. Students must have a completed script, of substantially developed scenario approved by the instructor at the onset of course. Term's work will involve a complete redrafting of that material in response to readings, class and student/instructor discussions, and on occasion, prepared scene presentations. Criticism will be based upon and directed towards an understanding of the problems and realities of actual theatre production. (Brown)
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.
252. Operatic and Choral-Orchestral Masterworks, 1825-1946. (4). (HU).
This course is designed so that the student may develop the aural skills necessary to listen critically to any piece of music, discern one musical style from another, and become familiar with several "Masterworks" of western art music. Eighteenth and nineteenth century music will be emphasized concentrating upon the instrumental and vocal works of composers such as Mozart, Beethoven, Berlioz, Brahms, Tchaikovsky and Debussy. A discussion of the changes in the structure of society and social trends from the eighteenth to the nineteenth century and the significance of these changes upon the music will also be incorporated. Emphasis will be on the period from 1750 to 1900.
253. Choral Ensemble. (1). (Excl).
The "Residential College Singers" is a choral ensemble open to any interested member of the University community, particularly Residential College students, or residents of East Quad. The class is primarily concerned with improving music reading skills, interpretation of choral works and preparing music for performance. The course may be elected each term for credit and will satisfy the arts practicum requirement. No audition or prerequisites are required. (Jones)
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)
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 mini-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 students interested in changing personal health habits as well as those who may be considering health-related careers. (McLaren)
430. Perspectives on High Technology Society. Upperclass standing. (4). (Excl).
This seminar will explore the role of women in the sciences, particularly in the United States. Women's participation in the sciences will be examined within the context of prevailing cultural values and in relation to the historical development of science as an institution. The work and lives of individual scientists will be studied to gain insight into the dynamics of work, professionalization, and lifestyle for scientists who are women. The goal of the seminar is to promote an understanding of the contributions of women scientists and the factors, attitudes, and social structures that influence their lives and work. Women Scientists in America: Struggles and Strategies to 1940, M. Rossiter (1982), will be used as a text for the first part of the course. Other readings will be selected from biographies, works on gender and science, works on the scientific enterprise, and scientific memoirs. Requirements include several short papers, a research paper, and a final essay exam. Intended for students interested in the sciences, in women and work, and in how science and scientists reflect and influence cultural values. (Sloat)
340. Junior Seminar in Psychology. Permission
of instructor. (4). (SS).
Mind and Brain. This course concerns the relationships between the mind and its brain. It begins with basic brain anatomy emphasizing function: that is, how do behavioral neuroscientists and clinicians believe the major parts of the brain function in human thoughts, feelings, perceptions, and movements? We will then question the idea of "localization of function," as this approach is called, and review documents from the history of behavioral neurology and from modern neuropsychology on both sides of the controversy. Other related issues we will study include hemispheric asymmetry, the currently popular idea that the left and right sides of the brain perform different functions: the left logical and verbal; the right impressionistic and spatial. In addition to studying the healthy brain, we will read case studies of persons suffering from diseases and unusual circumstances affecting consciousness: the man without memory; the man who remembers everything; patients with Alzheimer's disease and Korsakoff's syndrome. This course brings together material typically taught in courses on human neuropsychology, behavioral neurology, and the psychology of consciousness to highlight controversies and ambiguities surrounding our knowledge of the physical basis for psychological phenomena. Sophomore standing or permission of instructor. Introductory psychology provides helpful background. (Evans)
262. Cosmology II. (4). (NS).
During Winter 1985 this course is jointly offered with Astronomy 164. See Astronomy 164 for description. (Haddock)
343. Scientific Change. Any introductory science course or permission of instructor. (4). (NS).
Is the development of scientific theory a logical process, or does it consist of a series of radical changes that are logically related? Is the development of scientific theory influenced by the social and cultural environment in which it develops? Do scientific findings vary with the institutions which support research? And what do answers to these questions imply about the existence of such entities as electrons, quarks, and DNA molecules? This course examines these and other questions concerning the nature of scientific theory. Particular attention will be given to what was, until the 1960s, the dominant view, namely, that scientific theory is based on an objective, unbiased, empirical foundation, and to several alternative positions formulated more recently, especially the view that science is shaped as much by the social world as the physical one. This course uses case studies drawn from contemporary physics and biology and from the history of science. Prerequisite: any introductory science course or permission of instructor. (Wright)
202/Hist. 202. The Twentieth Century: A Global View (4). (SS).
See History 202. (Bright, Geyer)
360. Social Science Junior Seminar. Upperclass
standing. (4). (SS). May be repeated for credit.
Section 001 – Black Workers in a New World. This course will explore the post emancipation experience of Black workers as they moved from slavery to sharecropping and from southern agriculture to northern industry. Black workers faced discrimination in employment, hostility from white workers, and often condescension from Negro leaders but fashioned their own vibrant, and militant responses to urban industrial life. The emphasis of the course will be on the complex struggles of the Black worker to gain equality inside and outside the workplace and fashion a meaningful life for themselves in a new world. A variety of sources will be used including Black social scientists W.E.B. DuBois and William Harris; novels by Claude McKay and others; and the autobiographies and oral histories of Black workers such as the Narrative of Hosea Hudson by Nell Painter. This course will have a midterm, final, and term paper. (Wilson)
Section 002 – Family and Reproductive Issues: Past, Present, and Future. This course will center on the exploration of the dilemmas surrounding family organization and reproduction in American society. Among the issues we will discuss are: the family and the world of work; right-wing vs. feminist conceptions of the family; control of fertility and infertility (e.g., abortion, the new reproductive technologies); and love and power in the relations between men and women. We will use a variety of readings, films, and other sources to understand the dynamics, variations, and changes in family life as experienced by different gender, age, class, race, and ethnic groups. Our purpose will be to clarify the interconnections between private and public domains that occur within family structures. (Frankel)
Section 003 – the Social Construction of Reality. What we know as reality is shaped by our interactions with the world around us – with people who are significant to us, with institutions that interpret the world or demand action from us, and with the culture that provides us patterns for thinking, feeling and acting. This course will focus on how the individual experiences the world, analyzing the social processes that construct reality. These questions will be central: (1) How does a child construct reality, and how does living with others shape that process for both children and adults? (2) How do gender and race contribute to an individual's construction of reality? (3) How is political reality constructed, and how do institutions such as the schools or the mass media define the relationship of individuals and the state, particularly in relation to war? and (4) How does reality get redefined? How can individuals or groups develop a critical vision and, where necessary, create more humane paradigms for how the world is? This course will be run as a seminar: most discussions will be structured by a student-written critique of the readings for that session. There will also be a research paper involving interview, participant observation, or media analysis. (Reiff)
460. Social Science Senior Seminar. Senior
standing. (4). (SS). May be repeated for credit.
Section 001 – Cultural Process: Storytelling and Common Sense. A seminar to read and discuss the latest and most exciting theories of culture. How are meanings and symbols made, reproduced, and "made sense of" in everyday common sense understandings? What are the social and cultural contexts that give meaning to particular symbols of person, woman, man, action, community, hope, death, evil, change, etc.? What is the human "impulse" to create meaning and how is it channeled, encouraged, distorted, or reduced by different cultural practices and structures? We will begin by reading three great ethnographies describing storytelling and its effects on world view: Agee's Let Us Now Praise Famous Men, on white southern sharecroppers in the 30s; Rosengarten's All God's Dangers, on Black tenant sharecropper's stories and culture 1890-1960; and Glassie's Passing the Time in Ballymenone, on storytelling and politics in northern Ireland. We will then read a collection of ethnographies on the South and Appalachia. They will be of varying quality and will be read critically to see how they demonstrate the conflicts in values between individualist and traditional cultures. These conflicts, rooted in fundamental experiences of the self will be related to two very different ways of creating and using cultural meanings. (Stewart)
Section 002. This is a seminar for seniors in the International Studies Program, designed to draw together disparate intellectual experiences around the core theme of European integration since 1945 – social, cultural, and political. There will be readings/discussions in connection with the preparation of a seminar paper which will serve, in many cases, to meet the senior thesis requirement of the Program. Open to concentrators in International Studies Program only. (Liu)
467. Student-Faculty Research Project I. Permission of instructor. (2-4). (SS).
The SFRC is not a typical course. A part of the Social Science Program of the Residential College, it involves undergraduates interested in the social sciences in an intensive research project for one term. Involvement is a major commitment for both students and faculty, in part because of the special tasks – project conceptualization and design, field work, analysis of data and report-writing - and also because the project does not revolve around a teacher who has information to offer and students who solely learn the information. As a participant in a project, a student works with approximately eight people (including the faculty member) who meet every Tuesday and Thursday from 11:00 to 5:00. The 12 credit Winter Term commitment requires an average of 30 hours per week for SFRC work. Students are expected to continue through May in finishing the write-up of the report. The Student Faculty Research Community this Winter Term will consist of two research projects. Katie Stewart will participate in the project on Appalachian Culture – at Home in the City. Charlie Bright will participate in the group researching aspects of The Political Transformation of Michigan in the 1940s. Detailed descriptions of each project are available at the Residential College, 124 Tyler, East Quad. (Bright, Stewart)
468. Student-Faculty Research Project II. Permission of instructor. (2-4). (SS).
See Social Science 467 for course description. (Bright, Stewart)
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