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).
How do we create theories about our culture and ourselves in the very practice of writing ? In this course we will write and rewrite narratives of scenes, dialogs, situations, people, and cultural events to create, through fragments, a whole "story" of what "America" "is." Writing will begin with fieldwork and then move through the layers of description/theory to a narrative plot, a "style," a "voice" and finally a "revelatory" understanding of themes common to "events." Readings: (1) various forms of narrative such as Agee's, Let Us Now Praise Famous Men; William Least Heat Moon's, Blue Highways; de Tocqueville's, Democracy in America; (2) essays on writing about America by Joyce Carol Oates, Robert Dunn, John Edgar Wideman and others; (3) essays on American cultural concepts of "the self," "seeing," and "reality" description by Walker Percy, Dorothy Lee, and Alan Dundes; (4) comments on the role of the observer and writer of culture/people by James Clifford, Clifford Geertz, Walter Benjamin, Susan Sontag and others. Class time will be spent in doing writing exercises and fieldwork and in discussing our "writing" meaning not just the product but the entire process of observing, describing and creating a true narrative voice. (Stewart)
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. (Carduner)
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. (Carduner)
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 – Switzerland: a Cultural Perspective. Switzerland, situated in the heart of Europe, is a country whose cultural diversity is reflected by the existence of four national languages. One of these four languages is French. Despite the country's diversity, Switzerland has been able to unite its dissimilar parts to maintain its own national identity. The success of this unity can be seen in the fact that the country has been able to peacefully preserve the world's oldest democracy for over seven hundred years. What are the origins of Switzerland's cultural diversity? How does the country's political organization, army, economy and culture unify and influence the country as a whole? During the term, we will focus on many of these issues through readings, films and discussion. (Bovet)
Section 002 – Voices in a foreign tongue. In this course, we will, first, listen to a variety of voices, narrative, poetic, dramatic – from nineteenth century storytellers to contemporary poets, singers, and playwrights, from Merimee to Beckett. Each reading will be discussed in class and followed by a creative phase: you will write your own stories, poems, short plays, using techniques observed in the readings (how does a narrative voice identify itself, how does it disappear behind that of its characters...), and drawing inspiration from their themes. Voices are also to be heard, not only read: you will act out your plays, and poetry will be read aloud in class, both from the selected readings and from your own work. There will be about ten written assignments, aimed at developing your own style in writing and in speaking French. Active participation is required, and a willingness to use your imagination! (Chorier)
Section 003 – La Litterature fantastique. What is "la litterature fantastique?" The French dictionary Robert gives as a definition of "Conte fantastique": a tale where the supernatural is the most important element. Is the "Conte fantastique" the French equivalent of the Gothic tale? Why can we say that some texts are "fantastiques"? In this course, we will question the notion of "litterature fanatastique." As a first step, the students will try to define their own notion of what makes a tale "fantastique" and they will verify if their definition is operative in the texts we will read together. The students will read short stories of the nineteenth and twentieth centuries by Merimee, Nerval, Villiers de L' Isle-Adam, Gauthier, Balzac, Maupassant, Marcel Ayme, Jean Blanzat, and others. We will analyze in those texts the importance of the relation between the narrator(s) and the reader(s). We will also examine the role of realism in "la litterature fantastique." The students are expected to participate actively in class discussion; they will write frequent short essays, and at the end of the term, they will either write a longer essay or try their hand at writing their own "conte fantastique." (Masson)
321. Readings in German. Proficiency test. (4). (HU). May be repeated for credit.
The course will concentrate on selected writings by major German authors of the twentieth century, including Kafka, Mann, Boll, Kaschnitz, Aichinger, Wolf, Schubert, and others. There will be occasional discussion of themes and topics of current interest extracted from newspapers and elsewhere. We will aim at increasing comprehension both of the poetic voice and of the language of daily life. Although there will be review of basic grammar when necessary, our linguistic focus will be on stylistics and grammatical nuance as we react to and analyze the various texts. Class will be devoted primarily to discussion, in which students are expected to teach each other through their responses to the readings as well as through prepared oral presentations and correction of each other's work. Course requirements include at least one oral presentation, approximately one short essay per week, hourly and final exams. Students will also prepare a final research paper, for which they will select a topic early in the term and will utilize reference works and sources available in the library throughout the term. (Fries)
324. Readings in Spanish. Proficiency
test. (4). (HU). May be repeated for credit.
Section 001 – The Environment and Us. In this class the student will have the opportunity to use Spanish in order to discuss the most important problems affecting the environment. (1) Basic concepts of Biology and Ecology. (2) How the human being transforms the environment. (a) Nuclear energy, possibilities and limitations. (b) Problems of pollution in the United States. (c) Deforestation and its environmental and social impact. The importance of tropical forests. (d) Population. Is the world overpopulated? (e) Hunger in the world. (f) Basic concepts about nutrition. (g) Adaptation to the environment in different societies. (3) The influence of the environment. (a) The myth about intelligence. (b) Race and intelligence. Analysis of some general beliefs. (c) Sexism. What determines sex roles in society? (Babbar)
Section 002 – Protest under Dictatorship. The Seminar will deal with a series of modern plays written and, in some cases, presented under the Franco Dictatorship in Spain. Working under severe limitations, playwrights who sought to offer some kind of opposition had to discover approaches that would not be totally censored. The tactic that seemed to work best was to shift the burden from the purely political to the moral view of society. Playwrights to be discussed include Antonio Buero Vallejo, Alfonso Sastre, Carlos Muniz, Lauro Olmo. (Casa)
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 holography and in black and white and color photography. 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).
Developing familiarity with two and three dimensional visual concepts through the use of fiber/textile media. Lectures, discussion, preliminary studies and critiques will assist in gaining technical proficiency and resolving aesthetic issues in several projects. Emphasis will be on individual artistic expression. The understanding and mastery of techniques such as feltmaking, weaving and fabric printing will be applied in the work. Characteristics of fiber/textile materials will be explored, and students will be encouraged to experiment with a wide variety of contemporary materials and techniques, as well as the more conventional. Exposure to traditional and contemporary textile/fiber artworks, through slides and actual pieces, will provide a context for class projects. Studies, four finished pieces, discussion, use of the lab outside class time, and attendance will be the basis of student evaluation. (Constantinides)
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 several area museums will be 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, testing, preparing, and applying 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)
389. Ceramics Theory and Criticism. RC Arts 289 or permission of instructor. (4). (Excl).
In this course, we will combine studio work in clay with the history, aesthetics, and criticism of ceramics. In the studio, we will develop content, style, form and surface, through the expansion of forming skills and decorative techniques. Concurrently, we will go beyond "craft," confronting, through critique, analysis, reading, and writing, the intellectual material of ceramics. We will read Garth Clark's Ceramic Art: Comment and Review 1882-1977, and then Phillip Rawson's Ceramics. Subsequent reading from journals – "American Ceramics," "The New Art Examiner" and others – will enable us to enter the discourse of ceramics in 20th Century art. (Crowell)
257. Visual Sources. (4). (HU).
"All perceiving is also thinking, all reasoning is also intuition, all observation is also invention," (Rudolf Arnheim). This course encourages you to exercise the intelligence of your eye. In addition to developing a deeper understanding of the visual arts, our goal is to gain a fuller awareness of the extent to which visual influences affect the quality of our lives. The structure of the course is essentially twofold: first we will probe the dynamics of the viewing process; secondly, we will put this process into practice by confronting the visual directly in the studio, the museum, and the environment at large. Here focus will shift to the special character of each medium, ranging from architecture to the graphic arts, from painting to film and video. Readings will reflect a broad spectrum of the visual arts, as well as a broad spectrum of approaches to the visual – approaches as diverse as John Berger's Ways of Seeing; Rudolf Arnheim's Art and Visual Perception, and Italo Calvino's Mr. Palomar. Assignments will vary from formal analysis to a more freely explorative journal. No previous experience in the visual arts is expected; the course is intended for anyone who wants to become more visually literate. (Kleinfelder)
311. Intellectual Currents of the Renaissance. Sophomore
standing or permission of instructor. (4). (HU).
The Rabelaisian Cosmos. This course will center on a single work, the five books of Francois Rabelais' Gargantua and Pantagruel, one of the most inventive and truly encyclopedic works of world literature and an almost inexhaustible compendium of Renaissance speculative thought, classical erudition, and popular culture. The course will be divided into five units, each devoted to one Book of Rabelais' quincuncial work; within these five units is inscribed the venerable triad of Mind, Body, and Spirit. Each Book will be considered in relation to other works of Renaissance visual art, literature, and philosophy. The syllabus will include: Literature: Rabelais, Gargantua and Pantagruel; More, Utopia; Plato, Symposium; Pico Della Mirandola, Oration on the Dignity of Man; St. Francis, Little Flowers; Erasmus, Praise of Folley. Visual Arts: Hieronymus Bosch; Pieter Bruegel, Titian; Albrecht Durer. (Sowers)
312/Slavic 312. Soviet and East European Cinema. A knowledge of Russian is not required. (3). (HU).
See Slavic 312. (Eagle)
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)
455. Film Studies and the Arts. Hums. 290, 291, or 255, or permission of instructor. (4). (HU).
Film draws upon the other arts – music, painting, sculpture, literature, etc. In our discussions, we will compare how two film directors (e.g., Ingmar Bergman and Woody Allen, Roman Polanski and Robert Altman) use these elements to tell stories and convey their personal visions. We will view one or two films each week and the student will write a series of papers as well as a midterm and/or a final exam. Having taken RC Humanities/Film Video 236 is desired but not required. (H. Cohen)
456. Video: Autobiography and Documentary. Introductory video or film course or permission of instructor. (4). (HU).
Ours has been called the "society of the spectacle: " we live in an age marked by the proliferation of images. Is an image more than a residue of the $$$ spent to produce it? Is visual perception historically specific or is it eternal and universal? Is the mechanically reproduced image qualitatively different from the "unique" image? How should the independent video producer's practice reflect his or her answers to these and similar questions? In this course students will be required to produce one videotape in which they function as auteur – writer/producer/director - and will be required to crew on two other productions. Each producer will take a concept from treatment to shooting script to storyboard, through production to postproduction. Students will be asked to articulate and defend their preproduction decisions within the class, whose role will be advisor/critic in working out successful aesthetic strategies – although, of course, in that lonely hour of the final decision the auteur alone reigns. Readings will be assigned on critical issues within contemporary cultural production, of interpretations of mass culture and theories of spectatorship. Students enrolling in this course must have completed basic video production courses and have a good technical familiarity with the medium. (Kipnis)
472. Arts and Ideas Senior Seminar. (4).
Reading Gravity's Rainbow. This course will be organized around a close reading and analysis of Thomas Pynchon's Gravity's Rainbow. We will examine the novel as a form of poetic discourse, that is, a long narrative structured as a network of metaphor; the novel as collage, a disruptive encounter of a variety of narrative and informational modes, such as comic books and films; the novel as cultural synthesis, a form of writing which co-ordinates, for example, research on plastics, rocket technology, and the film industry, and the novel as a marginal form of history, and annotation (primarily in the form of illegitimate graffiti) to the history of World War II. In addition, we will read a selection of texts which have either informed Gravity's Rainbow as primary sources or which will illuminate it indirectly, such as: Rilke, The Duino Elegies; Nietzsche, Ecce Homo, and Barthes, Sade, Fourier, Loyola. Finally, because this is an Arts and Ideas Senior Seminar designed to co-ordinate the study of literature and the visual arts, we will examine in some detail the work of Max Beckmann, an artist whose works disclose the same epic sweep, moral energy, and informal experimentation as does that of Pynchon. Students may elect to write a research paper of about 30 pages, or they may write three analytical papers of about 10 pages in length. The details of these papers will be worked out in individual conferences. (Sowers)
475/Chinese 475/Hist. of Art 487/Asian Studies 475/Philosophy 475. The Arts and Letters of China. (4). (HU).
See Chinese 475. (Y. Feuerwerker)
215. Poetry. (4). (HU).
This course teaches you how to read carefully. It deals with poetry because poetry is very dense (complicated). In learning to read and, I hope, to enjoy poetry you will also be improving your ability to read other kinds of writing such as novels, law texts, etc. This is a good course to take relatively early in your college career. The method is one of taking apart and putting together. Taking apart (analysis) calls for you to learn some of the terms critics use to isolate parts of poems. You can expect to learn about such things as metre, rhythm, diction, tone, imagery, poetic form, etc. The putting together will be of two sorts. You will be asked to do interpretations; that is, to say what you take poems to mean. You will also be asked to complete poems with missing parts, and later to write some poems yourself. The purpose of these exercises is to provide a balance for the analytic parts of the course and to give you a feeling for how poems are made. At the start we will read a few modern poems very slowly and carefully, while learning a basic vocabulary of critical terms. Most of our time will go to reading typical poems by English and American poets of the last four hundred years. The final two or three weeks will be taken up with extensive reading of a single poet, probably Robert Frost 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).
Semiotics of Literature and Film. Semiotics studies the way that various aspects of human culture (including language, myth, ritual, ideology, styles and customs, art, literature, cinema) communicate meaning through complex systems of signs. As individuals we not only use such systems, but collectively create them. At the same time, our minds and personalities are shaped by the network of interrelated semiotic systems which constitute our culture (since we begin our interaction with these systems from infancy). This course will consider and evaluate insights of some major contributors to modern semiotics, particularly as they apply to literature and film. Among the theoreticians included will be Ferdinand de Saussure, C.S. Peirce, Sergei Eisenstein, Roman Jakobson, Yuri Tynyanov, Jan Mukarovsky, Claude Levi-Strauss, Roland Barthes, Yuri Lotman, Julia Kristeva, Jacques Derrida, Emile Benveniste, Jacques Lacan, V.V. Ivanov, Alexander Zholkovsky, Laura Mulvey, Stephen Heath, Teresa de Lauretis, Kaja Silverman, Christian Metz, and David Bordwell. We will explore the ideas of these theoreticians in application to specific literary and cinematic works. Readings will consist of critical articles and excerpts from the works of the above, as well as several poems and short stories and a few short novels. Four viewings will also be required. Evaluation will be based on class discussion and three short papers. (Eagle)
410. Upperclass Literature Seminar. (4).
(HU). May be repeated for credit.
Section 001 – Fiction in China and the West: Narrative Theory and Practice. This course will explore the nature of narrative fiction through a mixture of theoretical considerations and close readings of works selected from two independent literary traditions: China and the West. Our questions: What characterizes and distinguishes fictional narratives? What makes a story? Can we identify "universals" in works produced from distinctive cultural contexts? What do we do as readers, especially in approaching 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. Readings in theory will include selections from Chatman, Story and Discourse; Rimmon-Kenan, Narrative Fiction; Iser, The Implied Reader. Fictional readings will emphasize works early and modern. Selections from Chinese in translation will be 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 include: Cervantes, Don Quixote; Boccaccio, The Decameron; Gogol, "Diary of a Madman"; Borges, "Pierre Menard, Author of the Quixote." Lecture/discussion. Four short papers, take home exam and term paper. Chinese not required, but those with reading knowledge may sign up for one extra hour of directed reading and credit. (Feuerwerker)
Section 002 – Gods and Heroes. The kinds of gods mankind worships and the kinds of heroes or heroic actions it chooses to emulate change with the times. So too have the doubts about worship and heroism, for every generation has skeptics peculiar to its own conditions. This class will examine a number of works, ranging from antiquity to the present, that have sought to define the human need for belief and heroism (e.g., Oedipus Rex; Lucretius', On the Nature of Things; Socrates' Defense; Brecht's Galileo; Bergman's, The Seventh Seal; David Lean's Lawrence of Arabia; Malamud's The Assistant). The student will be evaluated on the basis of papers, a midterm and/or final exam, and his or her contribution to discussions. (H. Cohen)
Section 003 – Rhymed Narrative: Limericks, Ballads, Lays and Narrative Poems. Poetic narratives have been a means of both preserving and enhancing cultures since the days of cave persons. Some forms have been essentially for amusement (or to shock), such as most limericks or longer bawdy poetry, while others have served as a convenient way to preserve history, enhance culture, inspire patriotism, or to while away the millennia in the pre-TV world. This course will provide an introduction to this material through reading, discussion, and analysis of representative and non-representative works, exclusive of epics and sagas (which are too long). Students will themselves be encouraged to assay one or more of these forms. (Mersereau)
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. (Maken)
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. Students' poems are presented to the class for appraisal and criticism. In addition, each student receives private criticism from the instructor every week. Contemporary poetry is read and discussed in class for style. Students are organized into small groups that meet weekly. (Mikolowski)
222. Writing for Children and Young Adults. (4). (HU).
The course will focus on the writing of short stories for young people ten years old or older. That is, the course will not include the writing of picture book texts or stories for very young children. Students should expect to do a lot of writing and rewriting, and be prepared to discuss their own work and others' in class. In addition, each student will need to plan on 1/2 hour each week for a private conference with me. There will be some reading assignments tailored to the individual student's areas of interest. I assume that all students will have a reading background in children's books or will be prepared to compensate for the lack. (Oneal)
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.
326. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (HU).
425. Creative Writing Tutorial. Permission of instructor. (4). (HU).
426. Creative Writing Tutorial. Permission of instructor. (4). (HU).
280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
See English 245. (Brater)
282. Drama Interpretation I: Actor and Text. (4). (HU).
This is a performance workshop aimed at combining practical experimentation in various "acting styles" with an integrated understanding of textual prerequisites in relation to period, place and genre. Text work will proceed (basically) from Romeo and Juliet to 19th century adaptations of Shakespeare to Boucicault's melodramatic adaptation of Dickens' novel Nicholas Nickleby to the recent David Edgar/Royal Shakespeare Company "Brechtian" adaptation of that same novel. The course will culminate in a class produced public presentation of the entire act from Edgar's lengthy play, in which Nicholas joins the cast of a roving Victorian theatre troupe's production of Romeo and Juliet. Requirements: Numerous scene presentations; two quizzes on written material; participation in end-of-term production. (Brown)
381. Shakespeare on the Stage. Hums. 280 or permission of instructor. (4). (HU).
This course serves not only 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: Comedy of Errors, A Midsummer-Night's Dream, Richard II, Henry IV, Parts I and II, Macbeth, Antony and Cleopatra, King Lear, Timon of Athens; The Tempest. (Walsh)
385. The Theatre of Bertolt Brecht. (4). (HU).
The drama of Bertolt Brecht, represented by a selection of his plays in English translation, is the subject of this course. We aim to arrive at an informed understanding of the generally used adjective "Brechtian." To do this we will become intensely conversant with seven plays, less intensely so with another eight, with all of which we may appreciate the variety of Brecht's dramatic style. We will also read and discuss some of his writing on the theory of Epic Theatre, on the "dialectics in the theatre," and on his general idea of a theatre that should represent the 20th century world as alterable. In addition to the fifteen plays, readings will include substantial amounts of secondary material on Brecht's life and his European background. Four short analytic papers (total: 24 pp.), a long book report/essay, a final project of presentational kind, and participation in class presentations complete the requirements. (Ferran)
389. The Modern Theatre. Hums. 280 or permission of instructor. (4). (HU). May be repeated for credit.
Detailed study of representative plays from the early, middle and late careers of four contemporary British playwrights – Harold Pinter, John Arden, Tom Stoppard, 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 and 80's – Brenton, Hare, Churchill, Edgar, Griffiths, Barnes – will be introduced by means of individual research and class presentations. (Walsh)
480. Dramatic Theory and Criticism. RC Hums. 280 and three drama courses or permission of instructor. (4). (HU).
This is an upperclass seminar for drama/theatre adepts who need or want a sustained engagement with theoretical issues surrounding the nature, function, origins, and making of drama, and who also welcome a rigorous application of their own developing theoretical prowess to the practical work of writing theatre criticism. Readings will be extensive: several large epochs of thought on drama and theatre will be covered, by reading and discussing major theoretical statements by authoritative writers. (The chief source is Dukore's, Dramatic Theory and Criticism: Greeks to Grotowski; other works will also be used, among them Peter Brook's The Empty Space; Southern's, The Seven Ages of the Theatre, and J.L. Styan's, Drama, Stage and Audience. ) The writing component is also substantial: no fewer than six review essays of plays seen in performance locally; all essays to be re-written; and, longer essay indicating research into a theoretical topic. No exams. (Ferran)
250. Chamber Music. (1). (Excl). Offered mandatory credit/no credit.
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. (J. Heirich)
251. Topics in Music. (4). (HU).
The aim of this course is to provide a historical perspective on the vast and rich repertory of popular songs that have been and are being sung in the United States. While the primary focus will be on music and texts, it will also touch on the economic and social circumstances surrounding the production and dissemination of the songs we study. An important question throughout will be, "what constitutes a popular song, and how is it different from an art song or a folk song?" As a final project, students will be asked to research and report on the work of one recent or contemporary songwriter and/or performer. The class will rely heavily on recordings, and when possible, live performances. No musical background is required; emphasis will be placed on bolstering your aural and visual musical skills as they are needed. (Reed-Maxfield)
253. Choral Ensemble. (1). (Excl). Offered mandatory credit/no credit.
The Residential College Singers is a choral ensemble open to any interested member of the University community, including but not limited to Residential College students, CEW students, and residents of East Quad. The class focuses on improving singing and music reading skills, interpreting choral works, and preparing music for performance. The course may be elected each term for credit and will satisfy the arts practicum requirement. Grades are not given; credit is based primarily on regularity of attendance. No audition or prerequisites are necessary. (Schrock)
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. (J. 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. Each section meets 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. (J. Heirich)
350. Special Topics. Concurrent enrollment
in an associated course. (1). (Excl). Offered mandatory credit/no
credit. May be repeated for a total of 6 credits.
Section 001 – Health and Lifestyle. This particular topic of Health and Lifestyle may not be repeated for credit. 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. The course will meet January 13 through February 17. (Sarris)
Section 002 – South Africa's Geography. Can you answer the following questions? Where are the capitals of South Africa? Which Afrikaan-speaking racial group forms a majority of the population of the Cape Province? Where did the South African government set up the first "Bantustan" (now called a "Black State")? Which countries supply the foreign African workers that a major South African industry depends on for much of its labor? Which natural resource is more important to the future of the industrial economy of South Africa: coal, diamonds, gold or uranium? Is the desert in South Africa encroaching on agricultural land? If you can't, perhaps you would be interested in learning more about South Africa's geography, that is, the construction and operation of the human landscape in South Africa. If you are seriously interested in South Africa's situation, and wish to learn more about the geographical structure essential to the operation of apartheid, consider this mini course. The South African government has worked steadily to transform the geography of South Africa during the past generation, with, until recently, some success. In this mini course, you will be taught a method of learning more about South Africa's geography as we consider together such topics as changes in population distribution, urbanization and the maintenance of the labor supply, natural resource development, climatic hazards, and the imprint of apartheid on the South African landscape. The course has limited enrollment. Be prepared to participate in class sessions, take quizzes, and to write a research paper. The course will meet January 9 through February 6. (Larimore)
450. Science and Social Responsibility. (4). (Excl).
This course will examine in historical detail how advances in science and technology affect nuclear strategies and the possibilities of nuclear war or disarmament. The course begins with the early days of the arms race when the U.S. had a monopoly on nuclear technology and hardware, through the days of effective parity, to the present day when counterforce weapons are actively considered in first use, limited and prolonged nuclear war, and disarming first strike options. At all points, the interaction between technical capabilities and political strategies will be emphasized. The course will cover not just some technical aspects of nuclear weapons, technical familiarity with the properties and effects of nuclear weapons, but also the central role that they play in foreign policy. Also emphasized will be an analysis of the divergent stands of various governments and groups (including scientific groups and protest movements) as they promote or react to the new technological possibilities. The goals are: (1) to increase students' understanding of the nuclear arms race and its connection to overall foreign affairs; (2) to discuss how, where, and by whom nuclear policy might be affected, and (3) to stimulate thinking about the social responsibilities of scientists and professionals in general. (Axelrod)
260. Science and Societal Issues: The Immune System. Introductory science course or permission of instructor. (4). (NS).
This course is designed to introduce students to the field of immunology and to some of the societal issues that derive from this active area of scientific research. The course focuses on the biological basis of the immune response; and understanding of biological concepts, in turn, serves as the basis for discussion of societal and ethical issues that accompany contemporary scientific and biomedical research. The course meets natural science distribution requirements and is intended for students who want to gain knowledge about a field of science and better understand and make decisions about how the results of scientific knowledge are used. Topics include tissue and organ transplants, allergic responses, autoimmune diseases, cancer and cancer therapy, AIDS, biomedical research funding and development, and ethics of immune disease treatment. Throughout, emphasis will be on the acquisition of scientific knowledge, the nature of the scientific process, and the social and ethical implications inherent in contemporary scientific activities. Prerequisite: one college-level science course or permission of instructor. The class meets for three hours per week: time will be equally divided between lecture and discussion sessions. Student evaluation will be based on a combination of short papers, essay exams, and a term paper. (Sloat)
419/IPPS 519/Nat. Res. 574/Physics 419. Energy Demand. Basic college economics and senior standing. (3). (SS).
See Physics 419.
202/Hist. 202. The Twentieth Century: A Global View (4). (SS).
See History 202. (Bright, Geyer)
220/Soc. 220. Political Economy. (4). (SS).
This course is devoted to the comparative analysis of socioeconomic systems from the perspective of political economy. The first part of the course will focus on modern capitalism, particularly as it has developed in the United States. We will examine the operation of the capitalist system by drawing on the writings of a variety of different social scientist, emphasizing the work of radical political economists and exploring how their approach differs from more conventional schools of thought. The second part of the course will concentrate on actual and potential alternatives to capitalism in a modern industrial society, including both existing socialist systems and other possibilities envisaged by movements for fundamental social change. Students will be encouraged to explore their own interests and ideas about alternative systems as well as to develop their capacity for political-economic analysis. (Weisskopf)
290. Social Science Basic Seminar. (4). (Excl).
This seminar is designed for students – especially sophomores - who are seriously considering a social science major in the Residential College. The seminar is a requirement in the social science program. Its purpose is to prepare students to pursue a concentration program in the social sciences at the RC. Seminar sessions will introduce the RC Social Science faculty to students and teach them how to turn general interests into problems that can be investigated systematically. Early on students will begin working on their own with faculty whose interests match theirs in order to complete the principle goal of the seminar: by the end of the term, each student will be expected to design a coherent program of study for the undergraduate major. (Harding)
352/Anthro. 352. Social Perspectives: Cross Cultural
Study of Women. One social science course or permission
of instructor. (4). (SS).
Section 001 – The Latina. In Winter Term, 1986, this section is jointly offered with American Culture 410.003. (Moya-Raggio)
Section 002. In Winter Term, 1986, this section is jointly offered with Women's Studies 345.001. (Mamanova)
360. Social Science Junior Seminar. Upperclass
standing. (4). (SS). May be repeated for credit.
Section 001 – American Fundamentalism. This seminar examines one fundamentalist church, the Rev. Jerry Falwell's Thomas Road Baptist Church, in the context of the history and culture of American Fundamentalism. Topics include: the salvation experience; relationships to God, Jesus, and the Holy spirit; prayer, Bible reading, and worship services; fundamental families; renunciation, evangelization and the construction of "evil others"; liberal reform movements and the fundamentalist Diaspora; dispensational premillennialism; and the Baptist Bible Fellowship and the Moral Majority. Students are required to write two short papers and a long paper based on research. Prerequisite: coursework in the social science of religion or in American history. (Harding)
Section 002 – The Internationalization of Labor: Impact on Women and Families. This course will examine two interrelated contemporary trends that have increasingly drawn Third World people (particularly women) into an international division of labor. These are (1) the expansion of export manufacturing industries abroad, and (2) immigration from underdeveloped to developed areas (Caribbean, Latin, and Asian immigrants to the U.S., "guest workers" in Western Europe). Both trends have triggered significant changes in the culture, work, and household organization of Third World families. We will examine the sources and consequences of these processes with a particular focus on the women who are both employees of multinational industries and consumers in the "global supermarket." We will use case studies (i.e., textiles and electronics) to determine how changes in the economic mode and state policies toward development affect women's lives. We will also look at the impact of corporate domination of media and marketing on the roles of Third World women as traditional providers of health care, food and household needs, as well as on the cultural images and stereotypes of "feminine" behavior (for example, the infant formula controversy). Finally, we will explore the impetus and consequences of migrant labor on women and their families. (Frankel)
Section 003 – Mind and Action. When we think about thinking, words such as "mental image," "internal representation," and sometimes "feeling" come to mind. Bodily movement (muscular activity) is typically dissociated from cognitive processes: the mind and the body are split. However, the affect of movement on thought (or thinking with the body) is a commonplace phenomenon: people pace in order to think more clearly or in order to generate ideas; choreographers and other artists "think through" ideas with improvised motion; memory can be improved if the motor system is recruited during learning. This course brings together materials on the motor systems of the brain with experimental and everyday observations on the interconnections between moving, thinking and feeling. Included is a history of motor theories of thinking, and material on the roles of movement in child development. Requirements include two or three papers, a quiz on neuroanatomy and a final exam. Prerequisites: Introductory Psychology or Physiology, or permission of the instructor. Sophomore standing is required. (Evans)
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). May be repeated for credit.
Section 001 – Research in Peace Organizations. This course is for students with some background in the study of peace and conflict, and is especially appropriate for those who are considering a career in social change or peace-related work. Students should gain from the course a critical understanding of peace organizations, and of the relationships between peace research and peace action. Students will work in research teams, each team studying a particular local peace organization, using interviews and observational methods. We will focus both on internal strength, assessing the internal dynamics that account for the growth or decline of a group, and on external effectiveness, analyzing the group's goals for the larger society, and the effectiveness of its strategies in reaching those goals. Readings will probably include Si Kahn's How People Get Power, Johan Galtung's "Violence, Peace, and Peace Research," and portions of Patricia Golden's The Research Experience. Assignments will include a portion of the team's analysis of a peace organization and a couple of shorter essays. Format will be mainly discussion and presentation of work-in-progress. This course meets the Social Science Program's research requirement. (Reiff)
Section 002 – World Histories/World Outlook. History reveals the historian as well as the past. All historical writing carries assumptions and world views that inform the treatment of specific events. In this course, we will read classic texts in "universal" or world history, exploring the perspectives and philosophies embedded in them. We will begin with an examination of some of the differences between western, Islamic, and Asian traditions, reading selections from the Greek and Chinese chroniclers, from St. Augustine and Ibn Khaldun. We will then trace the development of the occidental tradition of universal history to its culmination in the great 19th century world histories that, for a time, formed the backbone of the social sciences in the context of European global hegemony. We will read selections from representative figures in this tradition (including Vico, Bousset, Bacon, Gibbon, Fergeson, Hegel, Guizot, Buckle, Ranke, and Spencer) and students will be asked to make a study of one 19th century historian. We will then trace (with samples from Spengler, Toynbee, and Ortega y Gasset) the decline of this tradition in the 20th century – the paradoxical crisis of world history in the context of an increasing technical and material integration of the world. The course will end with several contemporary texts (Wallerstein, Wolf, Barraclough) and an assessment of the problem of world history at the end of the 20th century. This is a senior seminar, limited to 15 people. The class will meet once a week for discussion; the readings will be challenging. (Bright)
Section 003 – Society and Politics in Europe Since 1945. This course aims at a broad understanding of political, cultural, and economic trends in Europe since 1945. Our main theme will be the legacy of the Second World War in contemporary Europe. In the context of post-war social and political reconstruction we will examine the force that shapes the institutions for European cooperation. We will consider (1) the visions of the architects; (2) the place of Europe in the post-war East-West conflict and how these international tensions defined goals for European cooperation, and (3) how plans for European integration reflected the political agenda for post-war reconstruction in individual European nations. We will also discuss the long term impact of the war on European society looking first at the moral dilemma of the war generation and, secondly, at how subsequent generations have coped with the historical memory of the war. (Liu)
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