Residential College Courses


Most RC courses are open to LSA students and may be used to meet distribution requirements.

Core (Division 863)

Written and Verbal Expression

334. Special Topics. (4). (SS).

LANGUAGE AND COMPUTING. Computers are a NEW THING for most people, and the computer world changes awfully fast, so it's difficult to understand just what they are and how they can be approached. Faced with this kind of situation, the normal human response is to use a metaphor. Computers have been likened to servants, demigods and demons, tools and toolchests, toys, and games. This course proposes and examines a different metaphor: computers and computer programs are viewed as a species of LANGUAGE; in this metaphor, the interactions and structures found in many computational activities are compared to those found in human language, an ancient natural phenomenon with which everybody is familiar; in addition, the science of linguistics provides useful analytical tools for studying the parallels with computing, which are surprisingly productive. Topics studies include: Metaphor, Meaning, Human Communication, Social Interaction, Conversation, Speech and Writing, Texts, Grammar, Presuppositions, and Logic. We will investigate these as they apply both to human language and a number of areas in computing, including: Conferencing, Information access, Word-processing, User Interfaces, Programming, Artificial Intelligence, and Networking. Assignments include frequent writing, regular participation in a computer conference, and occasional problem sets. Texts include: Shore, THE SACHERTORTE ALGORITHM; Levy, HACKERS; Kidder, THE SOUL OF A NEW MACHINE, and a course pack of readings. (Lawler)

Foreign Language

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. FRENCH THROUGH THEATRE. Nous commencerons par etudier une vingtaine de textes poetiques francais, qu'ensuite nous travaillerons activement sous une approche dramatisee afin de presenter un spectacle public les 15 et 16 avril 1988. La classe se reunira pour repeter le mardi et le jeudi de 17 heures a 18 h 30. Vers la fin mars, quelques heures de travail supplementaire seront sans doute necessaires. Toutes les repetitions auront lieu en francais. L'accent sera mis sur les divers registres oraux correspondants aux poems a jouer aussi bien quenir l'expressivite corporelle et le sens de l'espace. La creativite et l'imagination seront appreciees. Roles multiples possibles. La presence, l'assiduite et le devouement sont imperatifs. Auditeurs exclus. Polycopie (course pack). Condition d'admissibilite: RC Proficiency. (Gabrielli)

Section 002 FRENCH THROUGH SONGS. This thematic course is designed to help students improve their French skills in an entertaining way. Using French language songs as a point of departure, we will work on improving oral-aural and grammatical skills. Class discussions will reflect the socio-cultural content of songs being studied. Two songs will be presented each week. Course pack with full text of songs plus LA CHANSON FRANÇAIS (E. Marc). Periodic in-class written controls, one midterm and one final examination. Active participation in French and regular attendance required. You will not be asked to sing. Prerequisite: RC proficiency exam. (Stancel)

Section 003 SOCIAL CRITICISM IN THE CONTEMPORARY FRENCH NOVEL. The novel, more than any other literary genre, offers a representation of the individual within a particular society. Writing a novel always involves, in this sense, at least, an implicit critique of the society in which it is placed and by which it is read. This course will examine how various French novelists have approached the inevitable questions of the work's status as social criticism. How does the novel speak to us about family relations, about social classes, about racism, and about consumer society? This course will address itself to these questions. In our individual work and in our class discussions we will try to determine how the reading of these works of fiction both sends us back and forth between two continents and refers us to our own personal experience. Students will be asked to write a short essay on each of the novels we will be reading for a total writing assignment of approximately twenty pages. Required readings will include Sempe/Goscinny, LES VACANCES DU PETIT NICOLAS; Simenon, MAIGRET HESITE; Paul Guimard, LES CHOSES DE LA VIE; Elise Etcherelli, ELISE OU LA VRAIE VIE; Georges Perec, LES CHOSES. Prerequisite: RC Proficiency Exam. (Kavanagh)

321. Readings in German. Proficiency test. (4). (HU). May be repeated for credit.

Course objectives: increased sensitivity to style and tone in German, some acquaintance with German history and literary history of past two centuries, continued practice in language skills, with emphasis on writing and speaking. Texts used (Grimms' fairy tales and diverse variations from twentieth century) provide historical bridge between the nineteenth and twentieth centuries and allow close study of literary, socio-historical and psychological contents. Students write several short and one long paper, and are responsible, as well, for oral presentation of interpretations, in-class writing exercises, and occasional quizzes. (Fries)

324. Readings in Spanish. Proficiency test. (4). (HU). May be repeated for credit.

Section 001. CINEMA AND SOCIETY IN LATIN AMERICA. Recent Latin American cinema has depicted its society with insight and accuracy. This course will present, analyze, and discuss a number of these films, concentrating specifically on women's roles and their relation to traditional values. Screenings will include films such as RETRATO DE TERESA, HABANERA, from Cuba; TIEMPO DE MORIR, LA MIRADA DEMYRIAN, from Colombia; UN HOMBRE CUANDO ES HUMBRE, from Costa Rica; LA HISTORIA OFICIAL, from Argentina, and several others. All the films will be in Spanish with English subtitles. The students will also read a selection of texts related to those films. The course will deal not only with the social issues presented in these films, but also with the creative aspects of the medium as well as with the theoretical perspectives in Third World Cinema, by seeing and analyzing fiction and documentary films, commercial and independent productions. (Hurtado)

Section 002 ANDEAN LITERATURE AND CULTURE. This course has as its objective the study of the literature and culture of the Andean region of South America. After tracing some central aspects of the historical background, we will explore contemporary expressions of Andean literature and popular and traditional culture. THE MEETING OF ANDEAN AND EUROPEAN WORLDS: the focus of the first part of the course will be the period of the first contact between Andean society and European colonization. We will approach the study of the precolumbian Andean past from the perspective of Andeans who witnessed the end of Inca rule in the sixteenth century. To make a transition to the study of contemporary culture, we will examine how the history and myths concerning the Spanish conquest of Tawatinsuyu in the sixteenth century are represented in folkloric and mythic formulations current today in the Andes. CONTEMPORARY ANDEAN CULTURE: THE INTEGRATION OF TWO WORLDS?: the bulk of the course will be devoted to contemporary Andean culture, as seen through literature (the work of Jose Maria Arquedas and other poets and short story writers) and examples of traditional culture (music, contemporary oral traditions). The course will be concluded with the examination of one of the principal dilemmas of the Andean republics today: is the integration of national life and the indigenous non-Spanish-speaking community possible? Tackling this problem from the social and educational perspective, we will examine the debates on Spanish/Quechua bilingualism in Peru. In addition to the midterm and final examinations, students will be expected to write in Spanish five short (three to six pages, typewritten) papers on the themes studied in the course. (Adorno)

Arts (Division 864)

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).

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 pieces will provide a context for class projects. Studies, finished pieces, discussion, use of the lab outside of class time, and attendance will be the basis of student evaluation. (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 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, throwing and handbuilding techniques, testing, preparing, and applying glazes, stacking and firing kilns, and operating a ceramics studio. Students are required to learn the complete ceramic process and the assumption of studio responsibilities and regular class attendance is 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)

Humanities (Division 865)

Arts and Ideas

257. Visual Sources. (4). (HU).

This course offers different interpretations of the arts as a means to understand the powerful effects of art and the visual environment on our lives. In the first part of the course we will explore the psychology of visual perception as a methodological approach to the visual arts; in the second part we will become familiar with the media and techniques by which art comes about. The last section will be devoted to an integration of visual analysis with the cultural context in which art is created. Examples will be chosen from painting, sculpture, architecture, graphic arts, and photography; the readings will reflect diverse interpretations of the arts and social context and will include Rudolf Arnheim's ART AND VISUAL PERCEPTION, John Berger's WAYS OF SEEING, Italo Calvino's MR. PALOMAR. Course assignments will include journal entries, a midterm examination, formal visual analysis of a work of art, and a creative project; we will also spend some time outside the classroom in museums and investigate the visual environment of Ann Arbor. No prerequisites are required; the primary goal of the course is to increase our visual understanding of the arts and our surroundings. Through close visual analysis, the examination of different media, and an understanding of cultural context, we will explore "why art has been deemed indispensable in every known culture and why it is supposed to offer the deepest insight into life and nature," (Rudolf Arnheim). (Taylor-Kelley)

312/Slavic 312. Central European Cinema. A knowledge of Russian is not required. (3). (HU).

See Slavic Film 312.

333. Art and Culture. One History of Art or Arts and Ideas course, or permission of instructor. (4). (HU).

Section 001. CLASSICISM AND REVOLUTION. The subject of the course will be the surprising vitality of Greek and Roman cultural forms in the arts of the modern era. The period from 1770 to 1830, one of unprecedented social and political upheaval in Europe, will provide its primary focus. Despite the radical questioning of every established institution, advanced artists, architects, and writers sought to return to a purified essence of tradition in the models of antiquity. A new social order was to be symbolized in the most ancient of forms. Their project, which united artists throughout Europe gave the culture of the revolutionary period an extraordinary vitality. It was aided by a new scientific archaeology. The course will examine this movement in detail and will conclude with the paradoxes inherent in it, contradictions which ultimately made the style an emblem of a conservative, established social order. (Crow)

Section 002. INTRODUCTION TO MUSEUM PHILOSOPHY AND PRACTICE. This course addresses the questions: What is a museum? What can/should it be? The course will focus upon the role of museums in society and will describe in detail the five functions of museums as they pertain to the objects that are their raison d'etre: collecting, conservation, research, exhibition, and interpretation. The course will begin with an historical survey of museums in Europe, the United States, and several non-Western countries in order to understand philosophical underpinnings and their effects upon the development and expansion of the museum idea. The bulk of the course will address the ways museum ideals are put into practice. Although it will concentrate on museums of art, it will consider museums of history, natural history, and others because it is through an interdisciplinary approach that museums can best serve their collections and their publics. Assignments will reflect the work executed by museum professionals, especially curators and educators. These include written assignments such as the preparation of catalogue forms; purchase consideration proposals; label copy. In addition each student will be required to present a gallery talk based upon an object in the collection of the University of Michigan Museum of Art. The final project will be a team organized theoretical exhibition. Format will be lecture, discussion, practicum. Prerequisites: Junior standing or permission of instructor. (Kujawski)

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).

VIDEO SEMINAR: ADVANCED VIDEO PRODUCTION. In this course each student will write, produce, and direct an independent videotape. Each student will also crew on two other student tapes. Prerequisite: Film/Video 200 or 201 and be checked out in LS&A Media Center. NOTE: NO STUDENT WILL BE ALLOWED IN THIS COURSE WHO IS NOT ALREADY TRAINED ON LSA MEDIA EQUIPMENT. No exceptions. Required texts: ELECTRONIC CINEMATOGRAPHY, THE TECHNIQUES OF FILM EDITING. (Kipnis)

472. Arts and Ideas Senior Seminar. (4). (HU).

TELEVISION TEXT ANALYSIS: CINEMATOGRAPHY, NARRATOLOGY, AND AUDIENCE. "The history of the living world can be summarized as the elaboration of ever more perfect eyes," Pierre Teilhard de Chardin. What does television allow, even require, its audiences to witness to see and respond to? What is unique about television's way of having us know information about the world? These questions, as well as others about the dramaturgy and technology shaping television narratives, have too rarely been approached in serious and detailed analyses that take into consideration the complexities of society, medium, and forms of text. Raymond Williams reminds us in CONTACT: HUMAN COMMUNICATION AND ITS HISTORY that the evolution of dramatic form in the Western World has its milestones: repertory companies, commercial theatres, motion pictures, and television. In each of these developments there is a "sharing of language, at least of gestures or of some system of signs. Moreover, these relationships are not merely available; in the course of communication they are themselves developed, and the means of communication with them." The electronic medium and the visual and verbal potentials for communication suggests needed lines of inquiry that are interdisciplinary, interaesthetic, and intercultural. But probably equally challenging to the serious critic/analyst of television is the need to acquire sufficient distanciation from the text (which has become so familiar as to be regarded as "natural") to read its content afresh. Each genre of television content (news, sports, commercials, dramatic series, talk shows) has acquired a frame and a system of signs that have become second nature to the average viewer. Nonetheless, it is the familiarity and ubiquity of television that challenges us to develop intellectual curiosity about the nature of the various texts that are set out for us on TV screens via uninterrupted imagery seemingly depicting "reality." Readings for the course will include Fiske and Hartley's READING TELEVISION and Gitlin's WATCHING TELEVISION. In addition there will be a course pack including essays/chapters by Williams, Barthes, Barnouw, Morris, Arnheim, Burke, Newcombe, and others. There will be weekly short papers and a final research paper. Everyone will log and report on a genre of text watched outside of class. Short video productions by groups will be spaced out through the term; these productions will provide experience with video as a medium and as a source of creative expression. (Morris and H. Cohen)

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)

Comparative Literature

215. Poetry. (4). (HU).

This course teaches you how to read carefully. It deals with poetry because poetry is very dense (complicated). In learning to read and, I hope, to enjoy poetry you will also be improving your ability to read other kinds of writing such as novels, law texts, etc. This is a good course to take relatively early in your college career. The method is one of taking apart and putting together. Taking apart (analysis) calls for you to learn some of the terms critics use to isolate parts of poems. You can expect to learn about such things as metre, rhythm, diction, tone, imagery, poetic form, etc. The putting together will be of two sorts. You will be asked to do interpretations; that is, to say what you take poems to mean. You will also be asked to complete poems with missing parts, and later to write some poems yourself. The purpose of these exercises is to provide a balance for the analytic parts of the course and to give you a feeling for how poems are made. At the start we will read a few modern poems very slowly and carefully, while learning a basic vocabulary of critical terms. Most of our time will go to reading typical poems by English and American poets of the last four hundred years. The final two or three weeks will be taken up with extensive reading of a single poet, probably Robert Frost. There will be four or five short papers and numerous in-class exercises. DON'T TAKE THIS COURSE IF YOU ARE NOT WILLING TO COME TO EVERY CLASS. (W. Clark)

318. Critical Approaches to Literature. (4). (HU).

ROLAND BARTHES AND THE EMERGENCE OF POST-MODERNISM IN LITERATURE AND THE VISUAL ARTS. This course is an introduction to the work of Roland Barthes, an important critic in the French post-structuralist school. Barthes' critical explorations are outstandingly creative; indeed, he brought into alignment the critical and creative activities, activities that before him had been considered separate and irreconcilable. In a style that is learned, witty, and humane, a style that abhors the pedantic, the dogmatic, and the exclusionary, he guides us into a new awareness of the nature of the text, a discovery of the implications, at once imaginative and physical, of writing, and a celebration of the essential role played by the reader in the creation of meaning, or as Barthes would say, of pleasure in reading. Barthes' creative originality exercised a liberating influence on criticism; it also served as a stimulus on every level to the development in the arts themselves of the style we now call Post-Modern. We will devote a considerable amount of time in this course to an examination of post-modernism in literature and the visual arts. Can a theory of "textuality" bridge the gap between literature and painting? What is the relation between allegory and the representations of history in the arts? How does a "desire" run through both writing and interpretation? In what way does the reader or viewer "make her mark" on the text or image? Syllabus will include Roland Barthes, WRITING DEGREE ZERO, MYTHOLOGIES, THE PLEASURE OF THE TEXT, FRAGMENTS OF A LOVER'S DISCOURSE, and S/Z; Isak Dineson, THE BLANK PAGE; Thomas Pynchon, THE CRYING OF LOT 49; Italo Calvino, INVISIBLE CITIES; Manuel Puigg, THE KISS OF THE SPIDER WOMAN; graphic works of Cy Twombley; paintings and graphics of Jasper Johns; painting and drawings of Francesco Clemente and Jennifer Bartlett. (Sowers)

410. Upperclass Literature Seminar. (4). (HU). May be repeated for credit.

Section 001. THE HERO AS OUTLAW, OUTCAST, OR OUTSIDER. In this course we try to define the human need for heroes and the (changing) character of heroism by examining the eccentric hero that mainstream society attempts to suppress, dismiss, ignore, or condemn because it regards him or her as perverse, subversive, vicious, or beyond the pale of tolerance: the saint, criminal, psychotic, visionary, egoist, tramp, pervert monster, etc. Some of the works we will read and see are Shaw's ST. JOAN; Melville's "Bartleby, the Scrivner"; Hawthorne's "The Minister's Black Veil"; Kafka's "The Hunger Artist"; Kosinski's THE PAINTED BIRD; Kundera's THE BOOK OF LAUGHTER AND FORGETTING; Fugard's MASTER HAROLD AND THE BOYS; O'Connor's WISE BLOOD; Mann's THEIF; Scorsese's KING OF COMEDY; Allen's ZELIG. The student will be evaluated on the bases of class discussion, papers, a midterm and final exam. (H. Cohen)

417/MARC 417. Epic and Saga. (4). (HU).

EPIC IN ITS MUSICAL SETTING. This course examines the texts (in English translation) and the music of four epic traditions from diverse cultures: THE KALEVALA, Finland; THE BALLADS OF MARKO KRALJEVIC, Yugoslavia; SUNDIATA, Mali; THE MAHABARATA as adapted to Indonesian drama. The four, three of whose texts as well as music are field-recorded, embody ideas of epic broader than the Greek mold and open for us new questions of the relation of text to living performance. The course offers the opportunity to cross the boundaries between musical and literary approaches to epic - to enhance understanding through the double perspective of oral epic as song and tale. Our goal is to broaden our perspective toward oral performance in general and toward epic in particular. We examine the performer/composer's technique in light of his or her other oral performances and other closely related musical forms and narratives. We consider ways to approach meaning and literary values in a culture new to us, examining uses of structural and oral-traditional interpretation while absorbing cultural information. As well as listening, writing is central to our approach. Varied writings in class and a final comparative paper will be part of the exploring process. For RC and MARC students, this course may be used to satisfy the ECB Junior-Senior Writing Requirement, and two further papers will be due in stages. For MARC students, comparison will include use of Medieval European epic. This course is jointly offered with MHM 406 for three hours of credit. (F. Clark and J. Becker)

452/Russian 452. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).

This course, a continuation of Russian 451, gives an account of some of the major developments in Russian prose and drama in the last third of the nineteenth century. While particular attention is given to questions of literary analysis, individual works are studied in the context of history and politics of the period, and against the background of general currents of literature. Tolstoi's ANNA KARENINA, Dostoevskii's BROTHERS KARAMAZOV, and the major plays and prose of Chekhov are among the works studied. Class discussion is encouraged. There are two take home examinations, and a take home final. A paper is required of graduates, Russian concentrators, and RC students. Optional for others. A knowledge of Russian is not required. (Mersereau)

Creative Writing

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).

Individualized instruction, group discussions and readings aim at the development of original story ideas and the perfection of narrative techniques relevant to the authorship of children's books. Preliminary assignments picture book, folklore-narrative, and media prepare each student for a self-directed final project. 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)

Drama

280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).

See English 245. (Farran)

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, ANTHONY AND CLEOPATRA, KING LEAR, TIMON OF ATHENS; THE TEMPEST. (Walsh)

386/MARC 421. Medieval Drama. Hums. 280 or permission of instructor. (4). (HU).

A LITTLE BIT OF SACRED A LOT OF PROFANE. Survey of the various genres 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 religious history are also encouraged. In its final stages the course will focus on the N-Town Marian and Nativity plays 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.) Principal text: the anthology MEDIEVAL DRAMA (1975) edited by David Bevington. (Walsh)

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.

PLAYWRITING TUTORIAL. Students will work toward the completion of a fully developed one-act play, or longer piece with permission of instructor. Readings and written exercises as determined necessary by instructor during course of work will be required. Bi-weekly discussions with instructor will focus on stylistic theory and production realities. Students are encouraged to enroll with script ideas in mind. Permission of instructor is required. (Brown)

Music

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 6-9:00); mixed ensembles of strings and winds (meeting T 6-9:00); 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. (Barna)

252. Topics in Music. (4). (HU).

MUSIC OF MOZART. A survey of the music of Wolfgang Amadeus Mozart, intended for non-music majors. The film "Amadeus" will serve as a starting point for discussion about what we know and don't know about Mozart. By looking at Mozart's own letters as well as other documents, we will place the composer in a more accurate historical context than was achieved in "Amadeus." We'll examine the cultural environment of late eighteenth-century Vienna and Salzburg, and also track Mozart on his many trips outside of his native country. Works to be listened to and discussed include early, middle, and late period symphonies, the REQUIEM, chamber music, concertos, and selections from THE MARRIAGE OF FIGARO, DON GIOVANNI, and THE MAGIC FLUTE. There are no prerequisites for this course. It is not necessary that one be able to read music or play an instrument, nor will knowledge of written or spoken German be required. There will be two exams: a midterm, and a final. Each student will be required to write a term paper and make an oral presentation to the class. There will be a listening list of approximately thirty pieces. Students will be expected to identify these pieces on the exams. (Knoll)

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)

Interdivisional (Division 867)

257. Cultural Confrontation in the Arts. (4). (HU).

This cross-cultural, interdisciplinary course examines works of literature and art produced during "moments" of confrontation between diverse cultural traditions. The focus of this term will be fiction, poetry, painting and other forms of the visual arts from Africa and Afro-America, China and Chinese-America, Latin-America and Hispanic-America, examples of response whether conflict, compromise, assimilation, resistance, or any combination of these - to the impact of a "dominant Western" culture. A major goal is to increase our awareness of the distinct cultures of others through direct engagement with their works of art, but we will also find that they raise certain common issues, though in different forms. These issues that arise from what is in fact the global story of our modern/modernizing world include: the role of literature and art in times of radical change, the response of the artist to the ensuing crisis of cultural identity, use of language and forms when existent traditions are threatened or changing. Specialists in different cultural areas will guest lecture and guide us in scheduled University Museum exhibits. Readings will include: Achebe, THINGS FALL APART; Randall, ed., THE BLACK POETS; Morrison, SONG OF SOLOMON; Lu Xun, stories; Kingston, THE WOMAN WARRIOR; Neruda, poems; Valdes, DIARY OF A CONCENTRATION CAMP IN CHILE. Three short papers and a final exam. (Feuerwerker and Moya-Raggio)

350. Special Topics. (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 short course consisting of six two-hour seminars exploring concepts of health promotion and personal responsibility for health. The course will cover subjects including: how people make decisions about their health, effective strategies for changing health-related behaviors, identification of areas in which individuals can take charge of treating illnesses, and specific health topics such as stress, nutrition, exercise, alcohol, and smoking. The course focus will be aimed toward students interested in changing personal health habits as well as those who may be considering health-related careers. The course will meet October 10 through November 9. (Sarris)

Section 002 CONVERSATIONAL GERMAN. This course is intended for third and fourth year level students who want more practice in spoken German. We will discuss topics in contemporary German culture and politics in an informal setting. Participants will prepare for each session by reading materials (course pack) geared specifically to the current discussion topic and by studying vocabulary lists relevant to it. In the first half of the term, we will cover materials from various sources related to topics such as "Die Grunen," "Die BRD ein EG-Land," "Jugend und Drogen," "Die Veramerikanisierung der deutschen Kultur," "Der Film 'MANNER'" und seine Rezeption in der BRD," "Sind deutsche Menschen emanzipiert?" Students themselves will be responsible for finding and selecting materials to be used during the second half of the term. Each student and the instructor will give a report (10-15 minutes) on a topic of their interest. (Zahn)

351. Special Topics. (2). (Excl). Offered mandatory credit/no credit. May be repeated for a total of 8 credits.

Section 001. PSYCHOLOGICAL DEVELOPMENT DURING YOUNG ADULTHOOD. Drawing on psychological theory, literary accounts, and interview data, this course explores patterns of personal development during young adulthood. Among the covered topics are: the process of leaving home, changing relationships with parents, anxiety and depression in development, patterns of friendship and intimacy, identity and career choice, involvement in social issues, and the development of an integrative life purpose. In addition to lectures, readings, and class discussion, the class will draw heavily on interviews to be conducted by the students themselves. Through analysis of these interviews, the class will be involved in CREATING psychological theory not only learning and applying it. (Greenspan)

Section 002 HISTORY OF CARTOGRAPHY. The objective of this course is to provide an introduction to one of the oldest artifacts of man, the map. Starting with world and local views of preliterate peoples, the course will deal with mapmaking in classical times, during the Middle Ages, and the Age of Discoveries, the impact of printing on mapmaking, the Golden Age of mapmaking in the Low Countries, the reformation of cartography in France between 1670 and 1790, and will touch briefly on the present state of the art. Illustrations will be provided in part by slides, in part by viewing original maps and atlases, dating from the fifteenth through the nineteenth centuries, in the Clements Library collection. (G. Kish)

Section 003 SOCIAL, TECHNICAL, AND ECOLOGICAL PERSPECTIVES ON CONTEMPORARY LAND USE IN CENTRAL AMERICA. This two-hour mini-course examines the principle factors that characterize the man/land relationship in the agrarian societies of Central America, with particular attention to internal and international interventions in rural development. The course provides an overview of ecological, social, and political dimensions of land use practices, and the causes of current land ownership in Central America. The course also explores the nature of the daily lives of village peasant peoples, the broad ecological characteristics of the topics, the forces which control their economies, and the historical pressures which maintain poverty and underdevelopment. Guatemala is used as a case study to illustrate the principles of land tenure, land use and ecological impact. Special attention will be given to the use of forest lands, agents of tropical deforestation (e.g., settler cultivators, cattle ranchers, commercial loggers, and fuel wood gatherers), and efforts to forestall environmental damage from rapid vegetative conversions. Course meets January l9 through March 24 and is jointly offered with the School of Natural Resources. Reading list will include: IN THE RAINFOREST, Catherine Caulfield; CHANGES IN THE LAND, William Cronin; MAN AND LAND, THE FUNDAMENTAL ISSUE OF DEVELOPMENT, Erich Jacoby; Susanne Jonas, "Guatemala, Land of Eternal Struggle," IN LATIN AMERICA, THE STRUGGLE WITH DEPENDENCY AND BEYOND; THE LORDS OF HUMAN KIND, V.G. Kiernan; AID AS OBSTACLE, Frances Lappe, et al; Nathaniel Linchfield, "Toward a Comprehension of Land Policy" (chapter 2); IN A REVIEW OF LAND POLICIES, edited by O.H. Koenigsberger, NY: Pergamon Press, 1980; GAIA, AN ATLAS OF PLANET MANAGEMENT, THE PRIMARY SOURCE, Norman Myers. (Burchfield)

360. History of the New Biology. High school biology. (4). (Excl).

This course examines the development of genetic engineering and other new technologies that have provided powerful methods for controlling and manipulating life forms. The principal goal of the course is to provide a broad historical perspective on the emergence and development of a new "high-technology" field, one that emphasizes the contexts in which the field has evolved, the forces that have affected both promotion and control of the field, and the terms on which the field has advanced. The introductory sessions will examine the socio-economic contexts in which the "new biology" developed, the main technical innovations that occurred, and the response of governments and private industry to those events. Later sessions will explore in some detail the social and ethical issues associated with the development and application of genetic engineering: health and environmental hazards; military use; the patenting of life forms; release of genetically engineered organisms into the environment; genetic engineering in humans. Readings (provisional): Sheldon Krimsky, GENETIC ALCHEMY; James Watson and John Tooze, THE DNA STORY; Marc Lappe, THE BROKEN CODE; Jack Doyle, ALTERED HARVEST; Erhard Geissler, BIOLOGICAL AND TOXIN WEAPONS TODAY. (Wright)

370. Western and Non-Western Medicine. Permission of instructor. (4). (Excl).

This course is a cross-cultural offering in the sociology of knowledge, using basic concepts involved in health and medical practices of classical China, India, and the contemporary West. It will compare how three major cultural traditions have understood the relation of health to physical, mental, emotional and spiritual processes, the kinds of interventions that are appropriate, and the social arrangements that are needed for health care. Students will be introduced to areas in which the traditions are beginning to come together, and to the implications these could have for health care. (M. Heirich)

Natural Science (Division 875)

260. Science and Societal Issues: The Immune System. Introductory science course or permission of instructor. (4). (NS).

THE IMMUNE SYSTEM. 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; an 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 to 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 therapy, AIDS, biomedical research funding and development, and ethics of 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 science. Prerequisite: one college-level science course or permission of instructor. The class meets for three hours per week: time will be divided between lecture and discussion sessions. Student evaluation will be based on combination of short papers, exams, a research paper, and class participation. (Sloat)

265. New Reproductive Technologies. (4). (NS).

This course will examine several facets of a number of new reproductive technologies: contraception; artificial insemination by sperm from partner of anonymous donor; in vitro fertilization, including fertilization of "donor eggs"; embryo transfer and embryo freezing; surrogate motherhood, abortion, sex determination, and ectogenesis ("artificial wombs"). Each of these technologies will be examined from four perspectives: feminist, that of the medical/scientific community, legal, and ethical. The feminist argument that women are being used by the male medical system to develop technologies which will further denigrate the position of women in society will be presented. Original research reports and articles addressing ethical problems from a medical/scientific viewpoint will be considered. Proposed and actual legislation will be examined. A thorough understanding of the underlying biology of reproduction will be developed, including the hormonal control of reproductive cycles, ovulation, fertilization, embryo formation, placental function and pregnancy. A knowledge of how these technologies work, and how they are performed, will form the foundation for an examination of their ethical, legal, and social implications. Students will be challenged to thoroughly examine a wide variety of opinions (including their own) thoughtfully and critically. A background in biology is not necessary, but will be helpful. (Thorson)

Social Science (Division 877)

220/Soc. 220. Political Economy. (4). (SS).

This course develops an analysis of social systems from a political economic perspective. The first part of the course will focus on modern capitalism, especially as it has developed in the United States. The writings of a variety of social scientists will be explored and discussed with an emphasis on recent work by radical political economists. The second part of the course will concentrate on potential alternatives to capitalism for contemporary economically developed societies. Students will be encouraged to explore their own interests and ideas about alternative social institutions as well as to develop their capacities for insightful political economic analysis. (Thompson)

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 RC. Seminar sessions will teach students how to turn general interests into problems that can be investigated systematically. At the end of the term, each student will be expected to design a coherent program of study for the undergraduate major. (Stewart)

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, 1988, this course is jointly offered with American Culture 410.001. (Moya-Raggio)

360. Social Science Junior Seminar. Upperclass standing. (4). (SS). May be repeated for credit.

POST-MODERN CULTURES. This seminar takes a social and historical perspective on contemporary "postmodern" culture. Tracing the very broad outlines of western culture as it has developed in this century, we will analyze the recent cultural focus on juxtaposition, montage, emergent structures, de-centered subjects, style, interpretation, the text and the image. In particular we will focus on practices of cultural domination and resistance: British working class opposition to educational "discipline," feminist artists' deconstruction of the "phallocentric" spectator, third world cultures of resistance, American subcultures such as Black culture and punk culture. Finally we will look at the dominant culture's own internal contradictions as these have subverted its own oppositions between subject/object, male/female, public/private, person/machine, fact/fiction, work/family. Writing: thoughtful theoretical journal writing for each seminar meeting. Readings will include: Foucault, DISCIPLINE AND PUNISH; Lears, NO PLACE OF GRACE; Hebbige, SUBCULTURE: THE MEANING OF STYLE; Willis, LEARNING TO LABOUR; Said, AFTER THE LAST NIGHT SKY; Calvino, INVISIBLE CITIES; Culler, ON DECONSTRUCTION; Haraway, "A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 80's." (Stewart)

412/Geography 412. Problems in European Regional Geography. (3). (SS). May be repeated with permission of instructor.

The subject of this course this term will be the nine nations of the European Community: France, United Kingdom, Eire, Denmark, Luxembourg, Netherlands, Belgium, Western Germany, and Italy. The physical and economic features of each of the member nations will be discussed, together with the geographical aspects of such community policies as transportation and agriculture. Course requirements consist of two sets of term papers, one at midterm and one at the end of the course. Option of a single final examination is available. (Kish)

460. Social Science Senior Seminar. Senior standing. (4). (SS). May be repeated for credit.

Section 001. CONTEMPORARY SOCIAL THEORIES: RECENT PARADIGM CONTENDERS. In THE STRUCTURE OF SCIENTIFIC REVOLUTIONS, Thomas Kuhn argues that fields of inquiry in science go through periods of "revolution" in which the conventional wisdom from the past comes under basic questioning. New "paradigms" or "exemplary models" of how to ask questions and answer them redefine what is at issue and how it can be understood. The vast majority of social science work today depends on "paradigmatic" statements of what is at issue that stem from the work of Karl Marx and then reactions from the next generation of European minds like Freud, Durkheim, Max Weber, and their cohorts. Many observers of the contemporary scene believe that the past twenty years has been (and continues to be) a comparable time of intellectual ferment, with some fundamentally new questions and modes of answering them being asked about the character of social life and the individual's place within it. This course will explore some of these more recent paradigm contenders. The reading list is still being chosen. "Musts" include Herbert Marcuse, ONE DIMENSIONAL MAN; Peter Berger's THE HOMELESS MIND (re: modern consciousness); Gregory Bateson's STEP TOWARD AN ECOLOGY OF MIND; and Fritchof Capra's TURNING POINT. A wide range of other authors currently are being explored, as well, including radical feminist theorists, ecologists, political figures like Gandhi and Mao who have rethought bases of power and integration in modern life, decentralists like Hazel Henderson, E.F. Schumacher, Mark Saten, a variety of Third World social analysts and critics, and physical scientists like Ilya Prigogine who are rethinking the nature of "structure" and qualitative change. The course will be run as a seminar, with close mutual reading of several key works, some small group responsibility for works that others have not read, and a series of short papers. (M. Heirich)

Section 002 PSYCHOLOGY OF CONFLICT, WAR AND PEACE. Why do some crises escalate to violence and war (e.g., the Cuban Missile Crisis of 1962, drawing on recent "crisis comparison" research. Students will develop their own research project, focusing on one or more crises of their own choice. These projects will involve systematic research using original materials (documents, diaries and memoirs, and/or the contents of mass media) to test or evaluate some theory or hypothesis about psychological or social factors underlying war. Comparative research, and working in the original language of the materials is strongly encouraged. Readings to be assigned include the following: Martel, THE ORIGINS OF THE FIRST WORLD WAR; Koch (ed.), GREAT POWER RIVALRY AND GERMAN WAR AIMS; Choucri & North, NATIONS IN CONFLICT: NATIONAL GROWTH AND INTERNATIONAL VIOLENCE; Freud, selected writings on aggression; McClelland, POWER: THE INNER EXPERIENCE; Holsti, CRISIS, ESCALATION, WAR; Jervis, PERCEPTION AND MISPERCEPTION IN INTERNATIONAL RELATIONS; research studies from the "Correlates of War" project at the University of Michigan. (Winter)


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