Most RC courses are open to LS&A students and may be used to meet distribution requirements.
300. Writing and Theory. Not open to freshmen. (4). (HU).
In this course students explore a number of issues about writing: What is good writing? What are the elements of good writing in the different academic disciplines? What is the relationship between writing and learning, between writing and critical thinking? What are the most effective methods for improving one's own writing? Aiming to apply what they learn, students write a series of papers including an analysis of the features of good writing in an essay, report, or book in their own field of concentration or interest. Considerable time will be spent on learning how to revise and edit one's own work. Students meet individually with the instructor every other week to discuss work in progress. (Isaacson)
190. Intensive French I. No credit granted to those who have completed French 100, 101, 102, or 103. (8). (FL).
Intensive courses meet twice a day in lecture and discussion, four days a week. Students may also become involved in language lunch tables, coffee hours, and other social events. There is a language laboratory in the College, and the language teachers are available for advising and additional help. If a student begins a new language, proficiency is normally attained in one year through the Residential College program. The goal of this course is to provide the student with a basic but solid knowledge of grammatical structures and syntax, a functional vocabulary, a familiarity with intonation patterns and native pronunciation, and practice in speaking and writing. Upon completion of this course the student can understand simplified written texts or short spoken passages without the aid of a dictionary, and carry on a short, elementary conversation. (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 – 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 question 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 assignment of approximately twenty pages. Required readings include: Sempe/Goscinny, LES VACANCES DUE PETIT NICOLAS; Simenon, MAIGRET HESITE; Paul Guimard, LES CHOSES DE LA VIE; Elise Etcherelli, ELISE OU LA VRAIE VIE; Georges Perec, LES CHOSES. (Kavanagh)
Section 002 – CHILDREN AND ADOLESCENTS AS REPRESENTED IN FRENCH FILM. This course will first offer a simple glossary of film terminology in French as well as a very brief introduction to the history of the French cinema. We will then concentrate on children as a social group and a minority and their portrayal in a selection of film texts by major French directors. Every 2 weeks a film will be shown in its entirety and discussed in class. The students will be required to read the scripts of the following films and to write short essays on them: Rene Clement's, JEAUX INTERDITS (1952); Francois Truffaut's, LES 400 COUPS (1959); Francois Truffaut's, L'ENFANT SUAVAGTE (1970); Bertrand Tavernier's, L'HORLOGER DE SAINT PAUL (1975); Maurice Piallat's, A NOS AMOURS! (1983). If time, a few other films (Truffaut's L'ARGENT DE POCHE, Vigo's ZERO DE CONDUITE, Diane Kurys' DIABLO MENTHE and Robert Enrios' LE NEVUE SILENCIEUX) will also be shown and discussed. (Colvile)
321. Readings in German. Proficiency test. (4). (HU). May be repeated for credit.
Course objectives: students will gain further insight into major aspects of contemporary German culture, society, and politics, and will polish their skills in reading, speaking, writing and understanding spoken German. Topics will include: 1) Germans in two Germanies (artists as tightrope dancers); 2) the ecological movement (alternative, green motley); 3) economic necessities? (the demise of the Ruhrgebiet, the plight of the foreign workers); 4) are we headed toward a "police state"? (terrorism and public fear). A course pack containing short stories, poems, song texts, newspaper articles, and essays will be provided. Cassette tapes, movies and videos (reviewed in class and/or during specially scheduled sessions) will compliment the course pack. Students will write one short paper per week and prepare two short oral reports during the term. There will be a midterm and a final exam. (Zahn)
324. Readings in Spanish. Proficiency test. (4). (HU). May be repeated for credit.
Section 001 – CINEMA AND SOCIETY IN LATIN AMERICA – CINE LATINOAMERICANO Y SOCIEDAD. 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 deMRYIAM, from Columbia; UN HOMBRE CUANDO ES HOMBRE, from Costa Rica; LA HISTORIA OFICIAL, from Argentina, and several others. All the films will be in Spanish, some 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 of Third World Cinema, by seeing and analyzing fiction and documentary films, commercial and independent productions. There will be a lab fee of $20.00.
Section 002. This class will focus on the male figure of Don Juan, using a course pack of readings from Hispanic literature and criticism. Readings include the two classic plays by Tirso de Molina and Jose Zorrilla, and a course pack of writings by Clarin, Emilia Pardo Bazan, Blance de los Rios, Mercedes Saenz-Alonzo, Argentine Alfonsina Storni, etc. Readings, lectures, and discussions will be in Spanish. Students will write 4 small papers of 3 to 6 pages typed. Midterm and final exam. Regular class participation is expected and encouraged. (Valis)
267. Introduction to Holography. (2). (Excl).
An introductory art studio class in basic holography which stresses the visual characteristics of the medium through hands-on production of holograms. The class will cover the technical skills involved in making simple reflection and transmission holograms and the inherent visual problems presented by this new image medium. It is essentially a lab oriented class with image production being the students' major responsibility.
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)
288. Beginning Drawing. (2). (Excl).
The world of drawing is rich and varied. This course will explore the many aspects and various approaches that exist today, both contemporary and historical. Emphasis will be on the eye (seeing) and the hand (doing). Basic techniques and methods will be covered including work with the figure. Class attendance is mandatory as well as coursework outside the scheduled class time.
389. Ceramics Theory and Criticism. RC Arts 289 or permission of instructor. (4). (Excl).
There will be a focus upon studio work in ceramics beyond the beginning level and a concurrent study of its history, aesthetics and criticism. On one hand, in the studio, we will develop content, form, style and surface, while examining the relationship of ceramics to the larger art world and to the cultures that produce and consume it. On the other hand, we will go beyond the issue of "craft" in an effort to know the varieties of expression possible with clay. Critique and analysis will link studio work with the intellectual material of ceramics; therefore, we will spend a considerable amount of time reading, writing and in discussion. There will be a studio fee. (Crowell)
257. Visual Sources. (4). (HU).
This course will explore the visual characteristics of works of art and the role of visual perception in our experience and understanding of the world. We will concern ourselves with those factors that condition the character of works of art: visual factors having to do with the creation of forms – line, color, texture, organization, etc.; and technical factors, such as materials, tools and methods. Both visual and technical aspects will be considered in relation to the expressive function and value of works of art: painting, sculpture, architecture, printmaking, photography and film. We will also consider our visual relation to the environment, to the world of images that confront us daily (in the media, in advertising), and to the physical surroundings in which we live (buildings, streets, the campus, the neighborhood). We will concern ourselves with the possibility of seeing clearly in a world of manufactured appearances. Course assignments will include journal entries (written and visual), short papers, and a creative project. We will spend some time outside the classroom in museums and in the city itself. No prerequisites are necessary. The primary purpose of the course is to increase our visual understanding of the arts and our surroundings. (J. Isaacson)
312/Slavic 312. Central European Cinema. A knowledge of Russian is not required. (3). (HU).
See Slavic Film 312. (Eagle)
333. Art and Culture. One History of Art or Arts and Ideas course, or permission of instructor. (4). (HU).
Section 001 – THE WESTERN. Until recently, the Western – films about the American West – was indisputably one of the most important and popular of film genres, comparable to Greek drama in its formal and mythic qualities. This term we will see and analyze some of the greatest of these films – Hollywood westerns such as Stagecoach, Red River, Ox Bow Incident, 3:10 to Yuma, High Noon, The Searchers, The Man from Laramie, Treasure of Sierra Madre, The Gunfighter, One-Eyed Jacks, Rio Bravo, and foreign made westerns like Yojimbo, Once Upon a Time in the West, and Mad Max. First and foremost, we will critique these films as dramas. Then we will examine the conventions, the structures and the ideologies they embody and how they present/create the real and mythic West, the Western hero, women and Indians. Two questions to be posed, finally, are why and how did these powerful films appeal to and influence the thinking not only of Americans but of people world-wide? Generally, we will see two films a week – on Monday and Wednesday nights - and discuss them on Tuesday and Thursday in class. There will be a midterm and final examination and two papers. (H. Cohen)
Section 002 – TELEVISION TEXT ANALYSIS: NARRATIVE, CINEMATOGRAPHY, AND AUDIENCE. What is unique about television and the perspectives it gives us on the world? What is unique about the presence of television in our lives? Social analyst Raymond Williams reminds us that public forms of discourse/communication have evolved through a series of forms: repertory companies, commercial theatres, motion pictures and television. In each of these cases, he observes that "there has been a new sharing and integration of languages, at least of gestures or of some system of signs. Moreover, these fresh interrelationships are not merely available; in the course of communication, they are themselves developed, and the means of communication with them." The challenge to the analyst/critic of television is to acquire relevant critical methodologies plus distanciation from TV text to read the meanings within its text afresh and accurately. Too much of what is said about television is superficial and fundamentally without substantiation other than personal opinion. To develop methods for accurately interpreting the meanings in TV text, and for exploring various audience members relations to that text and the reasons for those relationships, we will be reading about and applying systematic procedures as evidenced in the work of Fiske and Hartley, Gerbner, Radway, Barthes, Rosen, Morris, and others (who have chosen to explore such diverse genres as news, dramas, soap operas, sports, commercials, etc.). There will be weekly short papers and a final research paper. Everyone logs and reports on genres of text watched outside of class. Short video productions by small groups of class members provide hands-on experience with television as a medium of expression and creativity. At the close of the term, each student presents the findings of his/her research to the class. (B. Morris)
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)
472. Arts and Ideas Senior Seminar. (4). (HU).
INTERDISCIPLINARY STUDIES IN BALLET AND OTHER ARTS. This course examines the nature of artistic collaboration in twentieth-century dance and the concept of the synthesis of the arts by focusing on six or seven representative dance works by choreographers Petipa, Fokine, Massine, Ashton, Balanchine, and Cunningham, who worked with some of the most important visual artists and composers of their day including Picasso, Matisse, Warhol, Tchaikovsky, and Prokofiev. Works studied will include Sleeping Beauty (1890), Petrouchka (1911), Pulcinella (1920), The Prodigal Son (1929), Rain Forest (1968), and a ballet recently created by Richard Alston and Howard Hodgkin. (Note: Subject to video tape availability, one or more of these works may be substituted.) Dance works studied will be broken down into their component parts of art, dance, music and scenario; and the nature of the collaborative process between set and costume designer, choreographer, and composer will be discussed. The artistic and social milieu from which these works arise and which influence their creators will also be considered. The course will be presented in a format using slides, video tapes and films. There will be intensive viewing and listening assignments as well as readings which will be drawn from a course pack and from books and articles placed on reserve. (Genne)
475/Chinese 475/Hist. of Art 487/Asian Studies 475/Philosophy 475. The Arts and Letters of China. (4). (HU).
See Chinese 475. (Feuerwerker)
310. Medieval Sources of Modern Culture. Sophomore standing or permission of instructor. (4). (HU).
During the medieval period, a major revision of the representation of the body in Western art took place. The Classical model, in which the body occurs as a form, an idea, or an illusion, is corrected, subverted, stood on its head, and sometimes abandoned altogether. Instead, the physicality of the body – interior space as well as surface, internal organs as well as outward appearance – becomes the paradigm for such literary genres as confession, song, narrative and meditation. Very often, the body is projected into these genres as the imaginative landscape within which they unfold. Even more, the body and its organic transformations become the site of verbal and visual figuration itself; they generate a rhetoric. This body does not always observe the usual syntax assigned to it by nature. It begins to speak an extravagant language: the skin is a book, tongues of fire burst from every side, hearts have mouths, bellies, hands and genitals flourish an array of musical instruments. Nor are the well-bred hierarchies of classical decorum preserved: humiliation, decay, the collapse of the body under the blows of violence, disease and time are all rhetoricalized with the intensity usually reserved for displays of power and invulnerability. In MEDIEVAL SOURCES, we will explore this new representation of the body in both literature and the visual arts. This inter-disciplinary approach will involve the close reading of texts and the careful analysis of images. Our goal will be precisely to improve these skills, reading and looking, and to become both more sophisticated and more confident in the way in which we generate our own interpretations from the material. (Sowers)
318. Critical Approaches to Literature. (4). (HU).
PSYCHOANALYSIS, LITERATURE AND THE VISUAL ARTS. This course will address the problem of psychoanalytic interpretation of literature and the visual arts. We will base our study on selected works by Sigmund Freud and his most provocative recent interpreter, Jacques Lacan. What can readers of texts and images learn from a Freudian analysis of dreams, free association and parapraxis? What can the analytic situation itself, the field of transference, tell us about the situation of the reader or viewer? Does a text or an image have an unconscious? How do we know? If it does, how can we disclose its presence, discover the direction of its warp? Finally, can psychoanalytic theory enable us to find a common ground between literature and the visual arts? Can we discover in the halting voice and in the marked hand a deep link between the vision and the word? Syllabus will include: D.H. Lawrence, THE PRUSSIAN OFFICER; Sigmund Freud, THE WOLFMAN; Ivan Turgenev, FIRST LOVE; Sigmund Freud, DORA: AN ANALYSIS OF A CASE OF HYSTERIA; Charlotte Brontë, WUTHERING HEIGHTS; Sigmund Freud, LEONARDO DA VINCI AND A MEMORY OF HIS CHILDHOOD; Sigmund Freud, BEYOND THE PLEASURE PRINCIPLE; Thomas Pynchon, V; Jacques Lacan, SPEECH AND LANGUAGE IN PSYCHOANALYSIS; Mary Kell, POST-PARTUM DOCUMENT; and paintings by Edvard Munch, Leonardo da Vinci, and Giorgio de Chirico. (Sowers)
340. Four Interdisciplinary Studies in 19th and 20th Century Intellectual History: Psychoanalysis, Mysticism, Nihilism and Marxism. Junior/senior standing, or permission of instructor. (4). (HU).
19TH AND 20TH CENTURY INTELLECTUAL HISTORY: PSYCHOANALYSIS, MYSTICISM, AND MARXISM. This course will compare and contrast the presentation of several ideas that have fundamentally redefined Western man's concept of himself in the last 100 years as reflected in four different disciplines (political science, philosophy, theology, and psychology) and three literary genres (drama, novel and short story). These ideas center upon the rise of the totalitarian state, the emergence of "psychological man," and the destruction of the concept of God as well as of all absolute value systems. How do the styles of each discipline and genre differ according to the writer's aim and intended effect upon the reader? Can we isolate and describe the particular techniques (discursive and metaphoric) used, respectively, by the political scientist, philosopher, theologian and psychologist to explain and convince? In particular, how does literature as a genre differ from the four other disciplines in its function as a "living laboratory" for the exploration of and experimentation with new visions of self and society? I. LITERATURE AND PSYCHOLOGY: PSYCHO-ANALYSIS IN THE SHORT STORY. Theories of psychosexual development and the father-son conflict. Texts by Freud, Kafka. II. LITERATURE AND THEOLOGY: THE IRRATIONAL IN THE NOVEL. Man's religious, mystical impulse in conflict with the logic of science and the demands of rational self-interest. Texts by Kierkegaard, Dostoevsky. III. LITERATURE AND PHILOSOPHY: EXISTENTIALISM IN THE NOVEL. Nihilism and the concomitant destruction of Christian morality and the Western concept of the self. Texts by Nietzsche, Camus. IV. LITERATURE AND POLITICAL SCIENCE: COMMUNISM AND THE DRAMA. The ethics and psychology of Communist revolution and terrorism. Texts by Marx, Lenin, Brecht. (F. Peters)
360. The Existential Quest in the Modern Novel. Junior/senior standing, or permission of instruction. (4). (HU).
THE EXISTENTIAL QUEST IN THE MODERN NOVEL.
"God is dead. God remains dead. And we have killed him."
(Nietzsche) "If there is no God, then everything is permitted."
"Everything that exists is born without reason, continues to live out of weakness, and dies by chance." (Satre)
Existentialism combines the investigation of major issues in the history of Western philosophy with daily problems of intense personal concern. In this course, existentialism will be viewed as a literary as well as a philosophical movement united by a number of recurrent and loosely related themes. (1) Theological: the disappearance of God; the condition of being "thrown" into the indifferent and ultimately absurd universe; man's encounter with nothingness beneath the floor of everyday reality revealed when familiar objects and language drop away. (2) Psychological: man's imperfection, fragility, and loneliness; the feeling of anxiety and despair over the emptiness of life and the terror of death; arguments for and against suicide; human nature as fundamentally ambiguous and hence not explicable in scientific thought or in any metaphysical system; the absence of a universally valid morality; and human nature as undetermined and free. (3) Social: man's rebellion against the inhumanity of social institutions that suffocate the "authentic self"; the escape from individual responsibility into the "untruth of the crowd." (4) Finally, man's various attempts to transform nihilistic despair into a creative affirmation of life. Philosophic texts by Pascal, Kierkegaard, Nietzsche, Buber, Jaspers, and Heidegger; fiction by Dostoevsky, Tolstoy, Camus, Sartre, Rilke, and Kafka. Midterm and final examinations. (F. Peters)
410. Upperclass Literature Seminar. (4). (HU). May be repeated for credit.
Section 001 – NARRATIVE ISSUES IN DETECTIVE FICTION. This course examines the experiences of reading detective fiction. Working with examples of classical detective fiction, hard-boiled fiction and the police-procedural novel, students will study variations and violations of the formula. Readings and films will be used to explore the nature of narrative. A central concern will be with how issues get raised in detective fiction and with the sorts of questions the various authors and cultures are concerned with answering. What is the particular satisfaction of reading such a conservative and reactionary genre? What psychological social and spiritual needs are met by reading detective fiction? Why does Western culture rely upon material causation for explaining events such as death? How is detective fiction a genre about creating stories? Using detective fiction to teach the students ways of reading critically, the course will consider the figure of the detective as reader, rereader, writer and reviser. Students will write some of their papers bi-weekly. At least one paper must deal with a novel or a group of stories not on the reading list. Students may write some of their papers about classical works of literature rather than about detective fiction so long as they are writing on narrative issues. Works to be studied include: Philip Auster, THE NEW YORK TRILOGY; Agatha Cristie, CURTAIN; Raymond Chandler, THE SIMPLE ART OF MURDER and THE LADY IN THE LAKE; Dashiell Hammett, RED HARVEST and THE MALTESE FALCON (1930); Dorothy Sayers, THE NINE TAILORS; Sophocles, OEDIPUS; and the films "The Maltese Falcon and "Chinatown." (Armon)
Section 002 – MORAL ISSUES IN THE NOVEL. We will look into some questions about the nature of moral actions and the process of moral growth. We will try our answers to these questions on some novels. The idea is to bring fiction out into the practical world to some extent and also to bring some non-aesthetic ways of seeing from the practical world to the work of art. More emphasis on character than plot. We will read selections from Aristotle's NICOMACHEAN ETHICS, and perhaps include selections from recent writers on moral and cognitive growth. Novels include: Joseph Conrad's, LORD JIM; Robert Penn Warren's, ALL THE KING'S MEN; Philip Roth's, PORTNOY'S COMPLAINT; Margaret Atwood's, SURFACING; Albert Camus', THE FALL; Robert Stone's, A FLAG FOR SUNRISE; Ralph Ellison's, INVISIBLE MAN; and one or two others. The class will run as a true seminar. Each member will write a paper every two or three weeks, copies of which will go to all other seminar members before our weekly meeting. No midterm. Final depends on performance of class as a whole. The reading load is moderately heavy. Open to sophomores by permission of instructor only. Please read ALL THE KING'S MEN in advance. (W. Clark)
Section 003 – HERO AS OUTSIDER, OUTCAST, OUTLAW. 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 cases of class discussion, papers, a midterm and a final exam. (H. Cohen)
411. Translation Seminar. Reading proficiency in a foreign language. Upperclass standing or permission of instructor. (4). (HU).
Translation is at once a creative act in which we interpret personally, and an intently receptive act in which we bring all faculties to focus on the creativity of another artist in another culture. As we translate a work, then, we continually study the subtleties of person, language, and cultural contrast and hone our capacity for interpretation and precision. We face questions such as: What happens when I imitate? When I recreate? How can I convey tone, proverb, slang? To whom am I responsible, and for what? In this process we may come to know why poets are often translators. This course has three strands which weave into a coherent and practical piece. First, we meet the problems and surprises of translation through comparison and class exercises. Through such examples as successive translations of the BIBLE, we can see the effects of cultural change on what constitutes "fidelity"; through successive translations of the SEAFARER, the effects of cultural and personal preoccupation within one literary tradition. We can see translations at varying removes from the source in selections from Chapman, Pope, and Lattimore translating the ILIAD, in translations by Victorian poets and Ezra Pound from Chinese poetry, and in successive English translations from native American poetry. Short exercises in class will carry us into metaphor, imitation, and parody. Second, we weave into our increasing experience the breadth of view of translators who have asked the same questions we ask. Readings will include such selections as Dudley Fitts in Brower's ON TRANSLATION, Brower's, "Translation as Parody," George Steiner in AFTER BABEL, Ezra Pound, Vladimir Nabokov, James McFarland, Susan B. McGuire, William Arrowsmith, Dell Dymes, Paula Gunn Allen. As the third strand, and our continual focus during the seminar, we will each find and engage in a translation project from our language of specialty. Thus we develop our own theory of translation and our own creative endeavor. Not only does the course encourage students to seek help from a faculty advisor in their language, but it provides reciprocal critique and support as we form our own workshops in our language group or languages with related challenges. Other faculty members who are at work on translations will visit us. The materials of the course, then, broaden understanding, give a critical context, and foster aesthetic appreciation by experience - all with the practical goal of our project in mind: to have appreciable, circulatable, or publishable pieces of translation at courses' end. The translation project and frequent short and phased writings about what we are doing will result in fifteen or twenty pages of translation with an introduction. To build toward that introduction, journal entries are to catch discoveries within our own project, and from these and the course experience, short phased writings are to develop a personal theory of translation. Prerequisites: reasonable reading proficiency in a foreign language; upper-class standing or permission of instructor. (F. Clark)
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. (Makin)
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)
321. Advanced Poetry Writing. Hums. 221 and permission of instructor. (4). (Excl).
As the title would suggest this course presupposes a background in the writing of poetry. A familiarity with the forms and major writers of contemporary poetry is also essential. This class will meet once a week, but the ability to work both independently and with small peer groups is greatly emphasized. You must be willing to read your poems in class and actively participate in the critical evaluation of other student's work. A finished manuscript of 25-30 poems is a course requirement. (Mikolowski)
325. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (HU).
Sections 001, 002, AND 003. Tutorials allow students whose writing has attained a high degree of sophistication to work in an extended project under close supervision. Tutorials also provide an opportunity for students who want to write, no matter how sophisticated their work, to have their efforts recognized both with constructive criticism and academic credit. Reading may or may not be assigned, depending upon the background needs of the individual student. Tutorial students meet privately with the instructor each week. Permission of instructor is required. (Hecht, Mikolowski, Balducci)
Section 004. This tutorial will consist primarily of journal writing in connection with the New England Literature Program Fall Semester in New England. Permission of instructor is required. (W. Clark)
326. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (HU).
See RC Humanities 325. (Hecht, Mikolowski, Balducci)
425. Creative Writing Tutorial. Permission of instructor. (4). (HU).
See RC Humanities 325. (Hecht, Mikolowski, Balducci)
426. Creative Writing Tutorial. Permission of instructor. (4). (HU).
See RC Humanities 325. (Hecht, Mikolowski, Balducci)
280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
See English 245.
Section 002. Although this course is cross-listed and shares lectures with English 245/Theatre 211, students should be advised that Section 002 is specifically designated as an RC section and as such will incorporate the particular methods of the RC Drama Program and serve also as the basic prerequisite of the Program's other courses. Directed toward a synthesis of the traditionally distinct perspectives of literary as opposed to theatrical analysis, students in Section 002 will experiment throughout the term with the staging of dramatic texts, culminating in an "End of Term Show" presentation. Two analytical papers and exams on lecture material will also be required. (Brown)
282. Drama Interpretation I: Actor and Text. (4). (HU).
This course combines an introductory workshop in contemporary performance technique (vocal and physical) with a survey of dramatic style, period, place, and aesthetic intention as determined by and derived from specific textual prerequisites. Students will focus on a primary dramatic subject (or theme) and experiment with interpreting, staging and analyzing its various adaptations and manifestations throughout theatre history. (Specific topic for this term is yet to be selected, but past examples include "Antigone Through the Ages," "The Theatre of Don Juan," "Sources and Descendants of Romeo and Juliet.") Although two short analytic papers will be required, primary attention will be given to participation in prepared scene presentations culminating in an end-of-term "studio production" of the class' own adaptation of the course material. For the Winter Term, 1989, students must have completed RC HUMS 280 or have permission of the instructor. (Brown)
381. Shakespeare on the Stage. Hums. 280 or permission of instructor. (4). (HU).
This course serves not only as an introduction to 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. Plays covered: "Twelfth Night," "As You Like It," "Henry IV" (1 and 2), "Henry V," "Hamlet," "Lear," "Measure for Measure," "The Tempest." (M. Walsh)
383. Ibsen and Strindberg. (4). (HU).
This course focuses on Ibsen (principally) and Strindberg as major figures in the development of modern Western drama. The best known "naturalistic" plays of both authors are studied together in the historical-critical context of drama realism. The later plays of each (Ibsen's symbolic and mystical, Strindberg's expressionist) receive independent treatment, to show how their artistic developments diverged and ultimately influenced the chief forms and types of 20th century drama. For the Winter Term, 1989, students must have completed RC HUMS 280 or have permission of the instructor. (Ferran)
388. Restoration and Georgian Comedy. (4). (HU).
Survey of English comic drama from 1670s to 1770s with emphasis on the plays in performance. Will feature representative comedies of Etherege, Wycherley, Congreve, Vanbrugh, Farquhar, the farceurs, the sentimentalists, Goldsmith and Sheridan with significant reference to social and theatrical history, currents of thought, the fine arts. Essay quizzes, short research papers, class presentations will focus upon stage-oriented problems, other comic playwrights, dramatic theory of period, influence from popular culture, etc. Ample opportunity for extensive scene work and improvisational exercises in the period styles. (M. Walsh)
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 and life 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 sources, we will place the composer in his historical context and examine the cultural environment of late eighteenth-century Vienna and Salzburg. The School of Music's Spring production of "The Marriage of Figaro" will provide a superb opportunity to examine this masterpiece in some detail. Other works to be listened to and discussed include early, middle, and late period symphonies, the "Requiem," chamber music, concertos, and selections from "Don Giovanni" and "The Magic Flute." Prerequisites: 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. Although this is a Residential College course, non-RC students may also enroll, but no more than 50% of the total enrollment of 30 may be from outside the RC. Course requirements: There will be a midterm and final exam. Each student will be required to write a term paper about some aspect of Mozart's life and make an oral presentation to the class based on that paper. There will be a listening list of approximately 30 pieces. Students will be expected to identify these pieces on the exams. Attendance will be required for at least one performance of "The Marriage of Figaro." Required text: Hugh Ottaway, MOZART. Detroit: Wayne State University Press, 1980. (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)
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 January 9 through February 11. (Sarris)
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 – 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 tropics, 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 from January 9 through February 11 and is jointly offered with the School of Natural Resources. Reading list will include: Catherine Caulfield's, IN THE RAINFOREST; William Cronin's, CHANGES IN THE LAND; Erich Jacoby's, MAN AND LAND, THE FUNDAMENTAL ISSUE OF DEVELOPMENT; Susanne Jonas', "Guatemala, Land of Eternal Struggle"; V.G. Kiernan's, IN LATIN AMERICA, THE STRUGGLE WITH DEPENDENCY AND BEYOND: THE LORDS OF HUMAN KIND; Frances Lappe's, et al, AID AS OBSTACLE; Nathaniel Linchfield's, "Toward a Comprehension of Land Policy" (Chap. 2); O.H. Koenigsberger, editor, IN A REVIEW OF LAND POLICIES; Norman Myers, AN ATLAS OF PLANET MANAGEMENT, THE PRIMARY SOURCE (Burchfield)
450. Science and Social Responsibility. (4). (Excl).
CHEMICAL AND BIOLOGICAL WARFARE POLICY AND INTERNATIONAL LAW. This course explores trends and issues associated with the development of chemical and biological weapons and with efforts towards chemical and biological disarmament. The introductory sessions examine four dimensions of CB warfare: the nature of CB weapons; the policies and strategic doctrines that have guided development of these weapons; the language used to describe CB warfare and strategy; and the role of international law in restraining recourse to CB warfare. Later sessions will examine specific periods and events in the history of CB warfare and disarmament, particularly with a view to understanding the kinds of precedents that have been set both for use and for non-use. The main emphasis of the course will be on development since 1975, particularly on the resurgence of military interest in CB weaponry in the 1980s and on routes towards strengthening barriers to chemical and biological warfare. Required reading: Erhard Geissler (ed.), BIOLOGICAL AND TOXIN WEAPONS TODAY (1986) (selections); Sean Murphy, Alastair Hay and Steven Rose, NO FIRE, NO THUNDER (1987); Susan Wright (ed.), PREVENTING A BIOLOGICAL ARMS RACE (1989); Stockholm International Peace Research Institute, THE PROBLEM OF CHEMICAL AND BIOLOGICAL WARFARE (1971-73) (selections). There will also be a course pack of selected articles. (Wright)
260. Science and Societal Issues: The Immune System. Introductory science course or permission of instructor. (4). (NS).
THE IMMUNE SYSTEM. This course introduces students to the field of immunology and to social and ethical issues that relate to contemporary scientific and biomedical research. The course focuses first on the biological basis of the immune response. An understanding of biological concepts, in turn, serves to prepare students to examine some of the societal and ethical issues that derive from this active research area. The course is intended for students who want to gain a basic understanding of the biology of the immune system and to better understand the larger context within which scientific knowledge is promoted and used. Topics to be examined include: autoimmune diseases, tissue and organ transplants, allergic responses, cancer therapy, AIDS, biomedical research development and funding, and ethical considerations in disease treatment. Students can expect to read an introductory text on the immune system and original research reports and reviews, as well as evaluate "media-based" articles and books about science and the scientific enterprise. Student evaluations will be based on a combination of two examinations, a short paper, a research paper, which will also be presented to the class, and class participation. Prerequisite: one college-level science course or permission of instructor. The class meets for three hours per week; time will be divided between lectures and discussion. (Sloat)
270. New Biotechnology: Scientific, Social and Historical Perspectives. High school biology or permission of instructor. (4). (N.Excl).
SCIENTIFIC, SOCIAL AND HISTORICAL PERSPECTIVES. This course examines the development of genetic engineering and other new biogenetic technologies that provide powerful methods for controlling and modifying lifeforms. 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 examine the underlying theory of molecular biology that provides the concepts and models on which biogenetic technologies are based. Later sessions examine details of the techniques and the history of their development. Finally, the course explores the social and ethical issues associated with industrial, agricultural, medical and military applications of these fields. Required reading: James Watson and John Tooze (eds.), THE DNA STORY: A DOCUMENTARY HISTORY OF GENE CLONING (San Francisco: W.H. Freeman, 1981); David Freifelder (ed.), RECOMBINANT DNA: READINGS FROM SCIENTIFIC AMERICAN (San Francisco: W.H. Freeman, 1978); Sheldon Krimsky, GENETIC ALCHEMY (Cambridge, Mass.: MIT Press, 1982); Edward Yoxen, THE GENE BUSINESS (New York: Harper and Row, 1983); Marc Lappe, THE BROKEN CODE (San Francisco: Sierra Club Books, 1984) (Wright)
202. The Twentieth Century: A Global View (4). (SS).
THE WORLD IN THE TWENTIETH CENTURY. This course develops the contours of the 20th century history from a global perspective. It studies the dynamic interaction between the global systems of order that were successively deployed over the last century to stabilize domination and control, and the patterns of political resistance and cultural renewal that were continuously generated at the local levels of social organization to thwart, evade, or accommodate systems of control. The aim is to understand the relationships between processes of global integration, especially in the organization of production and exchange, and the concurrent multiplication of social and cultural differences, especially in the reproduction of everyday life. We will trace these interactions across three "accumulation regimes" and their associated global divisions of labor: the British imperial system of finance and investment before 1914; the decentralized regime of accumulation that emerged among rival centers of power during the inter-war years; and the corporate regime based on American power and a global organization of production in the 1950s and 1960s. In each case we will examine the consolidation of global systems of order, the patterns of resistance and contention that these engendered, and the nature of the crises that have undermined each. A final segment will consider the current crisis and the problem of world history at the end of the 20th century. The course assumes no particular background in the material, but requires a commitment to do considerable reading and to write three papers. There are no exams. (Bright)
220/Soc. 220. Political Economy. (4). (SS).
This course develops a general analysis of social systems from a political economic perspective. The analysis is then focused on the political economic system of modern capitalism, especially as it has developed in the United States. The writings of a variety of social scientists are explored and discussed with an emphasis on recent studies by radical political economists. Special attention is devoted to analysis of the current political economic situation. The second part of the course then considers potential feasible alternatives to capitalist social relations for contemporary economically developed societies. Students will be encouraged to explore their won interests and ideas about alternative social policies and 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 concentration 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 concentration. Students should expect a substantial amount of reading, writing, and discussion. (Larimore)
306/Nat. Res. 306. Environmental History and Third World Development. (3). (SS).
This course surveys in historical perspective several major ecosystems of the non-western world now under stress from human pressures. It will include deforestation in the wet tropics, overgrazing and water depletion in semi-arid lands, and erosion in mountain systems and river basins. It will assess the roles of Western Colonial regimes and the global commodity economy, as well as patterns of resource exploitation by local societies. It will trace the rise of modern professions of natural resources planning and management, and assess what the losses to the planet – both biological and cultural – have been. Course requirements include two essay examinations and either an individually chosen research paper or several short position papers based on assigned readings. The syllabus from last winter's presentation in the School of Natural Resources will be revised in detailed assignments but not overall structure. (Tucker)
360. Social Science Junior Seminar. Upperclass standing. (4). (SS). May be repeated for credit.
Section 001 – LATIN AMERICAN SOCIETY AND CULTURE. This course attempts to make current social, economic and political events in contemporary Latin American understandable from an anthropological perspective. The predicament of Brazil's indigenous populations, the large foreign debts of many Latin American nations, the recurrent political shifts between totalitarian and democratic regimes, the pervasive effects of the world economic system, human rights, violations in the Southern cone, political upheaval in Central America, ecological destruction, and the sprawling squatter settlements on the fringes of the major cities of Latin America are interrelated phenomena which require the kind of holistic approach that is so characteristic of anthropology. The lectures will intertwine these themes with readings about subjects such as Amozonian Indians, Bolivian tin miners, military dictatorship in Argentina, and the aftermath of counterinsurgency in Guatemala. Ethnographic films, a literary work, and a course pack will situate these monographs in a wider context of Latin American society and culture. This is a lecture and discussion course with a geography text, two term papers, and a final examination with essay questions. The topics of the term papers will be chosen by the student after consultation with the instructor. For the Winter Term, 1989, a 200 level Social Science course is a prerequisite for enrollment in this class. Required reading: Galeano, Eduardo, 1983, DAYS AND NIGHTS OF LOVE AND WAR, New York: Monthy Review Press; Garcia, Marquez Gabriel, 1987, CHRONICLE OF A DEATH FORETOLD, New York: Ballantine Books; Lockhart, James and Stewart B. Schwartz, 1983, EARLY LATIN AMERICA: A HISTORY OF COLONIAL SPANISH AMERICA AND BRAZIL, Cambridge: Cambridge University Press; Nash, June, 1979, WE EAT THE MINES AND THE MINES EAT US: DEPENDENCY AND EXPLOITATION IN BOLIVIAN TIN MINES, New York: Columbia University Press; Wagley, Charles, 1977, WELCOME OF TEARS: THE TAPIRAPE INDIANS OF CENTRAL BRAZIL, Prospect Heights, IL: Waveland Press, Inc.; Anthropology 360:001, LATIN AMERICAN SOCIETY AND CULTURE READER. (Robben)
Section 002 – RACE, CLASS, AND GENDER IN CARIBBEAN HISTORY. This course will explore key components of the historical and contemporary make-up of English-speaking Caribbean societies. The latter are considered in their uniqueness as politically and culturally independent Black-and-American societies with a past rooted in slavery and British colonialism and a present steeped in economic dependence and United States geopolitical hegemony. While the FOCUS will be on the Anglophone Caribbean (Jamaica, Barbados, Guyana, Grenada, etc.), the main concern will be to explore issues of race, class and gender which are critical to all Caribbean and indeed Afro-American communities. The readings reflect a concern to expose students to analytical works by prominent Caribbean and Caribbeanist scholars and intellectuals, as well as to different approaches taken in the interpretation of Caribbean social dynamics. A course pack, available at Dollar Bill's, will include writings by C.L.R. James, M.G. Smith, Clive Thomas, Walter Rodney, Ken Post, Sidney Mintz, Honor Ford Smith, Joycelin Massiah and others. The course will meet for an hour and a half twice a week; once for a lecture/presentation; the second time, as a discussion group. Course requirements include a midterm test, a team oral presentation, and a final research paper. Prerequisite or permission of instructor. (Green-Gosa)
Section 003 – SOUTHERN LABOR STUDIES. We will use case studies from the historical and contemporary U.S. South to examine the political, social, economic, and cultural dimensions of labor conflict. We will pay particular attention to the role of gender and race in work organization and protest. Examples of work settings we will examine include: slave plantations, tenant farms, coal mining, textiles, tobacco, service and health care work, and "high-tech" employment. The class will meet once a week as a seminar with a large component of independent work. Junior standing and permission of instructor. (Frankel)
Section 004 – SOUTH AFRICAN HISTORY: ECONOMIC DEVELOPMENT AND RACIAL DOMINATION. The aims of this course are, first, to provide an overview of South African history since the beginning of capitalist agriculture and mining in the 1870s; second, to explore the relationship of capitalist development and racial domination and the controversy over the question of whether they are mutually contradictory or mutually reinforcing processes; and third, to provide students with an opportunity to develop their own questions about various aspects of this problem and to explore them. The first few weeks will feature a rapid survey, through lecture and reading, of South African history. Then, students will pursue topics of their own choosing, discussing them regularly with the class, and culminating in a major paper. During this period, class will focus on exchanges of information among students and special presentations, possible including guest lectures and films. (Cooper)
Section 005 – TOPICS IN RADICAL POLITICAL ECONOMY. This is a new course designed for students interested in pursuing studies in radical political economy beyond the level of the introductory political economy (RC Soc. Sci. 220). The course will address a series of issues on which radical political economists have developed an alternative approach to that of mainstream social scientists. Among the issues to be considered are: sources of inequality in capitalist societies (with particular attention to the role of the educational system); the persistence of racism and sexism; the meaning of democracy and the role of the state; economic booms and crises; economic development and underdevelopment in third world countries; and problems of and prospects for socialist alternatives to capitalism. In each case we will contrast mainstream and radical political economic approaches and seek to identify the essential sources of differing analyses. Readings will be drawn from the work of contemporary radical political economists such as Boles, Gintis, Edwards, Gordon, Reich and Weisskopf, as well as from the writings of more mainstream scholars ranging from Charles Lindblom and Gunnar Myrdal (on the conservative right). This course satisfies the theory requirements for RC Social Science concentrators. It will meet twice weekly for an hour and a half, and it will be organized primarily as a seminar; students will be expected both to participate actively in classroom discussion and to write several papers on different topics discussed in the course. (Weisskopf)
460. Social Science Senior Seminar. Senior standing. (4). (SS). May be repeated for credit.
Section 001 – CONTEMPORARY SOVIET POLITICS AND CULTURE. This course which could be titled "Perestroika and Glasnost," will explore various aspects of Soviet culture from the late 1970s through 1988. The major sources will be Soviet literature, films, television, and especially, articles from the Soviet press. Our discussions will focus on the connections between literature and politics in the Soviet Union, on the description of Soviet political discourse, and on cultural developments – changes and continuities - from the Brezhnev period to the present. Each student will write one short essay and a research paper based on readings from the Soviet press. A reading knowledge of Russian is preferred; students who cannot read Russian must have the permission of the instructor to register in the course. For the RC Social Science Program, this may count as a research course, depending on the student's project.
Section 002 – DETROIT IN THE 1920'S. This is a research seminar for upperclass students in the social sciences. We will begin with some general readings about Detroit during the period 1915-1930 when the city was an American industrial boom town. Our aim will be not only to delineate the main economic social and political developments of the period, but to locate problems and areas in which students would like to do research. Students will then develop specific topics for research, identifying archival as well as secondary sources and, where possible, consulting people at the University and in Detroit with knowledge of their area. The balance of the term will be devoted to carrying out the designated research project and writing a major paper. During this phase of the course, students will meet regularly with the instructor for individual consultations and gather in seminar to discuss problems and share findings. (Bright)
467. Student-Faculty Research Project I. Permission of instructor. (2-4). (SS).
FIELD STUDY OF LOCAL POLITICAL PROCESSES. The Ann Arbor City Council and the Washtenaw County Board of Commissioners address issues and make decisions on these issues which affect all of our lives. Some of the issues which they address are: allocating funding through the budgetary process for road repair, parks, police and firefighters, and human services; making decisions about downtown and city-wide development, and solid waste treatment; deciding how to generate resources for the city, and so on. This course will look at what these issues and decisions are, and how elected officials come to their decisions. Students in this course will spend the first part of the term developing research skills. Then they will select one or more issues to investigate and, through a case study approach, learn how local governments work. After all the data have been collected, they will write up an analysis of their findings. A final report is expected of everyone. In this course students will have the option of working alone or in small groups. Some resources for data will be the ANN ARBOR NEWS, ANN ARBOR OBSERVER, Ann Arbor city employees, and present and past Ann Arbor City Council members. (Larimore/O'Leary)
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