Most RC courses are open to LS&A students and may be used to meet distribution requirements.
RESIDENTIAL COLLEGE WAITLIST PROCEDURES: Unless otherwise indicated, waitlists for all Residential College courses are maintained in the Residential College Counseling Office, 130 Tyler, East Quad. When a course fills, students should come to the RC Counseling Office to be placed on a waitlist. Policies and procedures for the waitlist will be explained then. Residential College students are given priority in all Residential College courses.
Written and Verbal Expression
334. Special Topics. (4). (Excl).
Math for Poets. Mathematics is among the more recondite subjects of study in our culture. It is socially acceptable to be illiterate in it; vast numbers of otherwise well-educated people lump it together with science and technology as a subject unfit for humane consumption, dismissing it with phrases like "I never liked math much" or "Math was always my worst subject." Despite popular belief to the contrary, however, mathematics is not a science; being entirely based on social and aesthetic perceptions, it is much closer to the Humanities than we might suspect. Rather than trying to produce yet more mathematicians, this course adopts a consumer-oriented viewpoint on mathematics. What topics in math can be appreciated or understood by someone interested in the Humanities? What relevance does mathematics have for everyday life? How can it make one's life more interesting and beautiful? What unexplored regions lie beyond the Tropic of Calculus? Mathematical topics explored (though not necessarily "covered") include: the nature of numbers, number systems, geometry, topology, infinity, recursion, proof, logic, set theory, and functions. No prior math beyond high school algebra required, though students with more extensive math backgrounds are also welcome. Class work will include readings, homework problems, papers, participation (in class and in a computer conference), take-home exams, and a term project (which may be done in groups). Texts include: David and Hersh, THE MATHEMATICAL EXPERIENCE; Hofstadter, GOEDEL , ESCHER, BACH; Rucker, MIND TOOLS. (Lawler)
Intensive Language Courses meet in lecture and discussion twice a day four days a week (five days per week for Russian). The language programs have language lunch tables, coffee hours, and other social events. There is a language laboratory in the College, and the language teachers are available for counseling and additional help. If a student begins a new language, proficiency is usually attained in one year through the Residential College program.
Core 190, 191, 194. Intensive French, German, Spanish I. The goal of this course is to provide the student with a basic but solid knowledge of grammatical structures and syntax, a functional vocabulary, 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 of short spoken passages without the aid of a dictionary, and can carry on a short, elementary conversation.
Core 290, 291, 293, 294. Intensive French, German, Russian, Spanish II. The goal of this course is to expand vocabulary and to master grammatical structures and syntax to the level of competency required to pass a proficiency exam. This entails developing the ability to communicate with some ease with a native speaker, in spoken and written language. Students must be able to understand the content of texts and lectures of a non-technical nature and of general (non-literary) interest.
320. Seminaire en français. Proficiency
test. (4). (Excl). May be repeated for credit.
Section 001. Literature and Identity. This course will study the problem of identity in a group of selected French texts from the 18th to 20th centuries (one play, one tale, and two novels) and in a recent French movie. We will approach this question from two complementary perspectives. First, we will examine the different ways literature portrays the identity of characters. What role do such elements as body, language, memory, social class and history play? Second, we will examine the function of literature in questioning/reformatting/consolidating the identity of the reader. In what way is the act of reading a part of our own sense of identity? Students will be asked to write a short essay on each of the texts and movie for a total writing assignment of approximately 25 pages. Regular participation in class discussions is expected. Required readings: Marivaux: LE JEU DE L'AMOUR ET DU HASARD; Flaubert: LA LEGENDE DE SAIT JULIEN L'HOSPITALIER; Robert Sabatier: TROIS SUCETTES A LA MENTHE; Patrick Modiano: RUE DES BOUTIQUES OBSCURES. Movie: Louis Malle: AU REVOIR LES ENFANTS (Kavanagh)
Section 002: Fatal Attractions: Representations of Love in French Culture. In this seminar we will trace the evolution of the representations of love through novels, fairy tales, comics, songs, movies. We will also read some criticism on the representation of love. Our first question will be: can love be represented? Or does love exist only through its representation? (As Rougemont suggests: would we still be in love if we had never read any love stories?) What is the function of the writing of the love story? Do we agree with Alain Finkielkraut when he declares that "la representation est le privilege (ou la fatalite) de celui qui n'aime pas" and that "puisque l'arte, c'est le t ri, l'amoureux n'est pas – et ne peut etre – artiste." On the other hand could we say that the writing of the love story becomes the love story since it excludes the loved one and is precisely where the Other is not? (Savoir qu'on ecrit pas pour l'autre, savoir que ces choses que je vais ecrire ne me feront jamais aimer de que j'aime, savoir que l'ecriture ne compense rien, ne sublime rien, qu'elle est precisement la ou tu n'es pas – c'est le commencement de l'ecriture.") We will also analyse the implications of the identity of a lover/love story: can there be such a thing as a "straight" love story? Are all love stories straight? To answer such questions we will examine one LAI by Marie de France; two fairy tales; two short epistolary novels: LES LETTRES PORTUGAISES and LES LETTRES DE MISTRIS FANNI BUTLERD (Riccoboni) and excerpts from LES LIAISONS DANGEREUSES (Laclos); short stories by Colette (LA FEMME CACHEE) and excerpts from LA PUR EL L'IMPUR; L'AGNEAU LES FEMMES! and FOUS D'AMOUR (Reiser) and by Claire Bretcher; songs by Piaf, Daho, Indochine, Goldman (suggestions?); two movies (choice to be discussed); LES NUITS DE LA PIEINE LUNE and TRIP BELLE POUR TOI. There will be short presentations and a "Final", more personal response paper. I do not think it is possible for me to know now what you will write. Let's set an ideal: you should be able to formulate what you are in love with (or why you cannot formulate it). Creative writers, welcome! (Mainil)
Section 003. L'Etrange et l'etranger dans le Roman Africain de langue Francaise. The history of the relationship between Africa and France has mainly consisted in the production of stranger and strange things. From the form of the literature to the form of the culture, it is apparent that the African is struggling to make familiar that which is fundamentally strange and is at odds with having become himself a stranger. The purpose of this class is to acquaint students with the cultural political and economic challenge facing Africa as instantiated by its literature. In each novel we will look at the individual response to close attention to the writer's literary concern vis-a-vis the kind of reality which weighs on him/her. We will emphasize the relationship between writing and the strange, and between writer and the stranger ( or as a stranger) in an attempt to pinpoint what francophone literature is all about. Texts: MIRAGE DE PARIS by Ousmane Souce; L'AVENTURE AMBIGUE by Cheikh Hamidou Kane; LE MANDAT by Ousmane Sambene; UN NEGRE A PARIS by Bernard Dadie; LE VIEW NEGRE ET LA MEDAILLE by Ferdinand Oyono; MISSION TERMINEE by Mongo Beti; UNE VIE DE BOY by Ferdinand Oyono. (Somé)
324. Readings in Spanish. Proficiency
test. (4). (Excl). May be repeated for credit.
Section 001. Tres novelas latinoamericanas. En esta clase se leeran tres novelas contemporaneas de America Latina. Del escritor peruano, Mario Vargas Llosa, QUIEN MATO A PALOMINO MOLERO? (1986); de Gabriel Garcia Marquez, escritor colombiano, se leera CRONICA DE UNA MUERTE ANUNCIADA (1981) y de Isabel Allende, escritora chilena, se leera DE AMOR Y DE SOMBRA (1984). Estas novelas tienen algo en comun, la memoria cumple un papel importante en la reconstruccion de hechos ya sucedidos que no peuden ser cambiados. Sin embargo, la memoria no es siempre fiel a los hechos, y el recordar es, en cierta forma, querer saber y entender, pero tembien luchar con el pasado y re-ordenario, desde la perspectiva del narrador y de multiples informantes. A traves de la lectura y comprension de los textos, trataremos de descifrar el codigo que rige las acciones de los personajes y el poder que maneja sus acciones. Mientras Vargas Llosa y Garcia Marquez trabajan con la noticia, el anuncio, (la anunciacion) como punto de partida, Isabel Allende centra su narracion en el rescate y la preservacion de un hecho sucedido, pero re-creado para salvarlo del olvido. (Moya-Raggio)
370/French 370. Advanced
Proficiency in French. RC Core 320, or French 362, or permission of instructor. (3). (Excl).
Advanced Proficiency in French is especially but not exclusively designed for students who intend to study in France (such as students who have applied to the Michigan Junior Year in Aix Program). This course includes development of speaking skills in informal and formal contexts, and initiation into writing formats and styles customary in French universities. A rich cultural component will prepare students socially and mentally, as well as technically and intellectually, for living and studying in France. Emphasis will be put on modern France and current events. Students will write daily exercises and weekly papers of various lengths. Among the techniques practiced will be: the French "dissertation," "contraction de texte," and "commentaire compose:" how to write an introduction, a conclusion, a paragraph, a text with logical development with the use of cohesive devices, precise and accurate wording and syntax. Directed as well as liberated practice of oral production will activate a wide range of functional expressions. Formal discourse such as "l'expose" will also be practiced. Training in reading intricate current newspaper prose and aural comprehension of lectures with note-taking will be included. Final exam; a short "expose", a brief conversation, and a written French style essay ("dissertation"). (Carduner)
N.B. RC students have enrollment priority in RC Arts classes.
285. Photography. (4). (Excl). Materials
This course introduces students 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 photography. A visual emphasis is maintained in both presentation and course work, and the student works with the medium towards a goal of personal expression. There will be a studio fee. (Hannum)
286. Sculpture. (4). (Excl).
The focus of this studio course is an exploratory, experimental approach to textile techniques. Students will learn and employ traditional techniques such as basketry, tapestry, surface design and felt-making, and also will be encouraged to develop their own experimental techniques. Traditional fibers such as wool, cotton, and linen will be combined with unconventional materials in the creation of innovative works. Exposure to traditional and contemporary textile work will provide a background for class projects. Slide lectures, museum and gallery visits, critiques, and studio projects help students develop a knowledge and appreciation of the discipline. (Savageau)
287. Printmaking. (4). (Excl). Materials
Developing an understanding of the art and history of printmaking through lectures, demonstrations, practical studio experience, 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 screenprinting techniques. Field trips to area museums and gallery exhibitions will be part of the class experience. Approximately eight projects will be assigned. A sketchbook/notebook is required. Class attendance is mandatory, as is lab time spent outside the scheduled class period. There will be a studio lab fee. (Cressman)
288. Beginning Drawing. (2). (Excl).
The work 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 course work outside the scheduled class time. (Cressman)
289. Ceramics. (4). (Excl). Materials
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 are mandatory. The theory, practice, and history of ceramics are integral parts of this study and are used to encourage individual sensitivity to the material. There will be a studio fee. (Crowell)
389. Ceramics Theory and Criticism. RC
Arts 289 or permission of instructor. (4). (Excl).
Advanced Ceramics: Studio, Theory, and Criticism. In this course we will combine studio work in clay with the history, aesthetics, and criticism of ceramics. In the studio, we will develop content, style, form and surface, through the expansion of forming skills and decorative techniques. Concurrently, we will go beyond "craft", confronting, through critique, analysis, reading, and writing, the intellectual material of ceramics. We will read Garth Clark' CERAMIC ART: COMMENT AND REVIEW 1881-1927, and then Phillip Rawson's CERAMICS. Subsequent reading from journals – "American Ceramics", "The New Art Examiner", and others – will enable us to enter the discourse of ceramics in twentieth century art. There will be a studio fee. (Crowell)
257. Visual Sources. (4). (HU).
The purpose of this course is to develop and sharpen students' visual skills by examining the world of images in which we live. We will analyze selected examples of painting, sculpture, architecture, television, film and dance. The works studied will not necessarily be considered in chronological order and we will not restrict ourselves to those works that are labeled "great" by art historians and critics. We will include images of popular and commercial art both from the past and the present. The materials used in creating a work of art will be discussed. (In the case of film, for example, we will consider the differences between black and white and color film, we will consider the current colorization controversy and we will investigate what happens to our perception of moving pictures when they are integrated with sound.) Images considered will also be studied both as expressions of the person (or persons) who created them and the culture from which they have emerged. We will also explore the impact and effect of our immediate visual environment on our psychological state (campus architecture, for example, including student living spaces, classrooms, and local restaurants). There will be several short papers and students will be asked to keep a log of their encounters with, and ideas about, the visual arts that they encounter in their day to day experiences or in which they are especially interested. (Genne)
275. The Western Mind in Revolution: Six Interpretations
of the Human Condition. (4). (Excl).
This course will treat six major reinterpretations of the human condition from the sixteenth to the twentieth centuries generated by intellectual revolutions in astronomy (Copernicus: the heliocentric theory); theology (Luther: the reformation); biology (Darwin: evolution of the species); sociology (Marx: Communism); psychology (Freud: psychoanalysis; and physics (Einstein: the theory of relativity). All six reinterpretations initiated a profound revaluation of Western man's concept of himself as well as a reassessment of the nature and function of his political and social institutions. Since each of these revolutions arose in direct opposition to some of the most central and firmly accepted doctrines of their respective ages, we will study: 1) how each thinker perceived the particular "truth" he sought to communicate; 2) the problems entailed in expressing and communicating these truths; and 3) the traumatic nature of the psychological upheaval caused by these cataclysmic transitions from the past to the future – both on the personal and cultural level. If the function of humanistic education is to enable the individual to see where he stands in today's maelstrom of conflicting intellectual and cultural currents, it is first necessary to see where others have stood and what positions were abandoned. The emphasis of this course will not be upon truths finally revealed or upon problems forever abandoned, but rather upon certain quite definite perspectives that, arising out of definite historical contexts, at once solved a few often technical problems within a specialized discipline while unexpectedly creating many new ones for Western culture as a whole. Texts: Copernicus, ON THE REVOLUTION OF THE HEAVENLY BODIES (1543); Luther, APPEAL TO THE CHRISTIAN NOBILITY OF THE GERMAN NATION (1520), OF THE LIBERTY OF A CHRISTIAN MAN (1520); Darwin, THE ORIGIN OF THE SPECIES BY MEANS OF SELECTIONS(1859); Marx, ECONOMIC AND PHILOSOPHICAL MANUSCRIPTS (1844), DAS KAPITAL (1867, 1885, 1894); Freud, THE INTERPRETATION OF DREAMS (1900), THREE ESSAYS ON THE THEORY OF SEXUALITY (1905); and Einstein, RELATIVITY, THE SPECIAL AND THE GENERAL THEORY: A POPULAR EXPOSITION (1921). Three examinations and one term paper required. (Peters)
312/Slavic 312. Central European Cinema. A
knowledge of Russian is not required. (3). (HU).
See Slavic 312. (Eagle)
333. Art and Culture. One History of Art
or Arts and Ideas course, or permission of instructor. (4). (Excl).
Section 001: The Western. Until recently, the Western – films about the American west – was 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 Hollywood westerns, e.g., 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 some foreign-made westerns, e.g., YOJIMBO, ONCE UPON A TIME IN THE WEST, MAD MAX II. 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. We will also look into why and how these powerful films appealed to and influenced the thinking not only of Americans, but of people world wide. Our films will be shown on Wednesday nights, and discussed Thursday in class. There will be a midterm, final examination, and two papers. A lab fee will be assessed. (H.Cohen)
Section 002: Narratology, 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 "there has been a new sharing and integration of languages, at least of gesture or of some system of signs. Moreover, these fresh inter-relationships 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 distance from the text to read meanings 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 the 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 research procedures as evidenced in the work of Fisks and Harley, 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 three weekly short papers and a final research paper. Everyone logs and reports on genres of text watched outside of class. At the close of the term, each student presents the findings of her/his research to the class. (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 twentieth 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. (C. Cohen)
472. Arts and Ideas Senior
Seminar. (4). (Excl).
Classical Mythologies/Renaissance Bodies. Myths are a way of structuring or explaining the world and their narrative significance changes over time. This course will explore the "after life" of classical mythologies in both text and image by focusing on a moment in European history when a "classical revival" reshaped culture. Texts such as Botticelli, Mantegna and Titian are our chief documents. The course investigates the syncretism whereby elements thought incompatible, like paganism and Christianity, were fused through a reinvigorated interest in mythology. Neoplatonic notions of a spiritual hierarchy, for instance, aided Christian readings of the flayed Marsyas or the transported Ganymede, the latter also a sign for homosexual love. The very fictionality of myth made it an apt vehicle for the figuring of Creativity. The stories of Narcissus, Prometheus and Pygmalion treat acculturation and artifice. The rest of the course focuses on the construction of femininity and masculinity. Female bodies were located in the discourses of heterosexuality, usually to the end of fertility and sexual allure, especially with figures like Venus and Flora. The idealization of chastity also highlights tensions in the control of the female body. Many women attract Jupiter's attention and his numerous metamorphoses assert his phallic presence amongst mortals. Key moments in many stories focus on sexual encounters. Hercules is an especially interesting example of male action. A masculine hero who can be effeminized when under thrall to a woman, his struggle with Antaeus might also suggest homosexual contact, so that a mythic figure can be multifaceted and complex. The idealized character embodied control and reason but mythology also enabled the representation of their feared yet desired opposites. Throughout the course we will consider issues of power and ideology, especially about gender and sexualities, but also concerning such matters as the artist's status, the philosophy of humanism and the values of the Church. History of ideas and an attention to the construction of mythic structures will hence be placed in a particular social context. Since classical myths are fundamental to Eurocentric traditions, critical attention to their historical and ideological specificity aids a reassessment of those traditions. Students other than Arts and Ideas seniors are welcome. Text to be purchased include: Ovid, METAMORPHOSES (Penguin); James Hall, DICTIONARY OF SUBJECT AND SYMBOLS IN ART (Revised ed., Icon Editions, 1979). (Simons)
475/Chinese 475/Hist. of Art 487/Asian Studies 475/Philosophy
475. The Arts and Letters of China. (4). (HU).
See Chinese 475. (Feuerwerker)
Sources of Modern Culture. Sophomore standing or
permission of instructor. (4). (HU).
The Glorious Body. During the Medieval period, a major revision of the representation of the body in Western art took place. The Classical paradigm, in which the body occurs as a mathematical canon, an idea, or an illusion, is subverted, stood on its head, sometimes repudiated altogether. Instead, the concrete physicality of the body – interior space as well as surface, internal organs as well as external appearance – becomes the starting point 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; they generate a rhetoric. This refigured body does not always observe the syntax assigned to it by Classical convention. Instead, it begins to speak an extravagant language: the skin is a book, tongues of fire burst from every side, hearts have ears, bellies have mouths, and genitals flourish an array of musical instruments. Nor are the well-bred hierarchies of Classical decorum preserved: humiliation, decay, and the collapse of the body under the blows of villains, 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 interdisciplinary approach will involve the close reading of texts and careful analysis of images. Syllabus includes: Plato, PHAEDO; THE SAYINGS OF THE DESERT FATHERS; THE LIFE OF ST MARY THE EGYPTIAN; early Christian art of the Eastern Empire: Egypt, Syria, Constantinople; St. Augustine, THE CONFESSIONS; Byzantine art: Ravenna; Anglo-Saxon lyric poetry; Iro-Celtic book illumination; Hildegard von Bingen, SONGS AND SEQUENCES; Romanesque portal sculpture: Moissac; Romanesque sculpture: reliquaries; THE THRONE OF WISDOM; Marie de France, LAIS; gothic sculpture: the portal program of Chartres; Julian of Norwich, REVELATIONS OF DIVINE LOVE; Matthias Grunewald, THE ISENHEIM ALTARPIECE. (Sowers)
318. Critical Approaches to Literature. (4).
Psychoanalytic Interpretation of Literature and the Visual Arts: Freud and Lacan. This course will address the problem of the psychoanalytic interpretation of literature and the visual arts. We will base our study on selected works by Sigmund Freud and his most creative recent interpreter, Jacques Lacan. Beginning with two important case histories, THE WOLF MAN and DORA, we will derive a method of interpreting literary texts and visual images from Freud's method of dream analysis. We will go on to explore the opening out of the psychic landscape onto the historical implied in Freud's theory of the death instinct and its relation to sexuality. Finally, we will address the contribution of Freudian psychoanalysis to contemporary critical theory, especially the work of Jacques Lacan. In what way is the human being constituted by language? What is the relation between language and the unconscious? 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 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 work? The following texts will be used: D.H. Lawrence: THE PRUSSIAN OFFICER; Sigmund Freud, THE WOLF MAN; Ivan Turgenev, FIRST LOVE; Freud: LEONARDO DA VINCI AND A MEMORY OF HIS CHILDHOOD, DORA: AN ANALYSIS OF A CASE OF HYSTERIA, BEYOND THE PLEASURE PRINCIPLE; Emily Brontë, WUTHERING HEIGHTS; Jacque Lacan, SPEECH AND LANGUAGE IN PSYCHOANALYSIS; Mary Kelly, THE POST-PARTUM PROJECT. We will also study paintings of Edvard Munch and Georgio de Chiric. (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).
This course will compare and contrast the presentation in four disciplines (political science, philosophy, theology, and psychology) and three literary genres (drama, novel, and short story) of several ideas that have fundamentally redefined western man's concept of himself in the last 100 years. 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 the self and society? 1) LITERATURE AND POLITICAL SCIENCE: COMMUNISM IN THE DRAMA. The ethics and psychology of Communist revolution and terrorism. Texts by Marx, Lenin, Brecht, Sartre. 2) 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. 3) 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 and Dostoevsky. 4) LITERATURE AND PSYCHOLOGY: PSYCHOANALYSIS IN THE SHORT STORY. The ethics and psychology of communist revolution and terrorism. Texts by Marx, Lenin, Brecht. Mid-term and final exams are required. (Peters)
410. Upperclass Literature Seminar. (4).
(HU). May be repeated for credit.
Section 001: Moral Issues in the Novel. We will look into some questions about the nature of moral actions and the process of moral growth and 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 world of art. Emphasis on character, and on characters' awareness of self and of actions, rather than on plot. We will read selections from Aristotle's NICHOMACHEAN ETHICS, and perhaps include selections from recent writers on moral and cognitive growth. Novels include LORD JIM by Joseph Conrad; Robert Penn Warren's ALL THE KING'S MEN; PORTNOY'S COMPLAINT, by Philip Roth; SURFACING, by Margaret Atwood; THE FALL by Albert Camus; A FLAG FOR SUNRISE by Robert Stone; INVISIBLE MAN, by Ralph Ellison, and one, two or three others. There will be four or five short papers, lots of in-class writing and an hour exam late in the term. Whether or not there is a final depends on the performance of the class as a whole. Since the class emphasizes discussion, attendance is obligatory. The reading load is moderately heavy. Open to sophomores by permission of instructor only. (W. Clark)
Section 002. Ethnopoetics: Cross-Cultural Approaches to Verbal Art.. For Winter Term, 1992, this course meets together with Anthropology 473. (Bierwert)
417/MARC 417. Epic and Saga.
Voices of Epic: Heroic Narrative in Living Performance. Epics live. Ancient heroic narrative songs of struggles for the sake of a community, epics are still orally composed during performance today – probably on every inhabited continent. This interdisciplinary course studies four current epic traditions from four diverse cultures: SUNDIATA, Mali, West Africa; THE BALLAD OF GREGORIO CORTEZ, Mexico; STAR STORY, the Lushootseed-speaking people of Puget Sound; and the MAHABHARATA as adapted to Indonesian shadow drama. We read each epic in multiple versions in English as transcribed oral literature, come to know it as musical performance on tape, sometimes through guest performance as well, and study both forms in interaction. From these, though we learn by analogy about Homer, we learn primarily that epic is far broader than the Greek mode, and that to editorially smooth living epic to fit Western European expectations makes it, as one student noted, "fade to black." Performance brings a dimension to understanding a narrative. "Texts" change dramatically from performance to performance depending upon medium, upon individual and upon audience. An instrument may connote nobility (the Kora that accompanies the SUNDIATA epic) or a particular religious affiliation (the gamelan ensemble or Java with its ties to pre-Islamic Hinduism). In many cases the performer is believed to have supernatural powers. Thus music and narrative together give us a new way to approach meaning, while we add structural and oral-traditional interpretation and cultural information. As well as listening, writing is central to our approach. A "listening" journal: and music quizzes as we go, varied writings in class, and a final comparative paper are part of the learning 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. No prerequisite courses, but MARC majors will want to be familiar with Western epic. (Becker, Clark)
452/Russian 452. Survey of Russian Literature. A
knowledge of Russian is not required. (3). (HU).
See Russian 452. (Bartlett)
220. Narration. Permission of instructor. (4). (Excl).
Suggested assignment: 1250 words of prose fiction every two weeks. Rewriting is emphasized. The class meets as a group up to two hours per week. Collections of short fiction by established writers are read. Every student meets privately with the instructor each week. (Hecht)
221. The Writing of Poetry. Permission
of instructor. (4). (Excl).
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. 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)
320. Advanced Narration. Hums. 220 and permission of instructor. (4). (Excl).
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. This course satisfies the Junior-Senior writing requirement for RC Creative Writing majors only. Enrollment is limited to a maximum of six students, usually students who have completed Narration and/or Tutorials. Permission of instructor is required. (Hecht)
322. Advanced Creative Writing for Children and Young
Adults. Hums. 222 and permission of instructor. (4).
This course provides students with an opportunity to continue work on stories, novellas, picture books or other media intended for young audiences. It will expand the skills and techniques already developed in RC Hums 222. Class meetings, a manuscript exchange, and private conferences with the instructor provide the structure, critical skills, and peer support that aid the writing process. The seminar will meet as a workshop on alternate weeks throughout the term. Students will also meet privately with the instructor by appointment. Readings, revisions, and critiques of fellow students' work will form the basis for evaluation/grade. Enrollment is limited to eight. (Balducci)
325, 326, 425, 426. Creative Writing Tutorials.
Tutorials provide an opportunity for students who want to write, no matter how sophisticated their work, to have their efforts recognized 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. This course satisfied the Junior-Senior writing requirement for RC Creative Writing concentrators only. (Hecht, Mikolowski, Balducci, Levin)
280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
See Theatre and Drama 211. (Cardullo)
282. Drama Interpretation I: Actor and Text. (4).
The Commedia dell'arte & the Roots of Improvisational Acting. Though a performance workshop in a non-text-based performance style, (16th and 17th century Italian commedia dell'arte) this course will focus a great deal of energy on the analysis of extant commedia scenarios and secondary literary sources as tools in the development of character and improvisational action. The development of critical thinking skills will be at least as important as the development of juggling and gymnastic ones. Course work in the first half of the term will concentrate on the familiarization and exploration of historical materials. The second half of the term will be directed toward the collaborative creation of an original scenario to be publicly performed in April. Additional requirements will include a number of (usually brief) written assignments (critical and creative), one exam and extensive outside of class rehearsal. Prerequisites: Intro to Drama (RC Hums 280/English 245/Theatre 211) or advance permission of instructor absolutely required. (Brown)
381. Shakespeare on the
Stage. Hums. 280 or permission of instructor. (4).
Varieties of Shakespearean Comedy. A survey of Shakespeare's comic modes with an emphasis on stagecraft and the process of theatrical interpretation of the texts. Scene-work and exercises in physical and verbal comedy will complement quizzes, two short papers, and in-class discussion and experimentation. The course will pay particular attention to the University Players' winter term production of AS YOU LIKE IT. (A Monday evening workshop session will be required periodically to help prepare for in-class scenes.) Syllabus: (a) Roman and Medieval Roots (COMEDY OF ERRORS, TAMING OF THE SHREW; (b) Romantic comedy (AS YOU LIKE IT, TWELFTH NIGHT ); Excursus: the "Jig" and the "Droll" and other low entertainments of Shakespeare's time; (c) Comedy as Counterpoint (HENRY IV ); (d) Tragicomedy ( ALL'S WELL THAT ENDS WELL, MEASURE FOR MEASURE ); (e) Magic Comedy (MIDSUMMER NIGHT'S DREAM, THE TEMPEST ). No prerequisites. Freshpersons may consider this an entry level course for the RC Drama Concentration and the equivalent of Introduction to Theatre and Drama. (Walsh/Brown)
386/MARC 421. Medieval Drama.
Hums. 280 or permission of instructor. (4). (Excl).
The Comic Tradition from Late Antiquity to the COMMEDIA DELL'ARTE. A survey of major types of medieval drama with an emphasis on secular performance traditions and the symbiosis of sacred and profane. Practical work in iconographical research and theatrical reconstruction will complement quizzes, two short papers and class discussion. The course will also be involved with two experimental performances (a 12th-century Latin, and three 14th century Dutch farces) in the course of the term. Syllabus: (a) Learned and Popular Traditions (the fifth century QUEROLUS; the Terence MSs., early Christmas and Carnival theatre); (b) Comic Tales into Farces (the fabliaux tradition in narrative and dramatic forms: Latin, French, English, German; (c) Comic Character and Incident in the Mystery Plays (Noah's Wife, Joseph's Troubles about Mary, grotesques around the Passion, etc.) (d) Grotesque Comic in the Morality Play and interlude (MAGNYFYCENCE, MANKIND, WIT AND SCIENCE, JACKE JUGELER ) (e) Survival (?) of the Comic Mask: The Italian COMMEDIA DELL'ARTE. No prerequisites, but students with some background in medieval civilization, art history, or theatre before 1700 are especially encouraged. (Walsh)
390. Special Period and Place Drama. Hums.
280 or permission of instructor. (4). (Excl). May be repeated
Irish Dramatic Movement. Theatre was reborn in Europe at the end of the nineteenth century – in France, in Germany, in Moscow, and even in England. In Ireland, in 1897, W.B. Yeats and Lady Augusta Gregory began to formulate ideas about what was to become of the Irish National Theatre. Its aim, according to Yeats, was to present, for the first time – both in Ireland and abroad – Irish plays about Irish themes, using Irish actors. In 1981, Brian Friel, Seamus Heaney, and the actor Stephen Rea founded something called Field Day. In part it is a theatre company, and as a theatre company, it is to the present what the first years of the Irish National Theatre were to the beginning of this century, politically as well as culturally. Friel is Field Day's main dramatist; Heaney and another poet, Tom Paulin, have contributed one play each. In its first years the Irish National Theatre – known, popularly, as "the Abbey", after its playhouse – produced plays in both Irish and English. We will limit our study to what was done in English. We will study the plays of Yeats, Lady Gregory, and John Synge from the first generation of the Irish Theatre, and then several of the plays of Sean O'Casey, and finally five plays by Brian Friel. That will take us from the opening night in 1904 to the spring of 1991. We will then look at the work of some other contemporary Irish dramatists, including Tom Murphy and Thomas Kilroy, and at the plays of Paulin and Heaney. We will attempt to understand the social, cultural, and political significance of the Irish National Theatre and that of Field Day as well as read and "see" some twenty plays. At the beginning of the term we will put on – for ourselves – several one-act plays by Lady Gregory, Synge, and Yeats. As the term progresses we will experiment with scenes from various plays, and will conclude the term with a genuine production that will be worthy of the Abbey itself. Students will be expected to write (a) critiques of two of our in-class dramatic presentation; (b) two brief analyses of scenes from plays; (c) a brief study of a single character; and (d) an essay (5-10 pages) on two or three plays by one of our Irish dramatists. (Hornback)
485. Special Drama Topics. Sophomore standing.
(1-2). (Excl). Offered mandatory credit/no credit. May be repeated
for a total of 4 credits.
Toronto Medieval Performance Project. A mini-course attached to the production of the 15th century Dutch morality play, MARY OF NIJMEHJEN (a female version of the Faust legend), which will be taken to the University of Toronto's International Medieval Drama Festival at the end of May (two previous performances in Ann Arbor as well). Students will engage in all the dramaturgical research necessary for understanding this complex work of late medieval dramatic art, will participate in production design and practical problem-solving, and participate in some capacity in the production itself. (N.B. Class members wishing to go to Toronto as either cast or crew must be free to rehearse from the end of classes through to the weekend of May 23-25.) Course begins immediately after Spring Break. Prerequisites: Introduction to Theatre and Drama plus one other drama course or permission of instructor, or majoring in the MARC Program or other areas of medieval studies. (Walsh)
250. Chamber Music. (1). (Excl). Offered mandatory credit/no credit.
Section 001 – Madrigal Groups, Section 002 – Instrumental: Chamber Orchestra and Small Ensembles, 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; mixed ensembles of strings and winds; brass quintet and intermediate recorder ensemble; string quartet; woodwind quintet, and some other duos and trios, including piano and harpsichord. Responsibilities include three to four 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. No audition required. Course may be used to fulfill the RC's Arts Practicum Requirement. (Kvamme/Kardas-Barna)
252. Topics in Music. (4). (HU).
Section 001 Music in Popular Culture. Music is one of the most powerful and personal ways in which individuals and cultures can define themselves. This course will examine the way both popular and art music function in American film and television. Although the emphasis will be on the past decade or so, historical factors will be taken into account. Required texts are UNDERSTANDING POPULAR CULTURE by John Fiske and CHANNELS OF DISCOURSE edited by Richard Allen. (Stilwell)
Section 002 Bells, Gongs and Drums Through the Ages. The class studies the history and past and present-day uses of bells, gongs and drums. There will be field trips to see and play a gamalan, a carillon, and percussion instruments, and guests will come to class to demonstrate and talk about certain instruments. The emphasis is on doing: students will design and make a drum and notate and perform drum and bell pieces. There will also be a final project. No previous music skills are required. Course fulfills RC Arts Practicum requirement. (Halsted)
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 RC's Arts Practicum requirement. Grades are not given; credit is based primarily on regularity of attendance. No audition or prerequisites are necessary. (Kvamme)
350. Creative Musicianship. (4). (HU).
In that improvisation is spontaneous composition, this course explores composition through the development and refinement of improvisational skills. Class time will be divided between improvisation – where ideas such as linear organization, motivic development, and form are explored – and the performance of composition. Assignments based on playing done in class. The course deals with notation and music theory as they seem necessary to bridge improvisation and composition. Twenty students will be accepted who have at least a beginning level of proficiency on an instrument, although no prior understanding of improvisation or composition is necessary. The course meets for four class hours and one should plan to spend eight to ten hours per week practicing and preparing materials. The accompanying lab (Humanities 351) is required unless excused by the instructor. (Mygatt)
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, the use of ear-training tapes, and computer programs. The lab will be divided into three sections according to ability and experience levels. The intermediate level section must meet from 4-5:30 and will be arranged the first day of class. 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, depending on the amount of work one chooses to do. (Mygatt/Staff)
262/University Courses 262. AIDS: The Challenge to
Society. (4). (Excl).
See University Course 262. (Sloat and Ostrow)
351. Special Topics. (2). (Excl). Offered
mandatory credit/no credit. May be repeated for a total of 8 credits.
Section 001: Patterns of Development in Young Adulthood. Drawing on psychological theory, interview data, and interactive theatre, this course explores patterns of personal development during young adulthood. Major topics include: "leaving home" and changing relationships with family, development within friendship and romantic relationships, identity and social context, and the development of integrating life purposes. For each major topic, there will be three types of classes: (a) REFLECTION classes in which relevant theory and concepts are discussed, (b) OBSERVATION classes in which we shall test theory against interviews that will be conducted by students in this course, and (c) REPRESENTATION classes in which we shall create role plays that, almost literally, bring theoretical and conceptual issues "to life". This course, then, requires active participation by those who undertake it. (Greenspan)
450. Science and Social Responsibility. (4).
The power of modern science to intervene in natural processes and to redirect them for human purposes has generated major social and ethical problems and continues to do so. This course examines the social response to the types of problems that have emerged since World War II and explores in particular the questions of the roles and responsibilities of scientists, the producers of the knowledge and techniques that form the basis of this new social power. A complicating factor is that the nature of scientific inquiry itself is currently being debated, with positions ranging from claims that science merely discovers the natural world (traditional empiricism) to claims that science also shapes and constructs the object of its inquiry (social constructivism). The course will begin by examining these positions and their implications for the roles and responsibilities of scientists. The military sponsorship of physics after World War II will be used as a case study that exemplifies these social and philosophical issues in a particularly acute manner. The second part of the course will examine the recent history of policies for the promotion and control of science in the United States. In particular, we will examine the organization and funding of American science, support for research and development by the military, and regulatory policy in the 1980's and 1990's. The final part of the course will use several case studies to examine social and ethical issues associated with the development of science: the SDI initiative; the use of science in the development of foreign policy (the "yellow rain" issues); military use of the biological sciences; the long-term environmental impact of modern technology; scientific fraud. The course will be organized as a seminar. Participants will undertake a guided research project that uses primary source materials. The course is open to all students but is especially intended for juniors and seniors who have taken at least one college-level science course. Readings (tentative list) include: David Dickson, THE NEW POLITICS OF SCIENCE (1984); Sheila Jasanoff, THE FIFTH BRANCH: SCIENCE ADVISERS AS POLICY MAKERS (1990); Joel Primack and Frank von Hippel, ADVICE AND DISSENT: SCIENTISTS IN THE POLITICAL ARENA (1974); Susan Wright (ed.), PREVENTING A BIOLOGICAL ARMS RACE. (Wright)
260. Science and Societal Issues: The Immune System.
Introductory science course or permission of instructor.
This course introduces 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 examination of societal and ethical issues that accompany contemporary scientific and biomedical research. The course is intended for students who want to gain knowledge about a field of science and better understand and make decisions about the use of scientific knowledge. The topics include autoimmunity, immunization, tissue and organ transplant, allergic responses, AIDS, and the impact of funding and policy decisions on the direction and progress of scientific research. Throughout, emphasis will be on the acquisition of scientific knowledge, the nature of the scientific process, and the interrelationships between science and society. Student evaluations will be based on two examination, a short paper, a research paper/project, and class participation. (Sloat)
270. New Biotechnology: Scientific, Social and Historical
Perspectives. High school biology or permission of
instructor. (4). (N.Excl).
This course examines the development of genetic engineering and other new biogenetic technologies that provide powerful methods for controlling and modifying 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 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 Readings: 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). There will also be a course pack of selected readings. (Wright)
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 ideals about alternative social institutions as well as to develop their capacities for insightful political economic analysis. (Thompson)
290. Social Science Basic Seminar. (4).
This seminar is designed for students at the sophomore level or above 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 Social Sciences at the Residential College. Seminar sessions will introduce students to the RC Social Science faculty and teach them how to turn general interests into problems that can be investigated systematically. Early on students will begin working on their own with guidance from faculty whose interests match theirs in order to complete the principal goal of the seminar: to design a coherent, individualized program of study for the Social Science concentration. (Weisskopf)
306. Environmental History and Third World Development.
For Winter Term, 1992, this course is jointly offered with History 346. (Tucker)
310/Geography 310. Food, Population, and Energy. Sophomore standing or permission
of instructor. (4). (Excl).
During the past three Development Decades (1960-1990), national governments and international organizations such as the World Bank have drastically changed localized traditional farming systems into industrialized agriculture. These development efforts have decisively altered the dynamic balance between population, food, and energy supplies in many countries. In this course, we will study such changes, the controversies that have accompanied them, and the alternative systems that have been proposed and developed in response. We will look at their sensitivity to the welfare of the farmers, men and women, and of their families and the environment as well. We will appraise the advantages and shortcomings of both American commercial agribusiness and the recently discredited Communist planned agriculture which have served as models for the world-wide transformation of farming. Next, we will study the ways in which governments have implemented agricultural change in Turkey and other countries of the Middle East. We will look particularly at the traditional systems which government agricultural policies have worked to replace, contrasting them with the modern agricultural systems which have been developed. Finally, we will consider alternative agricultural movements as written about in Lappe and Collins' FOOD FIRST: BEYOND THE MYTH OF SCARCITY, Wes Jackson's NEW ROOTS FOR AGRICULTURE, and Fukuoka's ONE STRAW REVOLUTION. We will also consider critically the framing economic concepts on which agricultural transformation has been based using the arguments of Schumacher, SMALL IS BEAUTIFUL: ECONOMICS AS IF PEOPLE MATTERED and Daly and Cobb, FOR THE COMMON GOOD: REDIRECTING THE ECONOMY TOWARD COMMUNITY, THE ENVIRONMENT AND A SUSTAINABLE FUTURE. The course will be conducted as a collaborative seminar. We will follow a discussion format with occasional lectures and comparative papers and one longer research paper. (Larimore)
357. A History of Crime and Punishment in the U.S.
This course seeks to put contemporary issues of crime and punishment in historical perspective. Rather than attempt a sociology of crime, or engage in philosophical debates about the nature of human depravity, we will focus instead on the concrete means of punishment and their development, in particular on the history of the penitentiary, and build on this basis an analysis of the interaction between political economy of crimes and the means of state retribution. We will begin with recent debates about crime and its causes, examining underlying assumptions about who criminals are and what makes them misbehave, and then read some of the major formulations of the problem of punishment (Foucault, Radzinowicz, Rusche and Kirchheimer). We will then move to an historical treatment of punishment, concentrating on the evolution of the American prison since the mid-19th century. While our focus will be on the prison itself – everyday life behind bars, social organization and administrative order, movements for reform, and movements of rebellion – our concern will be to understand how the world of the penitentiary is continually shaped and reshaped by changes in the society producing criminals and by changes in political priorities and dominant ideologies. We will make use of memoirs, first-hand accounts, and prison literature, as well as standard histories, and students will be encouraged to take up independent work on this material. While the course will involve lectures and guest talks, students will find that considerable emphasis is placed on reading and participation in class discussions. Everyone will be required to do a seminar presentation, a book review, and a term paper. (Bright)
360. Social Science Junior Seminar. Upperclass standing. (4). (Excl). May be repeated for credit.
Section 001: Women in the International Division of Labor. What is meant by such terms as "the new international division of labor", "global restructuring", "structural adjustment", and even revitalized notions of "free trade"? What is "globalization"? What is the nature of participation in this trend? Who are its agents? Who are its beneficiaries? And who are its victims? Or – might this be our change to all share happily in the postmodernist construction of new, eclectic, "global" identities – beyond class, beyond nation, beyond "race", beyond gender? We want to address these questions in relation to gender, class, and nation (and/or ethnicity) before looking closely at women's labor in four or five areas of the global economy: offshore assembly-manufacturing; sex tourism or international sex services; the "informal sector"; industrial homework; minority and immigrant women's labor "niches" in the First World. We will also examine women's lives as the "nodes" of intersection between the global and the local, and as they are impacted by the co-existing local, national, and international levels. Course requirements are two short papers, a group presentation, and a final research paper. (Green)
Section 002. Contemporary American Health Care: Problems, Trends, Issues. (Heirich)
Section 003: Social Science Research Methods from a Feminist Perspective. This course will offer the student a broad perspective with which to evaluate and/or engage in social science research. It will focus on a variety of methodological and procedural problems and controversies discussed in the social science literature. Although the reading material for the course will derive primarily from the feminist literature, application will be made to numerous areas in social science. Topics to be covered include: a brief overview of social science research methods; explanation and evaluation of various research methodologies and procedures; the power, abuse and value of research; qualitative vs. quantitative controversy; issues of bias and objectivity; research and social policy; media coverage of research; social responsibility of the researcher; politics and research; defining feminist research. Two papers and a media evaluation project are required. Although there are no prerequisites, some statistical knowledge is helpful in understanding much of the course material. (Jayaratne)
388. Transitions to Capitalism. A 200-level
Social Science course. (4). (SS).
The course examines one of the most basic transformations in economic and social history first by a close reading of a social theoretical work – Marx's Capital – and then by comparison of two cases: England from the late 17th century through the early phases of the industrial revolution and southern Africa in the late 19th and early 20th centuries. The first is the classic case of the development of capitalism, the second an instance of change in the context of an already developed and expansionist European economy. Yet in both instances, cultivators who had complex rights in land and varied obligations to landlords lost many of those rights and ties to individual landowners, and wage labor became the central feature of agricultural organization. In both areas, changes in agriculture were closely related to industrialization. Yet the social structure and economic context out of which both transitions arose were vastly different, and the meaning of race and class in the economies that emerged from the transition periods were equally distinct. Those differences will form a way of getting at the most basic questions of what the concept of capitalism signifies, and how theory can be both used and critically examined. There will be some lecturing in the course, but the emphasis will be on reading and discussion. Students will write a short essay on the reading plus a longer one on a topic of their choosing. (Cooper)
460. Social Science Senior Seminar. Senior
standing. (4). (Excl). May be repeated for credit.
Section 001: Research Seminar on Cultural Politics of Class in Southeast Michigan. In this course we shall carry out research projects on the changing class structure of Southeast Michigan, giving particular attention to the emerging "economic corridor" between Detroit and Ann Arbor and to the experiences of those who live at the bottom of this economy. We shall consider, among other things, how the local class structure has changed over the last two decades, what forms of cultural discipline have accompanied this change, which groups now occupy the lower rungs of the system, and how they make sense of their conditions. This course fulfills the Residential College Social Science research requirement. (Rouse)
Section 002: Research Seminar on Asian-American Communities in the Midwest. For Winter Term, 1992, this course is jointly offered with American Culture 496.006. (Nomura)
Section 003: Research Seminar on Contemporary Russian Politics and Culture. For Winter Term, 1992, this course is jointly offered with History 396.004. (Burbank)
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