Most RC courses are open to LS&A students and may be used to meet distribution requirements.
RESIDENTIAL COLLEGE WAITLIST PROCEDURES: RC students are given priority in all RC courses during the pre-registration and registration periods, and from waitlists. Waitlists for RC courses are maintained in the Residential College Counseling Office, 134 Tyler, East Quad. When a course fills, students should contact the RC Counseling Office (747-4359) to be placed on a waitlist if one is being maintained.
Non-RC students who are on a waitlist will be admitted to these courses on a space-available basis on the first day of classes, after all RC students from the wait list have been admitted.
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 is an attempt at what might be called "Math Appreciation." It 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, chaos, infinity, recursion, automata, proof, logic, set theory, and functions. No prior math beyond high school algebra required, though students with more extensive math backgrounds are encouraged to take the course. Classwork will include readings, homework problems, papers, participation (in class and in a computer conference), math software experiments, exams, and a term project (which may be done in groups). The textbooks (available at Shaman-Drum Bookstore) are: Devlin, Keith. (1988) Mathematics: The New Golden Age; Dunham, William. (1990) Journey Through Genius: The Great Theorems of Mathematics. (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
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. (8)
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 SAINT 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 – Existentialism: The Human Condition and the Absurd. Far from being a doctrine, Existentialism is primordially a philosophical tendency. Born of a reactions against Hegelian rationalism, the different existentialist tendencies come together in the rehabilitation of freedom, subjectivity and individual existence. In this course, we will attempt, through our readings, to discuss the characteristics of various existentialist concepts. After a brief survey of the precursors and the "founders" of existentialism, we will focus on two members of what has been called the Philosophical School of Paris, namely Jean-Paul Sartre and Simone de Beauvoir. The study of Albert Camus' conceptions of the human condition and the absurd will lead us to the "Theatre de l'Absurde" which we will approach through plays by Eugene Ionesco and Samuel Beckett. Concepts such as, among others, suicide, "engagement", and the Other will be emphasized according to student interests. Students will be asked to write short essays on the readings and to actively participate in class discussions. Essays, short stories and plays by Sartre, Camus, de Beauvoir; plays by Ionesco and Becket. (Butler-Borruat).
Section 003 – Dressing Up/Dressing Down: Cross-Dressing and Gender Identity in French Literature. Films such as Tootsie and Victor/Victoria have fascinated contemporary audiences with their representations of men who dress as women and women who dress as men. Far from being an invention of the twentieth century imagination, however cross-dressing has literary roots reaching back many centuries. In this seminar, we will study some of these precursors of Tootsie in French literature. In particular, we will focus on cross-dressing and gender, asking the following questions: to what extent can or does cross-dressing symbolize gender identity? Do male characters lose status when they dress ("down") as women? Do female characters gain status by "dressing up" as men? Does literary cross-dressing signify a challenge to the prevailing gender stereotypes of a given epoch or can it be deployed to reinforce these? Or can it do both in a single text? In addition to closely analyzing characters and plots in each text, we will examine the various meanings attached to clothing in successive centuries. We will also discuss the relevance of the on-going historical debate known as the querelle des femmes. Readings will cover a group of selected French texts from the seventeenth to the nineteenth centuries, including, but not limited to: an excerpt from L'Astree (d'Urfe); Clitandre (Corneille); the novels L'Heroine mousquetaire (Prechac) and L'Amazone francoise (L'Heritier). Students will be asked to participate actively in class discussion and to write several compositions. (Zuerner)
321. Readings in German. Proficiency test.
(4). (Excl). May be repeated for credit.
Section 001. The texts selected for this readings course all address specific ethical questions, and their personal as well as social consequences. Selections will range from classic to contemporary literature. We will explore the drama, fictional and non-fictional prose as well as some famous ballads. The reading list will include works by Schiller, Kleist, Hebbel, C.F. Meyer, E.T.A. Hoffman, Brecht and Carl Friedrich von Weizsacker. Texts (tentative list) will include F. Hebbel, Gyges und sein Ring; F. Schiller, Balladen; H. von Kleist, Der Prinz von Homburg; C.F. Meyer, Balladen; E.T.A. Hoffman, Das Fraulein von Scuderi; B. Brecht, Das Leben des Galilei und Balladen; C.F. von Weizsacker, Die kulturelle Rolle der Naturwissenschaft. (Paslick).
Section 002 – "Exodus des Geistes" Art and Politics
in Germany. This is an interdisciplinary course offered jointly
by the RC Drama (Hums 390), RC Social Science (SSci 360/001) and RC German programs. Its aim is to understand key aspects of modern
mass society by examining politics as mass theater and theater
(film) as political intervention in a specific historical context.
We will focus on Germany in the "Weimar" era, a creative
and unstable period in German culture and politics after the First
World War and before the Nazi consolidation of power. We will
be interested in how problems of representation, both aesthetic
and political, were understood and addressed, and in how issues
of political theory and practice (questions of power – who exercises
it, by whose leave, under what constraints, with what effects)
blended with issues of theory and practice in the arts. In the
German-language section of the course, we will look at the arts
from the Weimar Republic to the Third Reich. As one means of accessing
meaning in artworks, students will study the socio-cultural context
of the Weimar years and trace the developments in Germany that
led to the Third Reich and its censorship of many of Germany's
greatest artists. We will study how life is portrayed in arts
and letters of Weimar German and study "verboten" artworks
from the time of Nazi Germany. Readings and discussions will include, but not be limited to study of the German Cabarett, visual art
works by Dix, Grosz, Hoechst, Schlichter, Beckmann, and Heartfield, and satirical writing by Kaestner and Tucholsky. A major focus
in the course will be the development of Bertolt Brecht's poetry, plays (in particular the "Lehrstuecke") and "politische
Schriften". Students will be expected to: a) actively participate
in class discussion; b) give at least one short "Referat"
in German in class; c) give one longer "Referat" in
German on a topic of special interest; d) keep a portfolio containing
journal entries (in German) and creative projects to be shared
with the class, and; e) participate in some capacity in the German-language
production of Brecht's Furcht und Elend des dritten Reiches,
which will be performed in the RC Auditorium in April.*
PLEASE NOTE: Students enrolled in this course will be required to attend the two-hour lecture in English (Tuesday 11-1 and Thursday) in addition to the Tuesday/Thursday German Readings section of the course listed in the time schedule. Students are strongly encouraged to attend the Tuesday night film showings required for the English-language Weimar Republic course.
*Rehearsals for Furcht und Elend will take place on Monday and Wednesday evening from 6:30-9:00. Students will receive two additional credits for participating in the German language production. Students enrolled only in the Readings class, not wishing to act in the play will be responsible for dramaturgical and tech work on the production. (Shier)
324. Readings in Spanish. Proficiency
test. (4). (Excl). May be repeated for credit.
Section 001 – La Mujer en America Latina. En esta clase examinaremos algunos de los puntos cruciales de la problemaica de la mujer en America Latina. El enfoque del curso se concentrara en los ultimos treinta anos, o sea, el periodo entre 1960 y 1990. Afectada directa o indirectamente por los cambios economicos, politicos & sociales que han ocurrido en America Latina durante ese periodo, la mujer ha participado plenamente en la creacion de modos diferentes de vida y de sobrevivencia, de resistencia y de relacion social. Para entender este proceso y sus mas importantes puntos, la clase usara articulos publicados por centros de investigacion de la mujer, literatura escrita por mujeres, peliculas, poemas y otros materiales, todo desde la perspectiva latinoamericana. Se tratara de cubrir ejemplos de America central, American del Sur y Mexico.
Women in Latin America. This class will examine some of the crucial issues of women's existence in Latin America. The focus will be on a period of thirty years between 1960 and 1990. Women in Latin America have been directly or indirectly affected by the social, political and economic changes which occurred over this period. They have participated fully in the creation of new forms of survival, resistance and social relations and understanding. In order to understand this process we will use material published by Centers of Women's Studies of different countries, we will use literature written by women, and films, poems, and other material. Every effort will be made to include examples from Central and South America, as well as Mexico. (Moya-Raggio)
370/French 370. Advanced Proficiency in French. RC Core 320, or French 362, or permission of instructor. (3). (Excl).
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"). Prerequisite: RC Core 320 or French 361/362 or permission of instructor. (Carduner)
RC students have enrollment priority in RC Arts classes.
285. Photography. (4). (Excl). Materials
N.B. RC students have enrollment priority in RC Arts classes. 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).
New Directions in Fibre Art. The focus of this course is an exploratory, experimental approach to fiber art. Students will be encouraged to utilize new, as well as traditional techniques and materials. Five major projects will be assigned. Techniques may include basketry, weaving, felt-making, and surface design. Emphasis will be on individual artistic expression as well as mastery of basic techniques. (Savageau)
287. Printmaking. (4). (Excl). Materials fee.
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. Introduction to Drawing. (4). (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 is coursework outside the scheduled class time. (Cressman)
289. Ceramics. (4). (Excl). Materials fee.
This course presents basic problems in forming clay, throwing and handbuilding techniques, testing, preparing and applying glazes, stacking and firing kilns, and operating a ceramics studio. Students are required to learn the complete ceramic process, and the assumption of studio responsibilities and regular class attendance 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's 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)
210. Classical Sources of Modern Culture. (4). (HU).
This course is designed to introduce students to a selection of works, both literary and visual, from the Greek and Roman periods. We will examine these works in a variety of ways: first, through close reading and visual analysis we will try to understand the individuality of each work, its unique form, its voice, the questions it answers and those it asks, the conflicts in which it is caught. Second, we will examine the themes of sacrifice and prophecy as they unfold through these works. When Odysseus descended into the Underworld, he had to perform a ritual in which sheep were sacrificed. Only when the "dark-clouding blood" of the sheep ran into the pit were the wispy shades of the dead enabled to speak and to prophecy. What is the relation between sacrifice and speech? What is the relation between the body and the story? How was this relation enacted in the myth and ritual of the ancient world? Can we trace an organic development of this relation through time, or do we see a structural constellation that persists intact throughout this period? Our exploration of this problem will guide us through the texts and the works of art selected for study; it will also lead us into the complex and broken labyrinth of ancient religion. Texts will include: Homer, The Odyssey; Aeschylus, The Oresteia; Sophocles, Antigone; Euripides, The Bacchae; Plutarch, On Isis and Osiris, The Decline of the Oracles; Tacitus, Agricola, Germania; Petronius, The Satyricon; Vibia Perpetua et al, The Passion of St. Perpetua and St. Felicitas. Visual Arts: Woodford, The Art of Greece and Rome. (Sowers).
255. Film Experience. (4).
The Film Experience. East European filmmakers who took their art "west" have played a very significant role in broadening themes, structures and styles in the United States and Western Europe. Poland's Roman Polanski presented repression in a compellingly surrealistic way in Repulsion (1965) and went on to critique patriarchy, religion, and capitalism in very successful popular films like Rosemary's Baby (1968) and Chinatown (1974). Milos Forman, who in Czechoslovakia pioneered a socially critical "pseudo cinema verite", went on to replicate it in his American Taking Off (1971) and retained aspects of this style in treating the plight of the eccentric creative individual in such films as One Flew Over the Cuckoo's Nest (1975) and Amadeus (1984). Istvan Szabo, who interwove the social and the psychological so deftly in his Hungarian films, stunned the film world with his compelling treatments of the complex interaction of sexual and political drives in his West German coproductions Mephisto (1981) and Colonel Redl (1985), and, in a lighter vein, in his recent British production Meeting Venus (1991). Dusan Makavejev, who created stunning collage films wedding documentary footage to his own bizarre fictional fantasies, successfully brought this method to the United States and Canada in films like W.R.: The Mysteries of the Organism (1971) and Sweet Movie (1974). The scandals over Makavejev's daring treatment of issues of gender and political ideology, and his use of preposterous material, continued when he turned to more traditional narrative form in Montenegro (1981) and The Coca Cola Kid (1985). These and other East European filmmakers honed their abilities to explore complex thematics in innovative stylistic and structural ways in part because they had to function under systems of State control; they had to develop approaches to film language which could evade the censor. We will explore this through close viewing and discussion of films made by these filmmakers in the East and the West. Evaluation based on class discussion and three (5-7 page) papers. (Eagle)
257. Visual Sources. (4). (HU).
The purpose of this course is to develop and sharpen the students' skills of visual analysis by examining the world of images in which we live and discussing the process of perception. In order to better understand the "language" of images, we will analyze selected examples of painting, sculpture, the graphic arts, architecture, 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 unique methods and 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 and the current colorization controversy. In the case of painting, we will consider the difference between oil, tempera, water color.) Images we select to analyze, however, will be studied not only in terms of form, but the relationship between form and content. How does the visual artist (or advertiser) convey certain moods and/or messages through the arrangement and juxtaposition of forms? What can be the impact and affect of our immediate visual environment on our psychological state? (Campus architecture, including student living spaces and classrooms will be considered in this regard.) How do visual artists convey certain cultural beliefs and attitudes in their arrangement and presentation of images? 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. Several museum visits are also planned. Texts will include John Berger's Ways of Seeing, Joshua Taylor's Learning to Look, Rudolph Arnheim's Art and Visual Perception and The Power of the Center: A Study of Composition in the Visual Arts. (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)
333. Art and Culture. One History of Art or Arts and Ideas course, or permission of instructor. (4). (Excl).
Section 001 – The American Western. For years Westerns were the most popular genre that Hollywood produced, influencing imaginations world wide. That popularity fell off in the 1970's, but the recent success of such films as The Lonesome Dove (1988), the Academy Award winning Dances With Wolves (1990), and Unforgiven (1992) indicate a revival of interest. One reason, undoubtedly, is our need for heroes. In this course we will see and analyze some of the greatest Westerns, e.g., Stagecoach, Red River, The OxBow Incident, The Gunfighter, High Noon, Shane, One-Eyed Jacks, Rio Bravo, The Wild Bunch, McCabe and Mrs. Miller, Butch Cassidy and the Sundance Kid, Pat Garrett and Billy the Kid, Once Upon a Time in the West, Outlaw Josey Wales, and The Lonesome Dove to name a few. First and foremost, we will critique these films as dramas (story, structure, effect, etc.). Then we will examine the conventions at work, the ideologies the film embodies, and how the film presents/creates the real and mythic west. This will involve our looking closely at the Western hero, women, and Indians, and at the great Hollywood stars – John Wayne, Gary Cooper, Henry Fonda, James Stewart, Gregory Peck, Randolf Scott, Joel McCrae, Eastwood – who are identified with this genre. We will also look into why the Western appealed to and influenced the thinking not only of Americans, but of people world wide. The films will be shown on Monday and Wednesday nights at 7:00 and discussed in class on Tuesdays and Thursdays. There will be a midterm and final exam, and a term paper. A lab fee is assessed. (Cohen)
Section 002 – The "Islamic" City: Urban Form and Society. An overview of city formation and urbanism in the Near East and North Africa from pre-Islamic times to the present is presented in this course. The transformation of Hellenistic and Roman cities, the creation of new ones, and the fusion of these two types into what may be termed as the medieval Islamic city are discussed. The internal logic of these "labyrinthine" cities is analyzed, both on the level of urban form and social dynamic. The disintegration of their fabric and its subjugation to Western modes of urbanism and social planning is outlined. The course also presents a unique opportunity to view both monumental architecture and other little-known architecture (residential, military, commercial, etc.) within an urban context. Although the course often engages topics from the domains of economics, social history, and politics, its primary focus remains throughout the tangible form and the physical environment of the city. Requirements: Take-home exam and 2 papers. Cost:4 WL:3 (Tabbaa)
Section 003 – Women in 20th Century Dance. Women have revolutionized dance in the twentieth century. Unlike literature, art or music, in which women have traditionally been relegated to marginal positions, women have always been recognized as central to dance's creation and performance. This course will investigate the lives and work of women who as choreographers, performers, and teachers have changed the course of twentieth-century dance in the West yet about whom little scholarly study has been done. They will include Isadora Duncan, Mary Wigman, Ruth St. Denis, Martha Graham, Doris Humphrey, Bronislava Nijinska, Ninette De Valois and Marie Rambert. Duncan, Wigman, and St. Denis, Graham and Humphrey laid the foundations of modern dance in America and Europe. Nijinska, De Valois and Rambert helped to establish ballet in England and the United States as a living twentieth century art form. Also considered will be women – among them Anna Pavlova, Tamara Karsavina, Margot Fonteyn, Maria Tallchief, and Suzanne Farrell – who as performers had a tremendous impact on how the general public came to perceive dance as an art form. Toward the end of the course we will look at the work of Twyla Tharp who has drawn on both modern and classical traditions in her work. We will study the work of all of these artists on film and video tape, discuss their collaborations with composers and visual artists, read their writings on the nature of dance and performance, and consider the image of women presented in their works. (Genne).
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).
Tradition and Invention: Aspects of the Arts in Eighteenth Century Europe. The eighteenth century started with a dilemma; and it ended with a revolution. Throughout the period it had been revolving at a furious pace in a series of cartwheels...The dilemma was political, philosophic and artistic...and the oppositions were increasingly violent. (Levey, Rococo to Revolution ) The age of reason and wit, sensibility and feeling, was also a century of escapist fantasy, biting satire and feelings of outrage. It was an era of prodigious literary achievement, musical genius and scientific inquiry, inspired by social philosophers and patronized by aristocrats and the rising middle classes. In this seminar, and with frequent references in our assigned readings to this complex background, we will approach selected works of art and architecture to explore some of the oppositions inherent in the visual forms of a culturally brilliant and deeply divided century. Artists to include Watteau, Tiepolo, Canaletto, Hogarth, Ceruti, David... architecture will include Bavarian Catholic Baroque, Juvarra's Italian princely palaces, the inventions of French and Venetian Rococo, English Palladianism, images of urbanism and Boullee's radical neoclassicism. (Hennessey)
475/Chinese 475/Hist. of Art 487/Asian Studies 475/Philosophy 475. The Arts and Letters of China. (4). (HU).
See Chinese 475. (Y. Feuerwerker)
215. Poetry. (4). (HU).
This course is for learning to read carefully and actively , and for coming to love poetry, if possible. You will take one hour exams, memorize a poem every week, write two short papers, do a translation exercise, put together a poetry anthology at the end of term, take part in group-editing of a Scots Border Ballad, and do a variety of ungraded in-class exercises. Some knowledge of a foreign language will be assumed. Special emphasis this year on the sonnet form, Chinese poetry, poems of Robert Frost. Despite a fairly active schedule of things to do, this is a rather relaxed class. Since so much goes on in class it is ESSENTIAL that you be there. Attendance will be taken, and absence will have a negative effect on end-of-term evaluation. COURSE OUTLINE: In a rough and ready way we will move through five subdivisions: 1) the sonnet, 2) Chinese poetry, 3) translation, 4) Scottish Border Ballads, 5) Robert Frost. At the same time we will be reading ad lib in Kennedy and the Norton Anthology, and also reading poetry that you bring to class. (W. Clark)
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 paints of Edvard Munch and Georgio 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).
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 PSYCHOLOGY: PSYCHOANALYSIS IN THE SHORT STORY. Theories of psychosexual development and the father-son conflict. Texts by Freud, Kafka. 2) 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. 3) 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. 4) LITERATURE AND POLITICAL SCIENCE: COMMUNISM IN THE DRAMA. The ethics and psychology of Communist revolution and terrorism. Texts by Marx, Lenin, Brecht, Sartre. Two examinations and one term paper required. (Peters)
410. Upperclass Literature Seminar. (4).
(HU). May be repeated for credit.
Section 001 – Fathers and Children. Robert Bly points out in Iron Jack that it has become increasingly difficult for boys to learn from men how to become men. While honoring the feminine, he returns the responsibility for this initiation to older men. We will examine Bly's argument and examples of father-children relationships represented in myth, literature, and film. Besides Iron Jack: A Book About Men, we will read or see several of the following: Ernest Hemingway's "Indian Camp" & "The Doctor & The Doctor's Wife"; William Faulkner's The Bear; Keri Hulme's The Bone People; R. Russo's The Risk Pool; Arthur Miller's The Death of a Salesman; F. Mauriac's Viper's Tangle; Chaim Potok's The Chosen; Saul Bellow's, Seize the Day; Franz Kafka's "Letter to His Father"; Eugene O'Neill's A Long Days Journey Into Night; Edmund Gosse's Father and Son; Art Spiegelman's MAUS: A Survivor's Tale, I and II; Eli Wiesel, Night; Philip Roth's Patrimony. Films (to be viewed in the evenings) will include: Athol Fugard's Master Harold...and the boys; Pat Conroy's The Great Santini; and John Schlesinger's Marathon Man.
417/MARC 417. Epic and Saga. (4). (Excl).
Voices of Epic: Heroic Narrative in Living Performance. For Winter Term, 1993, this course is jointly offered with Music History 406. (Becker, Clark)
452/Russian 452. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).
See Russian 452.
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)
242. Creative Adaptation: Fact Into Fantasy. Completion
of the Introductory Composition requirement. (4). (Excl).
Creative Adaptation: Fact into Fantasy. Creative Adaptation is a course which invites student to adapt research from various sources into creative forms: short stories, poetry, drama, film. Undergraduates with interests in a variety of fields (e.g., science, math, foreign language, social science) will expand their knowledge in their own fields within the context of creative expression. Creative writing concentrators will have an opportunity to enhance their research skills. The interaction of diverse interests and representation of different approaches within the class will be part of the experience of the course. Students will be asked to submit a one-page proposal prior to registration. The course focuses on class discussion and interaction, as well as a significant volume of written work produced by students. Prerequisite: English 125 Intro Comp. or RC Core 100 First-Year Seminar. (Balducci)
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)
Creative Writing Tutorials
Hums 325, 326, 425, 426. Creative Writing 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 majors only. (Hecht/Mikolowski/Balducci)
280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
See Theatre and Drama 211. (Cardullo)
389. The Modern Theatre. Hums. 280 or
permission of instructor. (4). (HU). May be repeated for credit.
Art and Politics in Imperial and Weimar Germany. This is an interdisciplinary course, offered jointly by the Drama and Social Science programs. Its aim is to understand key aspects of modern mass society by examining politics as mass theater and theater (film) as political intervention in a specific historical context. We will focus on Germany in the "Weimar" era, a creative and unstable period of German culture and politics after the first World War and before the Nazi consolidation of power. We will be interested in how problems of representation, both aesthetic and political, were understood and addressed, and in how issues of political theory and practice (questions of power - who exercises it, by whose leave, under what constraints, with what effects) blended with issues of theory and practice in the dramatic arts (questions of performance – who are the players, who the audience, what is seen, with what effects). We will examine the Nazi period as a particular (barbaric, but prescient) way of solving the problems of mass representation and popular politics and a particular (banal, but very modern) way of "staging" self-representation as mass theatrics. We will pursue this inquiry by studying dramatic texts written in the period, the methods of staging plays and making films, the everyday means of political organization and combat, and some key themes of debate in political theory. In addition to general histories and forays into the visual arts, we will read plays by Hauptman, Wedekind, Kaiser, Toller, and Brecht, and essays by Nietzsche, Weber, Schmitt, Benjamin, and Hitler. Students will also contribute in some way (dramaturg, actor, stage-hand) to a full-stage production of Brecht's collection of scenes, under the title, Fear and Misery in the Third Reich, which will be presented in the RC Auditorium during April. (Walsh/Bright)
390. Special Period and Place Drama. Hums.
280 or permission of instructor. (4). (Excl). May be repeated
Period and Place Drama: Modern American Drama. (Brown)
482. Drama Interpretation II: Performance Workshop.
Hums. 280 and either Hums. 282 or playwriting, or
permission of instructor. (4-6). (Excl).
Director and Text. In this course students will have the opportunity to explore the fundamentals of directing – script analysis, the development of organic staging, the evolution of a design concept, and methods and practice of work with actors. The first half of the term will be devoted to exercises built around these processes. In the second half of the term we will apply these principles to specific projects, culminating in directorial work on scenes from the Bertolt Brecht lay, Fear and Misery in the Third Reich, which will be presented at the end of the term. (Mendeloff)
250. Chamber Music. (1). (Excl). Offered
mandatory credit/no credit.
Section 001. 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. (Kardas-Barna)
Section 002 – The Bell as an Element in Human Culture. This one-credit hour course focuses on performance with handbells. Playing handbells is an excellent way for students to learn or to improve music reading skills and to experience the joy of playing with a group – a special kind of chamber music. All students electing RC IDiv 351 Section 002 must elect this course concurrently. It may also be elected independently. (Halsted)
252. Topics in Music. (4). (HU).
Section 001 – Music and Society in the 19th Century. The aim of this course is to examine various genres of music in their social setting in the nineteenth century. How and by whom were musical institutions supported and financed? How did changes in the power structure of society (for instance the diminishing cultural leadership of aristocracy and the Church) and a changing intellectual climate affect music and musical institutions? At which segments of society were various genres (for instance short lyrical pieces, string quartets, opera) directed? How did a piece's specific musical features correspond to its social function? The course will include genres both from the European art music tradition and genres traditionally performed outside of the concert hall. The larger part of the term will be spent on music in Europe, but a section of the course will deal with music in the United States and will include aural and folk traditions (early American sacred music, revival songs, instrumental folk and dance music) as well as musical institutions similar to those discussed in the European content. Readings will include portions of Henry Rayner, Music and Society Since 1915 and Arthur Loesser, Men, Women and Pianos. There will be listening assignments, one or more short projects, a paper, and an exam. Class participation is encouraged. Since to some extent pieces will be analyzed, some musical background may be helpful, but a reading knowledge of music is not necessary. (Cochrane)
253. Choral Ensemble. (1). (Excl). Offered mandatory credit/no credit.
Section 001 -Women's Choral Ensemble. Group rehearses twice weekly and prepares a thematic concert of music from the vast Women's Chorus Repertoire. Vocal skills, sigh singing, and basic musicianship are stressed. No prerequisites, but a commitment to the group and a dedication to musical growth with the semester are required. No audition necessary. (Kvamme)
Section 002 – Mixed Choral Ensemble. Four-part works from a variety of musical styles are rehearsed and prepared for performance in concert. Meets twice weekly. Vocal skills, sight singing, musicianship and ensemble singing are stressed. No prerequisites, but a commitment to the group and musical growth within the semester are required. No audition necessary. (Kvamme)
350. Creative Musicianship. (4). (HU).
This music theory-composition course is designed to give students the skills necessary to understand and to create music. nothing is assumed in the way of musical background, although most students will have had some instrumental or vocal performance experience. You also may have taken music theory, history or composition classes; but those who are 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. Each student works at his/her own level on the musical element under consideration (rhythm, melody, harmony). This course meets for 4 class hours and you should plan to spend a minimum of 10-12 hours per week preparing materials for class. There will be a programmed theory text required, to be selected according to your own level of experience. The accompanying lab (RC Humanities 351) is required unless excused by the instructor. (Heirich)
351. Creative Musicianship Lab. Hums. 350. (1-2). (Excl).
This is a required lab course to be taken with Humanities 350; however, it may be taken by itself. 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 lab programs. The class 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, depending on the amount of work one chooses to do. Attendance at both Tuesday and Thursday class sessions are necessary. (Heirich/Staff)
262/University Courses 262. AIDS: The Challenge to Society. (4). (Excl).
See University Courses 262. (Sloat)
310/Women's Studies 312. Gender and Science. An introductory course in natural science, engineering, social sciences or women's studies. (4). (N.Excl).
This course introduces students to the complex relationship between gender and science, and emphasizes both pragmatic and theoretical approaches. Students will examine the history of women's participation in the sciences and the social and cultural factors that have contributed to their under representation. The course is intended for those who are interested in the sciences, in women's experiences in nontraditional fields, and in the ideology and enterprise of science. We will study the lives of individual scientists, the history and patterns of women's participation in the sciences, and critiques of science itself. Students will gain an understanding of the ways in which the institution of science affects the condition of women both within science and within the larger culture. Readings will include selections from E.F. Keller's Gender and Science; M.W. Rossiter's Women Scientists in America; L. Schiebinger's The Mind Has No Sex?; P.G. Abir-am and D. Outram's Uneasy Careers and intimate Lives: Women in Science; S. Harding's The Science Question in Feminism and others. Evaluations will be based on a combination of short papers, a research paper/project, and class participation. Class meets for three hours per week in a lecture/discussion format.
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. (1 credit). Drawing on psychological theory, interview data, and occasional interactive theatre exercises, this course explores issues in psychological development during young adulthood. Topics will include: "leaving home" and changing relationships with family; development within friendship and romantic intimacy; psychosocial identity; the transition from schooling to the work world; mental health crises and the roles of counseling and psychotherapy in young adulthood; and the meaning of "adulthood" in general. a key element of the course will be conducting life-history interviews and creating case summaries relevant to our topic. Students will also participate in group research projects and/or creative projects to be shared with the class. Reading will include selections from Freud, Erikson, Perry, Piaget, Gilligan, and Kenniston. (Greenspan)
Section 002 – The Bell as an Element in Human Culture. (2 credits). This course is intended for those interested in history, music, religion and acoustics, focussing on an element in human culture that is a linking thread in several very different societies. It will include the study of bells within the context of selected societies: The Chou Dynasty (China, 1033-221 B.C.); fifteenth-century Russia and France; eighteenth century Netherlands; twentieth century Indonesia (Bali and Java); mid-twentieth century England and America in the 1920s and 1930s. Instruments studied will be the semantron, cymbala, gamalan, automatic and manual carillon, chime, swinging bells, and handbells. There will be lectures, readings, discussions, field trips and a research paper. Concurrent enrollment in a one-credit hour Chamber Music section (RC Hums 250.002) to learn to play handbells is required. No music reading skills are necessary for either course. (Halsted)
232. History of Life. (4). (Excl).
This course surveys the history of life through geologic time and introduces biological diversity from the perspectives of evolutionary biology and ecology. Factual content focuses on the historical development of life on earth as known from the fossil record and the diversity, ecology, and adaptations of living organisms. Principles and concepts of historical geology, evolutionary biology, and ecology form the conceptual core of the course. Subject include history of the earth, origin of life, origins of species and major groups, constraints on organism design, limits to biological diversity, extinction and the current loss of biodiversity, paleoecology of species and communities, continental drift and biogeography, and climate and evolution. Also, we will discuss the implications of earth history and evolution for biodiversity and conservation, nature vs. nurture in human behavior, and evolution and ethics. Readings are drawn from current literature in paleontology and evolution and the history and philosophy of science. The textbook is History of Life by Richard Cowen, with additional readings from a course pack. Prerequisites: one college-level course in biology or geology. (Badgley)
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). (Excl).
This seminar is designed for students at the sophomore level or above who are seriously considering a Social Science major in the Residential College. The seminar is a requirement in the Social Science program; its purpose is to prepare students to pursue a concentration program in the Social Sciences at the 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 major. (Jayaratne)
306. Environmental History and Third World Development. (3). (SS).
For Winter Term, 1993, this course is jointly offered with History 346. (Tucker)
320. Exploring Alternatives to Capitalism. RC Soc. Sci. 220, Econ. 407, or permission of instructor. (4). (SS).
This course is designed for students who are familiar with political-economic analysis and criticism of capitalist societies, and who wish to explore other forms of socioeconomic organization that have bee proposed or established in an effort to overcome some of the perceived shortcomings of capitalism. We will review (briefly) the kinds of critiques that have been leveled at capitalist societies, and examine (at much greater length) various conceptions of socialism advanced by critics of capitalism – from Karl Marx to contemporary socialist thinkers and activists. We will consider from a theoretical perspective the problems raised by efforts to develop alternatives to such basic capitalist institutions as private property and the market. Finally, we will examine the real-world experience of a number of different actually existing alternatives to capitalist as we know it in the United States - including Western European social democracy, Eastern European "market socialism," and various micro-level efforts to establish more cooperative and egalitarian modes of production. Readings will be drawn from the work of great variety of social scientists, including critics as well as advocates of various alternatives to capitalism. Examples of some key readings are: Lindblom, Politics and Market; Ellerman, The Democratic Worker-Owned Firm; and Albert Huhnel, Looking Forward: Participatory Economics for the Twenty-First Century.
360. Social Science Junior Seminar. Upperclass
standing. (4). (Excl). May be repeated for credit.
Section 001 – Art and Politics in Imperial and Weimar Germany. This is an interdisciplinary course, offered jointly by the Drama and Social Science programs. Its aim is to understand key aspects of modern mass society by examining politics as mass theater and theater (film) as political intervention in a specific historical context. We will focus on Germany in the "Weimar" era, a creative and unstable period of German culture and politics after the first World War and before the Nazi consolidation of power. We will be interested in how problems of representation, both aesthetic and political, were understood and addressed, and in how issues of political theory and practice (questions of power - who exercises it, by whose leave, under what constraints, with what effects) blended with issues of theory and practice in the dramatic arts (questions of performance – who are the players, who the audience, what is seen, with what effects). We will examine the Nazi period as a particular (barbaric, but prescient) way of solving the problems of mass representation and popular politics and a particular (banal, but very modern) way of "staging" self-representation as mass theatrics. We will pursue this inquiry by studying dramatic texts written in the period, the methods of staging plays and making films, the everyday means of political organization and combat, and some key themes of debate in political theory. In addition to general histories and forays into the visual arts, we will read plays by Hauptman, Wedekind, Kaiser, Toller, and Brecht, and essays by Nietzsche, Weber, Schmitt, Benjamin, and Hitler. Students will also contribute in some way (dramaturg, actor, stage-hand) to a full-stage production of Brecht's collection of scenes, under the title, Fear and Misery in the Third Reich, which will be presented in the RC Auditorium during April. (Bright/Walsh)
Section 002 – Colonialism in Africa. For Winter Term, 1993, this course is jointly offered with History 448. This course examines a critical example of the history of imperialism, the attempt of European powers beginning at the end of the 19th century to remake Africa. It is thus a study of the domination of one people over others, and of the fragilities, ambiguities, and contradictions of domination. It will ask to what extent European powers tried to extract wealth from the societies they found in Africa, or to what extent they tried to extract wealth from the societies in the light of European models. It looks as well at how Africans tried to adapt to or resist the changes of these eras, focusing on new forms of thought as well as on political action. It will conclude with a brief analysis of post-colonial society, seen in the context of African history and of the international system which new states faced. The course will consist of a mixture of lectures and class discussions, based on a variety of materials, including African novels, contemporary documents, and scholarly studies. The course should thus give students a comprehensive overview of twentieth century social, economic, and ideological dimensions of colonial domination. Active student participation is expected throughout. (Cooper)
Section 003 – International Grassroots Development. What does "development" really mean in the Third World? Business know-how? A national consciousness? Something to believe in? Liberation? In this course well will look at how different definitions of "the problem" in the Third World drive the different kinds of solutions proposed by grassroots organizations around the world. Besides posing some heavy questions, this course will give you an idea of what it's really like to work in international grassroots development. you will learn to get along in your second language (or even Pidgin English), using it along with standard English to decipher and analyze training manuals, journal articles and NGO publications from the field, as well as stories and novels by both grassroots workers and Third World authors. You will learn and teach others some participatory techniques successfully used by field workers in a variety of cultures. You will get an idea of the kinds of development projects that currently being planned, carried out and evaluated by local people in the "developing" world: participatory theater, gender analysis training, AIDS education, "training for transformation," small enterprise development, Freirian consciousness raising. And because this is an ECB course, we will focus on some interesting literacy projects that are based on different conceptions of what "development" is and how it should be carried out. Students should Be prepared for lively discussion, a practical focus, lots of writing – and lots of help with your writing. The instructor is a writer for Peace Corps and has been involved in international development is Asia, Africa, and the South Pacific, and in training programs for foreign nationals in the United States. (Fox)
Section 004 – Examining Racial Stigma. One purpose of the course would be to examine the process of racial stigmatization in an effort to come to understand why it exists. We would also investigate the implications of its existence for the stigmatizer as well as the stigmatized. Stigmatization is a complicated process in that it need not operate continuously and yet it presents a chronic problem to those that have to deal with a stigmatized attribute. Therefore, we will spend a fair amount of time looking at the circumstances under which stigmatization is invoked with an eye to whether or not it is possible to identify a pattern of situations within which stigmatization is likely to occur. This course would not be complete unless we spent time examining the types of responses that marginalized/stigmatized groups offer in relation to their sometimes uncertain status in a particular social context. finally, we will need to pay special attention to the interactional nature of stigmatization. In this era of striving for greater mutual appreciation among diverse groups we need to investigate what causes some groups to be targeted in negative ways by other and the implications of this type of activity on the social context as a whole. Hopefully, this course would provide a step toward grappling with some components of this complex problem. Several commentary papers and a final product will be expected from the seminar participants. Readings for the course may be chosen from the following: 1) Out There: Marginalization and Contemporary Cultures, Russell Ferguson et.al. (editors); 2) Social Stigma, Edward Jones, et.al. (editors); 3) Stigma, Erving Goffman; 4) Anti-Semitic and Jew, Jean-Paul Sartre. Some selections will be available in a course pack. (Hull)
Section 005 – Contemporary Social and Cultural Theory. In this course, we shall examine major developments in social and cultural theory from the 1940's to the present. We shall give primary emphasis to current debates concerning post-structuralism, cultural Marxism, feminism and post-modernism, but we shall also contextualize these debates by looking at earlier developments such as structural-functionalism, structuralism, and modernization theory. The class will combine a certain amount of lecturing with discussion, both of which will be organized around the careful reading of required texts. The course can be taken for four credits through the Residential college or for three through Anthropology. Everyone will be asked to write two additional assignments. (The course forms part of a two-term sequence that began in Fall term with a class on social and cultural theory from the early nineteenth century to the present. It is perfectly acceptable for student to take the present course without having taken the other.) (Rouse)
460. Social Science Senior Seminar. Senior
standing. (4). (Excl). May be repeated for credit.
Section 001 – Detroit: A Twentieth Century Boom Town. This seminar will explore the history of Detroit and the southeast Michigan region during the twentieth century. It will treat the city as an industrial boom town, born along by the rise and fall of the automobile industry in this area. We will be concerned, therefore, with the development of Fordist production and its impact upon the geography of neighborhoods, social structures, political power, and cultural practices. The focus will be on the interplay of industry and city, of city land suburban communities, of ethnic or racial cleavages and class conflict in shaping the urban landscape. During the first part of the term, we will follow familiar terrains in the development of organized labor, but we will also explore the geography of ethnic neighborhoods and enclaves in the 1920's and 1930's, and the contradictory impact of labor struggles on city politics during the 1930's and 1940's. The middle and latter part of the term will focus on the post-war period: the boom of the 1950s/60s and the sources of the economic crisis of the 1970s; the post-war consolidation of organized labor and the crisis of labor control during the 1970s; the patterns of racial conflict from the world war to the riots of 1967, and the ways these shaped white flight and the consolidation of black political power in the city; the urban investment in suburban development before 1967 and the strategies of urban renewal and downtown revitalization devised by the Coleman Young administration during the 1970s/80s; and contemporary political struggles over urban planning, regional development, and community defense. The aim in exploring these themes is to understand the nature of the city's decline and the new regional political economy that has taken shape around the collapsing urban core. The class will meet on Friday afternoons to facilitate trips to Detroit. Students who plan to enroll in the senior research seminar during Spring term are strongly urged to take this seminar in order to develop the necessary historical background for a successful research project. (Bright)
Section 002 – The Asian-American Experience. For Winter Term, 1993, this course is jointly offered with American Culture 496.002. (Nomura)
Section 003 – Urban Anthropology. What is it like to live in an urban society? What are the principal factors shaping the nature of urban life? And how can we go about investigating and representing the interplay of broad forces and personal experience in urban settings? This course will address such questions by focusing on three kinds of urbanism – third Word, First World Modern, and Post-Modern – and by examining approaches within anthropology and beyond that deal with themes such as the class structure of urban societies, migration and migrant communities, ethnicity and multi-culturalism, gender relations, networks and voluntary associations, family and kinship, work and leisure, and forms of organized and personal struggle. topics will be addressed through lectures and classroom discussion, both of which will be based on the careful reading of required texts. pending approval, students will be able to use the course to meet the Junior/Senior Writing Requirement. All students will be asked to write two papers; those trying to meet the writing requirement will also be required to submit drafts of each paper. The course can be taken for three credits under Anthropology or four credits through the Residential College. In the latter case, students will be asked to complete one additional assignment. (Rouse)
Section 004 – Topics in Recent Detroit History. This senior research seminar will organize itself for field work in the Spring Term, 1993. Students enrolling during the Winter term are expected to a) enroll concurrently in the Detroit history Seminar (SSci 460;001), b) to meet periodically as a group to map out research options and strategies, and c) to begin preliminary investigations leading to field work in the Spring term. Credit for those enrolled in the Winter term will be deferred until the project is successfully completed in the Spring term. Students enrolling in this seminar are thus making a commitment to continue work through the end of June. The nature of the research projects conducted in this seminar will depend upon the composition and inclinations of the group that forms. There are three general developments that seem possible: a) students may decide that they wish, individually, to pursue research in topics of interest, in which case the seminar will serve during Spring term as an arena for support and discussion; b) students may decide to pursue a cluster of related topics, flowing from a common problem or theme, in which case the seminar will be used to develop bridging themes and questions that can inform the work of individuals and teams doing research; c) students may agree on a common topic for investigation, in which case the seminar will constitute itself as a research team and the final paper will be collectively composed and written. These decisions will be made during the course of the Winter term, as work in the Detroit History Seminar proceeds. (Bright)
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