Most RC courses are open to LS&A students and may be used to meet distribution requirements.
Residential College students are given priority in all Residential College courses during the pre-registration and registration periods, and from wait lists. Certain RC courses are reserved for RC students only (e.g., RC language courses). These are courses which fulfill specific Residential College graduation requirement.
Wait lists of Residential College 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 wait list if one is being maintained.
Non-RC students who are on a wait list will be admitted to these courses on a space-available basis on the first day of classes, after all RC students from the wait lists have been admitted.
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 191, 194 Intensive French, 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 simple written texts or short spoken passages without the aid of a dictionary, and can carry on a short, elementary conversation.
Core 290, 291, 294 Intensive French, German, 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 – Existentialism: The Human Condition and the Absurd. Far from being a doctrine, Existentialism is primordially a philosophical tendance. Born of a reaction against Hegelian rationalism, the different existentialist tendance come together in the rehabilitation of freedom, subjectivity and individual existence. In this course, we will attempt, through our readings, to discern the characteristics of various existentialist conceptions. 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' conception of the human condition and the absurd will lead us to the "Théâtre de l'Absurde" which we will approach through plays by Eugéne Ionesco. 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. Assigned works: Jean-Paul Sartre, L'Existentialisme est un humanisme, La Nausée (excerpts), Les Mouches, Le Mur; Albert Camus, Le Myth de Sisyphe (excerpts), Caligula, L'Etranger; Simone de Beauvoir, Les Bouches inutiles, excerpts from Le Sang des autres and from Tous les hommes sont mortels; Eugène Ionesco, La Cantatrice chauve; Film: Luis Puenzo, La Peste. Audio-visual materials: Interviews with Sartre, Camus and de Beauvoir. (Butler-Borruat)
Section 002 – Travel and Writing: The French Way. Do you like traveling? If so, how do you travel? And do you keep a journal of what you see, your reactions to novelties, and your musings on the strange and unfamiliar? How do we see others, and the, how do we proceed to write the difference or similarity? Writing about voyages and travel is a part of a long and important tradition within French literature. In this seminar, we will read several accounts of voyages, both real and imaginary, by travelers who wrote and writers who traveled. Why do we travel/write? Are there any differences between real and fictional travel writings? Using extracts from logbooks, memoirs, comics, literary narratives and poems, we will explore the relation between travel and writing with the intention of looking for the connections between these two forms of discovery, and try to grasp what it is we find out about ourselves and others through the description of difference. Readings will include (tentatively) excerpts from Baudelaire, Nodier, Tocqueville, Astérix, Tintin, Diderot, Montesquieu, Voltaire, Chateaubriand, J-B Tavernier, J. Chardin, (an episode of "Ushuaïa", maybe?) travel sections of newspapers, the Michelin guide, to name a few possibilities. Students will write a few short essays on different aspects of our course readings, one travel account (real or imaginary) and one paper on any aspect of their choice related to travel writing. Total writing assignment: approximately 25 pages. (Polavaram)
324. Readings in Spanish. Proficiency
test. (4). (Excl). May be repeated for credit.
Sections 001 and 002. El cuento latinoamericano. El cuento, como género literario, ha gozado de enorme popularidad en América Latina; incluídos en periódicos y revistas, en diferentes antologías y collecciones, los cuentos son leídos profusamente por el públicos en general y por los especialistas en particular. Esta clase presenta una selección de algunos de los cuentos más conocidos de famosos escritores latinoamericanos. La clase también presenta una breve historia del desarrollo del cuento, así como ideas sobre el cuento de diferentes escritores. La idea de Julio Cortázar de que el cuento es el resultado de la lucha entre la vida y la expresión escrita de esa vida, una síntesis viviente así como una vida sintetizada, sirve de centro en la exploración de los textos. Los cuentos leídos en esta clase llevan a los lectores, más allá de la mera ancédota, hacia el descubrimiento de un mundo nuevo y diferente. Entre los autores leídos están: Gabriel García Márquez, Juan Rulfo, José Donoso, Julio Cortázar, Elena Poniatowski, y Marta Lynch, entre otros. (Moya-Raggio)
268. Introduction to Visual Thinking: Adventures in Creativity. (4). (Excl). Materials fee ($10).
This is a studio course designed to develop and enhance visual thinking skills, flexible problem-solving strategies, and creativity. No previous art training is necessary. There will be daily activities designed to overcome perceptual and conceptual blocks and nurture creative strategies. Four longer 3-D projects will give students the opportunity to put these strategies into practice. Slides, lectures, readings and discussions about the creative process will supplement studio work. Cooperative learning in groups will be emphasized. Students will keep a comprehensive notebook of sketches and ideas, plus a daily log making explicit the creative strategies they use for a given problem. Major projects are equivalent to written exams. Readings include Robert von Oech, A Kick in the Seat of the Pants (Harper and Row, 1986), plus selected articles on visual thinking and creativity. (Savageau)
285. Photography. (4). (Excl). Materials fee ($50).
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)
287. Printmaking. (4). (Excl). Materials fee ($40).
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 well as course work outside the scheduled class time. (Cressman)
289. Ceramics. (4). (Excl). Materials fee ($75).
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)
348. Performance, Concenptial and Public Art: Tradition and Innovations. Two art courses. (4).
Students will explore work that has been done in performance, conceptual and public art through lectures, discussions, field trips, critiques and slide presentations. Lecture and discussion will be used to assist the student in understanding the historical context for their class projects, while also indicating the kind of work their projects would loosely emulate. Quizzes will follow each unit to ascertain how well the historical material is understood and how students view their own work within an art historical context. These activities will provide a theoretical, practical and critical foundation for understanding and evaluating the art forms and for student projects done in the respective genres. The goals of the course are fourfold: to scrutinize the creative strategies used in public, conceptual and performance art by past artists; to enhance students' imagination and creativity by presenting historical precedents in these art forms; to examine through a series of class projects how these art forms can contribute to communities; and to become familiar with the activities and discourse of current artists in these genres. The lectures/discussions are designed to present new ideas to supplement information learned from assigned readings to assist students in the formation of their projects. We will begin by looking at how the artist group Group Material challenges established cultural institutions and moves toward an egalitarian view of art. We will also look at a cross section of early and mid-twentieth century artists like Marcel Duchamp and John Cage, whose philosophies influenced later artists such as Chris Burden, Douglas Huebler and Hans Haacke. We will then move towards examining Michael Asher and Allan Kaprow, whose art works integrate familiar elements of everyday life. Discussion periods will be an opportunity to air ideas, ask questions or work out project problems. The student projects will represent the culmination of the students' understanding of past artists' creative strategies and the integrating of this understanding with the students' own creativity in a way that benefits the community. (Alexander)
389. Ceramics Theory and Criticism. RC
Arts 289 or permission of instructor. (4). (Excl).
Section – Advanced Ceramics. RC Arts 389 is an upper-level ceramics course which addresses advanced problems in ceramics production and studio practice. While students in lower-level ceramics courses learn basic technical skills and aesthetic concepts, upper-level students work at more sophisticated levels of form and content. The course approaches this development through more advanced formal concerns, technical projects, glaze testing, studio management, and critique. Readings from journals – "American Ceramics," "Ceramics, Art and Perception," 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).
This course explores the way we see and how our visual environment effects us. According to most contemporary theorists of the visual, perception is socially constructed – a fact which this course will explore in two primary ways. In the first place, to say that perception is socially constructed means that what we see is conditioned by what we know, which, in turn, depends to a large extent upon what we are taught by our parents, peers, and schools. By studying how our culturally transmitted knowledge about the world helps constitute our visual field, students will be taught to critically analyze a much overlooked part of human experience – overlooked because what we see seems natural and objective, and, thus, not open to criticism. Secondly, to say that perception is socially constructed means that what our vision teaches us to regard as "objective" also helps to preserve a historically constituted status quo. In this way, the visible can be seen as a medium through which a received and partial view of the world is perpetuated and given the status of an absolute. By examining the ideologies which permeate the visible - the hidden interests which hide beneath the supposedly "natural" surfaces of visible objects – students will become better able to assess the messages and agendas concealed within their visual environment. Both the visual sources we will examine, as well as the methodologies which we will use to examine them, will be diverse. Among the former, students will study photography, film, visual art, print and media advertising, as well as television news; among the latter, students will be exposed to phenomenology, semiotics, psychoanalysis, gender and cultural studies. Tying these diverse visual sources and methodologies together will be a common theme: how Western society has constructed both selfhood and otherness through its visual cultures over the past century. (Biro)
310. Medieval Sources of Modern Culture. Sophomore standing or permission of instructor. (4). (HU).
During the medieval period, a major revision of the representation of the body took place in Western art. The classical paradigm, in which the body occurs as a mathematical canon, an idea, or an illusion, is subverted, stood on its head, and 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 collapse of the body under the blows of violence, disease, and time, are all rhetoricalized with the intensity usually reserved for displays of power and invulnerability. In Medieval Sources, we will explore this new representation of the body in both literature and the visual arts. This interdisciplinary approach will involve the close reading of texts and the careful analysis of images. Our goal will be to improve these skills, reading and looking, and to become both more sophisticated and more confident in the way in which we generate our own interpretations from the material. Subjects to be covered include: Plato, Phaedo; Classical Sources of early Christian art. Lives and Sayings of the Desert Fathers; The Life of St. Mary the Egyptian; Early Christian art of the Eastern Empire: Egypt, Syria, Constantinople; St. Augustine, Confessions; Byzantine art: Ravenna; Anglo-Saxon poetry; Iro-Celtic book illumination; Hildegard von Bingen: Songs and Sequences; Romanesque portals 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)
333. Art and Culture. (4). (Excl).
Section 001 – The Films of Bob Fosse: Filmmaker as Creative Cultural Critic. The method of auteur criticism, despite harsh attacks that cults of sometimes unworthy personality are encouraged) is actually an indispensable tool for analyzing and uncovering numerous, extended and defining characteristics in the work of a single author. Certainly, not every filmmaker deserves detailed decipherment of thematic motifs, choices of characterizations, representation of society, mise en scene, style, and so on. However, Bob Fosse's outstanding and original body of work (Sweet Charity, Cabaret, Lenny, All That jazz, Star 80) in film, as well as his theatrical, television, and performance achievements, clearly justify in-depth auteur analysis. As an artist, Fosse grappled with complex personal and cultural dilemmas that remain, for many, unresolved today. Since his death in 1987, Fosse's work has remained a subject of attention, with a major retrospective of his artistic career occurring in New York in 1994. His themes of gender and class differences, artist as deviant, free speech vs. Cultural repression, and the right to live and die as one chooses, still hold currency and defy simple, reductive answers; very importantly, Fosse's extreme control over all aspects of his creatively post-modern exploration of psychological and cultural time and space rarely finds its equal among contemporary filmmakers. Perhaps Fosse's determination to reveal "truth", and at the same time remain commercially compelling for audiences, is among his most distinguished accomplishments. The course requires papers be written on each of the five films, with a long analytic paper at the end of the course. Particular emphasis is placed upon course discussion and students' personal presentation of their ideas as expressed in their analytic essays. Barbra Morris is currently working on a book for MacMillan (Twayne Division) on Fosse, and taught a course for the Communication Department with a similar emphasis several years ago. (Morris)
Section 002 – The Human Body in Art and Culture. We tend to think of our bodies as natural objects that are affected by culture and society (repressed at one time, liberated at another) but this nature/culture division breaks down when we consider how the body has been experienced and expressed in different cultures and historical moments. Similarly, the boundaries of mind and body are not clearly fixed by biology but rather are constantly subject to negotiation within social systems, such as courtesy, ethics, justice, religion, and sexuality. Our sense of self and others is intimately bound up with the question of the body and in relation to the mind or soul. In this course we will examine representations of the body in Early-Modern and Twentieth-Century Western culture in relation to concepts such as the "body politics," the self, the other, the criminal, beauty and ugliness, desire and repulsion, masculinity, femininity, and androgyny. The genres include portraiture and biography, personification and masquerade, history and still-life painting, as well as medical illustrations, police photography, and self-invention practices such as fashion clothing and bodybuilding. Visual art may include works by Van Eyck, Botticelli, Michelangelo, Artemisia Gentileschi, Jacque-Louis David, Francis Bacon, Alice Neel, Cindy Sherman, Byron Kim, Lorna Simpson, Richard Avedon. Texts may include the Bible, St. Augustine, Michelangelo (poetry), Descartes, Virginia Woolf, Kafka, Merleau-Ponty, Sontag, Foucault, Toni Morrison. Readings under consideration: From the Bible: Genesis, and Paul's Letter to the Hebrews; St. Augustine, Confessions; Michelangelo Buonarroti, The Poetry of Michelangelo, trans. James Saslow Leonard Barkan "The Human Body, Esthetics, and the Construction of Man," in Barkan, Nature's Work of Art; Kenneth Clark, The Nude: A Study of Ideal Art; Marcia Pointon, "Reading the Body: Historiography and the Case of the Female Nude," in Pointon, Naked Authority; René Descartes, Discourse on Method and Meditations; Maurice Merleau-Ponty, The Phenomenology of Perception; Alex Potts, "Beautiful bodies and Dying Heroes: Images of Ideal Manhood in the French Revolution," History Workshop (1990); Franz Kafka, Metamorphosis; Virginia Woolf, On Being Ill Susan Sontag, Illness as Metaphor; Michel Foucault, Discipline and Punish: The Birth of the Prison; Sam Fussell, "Bodybuilder Americanus," Michigan Quarterly (Fall 1993); Susan Bordo, "Material Girl"; The Effacements of Postmodern Culture," in The Female Body, ed. Laurence Goldstein Toni Morrison, Beloved. (Willette)
Section 003 – African-American Art and Culture. For Winter Term, 1995, this section is offered jointly with History of Art 214. (Patton)
Section 004 – The American Western. For years Westerns were Hollywood's most popular genre, influencing imaginations world wide. The recent success of The Lonesome Dove and the Academy Award winning Dances With Wolves and Unforgiven 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., Red River, The Searchers, High Noon, Shane, One-Eyed Jacks, Rio Bravo, The Wild Bunch, McCabe and Mrs. Miller, Butch Cassidy and the Sundance Kid, Once Upon a Time in the West, Unforgiven, and The Lonesome Dove, and the contribution of the stars who have played their heroes – e.g., John Wayne, Gary Cooper, Henry Fonda, James Stewart, Randolf Scott, Clint Eastwood. We will first critique these films as dramas, then examine the role played in them by women and Indians, the conventions that help structure them, the ideologies they embody, and the idea of the old West they present/create. The films will be shown on Monday and Wednesday nights at 7:00. There will be a midterm and final exam, and a term paper. A lab fee is assessed. (H. Cohen)
475/Chinese 475/Hist. of Art 487/Asian Studies 475/Philosophy 475. The Arts and Letters of China. (4). (HU).
See Chinese 475. (Feuerwerker)
318. Critical Approaches to Literature. (4).
Section 001 – Postmodern Positions in Literature and the Visual Art. This course is an introduction to postmodernism. It is intended for students who have encountered the term, but who feel uncertain about what it means; for students who have already worked with some of the concepts, but who would like a practical introduction to a selection of the seminal texts, and for students who are just curious. We will ask questions such as: What is the relation between modernism and postmodernism? Are they diametrically opposed, or deeply implicated in one another? How did the "text" come to be so important? What is the relation between "texts" (presumably composed of words or signs) and "history" (composed of events)? What is meant by the "deconstruction of the unified subject" or "the death of the author"? Finally, we will question the role of "theory" in postmodernism. Does theory always have the last word? Students will be expected to understand certain postmodern positions, but not necessarily to take them up as their own, if they would prefer not to. Opposition or even resistance, however, should be thoughtful and informed. So we will end by outlining a few arguments critical of postmodernism. This is an interdisciplinary course involving literature, the visual arts, and theory. Course Schedule: Isak Dinesen, The Blank Page; Joel Fineman The Structure of Allegorical Desire; Cy Twombly, paintings; Thomas Pynchon, The Crying of Lot 49; Craig Owens, The Allegorical Impulse: Toward a Theory of Post Modernism; A.R. Penck, paintings; Julian Schnabel, paintings; Roland Barthes, S/Z; Italo Calvino, Invisible Cities; Jennifer Bartlett In the Garden (paintings and drawings); Jean Genet, The Maids; Cindy Sherman, photographs; Jorge Luis Borges, Labyrinths; Vaclav Havel, The Power of the Powerless. (Sowers)
360. The Existential Quest in the Modern Novel. Junior/senior standing, or permission of instructor. (4). (Excl).
Existentialism combines the investigation of major issues in the history of Western philosophy with daily problems of intense personal concern. In this course, existentialism will be viewed as a literary as well as a philosophical movement united by a number of recurrent and loosely related themes – (1) Theological: the disappearance of God; the condition of being "thrown" into an indifferent and ultimately absurd universe; man's encounter with nothingness beneath the floor of everyday reality revealed when familiar objects and language drop away; (2) Psychological: man's imperfection, fragility, and loneliness; the feeling of anxiety and despair over the emptiness of life and the terror of death; arguments for and against suicide; human nature as fundamentally ambiguous and hence not explicable in scientific thought or in any metaphysical system; the absence of a universally valid morality; and human nature as undetermined and free; (3) Social: man's rebellion against the inhumanity of social institutions that suffocate the "authentic self"; the escape from individual responsibility into the "untruth of the crowd"; (4) Finally, man's various attempts to transform nihilistic despair into a creative affirmation of life. Philosophic texts by Pascal, Kierkegaard, Nietzsche, Buber, Jaspers, and Heidegger; fiction by Dostoevsky, Tolstoy, Camus, Sartre, Rilke, and Kafka. Two examination and one term paper required. (Peters)
410. Upperclass Literature Seminar. (4).
(HU). May be repeated for credit.
Section 001 – The Real and the Fictional. This course will focus on the relationship between the Real and the Fictional. We will pursue the study of this uneasy relationship by juxtaposing discourses that rely on the power of the Real (historiography, law, pornography) and discourses that mainly rely on the Fictional [(pornographic) literature] and ask ourselves why the past and the construction of past (historiography) are often considered to be unproblematic and self-evident. Why do we embrace the law and its coercive power as a privileged manifestation of the Real? Why do we so readily reject the epistemological power of literature by declaring it merely fictional? We will explore the question whether the Real is the same as reality, whether the Fictional is just another expression for fiction or literature, and whether these two concepts are fundamental opposites? If not, what is the relation between the two? Of particular interest will be legal and literary discussions about the status of pornographic texts, about texts that are located at the intersection of the Real and the Fictional, about the construction of sexual identities, questions that are intimately related to the discussions about literature, feminism, and pornography. We will analyze Supreme Court cases (Bowers v. Hardwick et al.) and read, among others, Judith Butler's Bodies That Matter, Andrea Dworkin's Pornography: Men Possessing Women, and Catharine MacKinnon's Feminism Unmodified. Literary and theoretical texts by Wolfgang Iser, Judith Butler, Michel Foucault, Adrea Dworkin, Catharine MacKinnon, Heinrich von Kleist, Franz Kafka, George Bataille and selected court decisions will form the core of our reading list. We will also attend a trial at the Washtenaw County Circuit Court. Course requirements: bi-weekly writing assignments (usually a critical assessment of our reading), two in-class presentations and one longer critical essay. Students will be evaluated both on their written work and their participation in seminar discussions. (Rast)
Section 002 – Modern Czech Literature. For Winter Term, 1995, this section is offered jointly with Czech 484. (Eagle)
Section 003 – Psychoanalysis and the Modern European Novel. First, this course will offer a basic introduction to the Freudian and Jungian theory of human psychology and psychopathology; the nature of the personal and interpersonal unconscious; theories of the instincts and their transformation; the development and function of the ego; the mechanisms of defense and repaid; and theories and methods for the interpretation of dreams and works of art. Second, this course will conclude with two studies in applied psychoanalysis. (1) Kafka and Freud: Chaff's childhood and his relationship to his father will be examined in light of the trauma of the bourgeois nuclear family as described by Freud. Also, the Freudian theory of dream interpretation will be applied as a technique for the analysis of Chaff's literary fantasies of Guilt, punishment and suicide. Texts; Freud's The Interpretation of Dreams; Kafka's short stories and The Trial. (2) Hesse and Jung: "the search for identity" of Hesse's protagonists will be examined in the perspective of Jung's individuation process, the persona, the shadow, archetypes of the Collective Unconscious, and man's quest for mystical illumination. Texts: selections from The Portable June; Hesse's Siddhartha and Steppenwolf. Kafka's and Hesse's lives will also be analyzed from the perspective of theories of neurosis and artistic creativity. Midterm and final exams, and term paper required. (Peters)
Section 004 – The Hero as Outsider, Outcast, or Outlaw. In this course we try to define the human need for heroes and the character of heroism by examining the eccentric hero that mainstream society refuses to tolerate and thus attempts to ignore, suppress, condemn. Society labels them perverse, subversive, or vicious, and their numbers include the saint, the criminal, the psychotic, the visionary, the egoist, even the perverse or monstrous. Some of the works we may read or see are Nathaniel Hawthorne's "Wakefield," Jerzy Kosinski's The Painted Bird, St. Exupéry's Night Flight, R. Kluger's The Sheriff of Notingham, Manuel Puig's The Kiss of the Spider Woman, Cormac McCarthy's All the Pretty Horses, Dostoyevski's Notes from Underground, D. H. Lawrence's The Man Who Died, Tony Morrison's The Bluest Eyes, Woody Allen's Zelig, Fugard's Master Harold and...the boys, Martin Scorsese's King of Comedy. The student will be evaluated on the bases of class discussion, papers, a midterm and final exam. (H. Cohen)
411. Translation Seminar. Reading proficiency in a foreign language. Upperclass standing or permission of instructor. (4). (Excl).
Translation, as an act that mediates between different languages, cultural products and experiences, partakes of the important process of communicative exchange and cultural transformation. The seminar focuses on movements of translation such as between the native and the foreign, the differences that constitute the self as well as the other, and the doubling that takes place between the "original" and the secondary work of art. Through exercises, comparative analyses and the study of a wide selection of works of translation as well as theoretical speculation on the subject, the seminar seeks to acquaint the student with both the mechanics and the pathos involved in translation. We may begin by asking some of the following questions: What takes place in translation? What does translation aim at? What does it hope to achieve? Where am I the translator located? The practice of translation involves the understanding of linguistic, literary, cultural and geopolitical mediation. In this sense, this is an "ambitious" seminar wherein much depends on the students' self-motivated engagement with the translating process. We hope to provide a challenging and supportive framework for the process. To this end, the seminar will consist of plenty of discussions, presentations by students, and workshopping (to break the myth of the solitary translator). Students are encouraged to bring in their own concerns about translation. In addition, students can schedule conferences with the instructor and their language-mentor, by his or her favor. Students are asked to produce two works during and at the end of the term. They can elect to work on the translation of one specific language or writer, or produce one work of translation and the study of one issue of translation. Assessment will include semester-round participation and contribution. Texts will be drawn from a variety of traditions. We will build a constellation around selections from T.W. Adomo, M. Bakhtin, C. Baudelaire. W. Benjamin, the Bible, L. Carroll, P. Celan, F. Hölderlin, Asian poetry, A. Rich, Shakespeare, G. Steiner, plus excursus into the history and future of translation. (Pon)
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)
242. Creative Adaptation: Fact Into Fantasy. Completion
of the Introductory Composition requirement. (4). (Excl).
Section 001 – Creative Non-Fiction. Creative non-fiction is information based writing for general audiences. Freelance writers, journalists and technical writers are assigned to write, translate, interpret or edit texts which explain or describe specialized subjects in ordinary language that non-specialists can understand. These assignments can range from advertisements and news reports, to articles aimed at more sophisticated readers in periodicals such as The New Yorker. Even semi-specialized publications such as Scientific America, Car and Driver and the New England Journal of Medicine use non-technical language which informed amateurs as well as professionals can comprehend. In classical literature, works such as The Odyssey, The Aeneid, Macbeth, and The Divine Comedy were inspired by historical events and figures. Gettysburg, Joy Luck Club, and Age of Innocence are recent films which were adapted from historical or literary sources. Aladdin and Beauty and the Beast and many other Disney animated feature films are adaptations from literary sources. TV docu-dramas have been created about figures in the news, such as Amy Fisher and Jessica DeBoer. Biographies, autobiographies, translations, and musical adaptations as well as many non-fiction children's books are, in fact, blendings of fact and fantasy. All professions reward good communication skills. One's ability to understand, synthesize and communicate facts to others is as necessary to a doctor as it is to a writer. With this in mind, students should find "Creative Non-Fiction", with its combination of the challenge of research and the pleasure of self-expression, to be a valuable elective. Projects students will pursue will include adaptations from one medium to another; translations from one language to another or bilingual texts; science/math/history for children; personal essays/interviews/oral history; autobiographical fiction, poetry, or drama; folklore/oral traditions into fiction, picture books, animation. Students will complete either one long (25-50 page) project or three short papers (10-15 pages each) related by theme. Two drafts will be required: rough draft by April 1; final draft by April 15. (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. Enrollment is limited to a maximum of six students, usually students who have completed Narration and/or Tutorials. Permission of instructor is required. (Hecht)
321. Advanced Poetry Writing. Hums. 221 and permission of instructor. (4). (Excl).
This is an advanced poetry writing workshop. Students must be willing to read their poems in class and actively participate in the critical evaluation of other student's work. A finished manuscript of 25-30 poems is a course requirement. Permission of instructor is required. (Mikolowski)
322. Advanced Creative Writing for Children and Young
Adults. Hums. 222 and permission of instructor. (4).
Advanced Creative Writing for Children and Young Adults is an informal Seminar designed to build upon skills and themes developed in RC Humanities 222 "Creative Writing for Children and Young Adults." The casual setting of the seminar is intended to encourage interaction and collaboration among students. Weekly paper swaps allow students to become familiar with the writing styles and interests of others in the course. Support and suggestions, as well as collaborations (when feasible) are encouraged. Students are expected to support their theories with articles, books, scripts and other material. (Balducci)
Hums 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 satisfies the Junior-Senior Writing Requirement for Creative Writing majors only. (Hecht/Mikolowski/Balducci)
280/English 245/Theatre 211. Introduction to Drama and Theatre. No credit granted to those who have completed or are enrolled in RC Hums. 281. (4). (HU).
This introductory course is being taught in a new format in which a lecture/discussion component will only serve to supplement a much larger component of practical and experimental work with a select list of major plays. This work will focus on the act of dramatic interpretation from a variety of points of view and will involve scene-work, relevant acting exercises, textual analysis and development of production "concepts" from the director's point of view, sketches and collages toward set and costume design, etc. The select plays will be grouped around a central theme: "Families Functional and Dysfunctional: and will include - Caryl Churchill's Cloud Nine, Eugene O'Neill's Long Day's Journey into Night, Bertolt Brecht's Mother Courage, and Anton Chekov's Three Sisters. With reference to the University Players' February production of Merry Wives of Windsor, we will include a Shakespearean encounter through the other Falstaff play, Henry IV (a drama of father-son conflict as well), and conclude the term with Molière's Tartuffe and some work with the commedia dell'arte. At least one hour of the four class hours ever week will be devoted to a multiple-cast, on-going rehearsal of Edward Albee's American Dream which will then constitute our end-of-term performance project. (Depending upon the size of enrollment, a second play of comparable scale might also be included in this process.) A few quizzes and brief critiques might also be assigned, but these, again, will only be supplemental to the practical work with the texts. No prerequisite, but a willingness to engage in acting as an educational tool is assumed. (This is not, however, an Acting course in its process of evaluation.) First- and second-year students are particularly encouraged. (Walsh)
389. The Modern Theatre. Hums. 280 or
permission of instructor. (4). (HU). May be repeated for credit.
Section 001 – The Theatre of Eugene O'Neill. Script-in-hand scene work accompanies this investigation of the theatre and drama of America's first great playwright, Eugene O'Neill. Works from O'Neill's early (the Sea Plays), middle (including Desire Under the Elms) and late plays (the cycle plays including More Stately Mansions) will be studied. The course also includes scene work and analysis of two present-day American women playwrights whose works reflect the O'Neill legacy: Adrienne Kennedy and P.G. Gibson. Prerequisite: Hums 280/Theatre 211 or permission of instructor. (Jones)
390. Special Period and Place Drama. Hums.
280 or permission of instructor. (4). (Excl). May be repeated
Section 001 – Victors and Victims: The Theatre of War. This course represents a new type of offering in RC Drama, the thematic exploration of a body of plays, here having to do with the phenomenon of war both from the warriors' and victims' points of view. Plays covered will range across the whole of theater history and will include: Sophocles, Philoctetes (Trojan War as metaphor for Athens' struggle with Sparta); Euripides, The Trojan Women, a medieval Massacre of the innocents (King Herod); Shakespeare, Henry V (Renaissance hero and anti-hero), Coriolanus; Ernst Toller, The Transformation (German Expressionism and World War I); R.C. Sheriff, Journey's End (World War I); Brecht, Mother Courage (Thirty Years War as World War II); Heiner Muller, Volokolamsk Highway (World War II on Russian Front), Tracers, and plays from the Viet Nam anthology, Coming to Terms. Practical exploration of the texts and prepared scene-work will be complemented by short written assignments and individual research into other relevant plays. This course will feed into a May '95 experimental production of Sophocles' Philoctetes from a Viet Nam combat-trauma perspective (see Johnathan Shea's recent book Achilles in Viet Nam). Participation in various aspects of this production (from research and outreach, to acting, to running crews) can count toward course requirements. Prerequisites: Hums 280/Theatre 211 and one RC Drama course, or permission of instructor. (Walsh)
482. Drama Interpretation II: Performance Workshop.
Hums. 280 and either Hums. 282 or playwriting, or
permission of instructor. (4-6). (Excl).
Section 001 – Director and Text. In this course students will experience the various facets of stage directing through a number of hands-on projects. They will collaborate on the development of a design concept, will learn about creating stage pictures, will choreograph a piece of movement, and will concentrate on the process of working with actors on a script. There will be several opportunities to direct actors in scenes as well as a major final project. Directors may work with dramaturgs from the R.C. course, "Theatre of War", as well as actors from Actor and Text II. The required text for the course is Creative Play Direction by Robert Cohen. (Mendeloff)
484. Seminar in Drama Topics. Upperclass
standing, Hums. 280, and three 300 or 400 level drama courses, or the equivalent, or permission of instructor. (4). (Excl). May
be repeated for credit.
Section 001 – Actor and Text. In this advanced acting class students will explore plays in different styles, all linked by a common theme. The theme for Winter 1995 is "Theatre of War" and will include plays of Sophocles, Shakespeare, Brecht and contemporary American plays on the Vietnam war. The emphasis will be on the development of range and depth in the student's acting performance as well as an increased familiarity with classical material. Actors will work in connection with students in the "Theatre of War" class as well as with directors in "Director and Text". The final project will be a production of one or more of the works explored in the term. Prerequisite: Actor and Text I, acting classes in the Theater Department or permission of instructor. (Mendeloff)
250. Chamber Music. (1). (Excl). Offered
mandatory credit/no credit.
Instrumental: Small Chamber Orchestra and Small Ensembles. No audition is required. Course may be used to fulfill the Residential College's Arts Practicum Requirement. All students who are interested in participating in instrumental ensembles can enroll for one or two hours of credit. Ensembles have included: mixed ensembles of strings and winds; brass quintet and intermediate recorder; string quartet; woodwind quintet, and some other duos and trios, including piano and harpsichord. Requirements for one credit hour consist of participation in two ensembles; for 2 credits one must participate in the large ensemble and two smaller ones. Responsibilities include three to four hours of rehearsal time per week and participation in one or more concerts per term, if appropriate. No audition required. Course may be used to fulfill the Residential College's Arts Practicum Requirement. (Barna)
252. Topics in Music. (4). (HU).
Section 001 – Women Making Music. This course will explore the experiences of women in music – both past and present, encourage an appreciation of music created by women, and develop an understanding of the effect of social and historical context on the creative process. The first half of the course will focus on a number of historical figures and the second half will be devoted to women in music in the twentieth century. Besides the readings and lectures, the class will listen to recorded music, attend concerts, and have guest speakers who are currently creating and performing music. While the historic information will be about "classical" music, the study will also include composers and performers of popular music. No music reading skills are required. History and text books have tended to ignore the contributions of women's music and performance. The course is for all who want to have a more complete picture of those who helped develop Western music. Besides studying interesting historical and present-day figures, students will also learn about and be able to recognize many different forms and kinds of music. Texts may include: Historical Anthology of Music by Women (1987), edited by James R. Briscoe (three cassette tapes go along with the book); Women Making Music, The Western Art Tradition, 1150-1950 (1986), edited by Jane Bowers and Judith Tick; Women and Music, A History (1991), edited by Karin Pendle; The Memoirs of Ethel Smyth (1987), abridged by Ronald Crichton; Clara Schumann, The Artist and the Woman (1985) by Nancy B. Reich; Fanny Mendelssohn, 1805-1847 (1987) by Hensel; I'm not making this up, you know: the autobiography of the Queen of musical parody by Anna Russell; International Encyclopedia of Women Composers, Second edition, (1987) edited by Aaron Cohen. (Halsted)
Section 002 – Music of Korea. This course will introduce contemporary Korean music. Particular emphasis will be given to music after 1970. Many different types of Korean music will be discussed with current political, social and cultural implications. In conjunction with the lecture, the performance of Korean percussion ensemble, Samulnori, will be taught. (Chae)
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, sight singing, and basic musicianship are stressed. No prerequisites, but a commitment to the group and a dedication to musical growth within the term are required. No audition necessary. (Bara)
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 term are required. No audition necessary. (Bara)
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; many students will have had instrumental, vocal and/or performance experience; others may have taken music theory or history 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. (J.Heirich)
351. Creative Musicianship Lab. Hums. 350. (1-2). (Excl).
This is a required lab course to be taken with Humanities 350; however, it can 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 background and experience. 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 whether you are taking the lab for one or two credits. Advanced students may be exempted from taking this lab on permission of the instructor. (J.Heirich)
216. Understanding Mathematics. High school
algebra. (3). (Excl).
Gödel, Escher, Bach. Douglas Hofstadter's 1980 book Gödel, Escher, Bach is one of the most popular unread books in history. Subtitled "A Metaphoric Fugue on Men, Machine, and minds in the style of Lewis Carroll, it won the Pulitzer Prize and enjoys continuing sales, but far more people have bought it than have actually read it, not to speak of understanding. This course will discuss many of the themes that run through the book: mathematics, artificial intelligence, metaphor, creativity, computing, meaning, art, music, and consciousness. The goal will be to improve our critical understanding of these and other topics by providing the mathematical and scientific background for evaluating Hofstadter's oeuvre. We will attempt to actually finish the book, and will read a number of collateral works. Active participation in class, and in a computer conference, are course requirements, in addition to other assignments. This class is open to and welcomes students from outside the Residential College, especially math and science students, including engineers. Fifteen of the 30 slots are reserved for non-RC students, and more may open after the first day of class. There is a wait list at the RC Counseling Office (not at CRISP). Required textbooks: Hofstadter: Gödel, Escher, Bach; Barrow, Pi in the Sky; Bateson: Mind and Nature: A Necessary Unity; Dunham: Journey Through Genius; Lakoff & Johnson: Metaphors We Live By. (Lawler)
222. Quantitatively Speaking. (4). (Excl). (QR/1).
What is "quantitative reasoning" and how does such reasoning differ in form and content across the various disciplines (the Humanities, the Social Sciences and the Natural Sciences)? This course is neither a traditional math course nor the usual statistics course, but deals with both areas. We will begin with a discussion of what is typically meant by "quantitative reasoning," and then focus on how such reasoning is implemented (sometimes appropriately, sometimes not). There will be case studies on such things as the nature and meaning of opinion polls, the investigation of gender and ethnic differences, and the problem of verifying authorship (how do we know Shakespeare wrote that play?). Students will be expected to maintain a portfolio, participate fully in class discussions, and complete two research projects. Regular readings, occasional other homework, and a midterm exam will be required. This course will incorporate a rigorous introduction to various modes of quantitative reasoning, all the while maintaining an accessibility for students in all fields. The majority of topics will be drawn from the Humanities and the Social Sciences. In addition, students will learn "basic survival skills" for today's number-intensive world: how to critique results from a poll, a graph, and general quantitative evidence. This course strives to expose the advances and the limitations of quantitative methods, and to solicit a greater sense of individual responsibility to recognize, understand, and engage in valid "quantitative reasoning," while avoiding and exposing the errors in specious arguments. Students will also learn how to analyze data using a computer software package. Requirements will include regular reading assignments from texts and course pack, and maintaining an annotated portfolio of articles, graphs, etc., from newspapers, magazines and other sources that portray responsible and irresponsible usage of quantitative information. As a class we will design, conduct, and analyze a survey. Each student will produce a formal write-up of the entire procedure, including computer-based statistical analyses. As an individual project, each student will select a topic of interest to him/her for further study, for example, (a) choosing an academic journal in an area of interest that regularly or exclusively publishes quantitative research and presenting a critical study of at least two issues; (b) choosing a "quantitative" topic for a more in-depth research paper. There will be a midterm exam covering general statistical procedures (contingency tables, t-tests, ANOVAS, and regression). Readings: Course pack of journal articles and book excerpts; Gould, The Mismeasure of Man; Huff, How to Lie with Statistics; Huff, How to Take a Chance; (possibly others). This course is particularly suited for first or second-year students. It is not a substitute for a formal statistics course, but could serve as a prelude to such a course. (Burkam)
310/WS 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. In studying the institution of science, 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 students who are interested in the nature and enterprise of science, and in women's experiences in non-traditional fields. We will study the lives of individual scientists, the history and patterns of women's participation in the sciences, and the influence of societal values on the direction and outcomes of scientific research. 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. The course is open to all students, and will be of particular interest to those who are considering careers in science-related fields. Readings will include selections from P.G. Abir-am and D. Outram's Uneasy careers and Intimate Lives: Women in Science, E.F. Keller's Gender and Science, K. Manning's Black Apollo of Science, M.W. Rossiter's Women Scientists in America, S. Harding's The Science Question in Feminism, L. Schiebinger's The Mind Has No Sex?, and others. Evaluations will be based on several short papers, a midterm essay exam, a research paper/project, and class participation. (Sloat)
350. Special Topics. (1). (Excl). Offered
mandatory credit/no credit. May be repeated for a total of 6 credits.
Section 001 – Epidemics and Social History. F or Winter Term, 1995, this section is offered jointly with History 593.001. (Chalhoub)
450. Science and Social Responsibility. (4).
Section 001 – Topics in Ecology, Environment and Development. Prerequisite: Proficiency in Spanish or permission from the instructor. Note: This course does not fulfill a language requirement.
The course will spin around the concepts of environmental conservation and social development, their interactions, constraints, necessities, advocacies, and the analysis of their history, politics, and sociology. An introduction on biogeography, natural and agricultural ecosystems will be required before addressing issues with a more political content. The focus will be on the interaction between ecological and socio-political aspects and the effects that the South-North unbalance has on the environment for the Third World nations, mainly in the American Tropics. The course aims to analyze the positions that the different social and political groups have taken toward topics and ideas regarding the science of ecology, the environment, preservation, agriculture, conservationist politics or developmentalist programs. The course is intended to be taught in Spanish for the most part, although the readings for discussion, as well as guest lectures, will be in English and Spanish. Discussion will mostly take place in Spanish, but bi-lingual discussions will be encouraged when necessary. The Spanish-language component of the course will try to fit the average proficiency of the students enrolled.
391. The Politics of Quantification. (4).
Section 001 – Social Science Statistics. RC Math 391 provides an introduction to the use of statistics by social scientists who want to explore or confirm their theories and hypotheses. It differs from traditional statistics courses in its emphasis on experiential learning: each student designs an independent research project, gathers the data (either by survey or from printed numerical sources), enters the data into the computer, performs appropriate statistical analyses, and reports the results as a research poster. Students work on this project throughout the term, immediately translating techniques learned in class into practice for their projects. The first part of the course focuses on the development of research questions from theory and general observation, and on the development of appropriate ways to measure the relevant concepts. In the second (and largest) part of the course, students learn basic descriptive and inferential statistical techniques, with an emphasis on interpreting the results and selecting appropriate techniques to answer particular questions. In the third part of the course, students learn to communicate the results of their statistical work using graphs and clear narrative prose. The course culminates with an open research poster session where students present their findings to each other and the RC faculty. Computers: Students will make extensive use of computers and statistical software for required homework and in completing their projects. No prior knowledge of computers is required. Written work: Students will complete weekly homework assignments. The instructor and students work collaboratively on the research project, with several small assignments required throughout the term. This project culminates in the presentation of a research poster. There will be an in-class final exam. (Bogue)
214/Physics 214. The Physicists and the Bomb. High school mathematics. (4). (NS). (BS).
In this course we will consider the role played by physicists and others in the development of the Atomic Bomb, its precursors, and its aftermath. It deals with technical, political, and ethical aspects of this episode, and also its impact on literature, language, film, and popular culture. Some of the principal players, including J. Robert Oppenheimer and Edward Teller, continue to interest authors in audiences. Individuals who were themselves involved in some of the events will appear. The story will include: The First World War (introduction of aerial warfare and poison gas); European inter-war developments (rise of fascism); "Modern" physics (from the discoveries of x-rays and radioactivity to nuclear fission and fusion); the refugees; preliminaries to the Manhattan project; building the Bomb, the decision to drop the Bomb; Hiroshima and Nagasaki; the Cold War and McCarthy; Big Science; the decision to build the H-Bomb; "In the matter of J. Robert Oppenheimer"; the nuclear arms race. Readings are drawn from "The Making of the Atomic Bomb" by Richard Rhodes, "The Advisors" by Herbert York, "Hiroshima" by John Hersey, "Black Rain" by Masuji Ibuse, and original documents, memoirs and biographies of the participants. Film and video presentations. There will be short quizzes, research papers, and student class presentations. (Sanders)
260. Science and Societal Issues: The Immune System. Introductory science course or permission of instructor. (4). (NS). (BS).
This course introduces students to the field of immunology and to some of the societal issues raised by contemporary scientific and biomedical research. The course focuses first on study of the biological basis of the immune response. An understanding of biological concepts, in turn, serves to prepare students to examine societal, ethical, and policy issues that relate to this area of contemporary scientific research. The course is intended for students who want to gain a basic understanding of the biology of the immune system, and also wish to examine the larger context within which scientific knowledge is gained and used. Topic areas include: autoimmunity, tissue and organ transplantation, allergy, AIDS, psychoneuroimmunology, cancer therapy, the media presentation of science, and the impact of funding and policy decisions on the direction and progress of scientific research. Readings include an introduction immunology text, research articles and reviews, and articles and books about the scientific enterprise. Evaluation will be based on two examinations, a short paper, a research paper/project, and class participation. Prerequisite: one college-level natural science course (preferably biology) or permission of instructor. (Sloat)
263/Urban Planning 263. Energy and the Environment. (4). (NS). (BS).
This course introduces the concepts of energy and the environment, which then serve as a basis for discussion of pollution, scarcity of resources, technological impacts, and man's future. Basic science and the political-economic aspects of problems and possible solutions are emphasized. Topics include a survey of non-renewable resources and current energy use patterns, nuclear (fission and fusion) power issues, and the prospects for, and problems with, alternative energy scenarios. Possible energy futures for America and their implication in terms of life styles, policies, and ethical considerations are explored. There are no college physics prerequisites, but students should have quite a bit of experience in courses beyond ninth grade math. (Ross)
Note to Seniors concentrators in the Social Science Program: Under the requirements for the Social Science concentration, all seniors must write a graduating essay for which they will receive two credits. They MUST, therefore, register for two credit under RC Core 410 Senior Project during Winter Term. Students will then receive regular guidance and feedback from the faculty. To register, you will need an override from Charlie Bright and a letter of permission from the RC Counseling Office.
241. Democratization in Brazil, Russia, and South Africa: Three Case Studies. (4). (SS).
The most dramatic – and least expected – events of the last decade have been the collapse of authoritarian regimes in the Soviet Union, South Africa, and Latin America and the opening of electoral democracy to people who had never been allowed to choose their representatives or whose political rights had been cut off. This course offers a comparative examination of the democratization or redemocratization processes of the 1980s and 1990s in their historical, political, and economic context. The focus is on three case studies – Brazil, South Africa, and Russia – and in each case, we will study the historical trajectories that gave rise to authoritarian regimes, the bases on which such regimes maintained power, the crises which shattered their control, the ways in which democratic forces mobilized themselves, and the possibilities and constraints within emerging regimes in which formal democracy coexists with unequal access to political and economic resources. The course will include examination of theories about political structure and its relation to global examination processes and will introduce the perspectives of different social science disciplines. Writing assignments will give students a chance to study to cases in more depth and to compare political processes in different parts of the world. The goal of this course is to take a problem that is very much in the news and bring students to an appreciation of the importance of a deeper examination of political issues, informed by the perspectives of different social science disciplines and a range of theoretical approaches. The course will offer students the opportunity to explore issues of paramount importance in today's world, to appreciate the regional and local contexts in which political change takes place, and to begin to appreciate the complexity of global processes. (Caulfield, Cooper, Weisskopf)
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 Social Science in the RC. Seminar sessions will introduce students to the RC Social Science faculty and upper-level Social Science majors, and will explore what kinds of questions and resources are available in different social science disciplines. Discussion will center on 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 and upper-level students whose interests complement theirs in order to complete the principal goal of the seminar: designed a coherent, individualized program of study for the Social Science major. (M. Heirich)
360. Social Science Junior Seminar. Upperclass
standing. (4). (Excl). May be repeated for credit.
Section 001 – International Grassroots Development: Perspectives from the Field. What does "development" really mean in the Third World? Do people need Western education? Business know-how? A national consciousness? Something to believe in? Liberation? In this course we 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 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, AIDS education, "training for transformation," small enterprise development, literacy and health projects, Freirian consciousness raising. You will learn and teach others some empowerment education techniques successfully used by field workers in developing countries and see how they might be applied in grassroots projects in the U.S. 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 in Asia, Africa, and the South Pacific and in training programs for foreign nationals in the U.S. (Fox)
Section 002 – 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 and suburban communities, of ethnic and racial cleavages and class conflict in shaping the urban landscape. During the first part of the term, we will follow familiar terrains in the evolution and concentration of the auto industry and in the development of organized labor, but we will also explore the geography of ethnic neighborhoods and enclaves in the 1920s and 1930s, and the contradictory impact of labor struggles on city politics during the 1930s and 1940s. 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 in part to facilitate trips to Detroit. Students who plan to enroll in the senior research seminar (SSci 460/001) for projects in the spring term are strongly urged to take this seminar in order to develop the necessary historical background for a successful research project.
Section 003 – Witchcraft in Early Modern Europe and America. For Winter Term, 1995, this section is offered jointly with History 396.003. (Kivelson)
460. Social Science Senior Seminar. Senior
standing. (4). (Excl). May be repeated for credit.
Section 001 – Senior Research Seminar: Topics in Recent Detroit History. This senior research seminar will organize itself for field work in the Spring term, 1995. Students enrolling during the Winter term are expected a) to 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. Permission of instructor is required. Preference will be given to senior and/or Social Science Concentrators. (Bright)
Section 002 – Asian American History Research Seminar. For Winter Term, 1995, this section is jointly offered with American Culture 496.001. (Nomura)
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