Residential College Courses

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. RC courses which fulfill specific Residential College graduation requirement are reserved for RC students only (e.g., RC language courses).

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.

Core (Division 863)

Written and Verbal Expression

300. Writing and Theory. Not open to freshmen. (4). (Excl).

This course is intended to interrogate and make creative use of the cultural image environment which informs, directly and indirectly, our evolving notions and understandings of identity and the self. What is the influence of social constructions of gender, race, class, and sexuality upon our perceptions of ourselves as creative and articulate representers of our own lives? How do conventions in narrative reinforce certain habits of thought and can these conventions become tools rather than obstacles to fresh perception and originality? We will consider works from writers including Gloria Anzaldúa, Bruce Bawer, Audre Lorde, Amoja Three Rivers and Victor Villanueve and selections from Paula Rabinowitz's book on the politics of documentary films. The course is divided into two major sections, autobiography and biography. In each category, we will examine fictional and non-fictional treatments of individual's lives, through an exploration of texts and films. Students will be expected to keep reading logs and to write a series of short critiques that connect issues raised in readings with those addressed or illustrated in selected films. In addition, students will complete two major writing projects corresponding to the two major course sections. For example, students may produce a one act play or a screenplay for a short film in the category of autobiography and short story or essay (i.e., a research study of someone of interest to the student) in the category of biography. In the process of developing these projects, students will get input from peers and from the instructors in conferences. Students will present one of their projects to the class at the end of the term. (Morris/Decker)

334. Special Topics. (4). (Excl).
Section 001 – Math for Poets: 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, Machines, and Minds in the style of Lewis Carroll," it was an instant classic that won the Pulitzer Prize and enjoys continuing sales after more than a decade, 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 it including mathematics, history of mathematics and science, artificial intelligence, metaphor, creativity, computing, meaning, art, music, consciousness. We will attempt to actually finish the book, and will read a number of works on collateral topics. Besides the various reading and writing assignments, each class member will undertake a term project on some topic relevant to the course and make a formal seminar presentation of it towards the end of the term. Active participation in class, and in a computer conference is a course requirement. This course is offered in the Residential College, but is open to students in all colleges in the University, with or without mathematical and computing preparation. Past experience has shown that a broad mix of students in this class, including engineers, mathematicians, and humanists, produces a much better learning experience for all. (Lawler)

Foreign Language


Intensive language courses meet in lecture and discussion twice a day four days a week (five days per week for Russian). The language programs have language lunch tables, coffee hours, and other social events. There is a language laboratory in the College, and the language teachers are available for counseling and additional help. If a student begins a new language, proficiency is usually attained in one year through the Residential College program.

Core 190, 191, 194 Intensive French, German, Spanish I. The goal of this course is to provide the student with a basic but solid knowledge of grammatical structures and syntax, a functional vocabulary, familiarity with intonation patterns and native pronunciation, and practice in speaking and writing. Upon completion of this course, the student can understand 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.

293/Russian 203. Intensive Second Year Russian. Core 193 or Russian 102. No credit granted to those who have completed or are enrolled in Russian 201 or 202. (8). (LR).

See Russian 203. (A. Makin)

320. Seminaire en français. Proficiency test. (4). (Excl). May be repeated for credit.
Section 001 – Young People in France.
What are the interests of young people in France? What problems do they perceive as most pressing? We will look at different sources and points of view in order to begin to answer these questions pertaining to personal and societal issues, such as leisure activities: the impact of AIDS, rising unemployment, the opening of Europe, and national identity. Articles, excerpts from contemporary novels, TV programs, movies or movie excerpts, will be used both as sources of information and as examples of different ways of using facts to illustrate and defend or dismiss an opinion. All discussions, reading, writings, and oral presentations will be in French. Part of the students' responsibility will be to carry out their own research on a topic of interest to them. Equal emphasis is given to oral and written work. (Belloni)

Section 002 – Existentialism: The Human Condition and the Absurd. Far from being a doctrine, Existentialism is fundamentally a philosophical tendency. Born of a reaction 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 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 Eugène 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 participate actively 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'Étranger; 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 003 – Travel and Writing: The French Way. Writing about voyages and travel is a part of a long and important tradition within French literature. Travel often serves as a rite of passage: a period of adventure, self-realization and education. In this seminar, we will read several accounts of voyages, both real and imaginary, by travelers who wrote and writers who traveled. Why do they travel/ write? How do they write travel? How do they see others, and then, how do they proceed to write the difference or similarity? What are the differences between real and fictional travel writings?

Using novels and extracts from logbooks, memoirs, and travel accounts, we will explore the relation between travel and writing with the intention of looking for the connections between these two forms of (self)discovery, and what it is we find out about ourselves and others through the description of difference. Total writing assignment; approximately 20 pages. Weekly one-page essays on course readings, a four-page travel account (real or imaginary) at midterm, and a five-page final paper (topics to be chosen by students in consultation with the instructor). Attendance and active participation in class discussions will also count. Readings will include selections from Montesquieu, Letters Persanes; Montaigne, Journal de Voyage en Italie; J-B Tavernier, Voyage en Perse; Tocqueville, Tocqueville au Bas-Canada; Voltaire, L'Ingénue; Nerval, Voyage en Orient; Gide, L'Immoraliste; Maistre, Voyage Autour de ma Chambre; Nodier, L'Histoire du Roi de Bohème et de ses Sept Châteaux. (Polavaram)

324. Readings in Spanish. Proficiency test. (4). (Excl). May be repeated for credit.
Section 001 – Contemporary Latin American Short Story.
For a long time there has been a tradition of popularity for the short story in Latin America. Short stories are broadly read and studied and are included in literary magazines of Sunday's major newspapers, in a variety of journals, and in important anthologies and collections. This class will introduce students to a series of famous short stories written by well known contemporary Latin American writers. A brief history of the development of the short story will be presented, as well as different views on the characteristics of the genre. Julio Cortázar's idea that the short story is "the end result of a struggle between life and the written expression of that life, a living synthesis as well as a synthesized life," will serve as the core for the exploration of the texts. The stories to be read in this class will lead students beyond the mere anecdote into the discovery of a different/ new cultural world. We will read José Donoso, Gabriel García-Márquez, Julio Cortázar, Juan Rulfo, Marta Lynch, Rosario Ferré, and Elena Poniatowska. (Moya-Raggio)

Section 002 – La historia en la novela: Literatura Latinoamericana contemoránea. El surso de dedicará a explorar la presencia de elementos históicos en una serie de novelas latinoamericanas contemporáneas. Investigará, asimismo, hasta qué punto la ficción incorpora la descripción de hechos históricos. También se ocupará de estudiar los limites difusos entre los hechos reales y los hechos imaginados tal como se presentan en los textos seleccionados. Discutiremos también el contexto socio-político al que aluden las novelas, así como aspectos biográficos de sus autores. Cuando sea posible, compararemos el mismo hecho histórico aludido en las novelas en otras formas de expresión, como el cine o el teatro, por ejemplo. Consideraremos los trabajos de tesis disponibles sobre los textos y/o autores tratados. Daremos especial énfasis a la lectura de textos de crítica literaria sobre las novelas estudiadas. Continido: Las novelas seleccionadas cubrirán el periodo entre 1970-5 y 1995, unos 20 a–os aproximadamente. Dureante la clases travajaremos con capítulos seleccionados de cada una de ellas. La dedicaremos de 3 a 4 semanas a cada texto. Estas son: Paula de Isabel Allende (Chile); El General en su laberinto de Gabriel García Márquez (Colombia); Arráncame la vida de Angeles Mastretta (México); Maldito amor de Rosario Ferré (Puerto Rico); La memoria y el fuego de Eduardo Galeano (Uruguay). (Fossa)

Section 003 – Indios, Mujeres Y Mexicanos. Cultura Mexicana, Raza, Identidad Y Nacionalismo. El curso ofrece una vision panoramica de las diversas maneras en que ideas sobre nacion, raza e identidad mexicana han sido producidas y difundidas en distintas areas de la cultura mexicana del siglo XX, destacando entre ellas las imagenes y estereotipos asignadas a indigenas y mujeres. En tal contexto seran analizados la historia oficial de la conquista el indigenismo nacionalista, la revolucion mexicana, le muralismo y la cultura civica mexicana. Manifestaciones generadas en espacios menos dirigidos como la religiosidad popular, la musica de los corridos, y las peliculas de barrio y rancho son igualmente contempladas. El matmerial didactico consistira de breves lecturas, proyeccion de videos y transparancias, asi como transcripciones de canciones populares y oraciones civicas. Objetivos: El curso esta avocado a familiarizar al estudiante con algunas de las expresiones artisticas y populares de la cultura mexicana, particularmente aquellas que integran ideas y actitudes sobre topicos como nacion y nacionalismo, indigenas e indigenismo, identidad y conciencia nacional, entre otros. Asimismo el curso se propone brindar a los estudiantes una asesoria sistematica para mejorar sus habilidades academicas en el idioma espanol. Al finalizar el curso, los alumnos habran ejercitado y mejorado su tecnica para exponer, expresar, presentar, debatir y argumentar de manera analitica ideas concretas sobre nacionalismo, indigenismo e identidad mexicanas, destacando la vision que en este proceso se ofrece de los indigenas y las mujeres. (Pescador)

370/French 370. Advanced Proficiency in French. RC Core 320, or French 362, or permission of instructor. (3). (Excl).

Advanced proficiency in French is especially – but not exclusively - designed for students who intend to study in France or in a French-speaking country with a Junior Year Abroad program (such as the Michigan Junior Year in Aix-en-Provence Program). This course focuses on the development of the four language skills complemented by a rich cultural component which will prepare students socially and intellectually for living and studying in France. Emphasis will be placed on modern France and current events. Speaking skills will be developed in informal and formal contexts. Directed as well as open-ended practice of oral production will activate a wide range of functional expression. Formal discourse such as "l'exposé" will also be practiced. Students will be initiated into writing formats and styles customary in French universities. The techniques practiced, namely the French "dissertation," "contraction de texte," and "commentaire composé" will emphasize how to write introductions, conclusions, paragraphs and texts with logical development through the use of cohesive devices, precise and accurate wording, and syntax. Training in reading intricate current newspaper prose and aural comprehension of lectures with note-taking will be included. Final exam with two parts: (1) oral exam: a short "exposé" and a brief conversation; (2) written exam: a written French-style essay dissertation. Prerequisite: RC Core 320, French 361/362, French 235 and French 274 or permission of instructor. (Butler-Borruat)

Arts (Division 864)

267. Introduction to Holography. (4). (Excl).

An introductory art studio class in basic holography which stresses the visual characteristics of the medium through hands-on production of holograms. The class will cover the technical skills involved in making simple reflection and transmission holograms and the inherent visual problems presented by this new imaging medium. It is essentially a lab oriented class with image production being the students' major responsibility. (Hannum)

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)

286. Sculpture. (4). (Excl). Materials fee ($35).
Sculpture. New Directions in Fiber Art.
The focus of this course is an exploratory, experimental introduction to fiber art. Students will be encouraged to experiment with a variety of contemporary materials and techniques, as well as the more traditional. Processes will include weaving, plaiting, basketry, felt-making, and surface design, among others. Slide lectures, discussions, preliminary studies, critiques and field trips will be part of the class experience. Regular class attendance is mandatory. (Savageau)

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 coursework 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)

389. Ceramics Theory and Criticism. RC Arts 289 or permission of instructor. (4). (Excl).
Section 001 – 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)

Humanities (Division 865)

Arts and Ideas

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. In the course the unique methods and materials used in creating a work of art will be discussed. (In the case of painting, for example, we will consider the difference between oil, fresco, and water color.) But we will not be concerned with form alone. Images will be studied not only in terms of form, but content, and the relationship between art and audience. How does the visual artist (or advertiser) convey certain moods and/or messages through the arrangement and juxtaposition of forms? What is the impact and effect of the visual environment on our psychological state? (Campus architecture and students' living spaces will be studied in this regard.) How do visual artists convey certain cultural beliefs and attitudes in their arrangement and presentation of images? In the final section of the course we will consider the display of art in public spaces – including museums and galleries – and the sometimes controversial issues that have surrounded the showing and funding of art in the United States. In conjunction with this and other aspects of the course, museum and gallery visits are planned involving the study of objects at close hand and discussions with museum and gallery personnel. There will be several short papers and students will be asked to keep a journal of their ideas about the visual arts that they encounter in their day to day experiences or in which they are especially interested. Readings may include works by John Berger, Rudolph Arnheim, Joshua Taylor, Kendall Walton, T.J. Clark, Erwin Panofsky, and Carol Duncan. (Genné)

309(210). Classical Sources of Modern Culture. (4). (HU).
Section 001 – The Art of Rome: Inventing Myth; Staging History.

"And I saw with my own eyes the Cumaean Sibyl herself,
hanging in a bottle, and when the little boys asked her,
'Sybil, what do you want?' she answered, 'I want to die.'"
Petronius, The Satyricon. 61 AD

T.S. Eliot begins The Wasteland with this quotation from Petronius in order to ground his representation of the 20th century in the despair of the great ancient prophetess. The Cumaean Sibyl, the voice of Apollo, once spoke from the earth and foresaw the founding of Rome; but for Petronius and Eliot alike she is no more than a vestige, a freak, who has come to the end of her own history. Her spiraling visions, once inscribed on laurel leaves, have narrowed to a point of emptiness, and scattered. This course will examine the relation between history and prophecy in the literature and visual arts of Rome. We will study not only the ways in which Romans wrote and represented their own history, but also how they figured that history through myth and shaped it as oracular utterance. Roman myth, history and prophecy, however, although they were imbued with the sacred, were always (even in their own time) subject to skeptical deconstruction, even to profanation. Petronius was not alone in his wry and melancholy assessment. Indeed, the Roman muse is at once the voice of grandeur and the impresario of the profane. This unsettling tension creates what is sometimes called "Roman realism" - a mode of representation which was, as we shall see, far from objective, documentary or empirical, and closer to the irony and betrayal of the mask. Syllabus to include: (1) Inventing Myth: Cicero, On the Nature of the Gods; Vergil, The Aeneid; Roman appropriation of Greek art; sculpture and painting; (2) Staging History: Suetonius, The Lives of the Caesars; Roman portrait sculpture; Second Book of Maccabees; Flavius Josephus, The Jewish War; The Roman triumphal arch; The Sebasteion of Aphrodisias; Tacitus, Agricola, Germania; Marcus Aurelius, Meditations; (3) A Theatre of Desire: Petronius, The Satyricon; Roman wall painting; (4) Prophecy and Pastoral: Vergil, The Fourth Eclogue. The Passion of St. Perpetua and St. Felicitas, Vergilius Romanus and the Vatican Virgil (illuminations from two late antique manuscripts). (Sowers)

318. Critical Approaches to Literature. (4). (HU).
Section 001 – Classic Modernism: Art, Philosophy, and Myth.
The period of classic modernism in the first half of the 20th century saw an extraordinary amount of artistic and critical activity, much of it experimental and avant-garde in nature, entailing a radical break with the past. A coherent and finely articulated body of critical thought emerged which exercised, especially in the visual arts, considerable influence over how that art was understood, and even, to some extent, how it was produced. Modernist theory emphasizes the autonomy of the work, its self-sufficiency and even indifference to other areas of human endeavor, such as literature, philosophy, or religion. The defining gesture was the "self-reflexive turn" – the work's centripetal reference to the materials and means of its own making. This gesture sought a state of primordial opacity. Ironically, the search for the "primordial" took modernist artists and theorists not beyond history or apart from it as they sometimes claimed, but rather back more deeply into the sources of the Western tradition. Picasso in his drawings recovered the tremulous line of the Greek vase painters; Moore turned to the Elgin Marbles; Nietzsche, Rilke and Mann evoked the myths of Dionysos and Orpheus to organize their analysis of aesthetic form. At a deeper, perhaps less conscious level of engagement, modernists recuperated the idea of a subsistent, unified Being from the pre-Socratic philosophers and their heirs. This course will explore, through the close reading of literature and the visual arts, the problems and contradictions of the modernist use of Greek tradition. To what extent was this "recovery" an act of the imagination – a construction of the past bearing little relation to ancient historical reality as far as we can know it? To what extent was the ancient material deployed politically, rather than archeologically, to invent the Modern? In this interdisciplinary course, we will study both literature and the visual arts. In addition, we will also read a selection of critical essays considered seminal in the study of modernism. Syllabus to include: Thomas Mann, Death in Venice; Rainer Maria Rilke, Sonnets to Orpheus; Wassily Kandinsky, paintings and drawings; Virginia Woolf, To the Lighthouse; Henry Moore, sculpture; Barbara Hepworth, sculpture and drawings; William Faulkner, As I Lay Dying; Jackson Pollock, paintings; Samuel Beckett, Waiting for Godot; Mark Rothko, paintings. (Sowers)

319. Topics in Film. (3). (HU). May be repeated for a total of nine credits.
Section 001 – Worlds on Film: Ingmar Bergman and Woody Allen.
Ingmar Bergman is Woody Allen's favorite film director in large part because Bergman's films deal with the same themes that preoccupy Allen – death and the meaning of life, narcissism and love relationships, moral responsibility, and the role of the artist. Allen often – though not always – brings his unique sense of humor to bear on these subjects that Bergman usually – though not always – probes with intense and unrelenting seriousness. As we shall see, many of Woody's films parallel Bergman's. To mention a few: Allen's A Midsummer Night's Sex Comedy and Bergman's Smiles of a Summer Night; Allen's Interiors and Bergman's Cries and Whispers; Allen's Husbands and Wives and Bergman's Scenes from a Marriage; Allen's Love and Death and Shadows and Fog, and Bergman's The Seventh Seal. (In one case it is Federico Fellini who is the influence: Allen's Stardust Memories derives importantly from Felini's 8 1/2.) We will examine the different attitudes these two filmmakers from different countries and generations have toward the themes mentioned above and how Bergman's and Allen's different ways – styles – of treating them affect these themes and the films' audiences. There will be a midterm and final exam and two papers. (H.Cohen)

333. Art and Culture. (4). (Excl).
Section 001 – Topics in World Dance.

"To dance" in Africa is a transitive verb. One "dances" a mask, a headdress, a musical instrument, a spirit, an ancestor, the threat of a powerful animal. It is the "thing" that is danced, and the efficacy of a dance is gauged by how well the essence of that thing is communicated. (Frederick Lampe)

"Indian dance, like Indian poetry, music, and sculpture, seeks to communicate universal, impersonal emotion . . . . dance interprets in movement what music interprets in sound; the postures and the stances it attains are the poses which the Indian sculptor models: all these the dancer imbues with a living spirit of movement in a form which is both sensuous and spiritual." (Kapila Vatsyayan)

These are but two of many ways in which dance can be defined by a culture or cultures. In this course a diversity of dance traditions throughout the world will be surveyed. Theatrical, religious, popular and social dance traditions will be examined in a variety of cultures, including groups in Africa, Japan, India, South America, Aboriginal Australia, Indonesia (Bali, Java), the Mideast and others. Students will gain insight into the functions, aesthetics, history and cultural context of dances within these cultures. A variety of broad comparative issues will be explored: How does dance reflect the values of the society which produces it? How are gender, class, relationships between individual and group, and political and spiritual values displayed through dance structures and movements? What is the creative process involved in producing these dance works? How is the visual imagery of dance movement designed and how can an audience decipher it? What are the basic elements of dance choreography? How do choreographic structures differ cross-culturally? How do the training, preparation, and performance practices of dancers differ cross-culturally? How do the dances of these cultures employ or integrate other art forms such as music, theater, and costume design? How are dance productions evaluated and criticized within different cultures? In addition to lectures and readings, the class will feature several guest artist/speaker presentations, viewings of films and videos, and observations of dance rehearsals, classes and performances. A special unit on Indonesian dance will be conducted by the UM International Institute's 1995-96 Distinguished Visiting Artist in Residence, F.X. Widaryanto, a leading Javanese dancer who will be preparing a Javanese dance drama which will be staged at the University of Michigan in April, 1996. He will demonstrate and discuss the background and preparation of this special production with class members. Other special guests will participate in the course as guest speakers or performers. No prerequisites. (Genné/Fogel)

Section 002 – Weimar Culture: Art, Politics, and the Modern. Between the staid, conservative years of the German monarchy, eventually brought to ruin by the First World War, and the repressive, totalitarian horror of the National Socialist State, was the Weimar Republic, Germany's first experiment in democracy, which lasted from 1918 to 1933. This moment in German history, although brief, produced a rich and diverse array of "high" and "popular" culture: visual art, performance, sculpture, film, theater, literature, posters, illustrated magazines, etc. Empowered by the breakdown of the established order, and with the firm belief that not only society but also the individual had to be remade from the ground up, the creators of Weimar culture engaged all the means at their disposal to visualize a new world and a new consciousness to go with it. This course will examine various competing visions of the new individual and new society as they are presented in Weimar Culture, and how fascist, socialist and democratic forces battled for the definition of the modern. A few of the topics with which this course will be concerned include: The End of Expressionism, Dada, The New Objectivity, Responses to the War, What is/was Avant-Garde?, Workers' Art, Art in the Age of Mechanical Reproduction, Lustmord, Marxist Theater, The Mass Ornament, and From Mass Advertising to Mass Propaganda. (Biro)

Section 003 – 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 scène, 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, emerges as his most distinguished accomplishment. The course requires papers on each of the five films, with a long analytic paper at the end of the course. Particular emphasis is placed upon course discussions and students' individual presentation and discussion of their ideas as expressed in their analytic essays. (Morris)

344. Tradition and Invention: Aspects of the Arts in 18th Century Europe. Sophomore standing. (3). (HU).
Section 001 – Tradition and Invention. Aspects of the Arts in 18th-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)

An era with surprising parallels to our own, the age of reason and wit, sensibility and feeling, was also a century of escapist fantasy, biting satire and feelings of outrage. It was a time of prodigious literary achievement, musical genius and scientific inquiry, inspired by social philosophers and patronized by aristocrats and the rising middle classes. Through it all, principles of "Truth" and "Nature" were being transformed by a new consciousness of history that signaled dissatisfaction with the present and impelled change. 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. Artworks which we will examine will include Watteau's elegant and other-worldly fêtes-galantes; the aulic mythological frescoes of Giambattista Tiepolo and the enigmatic tragi-comic works of his son, Giandomenico; the varied and richly allusive cityscapes of Canaletto; Hogarth's sharply satirical "modern history paintings;" Ceruti's unflinching portraits of the homeless; and David's morally charged lessons from Roman antiquity. Our consideration of architecture will include Borromini's legacy of the Catholic Baroque in Germany and Austria, Juvarra's Italian princely palaces, the inventions of French and Venetian Rococo, English Palladianism, actual and visionary urban images, unprecedented building types, and Boulleê's radical neo-classicism. To further immerse ourselves in the lively intricacies of the century of Enlightenment, we might retrace the Grand Tour, review the Academy of Painting's hierarchical categories (history subjects, portraiture, landscape, still life and genre), contemplate the Salon, pour over published personal correspondence, review essays on the rights of men and of women, listen to music, visit a museum, read a novel. The seminar format will include slide lectures and group discussions of required readings; brief, informal presentations, a midterm examination and a final paper or formal presentation. (Hennessey)

475/Chinese 475/Phil. 475/Asian Studies 475/Hist. of Art 487. The Arts and Letters of China. (4). (HU).

See Chinese 475.

Comparative Literature

214. Fundamentals of Narrative Fiction. (4). (HU).

This course examines a variety of literary works (Toni Morrison; Franz Kafka; Virginia Woolf; Manuel Puig), autobiographical stories (Malidoma Somé), important constitutional decisions (Brown v. Board of Education, et al) and popular fiction in order to explore the narrative strategies and assumptions that underlie the construction of knowledge. We will utilize Walter Benjamin's differentiation (the Storyteller) between "information" (the known, the already interpreted) and "fiction" (the interpretable) in order to pursue the connection between narrative and the production of knowledge, the play between narrative conventions and their very transgressions. We will also attend to the ways in which we rewrite our stories, relying on narrative means to "enforce" or lend "tales" authority to our every changing stories, histories, laws and even the "tales" of science and technology which shape our personal, political, social and economic visions of the world. Requirements: active participation; occasional in-class writing; three short papers (2-3 pages); a final paper (10-12 pages). (Rast)

215. Poetry. (4). (HU).
Section 001 – For the Love of Poetry or What Makes Poetry Tick?
In this course we study examples of poetry under the respective themes of love and journey. The idea is to expose students to a variety of poetic forms, techniques and critical interpretations. An important thread that runs through our study is the generation of poetry with respect to the shaping and delimiting forces of "tradition." Tradition is understood here both in a literary and broader social-cultural sense. Through careful reading of examples of poetry, some theoretical and critical materials we will begin our dialogue with this richly accented field of cultural studies. Poetry of Love: Selections from Sappho, Dante's Vita Nuova, Petrarch's Canzoniere; selections from sonnets of Watt and Shakespeare; selections from Done and Herbert, sonnets and elegies; selections from Dorothy Wordsworth and Mary Shelley; selections from Keats' Odes; selections from Elizabeth and Robert Browning; selections from Hopkins; selections from Dickenson. Poetry of Journey: Donne, "A Valediction: Forbidding Mourning," "Go and Catch a Falling Star"; Coleridge, "The Ancient Mariner"; Shelley, "Ode to the West Wind," "To a Skylark," The Triumph of Life; Yeats, "Sailing to Byzantium;" Eliot, The Four Quartets; Stevens, "The Motive for Metaphor," "Of Mere Being," "Domination of Black," "The Course of a Particular"; selections from Bishop, North and South, Geography III. Where appropriate, we may draw on select examples of Asian and European poetry (in translation) for comparison. Background reading: Lewis Turco, New Book of Forms: A Handbook of Poetics. Course pack and supplementary texts. Students will engage in active discussion, presentations, response-writing and writings of a critical nature. (Pon)

275. The Western Mind in Revolution: Six Interpretations of the Human Condition. (4). (Excl).
Section 001 – Copernicus, Luther, Darwin, Marx, Freud, Einstein.
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 special 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/she 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 specific 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 Species by Means of Natural Selection (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 (1912). Three examinations and one term paper required. (Peters)

317. The Writings of Latinas. A course in women's studies or Latina/o studies. (4). (HU).

This course brings to the forefront the abundant literary production of Latinas in the United States. The core of the work will comprise reading and discussion of works (essays, poems, narrative fiction) of the Chicana writers, as well as women writers from Puerto Rico, Cuba, Central America, the Caribbean and South America. Among the authors to be studied are Julia Alvarez, Sandra Cisneros, Cristina Garcia, Judith Ortiz Coffer, Gloria Anzaldúa, Helena Maria Viramontes, Elena Castedo, and Alicia Partnoy. Films and visual art by Latinas will supplement the literature in the course. The works selected are richly textured, filled with cultural content, and embued with nostalgic evocation of what has been lost. Representing a broad range of Latina experience, they confront such issues as colonial domination and political and/or economic exile. All of the texts relate to the history of the Americas, and address the position of women within their own cultural/ethnic/racial group as well as within a dominant culture. Students will be expected to keep a journal of their reactions to the works read or viewed and to write three substantial papers which reflect their ability in critical reading of the texts. They will also prepare and deliver seminar presentations on selected poetry in the course. Tentative readings: Alvarez, Julia. In the Time of the Butterflies (Chapel Hill: Algonguin Books of Chapel Hill, 1994); Anzaldúa, Gloria. Borderlands/LaFrontera (San Francisco: Aunt Lute Book company, 1987); Castedo, Elena, Paradise *; Cisneros, Sandra. The House on Mango Street (New York: Vintage Books, 1989); Coffer, Judith Ortiz, Silent Dancing (Houston: Arte Publico Press, 1990); Garcia, Cristina, Dreaming in Cuban * (New York: Ballantine Books, 1992); Partnoy, Alicia, The Little School (Pittsburgh: Cleis Press, 1986). *In English and in Spanish. (Moya-Raggio)

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 of several ideas that have fundamentally redefined western man's concept of himself in the last 100 years as reflected in four different disciplines (political science, philosophy, theology, and psychology) and three literary genres (drama, novel, and short story). These ideas center upon the rise of the totalitarian state, the emergence of "psychological man," and the destruction of the concept of God as well as of all absolute value systems. How do the styles of each discipline and genre differ according to the writer's aim and intended effect upon the reader? Can we isolate and describe the particular techniques (discursive and metaphoric) used, respectively, by the political scientist, philosopher, theologian, and psychologist to explain and convince? In particular, how does literature as a genre differ from the four other disciplines in its function as a "living laboratory" for the exploration of and experimentation with new visions of 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 self-interest. Texts by Kierkegaard, Dostoevsky. (3). Literature and Philosophy: Existentialism in the Novel. Nihilism and the concomitant destruction of Christian morality and the Western concept of self. Texts by Nietzsche, Camus. (4). Literature and Political Science: Communism and 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 – Women's Literature from the Third World.
This course examines literature by women from Asia, Africa and the Middle East by fusing together feminist literary criticism and post-colonial studies. The broader social and historial contexts in which the literature was produced and read will play an important part in our examination of these texts. The course will focus on two particular genres of women's writing: the autobiography and war literature. Through their autobiographical writing, Third World women have broken the veil of silence and written themselves into history; through their war writings, they have questioned the authority of power and reshaped our understanding of the frontiers of war zones. (Balaghi)

Section 002 – The Hero as Outsider, Outcast, Or Outlaw. In this course we try to define the human need for heroes and the character of heroism. We will examine the eccentric hero that mainstream society refuses to otolerate and thus atttempts to ignore, suppress, or condemn. Society labels these people as perverse, subversive, or vicious, and their numbers include the saint, the criminal, the spychotic, the visionary, and the agoist. Works we may read or see are Nathaniel Hawthorne's "Wakefield," Keri Hulme's "The Bone People," St. Exupery's Night Flight, R. Kluger's The Sheriff Of Nottingham, Manuel Puig's The Kiss Of The Spiderwoman, 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 Eye, Woody Allen's Zelig, Fugard's Master Harold and...the Boys, and 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).
Section 001 – Moments of Translating.
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. There is an equal emphasis on the theory and practice of translation in this class. 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 students 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 this process. To this end, the seminar will consist of plenty of discussions, presentation 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. Adorno, 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. (Schönle)

Creative Writing

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)

242. Creative Adaptation: Fact Into Fantasy. Completion of the Introductory Composition requirement. (4). (Excl).
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 American, 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, MacBeth, The Aeneid, 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 (25-30 page) project or three short papers (10-15 pages each) on a related 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)

322. Advanced Creative Writing for Children and Young Adults. Hums. 222 and permission of instructor. (4). (Excl).

Section 001 – Death, Extinction and the Future of Humanity. In conjunction with The Program in Religion, this seminar will deal with these themes as they apply to children's literature. Topics for students' creative writing will include Ghosts in Folklore, Personal Memoirs of Grief, Death and Renewal in the Environment, and Utopian Fantasy. The course will be conducted in the main as an informal creative writing seminar, but will address other media, such as film, interactive media, music and drama. (C. Balducci's musical play, Giovanni the Fearless will be performed under the joint auspices of the RC and Ann Arbor's Young Actors' Guild in March.) 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. (Hecht, Mikolowski, Balducci, Carrigan)


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).
Section 002.
See Theatre and Drama 211.002. (Cardullo)

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. (4 credits).
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. The required text for the course is Creative Play Direction. (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 – Arts and Science Collaboration Project: Women and Illness.
The RC Arts and Science Collaboration Project combines creative arts with analytic inquiry. Students will examine issues and attitudes about women and illness through course assignments and outreach projects with patients and survivors of serious illnesses. Through theater improvisation exercises (what works on stage), students will gain insight into issues raised in class or in outreach work (what works in the outside world). In exploring their own and others' attitudes towards illness as physical reality and as metaphor, they will use their findings as a basis to create and develop material for a multi-media performance to be presented in April 1996 at the U-M Residential College and at the University of Michigan Medical Center. The production will be a montage of students' work which may include a variety of media of performance, including dramatic performance, oral narration, poetry, music, dance, projected visual images and other media suitable to the project. All aspects of the project will be documented through photographs and videotape, as well as through a written report containing sample student writings, portfolio assignments, the final "script" for performance and a written summary of participants' reactions to the project. Students should plan to spend time outside of class each week doing outreach to patients and rehearsing scenes. Although the topic of this course is women's health, this course is open to any U-M students who desire to expand their academic experience and who wish to learn more about human health through readings, discussion, outreach, and theater improvisation and performance. Previous experience with theater is NOT a prerequisite for participation. Students interested in a career in health care are encouraged to enroll. For more information about the course call 747-4378. (Mendeloff, Shier, Sloat)

485. Special Drama Topics. Sophomore standing. (1-2). (Excl). Offered mandatory credit/no credit. May be repeated for a total of 4 credits.
Section 001 – Sam Shepard. (2 credits).
This mini-course will survey the major plays of Sam Shepard, chiefly those in the Seven Plays collection (Buried Child, Curse of the Starving Class, Tooth of Crime, La Turista, True West), together with Fool for Love. Each student will be responsible for leading an informed discussion/ exploration of one of these plays. We will also follow closely the production of Tooth of Crime being staged by the Department of Theater and Drama, April 4-14. We will be interviewing the director, designers and actors, attending some key rehearsals and run-throughs, and participating in a formal critique of the production at the end of the term. (Walsh)


250. Chamber Music. (1). (Excl). Offered mandatory credit/no credit.
Instrumental: Small Chamber Orchestra and Small Ensembles.
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 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 – Music of the Caribbean and Mexico: Salsa, Merengue, Zouk and Border Conjuntos.
The course will begin with a brief survey of Latin American and Caribbean popular music; the survey's purpose is to introduce this musically rich area that is a site, both currently and historically, for a great amount of musical interchange. Following this overview, the course will focus on four genres that are important not only to their original cultures but to international popular music as well. Through readings on salsa, merengue, zouk, and corridos, students not only will examine the history and musical characteristics of each genre, but will explore the ways in which scholars talk about these musics. Specifically, attention will be given to topics such as how working-class attitudes are articulated through music (Border conjuntos, bachata); how gender relationships can be analyzed through music (bachata, salsa); how music functions as a medium for national or cultural identity (merengue, zouk), etc. One thread will connect all four genres: a consideration of how music travels across national borders to create a cross-cultural dialectic. The course will be divided into six units, beginning with an overview of prominent genres and ending with student presentations. (Please note that research on some of the listening resources is still in progress.) The emphasis of the readings for each unit will focus on a small number of genres and a final project will allow students to dig deeply into the material. In addition to the articles to be gathered in a course pack, the readings include two book-length studies that will engender an in-depth encounter with two important genres. The final project will consist of an 8-12 page paper and a formal presentation. In addition to the term project, course evaluation will be based on weekly 2-3 page papers (summaries and reactions), listening quizzes, and class participation. Readings will be supplemented by video tapes, audio tapes, and in-class lectures and discussions. (Laird)

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 as a form of personal/emotional expression. 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, and other readings as well. The accompanying lab (RC Humanities 351) is required unless excused by the instructor. (Moore)

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 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 whether you are taking the lab for one or two credits. Particularly advanced students may be exempted from taking this lab on permission of the instructor. (Moore, Staff)

Interdivisional (Division 867)

222. Quantitatively Speaking. (4). (Excl). (QR/1).

What is "quantitative reasoning" and how does such reasoning differ in form and content from other types of reasoning? This course is neither a traditional math course nor the usual statistics course, but deals with both areas. This course, intended for first- and second-year students, will include a rigorous and critical introduction to various modes of quantitative reasoning, all the while maintaining an accessibility for students in all fields. The majority of topics, however, will be drawn from the Social Sciences. There are no formal prerequisites for this course, but students should have completed at least three years of high school mathematics. We will begin with a discussion of what is typically meant by "quantitative reasons," and then focus on how such reasoning is implemented (sometimes appropriately, sometimes not). One of the main goals of the course is to learn "basic survival skills" for today's number-intensive world: how to critique conclusions drawn from a survey, a graph, a table of numbers, etc. We will learn about the nature and meaning of opinion polls, and explore the vast literature on gender and ethnic differences. We will read Gould's The Mismeasure of Man, and Herrnstein and Murray's recently debated book, The Bell Curve. Requirements will include regular, extensive reading assignments from texts and course pack. In addition, students will be expected to: (1) participate fully in class discussions; (2) maintain an annotated journal of articles, graphs, etc., collected from newspapers, magazines, and other sources that present responsible and irresponsible uses of quantitative information; (3) write occasional, brief papers; and (4) complete two research projects. As a class, we will conduct and analyze a survey. Each student will be required to produce a formal write-up of the entire procedure. For an individual project, each student will select a topic of interest to him/her for further study. (Burkam)

450. Science and Social Responsibility. (4). (Excl).
Section 001 – Politics of Chemical and Biological Arms Control and Disarmament.
Chemical and biological weapons have come into prominence in recent years first, because of their roles in various international conflicts; second, because, as weapons of mass destruction, they are objects of longstanding efforts to achieve an international legal regime prohibiting their possession; and finally, because scientific advances have stimulated active military interest in their further development. There are comprehensive disarmament treaties banning both chemical and biological weapons but how well these treaties are being observed and how they should be strengthened are matters of considerable international controversy. This seminar explores recent issues associated with chemical and biological warfare and disarmament, with special emphasis on the effects of: (1) the intensification and later fading of east-west tensions in the 1980s; (2) conflict in the Middle East in the 1980s and 1990s; and (3) north-south differences with respect to efforts in the 1980s to achieve a comprehensive Chemical Weapons Convention and to strengthen the 1972 Biological Weapons Convention. The seminar will emphasize research techniques, especially use of the resources of the University Library and the Ford Library, and techniques of analysis used in history and political science. Seminar members will be asked to prepare several discussion papers and to write a research paper, based on primary sources. (Wright)

Math (Division 873)

391. The Politics of Quantification. (4). (Excl).
Section 001 – Social Science Statistics.
This course is designed to introduce students to quantitative methods as tools for formulating and answering social science questions. It will impart skills in defining research questions, in reading and evaluating published studies, and in carrying out basic quantitative analyses of real-world data. Students' ability to thing critically and analytically will be challenged and strengthened through exercises designed to help test and defend theories with empirical data. Each student will carry out an original research project, from data collection through data analysis to a formal presentation of results. The class will be lively, with much interchange of ideas and shared problem-solving efforts. (Bogue, Weisskopf)

Natural Science (Division 875)

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. Robeert 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 nuclea 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)

250. Ecology, Development, and Conservation in Latin America. Reading and listening proficiency in Spanish; high school biology or environmental science. (4). (NS).

This course will address problems of environmental conservation and social development for Third World nations, especially in the Tropics of Latin America. The focus will be on the ecological and socio-political dimensions of conservation, with special attention to the effects of South-North interactions. The course introduces students to the concepts and principles of biogeography and of natural and agricultural ecology. There will be special emphasis on ideas and methods for ecological restoration of degraded ecosystems in the topics. The course lectures will be given primarily in Spanish, with bi-lingual discussions when necessary. Guest lectures will be given in English and Spanish. The Spanish-language component of the course will be designed to fit the average proficiency of the students enrolled. Students will be required to write 2-3 short essays during the course, in the format of a text review, in addition to a final paper, which will involve some research, whether a literature review, a survey, an experiment or a project/simulation design. Prerequisite: Reading proficiency in Spanish: high-school biology or environmental science, or permission of instructor. (de la Cerda)

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 the future of humankind. Topics include a survey of non-renewable and renewable resources and current energy use patterns, nuclear power issues, and the prospects for, and problems with, alternative energy scenarios. Possible energy futures for both the developed and developing worlds will be discussed. In particular, we will consider the implications of energy choices in terms of life styles, policies, and ethical considerations. There are no college prerequisites, but students should have quite a bit of experience beyond ninth grade math. (Clay, Goodwin)

270. New Biotechnology: Scientific, Social and Historical Perspectives. High school biology or permission of instructor. (4). (N.Excl). (BS).

This course examines the development of genetic engineering and other biogenetic technologies that provide powerful methods for intervening in the genetic constitution of living things. It asks some of the questions that the scientific community asked itself when these techniques were invented in several California laboratories in the early 1970's: what principles should guide assessment of a new form of technology in the face of varying technical opinion about its implications? Should scientific research be controlled? What should be the roles of technical experts and the wider public in policy making? Where should decisions be made? And who should decide such matters? How these issues have been addressed are central themes of the course. The principal goal of the course is to develop a broad historical perspective on the emergence and development of a new field of scientific achievement, the contexts in which the field is evolving, the terms of development, and the social and ethical issues associated with the development and application. This term, the course will address three principal issues that have produced extensive debate both locally and globally: the patenting of life forms; the release of genetically engineered plants and microbes into the environment; military application of biotechnology. Readings: Dorothy Nelkin, Dangerous Diagnostics (1990) Susan Wright (ed.); Preventing a Biological Arms Race (MIT Press, 1990); David Suzuki, Genethics (Harvard University Press, 1989). (Wright)

Social Science (Division 877)

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.

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. (F.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 Social Science in the RC. Seminar sessions will introduce students to the RC Social Science faculty and upper-level Social Science majors, and 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: designing a coherent, individual program of study for the Social Science major. (Greenspan)

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

Section 001 – Reinventing Citizenship: Culture, Nation and the Politics of Inclusion and Exclusion. Citizenship is a "right" most of us take for granted. Whether by birth or by choice we find ourselves attached to a nation, a fact which we assume invests us with certain legal, political and social rights in relation to each other and to the state, as well as to citizens of other countries. But the history of citizenship is a far more complex one than our assumptions would lead us to believe. Citizenship is a fairly recent phenomenon and defining citizenship is based on widely different criterion in countries throughout the world. In the United States, for example, the very notion of citizenship has, from the outset, been premised on legal, political and social boundaries based on race, ethnicity, class and gender. In this course we will compare the American history and reality of citizenship to nations around the world. We will pay particular attention to the post-war, post-colonial, post-communist reshaping of citizenship and national identity that has swept the world in the past half century. From Quebec separatists to the native peoples of Australia and South Africa, and from refugee migrations of east-central Europe to those of Haitians and Cubans to the shores of America, we will examine the volatile subject of citizenship in the modern world. The course will be as wide-ranging as its subject and students will be introduced to the issues from a variety of legal, historical, literary, sociological, political and journalistic materials. The course grade will be based on class participation and a group project to be decided upon jointly by the students and the instructor. Cost:3 WL:1 (McGuire)

Section 002 – History, Memory, and Representation. This course explores our memory of our past and the representation of that past in the work of historians as well as the people themselves. We will begin by examining some key events in the historical experience of an ethnic group, Asian Americans, and see how these events are remembered and recalled by that ethnic group and others and how these events gave been represented in historical and popular accounts. We will read and conduct some oral histories and examine alternative ways in which the past is recorded and transmitted. One of the major projects of this course will center around the creation of a performance piece based on our study of memories of a historical event. (Nomura)

Section 003 – 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 are 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 004 – Contemporary Social and Cultural Theory. In this course we shall examine major developments in social and cultural theory from the 1940s 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. 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 students to take the present course without having taken the other. (Green)

Section 005 – Critical Studies in Mass Media and Popular Culture. This course challenges students to become more informed citizens and critical consumers of mass media. We examine the historical contexts and current processes that shape media products as part of American culture, and also consider strategies for analyzing political, economic, social factors confronting the roles mass media play in a democracy. We look at media's role in the struggles between our common ties and cultural differences. The relative success of most media, whether news, rock music, television, magazines, film, or advertising, depends on various storytelling strategies that tap into audience desires, cultural myths, consensual values, and contested ideas. With emphasis on the relationships between print and electronic mass media, between so-called "high" and "low" culture, celebrants and critics of popular cultures, we probe the stories, meanings, and politics of mediated culture through four stages in the critical process; description, analysis, interpretation, and evaluation. We use this process to critique media and culture as both profitable commodities and popular stories. Required: Three projects/papers, critical journal, and two exams. (Campbell)

Section 006 – Exploring the Boundary Between Politics and Science. That science is a major resource whose disposition is often intensely contested may seem obvious from current events. Struggles over the promotion and control of scientific knowledge arise in virtually every aspect of social life, yet academic disciplines only partially treat these contests. Political theorists have addressed the exercise of power and how this should be observed, but have rarely addressed the expression of power in the development of science. Historians and sociologists of science have developed many techniques for examining the ways in which science is shaped by society and culture, but have rarely linked such social and cultural processes to the operation of power. Disciplinary training in the natural sciences that encourages scientists not to address either questions of social shaping or questions regarding the operation of power with regard to science is still endemic in a culture that typically endorses the traditional empiricist claim that the sole purpose of natural science is to achieve truth and eliminate error. The purpose of this seminar is to explore how disciplinary approaches drawn from political science and from the history of science may be synthesized to examine struggles over the promotion and control of science at any level - local, national, international, transnational. The seminar proceeds first, by examining theoretical approaches to power in political theory and to science in current studies in the history and sociology of science; second, by exploring the use of new techniques that arise from a synthesis of these disciplinary approaches; third, by applying these techniques to case studies addressed by the seminar as a group and by members of the seminar. The main case study for the seminar as a whole will address the present local and global conflicts over the patenting of genetically modified organisms. The course will provide a fairly intensive introduction to current issues associated with political theories of power on the one hand and with the historical and sociological analysis of science on the other. Readings will be drawn from the following sources and others to be decided: Robert Dahl, Who Governs? (1961); Peter Bachrach and Morton Baratz, "Two Faces of Power" (1962); Steven Lukes, Power: A Radical View (1974); Michel Foucault, Power/Knowledge (1980); Nancy Hartsock, Money, Sex, Power (1983); Nancy Hartsock, "Foucault on Power: A Theory for Women?" (1990); Thomas Kuhn, The Structure of Scientific Revolutions (1962); Andrew Webster, Science, Technology and Society (1991); Susan Wright, Molecular Politics: Developing American and British Regulatory Policy for Genetic Engineering (1994). (Wright)

460. Social Science Senior Seminar. Senior standing. (4). (Excl). May be repeated for credit.
Section 001 – Research Project on RC Student Activities and Views.
In this course we will undertake a collective research project designed to gather and analyze data on the background, activities and views of current RC students. We will design a survey questionnaire, undertake the survey, and compile and analyze the results. We will also undertake in-depth interviews with a smaller sample of students, to complement the survey analysis; and we will prepare a final report on our results and conclusions. The precise nature of the project will be determined early in the term by the group as a whole (including a maximum of ten students). To gain greater understanding of the issues involved, we will study other surveys and analyses of student activities and opinions. Then we will decide on the appropriate scope of the project – e.g., what kinds of questions to focus attention on, how many students to survey and how many to interview, and whether for comparative purposes to extend our sample to non-RC students. This course is being offered as one of several seminars meeting the research requirement of the RC Social Science Program. It is open not only to seniors and Social Science majors, but also to juniors and to all RC and LS&A students. As a prerequisite to the course, students should have taken – or be concurrently enrolled in – RC IDiv 222, RC Math 391, or an equivalent introductory-level course on statistical analysis. (Weisskopf)

Section 002 – History of Detroit Research Seminar. This is a four-credit research seminar on the history of Detroit that can be taken in conjunction with a two credit independent study for those willing to conduct primary research and work through the Spring term. (Students will register for both courses during the Winter term.) Students in this course will obtain a comprehensive understanding of the major events, personalities and working class organizations in the Motor City during the post-war period through books, periodicals, films, and field trips. Students will also learn about historical research as a method and will evaluate the methodological and analytical strengths and weaknesses of assigned material. By midterm students will have chosen an organization or event in Detroit on which they wish to conduct either more secondary research or more primary research for the second half of the term. After spring break four credit students – as a group – will turn in a working bibliography on the chosen topic that all students will read throughout the rest of the term. Six credit students – as a group – will be turning in a prospectus that includes a detailed research plan for the Spring term. For their final project, the four-credit students will turn in a secondary research paper (10-15 pp.) on the topic chosen at midterm and the six credit students will turn in a revised and detailed outline (complete with a clearly defined thesis) for their primary research paper which will be turned in at the end of Spring term. Six credit students will spend spring term conducting their primary research in Detroit and meeting regularly there. (H.Thompson)

Section 003 – The Dynamics of Emotion: Perspectives from Psychology and Literature. For Winter Term, 1996, this section is offered jointly with Institute for the Humanities 411.001. (Landman)

lsa logo

University of Michigan | College of LS&A | Student Academic Affairs | LS&A Bulletin Index

This page maintained by LS&A Academic Information and Publications, 1228 Angell Hall

The Regents of the University of Michigan,
Ann Arbor, MI 48109 USA +1 734 764-1817

Trademarks of the University of Michigan may not be electronically or otherwise altered or separated from this document or used for any non-University purpose.