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

Waitlists 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 (647-4359) to be placed on a waitlist if one is being maintained.

Core (Division 863)

Written and Verbal Expression

334. Special Topics. (4). (Excl).
Section 001 Biblical, Greek, and Medieval Texts: Original Works and Modern Counterparts.
In this course we shall study foundational texts from the Greek, Old Testament, New Testament, and Medieval worlds and a number of modern works books, essays, and films that employ the themes and situations originally set forth in these classical works. First, we shall examine literature central to the world view of four cultures that have helped shape and continue to inform modern Western consciousness and art. Our focus will be on questions and perspectives concerning the individual's to the divine order, to earthly society, and to the private self that are embodied in such works as (I) Greek literature: Homer (The Iliad or The Odyssey). Sophocles (Oedipus, Antigone); Euripedes (Medea), Plato (Socratic dialogues); (II) Old Testament (Genesis, Job); (III): The New Testament (The Gospels of St. Matthew and St. John); (IV): Medieval literature: Dante's The Inferno, Gottfried's Tristan. In conjunction with these works, we will examine, where feasible, modern counterparts (or adaptations or recreations) of the classic stories or conflicts found in these classical texts. We will read essays and novels, and see films which deal with the same or similar-and perennial-ideas and conflicts. (We will also examine those values and experiences expressed in the original works that seem alien to modern consciousness.) Some of the modern works we will scrutinize are Polanski's Chinatown, Max Frisch's Homo Faber, Martin Luther King's Letter from Birmingham Jail, Martin Scorsese's The Last Temptation of Christ, Ingmar Bergman's The Seventh Seal. The chief merit of our approach, besides giving the student the opportunity to read and see important and exciting stories, is in the juxtaposing of the old and the new so as to make the student more appreciative of the rootedness in the past of many of our current ideas, problems, and situations. This is an introductory course oriented to sophomores that is not a substitute for any upper-level courses in either the Literature or the Arts and Ideas programs. There will be two papers and a midterm and final exam. On occasion, there will be evening meetings to view films. (Peters/Cohen)

Section 002 Logic and Meaning. Building on the logical and rhetorical basis of traditional logic, this class explores the further formal and practical extensions of natural language. After a review of the history of logic, its relation to natural language and thought, and the basics of formal logic, we will study the concepts and processes of the communication of "meaning" in human language, both natural (spoken) and textual (written), including the pragmatic realms of politeness, implication, presupposition, and entailment. If time permits, we will also discuss modern text and discourse analysis. Assignments include: short (2-3pp.) analytic pieces on assigned topics biweekly, joint criticism of these in alternate weeks, active participation in class and in a computer conference, occasional homework and quizzes on technical topics, and a term project. Topics studied include: Modal, default, and multi-valued logic, the relation of logic to mathematics and epistemology, Predication, Negation and modality, Quantification, Reference, Presupposition, Convention, Metaphor, Deixis, Politeness, and grammar and logic. Textbooks: Lakoff and Johnson, Metaphors We Live By, a course pack of readings. (Lawer)
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Foreign Language


Intensive language courses meet in lecture and discussion twice a day four days a week. 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)
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310. Accelerated Review-French. Permission of instructor. (4). (LR).
The goal of this course is to bring students to the level of proficiency defined in the brochure "The French Program at the Residential College," in the four linguistic skills. Students who take 310 typically have not reached this level in two or more skills, but do not need the intensive course 290 to do so. Accelerated Review 310 is taught on a semi-tutorial mode with hours arranged to meet the particular needs of the students. In this course, emphasis is placed on correctness and fluidity of expression in speaking and in writing. Speaking skills are developed though weekly conversation sessions on current topics; personalized pronunciation diagnoses are administered and exercises prescribed. Writing skills are refined through a review of deficient grammar points and composition assignments which give students the opportunity to improve the accuracy and expressiveness of their style. In addition, exposure to primary source materials (current magazines or newspapers) and to texts of cultural and literary value develop reading ability and vocabulary. Listening skills are trained in informal conversational exchanges and in lectures with note-taking in French.
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314. Accelerated Review-Spanish. (4). (LR).
This course is designed for students with a fairly extensive background in Spanish, who are too advanced for second year intensive, although communicative competency is deficient in one of the basic language areas which would prevent success in a readings course. Attention is given to the development of reading skills through exposure to primary source materials such as magazines and newspapers. Plays and short stories may also be included. The course includes periodic listening comprehension tests. Weekly written compositions are assigned and evaluated for accuracy of expression and style. (Perez)
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320. Seminaire en français. Proficiency test. (4). (Excl). May be repeated for credit.
Section 001 Les Miroirs Du Moi: The Study of The Self Through Diaries and Autobiographies.
Do you keep a diary? Have you ever? Are you an aficionado of autobiographical works? Have you ever wondered what is meant by the term the self, what it really is and how one may apprehend it and speak about it? In this seminar, we will study the diary and the autobiography, the two literary genres whose object is unequivocally the self, its quest, discovery, or affirmation. The reading of Montaigne and Descartes will highlight the birth of individualism and subjectivity which the 16th and 17th centuries witnessed, and will lead us to the 18th century, when formal writings of the self began to flourish, as in, for instance, Jean-Jacques Rousseau. Using works from the 18th to the 20th century, we will initially establish the specificity of the diary and of the autobiography as literary genres. We will then examine the different problematics emerging as one undertakes the project of portraying oneself. As we question the intentions and the results of the writer's project, as well as the reliability of the narrator, we will attempt to define the concept of the self what it is, how or whether it can be apprehended and fully expressed, and so forth. Our discussion, enriched by conceptions of the self developed in the philosophical and psychological fields will encourage us to formulate our own conception of the self. Conceptions presented in class from: Socrates, R. Descartes, Maine de Biran, J.P. Sartre, S. Freud, E. Erikson, A. Maslow, C. Rogers, B.F. Skinner. (Butler-Borruat)

Section 002 Readings in French. The course will be a sort of social, political, and cultural history of Cameroon from an artistic perspective. It will investigate how a specific group of people, francophone artists, have attempted to define a common Cameroonian identity. We will investigate the strategies and subjects of these attempts, how successful or unsuccessful they are, and why. We will ask what kind of limitations exist when, for example, a francophone male playwright from the South tries to speak for and define all Cameroonians. We will also ask whether it is possible or even wise for artists to define an entire population looking at what goals, obstacles, and dangers are involved in such an endeavor. By the end of the course, students should have a familiarity both with the country of Cameroon and questions of identity at a national level. Students will be required to participate in class, write six 1-2 page response papers, and a final paper of 6-8 pages, and five a short presentation on a topic of their choice. (Bishop)
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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 Women Writers in Latin America The Politicization of the Home and the Homeland. This course addresses the evolving representation of women in Latin American women's fiction throughout the twentieth century. We will explore the conventional definitions of "home" and "family" as spaces to which women are culturally relegated under essentialist definitions of gender, and how these very same spaces can be subverted to become environments of exploration and self-recognition. This process, which triggers a need to cross the border of the private sphere, portrays women as part of a social realm with its own new limits in terms of labor and education: the "new" professional woman becomes confined again in a set of socially approved expectations while she is demonized as endangering traditional family values. Under the political turmoil generated by the dictatorial regimes of the seventies and eighties, which produce a generation of broken families with disappeared members, fiction depicts the redefinition of women as political bodies in the public sphere, who expand the traditional concept of motherhood through solidarity, and thus create an imaginary homeland of inclusion and acceptance that challenges the repressive discourse of the official systems. (López-Cotin)

Section 003 Del realismo/naturalismo al modernismo. La novela espa ola del último tercio del siglo XIX y principios del XX. Durante el último tercio del siglo XIX se produce en Espa a lo que se conoce como la novela realista decimonónica, que continúa en gran medida la tradición novelística espa ola del Barroco y explora las corrientes realistas/naturalistas europeas, influidas por el pensamiento positivista en las artes y la ciencia del momento. A finales del XIX y comienzos del XX, la novela modernista cuestiona esos principios artísticos que la anteceden y da un nuevo tratamiento a los temas, estilos y función de la propia obra literaria y el rte. Se dan entrada a elementos de subjetividad, decadentismo y nociones esteticistas, que tendrán un desarrollo más acentuado después en las vanguardias. En la clase estudiaremos tres obras representativas de eso a os: Tormento (1884) de Benito Pérez Galdós, Los pazos de Ullos (1886) de Emilia Pardo Bazán y Sonata de Oto o (1902) de Ramón del Valle-Inclán. La lectura de estas novelas irá acompa ada de un material teórico básico de narratología que se comentará en clase. Objetivos: Se trata de familiarizar a los alumnos con el pensamiento literario de esos a os y estudiar cómo la novela refleja en los estilos y el tratamiento de los temas la evolución de esas ideas artísticas, al tiempo que se introduce a los alumnos al conocimiento de un vocabulario básico de narratología que puedan aplicar en el análisis y comentario de las obras. Trabajo del curso: (1) Tres trabajos escritos de tres a cinco páginas, uno para cada uno de los textos; (2) Una presentación oral de 20 minutos; y (3) Pruebas periódicas sobre contenido y comentario de fragmentos seleccionados de las novelas. (Igesias)

Section 004 Tira cómica y cultura en las sociedades latinoamericanas contemporáneas. Aunque la caricatura es un artefacto cultural mas bien antiguo, su uso como instrumento de comunicación y consumo masivo es un fenómeno reciente. En este curso vamos a estudiar el uso, concumo, producción e interpretación de las tiras cómicas (comics) como una actividad que presenta las capacidades y libertades de una sociedad. Los personajes de Memín Pinguí, Los Supermachos y la Familia Burrón de México; Mafalda, Mundo Kino, Inodoro Pereira de la Argentina y condorito de Chile serán los guías e indicadores sociales de la historia reciente de Améríca Latina. Tambiín analizaremos el uso de las trias cómicas como instrumentos de difusión histórica e ideológica con algunos ejemplos de los Estados Unidos, México (Rius) y Nicaragua (El muchacho de Niquinohomo). En realidad este es un curso sobre la historia y cultura popular contemporánea de Latinoamérica. Estudiaremos los comics en relación a los siguientes procesos: (1) Desarrollo Capitalista y consolidación del Estado Moderno (1910-1960); (2) Insurgencia revolucionaria (1968-1979); (3) Autoritarismo y Estado de Seguridad Nacional (1976-1989); (4) el momento neoliberal actual (1990-1998). Sin embargo nuestros textos de historia serán confrontados con la producción y consumo de historietas cómicas de la región. Abordaremos el estudio del "elemento comic" desde los puntos de vista de.

El humor como instrumento cultural de cohesión
el comic como producto comercial y de comunicación masiva
La crítica social desde el comic
La representacion de la vida cotidiana desde el comic
Los mensajes ideológicos del comic

Aparte de los monitos (comics) vamos también a leer acerca de los creadores y su trabajo, la historia de las tiras y la relación del público con sus personajes. También haremos referencia a estudios críticos sobre el comic realizados en América Latina en particular los de Ariel Dorfman sobre los cuentos de Disney y otros personajes. En general nuestras lecturas incluirán tiras cómicas, poemas y narraciones sobre los personajes, libros de historia y crítica, películas, periódicos y revistas relacionados con esta fascinante forma cultural. Escribir 4 composiciones, 2 cortas (3 páginas) y 2 largas (5-8 páginas). Todas excepto la final deberán ser revisadas y re-escritas en un proceso de edición en grupo y por el instructor. Una presentación y un proyecto final. 2 sesiones en el laboratorio de Computadoras para usar la Internet y programas de presentación de provectos. (Chavez)
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370/French 370. Advanced Proficiency in French. RC Core 320 or French 235. (3). (Excl).
See French 370. (Butler-Borruat)
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Arts (Division 864)

285. Photography. (4). (CE). Materials fee ($100).
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 coursework, and the student works with the medium towards a goal of personal expression. (Hannum)
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286. Sculpture. (4). (CE). Materials fee ($35).
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)
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287. Printmaking. (4). (CE). Materials fee ($50).
This course develops students' 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. (Cressman)
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289. Ceramics. (4). (CE). Materials fee ($85).
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. (Crowell)
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385. Interdisciplinary Photographic Applications. Arts 285. (4). (Excl). Materials fee ($90).
This advanced photography course addresses the need for individual, interdisciplinary projects using photographic materials and facilities. A series of advanced photographic assignments are presented which develop skills in using large format cameras and negatives, color print materials, studio lights and holography. They can be modified to support independent study in which individuals develop their own set of interdisciplinary objects. The course is intended to meet both the need for second term skill development in photography and the need to correlate those skills with a student's other academic interests. (Hannum)
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389. Ceramics Theory and Criticism. RC Arts 289. (4). (CE). Laboratory fee ($85) required.
This upper-level ceramics course 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. (Crowell)
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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, tempera, and water color.) But we will not be concerned with form and materials 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? 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, Linda Nochlin, Tamar Garb, and Carol Duncan. (Genné)
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310. Medieval Sources of Modern Culture. Sophomore standing. (4). (HU).
Section 001 The Glorious Body.
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 the collapse of the body under the blows of violence, disease, and time are all rhetoricalized with the intensity usually reserved for displays of power and invulnerability. In Medieval Sources we will explore this new representation of the body in both literature and the visual arts. This interdisciplinary approach will involve the close reading of texts and the careful analysis of images. Plato Phaedo, Classical sources of early Christian art; The Sayings of the Desert Fathers, The Life of St. Mary the Egyptian, Early Christian art of the eastern empire; St. Augustine, The Confessions, Byzantine art: Ravenna; Anglo-Saxon riddles and poetry, Iro-Celtic book illumination; Hildegard von Bingen, Songs and Sequences; Romanesque portal sculpture: Moissac; Marie de France, Lais. Gothic sculpture: the portal program at Chartres; and Julian of Norwich, Revelations of Divine Love; Matthias Grunewald, The Isenheim Altarpiece. (Sowers)
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318. Critical Approaches to Literature. (4). (HU).
Section 001 Postmodern Positions.
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: (1) In the Beginning?: Isak Dinesen, The Blank Page; Joel Fineman, The Structure of Allegorical Desire; Cy Twombly painting; (2) The Archeology of History: Thomas Pynchon, The Crying of Lot 49; Craig Owens, Allegory and The Postmodern Impulse; Anselm Kiefer Paintings; (3) The Empire of the Text: Roland Barthes, S/Z; Italo Calvino, Invisible Cities; Jennifer Bartlett, In the Garden; (4) The Deconstruction of the Subject: Jean Genet, The Maids; Cindy Sherman photographs; (5) Against Postmodernism: Jorge Luis Borges, Labyrinths. (Sowers)
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319. Topics in Film. (3). (HU). May be repeated for a total of nine credits.
Section 001 Writing Film Criticism.
This small course studies different critical approaches to film and film criticism (e.g., the journalistic, humanist, genre, auteur, feminist). Students see a film a week and write a two-page paper on each film; after the papers are handed in we discuss the film. Two longer papers (of five and seven pages), which examine the writings of a film critic, are also assigned. (H. Cohen)
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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. (Genné)

Section 002 Weimar Culture: Art, Politics, and the Modern. The Weimar Republic, Germany's first experiment in democracy, lasted between 1918/19 and 1933. It began with the fall of the German monarchy at the end of World War I and ended a little more than fourteen years later when the National Socialist Party assumed power through a mixture of legal and illegal means. Although brief, the Weimar Republic witnessed a rich and diverse array of "high" and "popular" culture, including visual art, performance, sculpture, film, theater, literature, posters, illustrated books, and magazines. 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 to define the modern individual and society. A few of the topics with which this course will be concerned include: Expressionist Art and Theater, Dada Art and the Mass Media, Remembering the First World War, Neus Sachlichkeit, The Bauhaus, Lustmord, Brecht's Epic Theater, and The Mass Ornament. (Biro)

Section 003 Television Discourse Analysis: Narratology, Cinematography, and Response. Social critic Raymond Williams reminds us that public forms of discourse/communication have evolved through a series of forms: repertory companies, commercial theaters, motion pictures, and television, for example. In each of these cases, he observes: "There has been a new sharing and integration of languages, at least of gesture and systems of signs. Moreover, these fresh inter-relationships are not merely available; in the course of their use and development, they are themselves transformative, and means of communication are transformed as they are employed." How does television shape our thinking? In this course, we will be researching and critiquing various genres of television discourse, to apply relevant analytic tools to the content and to examine our own responses to the content in light of the cultural climate we inhabit. Much of what is said about television is inaccurate and superficial; we will examine what is on the screen and what experience, background, and point-of-view we bring to the text. Four papers on differing genres of text are required, as well as presentations to the class on individuals' research findings. Weekly class discussion and screenings are regular required parts of the course. A long final paper is written on a topic agreed upon in individual conferences. (Morris)
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475/Chinese 475/Phil. 475/Asian Studies 475/Hist. of Art 487. The Arts and Letters of China. (4). (HU).
See Chinese 475. (Feuerwerker)
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Comparative Literature

214. Fundamentals of Narrative Fiction. (4). (HU).
How have human beings in our civilization chosen to present themselves and the stories of their lives? What motivates a person to tell his or her story? This course examines a variety of short narratives and novels - from acknowledged classics of historical fiction and the Bildungsroman to such popular forms as Westerns and mysteries, romances and children's fables to look at story-telling as a reflection of social values and as a mode of seeing, thinking, being, and becoming. What stage of development or type of experience is formative and which provide the most useful lens from which to view the whole? What is the impact of gender, nationality, and race on the cultural construction of selfhood? How do writers invent the impossible? Why must they lie to tell the truth, write beyond the ending, and make up stories about stories within stories? How do we decide what these stories mean? Required Texts: Julia Alvarez, How the Garcia Girls Lost Their Accents; James Barrie, Peter Pan in Kensington Garden; Ann Charters, The Story and its Writer (4th ed); A. Conan Doyle, The Hound of the Baskervilles; Louis L'Amour, The Ferguson Rifle; George MacDonald, The Golden Key; Fae Myenne Ng, Bone; Tim O'Brien, If I Die In A Combat Zone and The Things They Carried; Tillie Olsen, Tell Me A Riddle; and Virginia Woolf, To the Lighthouse. Evaluation will be based on participation in discussion and four short papers. (Goodenough)
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215. Poetry. (4). (HU).
What makes a verbal text a poem? Must poetry always be rhythmic? If this is a necessary feature, what makes it so crucial? What is the connection between rhythm and meaning in poetry? If there are kinds of poetry where rhythm is less evident, what other features of the text become important? How has poetry been identified or defined in different cultures and during different epochs? What is the role of reference (allusion) to other earlier or contemporary literature, so-called intertextuality? How does meaning attach itself to particular forms, rhythms or genres? How do poetic genres evolve? What constitutes a revolution in poetic style and structure? Does poetry convey meaning in a different way than ordinary speech? Than prose? How are semantic relationships between the words in a poem implied and foregrounded as a result of its structure (the question of intratextuality)? What makes poetic meaning more open to interpretation, more ambiguous and paradoxical (polysemic)? We will attempt to answer such questions through close reading of poems, through study of some influential critical articles about poetry, through elucidation of concepts which have been used historically to analyze poetry, and through some exercises in writing (or translating) poetry. We will consider a selection of poems which exemplify different styles, approaches, and cultural contexts for poetry, from Shakespeare to contemporary free verse. Evaluation will be based on participation in discussion and four short papers. (Eagle)
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410. Upperclass Literature Seminar. (4). (HU). May be repeated for credit.
Section 001 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 collective unconscious; theories of the instincts and their transformation; the development and function of the ego; the mechanisms of defense and repair, 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: Kafka'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 Kafka'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 Jung; 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)
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411. Translation Seminar. Reading proficiency in a foreign language. Upperclass standing. (4). (Excl).
We will begin with an inquiry into the nature and function of language as it defines man and allows him to "translate" his experience of being in the world to himself and others. For this we will examine and discuss a number of influential philosophical views on language. Next we will investigate the diverse forms of "translations" within the same language, the reformulations, transliterations, and intersemiotic translations. The rest of the term is then devoted to the theory and praxis of translation between two different languages. Participants are asked to select a translation project of their own, suitable to their foreign language abilities and personal interest. We will read excerpts from the writings of Heidegger, Wittgenstein, Benjamin, Schleiermacher, Jackobson, Searle, and others. (Paslick)
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452/Russian 452. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).
See Russian 452. (Schönle)
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Creative Writing

220. Narration. Permission of instructor. (4). (CE).
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)
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221. The Writing of Poetry. Permission of instructor. (4). (CE).
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)
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242. Creative Adaptation: Fact Into Fantasy. Completion of the Introductory Composition requirement. (4). (CE).
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 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. This class will be taught in association with the campus wide Environmental Theme Semester: Rethinking the Relationship. (Balducci)
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320. Advanced Narration. Hums. 220 and permission of instructor. (4). (CE).
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)
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322. Advanced Creative Writing for Children and Young Adults. Hums. 222 and permission of instructor. (4). (CE).
This course 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. This class will be taught in association with the campus wide Environmental Theme Semester: Rethinking the Relationship. (Balducci)
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Hums 325, 326, 425, 426 Creative Writing Tutorials. (4). (Excl). 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).
See Theatre and Drama 211. (Cardullo)
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386/MARC 421. Medieval Drama. Hums. 280. (4). (Excl).
Survey of the major forms of early European drama: liturgical plays, mysteries, saint plays, moralities, farces and interludes, and folk performances with an emphasis on the English, French, and German traditions. We will explore the tensions and creative interactions between the sacred-secular/elite-popular/high-low of medieval culture as reflected in its drama and trace the subsequent influence on European dramatic traditions. Some attention will be paid to 20th century productions of medieval drama. Experimental scene-work will be combined with research in the visual arts and music toward accurate reconstructions and modern, imaginative reconceptions of select works. These will be drawn from the Latin St. Nicholas plays, the York Cycle, 15th cent. French farces or German Carnival plays, and pre-Shakespearean English comedies and moral interludes. Opportunities as well for students in directing and designing. Students in the class may be invited to participate in a production of the York Cycle at the University of Toronto in June 1998. Textbook: Medieval Drama. Ed. David Bevington. (Walsh)
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389. The Modern Theatre. Hums. 280. (4). (HU). May be repeated for credit.
Section 001 Exploring and Exploding Gender.
This four credit course will explore plays from contemporary American drama which examine gender and sexuality. A great deal of emphasis will fall on drama written by women, by writers of color and by artists in the gay and lesbian community. The reading list may include established works such as Ntosake Shange's For Colored Girls ... and Tony Kushner's Angels in America, but will include a range of contemporary writers and performance artists. Coursework will demand close reading of the plays and ongoing personal response to the material through a journal. Written work will also include critiques and creating original pieces. The emphasis in the course is on understanding the texts by performing them, so scene and monologue rehearsal is a central part of the process. Students with an interest in directing are encouraged to enroll, as our end of term project will be a mini-festival of these plays in workshop production. Directors are encouraged as well to register for a two credit mini-course, Hums 485: Director's Workshop, for more specific directorial technique. The course will deal with work which may challenge traditional attitudes about gender, sexuality and race. Students should be aware of this and should also have some previous experience with acting, either through Actor and Text I or a comparable course. First time actors and directors should schedule an interview with the instructor before enrolling. (Mendeloff)
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485. Special Drama Topics. Sophomore standing. (1-2). (Excl). Offered mandatory credit/no credit. May be repeated for a total of four credits.
Section 001 Director's Workshop.
This two-credit course is meant to supplement student directors in their work in projects connected to RC Hums 387 "Modern Theatre" and Theatre 420: Playwriting Towards Production." The course will introduce important tools of the director's craft, such as the evolution of a design concept, collaboration with other artistic staff, evolving organic blocking and working with a new play. There will be several short presentations and written assignments, including critiques. The major assignment will be the director's notebook for the student's final project. The course text is Robert Cohen's Creative Play Direction. Admission is by interview with the instructor. Some previous experience in directing is encouraged. (Mendeloff)

Section 002 Adapting Antigone. Advance conceptual work on a contemporary adaptation of Sophocles' Antigone by the director of the production. The play will be presented in April by the Theater and Drama Department in the Trueblood Theater. Director, Glenda Dickerson, plans to set the play in Kenya in the 1920's and examine similarities between Antogone's dilemma and the life and death of Princess Diana. Students in the course will have the opportunity for hands-on participation in the research and adaptation of the play prior to rehearsals. The course will look at various versions of the Antigone story, examine the impact of colonization on an African country and, of course, will explore the controversial life and tragic death of Diana, Princess of Wales. Students interested in working closely with the director during the actual rehearsal period as dramaturg or assistant director are encouraged to register for this course. There is a possibility that further credit through independent study can be arranged. The majority of class meetings will take place before Spring Break. Meeting, however, times will be flexible depending upon the scope and nature of various projects. A preliminary meeting of interested participants will be held on November 21 or December 5, 1997. (Dickerson)
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250. Chamber Music. (1). (CE). Offered mandatory credit/no credit.
Section 001 Instrumental: Small Chamber Orchestra and Small Ensembles.
No audition is required. All students who are interested in participating in instrumental ensembles can enroll for one or two credits. 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 two 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 meet the Residential College's Arts Practicum Requirement. (Barna)
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251. Topics in Music. (4). (HU).
Section 001 Music of Ireland.
The Music of Ireland will provide both a general history of Irish music as well as a more in-depth exploration of specific genres that have emerged in Ireland and among the Irish Diaspora in North America. Much of the course is devoted to traditional vocal and instrumental styles and the ways in which these traditions continue to challenge and to exert profound influence on the music-making of other traditions in Ireland, especially popular music and art music. The course will include in-class lecture/demonstrations by local musicians, as well as some experience performing traditional tunes on instruments such as the tin whistle and frame drum. No previous musical experience is necessary. Traditional music will also figure prominently in our examination of the definition and continuing transformation of an Irish national musical identity. (Camino)
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253. Choral Ensemble. (1). (CE). Offered mandatory credit/no credit.
Section 001 Women's Choral Ensemble.
The 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.

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. (Kiesling)
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350. Creative Musicianship. (4). (CE).
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 four 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. (J. Heirich)
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351. Creative Musicianship Lab. Hums. 350. (1-2). (CE).
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 is 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. (J. Heirich)
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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 reasoning," 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)
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240/Environ. Studies 240. Big Questions for a Small Planet: Introduction to Environmental Studies. (4). (Excl).
See Environmental Studies 240. (Badgley)
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257. Cultural Confrontation in the Arts. (4). (HU).
This is a cross-cultural, interdisciplinary, multi-media course which explores the works of art produced as a consequence of the contact and confrontation between diverse cultural traditions. The focus of this course is to study the aesthetic responses of different people when they come into contact with other cultures. The emphasis is on an intensive engagement with representative texts or visual images that are produced at such "moments" of confrontation. Examples of fiction, film, music/dance, paintings, poetry will be presented in order to encourage an awareness of cultures other than one's own. Among some of the objectives of this course are: (1) to foster an awareness of the cultures of others by letting them speak in their own voices (even if we can only hear them through translation) and by learning to listen very carefully to what is said and HOW it is said; (2) to understand that the response of these cultures to the impact of other cultures, whether it involves conflict, compromise, assimilation, or resistance (or any combination of these) has to be explored through questions of form and language, and that these questions are related to the undermining of tradition and the crisis of cultural identity; (3) to help students refine their skills in verbal and textual analysis so that they will not fall back on simplistic answers, but acquire some sense of the range and complexity of the issues raised by what is a world-wide phenomenon and, in fact, is the story of our modern/modernizing world. The course will be divided into three segments covering three different cultural areas: African-American (including Caribbean region), Asian-American including Southeast Asia, and Latino/as in the United States. A number of guest lectures, from different disciplines, will be invited to lecture for each segment. (Moya-Raggio/Walton)
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310/WS 312. Gender and Science. An introductory course in natural science, engineering, social sciences or women's studies. (4). (Excl).
This course introduces students to the complex relationship between gender and science, and emphasizes both pragmatic and theoretical approaches. Students will approach the study of the institution of science by examining the history of women's participation in the sciences and social and cultural factors that have contributed to their under representation. The course is intended for students who are interested in the enterprise and processes of science, in women's experience in science-related fields, and in the difficulties and contributions of the `outsider' experience. We will study the lives of individual scientists, the history and patterns of women's education and participation in the sciences, and the influence of societal values on the direction and outcomes of scientific research. Students will gain an understanding of 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 planning to work 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, A Fausto-Sterling's Myth of Gender. E.F. Keller's Gender and Science, M.W. Rossiter's Women Scientists in America, S. Harding's Whose Science, Whose Knowledge?, 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. Meets the interdisciplinary requirement for the Women's Studies Concentration. (Sloat)
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350. Special Topics. (1). (Excl). Offered mandatory credit/no credit. May be repeated for a total of six credits.
Section 001 Environmental Education and a Sustainable Society. This is a one-time-only, one-credit RC mini-course on environmental education and it role establishing a sustainable society. It will be offered in the second half of the Winter Term 1998 and is associated with the University of Michigan Environmental Theme Semester. The purpose of the seminar is to explore the relevance of environmental education to the building of a sustainable society. We will read several recent publication on environmental education, focusing largely on the work of David Orr of Oberlin College, a leading educational and environmental scholar, as well as explore the offerings of others. Among the questions to be considered are: What is environmental education? How essential is it to our future? Should it become mandatory for all students in our country and others? What are the most critical issues to be communicated and absorbed by students and the public at large? How far will education take us towards reaching a sustainable society? What else might be necessary? What should environmental education look like at the University of Michigan? Each student will be expected to attend each seminar meeting, contribute to discussion on the readings, and attend the Environmental Theme Semester symposium on environmental education scheduled for April 3rd and 4th, 1998, hosted by the Residential College. David Orr will be the keynote speaker. The seminar will meet for 1-1/2 to 2 hours once a week, three weeks prior to the symposium and one week after (5 consecutive weeks total). The meeting time will be arranged. Students will be expected to write one final 10-12 page paper due at the end of the term that should reflect upon knowledge and understanding gained from the readings, discussions, and the symposium. For more information, contact Steven R. Brechin, Chair, Environmental Studies Initiative, (Brechin)
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351. Special Topics. (2). (Excl). Offered mandatory credit/no credit. May be repeated for a total of eight credits.
Section 001 Current Issues in Mental Health Care.
This course will take up a series of issues related to defining mental health and mental illness, current forms of psychological and psychiatric treatment, and social processes that are related to mental illness and care. The course is specifically designed for people who have an active interest in these issues, and participants will be collaboratively involved in the planning and facilitating of class meetings. Topics will include: Defining sanity and madness; controversies about diagnoses and treatment approaches; the impact of "deinstitutionalization" and "managed care"; and the relevance of homelessness, poverty, race, and gender to mental health issues. A special project of the class may be the design and implementation of a research study on U-M students' attitudes toward, and experiences with, local mental health resources. Registration is by permission of the instructor; come to the first class. (Greenspan)

Section 002 Art Gallery Management and Operations. This course will introduce the student to the operations and workings of the contemporary art gallery in an educational setting and in the larger community. Involvement with mounting exhibitions in the Residential College/East Quad Art Gallery will be a central focus. Readings, written assignments, and field trips to art exhibits and spaces in the Ann Arbor/Detroit area will round out the course activity. (Cressman)

Section 003 Video Documentary Production. This course will focus on the essentials of documentary video production. Primary materials will include footage shot as part of the RC30AC celebrations, and additional footage enrolled student will shoot as part of the course. The final goal of the course will be to produce at least one professional-quality video documentary. We will work through the entire video production process from pre-production planning and scripting, through production and post-production. Students will learn about, and use, video production equipment including cameras, lighting, and digital editing systems. Additional meetings and lab sessions will be arranged based on the number of credits elected. Students should keep at least two hours per week available for lab/studio time.
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450. Science and Social Responsibility. (4). (Excl).
Is there a job in your future? This class examines the issues of how science and technology have shaped the world of work, in history and in the present. As automation, information technology, and computerization reshape the economy, how many jobs will be available for the growing world population? As companies globalize their operations, how will workers avoid lowering wages to those of the poorest countries? Will new technologies make the factory a thing of the past or the sweatshop of the future? Do labor unions have a future? We will examine these questions by reading works about the history, present, and future of work. This class will involve students in researching issues in science, technology, and work, including conducting interviews, field trips to work sites, electronic, library, and archival research. (Olwell)
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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. Robert Oppenheimer and Edward Teller, continue to interest authors and 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 (raise 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 form historical works, memoirs, fiction, and original documents. There will also be film and video presentations. Evaluation will be based on quizzes, research papers, and class participation. (Sanders)
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260. Science and Societal Issues: The Immune System. Introductory science course. (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 who also want to examine the larger context within which scientific knowledge is gained and used. Topic areas include: autoimmunity, tissue and organ transplantation, allergy, AIDS, cancer therapy, psychoneuroimmunology, the media presentation of science, and the impact of funding and policy decisions on the direction and results of scientific research. Readings include an introductory immunology text, research articles and reviews, and articles and books about the scientific enterprise. Evaluation/grading will be based on two examinations, a short paper, a research paper/project, and class participation. (Sloat)
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415/Environ. Studies 415. Science and Politics. One college-level science course. (4). (Excl). (BS).
The power of modern science to intervene in natural processes and to redirect them for human purposes has generated major social and ethical problems and continues to do so. This course examines the social response to the types of problems that have emerged since World War II and explores in particular the questions of the roles and responsibilities of scientists, the producers of the knowledge and techniques that form the basis of this new social power. A complicating factor is that the nature of scientific inquiry itself is currently being debated, with positions ranging from claims that science merely discovers the natural world (traditional empiricism) to claims that science also shapes and constructs the object of its inquiry (social constructivism). The course will begin by examining these positions and their implications for the roles and responsibilities of scientists. The military sponsorship of physics after World War II will be used as a case study that exemplifies these social and philosophical issues in a particularly acute manner. The second part of the course will examine the recent history of policies for the promotion and control of science in the United States. In particular, we will examine the organization and funding of American science, support for research and development by the military, and regulatory policy in the 1980s and 1990s. The final part of the course will use case studies to examine contested areas of science and technology. These case studies will focus on major environmental policy issues, including global warming and biodiversity. The course will be organized as a seminar. Participants will undertake a guided research project that uses primary source materials. The course is open to all students but is especially intended for juniors and seniors who have taken at least one college-level science course. (Wright)
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Social Science (Division 877)

Note to Senior 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 credits 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.

202. The Twentieth Century: A Global View. (4). (SS).
The aim of this course, designed for sophomores, is to help students locate themselves in the world they inhabit. We will attempt to "map" the world of the late 20th century, developing an analytically precise and historically grounded description of the contemporary world so that it can be seen as the product both of continuous historical processes and of specific historically unique conjunctures. This will involve an investigation on three tiers: we will study the process of global integration, the circuits of finance and exchange, of information-flow and migration, that selectively bind the world together; we will examine how the global flow of material goods and ideas percolate into and get appropriated to local contexts and needs, producing contests over meaning, identity, and everyday practice; and we will explore how the interactions of global and local worlds produce crisis and realignment in the "middle ground" of states, national policies, and national identities. The central problem is to understand how processes of global integration create disjunctures and fields of contestation that, in turn, make the proliferation of difference a key characteristic of an integrating world. There are no prerequisites for the class; students will be asked to read five books and a number of articles, and to write two papers. (Bright)
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295. Quantitative Approaches to Social Science Questions. High school algebra. (4). (MSA).
Students in this course learn to formulate questions from a social science perspective, and then to seek answers to those questions using a variety of quantitative methods. This is very much a hands-on course: students don't just learn statistical formulas, they use them with real-world data to explore the relationships among many relevant and interesting concepts. Each student, working closely with the instructor, designs and completes an empirical research project exploring a topic of their own selection. Learning the language of statistics and empirical social science, and becoming adept at the logic of quantitative reasoning are major objectives of this course. This course has two simultaneous components. On the one hand, students become competent in the use of several basic statistical methods through traditional means: lectures, textbook, computer manual, homework problems, and extensive in-class exercises. At the same time, as their skills and understanding develop, they select a general topic area, formulate a question, translate it into a data collection instrument (survey or use of previously published data), and prepare these data for computer analysis. The final two weeks of the course take on a workshop format, with students analyzing their data and preparing it for presentation as an academic poster. Students often find that this opportunity to use statistical techniques in their own work draws together all the material in the course, giving them a new level of understanding and mastery. The major emphasis on the practice of social science research is the feature which distinguishes this course from other statistics courses on campus. Students have weekly homework assignments requiring the use of a calculator and the use of SPSS (Statistical Package for the Social Sciences). The instructor provides extensive feedback and individualized teaching with the homework problems. Students' evaluations are based on participation in the classroom exercises, homework, a mastery-exam, and their final project. Students whose homework is up-to-date have the option to retake the exam to demonstrate adequate mastery of the course material. (Weisskopf, Bogue)
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302. Contemporary Social and Cultural Theory. Social Science 301 or equivalent (as determined by the instructor). (4). (Excl).
In this course, we shall examine major developments in social and cultural theory from the 1920s 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 existentialism, structural-functionalism, and structuralism. The class will combine a certain amount of lecturing with discussion, both of which will be organized around the careful reading of required texts. Students will be asked to keep reading notes and to write a final paper. (The course forms part of a two-term sequence that began in Fall Term with a class taught by Prof. Burbank on social and cultural theory in the eighteenth and nineteenth centuries. It is perfectly acceptable for students to take the present course without having taken the other.)
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305. Society and the Environment. Background in social sciences and environmental studies helpful. (4). (SS).
Together we will investigate the interplay among society, human behavior, and the biophysical environment. We attempt to accomplish two related objectives: (1) a better understanding of how society functions and of how humans behave by looking at our interactions with nature, natural resources, and the larger biophysical environment; and (2) a better understanding of our present environmental situation and futures by investigating the forces that shape our society. This is an introductory, overview course in environmental sociology designed primarily for upper-level undergraduates. No formal course work in sociology or other social sciences or environmental sciences is required, but students will likely find it helpful to have a background in these areas. Topics discussed include sociological theory and the environment; environmental values, beliefs, and behavior; the environmental movement and protests; environmental discrimination, equity and justice; the role of organizations in both creating and managing environmental problems; population-environment dynamics; the social impacts of resource use and conservation practices; environmental issues in developing countries and internationally; economics, public policy, and the environment; the limits to growth debate; and possible society-environment futures. Weekly discussion of assigned material will be an integral part of the course. Discussion of current events will be encouraged. Assignments consist of take-home examinations and a final term paper. (Brechin)
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357. A History of Crime and Punishment in the U.S. (4). (Excl).
This course seeks to put contemporary issues of crime and punishment in historical perspective. Rather than attempt a sociology of crime, or engage in philosophical debates about the nature of human depravity, we will focus on the concrete means of policing and punishment as these developed over time and attempt to build on this basis an analysis of the interaction between the political economy of crime and the means of state retribution. We will explore the pairing of law with order and their opposites in theories of social disorganization; we will unpack the themes of reform and reinclusion that are embedded in American punishment systems and study the crisis of these assumptions in recent years; and we will attempt, through a study of the policing and punishment of crime to access questions of power how it is organized and operates over time. The course will be organized in three general segments: we will begin with recent debates about crime and its causes, examining underlying assumptions about who criminals are and what makes them misbehave; we will then read some of the major theoretical formulations of the problem of punishment (Foucault, Radzinowicz, Rushe, and Kirchheimer) and assess their relevance to current debates; we will then develop an historical treatment of crime, policing, and punishment in the United States, focusing on the twentieth century and seeking to understand the roots of the contemporary "crime problem" and the current crisis of the criminal justice system, especially its prisons and regimen of punishment. While the course will involve lectures, guest talks, and films, students will find that considerable emphasis is placed upon reading and participation in class discussions. Everyone will be required to do a seminar presentation, a book review, and a term paper. (Bright)
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360. Social Science Junior Seminar. Upperclass standing. (4). (Excl). May be repeated for credit.
Section 001 Neuropsychology of Consciousness: Thinking, Feeling, and Perceiving.
What is consciousness? What is meaning? When and how do they arise from the brain? In this course we will explore the phenomenology of conscious experience and the neurobiological processes that underlie it. An emphasis will be placed on emotion and meaning and on how those integrative human attributes can be further understood by studying the brain. Course content will include a brief overview of basic human neuroanatomy and neurophysiology; case studies of people with injuries that affect higher brain functioning; neural networks and the brain as a kind of supercomputer. Readings will include selections from the following: P.M. Churchland, The Engine of Reason, the Seat of the Soul; J. LeDoux, The Emotional Brain; A.R. Damasio, Descartes' Error; S. Freud, Project for a Scientific Psychology; S. Freud, Interpretation of Dreams; H. Gardner, The Man with a Shattered World; O. Sacks, The Man Who Mistook His Wife for a Hat; S.R. Hameroff et. al. -ed., Toward a Science of Consciousness. Student evaluations will emphasize class participation and written work. (Evans)

Section 002 International Grassroots Development. What does "development" really mean in the Third World? Do people need Western education? Business know-how? Provision of basic services? Gender equality? A national consciousness? Something to believe in? Liberation? To just be left alone? In this course we will look at how different definitions of "the problem" drive different solutions proposed by governments, aid agencies, religious groups and grassroots organizations. Besides posing some heavy questions, this course will give you an idea of what it's really like to work in the field of international "development," either at home or abroad. Be prepared for lively discussion, a deep, personal examination of your own beliefs and values, lots of writing and lots of help with your writing. Some previous courses in economics, political science, third world area studies and/or lived experience will be very helpful, though not required. 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 003 Development Perspectives on Health and Illness. This course will allow students to explore the topics of health and illness from a development perspective. There has been a great deal of research interest during the past twenty years on the impact of having chronic illnesses such as sickle cell disease, diabetes, renal disease, AIDS, etc. on the cognitive and psychosocial development of children and adolescents. There has also been increased interest in children's understanding of health and illness, i.e. how does this knowledge change as children grow and develop? The research findings in this domain have been fascinating, encouraging and, in some instances, surprising. Students will have the opportunity to learn about the various kinds of chronic conditions that affect between 5% and 10% of all children in the U.S. Students will also revisit theory about normative growth and development as we explore and try to place in perspective the literature on chronic illness and children's health knowledge. The class will require a great deal of student participation via classroom discussion and written assignments. The course will also provide `hands-on' experience with a research project(s) on a relevant topic. Students will be involved in multiple aspects of the research process, including some if not all of the following: study design, data collection, data entry, data analysis, and communication about research. (Myers)

Section 004 The Politics of Culture in Africa. The idea, the concept, of culture has had an extraordinary "career" across Africa in the twentieth century and across a wide range of thought, writing, and practice on Africa. European imperial authorities played out concepts of culture in the construction of colonialism. Africans resisted imperialism and colonialism, both violently and non-violently, by reference to culture. Concepts of culture were important in the definition and expression of African nationalism and Pan-Africanism and in the struggles for independence and liberation, across the continent. "Culture" became a medium of critique within the new independent nations of Africa from the 1960's through the present decade. In programs of development and population control "culture" has always figured as a special and powerful variable, sometimes as the means of explanation of the performance of African nations and states in the world, while "culture" has emerged as a constant reference point in debates regarding law and gender and men's and women's power within African societies. And the very concept of "culture" within the human sciences, especially through development within the discipline of anthropology, was significantly nurtured within scholarship on the African continent. This course begins with an examination of the very assumption of "a politics of culture," looking at a scattering of examples and theoretical writing. The course will then move more closely into a microhistorical mode to examine specific instances or cases and to see what general perspectives might be drawn from the cases. There is an opportunity, as well, to move back and forth between the examination of specific cases and a consideration of the tensions appearing within the fields or disciplines of anthropology and history, historical anthropology, art history, literary studies, philosophy, but also microhistory and cultural studies. There is also an opportunity to draw understandings of the extraordinary, tumultuous, history of Africa in the twentieth century through an examination of a range of debates regarding "culture" and the standing of concepts of culture. Among the cases that may examined are the appearance and elaboration of bent ngoma companies marking, parodying, celebrating, and resisting European colonial power in eastern and central Africa from the beginning of the century through the 1930's as an example of the invention of cultural tradition; the various readings of Jomo Kenyatta's Facing Mount Kenya as an oration of African culture, as ethnography, and as political tract; the emergence of popular painting in Zaire (Congo) as political and cultural critique; the rise of worker and township theater in South Africa as modes of resistance; the reworkings of museums and other forms of representation of Africa and African culture, including film and literature, on and outside the African continent; the commodification of African art across the twentieth century; the production of works of African philosophy within and outside formal scholarship; the role of the state in the organization and support of African culture and in the promotion of ideas of the authentic; and debates over the standing of principles of culture within the law in Africa, exemplified in the S.M. Otieno litigation in Kenya in 1986-87. The class will meet once a week, with a combination of lectures and discussion, and occasional film and video screenings. Members of the class will be expected to assist in leading discussions, produce three pieces of writing, and maintain a journal. (D.W. Cohen)

Section 005 Community Strategies Against Poverty. Developed as a collaboration of the Residential college and the Center for Learning through Community Service, this course will analyze the changing context of poverty in the United States, several strategies for intervention, and innovative initiatives to create change at the community level. It will enable students to prepare for future roles as civic leaders, community builders, and/or active citizens by providing the substantive knowledge and overall understanding needed to address problems of poverty in the U.S. The first half of the course will focus attention on the nature and the sources of poverty in the contemporary United States, and on the evolution of efforts to combat that poverty. Topics addressed include the changing face of U.S. poverty, perspectives on the causes of poverty, urban ghettos and the "underclass," anti-poverty policy over the years, and recent efforts to reform anti-poverty and welfare policies. The second half of the course will address community strategies to overcome poverty. Topics include alternative strategies for change, the role of communities in anti-poverty efforts, and community-based approaches to neighborhood revitalization, economic development, public health, education and family services. Throughout the course many examples will be drawn from the historical and the contemporary experience of the city of Detroit. The course will meet three times a week. In a typical week the first session (Tuesday 4-5:50) will be devoted to a lecture presentation in many cases by guest lectures with special expertise in the subject to be addressed; at the second session (Tuesday 7-8 PM) a film will be shown; and for the third session the class will meet in discussion groups of 15-20 students each. Guest lectures will include faculty from various UM units, such as the College of LS&A, the School of Social Work, and the School of Public Health, as well as outside experts on community-based approaches to social and economic change. There are no prerequisites for this course, but a previous course in the social sciences is highly desirable. Students in the class will be expected to maintain a journal, to write several papers, and to complete a take-home examination. N.B.: There will be opportunities in Spring/Summer 1998 for a small number of students who have taken this course to work in teams with experienced practitioners in a community-based organization or civic agency. Students will be carefully selected for such an opportunity on the basis of their potential for applying their knowledge and getting things done in the community; and stipends may be available for such students. (Weisskopf)
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460. Social Science Senior Seminar. Senior standing. (4). (Excl). May be repeated for credit.
Section 001 Asian American Women's History. Through historical texts, oral histories, and writings by Asian American women this seminar will study the lives and historical experiences of women of Asian ancestry in the United States. Major topics covered include an examination of class and gender in Asia and Asian America, immigration, labor, politics, stereotypes, family, community, war, the anti-Asian movement, and resistance and transformation. Students will research and write a major paper on a topic of their choice in Asian American women's history. Cost:3 WL:1 (Nomura)
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