Residential College Courses

Most RC courses are open to LS&A students and may be used to meet distribution requirements.

Unless otherwise indicated, waitlists for all Residential College courses are maintained in the Residential College Counseling Office, 130 Tyler, East Quad. When a course fills, students should come to the RC Counseling Office to be placed on a waitlist. Policies and procedures for the waitlist will be explained then. Residential College students are given priority in all Residential College courses.

Core (Division 863)

Written and Verbal Expression

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

In this course students explore a number of issues about writing: What is good writing? What are the elements of good writing in the different academic disciplines? What is the relationship between writing and learning, between writing and critical thinking? What are the most effective methods for improving one's own writing? Aiming to apply what they learn, students write a series of papers including an analysis of the features of good writing in an essay, report, or book in their own field of concentration or interest. Moreover, the course encourages students to design writing assignments for themselves to relate to subjects in their other classes. Considerable time will be spent on learning how to revise and edit one's own work. Students meet individually with the instructor every other week to discuss work in progress. (Isaacson)

334. Special Topics. (4). (Excl).

Section 001 LINGUISTIC PARADIGMS: MATH FOR POETS. Mathematics is among the more recondite subjects of study in our culture. It is socially acceptable to be illiterate in it; vast numbers of otherwise well-educated people lump it together with science and technology as a subject unfit for humane consumption, dismissing it with phrases like "I never liked math much" or "Math was always my worst subject." Despite popular belief to the contrary, however, mathematics is NOT a science; being entirely based on social and esthetic perceptions, it is much closer to the Humanities than we might suspect. Rather than trying to produce yet more mathematicians, this course adopts a consumer-oriented viewpoint on mathematics. What topics in math can be appreciated or understood by someone interested in the Humanities? What relevance does mathematics have for everyday life? How can it make one's life more interesting and beautiful? What unexplored regions lie beyond the Tropic of Calculus? Mathematical topics explored (though not necessarily "covered") include the nature of numbers, number systems, geometry, topology, infinity, recursion, proof, logic, set theory, and functions. No prior math beyond high school algebra is required, though students with more extensive math background are also welcome. Classwork will include homework problems, papers, participation (in class and in a computer conference), (take home) exams, and a term project (which may be done in groups). Texts include: Davis and Hersh, THE MATHEMATICAL EXPERIENCE, Hofstadter, GÖDEL, ESCHER, BACH, Rucher, MIND TOOLS. [Cost:2] (Lawler)

Section 002 INTERCULTURAL TRADITIONS & MAKING SPECULATIONS IN ART. This course of study explores issues in aesthetics and culture. Readings will survey varied rapid changes in visual art traditions which have occurred in ethnic localities influenced by dominant industrialized cultures. Critical readings will be drawn from theorists of economic and cultural hierarchies, gender, and semiotics. Concepts such as tradition, tribal art, innovation, authenticity, collection, commodity, and artist will be questioned. Students will explore means of adapting technology, resources and productive relations in aesthetic processes. Students are encouraged to experiment with assemblages punning, iconic play, replication, and other forms of cultural commentary in required art work and also in the required critical papers. (Bierwert)

Foreign Language

190. Intensive French I. No credit granted to those who have completed French 100, 101, 102, or 103. (8). (FL).

Intensive courses meet twice a day in lecture and discussion, four days a week. Students may also become involved in language lunch tables, coffee hours, and other social events. There is a language laboratory in the College, and the language teachers are available for advising and additional help. If a student begins a new language, proficiency is normally attained in one year through the Residential College program. The goal of this course is to provide the student with a basic but solid knowledge of grammatical structures and syntax, a functional vocabulary, a familiarity with intonation patterns and native pronunciation, and practice in speaking and writing. Upon completion of this course the student can understand simplified written texts or short spoken passages without the aid of a dictionary, and carry on a short, elementary conversation. (Carduner)

191, 194. For information on these intensive language courses (191: German; 194: Spanish) see description for 190 (above).

290. Intensive French II. Core 190. No credit granted to those who have completed French 230, 231, or 232. (8). (FL).

The goal of this course is to expand vocabulary and mastery of grammatical structures and syntax to the level of competency required to pass the Proficiency Exam. This entails communication with some ease in speaking and in writing with a native speaker and understanding the content of a text of a non-technical nature (written and spoken), and presenting a general (non-literary) interest. (Carduner)

291, 293, 294. For information on these intensive language courses (291: German; 293: Russian; 294: Spanish) see description for 290 (above).

320. Seminaire en français. Proficiency test. (4). (Excl). May be repeated for credit.

Section 001 LITERATURE AND IDENTITY. This course will study problem and function of identity in a group of selected French texts from 18th to 20th centuries. This question will be approached from two complementary perspectives. First, we will examine the different ways literature portrays the identity of characters. What role do such elements as body, language, memory, social classes and history play? Second, we will examine the function of literature in questioning/reformating/consolidating the identity of the reader. In what way is the act of reading a part of our own sense of identity? Students will be asked to write a short essay on each of the texts for a total writing assignment of approximately 25 pages. Participation in class discussions will also be expected. Required readings: Marivaus, LE JEU DE L'AMOUR ET DU HASARD; Balzac LA FAUSSE MAITRESSE; Robert Sabatier, TROIS SUCETTES A LA MENTHE; Patrick Modiano, RUE DES BOUTIQUES OBSCURES. We will also view and analyze a movie written and directed by Alain Resnais, AU REVOIR LES ENFANTS. Monique Kavanagh was born in Paris and did both her undergraduate work and Masters at the Sorbonne. She has taught in France, Algeria, and Boulder, Colorado. [Cost:2] (Kavanagh)

Section 002 LEMINAIRE EN FRANCAIS: LA FRANCE ET L'EUROPE MEDITERRANEENNE. As we approach 1992 and the unification of Europe, it seems interesting to consider France's relations with its European neighbors, without confining our discussions to the political and economic viewpoints. Therefore, the purpose of this course is to describe the cultural relationship between France and some other countries in Mediterranean Europe throughout history. We shall examine successively reciprocal influences which France and countries like Spain, Italy, Portugal or Greece had upon each other (limiting the examination to members of the Common Market) in regards to literature, fine arts and different ways of life of their people. Sylvie Duflot was born in France (in Marseilles) where she studied Spanish and French. Her main interest is now Romance literature and research in translation. (Duflot)

321. Readings in German. Proficiency test. (4). (Excl). May be repeated for credit.

In this term's readings course we will read and examine four novels written after WWII. German speaking authors Heinrich Boll, HAUS OHNE HUTER; Jurek Becker, JAKOB, DER LUGNER; Friedrich Durrenmatt, DER RICHTER UND SEIN HENKER; Ulrich Plenzdorf, DIE NEUEN LEIDEN DES JUNGEN W. These readings will be accompanied by lectures and class discussions, as well as some preparatory texts (course pack). Students will write short weekly essays and one longer term paper. There will also be tests on each of the four novels. I will offer an extra hour per week for grammar review (time to be arranged). (Zahn)

324. Readings in Spanish. Proficiency test. (4). (Excl). May be repeated for credit.

Section 001 CONTEMPORARY LATIN AMERICAN THEATRE: THEORY AND PRACTICE. The class will include reading and critical comments of contemporary Latin American plays and of dramatic theory.

Section 001 TEATRO LATINOAMERICANO CONTEMPORANEO: TEORIA Y PRACTICA. El curso incluira la lectura y el comenatrio de textos dramaticos contemporaneos de America Latina, como asimismo de teorias de ese teatro. Se haran informes y trabajos practicos. (Contreras)

Section 002 CONTEMPORARY LATIN AMERICAN SHORT-STORY. Traditionally a popular genre in Latin America, this course will introduce students to a series of 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 its general characteristics. 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 be explored. The stories to be read in this class will lead the reader beyond the mere anecdote into the discovery of a different/new world. We will read Jose Donoso, Gabriel Garcia- Marquez, Julio Rulfo, Marta Lynch, Rosario Ferre, Elena Ponaitowska and others.

Section 002 EL CUENTO LATINOAMERICANO CONTEMPORANEO. El cuento ha sido tradicionalmente un genero popular en America Latina y esta clase familiarizara a los estudiantes con cuentos escritos por famosos escritores contemporaneros de esta parte del mundo. Se presentara una breve histroia del desarrollo del cuento, como asimismo se discutiran sus principales caracetristicas. Exploraremos la idea de Julio Cortazar de que el cuento "esta en ese plano del hombre donde la vida y la expresion escrita de esa vida, libran una batalla fraternal" y que el cuento es "el resultado de esa batalla, una sintesis viviente a la vez que una vida sintetizada. "Los cuentos que se leeran llevaran a sus lectores meas alla de la mera anecdota, hacia el descubrimiento de un mundo diferente. (Moya-Raggio)

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

Advanced Proficiency in French is especially but not exclusively designed for students who intend to study in France (such as students who have applied to the Michigan Junior Year in Aix program). This course includes development of speaking skills in informal and formal contexts, and initiation to writing formats and styles customary in French universities. A rich cultural component will prepare students socially and mentally as well as technically and intellectually to living and studying in France. Emphasis will be put on modern France and current events. Students will write daily exercises and weekly papers of various lengths. Among the techniques practiced will be as follows: the French "dissertation," "contraction de texte" and "commentaire compose"; how to write an introduction, a conclusion, a paragraph, a text with logical development with the use of cohesive devices; precise and accurate wording and syntax. Directed as well as liberated practice of oral production will activate a wide range of functional expressions. Formal discourse such as "l'expose" will also be practiced. Training in reading intricate current newspaper prose and aural comprehension of lectures with note-taking will be included. Final exam: a short "expose," a brief conversion, a written French style essay ("dissertation"). Prerequisite: 320 or 361/362 or permission of instructor. [Cost:2] (Carduner)

Arts (Division 864)

268. Introduction to Visual Thinking: Adventures in Creativity. (4). (Excl).


INTRODUCTION TO VISUAL THINKING: ADVENTURES IN CREATIVITY. This is a studio course designed to develop and enhance visual thinking skills, flexible problem-solving strategies, and creativity. No previous art training is necessary. There will be daily activities designed to overcome perceptual and conceptual blocks and nurture creative strategies. Four longer 3-D projects will give students the opportunity to put these strategies into practice. Slides, lectures, readings and discussions about the creative process will supplement studio work. Cooperative learning in groups will be emphasized. Students will keep a comprehensive notebook of sketches and ideas, plus a daily log making explicit the creative strategies they use for a given problem. Major projects are equivalent to written exams. Readings include Roger von Oech, A KICK IN THE SEAT OF THE PANTS (Harper and Row, 1986) plus selected articles on visual thinking and creativity. [Cost:3] (Savageau)

285. Photography. (4). (Excl). Materials fee.

An introduction 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 photographs. A visual emphasis is maintained in both presentation and course work, and the student works with the medium towards a goal of personal expression. [Cost:7] (Hannum)

287. Printmaking. (4). (Excl). Materials fee.

Developing an understanding of the art of printmaking through lectures, demonstrations, practical studio experience, examples, 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 silk-screen techniques. Field trips to several area museums will be part of the class experience. Approximately eight projects will be assigned. A sketchbook/notebook is required. Class attendance is mandatory, as well as lab time spent outside the scheduled class period. There will be a studio lab fee. [Cost:7] (Cressman)

289. Ceramics. (4). (Excl). Materials fee.

This course presents basic problems in forming clay, throwing and handbuilding techniques, testing, preparing, and applying glazes, stacking and firing kilns, and operating a ceramics studio. Students are required to learn the complete ceramic process and the assumption of studio responsibilities and regular class attendance is 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. [Cost:4] (Crowell)

Humanities (Division 865)

Arts and Ideas

257. Visual Sources. (4). (HU).

The purpose of this course is to develop and sharpen the student's visual skills by examining the world of images in which we live and discussing the process of perception. We will analyse selected examples of painting, sculpture, the graphic arts, architecture, photography, television, film and dance. The works studied will not necessarily be considered in chronological order, and we will not restrict ourselves to those works that are labeled (by art critics and historians) "great." We will include, as well, images of popular and commercial art both from the past and the present. The unique qualities of each medium will be considered, and the methods and materials used in creating a work of art discussed. (In the case of film, for example, we will study the difference between black and white and color film, we will consider the current colorization controversy, and we will investigate what happens to our perception of moving pictures when they are integrated with sound). Images considered will also be studied both as expressions of the person (or persons) who created them and the culture from which they have emerged. We will also explore the impact and affect of our immediate visual environment on our psychological state (campus architecture, for example, including student living spaces, classrooms, libraries, and local restaurants). Visits to local museums will be planned, and we will spend some time outside the classroom exploring Ann Arbor. There will be several short papers which will include intensive visual analysis, and students will be asked to keep a log of their encounters with, and ideas about, the visual arts that they encounter in their day to day experiences or in which they are especially interested. (Genne)

275. The Western Mind in Revolution: Six Interpretations of the Human Condition. (4). (Excl).

THE WESTERN MIND IN REVOLUTION: SIX REINTERPRETATIONS OF THE HUMAN CONDITION. 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 reevaluation of Western man's concept of himself as well as a reassessment of the nature and function of his political and social institutions. Since each of these revolutions arose in direct opposition to some of the most central and firmly accepted doctrines of their respective ages, we will study: 1) how each thinker perceived the particular "truth" he sought to communicate; 2) the problems entailed in expressing and communicating these truths; and 3) the traumatic nature of the psychological upheaval caused by these cataclysmic transitions from the past to the future both on the personal and cultural level. 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, RELATIVELY, THE SPECIAL AND THE GENERAL THEORY: A POPULAR EXPOSITION (1921). Three one-hour exams and one paper. [Cost:2] (Peters)

312/Slavic 312. Central European Cinema. A knowledge of Russian is not required. (3). (HU).

See Slavic Film 312. (Eagle)

333. Art and Culture. One History of Art or Arts and Ideas course, or permission of instructor. (4). (Excl).

Section 001 FIGURING SEXUALITY INTO HISTORY AND CULTURE. Will examine changing conceptions of sexual differences and sexual relations embodied in practices of marriage, celibacy, homosexuality, licit and illicit heterosexual desire from classical antiquity to the present. The theoretical foundations of such an inquiry in anthropology, psychology, and political philosophy will be examined, along with the work of such historians as Peter Brown, Michel Foucault, John Boswell, and Natalie Davis. Close examination of selected works of literature and visual art will form an integral part of this inquiry. (Crow)

Section 002 TELEVISION TEXT ANALYSIS: CINEMATOGRAPHY, NARROTOLOGY, AND AUDIENCE. "The history of the living world can be summarized as the elaboration of ever more perfect eyes," Pierre Teilhard de Chardin. What does television allow, even require, its audiences to witness to see and respond to? What is unique about television's way of having us know information about the world? These questions, as well as others about the dramaturgy and technology shaping television narratives, have too rarely been approached in serious and detailed analyses that take into consideration the complexities of society, medium, and forms of text. Raymond Williams reminds us in CONTACT: HUMAN COMMUNICATION AND ITS HISTORY that the evolution of dramatic form in the Western World has its milestones: repertory companies, commercial theatres, motion pictures, and television. In each of these developments there is a "sharing of language, at least of gestures or of some system of signs. Moreover, these relationships are not merely available; in the course of communication they are themselves developed, and the means of communication with them." The electronic medium and the visual and verbal potentials for communication suggests needed lines of inquiry that are interdisciplinary, interaesthetic, and intercultural. But probably equally challenging to the serious critic/analyst of television is the need to acquire sufficient distanciation from the text (which has become so familiar as to be regarded as "natural") to read its content afresh. Each genre of television content (news, sports, commercials, dramatic series, talk shows) has acquired a frame and a system of signs that have become second nature to the average viewer. Nonetheless, it is the familiarity and ubiquity of television that challenges us to develop intellectual curiosity about the nature of the various texts that are set out for us on TV screens via uninterrupted imagery seemingly depicting "reality." Readings for the course will include Fiske and Hartley's READING TELEVISION and Gitlin's WATCHING TELEVISION. In addition there will be a course pack including essays/chapters by Williams, Barthes, Barnouw, Morris, Arnheim, Burke, Newcombe, and others. There will be weekly short papers and a final research paper. Everyone will log and report on a genre of text watched outside of class. Short video productions by groups will be spaced out through the term; these productions will provide experience with video as a medium and as a source of creative expression. (Morris and Cohen)

363/Phil. 363. Philosophical Bases of Communism, Fascism, and Democracy. One Philosophy Introduction. (4). (HU).

In this course the three major political philosophies of the 20th century will be examined in series. Students will read philosophical works ranging from early classical accounts of each system to contemporary criticisms and defenses of each. The aims will be: to provide a full and fair statement of important, conflicting political philosophies, to promote deeper understanding of them, and to encourage independent, critical judgment in this sphere. (Cohen)

472. Arts and Ideas Senior Seminar. (4). (Excl).

SEMINAR: ROLAND BARTHES & THE EMERGENCE OF POST- MODERNISM IN LITERATURE AND THE VISUAL ARTS. Prerequisite for Winter Term, 1990: Junior/Senior Standing or permission of instructor. This course is an introduction to the work of Roland Barthes, an important critic in the French post- structuralist school. Barthes' critical explorations are outstandingly creative; indeed, he brought into alignment the critical and creative activities, activities that before him had been considered separate and irreconcilable. In a style that is learned, witty, and humane, a style that abhors the pedantic, the dogmatic, and the exclusionary, he guides us into a new awareness of the nature of the text, a discovery of the implications, at once imaginative and physical, of writing, and a celebration of the essential role played by the reader in the creation of meaning, or as Barthes would say, of pleasure in reading. Barthes' creative originality exercised a liberating influence on criticism; it also served as a stimulus on every level to the development in the arts themselves of the style we now call Post-modern. We will devote a considerable amount of time in this course to an examination of Post-modernism in literature and the visual arts. Can a theory of "textuality" bridge the gap between literature and painting? What is the relation between allegory and the representation of history in the arts? How does "desire" run through both writing and interpretation? In what ways does the reader or viewer "make her mark" on the text or image? Part I. Writing, pre-writing, graffiti, inscription. Roland Barthes WRITING DEGREE ZERO, Isak Dinesen THE BLANK PAGE, Cy Twombly graphic works. Part II. Signs and sign systems: how significance is generated and lost. Barthes MYTHOLOGIES, Thomas Pynchon THE CRYING OF LOT 49, Jasper Johns paintings and graphics. Part III. Allegory and history: the time of desire. Barthes S/Z, Francesco Clemente paintings and drawings. Part IV. Sequence in narrative: the process of making and viewing. Barthes THE PLEASURE OF THE TEXT, Italo Calvino INVISIBLE CITIES, Jennifer Bartlett IN THE GARDEN (paintings and drawings) Part V. Reader meets writer. Barthes FRAGMENTS OF A LOVER'S DISCOURSE, Manual Puig THE KISS OF THE SPIDER WOMAN. (Sowers)

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

See Chinese 475. (Y. Feuerwerker)


210. Classical Sources of Modern Culture. (4). (HU).

CLASSICAL SOURCES OF MODERN CULTURE. This course is designed to introduce students to a selection of works, both literary and visual, from the Greek and Roman periods. We will examine these works in a variety of ways: first, through close reading and visual analysis we will try to understand the individuality of each work, its unique form, its voice, the questions it answers and those it asks, the conflicts in which it is caught. Second, we will examine the themes of sacrifices and prophecy as they unfold through these works. When Odysseus descended into the Underworld, he had to perform a ritual in which sheep were sacrificed. Only when the "dark-clouding blood" of the sheep ran into the pit were the wispy shades of the dead enabled to speak and to prophecy. What is the relation between sacrifice and speech? What is the relation between the body and the story? How was this relation enacted in the myth and ritual of the ancient world? Can we trace an organic development of this relation through time, or do we see a structural constellation that persists intact throughout this period? Our exploration of this problem will guide us through the texts and the works of art selected for study; it will also lead us into the complex and broken labyrinth of ancient religion. TEXTS: Homer, THE ODYSSEY; Aeschylus, THE ORESTEIA; Sophocles, ANTIGONE; Euripides, THE BACCHAE; Plutarch, ON ISIS AND OSIRIS, THE DECLINE OF THE ORACLES; Tacitus, AGRICOLA, GERMANIA; Petronius, THE SATYRICON; Vibia Perpetua et al., THE PASSION OF ST. PETPETUA AND ST. FELICITAS. VISUAL ARTS: Woodford THE ART OF GREECE AND ROME. (Sowers)

215. Poetry. (4). (HU).

This course is for learning to read carefully and actively, and for coming to love poetry, if possible. You will take one hour exam, memorize a poem every week, write two short papers, do a translation exercise, put together a poetry anthology at the end of term, take part in group- editing of a Scots Border Ballad and do a variety of ungraded in-class exercises. Some knowledge of a foreign language will be assumed. Special emphasis this year on the sonnet form, Chinese poetry, poems of W. H. Auden. Despite a fairly active schedule of things to do, this is a rather relaxed class. Since so much goes on in class it is ESSENTIAL that you be there. Attendance will be taken, and absence will have a negative effect on end-of-term evaluation. (W. Clark)

360. The Existential Quest in the Modern Novel. Junior/senior standing, or permission of instruction. (4). (Excl).

"God is dead. God remains dead. And we have killed him." (Nietzsche) "If there is no God, then everything is permitted." (Dostoevsky) "Everything that exists is born without reason, continues to live out of weakness, and dies by chance." (Sartre) Existentialism combines the investigation of major issues in the history of Western philosophy with daily problems of intense personal concern. In this course, existentialism will be viewed as a literary as well as a philosophical movement united by a number of recurrent and loosely related themes. (1) Theological: the disappearance of God; the condition of being "thrown" into an indifferent and ultimately absurd universe; man's encounter with nothingness beneath the floor of everyday reality revealed when familiar objects and language drop away. (2) Psychological: man's imperfection, fragility, and loneliness; the feeling of anxiety and despair over the emptiness of life and the terror of death; arguments for and against suicide; human nature as fundamentally ambiguous and hence not explicable in scientific thought or in any metaphysical system; the absence of a universally valid morality; and human nature as undetermined and free. (3) Social: man's rebellion against the inhumanity of social institutions that suffocate the "authentic self"; the escape from individual responsibility into the "untruth of the crowd." (4) Finally, man's various attempts to transform nihilistic despair into a creative affirmation of life. Texts: Philosophy: Pascal, PENSEES; Kierkegaard, THE CONCEPT OF DREAD; Nietzsche, THUS SPAKE ZARATHUSTRA; Buber, I AND THOU; Camus, THE MYTH OF SISYPHUS; Heidegger, THE WAY BACK INTO THE GROUND OF METAPHYSICS. Fiction: Dostoevsky, NOTES FROM UNDERGROUND; Tolstoy, THE DEATH OF IVAN ILYICH; Conrad, THE HEART OF DARKNESS; Kafka, THE CASTLE, Sartre, NAUSEA, Camus, THE PLAGUE. Two one-hour exams and one paper. [Cost:2] (Peters)

410. Upperclass Literature Seminar. (4). (HU). May be repeated for credit.

FROM WYRM-SWORD TO DOUBLE TRANSEPT: TRACING STRANDS OF LITERATURE AND ART IN THE MIDDLE AGES. (Prerequisite for Winter Term, 1990: Jr/Sr standing or permission of instructor.) What can we see by focusing on Medieval literatures as interlaces as weavings of distinct cultural strands? We begin with a setting of Augustine's struggles in CONFESSIONS with competing late Roman Christian views. We read BEOWULF against the background of pagan Norse texts, and Anglo-Saxon Christian sermon, and the paradoxical treasures of Sutton Hoo. Strands converge in the Church Militant themes of the French national epic SONG OF ROLAND; we follow the didactic, the grotesque, and the display. And what was the view from portrayals and signs of influence? Having kept track of another controversial figure, and portrayal of women, we see it transform through Eastern influences and Arthurian themes into romantic domination in the LAYS of Marie de France, and transform to crowned figures in the church. We pick up the strands of scholasticism with Boethius' CONSOLATION OF PHILOSOPHY, comparing selections from Thomas Aquinas' SUMMA THEOLOGICA and from testimonies of mystical transport; we ask if we can see the connections Erwin Panofsky makes in GOTHIC ARCHITECTURE AND SCHOLASTICISM. Almost all of the foregoing strands come together in one form or another in Chaucer's CANTERBURY TALES, which will be the capstone of our reading. This seminar emphasizes questioning and the shaping of questions. Some questions will have to do with the comparison of cultural strands. Others have concerned medieval scholars for a long time. Still others will rise out of our reading and from in-class discussion and writing and drawing exercises. With such questions you help make the course. You can expect to write four relatively short papers, at least one of them pursuing an inquiry; since the course emphasizes revision and rethinking, it would be better to think of these as eight papers on four topics. In addition to works named above, you will be asked to buy Calkins' MONUMENTS OF MEDIEVAL ART and a supplementary course pack. [Cost:3] (F. Clark)

452/Russian 452. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).

See Russian 452. (Makin)

Creative Writing

220. Narration. Permission of instructor. (4). (Excl).

Suggested assignment: 1250 words of prose fiction every two weeks. The class meets as a group up to two hours per week. Collections of short fiction and short novels by established writers are read and discussed. Every student meets privately with the instructor each week. [Cost:1] [WL:3] (Hecht)

221. The Writing of Poetry. Permission of instructor. (4). (Excl).

The amount of poetry each student is required to submit is determined by the instructor. The class meets three hours per week as a group. Students' poems are presented to the class for appraisal and criticism. 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. [Cost:1] [WL:3] (Mikolowski)

222. Writing for Children and Young Adults. (4). (Excl).

Individualized instruction, group discussions and readings aim at the development of original story ideas and the perfection of narrative techniques relevant to the authorship of children's books. Preliminary assignments - picture book, folklore-narrative, and media prepare each student for a self-directed final project. No prerequisites; however, a thorough reading background in children's books or the willingness to compensate for its lack is presumed. Please do NOT take this course expecting "lectures" about children's books or child development. This is a writing course emphasizing story-writing skills and aesthetics. (Balducci)

320. Advanced Narration. Hums. 220 and permission of instructor. (4). (Excl).

Suggested assignment: 1250 words of prose fiction every two weeks. The class meets as a group up to two hours per week. Collections of short fiction and short novels by established writers are read and discussed. Every student meets privately with the instructor each week. (Hecht)

321. Advanced Poetry Writing. Hums. 221 and permission of instructor. (4). (Excl).

As the title would suggest this course presupposes a background in the writing of poetry. A familiarity with the forms and major writers of contemporary poetry is also essential. This class will meet once a week, but the ability to work both independently and with small peer groups is greatly emphasized. You must be willing to read your poems in class and actively participate in the critical evaluation of other student's work. A finished manuscript of 25-30 poems is a course requirement. [Cost:1] (Mikolowski)

325. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (Excl).

Sections 001, 002, AND 003. Tutorials allow students whose writing has attained a high degree of sophistication to work in an extended project under close supervision. Tutorials also provide an opportunity for students who want to write, no matter how sophisticated their work, to have their efforts recognized both 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. [Cost:1] [WL:3] (Hecht, Mikolowski, Balducci)

326. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (Excl).

See RC Humanities 325. [Cost:1] [WL:3] (Hecht, Mikolowski, Balducci)

425. Creative Writing Tutorial. Permission of instructor. (4). (Excl).

See RC Humanities 325. [Cost:1] [WL:3] (Hecht, Mikolowski, Balducci)

426. Creative Writing Tutorial. Permission of instructor. (4). (Excl).

See RC Humanities 325. [Cost:1] [WL:3] (Hecht, Mikolowski, Balducci)


280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).

See Theatre 211. (Ferran)

381. Shakespeare on the Stage. Hums. 280 or permission of instructor. (4). (HU).

This course serves not only as an introduction to Shakespeare as an artist but also as an introduction to the study of drama as an art form. Emphasis is placed on the study of Shakespeare's plays as performed events. Students will read, discuss, analyze and demonstrate outstanding scenes from ten major plays in order to discover how Shakespeare's drama communicates its meaning to an audience in a theatre. Other topics will include the conventions and conditions of the Elizabethan stage, the shape of Shakespeare's career as a whole, modern interpretations of the Bard, and the historical, philosophical and social contexts of Shakespearean drama. The reading list, representing tragedies, comedies, histories, and the so-called "problem plays," will include KING LEAR, HAMLET, MACBETH, JULIUS CAESAR, TWELFTH NIGHT, A MIDSUMMER NIGHT'S DREAM, HENRY IV, PART ONE, RICHARD III, MEASURE FOR MEASURE, and THE TEMPEST. [Cost:2] (Ferran)

385. The Theatre of Bertolt Brecht. (4). (HU).

THEATRE OF BERTOLT BRECHT. The drama of Bertolt Brecht, represented by a selection of his plays in English translation, is the subject of this course. We aim to arrive at an informed understanding of the generally used adjective "Brechtian." To do this we will become intensely conversant with seven plays, less intensely so with another eight; in each we will appreciate the variety of Brecht's dramatic style. We will also read and discuss some of his writing on the theory of Epic Theatre, on the "dialectics in the theatre," and on his general idea of a theatre that should represent the twentieth-century world as alterable. In addition to the fifteen plays, readings will include substantial amounts of secondary material on Brecht's life and his European background. Four short analytic papers (total 24 pages), a long book report/essay, a final project of presentational kind, and participation in class presentations complete the requirements. Prerequisite for Winter Term, 1990: Hums 280/Theatre 211 or permission of instructor. [Cost:3] (Ferran)

386/MARC 421. Medieval Drama. Hums. 280 or permission of instructor. (4). (Excl).

MEDIEVAL DRAMA. Survey of the various genres of medieval drama from Latin liturgical plays to the vernacular mystery plays, miracles and saints plays, moralities, interludes, and popular farces and folk plays, with an emphasis on the English tradition but with significant attention paid to the French, Dutch, and German as well. Theatre historical perspectives and iconographic/art historical research will be put to the test in exploratory scene-work and other reconstructions. (A portion of the class, for example, will be devoted to an upcoming theatre project, the staging of a 12th-century elegiac comedy, BABIO, in the original Latin.) Those with backgrounds in art history, religious history or medieval Latin are also encouraged. Principal text: The Anthology MEDIEVAL DRAMA (1975) edited by David Bevington. (Walsh)

485. Special Drama Topics. Sophomore standing. (1-2). (Excl). Offered mandatory credit/no credit. May be repeated for a total of 4 credits.

Special Drama Topics. (GLASNOST Theater Project) Students will be engaged in concentrated dramaturgical research on Mikhail Shatrov's 1988 play ONWARD! ONWARD! ONWARD! in conjunction with the playwright's residency at University of Michigan and a staged reading of the work. Prerequisite for Winter Term, 1990: RC Drama Concentrators or permission of instructor. (Walsh)


250. Chamber Music. (1). (Excl). Offered mandatory credit/no credit.

All students who are interested in participating in small vocal and instrumental ensembles can enroll for one hour of credit. Ensembles have included: madrigal singers (meeting time has been M 6-9:00); mixed ensembles of strings and winds (meeting T 6-9:00); brass quintet; intermediate recorder ensemble; string quartet; woodwind quintet; and some other duos and trios. Responsibilities include 3-4 hours of rehearsal time per week (some individual and some group rehearsal) and participation in one or more chamber music concerts per term, if appropriate. (Barna)

252. Topics in Music. (4). (HU).

TOPICS IN MUSIC: WORDS AND MUSIC. Through the study of various genres that combine poetry and music, such as the madrigal, art song, opera, folk, pop/rock, and jazz, this course will address both the technical/aesthetic issues in the combination of two art forms, and the social contexts in which these genres are created. Course work will include several short papers as well as a larger final project. This project will be a detailed study of some music of current interest to each student, and may draw upon personal musical experience as well as musical experiences to be found in the community. In-class performances of any type of music studied will be welcomed. [Cost:2] (Frascarelli)

253. Choral Ensemble. (1). (Excl). Offered mandatory credit/no credit.

The Residential College Singers is a choral ensemble open to any interested member of the University community, including but not limited to Residential College students, CEW students, and residents of East Quad. The class focuses on improving singing and music reading skills, interpreting choral works, and preparing music for performance. The course may be elected each term for credit and will satisfy the arts practicum requirement. Grades are not given; credit is based primarily on regularity of attendance. No audition or prerequisites are necessary. (Schrock)

350. Creative Musicianship. (4). (HU).

TOOLS AND SKILLS FOR THE NON-MUSIC MAJOR. This music theory-composition course is designed to give students the skills necessary to create and to understand music. Nothing is assumed in the way of musical background. Those 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 including some who are already composing music. Each student works at his or her own pace and level within the context of the musical element under consideration (rhythm, melody, harmony). This course meets for four class hours, and one should plan to spend a minimum of ten hours per week preparing material for class. The accompanying lab (Humanities 351) is required unless excused by the instructor. [Cost:2] (Heirich)

351. Creative Musicianship Lab. Hums. 350. (1-2). (Excl).

This is a required lab course to be taken with Humanities 350. It will deal with the three basic elements of music (melody, harmony, rhythm) through music, reading, writing, singing, and the use of ear-training tapes. The lab 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. (Heirich)

Interdivisional (Division 867)

350. Special Topics. (1). (Excl). Offered mandatory credit/no credit. May be repeated for a total of 6 credits.

Section 001 HEALTH and LIFESTYLE. THIS PARTICULAR TOPIC OF HEALTH AND LIFESTYLE MAY NOT BE REPEATED FOR CREDIT. This is a one credit short course consisting of six two-hour seminars exploring concepts of health promotion and personal responsibility for health. The course will cover subjects including: how people make decisions about their health, effective strategies for changing health-related behaviors, identification of areas in which individuals can take charge of treating illnesses, and specific health topics such as stress, nutrition, exercise, alcohol, and smoking. The course focus will be aimed toward students interested in changing personal health habits as well as those who may be considering health-related careers. The course will meet January 15 through February 19. (Sarris)

Section 002 INTEGRITY OF EARTH AND LIFE. The lectures focus on the planet Earth and on the diversity of life which evolved on this planet and will start with a short survey of the cosmological, biological, geological and archeological history. The subsequent timescales underline the rapid changes which modern society enforces on this earth. General insights in the synthesis and evolution of elements, molecules, life and species may be of help to perceive vital signs given by the earth as a life-bearing planet. Many of these signs are not yet fully understood; almost all of these signs were till present times ignored. Beyond the horizon of science, the environmental ethics involve an intrinsic right-of-being, that is a durable covenant with all species in all biotopes. The lectures will attempt a sketch of implicit requirements and plights for human civilizations, aiming at a stable stratosphere and troposphere, at unpolluted oceans, clean inland seas, preserved soil and landscapes, and barring present-day mass extinction. The lectures are presented with a background of natural sciences, but they touch philosophy and ethics. Some insight in physics, astronomy, geology or biology may be helpful, but is not a necessity. The lecturer with his European background welcomes discussions with American students and looks forward to reading their essays. Readings: P. W. Taylor, RESPECT FOR NATURE (1986). Other readings will be available in a course pack. This one-credit mini-course will be offered on Wednesdays, 11-12: 30, from January 17 to March 14. [Cost:1] (van Klinken)

351. Special Topics. (2). (Excl). Offered mandatory credit/no credit. May be repeated for a total of 8 credits.

Section 001 PSYCHOLOGICAL DEVELOPMENT DURING YOUNG ADULTHOOD. Drawing on psychological theory, literary accounts, and interview data, this course explores patterns of personal development during young adulthood. Among the covered topics are: the process of leaving home, changing relationships with parents, anxiety and depression in development, patterns of friendship and intimacy, identity and career choice, involvement in social issues, and the development of an integrative life purpose. In addition to lectures, readings, and class discussion, the class will draw heavily on interviews to be conducted by the students themselves. Through analysis of these interviews, the class will be involved in CREATING psychological theory not only learning and applying it. [Cost:1] (Greenspan)

Section 002 SOCIAL, TECHNICAL, AND ECOLOGICAL PERSPECTIVES ON CONTEMPORARY LAND USE IN CENTRAL AMERICA. This two-hour mini-course examines the principle factors that characterize the man/land relationship in the agrarian societies of Central America, with particular attention to internal and international interventions in rural development. The course provides an overview of ecological, social and political dimensions of land use practices, and the causes of current land ownership in Central America. The course also explores the nature of the daily lives of village peasant peoples, the broad ecological characteristics of the tropics, the forces which control their economies, and the historical pressures which maintain poverty and underdevelopment. Guatemala is used as a case study to illustrate the principles of land tenure, land use and ecological impact. Special attention will be given to the use of forest lands, agents of tropical deforestation (e.g., settler cultivators, cattle ranchers, commercial loggers, and fuel wood gatherers) and efforts to forestall environmental damage from rapid vegetative conversions. Course meets from January 9 through February 11 and is jointly offered with the School of Natural Resources. Reading list will include: Catharine Caulfield's IN THE RAINFOREST; William Cronin's, CHANGES IN THE LAND, Erich Jacoby's, MAN AND THE LAND, THE FUNDAMENTAL ISSUE OF DEVELOPMENT; Susanne Jonas', "Guatemala, Land of the Eternal Struggle"; V.G. Kiernan's, IN LATIN AMERICA, THE STRUGGLE WITH DEPENDENCY AND BEYOND: THE LORDS OF HUMAN KIND; Frances Lappe's, et al, ATO AS OBSTACLE; Nathaniel Linchfield's, "Towards a Comprehension of Land Policy" (Chapter 2); D.H. Koenigsberger, editor, IN A REVIEW OF LAND POLICIES; and Norman Myers, AN ATLAS OF PLANET MANAGEMENT, THE PRIMARY SOURCE. [Cost:1] (Burchfield)

450. Science and Social Responsibility. (4). (Excl).

HISTORY OF CHEMICAL AND BIOLOGICAL WARFARE AND DISARMAMENT. This seminar explores trends and issues associated with the development of chemical and biological disarmament. The introductory sessions examine four dimensions of CB warfare: the nature of CB weapons; the policies and strategies that have guided development of these weapons; the discourse of strategic theory; and the role of international law in restraining recourse to CB warfare. Later sessions will examine specific periods and events in the history of CB warfare and disarmament, particularly with a view to understanding the kinds of precedents that have been set both for use and non-use. The main emphasis of the course will be on developments since 1975, particularly on the resurgence of military interest in CB weaponry in the 1980s and on social, legal and cultural routes towards disarmaments. Texts: Stockholm International Peace Research Institute, THE PROBLEM OF CHEMICAL AND BIOLOGICAL WARFARE (1971-73). (On reserve); E. Geissler (ed.) BIOLOGICAL AND TOXIN WEAPONS TODAY (1986); S. Wright (ed.) PREVENTING A BIOLOGICAL ARMS RACE (Cambridge, Mass.: MIT Press, 1990); Sean Murphy, Alastair Hay and Steven Rose, NO FIRE, NO THUNDER (1987). Other readings will be placed on reserve or will be available in a course pack. Course requirements: two short papers and a substantial research paper. Prerequisite for Winter Term, 1990: Jr/Sr standing or permission of instructor; one intro course in Political Science. [Cost:2] (Wright)

Natural Science (Division 875)

260. Science and Societal Issues: The Immune System. Introductory science course or permission of instructor. (4). (NS).

This course introduces students to the field of immunology and to societal issues that relate to contemporary scientific and biomedical research. The course concentrates first on the biological basis of the immune response. An understanding of biological concepts, in turn, serves to prepare students to examine some of the social and ethical issues that derive from this area of scientific research. Students will gain a basic understanding of the biology of the immune system; they will also examine the larger context within which scientific knowledge is used and promoted. Topics include: autoimmunity, immunization, transplantation, allergy, AIDS, cancer therapy, science as reported and promoted in the media, and the impact of funding and policy decisions on scientific and medical research. Students will read an introductory text on the immune system, original research reports and reviews, and articles and books about the scientific enterprise. Students will be evaluated on the basis of two examinations, a short paper, a research paper, and class participation. The class meets for three hours per week: time will be divided between lectures and discussions. [Cost:2] (Sloat)

265. New Reproductive Technologies. (4). (NS).

This course will examine several facets of a number of new reproductive technologies: contraception; artificial insemination by sperm from partner of anonymous donor; in vitro fertilization, including fertilization of "donor eggs"; embryo transfer and embryo freezing; surrogate motherhood, abortion, sex determination, and ectogenesis ("artificial wombs"). Each of these technologies will be examined from four perspectives: feminist, that of the medical/scientific community, legal, and ethical. The feminist argument that women are being used by the male medical system to develop technologies which will further denigrate the position of women in society will be presented. Original research reports and articles addressing ethical problems from a medical/scientific viewpoint will be considered. Proposed and actual legislation will be examined. A thorough understanding of the underlying biology of reproduction will be developed, including the hormonal control of reproductive cycles, ovulation, fertilization, embryo formation, placental function and pregnancy. A knowledge of how these technologies work, and how they are performed, will form the foundation for an examination of their ethical, legal, and social implications. Students will be challenged to thoroughly examine a wide variety of opinions (including their own) thoughtfully and critically. A background in biology is not necessary, but will be helpful. [Cost:1] (Thorson)

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

This course examines the development of genetic engineering and other biogenetic technologies that provide powerful methods for controlling and modifying life forms. The principal goal of the course is to develop a board historical perspective on the emergence and development of a new field of science and technology, one that emphasizes its conceptual basis and scientific achievements, the contexts in which the field is evolving, the terms of development, and the social and ethical issues associated with its development and application. This term, group projects on the social and ethical issues associated with emerging or projected applications of biotechnology for example, the patenting of life forms, military use, the release of genetically engineered organisms into the environment, agricultural applications, genetic engineering in humans, the human genome project are planned for this course. Required texts (in bookstores): Sheldeon Krimsky, GENETIC ALCHEMY (Cambridge, Mass.: MIT Press, 1982), Marc Lappe, BROKEN CODE: THE EXPLOITATION OF DNA (San Fransisco: Sierra Club Books, 1984). Other readings will be available in a course pack. Course requirements: several short papers, a quiz on basic molecular biology, and either a term paper on a subject related to the main themes of the course or participation in a group project on a major issue associated with biotechnology. [Cost:2] (Wright)

Social Science (Division 877)

220/Soc. 220. Political Economy. (4). (SS).

This course develops a general analysis of social systems from a political economic perspective. The analysis is then focused on the political economic system of modern capitalism, especially as it has developed in the United States. The writings of a variety of social scientists are explored and discussed with an emphasis on recent studies by radical political economists. Special attention is devoted to analysis of the current political economic situation. The second part of the course then considers potential feasible alternatives to capitalist social relations for contemporary economically developed societies. Students will be encouraged to explore their won interests and ideas about alternative social policies and institutions as well as to develop their capacities for insightful political economic analysis. [Cost:2] (Thompson)

290. Social Science Basic Seminar. (4). (Excl).

This seminar is designed for students especially sophomores who are seriously considering a social science major in the Residential College. The seminar is a requirement in the social science program. Its purpose is to prepare students to pursue a concentration program in the social sciences at the RC. [Cost:1] (Frankel)

357. A History of Crime and Punishment in the U.S. (4). (Excl).

CRIME AND PUNISHMENT IN THE UNITED STATES. This course seeks to put contemporary issues of crime and punishment in historical perspective. Rather than attempt a sociology of crime, or engage in philosophical debates about the nature of human depravity, we will focus instead on the concrete means of punishment and their development, in particular on the history of the penitentiary, and build on this basis an analysis of the interaction between the political economy of crime and the means of state retribution. We will begin with recent debates about crime and its causes, examining underlying assumptions about who criminals are and what makes them misbehave, and then read some of the major formulations of the problem of punishment (Foucault, Radzinowicz, Rusche and Kirchheimer). We will then move to a historical treatment of punishment, concentrating on the evolution of the American prison since the mid-19th Century. While our focus will be on the prison itself everyday life behind bars, social organization and administrative order, movements for reform, and movements of rebellion our concern will be to understand how the world of the penitentiary is continually shaped and reshaped by changes in the society producing criminals and by changes in political priorities and dominant ideologies. We will make use of memoirs, first-hand accounts, and prison literature, as well as standard histories; and students will be encouraged to take up independent work in this material. While the course will involve lectures and guest talks, students will find that considerable emphasis is placed on reading and participation in class discussions. Everyone will be required to do a seminar presentation, a book review, and a term paper. (Bright)

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

Section 001. THE NEW SOCIAL HISTORY OF THE SOVIET UNION. This course examines recent scholarship on the Soviet Union with a focus on the following topics: the construction of Soviet politics and society in the 1920s; the relationship between the 1920s and 1930s; the culture of the intelligentsia; and the question of Stalinism. We will also explore new approaches (anthropological, feminist and musical) to the study of Soviet society. The goal of this course is to develop a critical understanding of the strengths and weaknesses of this new scholarship and produce new ideas for research and analysis. Students will write two papers and are expected to participate actively in discussions. [Cost:4] (Burbank)

Section 002 ISSUES AND THEORIES OF THIRD WORLD DEVELOPMENT. In this course, we will examine political, economic and cultural responses to colonialism and imperialism in the Third World, in both the realms of theory and practice. After looking at certain classic statements on colonialism, by writers like Fanon and Cesaire, we will examine in outline: theories of dependency and national liberation; debates on different paths to development (the "modernization" model, the state capitalist approach, "African socialism," the non-capitalist or socialist-oriented path, etc.); the social make-up and "revolutionary potential" of Third World classes; the problems of the transition; feminism and Third World women. In addition to a course pack, required reading will include the following texts: DEVELOPMENT THEORY IN TRANSITION, Blomstrom & Hettne (1984), TRANSITION AND DEVELOPMENT Fagen et al (1986), AFRICAN AND CARIBBEAN POLITICS, Marable (1987). Course requirements will include lively discussion, 4 or 5 mini-papers and a final exam. [Cost:2] (Green-Gosa)

Section 003 SOCIAL SCIENCE JUNIOR SEMINAR. SOCIAL THEORY: RECENT PARADIGM CONTENDERS. In THE STRUCTURE OF SCIENTIFIC REVOLUTIONS, Thomas Kuhn argues that fields of inquiry in science go through periods of "revolution" in which the conventional wisdom from the past comes under basic questioning. New "paradigms" or "exemplary models" of how to ask questions and answer them redefine what is at issue and how it can be understood. The vast proportion of social science work today depends on "paradigmatic" statements of what is at issue that stem from the work of Karl Marx and then reactions from the next generation of European minds like Freud, Durkheim, Max Weber, and their cohort. (Major works by each of these authors are studied in RC 260: Sources of Social Science Theory). Many observers of the contemporary scene believe that the past twenty years has been (and continues to be) a comparable time of intellectual ferment, with some fundamentally new questions and modes of answering them being asked about the character of social life and the individual's place within it. This course will explore some of these more recent paradigm contenders. The reading list is still being chosen and probably will include Herbert Marcuse, ONE DIMENSIONAL MAN; Peter Berger's THE HOMELESS MIND (re: modern consciousness); Gregory Bateson's STEPS TOWARD AN ECOLOGY OF MIND; and Fritchof Capra's TURNING POINT. A wide range of other authors currently are being explored, as well, including radical feminist theorists, ecologists, political figures like Gandhi and Mao who have rethought bases of power and integration in modern life, decentralists like Hazel Henderson, E.F. Schumacher, Mark Satin, a variety of Third World social analysts and critics, and physical scientists like Ilya Pirgogine who are rethinking the nature of "structure" and qualitative change. The course will be run as a seminar, with close mutual reading of several key works, some small group responsibility for works that others have not read, and a series of papers. (Larimore)

460. Social Science Senior Seminar. Senior standing. (4). (Excl). May be repeated for credit.

This course is jointly offered with History 396.005, during the Winter Term, 1990. (Burbank)

467. Student-Faculty Research Project I. Permission of instructor. (2-4). (Excl).

STUDENT-FACULTY RESEARCH PROJECT: HOUSING PROBLEMS IN WASHTENAW COUNTY. This is a research seminar for junior- and senior-year students in the social sciences. In the tradition of past student-faculty research community courses, but on a smaller scale, we will jointly formulate, carry out and write up a research project focusing on some aspect of the housing situation in Washtenaw County. We will begin in the term by doing some general reading on housing problems in the United States in the 1980's, concentrating in particular on the increasing shortage of "affordable housing" and the growing number of homeless people. We will also begin to familiarize ourselves with the housing situation in Washtenaw County, studying past reports and information about housing compiled by various city agencies in Ann Arbor and Ypsilanti - e.g., city planning and community development departments. Then we will identify and undertake a research task that satisfies the following criteria: (1) it must shed some new light on the housing situation in Washtenaw County; (2) it must be of some help to people working to ameliorate the housing situation; and (3) it must be feasible for a group of one faculty member and 6-8 students to complete the project with a reasonable expenditure of time and effort during the Winter term. Admission to the course is by permission of the instructor; all interested students should sign the wait list and respond to a brief questionnaire form in 130 Tyler (East Quad).

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