Most RC courses are open to LS&A students and may be used to meet distribution requirements.
RESIDENTIAL COLLEGE WAITLIST PROCEDURES: Unless otherwise indicated, waitlists for all Residential College courses are maintained in the Residential College Counseling Office, 134 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.
190. Intensive French I. No credit granted to those who have completed or are enrolled in 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)
For information on these intensive language courses (191: German; 193: Russian; 194: Spanish) see description for 190 (above).
290. Intensive French II. Core 190. No credit granted to those who have completed or are enrolled in 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 and 294.
For information on these intensive language courses (291: German; 294: Spanish) see description for 290 (above).
293. Intensive Russian II. Core 193 or Russian 102. No credit granted to those who have completed or are enrolled in Russian 201, 202, or 203. (10). (FL).
For Winter Term, 1990, this course is jointly offered with Russian 203. (Barinova)
320. Seminaire en français. Proficiency test. (4). (Excl). May be repeated for credit.
Section 001 – LITERATURE AND IDENTITY. This course will study the problem of identity in a group of selected French texts from the 18th to 20th centuries (one play, one tale, and two novels) and in a recent French movie. We will approach this question from two complementary perspectives. First, we will examine the different ways literature portrays the identity of characters. What role do such elements as body, language, memory, social class and history play? Second, we will examine the function of literature in questioning/reformatting/consolidating the identity of the reader. In what way is the act of reading a part of our own sense of identity? Students will be asked to write a short essay on each of the texts and movie for a total writing assignment of approximately 25 pages. Regular participation in class discussions is expected. Required readings: Marivaux: LE JEU DE L'AMOUR ET DU HASARD; Flaubert: LA LEGENDE DE SAINT JULIEN L'HOSPITALIER; Robert Sabatier: TROIS SUCETTES A LA MENTHE; Patrick Modiano: RUE DES BOUTIQUES OBSCURES. Movie: Louis Malle: AU REVOIR LES ENFANTS. Monique Kavanagh was born in Paris and did both her undergraduate work and M.A. at the Sorbonne. She has taught in France, Algeria, and Colorado. (Kavanagh)
Section 002 – LES ETATS-UNIS VUS PAR LA FRANCE. How do the French see us? What does our country mean to them? What can we find out about ourselves by looking through their eyes? Since the eighteenth century, understanding and imagining America has been a major French pasttime, one from which we can learn much about both cultures. The seminar will examine French attempts to comprehend (or construct) a real (or invented) USA, beginning with the classic voyage of Chateaubriand and Tocqueville but concentrating on recent explorations of America as the place of Gallic future shock, a land of technocratic modernity, hippiedom, malaise, Reaganism. We will also try to get a feel for what it would be like to be a French sociologist doing fieldwork in Ann Arbor.
Classes will be discussions. Readings include a wide range of works from the nineteenth century to the present (travel literature, political theory, drama, novel, humor, journalism). Students will keep a journal in French and write several compositions. (Paulson)
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 included 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: the French "dissertation." "Contraction de texte" and "commentaire compose: " how to write an introduction, a conclusion, a paragraph, a text with logical development with the use of cohesive devices, precise and accurate wording and syntax. Directed as well as liberated practice of oral production will activate a wide range of functional expressions. Formal discourse such as "l'expose" will also be practiced. Training in reading intricate current newspaper prose and aural comprehension of lectures with note-taking will be included. Final exam: a short "expose," a brief conversation, and a written French style essay ("dissertation"). PREREQUISITE: RC Core 320 or French 361/362 or permission of instructor. (Carduner).
STUDENTS MUST ATTEND THE FIRST CLASS TO HOLD THEIR PLACES IN RC ART COURSES.
267. Introduction to Holography. (2). (Excl).
An introductory art studio class in basic holography which stresses the visual characteristics of the medium through hands-on production of holograms. The class will cover the technical skills involved in making simple reflection and transmission holograms and the inherent visual problems presented by this new imaging medium. It is essentially a lab oriented class with image production being the students' major responsibility. (Hannum)
269. Elements of Design. (4). (Excl).
This course provides non-art majors with the opportunity to practice, as well as study, visual skills. It attempts to give students a broad experience through 1) exposure to art history, anthropology and art, and the psychology of visual perception, presented in slide lectures; 2) technical mastery of a range of media, including pencil, charcoal, and paints; 3) development of creative and technical skills; and 4) critical assessment of works of art during class discussions and critiques. During the first part of the course students acquire a visual vocabulary by working with the basic elements of design, including line, shape, tone, texture, perspective, balance, and color. Students complete projects dealing with these visual elements. During the final part of the course students apply their new visual skills to longer, more complex projects. Students are evaluated individually on their progress and the quality of their projects. Class critiques are frequent, and attendance is mandatory. 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 color photography. A visual emphasis is maintained in both presentation and course work, and the student works with the medium towards a goal of personal expression. There will be a studio fee. Cost:7 (Hannum)
287. Printmaking. (4). (Excl). Materials fee.
Developing an understanding of the art and history of printmaking through lectures, demonstrations, practical studio experience, and individual and group discussions. The course will focus on creating original prints, exploring images, visual ideas, and the possibilities of self-expression. Emphasis will be placed on linoleum cut, wood block, and screenprinting techniques. Field trips to area museums and gallery exhibitions will be part of the class experience. Approximately eight projects will be assigned. A sketchbook/notebook is required. Class attendance is mandatory, as is lab time spent outside the scheduled class period. There will be a studio lab fee. Cost:2 (Cressman)
345. Culture and Aesthetics. (4). (Excl).
AN ETHNOGRAPHY OF CRAFT. This course considers the changing role of traditional artisans (potters, weavers, etc.) in complex societies. Through a series of historical and ethnographic case studies, we will explore such topics as the social organization of craft communities, the status of craftworkers in the pre-industrial environment, the impact of machine-manufactured goods on craft production, and the revitalization of the traditional arts during the modern period. Special attention will be paid to large-scale change agents like the William Morris-inspired International Arts and Crafts Movement, the Mingei Movement in Japan, settlement schools and craft guilds in Appalachia, and the folklife revival of the 1960's. (Sayers)
389. Ceramics Theory and Criticism. RC Arts 289 or permission of instructor. (4). (Excl).
In this course we will combine studio work in clay with the history, aesthetics, and criticism of ceramics. In the studio, we will develop content, style, form and surface, through the expansion of forming skills and decorative techniques. Concurrently, we will go beyond "craft," confronting, through critique, analysis, reading, and writing, the intellectual material of ceramics. We will read Garth Clark's CERAMIC ART: COMMENT AND REVIEW 1881-1927, and then Phillip Rawson's CERAMICS. Subsequent reading from journals - "American Ceramics," "The New Art Examiner," and others – will enable us to enter the discourse of ceramics in twentieth century art. Cost:4 (Crowell)
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. We will analyze selected examples of painting, sculpture, architecture, 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 "great" by art historians and critics. We will include images of popular and commercial art both from the past and the present. The unique qualities of each medium will be considered the methods and materials used in creating a work of art discussed. (In the case of film, for examples, we will consider 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, class rooms, and local restaurants). There will be several short papers and students will be asked to keep a log of their encounters with, and ideas about, the visual arts that they encounter in their day to day experiences or in which they are especially interested. (Genne)
311. Intellectual Currents of the Renaissance. Sophomore standing or permission of instructor. (4). (HU).
THE WORLD OF RABELAIS. This course will be devoted to a close reading and analysis of the five books of Rabelais, called GARGANTUA and PANTAGRUEL. In our analysis, we will address problems of narrative structure ("story" and "discourse"), narrative space (symbolic versus illusionistic), and the myths of authorship, originality, and literary genealogy that are both embodied in and problematized by this narrative. We will also explore Ancient, Medieval, and Renaissance constructions of madness (ecstasy, folly, melancholia) in order to see to what extent they have determined Rabelais' narrative. Because this course is interdisciplinary, we will compare Rabelais' text with selected works by four Renaissance painters: Bosch, Titian, Brueghel, and Durer. How does narrative unfold in visual space? What is the connection between vision and madness? Finally, we will probe these works for evidence of a significant contradiction: as both exponents and critiques of humanism, as simultaneously promulgating and undermining the Renaissance myth of rebirth. Texts: Rabelais GARGANTUA AND PANTAGRUEL (five books); Plato, THE SYMPOSIUM, THE LITTLE FLOWERS OF ST. FRANCIS, THE LIFE OF CHRISTINA THE ASTONISHING. Visual Arts: Hieronymus Bosch, Titian, Pieter Brueghel, Albrecht Durer. (Sowers)
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 – TELEVISION TEXT ANALYSIS: NARRATOLOGY, CINEMATOGRAPHY, AND AUDIENCE. What is unique about television and the perspectives it gives us on the world? Social analyst Raymond Williams reminds us that public forms of discourse/communication have evolved through a series of forms: repertory companies, commercial theatres, motion pictures, and television. In each of the cases, he observes "there has been a new sharing and integration of languages, at least of gesture or of some system of signs. Moreover, these fresh inter-relationships are not merely available; in the course of communication, they are themselves developed, and the means of communication with them." The challenge to the analyst/critic of television is to acquire relevant critical methodologies plus distance from the text to read meanings within its text afresh and accurately. Too much of what is said about television is superficial and fundamentally without substantiation other than personal opinion. To develop methods for accurately interpreting the meanings in the text, and for exploring various audience members' relations to that text and the reasons for those relationships, we will be reading about and applying systematic procedures as evidenced in the work of Fisks and Harley, Gerbner, Radway, Barthes, Rosen, Morris, and others (who have chosen to explore such diverse genres as news, dramas, soap operas, sports, commercials, etc.). There will be weekly short papers and a final research paper. Everyone logs and reports on genres of text watched outside of class. Short video productions by small groups of class members provide hands-on experience with television as a medium of expression and creativity. At the close of the term, each student presents the findings of his/her research to the class. (Morris)
Section 002 – THE "ISLAMIC" CITY: URBAN FORM AND SOCIETY. For Winter, 1991, this section is jointly offered with History of Art 585. (Tabbaa)
Section 003 – THE WESTERN. The Western has long been considered one of Hollywood's greatest genres. Perfectly uniting character study and action, it has influenced the imaginations of audiences world wide. The recent success of THE LONESOME DOVE (1988) demonstrates that the genre is still vital and relevant to our lives. One reason, undoubtedly, is our desperate need for heroes. Usually this person, skilled in weaponry and possessing the "cowboy" talents needed to live off the land, finds that if he and/or civilized values are to survive he must use violence. We will examine these situations as well as the conventions and ideologies embodied in individual Westerns, the role of women, the presentation of Native Americans, and the reasons behind the revisionist approaches that have dominated Westerns for the last two decades. In examining a dozen or so of the most famous and powerful Westerns we will look at the films of such specialists in the genre as John Ford (STAGECOACH, MY DARLING CLEMENTINE, THE SEARCHERS), Howard Hawks (RED RIVER, RIO BRAVO), William Wellman (THE OXBOW INCIDENT), Anthony Mann (THE MAN FROM LARAMIE), Sam Peckinpah (RIDE THE HIGH COUNTRY, THE WILD BUNCH), Sergio Leone (THE GOOD, THE BAD, AND THE UGLY, ONCE UPON A TIME IN THE WEST), as well as the work of directors who made only a single, great Western: Fred Zinnenmann (HIGH NOON), Geroge Stevens (SHANE), Brando (ONE-EYED JACKS), Robert Altman (MCCABE AND MRS. MILLER). We will also discuss how the great Hollywood stars – John Wayne, Gary Cooper, Henry Fonda, James Stewart, Gregory Peck, Marlon Brando, Randolf Scott, Joel McCrae – used this genre to project the qualities that made them stars. Writing: Students will keep a journal, and write two papers and a final exam. A lab fee of $20.00 will be assessed. Cost:1 (H. Cohen)
472. Arts and Ideas Senior Seminar. (4). (Excl).
19TH CENTURY WOMEN ARTISTS. The second half of the nineteenth century saw radical changes in the style and subject matter of arts, as well as its social context and the manner in which art was produced and consumed. Women took part in this revolution, although the history of the art of this period is still written largely in terms of those male artists that art historians group under the labels Realism, Impressionism, and Post- Impressionism. This course will investigate the lives and work of six women artists of this period – Berthe Morisot, Mary Cassatt, Marie Bracquemond, Eva Gonzales, Suzanne Valadon, and Rosa Bonheur. Their work will be examined both from the point of view of the art historian and in relations to women's studies. We will ask the following questions: What was their relationship, as artists and women to the male defined art world of which they were a part? Do these painters share any qualities of style and subject matter than can be characterized as distinctly female? How can we best look at them as contributors to, and participants in, the various styles and movements of Realism, Impressionism, and Post- impressionism? How were they perceived (or not perceived) by critics. Do they, as a group, and individually, differ from the male painters (among them Courbet, Manet, Monet, Renoir, and Degas) who were their colleagues? What was the affect of their upbringing on their work? Did Cassatt, as an American woman, differ in attitude and approach to her work from her French colleagues (bothä male and female) in the Impressionist group? Did marriage and maternity affect the work and subject matter of those artists? (Morisot and Bracquemond, for example) who chose to wed and have children? These and other questions will be explored Fridays from 9:00 a.m. – noon in the Senior Seminar. (Genne)
475/Chinese 475/Hist. of Art 487/Asian Studies 475/Philosophy 475. The Arts and Letters of China. (4). (HU).
THE ARTS AND LETTERS OF CHINA. This interdisciplinary course is jointly taught by faculty specialists from the fields of Chinese history, religion, philosophy, art history, drama, and literature. It is NOT a survey course. Instead, the focus will be on the sustained and critical study of a number of significant and representative works – philosophical, literary, dramatic, visual – drawn from several humanistic disciplines in order to present the major themes of Chinese civilization. Our goal is a direct and intense engagement with the ideas and art of a distinct and complex culture and to observe how major themes continue, persist, or change as we move from the past to the present.
Background lectures on history, language, and cosmology will be followed by topics and readings that include: Confucianism (MENCIUS) and Taoism (CHUANG-TZU); recurring themes in Chinese religiosity, Ch'an (Zen Buddhism); classical narratives; lyricism and visual experience in poetry and landscape painting; storyteller tales; the poetic-musical theater; modern fiction of revolutionary China.
Course format: lectures and discussions by Baxter (language); Crump (theater); DeWoskin (myths and early writings); Edwards (art history); Feuerwerker (modern fiction); Foulk (religion); Lin (poetry); Munro (philosophy); Rolston (traditional fiction). In the fourth hour we will divide into two discussion sections. No prerequisite. Requirements: Three short papers and final exam. (Lin)
214. Fundamentals of Narrative Fiction. (4). (HU).
This course will focus on three main questions: 1) What is it to tell a story? What is the difference between spoken and written stories? 2) What is the effect of the narrator on a story? (Suppose we think the person telling the story is a liar, for instance?) 3) Can novels make us better people? (Can they make us worse people?) These questions will be raised as we read prose fiction (short stories, novels) and at least one work which presents itself as non-fiction. Books for this course may be picked up at SHAMAN DRUM BOOKSHOP. They include: SURFACING, Margaret Atwood; WAITING FOR THE BARBARIAN, J. M. Coctzee; THE GOOD SOLIDER, Ford Madox Ford; SHORT SHORTS, Irving & Ilana Howe; ALL THE KING MEN, Robert Penn Warren; THE DOUBLE HELIX, James Watson; FAVORITE FOLKTALES FROM AROUND THE WORLD, Janes Yolen, ed. Course pack requirements will be announced after the start of class. (W. Clark)
318. Critical Approaches to Literature. (4). (HU).
PSYCHOANALYTIC INTERPRETATION OF LITERATURE AND THE VISUAL ARTS: FREUD AND LACAN. This course will address the problem of the psychoanalytic interpretation of literature and the visual arts. We will base our study on selected works by Sigmund Freud and his most provocative recent interpreter, Jacques Lacan. What can readers of texts and images learn from a Freudian analysis of dreams, free association, and parapraxis? What can the analytic situation itself, the field of transference, tell us about the situation of the reader or viewer? Does a text or an image have an unconscious? How do we know? If it does, how can we disclose its presence, discover the direction of its warp? Finally, can psychoanalytic theory enable us to find a common ground between literature and the visual arts? Can we discover in the halting voice and in the marked hand a deep link between the vision and the word? Syllabus will include: Sigmund Freud, THE WOLFMAN; Ivan Turgenev, FIRST LOVE; Freud, DORA: AN ANALYSIS OF A CASE OF HYSTERIA; Charlotte Brontë, WUTHERING HEIGHTS; Edvard Munch-paintings; Freud, LEONARDO DA VINCI AND A MEMORY OF HIS CHILDHOOD; Leonardo da Vinci-paintings; Freud, BEYOND THE PLEASURE PRINCIPLE; Georgio De Chirico-paintings; Jacques Lacan, SPEECH AND LANGUAGE IN PSYCHOANALYSIS; Mary Kelly, POST- PARTUM DOCUMENT. (Sowers)
340. Four Interdisciplinary Studies in 19th and 20th Century Intellectual History: Psychoanalysis, Mysticism, Nihilism and Marxism. Junior/senior standing, or permission of instructor. (4). (HU).
This course will compare and contrast the presentation of several ideas that have fundamentally redefined western man's concept of himself in the last 100 years as reflected in four different disciplines (political science, philosophy, theology, and psychology) and three literary genres (drama, novel, and short story). These ideas center upon the rise of the totalitarian state, the emergency of "psychological man," and the destruction of the concept of God as well as of all absolute value systems. How do the styles of each discipline and genre differ according to the writer's aim and intended effect upon the reader? Can we isolate and describe the particular techniques (discursive and metaphoric) used, respectively, by the political scientist, philosopher, theologian, and psychologist to explain and convince? In particular, how does literature as a genre differ from the four other disciplines in its function as a "living laboratory" for the exploration of and experimentation with new visions of the self and society? I. LITERATURE AND PSYCHOLOGY: PSYCHOANALYSIS IN THE SHORT STORY. Theories of psychosexual development and the father-son conflict. Texts by Freud, Kafka. II. LITERATURE AND THEOLOGY: THE IRRATIONAL IN THE NOVEL. Man's religious, mystical impulse in conflict with the logic of science and the demands of rational self-interest. Texts by Kierkegaard, Dostoevsky. III. LITERATURE AND PHILOSOPHY: EXISTENTIALISM IN THE NOVEL. Nihilism and the concomitant destruction of Christian morality and the Western concept of the self. Texts by Nietzsche, Camus. IV. LITERATURE AND POLITICAL SCIENCE: COMMUNISM AND THE DRAMA. The ethics and psychology of Communist revolution and terrorism. Texts by Marx, Lenin, Brecht, Sartre. Two examinations and one term paper. Cost:3 (Peters)
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 reasons, continues to live out of weakness, and dies by change." (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. Philosophic texts by Pascal, Kierkegaard, Nietzsche, Buber, Jaspers, and Heidegger; fiction by Dostoevsky, Tolstoy, Camus, Sartre, Rilke, and Kafka. Two examinations and one term paper will be required. Cost:3 (Peters)
410. Upperclass Literature Seminar. (4). (HU). May be repeated for credit.
ETHNO-POETICS: CROSS CULTURAL APPROACHES TO VERBAL ART. For Winter, 1991, this section is jointly offered with Anthropology 473. (Mannheim)
411. Translation Seminar. Reading proficiency in a foreign language. Upperclass standing or permission of instructor. (4). (Excl).
Translation is both a creative act, in which we interpret personally, and a receptive act in which we focus intently on the creativity of another artist, another culture. As we translate a work, then, we continually study the subtleties of person, language, and cultural contrast, and hone our capacity for interpretation and precision. We face questions such as, What happens when I imitate? – When I recreate? How can I convey tone, proverb, slang? To whom am I responsible, and for what? In this process we may come to know why poets are often translators. This course has three strands, which weave into a coherent and practical piece. First, we meet the problems and surprises of translations already made, through class exercises and comparison. Through such examples as successive translations of THE SEAFARER and of the Bible we can see the effects of cultural change on personal choice and on "fidelity." We can see translations at varying removes from the source in Classical Greek, Asian, and Native American poetry. Short exercises in class will carry us into metaphor, imitation, and parody. Second, we weave into our increasing experience the views of translators such as Fitts, Brower, Steiner, Pound, Nabakov, Hymes, and Allen, who have faced the same obstacles we do; and of theorists who ask broader-ranging questions, such as Benjamin, Bakhtin and Geertz. Third, as our continue focus during the seminar, we will each find and engage in a translation project from our own language or speciality. Thus we develop our own theory of translation and our own creative endeavor. We'll each have a faculty mentor in the language; we'll have visitors at work on translations, and our own workshops in the same language or those with related challenges. The translation project and frequent short and phased writings about what we are doing will result in 15 or 20 pages of translation with an introduction. To build toward that introduction, journal entries are to catch discoveries within our own project, and from these, our readings, and the course experience, short phased writings are to develop a personal theory of translation. This course fulfills the ECB Jr.-Sr. Writing Requirement. (F. Clark)
452/Russian 452. Survey of Russian Literature. A knowledge of Russian is not required. (3). (HU).
See Russian 452. (Makin)
220. Narration. Permission of instructor. (4). (Excl).
Suggested assignment: 1250 words of prose fiction every two weeks. Rewriting is stressed. 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. Cost:1 (Hecht)
221. The Writing of Poetry. Permission of instructor. (4). (Excl).
The amount of poetry each student is required to submit is determined by the instructor. The class meets three hours per week as a group. In addition, each student receives private criticism from the instructor each week. Contemporary poetry is read and discussed in class for style. Students are organized into small groups that meet weekly. Cost:1 (Mikolowski)
320. Advanced Narration. Hums. 220 and permission of instructor. (4). (Excl).
This course is designed for writers of longer fiction who can benefit from instruction and peer feedback. Three 15-20 page short stores or three 20-25 page segments of longer works are due at evenly spaced intervals during the term. Everyone in the class reads everything submitted. The class meets three times a term, as a workshop, to discuss everyone's work. Each student meets with the instructor each week for private discussion of work both completed and in progress. This course satisfies the Junior-Senior writing requirement for Creative Writing majors only. Enrollment is limited to a maximum of six students, usually students who have completed Narration and/or Tutorials. Permission of instructor is required. Cost:1 (Hecht)
322. Advanced Creative Writing for Children and Young Adults. Hums. 222 and permission of instructor. (4). (Excl).
This course provides students with an opportunity to continue work on stories, novellas, picture books or other media intended for young audiences. It will expand the skills and techniques already developed in RC Hums 222. Class meetings, a manuscript exchange, and private conferences with the instructor provide the structure, critical skills, and peer support that aid the writing process. The seminar will meet as a workshop on alternate weeks throughout the term. Students would also meet privately with the instructor by appointment. The work would vary in quantity and complexity, depending on the students' abilities and stated objectives, but in all cases it would represent a substantial commitment in time. Readings, revisions, and critiques of fellow students' work will form the basis for evaluation/grade. Enrollment is limited to eight. Prerequisite: RC Hums 222 and permission of instructor. Cost:1 (Balducci)
325. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (Excl).
Sections 001, 002, 003 AND 004. 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 (Hecht, Mikolowski, Balducci, Levin)
326. Creative Writing Tutorial. Hums. 221 or 320, and permission of instructor. (4). (Excl).
See RC Humanities 325. Cost:1 (Hecht, Mikolowski, Balducci, Levin)
425. Creative Writing Tutorial. Permission of instructor. (4). (Excl).
See RC Humanities 325. Cost:1 (Hecht, Mikolowski, Balducci, Levin)
426. Creative Writing Tutorial. Permission of instructor. (4). (Excl).
See RC Humanities 325. Cost:1 (Hecht, Mikolowski, Balducci, Levin)
280/English 245/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
See Theatre and Drama 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 nine 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. Among the principal plays studied and explored through scene-work will be: Histories: HENRY IV, Parts 1 & 2; Tragedies: HAMLET, ANTONY AND CLEOPATRA, KING LEAR; Comedies: A MIDSUMMER NIGHTS' DREAM, TWELFTH NIGHT; Problem Plays: MEASURE FOR MEASURE; Romances: THE TEMPEST. (Walsh)
389. The Modern Theatre. Hums. 280 or permission of instructor. (4). (HU). May be repeated for credit.
MODERN AMERICAN DRAMA. This course will survey American life, liberty and the pursuit of happiness as it is reflected on the stage. It will be divided into three units. An introductory section will examine the American theatrical tradition and its sociological implications from its origins in Federalist comedy of manners and melodrama, through minstrel shows and vaudeville, up to and including the politicalization of form and content by the Federal Theatre Project and Group Theatre. Plays read will include THE CONTRAST, THE OCTOROON, and WAITING FOR LEFTY. After a brief examination of Eugene O'Neill's flirtation with European Expressionism (THE HAIRY APE); the second section will comprise a detailed study and exploration of the three great American domestic tragedies: Arthur Miller's DEATH OF A SALESMAN, O'Neill's LONG DAY'S JOURNEY INTO NIGHT, and Tennessee Williams' STREETCAR NAMED DESIRE. The third and concluding section will investigate themes and styles encountered in the post-modern movements of the 60's and 70's, and 80's including not only an examination of playwrights such as Fornes, Mamet, and Shepard, but more sweeping avant-garde and alternative forces such as The Open Theatre, the Living Theatre, The Performance and Wooster Groups, Richard Foreman and the Ontological- Hysteric Theatre, and Robert Wilson. Requirements will include scene work, theatre going, regular participation in discussion, two papers (one analytic, one research), a midterm exam, and participation in an end-of-term presentation. (Brown)
481. Play Production Seminar. (4). (Excl).
GEORGE BERNARD SHAW'S THE DEVIL'S DISCIPLE (1897). The course will involve students in all the background work, design, and planning necessary to produce this early modern classic. Subtitled a "Melodrama" by its author, THE DEVIL'S DISCIPLE will be studied in terms of that popular nineteenth century genre, and in terms of the history play and the Shavian comedy of ideas as well. It will be placed firmly in the context of the first phase of George Bernard Shaw's career as playwright and thinker, from WIDOWER'S HOUSES (1885) to MAN AND SUPERMAN (1901). The play and its companion in the PLAYS FOR PURITANS collection, CAESAR AND CLEOPATRA will be explored extensively through scene-work early on in the course. Areas of research particular to this play will then include: Saratoga as turning point of the American Revolution, the historical personality and theatrical writings of Gen. John Burgoyne, frontiersman, the "New Woman," and Shaw's particular brand of progressive politics as reflected in the play. All students are required to participate in some phase of the production which will be staged under the auspices of the Brecht Company in early April. (Walsh and Brown)
250. Chamber Music. (1). (Excl). Offered mandatory credit/no credit.
Section 001. MADRIGAL GROUPS. (Conley)
Section 002 – INSTRUMENTAL; CHAMBER ORCHESTRA AND SMALL ENSEMBLES. (Barna)
All students who are interested in participating in small vocal and instrumental ensembles can enroll for one hour of credit. Ensembles have included: madrigal singers; mixed ensembles of strings and winds; brass quintet and intermediate recorder ensemble; string quartet; woodwind quintet; and some other duos and trios. Responsibilities include three to four hours of rehearsal time per week (some individual and some group rehearsal, and participation in one or more chamber music concerts per term, if appropriate. No audition required. Course may be used to fulfill the RC Arts Practicum Requirement. (Cost:1)
252. Topics in Music. (4). (HU).
Section 001 – WOMEN IN MUSIC. For Winter, 1991, this section is jointly offered with Women's Studies 344.002. (Frascarelli)
Section 002 – BELLS, GONGS, AND DRUMS THROUGH THE AGES. Bells, gongs, and drums are the earliest musical instruments and they continue to fascinate people today. Study will be of the origins, acoustics, and historic and present day uses of these instruments. In addition, each member of the class will construct a drum as well as perform on handbells to play music and to ring changes. The class will visit and perform on the University carillon and the gamelan. The instructor is the University Carillonneur and director of the U-M Handbell Ringers. There will be three short papers and one large project or paper required and quizzes at the end of topic units. The text will be Prices BELLS AND MAN. Cost for the course should be less than $50.00. If this course has filled at CRISP, students should contact the Residential College Counseling Office which will maintain a wait list and explain policies and procedures. Cost:2 (Halsted)
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. Cost:1 (Conley)
350. Creative Musicianship. (4). (HU).
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 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 materials for class. The accompanying lab (Humanities 351) is required unless excused by the instructor. Cost:2 (J. 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. Cost:1 (J. Heirich)
350. Special Topics. (1). (Excl). Offered mandatory credit/no credit. May be repeated for a total of 6 credits.
HEALTH AND LIFESTYLE. This is a one credit mini-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. Course will meet from January 28 through March 11.
The course is intended for lower division undergraduates yet is not restricted to lower division students. It is intended that students will achieve the following objectives: 1) Individuals will gain information and behavioral skills which will enable them to initiate individual lifestyle changes. 2) Individuals interested in health-related careers will understand the lifestyle factors related to the major causes of death in this country and will be able to utilize acquired skills to help others change their behavior pattern. 3) Individuals will acquire skills and knowledge important for healthy development and maturation not usually addressed in the academic setting. (Sarris)
351. Special Topics. (2). (Excl). Offered mandatory credit/no credit. May be repeated for a total of 8 credits.
PSYCHOLOGICAL DEVELOPMENT DURING YOUNG ADULTHOOD. Drawing on psychological theory, life histories, and the arts, this course explores patterns of development during late adolescence and young adulthood. Among the topics to be covered are: the process of "leaving home," changing relationships with parents and siblings, work and identity, "youth culture" in social and historical context, development within friendship and intimacy, and the development of faith and life purpose. Along with lectures, readings, and class discussions, this course draws heavily on interviews that are conducted by the students themselves. Thus, training in the qualitative methodologies of research interviewing and the creation of case histories is part of the course offering. Additionally, we use interactive theatre, contemporary music, and poetry in order to give vivid representation to development within this phase of the life cycle. (Greenspan)
450. Science and Social Responsibility. (4). (Excl).
POLITICS OF CHEMICAL AND BIOLOGICAL WARFARE AND DISARMAMENT. This seminar explores recent issues associated with chemical and biological warfare and disarmament, with special emphasis on the effects of 1) ongoing international efforts to achieve a comprehensive Chemical Weapons Convention and to strengthen the 1972 Biological Weapons Convention; 2) the intensification and later fading of east-west tensions in the 1980's; 3) conflict in the Middle East in the 1980s and 1990s. Special attention will be given to two dimensions of these issues: first, the roles and responsibilities of those who produce the new knowledge and techniques that could be applied to weapons development; second, current approaches to strengthening international legal restraints. Throughout, the need to address such questions in their historical and geopolitical contexts will be emphasized. There will be guest lectures on such areas as East-West relations and the present conflicts in the Middle East. This seminar will devote considerable attention to research techniques, especially use of the archival resources of the University Library and the Ford Library, and to techniques of analysis used in history and political science. Prerequisite: An introductory course in political science or permission of the instructor. Cost:2 (Wright)
MATHEMATICS 115. Section 036: This section of Math 115 will be offered primarily for Residential College students. The course will cover the same material as other sections of Math 115 – functions and graphs; derivatives and indefinite integrals, and application of polynomial functions. Special emphasis will be given to understanding concepts. Provisionally, a tutorial system is planned to be used in conjunction with this course. Students will take the uniform mid- term and final exams along with the other sections of Math 115. The main text is CALCULUS AND ANALYTIC GEOMETRY by Thomas Finney.
260. Science and Societal Issues: The Immune System. Introductory science course or permission of instructor. (4). (NS).
THE IMMUNE SYSTEM. This course introduces students to the field of immunology and to societal issues raised by contemporary scientific and biomedical research. The course concentrates first on the biological concepts, in turn, serves to prepare students to examine some of the social and ethical issues that derive from this active 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 gained and promoted. Topics include: autoimmunity, immunization, transplatation, allergy, AIDS, cancer therapy, science as reported and promoted in the media, and the impact of funding and policy decisions on the direction and progress of research. Students will read an introductory text on the immune system, original research reports and reviews, and articles and books about the scientific enterprise. Evaluation will be based on two examinations, a short paper, a research paper/project, and class participation. Prerequisite: one college-level science course or permission of instructor. The class meets for three hours per week; time will be divided between lectures and discussion. Cost:3 (Sloat)
270. New Biotechnology: Scientific, Social and Historical Perspectives. High school biology or permission of instructor. (4). (N.Excl).
SCIENTIFIC, SOCIAL, AND HISTORICAL PERSPECTIVES. This course examines the development of genetic engineering and other biogenetic technologies that provide powerful methods for intervening into the genetic constitution of living things. It asks some of the questions that the scientific community asked itself when these techniques were invented in several California laboratories in the early 1970s: what principles should guide assessment of a new form of technology in the face of varying technical opinion about its implications? Should scientific research be controlled? What should be the roles of technical experts and the wider public in policy making? Where should decisions be made? And who should decide such matters? How these issues have been addressed are central themes of the course. The principal goal of the course is to develop a broad historical perspective on the emergence and development of a new field of science and technology, one that emphasizes its conceptual basis and scientific achievements, the contexts in which the field is evolving, and terms of development, and the social and ethical issues associated with its development and application. Prerequisite: High school biology or permission of the instructor. Cost:2 (Wright)
343. Scientific Change. Any introductory science course or permission of instructor. (4). (NS).
This course examines the development of a major debate about the nature of science that began in the 1960s and continues today. The course begins by examining the empiricist view of science that dominated both philosophy and science before 1960 and remains today deeply embedded in the general culture. It then explores some recent challenges to traditional empiricism that attempt to show that science is as much a produce of its social and cultural environment as an account of natural phenomena. The final part of the course examines some poststructuralist positions that take the argument a step further, claiming that science is ONLY a social construction. The central themes of the course are examined with reference to case studies of scientific development drawn from the history of physics and biology. Prerequisite: An introductory science course or permission of instructor. Cost:2 (Wright)
NOTE TO SENIORS 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 of Independent Study (Core 405) in Winter term, and they will receive regular guidance and feedback from the faculty. See Charlie Bright, 128 Tyler, for an override for Core 405. His office hours are Wednesday, 1: 30 - 5 P.M., and Friday 9: 30 – 11 A.M., and 1: 30 – 5 P.M.) or by appointment. Telephone 764-7414.
212. The World in the 20th Century: The Corporate Era, 1930's-1980's. (4). (SS).
THE CORPORATE ERA, 1930's-1980's. This course develops the main contours of twentieth century history from a global perspective. It studies the dynamic interaction between the global systems of order that were successively deployed over the past century to stabilize domination and realize control, and the patterns of political resistance and cultural renewal that were continuously generated at the local levels of social organization to thwart, evade, or accommodate systems of control. The general aim is to understand the interaction between processes of global integration, in the organization of production and exchange and in the construction of a discourse about the world, and the concurrent multiplication of cultural differences in the reproduction of everyday life. In the winter term, we will study the history of the cold war as a form of geopolitical rhetoric and as a means of organizing a post-colonial world order under the aegis of American economic and military power. We will begin with the world depression, focusing on its agricultural as well as its industrial dimensions, and pursue its impact in the unraveling of colonial empires, in the thwarted attempt to reconstitute world empire around militarized racism, and in the emergence of "productivist" solutions to capitalist crisis which laid the ground for the cold war. We will then examine the corporate organization of the "free world" economy under Bretton Woods and its crisis in the 1970's. This will establish the ground for an account of contemporary history as the "decentering" of world order. The course will include lectures and discussions, a comparatively heavy load of reading (150 pages a week), and three written assignments: a book review, an interpretive essay, and a final paper. (Bright)
220/Soc. 220. Political Economy. (4). (SS).
The course develops a general analysis of social systems from a political economic perspective. This 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 concluding part of the course then considers potential reasonable alternatives to capitalist social relations for contemporary economically developed societies. Students will be encouraged to explore their own interests and ideas about alternative social policies and institutions as well as to develop their capacities for insightful political economic analysis. Cost:3 (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 Residential College. Seminar sessions will introduce the RC Social Science faculty to students and teach them how to turn general interests into problems that can be investigated systematically. Early on students will begin working on their own with faculty whose interests match theirs in order to complete the principle goal of the seminar: by the end of the term, each student will be expected to design a coherent program of study for the undergraduate major. Cost:1 (Weisskopf)
306. Environmental History and Third World Development. (3). (SS).
The primary objective of this course is to analyze the history of change in the natural resources endowments of the developing world, as those resources have come under intensive exploitation over the past two centuries, especially by the colonial regimes and capitalist economies of the industrial "North." We will concentrate on three subject areas: the depletion of tropical forests, the transformation of savanna lands, and the degradation of mountain systems. At two points in the course we will consider more systematically the types of historical analysis which can contribute to understanding today's natural resources policy issues. We will end with a brief survey of the history of the international wildlands conservation movement, in the context of our (by then) shared understanding of the domestication of the planet. Assignments will address the ecological impact of modern political, legal and economic institutions and their associated technologies. We will assess the relationship between economic development and the disruptions of both natural systems and indigenous cultures. We will analyze who has determined access to natural resources, and who the consumers of those resources have been. We will consider power structures in Third World societies, and the links with the United States and other industrial nations, which together have determined access to the resources of the land. This will lead into our historical overview of the international conservation movement in the context of the shifting frontier between natural and managed lands. One strand of the course will trace the evolving links between the United States and the developing world, including the international reach of American entrepreneurs, engineers and resource managers. Working within the broad framework of the United States' strategic interests, they have helped shape the ecological destinies of some Third World regions. This analysis will take us across a multidisciplinary range of material, giving a historical dimension to issues in both social and biological sciences. (Tucker)
310/Geography 310. Food, Population, and Energy. Sophomore standing or permission of instructor. (4). (SS).
This course will consider how selected Middle Eastern countries have managed the dynamic balance between population, food, and energy supplies by focusing on national food supply issues during the past thirty years (the Development Decades). Food supply is, for national governments, a basic policy consideration which cannot be seen in isolation. Governments in the region now find their countries' situations drastically altered after a generation of steadily growing global interdependency and rapid population growth. We will work as a collaborative seminar. Students will have the change to focus for the whole term on the changing situation in Middle Eastern country of their choice. Using geographical methods of analysis they will write a research paper composed of three linked segments. Permission of the instructor is required. See Ann Larimore during office hours, Wednesdays, 7-9 P.M. in the Residential College. This course meets the RC Social Science research requirement. (Larimore)
360. Social Science Junior Seminar. Upperclass standing. (4). (Excl). May be repeated for credit.
Section 001 – ISSUES AND THEORIES OF THIRD WORLD DEVELOPMENT. In this course, we will examine political, economic, and, to some extent, cultural responses to colonialism and imperialism in the Third World, in both the realms of theory and practice. We will focus as much as possible on the writings of Third World theorists and practitioners themselves, always examining and evaluating them in the light of concrete historical issues and events. 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. Key writings by Amilcar Cabral, Walter Rodney, Fernando Cardoso, Michael Manley, Julius Nyerere, Frantz Fanon and others will serve to sharpen and enliven our focus on situations in Africa, the Caribbean, and Central America. In addition to a course pack, required reading will include the following background texts: DEVELOPMENT THEORY IN TRANSITION, Blomstrom & Hettne (1984); TRANSITION AND DEVELOPMENT, Fagan, et al (1986); AFRICAN AND CARIBBEAN POLITICS, Marable (1987). Course requirements will include lively discussion, four of five mini-papers and a final exam. Prerequisite: Junior/Senior standing, or permission of instructor. (Green)
Section 002 – "PEOPLE" AND "NATION" IN LATIN AMERICA: THE POLITICS OF REPRESENTATION. The concept of the people has played a central role in nationalists and populist projects in contemporary Latin America. The intent of this course is to examine the transformation of concepts and images of the "pueblo" during selected periods of political conflict. We will explore how meaning is constructed in concrete historical situations and how cultural representations intervene in historical processes. Concepts of the people will be analyzed in conjunction with definitions of high and low, civilization and barbarism, country and city, authentic and artificial, productive and predatory. Special attention will be given to the gender dimension of these concepts, and to its role in configuring the bond between the leader and the people. The cases to be examined are Colombia during Gaitan and Venezuela during Romula Gallegos (1920's – 40's) as well as Argentina in the Peron era (1940's-50's). The course will close with a look at contemporary challenges to the populist model of the national community as they are occurring in response to the transnationalization of capital and the implementation of neo-liberal doctrines. The readings will draw on selected theoretical discussions of ideology and of narrative (e.g., R. Williams, Stalleybrass and White, D. Sommers, F. Jameson) a "national novel" for each case studied (THE VORTEX, DONA BARBARA, DON SEGUNDO SOMBRA), examples of political rhetoric and historical analyses of each country. For those with a reading knowledge of Spanish, additional readings will be available. (Skursky)
Section 003 – METHODOLOGICAL ISSUES IN SOCIAL SCIENCE RESEARCH: EXAMPLES FROM THE FEMINIST LITERATURE. This section is offered jointly with Women's Studies 480.004, for the Winter Term 1991. (Jayaratne)
Section 004 – CUBA: HISTORY AND REVOLUTION. For Winter, 1991, this section is jointly offered with History 397.001. (Scott)
460. Social Science Senior Seminar. Senior standing. (4). (Excl). May be repeated for credit.
Section 001. CONTEMPORARY SOCIAL THEORIES: RECENT PARIDIGM 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 majority 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. 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. "Musts" include Herbert Marcuse, ONE DIMENSIONAL MAN; Peter Berger's THE HOMELESS MIND (re: modern consciousness); Gregory Bateson's STEP 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 figure like Gandhi and Mao who have rethought bases of power and integration in modern life, decentralists like Hazel Henderson, E. F. Schumacher, Mark Saten, a variety of Third World social analysts and critics, and physical scientists like Ilya Prigogine 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 short papers. Cost:2 (M. Heirich)
Section 002 – DETROIT POLITICS IN THE POST-WAR ERA. This is a research seminar for upperclass students in the social sciences. We will begin with some general readings about Detroit in the period of the second world war and after. Our particular focus will be on political changes taking place as a result of wartime migrations, racial tensions, and post-war shifts in the residential patterns and industrial work. We will be especially concerned with the impact of organized labor and of racism on the shape of city politics. Students will then team up to study four successive mayoral elections (1945, 1947, 1949, and 1951). In addition to secondary sources, students will consult newspapers, archival materials, and participants; the teams will meet with the instructor and other teams to develop questions and solve problems of primary research. Seminar sessions will be devoted to a discussion of findings. The aim will be to write a series of overlapping, interrelated research papers. (Bright)
Section 003 – RELIGION AND REBELLION IN NATIVE SOUTH AMERICA. This seminar explores Native South American religions, the ways in which they have mobilized power within Native South American societies, and the ways in which they have mobilized both accommodation to and rebellion against European domination. The seminar will focus on Native Amazonian and Andean peoples, historically and ethnographically, from the time of the European invasion of America (16th-17th centuries) and today. Our goal will be to explore the politics of knowledge in these societies as it is/was shaped by religious practices and to explore the ways in which they differed in small-scale societies and in pre- Columbian states. We'll also explore the changes in Native South American religions after the conquest, concentrating on Andean and Amazonian revitalization movements, in which native religious practices were used to organize political and cultural defense of these societies. Finally, we will consider the role that Native South American religious practices have played in more straightforwardly political movements, such as the Andean rebellion of 1781 and the current civil conflict in Peru. The class will be organized as a research seminar, with an original paper due at the end of the term on a topic to be arranged with the instructor. Although reading knowledge of Spanish or Portuguese would be helpful, it is not required. (Mannheim)
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