General Studies

in the Humanities

Chairman and Director of Undergraduate Studies: Herman L. Sinaiko,

G-B 505, 702-7987

General Studies Collegiate Adviser: Lewis Fortner, HM 286, 702-8613

Committee Office and Secretary: JoAnn Baum, G-B 309, 702-7092

Program of Study

The Bachelor of Arts degree program in the Committee on General Studies in the Humanities offers qualified undergraduates the opportunity to shape an interdisciplinary plan of course work centered in, but not necessarily restricted to, study in the Humanities. The initial formulation of such a plan of study is contained in the written proposal for admission to the B.A. program that every applicant must submit.

Program Requirements

Potential applicants to General Studies should reflect on the set of guidelines that govern the overall form of individual B.A. programs and also consult with the director of undergraduate studies and the General Studies Collegiate adviser about their plans and the curricular resources involved. Because the Humanities encompass widely varying endeavors and approaches, the B.A. program guidelines in General Studies aim at helping students define a balanced and coherent interdisciplinary plan of course work. Accordingly, the guidelines specify

1. Six courses in a major field (concentration) or in closely integrated subject areas in more than one field.

2. Four courses in a supporting field or in closely integrated subject areas in more than one field.

3. Three courses in a minor field or combination of fields.

4. A sequence or group of two courses that emphasizes intellectual approaches, or scholarly and critical methods, germane to a student's particular interdisciplinary course program.

5. One course devoted to the preparation of the bachelor's thesis or project (General Studies in the Humanities 280). The development of the thesis or project is closely supervised by a faculty member of the student's choice (who need not be a member of the General Studies faculty and who serves as the second reader for the completed work) and by a first reader assigned by the committee whose responsibility is to provide guidance in matters pertaining to organization and exposition of the work.

It should also be noted that any one of the fields listed under 1, 2, and 3 in the preceding paragraphs may be drawn from outside the Humanities in formulating a proposed General Studies program. However, the sequence or group of courses described in 4 must, in keeping with the humanistic basis and orientation of General Studies, be offerings from the Humanities Collegiate Division. Commonly, this sequence consists of General Studies in the Humanities 239 (Modes of Criticism) and one course in criticism and philosophy.

The rationale for the proportional distribution of courses specified in the guidelines is twofold: (1) to ensure that students are given substantial exposure to more than one aspect of humanistically centered inquiry, and (2) to cultivate a level of sufficient competence in at least one field so that this field, alone or in combination with material learned in other fields, can serve as the basis for the B.A. paper or project.

Because the B.A. program in General Studies is not a specialized concentration in a single department, students need to use some courses normally reserved as free electives in order to complete the specified extension of study in at least three fields. However, as the above guidelines show, the B.A. in General Studies is an intensely "elective" program overall, affording broad scope to informed and intelligent individual choice. In itself the program involves proportional distribution of course work over at least three fields.

Summary of Requirements

Concentration 6 major field courses

4 supporting field courses

3 minor field courses

2 critical/intellectual methods courses

1 GS Hum 280 (B.A. paper or project)


Fields of Concentration. While the potential for developing individual B.A. programs in General Studies is as great as the combined ingenuity, imagination, and interest of each student in consultation with both advisers, there are identifiable patterns in the choices of fields and lines of inquiry currently being implemented in the committee. The most prominent of these include

1. Study in philosophy and literature (as six- and four-course fields with either literature or philosophy emphasized) to investigate differences in handling concepts and language in philosophy and literature and/or mutual influence between the two fields.

2. Study in verbal and nonverbal art forms and expressions (art and literature, music and literature) leading to consideration of the implications of the verbal and nonverbal distinction for interpretation and criticism.

3. Study in the history, philosophy, language, religious expression, and literary and artistic productions of a given culture or of a given historical period within one or more cultures. Examples include American Studies, the Renaissance, or Greece (and the Mediterranean) in the preclassical and classical ages.

4. Study in humanistic fields (for example, literature and philosophy) and in a social science field (for example, sociology, psychology, anthropology, and political science). This option is particularly adapted to a focus on women's studies, insofar as Collegiate course offerings make this possible to implement.

5. Study in languages working toward and combined with study in comparative literature, usually literature in English and in one other language.

6. Study of modern culture in its various aspects of popular and elite forms of cultural expression.

7. Study of traditional and newer art forms. Examples include literature and film, and fine arts and photography.

8. Study combining critical and creative endeavor as aspects of the same humanistic field. Examples include literature and creative (or expository) writing, drama and work in theater, art history and studio art, and languages and original compositions (or translations). General Studies in the Humanities recently developed a formal theater/drama option involving course work in the history of drama, practical aspects of theater, and dramatic criticism. Courses offered on a regular basis include Playwriting, Lighting Design for Stage and Film, Introductory and Advanced Directing, Acting Fundamentals, and Shakespeare in Performance. (For more information, consult the Drama section of this catalog or call Curt Columbus at 702-2982.)

9. Study in humanistic approaches to biological or physical science. This option is particularly adapted to interest in problems or aspects of intellectual and cultural history (for example, the impact of Newtonian physics on eighteenth-century European thought) or to study of modern society and science's role within it (medical ethics being one possible focus among many).

Application to the Program. Students who are interested in a General Studies course program should make application to the Committee as soon as possible upon completion of Common Core requirements (normally by the end of the second College year). Transfer students in particular are urged to apply at the earliest point that they can, given the large number of courses in the General Studies B.A. program. An application is initiated by securing an interview with the chairman or an appropriate Committee adviser, including the General Studies Collegiate adviser, to consult about the feasibility of shaping and implementing a given set of interdisciplinary concerns into a course of study for the B.A. After consultation, students who wish to pursue an application to the Committee must submit a two-part written proposal. The first part consists of a personal reflective statement of about one thousand words in length, explaining the character of their interdisciplinary interests and stating as thoughtfully as possible how they propose to channel and expand them within course offerings currently available. Some consideration of prospects and possibilities for a B.A. paper or project is a desirable part of these statements, if it can be provided. The second part of the application consists of a proposed list of courses to fill the headings given in the above set of guidelines. A General Studies faculty committee then considers applications. In addition to considering the substance and workability of a proposed program, the Committee generally requires a B average in preceding course work.

Special Honors. To be eligible for special honors a student must have achieved a cumulative grade point average of 3.25 or higher. These honors are reserved for the student whose B.A. paper or project shows exceptional intellectual and/or creative merit in the judgment of the first and second readers (see number 5 under the preceding Program Requirements section), the chairman of the Committee, and the Master of the Humanities Collegiate Division.

Advising. Clarity as well as flexibility in shaping an interdisciplinary plan of course work is emphasized from start to finish in General Studies. Accordingly, discussion is encouraged in the early stages of a student's thinking. Continuing discussion is provided for after admission to General Studies by assignment to a faculty adviser who specifically stands ready to help the student bring his or her individual program to a rewarding completion.


ELIZABETH ALEXANDER, Assistant Professor, Department of English Language & Literature, Committee on General Studies in the Humanities, and the College

RALPH A. AUSTEN, Professor, Department of History, Committee on General Studies in the Humanities, and the College; Cochairman, Committee on African and African-American Studies

TED COHEN, Professor, Department of Philosophy, Committees on the Visual Arts and General Studies in the Humanities, and the College

BERTRAM COHLER, William Rainey Harper Professor, the College; Professor, Departments of Psychology (Human Development), Education, and Psychiatry and the Divinity School; Committee on General Studies in the Humanities

CHRISTOPHER A. FARAONE, Associate Professor, Department of Classical Languages & Literatures, Committees on the Ancient Mediterranean World and General Studies in the Humanities, and the College

MIRIAM HANSEN, Ferdinand Schevill Distinguished Service Professor in the Humanities, Department of English Language & Literature, Committees on the Visual Arts and General Studies in the Humanities, and the College

MARK KRUPNICK, Professor, Department of English Language & Literature, the Divinity School, and Committees on Jewish Studies and General Studies in the Humanities

LARRY NORMAN, Assistant Professor, Department of Romance Languages and Literatures, Committee on General Studies in the Humanities, and the College

D. NICHOLAS RUDALL, Associate Professor, Department of Classical Languages & Literatures, Committees on the Ancient Mediterranean World and General Studies in the Humanities and the College; Founding Director, Court Theatre

JOSHUA SCODEL, Associate Professor, Department of English Language & Literature, Committee on General Studies in the Humanities, and the College

MARK SIEGLER, Professor, Department of Medicine and Committee on General Studies in the Humanities; Director, Maclean Center for Clinical Medical Ethics

MICHAEL SILVERSTEIN, Samuel N. Harper Professor, Departments of Anthropology, Linguistics, and Psychology (Cognition & Communication) and Committees on Analysis of Ideas & Study of Methods and General Studies in the Humanities

HERMAN L. SINAIKO, Professor, Division of the Humanities and the College; Chairman, Committee on General Studies in the Humanities

JOEL M. SNYDER, Professor, Department of Art History, Committees on the Visual Arts and General Studies in the Humanities, and the College

TAMARA TROJANOWSKA, Assistant Professor, Department of Slavic Languages and Literatures, Committee on General Studies in the Humanities, and the College

KATIE TRUMPENER, Associate Professor, Department of English Language & Literature, Germanic Studies, Comparative Literature, Committee on General Studies in the Humanities and the College

CANDACE VOGLER, Assistant Professor, Department of Philosophy, Committee on General Studies in the Humanities, and the College

KENNETH W. WARREN, Associate Professor, Department of English Language & Literature, Committee on General Studies in the Humanities, and the College


101. Drama: Embodiment and Transformation. PQ: This course fulfills the Common Core requirement in the musical, visual, and dramatic arts. Designed for students with no previous experience or training, this course serves as a first encounter with the dramatic art form in all of its component parts. Participants study and perform various methods of acting, directing, and design. J. Thebus. Autumn, Winter, Spring.

200. Introduction to Film I (=ArtH 190, CMS 101, COVA 253, Eng 108, GS Hum 200). PQ: This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The first part introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles. T. Gunning. Winter.

201. Introduction to Film II (=CMS 102, Eng 109, GS Hum 201). PQ: This is the second part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. Building on the skills of formal analysis and knowledge of basic cinematic conventions acquired in the first part, the second part focuses on intertextual and contextual problems, such as those associated with genre, authorship, stars, and various responses to the classical Hollywood film. Modes of film practice studied include documentary, European national cinemas, "art cinema," animation, and various avant garde movements. J. Lastra. Spring.

211/311. Postwar Germany and the New German Cinema (=CMS 226, Eng 284/484, GS Hum 211/311, German 222/412). This course examines the emergence and development of the New German Cinema in relation to postwar German filmmaking and to concurrent New Waves elsewhere in Eastern and Western Europe, especially in the German Democratic Republic. We pay equal attention to the aesthetic strategies of individual films, to their reflections on history, memory, and subjectivity, and to the political and cultural contexts for the New German Cinema. Course may include films by Kluge, Schlöndorff, Fassbinder, Herzog, Straub and Huillet, Wenders, Lilienthal, Monk, Kotulla, Sander, Sanders-Brahms, Schroeter, Reitz, Staudte, Käutner, Maetzig, Beyer, Klein, and Wolf. Texts in English and the original; all films with subtitles. K. Trumpener. Autumn.

214. The Harlem Renaissance (=AfAfAm 215, Eng 275, GS Hum 214). In his autobiography, The Big Sea, Langston Hughes writes, "The ordinary Negroes hadn't heard of the Harlem Renaissance. And if they had, it hadn't raised their wages any." This skeptical assessment of the Harlem Renaissance points to a need to rethink this periodization of black American writing. What was the significance of African-American arts and letters in the 1920s? K. Warren. Winter.

217. Jewish-American Self-Reflection (=Eng 227, GS Hum 217, JewStd 227, NCD 221). This course studies works that illuminate the question of Jewish identity in America in the twentieth century. Some texts take up this issue as their explicit subject, and others may be revelatory without intending to or even despite their manifest intention. Most of the texts are literary (authors may include Abraham Cahan, Anzia Yezierska, Mike Gold, Henry Roth, Nathanael West, Saul Bellow, Grace Paley, and Philip Roth), but selections from the works of historians, social observers and reformers, and religious thinkers are also included. M. Krupnick. Autumn.

219/319. Literary Expressionism (=GS Hum 219/319, German 288/388). PQ: Reading knowledge of German and consent of instructor. Representative examples of the literary component of the movement that flourished between 1910 and 1925 are read, analyzed, and discussed, both with regard to their intrinsic merit and peculiarity and in light of the cultural, social, and political context from which they arose. An attempt is also made to examine literary expressionism as part of a historical continuum. Readings include drama, lyric poetry, narrative prose, and expository writings. Some readings in German; lectures and discussions in English. P. Jansen. Spring.

222. American Literary Realism (=Eng 268, GS Hum 222). This course investigates the rise of literary realism in late nineteenth-century America, tracing the emergence of realism from romantic and sentimental novels and the rise of naturalism, impressionism, and modernism. In reading novels by Theodore Dreiser, William Dean Howells, Henry James, Edith Wharton, Kate Chopin, and Charles Chesnutt, we chart the engagement of realist authors with urbanization, race relations, and the role of women in American society. K. Warren. Autumn.

228-229. Problems in Gender Studies (=Eng 102-103, GS Hum 228-229, Hist 180-181, Hum 228-229, SocSci 282-283). PQ: Second- or third-year standing and completion of a Common Core social science or humanities course or the equivalent. This two-quarter interdisciplinary sequence is designed as an introduction to theories and critical practices in the study of feminism, gender, and sexuality. Both classic texts and recent reconceptualizations of these contested fields are examined. Problems and cases from a variety of cultures and historical periods are considered, and the course pursues their differing implications for local, national, and global politics. Topics might include the politics of reproduction; gender and postcolonialism; women, sexual scandal, and the law; race and sexual paranoia; and sexual subcultures. D. Nelson, Staff, Autumn; L. Auslander, Staff, Winter.

233/333. Theories of the Photographic Image and Films (=ArtH 272/372, CMS 275, COVA 255, GS Hum 233/333). PQ: COVA 101, 102, or 100-level ArtH course, or consent of instructor. This course is an introduction and survey of theories concerning photography and cinema. A variety of works by the following authors, among others, is discussed: Stanley Cavell, Erwin Panofsky, André Bazin, Christian Metz, Susan Sontag, Edward Weston, Ernst Gombrich, Nelson Goodman, and John Szarkowski. J. Snyder. Winter.

238/338. The Thought of Hannah Arendt. In this course we consider all of Arendt's major works: The Origins of Totalitarianism, The Human Condition, On Revolution, Eichmann in Jerusalem, and The Life of the Mind, as well as several shorter essays. The focus is on the central concepts of her thought: action, revolution, thought, power and violence, freedom, and totalitarianism. One major concern is to assess the significance and success of her attempt to interpret twentieth-century experience in the traditional terms of classical thought. H. Sinaiko. Winter.

239/339. Modes of Criticism. The diversity of critical theory and practice derives from a more fundamental diversity of views about the nature of a work of art and its relations to the artist, the audience, and the world. This course focuses on four contrasting but seminal statements on the nature of art and the kind of criticism appropriate to it: Aristotle's Poetics, Plato's Phaedrus, Nietzsche's Birth of Tragedy, and Croce's Aesthetics. H. Sinaiko. Autumn.

242-243/342-343. History and Theory of Drama I, II (=ComLit 305-306, Eng 138-139/310-311, GS Hum 242-243/342-343; ClCiv 212/312=ComLit 306, Eng 139/311, GS Hum 243/343). This course covers Aeschylus to Ayckbourne and Sophocles to Sade. D. Bevington, D. N. Rudall. Autumn, Winter.

244. History and Theory of Drama III (=Eng 140, GS Hum 244). The last course in this sequence focuses on modern drama and theater, from the realist drama of the late nineteenth century to the crisis of realism and other experiments in the twentieth century. In addition to plays from Ibsen's Doll's House and Chekhov's Cherry Orchard to Brecht's Mother Courage, Beckett's Endgame and contemporary drama in America, Europe, and Africa, students read relevant contemporary theory and watch theater and video material so as to explore the complementary and sometimes conflicting relationships between text and performance. Visits to Chicago theater productions (logistics permitting) are in addition to scheduled class time. L. Kruger. Spring.

251. Acting Fundamentals. PQ: Consent of instructor. Prior theater or acting training not required. This course introduces students to fundamental concepts of the theatrical art form. The class emphasizes the development of creative faculties and techniques of observation, as well as vocal and physi- cal interpretation. Participants study Michael Chekhov's techniques of psychological gesture. Concepts are introduced through directed reading, improvisation, and scene study. C. Columbus. Winter.

252. Acting the Greeks. PQ: Consent of instructor. Prior theater experience not required. This course creates an acting vocabulary for classical Greek plays, using texts such as Euripides' Medea, Sophocles' Electra and Antigone, and Aeschylus' Oresteia. Through vocal and physical exercises, we actively work to train the actor's primal impulse in order to fill the stature and emotional fullness that the plays demand. Students are expected to perform choral and scene work in class. L. Holland. Not offered 1997-98; will be offered 1998-99.

253. Chekhov in Contemporary Context. PQ: Consent of instructor. Prior

theater experience or acting training helpful but not required. This course is intended to uncover the universal themes and settings in Anton Chekhov's work, bringing to light the humor and contemporary impact of this classic author. At the same time, focus is placed on expanding the participants' individual creative expression and understanding. The course explores Chekhov's four major plays as a means to enhancing individual performance skills and to understanding the process by which actors and directors bring these dramatic works to life. C. Columbus. Not offered 1997-98; will be offered 1998-99.

254. Tennessee Williams: Performing an American Classic. PQ: Consent of instructor. Prior theater experience helpful but not required. This course addresses the performance aesthetics of Williams's Southern Gothic drama, including the music, poetry, and visual aspects of the playwright's most well-known plays: The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof, and others. The stylistic challenges of performing Williams's work as an actor, the similarities to American improvised musical forms, such as blues and jazz, and the painterly nature of the Southern Gothic atmosphere of the plays are explored through discussion, reading, and performative tasks. C. Columbus. Spring.

255. Performing Women's Voices in Literature. PQ: Consent of instructor. How does one listen for women's voices in literature, music, theater, and poetry? Dramatic and nondramatic texts are examined through performance to better hear the articulation of women's experiences. The course examines the thematic expressions of gender in primary texts and links those to dramatic expression through the workshop development of performance pieces generated collectively by the participants. L. Holland. Winter.

256. Shakespeare in Performance. PQ: Consent of instructor. Prior theater experience helpful but not required. This course explores the dramatic texts of Shakespeare through scene-study and the mechanics of performance. Students begin by working to develop awareness of and freedom with the verse in the Sonnets. Moving toward more extensive dialogue and scene-work from the plays, students explore the building blocks of performing Shakespeare, from the text itself to the actor's voice and body. The class teaches specific approaches to both verse and prose, developing a methodology of analysis, preparation, and performance. Each participant directs and performs scenes for class. G. Witt. Spring.

257. Advanced Study in Shakespeare: Scene Work. PQ: Consent of instructor. How do you translate the politics, poetics, and cultural issues of Shakespeare's texts into actual staging? Moving beyond simple understand- ing and delivery of verse drama, this class explores in-depth the visual, physical, and thematic resonances of Shakespeare's plays. We focus at length on individual scenes, discovering them from a range of approaches to unlock their inherently theatrical elements. G. Witt. Winter.

258. Improvisation for Actors. PQ: Consent of instructor. Prior theater experience or acting training not required. Structured around the idea that acting is doing, this class explores the foundations of the actor's problem-solving process. Emphasis is placed on developing the participants' ability for strong communication on stage, through exercises, games, and performance experiences designed to address sensory awareness, physicalization, focus, and concentration. A. Fenton. Autumn.

260. The Art of Directing. PQ: Consent of instructor. GS Hum 251 or equivalent acting experience helpful. This course introduces students to the basic skills of directing plays, from first contact with the script through work with actors and designers to final performance. After a preliminary examina- tion of directing theory, the class explores the director's role as communica- tor and image-maker and offers practical experience in script analysis, blocking, and the rehearsal process. J. Cooke. Winter.

264. Lighting Design for Stage and Film. PQ: Consent of instructor. Prior theater or film experience not required. This is a basic exploration of the theory and practice of lighting design for both theater and motion pictures. Students develop theatrical lighting vocabulary, knowledge of basic electri-cal theory, color theory, theory of light, design tools, and the actual instru- ments used to light the stage through lectures and projects. M. Lohman. Winter.

265. Scenic Design. PQ: Consent of instructor. Prior theater experience not required. This course considers the process of stage design from both aesthetic and practical points of view. It surveys the historical development of scenography in relation to technology and theatrical style. The influence of tradition on modern stage design is investigated through a comparison of period designs and contemporary solutions established by scenographers. M. Lohman. Not offered 1997-98; will be offered 1998-99.

266. Playwriting. PQ: Consent of instructor. Prior theater experience not required. This course introduces the basic principles and techniques of playwriting through creative exercises, discussion, and the viewing of contemporary theater. Structural components of plot, character, and setting are covered as students develop their dramatic voices through exercises in observation, memory, emotion, imagination, and improvisation. C. Allen. Autumn.

268. Performance Art (=COVA 255, GS Hum 268). PQ: Consent of instructor. Prior theater experience or acting training not required. This course offers students a chance to explore some of the aesthetic strategies used by artists/performers working in the genre of performance art. As scholars, we work toward an understanding of how changing notions of what constitutes the "avant garde" influences the conceptualization, creation, and dissemination of art and performance. As performance artists, we employ various "avant garde" techniques as we create original performances based on a theme, such as "memory." S. Totland. Spring.

270. Reading Course: Theater Practicum. PQ: Consent of instructor. H. Sinaiko. Autumn, Winter, Spring.

276/376. Victorian Women and Their Society: A Problem in Writing Lives (=Fndmtl 288, GS Hum 276/376, MAPH 311, Psych 224). We read Freud's cases of Elisabeth von R and Dora, and Jean Strousse's biography of Alice James, and Alice James' diary, with some discussion of the life-history in the social sciences and humanities. We consider how a life story is constructed, questions of "normal" and "abnormal," the balance of vulnerability and coping with adversity, and the interplay of biography and both social and historical forces. Students may do a life-history based on interviews and psychological tests or study a historical figure for the course paper. B. Cohler. Autumn.

280. Preparation of the B.A. Paper. Staff. Autumn, Winter, Spring.

281/381. The Modern Central European Novel (=GnSlav 272/372, GS Hum 281/381). This course conducts a close study of the major novels of Central European origin from the twentieth century. We read and discuss Witold Gombrowicz's Ferdydurke, Milan Kundera's The Joke, Hermann Broch's Sleepwalkers, Franz Kafka's Amerika, Robert Musil's Young Törless, and, possibly, Danilo Kis's A Tomb for Boris Davidovich, with emphasis on the aesthetic construction, ethical attitude, and cultural context of the novels cited. One of the course's main concerns is what constitutes the "national" and "regional" character of these novels and novelists and why (or whether or not) grouping these novels collectively under the rubric of "Central European" is viable. M. Sternstein. Winter.

286/386. Introduction to Czech Literature III: Twentieth-Century Czech Literature (=Czech 257/357, GS Hum 286/386). Czech 255/355, 256/356, and 257/357 may be taken in sequence or individually. This course explores Modern Czech Literature from the interwar period to the present day, and includes writings from authors such as Karel Capek, Milan Kundera, Václav Havel, Josef Skvorecky, Bohumil Hrabal, Iva Pekarková, and Jachym Topol. Among other topics, we look into the very influential Czech brand of science fiction, the Czech Surrealist movement, and the novels of the Prague Spring. Texts in English and the original. M. Sternstein. Spring.

288/388. Postwar Polish Poetry: Metaphysics, Ethics, and Aesthetics (=GS Hum 288/388, Polish 259/359). PQ: Advanced standing. This course examines the best achievements of Polish postwar poetry, including poems by Nobel laureates Czeslaw Milosz and Wislawa Szymborska; by Nobel candidates Zbigniew Herbert and Tadeusz Rozewicz; and by poets of such importance as Anna Swirszczynska, Miron Bialoszewski, and Tymoteusz Karpowicz. The focus of our readings is on immanent poetics of the chosen works but also on the function of poetry in the post-war Polish society. T. Trojanowska. Spring.

290. Reading Course. Staff. Autumn, Winter, Spring.

291/391. Monumenta Polonica: Polish Literature from the Middle Ages to the Enlightenment (=GS Hum 291/391, Polish 291/391). This survey course examines the shaping of Polish literature from the first written records, through the Renaissance and Baroque (Mikolaj Rej, Jan Kochanowski, Mikolaj Sep-Szarzynski, Jan Andrzej Marsztyn, Samuel Twardowski, and Jan Pasek), to the Enlightenment (Ignacy Krasicki and "the incredible Potocki" as Czeslaw Milosz describes Jan Potocki, author of The Manuscript Found in Saragossa). The literary works are put in cultural, social, and political contexts of the Piast and Jagiellonian Poland and of the Commonwealth of Both Nations. Staff. Autumn.

292. Introduction to Ethics (=GS Hum 292, HiPSS 210, Philos 210). The major portion of this course consists of an examination of the most influential types of ethical theory. After studying these theories, we turn to their practical applications. Special attention is given to the implications of different theories for ethical problems in medicine. A. Davidson. Autumn.

293. Philosophy of Mind and Science Fiction (=GS Hum 293, HiPSS 254, Philos 234). Could computers be conscious? Might they be affected by changes in size or time scale, hardware, development, social, cultural, or ecological factors? Does our form of life constrain our ability to visualize or detect alternative forms of order, life, or mentality, or to interpret them correctly? How does the assumption of consciousness affect how we study and relate to other beings? This course examines issues in the philosophy of mind raised by recent progress in biology, psychology, and simulations of life and intelligence, with readings from philosophy, the relevant sciences, and science fiction. W. Wimsatt. Winter.

298. Computer Programming as a Liberal Art I: Programming Arts (HyperCard) (=ComSci 110, GS Hum 298). PQ: Math 102, or 106, or placement into 131 or equivalent; or consent of instructors. ComSci 110-111 fulfills the Common Core requirement in the mathematical sciences. This course aims to keep pace with how computing technology is penetrating into the humanistic disciplines. Students learn to program on an Apple Macintosh in the HyperTalk language, within the multimedia application HyperCard, and to apply the skills of programming more generally as a liberal art. As an introduction to programming, the course presents techniques of problem solving, program coding, algorithm construction, and debugging using the object-like programming environment of HyperCard. D. Crabb, W. Sterner. Winter.

299. Computer Programming as a Liberal Art II: Programs as Arguments (HyperCard) (=ComSci 111, GS Hum 299). PQ: GS Hum 298 or consent of instructors. ComSci 110-111 fulfills the Common Core requirement in the mathematical sciences. This is a continuation of ComSci 110, enlarging upon programming arts by identifying characteristic forms of computer programs such as machines, models, simulations, and games as genres of argumentation. Students study such forms as recurrent scientific strategies that are making important contributions to new patterns of thinking in the humanities and in the social, biological, and physical sciences. More complete programming experience in HyperCard's object-like techniques is fostered through case studies in the different programming genres. Topics include Turing Machines as general computing models and an interpretation of hypertextual discourse as a "computer game." D. Crabb, W. Sterner. Spring.

304. Marx and Social Philosophy (=GS Hum 304, Philos 319). PQ: Prior philosophy course. In this course, we read substantial portions of Capital, v. 1, concentrating on Marx's account of the social relations of production and how they inform social life. We focus on his account of the role of the "so-called primitive accumulation of capital" and read subsequent Marxist work on colonization and ideology. C. Vogler. Autumn.

305. Aesthetics and Theory of Criticism (=COVA 251, GS Hum 305, Philos 313). This course is an introduction to problems in the philosophy of art with both traditional and contemporary texts. Topics include the definition of art, representation, expression, metaphor, and taste. T. Cohen. Spring.

309. Philosophy, Literature, and Film (=GS Hum 309, Philos 315). The course begins with a study of two sophisticated oral theories, Hume's and Kant's, and then relates this to current work in moral philosophy. With this study as background, the course then turns to some short novels (including ones by Melville, Conrad, and Achebe) and to some films (including ones by Coppola, Polanski, and Hitchcock) to investigate how moral issues are dealt with in these works of art. T. Cohen. Summer.

325. Aesthetic Theory: Lessing to Romanticism (=GS Hum 325, German 387). PQ: Reading knowledge of German helpful. This course introduces students to the major primary works in German aesthetic theory of the eighteenth and early nineteenth centuries. We read texts by Lessing, Herder, Kant, Schiller, Schlegel, Hegel, Schopenhauer, and Nietzsche. Some of the issues we consider are the erotic nature of aesthetic attraction, the relation of art to truth and morality, limits of aesthetic representation, the concept of aesthetic autonomy, and art and ideology. Texts in English and the original. A. Gailus. Spring.

367. Freud and the Mind I: Making Meaning (=GS Hum 367, Philos 323, SocTh 397). PQ: Advanced standing. This course is an introduction to the psychoanalytic account of how humans make meanings of which they are not aware, but that influence how they live. Readings from Studies on Hysteria, The Interpretation of Dreams, Three Essays on the Theory of Sexuality, and four case histories. J. Lear. Autumn.

368. Freud and the Mind II: Psyche in Society (=GS Hum 368, Philos 324, SocTh 398) PQ: GS Hum 367 or consent of instructor. An investigation of how social and cultural forces contribute to the formation of psychic structure and of how the psyche emerges and functions in a social environment. Readings from The Ego and the Id, Group Psychology and the Analysis of the Ego, Totem and Taboo, Civilization and its Discontents, and Moses and Monotheism. J. Lear. Winter.

369. Freud, Women, and Jews (=GS Hum 369, German 382, JewStd 384). PQ: Consent of instructor. This course examines Freud's problematical relationships with women and Jews and the ways they helped shape psychoanalytic theory and practice. S. Jaffe. Winter.

390. Faust: Faustbuch, Faust I, Doktor Faustus (=Fndmtl 279, GS Hum 390, German 374). PQ: Consent of instructor. Knowledge of German helpful. This course compares three classic variations on the Faust theme: the sixteenth-century Faustbuch, Goethe's Faust I, and Thomas Mann's novelistic parable of Germany's temptation and fall in the twentieth century, Doktor Faustus. S. Jaffe. Winter.