Untitled Document

College of arts and letters, london summer programme

Director:
            T.R. Swartz, Ph.D.
            Tel.: (574) 631-7737

Dates: Annually the program runs 32 days from mid-May until mid-June. Participants generally leave on the Wednesday evening one week after spring term examinations, which means that there will often be as much as a 10-day break after the last spring examination is scheduled. In past years some have taken this opportunity to travel in Europe prior to the beginning of the program while others have returned home for a brief holiday. Participants will return to the States the Sunday before summer school begins in South Bend, which generally is Fathers’ Day. Because of the ending date of the program, participants can take part in this course of study and still have a large portion of their summer free to work, take part in an internship, travel extensively, or return to campus for traditional summer school.

History: The "first edition" of this new international study/travel program was offered in the May/June of 2001. It immediately proved to be a very popular opportunity for Notre Dame undergraduates and much to the surprise of all involved, it filled to capacity the first year it was offered. Sixty participants representing all the undergraduate colleges took part in the 2001 program. Perhaps because those who took part in the 2001 were so positive about their experiences, the May/June 2002 program filled to capacity by mid October 2001.   This was well before the official electronic deadline for applications, which is in mid January. This pattern continued for the 2003, 2004, 2005, 2006 and the 2007 programs and we assume that the 2008 edition of the London Summer Programme will fill to capacity by mid-October 2007.

Some changes were introduced following the 2001 program. More opportunities to enroll in theatre courses were established. In addition to two day-trips to visit Stonehenge/Bath City and Canterbury/ Dover, all participants are now offered another day-trip to Stratford-upon-Avon, to see Shakespeare’s birthplace and to attend a Shakespearean production. Most importantly, some courses now include travel/study experiences outside of the UK. The "Concert Life of Two Cities" travels to Paris; the "Modern British History" course spends time exploring the WWII battlefields of Normandy; the “Dutch Painters at Home and Abroad” follows the painters to their homes in Amsterdam; and the Conflict Resolution course travels to Belfast, Northern Ireland to examine the “troubles” first hand.

Facilities and Staff: The very impressive academic building is located on Suffolk Street next to the National Gallery just off Trafalgar Square and the residence facilities are located in two wonderful residential neighborhoods, one close to Regents Park and the second close to Kensington Palace Gardens. Each residential flat has its own well-equipped kitchen and as a consequence most participants prepare their own meals. There is weekly maid-service, including weekly linen service. Classes in this program, which in 2008 will accommodate 80–90 participants, are taught by many of the same British faculty that participate in the regular academic year program. Our rectors are exceptionally experienced. They have served in campus residence halls as rectors; one was a rector for the academic year London residence facilities, and of course, they have been the mainstays in our residence facilities since our Programme began in 2001.

Course of Study: Participants earn six credit hours. Many of courses that are offered fulfill one or more University/college requirements. There are a number of three-credit-hour courses to select from. In the May/June 2008 program, these are likely to include three-credit-hour courses in English Literature/Anthropology, Anthropology/SC, History, Art History, Philosophy/Psychology, Political Science/Peace Studies/Sociology, and two courses in Film, Theater and Television – one of them combining all aspects of FTT. Additionally, a large number of one- and two-credit-hour courses that can be bundled together to form a three-credit-hour course to be used as a general elective is envisioned. Of course, one of the most popular aspects of the program is an intensive midterm travel/study experience. It is during this four-night/five-day period that participants travel to Paris, Normandy, Belfast, or Amsterdam.

Some participants enroll in one of the three-credit-hour courses and three credits of the fine and performing arts by combining one- and two-credit-hour courses. Others chose to enroll in two, three-credit-hour courses and a few select six, one- and two-credit-hour courses. All are expected to enroll in six credit hours of academic work that includes an inter-term study experience.

Costs: Movements in foreign exchange rates dramatically impact the Programme’s current costs. In 2005 and 2006, in spite of the very unfavorable exchange rates, the Programme fee remained unchanged at $6,800. The dollar did not strengthen against the British Pound Sterling in 2007; rather the dollar continued to weaken. In light of this unfortunate exchange rate and the rising costs of air travel, the Programme fee for 2007 increased to $7250. The fee will increase for 2008 to $7,900.00. Applicants will also be asked to provide a “security deposit fee” of $200. This $200 fee will be returned to the participant at the end of the program. Student Accounts will bill each participant directly for the full costs of the program in the February/March billing cycle.

These fees cover all transportation costs—international air travel from our gateway city NYC, transfers from Heathrow Airport to residence facilities and return, ground transportation in London (tube/bus passes are provided), and midterm course travel to Amsterdam, Paris, Normandy, and Belfast. The program also covers all residence costs and provides a weekly food allowance. Additionally, the program provides all theater and other admission fees that are part of courses. We have in place a book-loan program for participants. Finally, the program is responsible for housing and an additional food allowance for participants during their midterm travel courses. Essentially, the program attempts to cover all costs related to the formal program. It will not reimburse participants for the costs associated with weekend activities that may be organized by the residential staff, performance admission costs that are not part of courses, or personal spending.

Application Deadlines: All of the participants in this program are regularly enrolled Notre Dame undergraduates. In the 2007 edition of the program, about 60 percent of our participants were rising juniors, and the remaining participants were rising seniors. About 40 percent of our folks are drawn from Arts and letters. The business and science colleges send us approximately 25 percent each. And engineers make up about 10 percent of our group.

Students are admitted on a rolling admission basis. Applications are accepted year-round . Please note that there are no expectations that spots will still be available after Fall semester. When all slots are filled applicants will be offered a place on the wait list and/or a guaranteed place in the next year's program, based on the file stamp date on their applications. If you would like to take advantage of “early admission" to the 2009 Programme, the deadline is April 2, 2008. It is anticipated that a significant portion of the participants will be selected as early admission applicants.

It is recommended that students apply early to this program so that they can better plan their academic program for the 2007/2008 and the 2008/2009 academic years and THAT THEY CAN BE ASSURED THERE IS A PLACE FOR THEM IN THIS PROGRAM.

The Admissions Committee is guided by this general rule: Notre Dame students in “good standing” should be offered a place in the Notre Dame London Summer Programme. The Office of Student Financial Aid automatically reviews all accepted applications. Each year approximately one-fifth of our participants receive some form of financial assistance.

2008 Program Dates:
March 18, 2008           Information session for 2009/2010 Programme
April 2, 2008             Early Admission deadline for 2009 Programme
May 14, 2008             Depart for London
June 15, 2008             Return from London

Program Administration: This program is administered directly out of the Office of International Study, in 305 Brownson Hall (entrance by Lewis Hall). It is not administered as a part of the academic year London Program. Applications are available online: nd.edu/~intlstud/apply/apply.html, from the London Summer Programme website address: nd.edu/~sumlon, or can be obtained by contacting Liz Reagan at Reagan.9@nd.edu, 631-0622. Fax: (574) 631-6744. The director/professor emeritus is Thomas R. Swartz. He can be contacted by phone at 269-445-5104 (home) or @mailed at swartz.1@nd.edu

COURSES OF STUDY

(These following one and two credit courses can be bundled to create three credit units that can be used as general electives. These three credit units will not serve as fulfilling the University fine arts requirement and they will not count toward overload limits. Note that only six credit hours may be taken during the London Summer Programme session.)

AL 34101 “DUTCH PAINTERS AT HOME AND ABROAD
2 credits Giles Waterfield
12:45 – 4:00 F, 5/16, 5/23
12:45 – 4:00 R,, 5/14-6/15
Wednesday, May 28 to Sunday, June 1, 2008 travel to Amsterdam
CRN 3364
This course provides an overview of Dutch painting and architecture in the seventeenth century, an art style that has wide appeal among art historians and the public at large.   This visually attractive and accessible art is shaped by the vigorous history of the Netherlands, a small but powerful and expanding country in the seventeenth century. The relationship between the history of the country, and its artistic achievement, will be considered in some depth, particularly in relation to traditional academic readings of the nature of Dutch art.

While the course concentrates on Holland in the seventeenth century, its activities as a colonial power and its maritime achievement are assessed for their impact on the nature of Dutch art. The remarkable cities of the seventeenth century will be examined not only for their architectural achievement but as models of successful urban constructs, both in the 1700s and today: both through painted images and through site visits.

The course capitalizes on the remarkable collections of the National Gallery sited as it is immediately next to the premises of Notre Dame and with free entry .and other renowned London art galleries. Participants also travel to Holland for five days and four nights, to take advantage of the extensive collections of seventeenth century art in Amsterdam and in the galleries of other Dutch cities.

AL 34102 “THE CONCERT LIFE OF LONDON and PARIS”
2 credits Avril Anderson, David Sutton-Anderson
12:45 – 4:00 F, 5/16, 5/23
12:45 - 4:00 R, 5/14-6/15
Wednesday, May 28 to Sunday, June 1, 2008 travel to Paris
CRN 3365
Participants are given the opportunity of experiencing concert performances in London and Paris. The works heard in the concerts attended will be placed in the broader context of music history from an essentially European perspective. Two or more seminal works from the concert will be studied and analysed as set works  for the course.
While in London, students will visit key sites associated with the life and work of G.F.Handel, and the Fenton House, Hampstead, home of the unique Benton Fletcher collection of early keyboard instruments and pianos. The visit includes a tour of the house and a demonstration/recital on a number of the instruments by Prof. Sutton-Anderson, accredited performer at Fenton House. Many prominent musicians and composers (as well as actors,artists and writers) lived/live in Hampstead and the visit concludes with a walk throughthe village.
On the Paris leg of the course, trips will be made to the Palace of Versailles, a musical hot-house of the French Baroque period, and to the Cite de la Musique, the recently completed complex dedicated to the semination of international musical life. Students will also attend Sung Gregorian Mass at Notre Dame Cathedral.
Set text (recommended) Music: a Listener's Introduction' (Harper and Row, New York 1983)
Pre-course assignment: listening/research on the set works (Mozart: Symphony in Bb K.319 and Sibelius: Symphony no. 4 in A minor).

AL 34103 SHAKESPEARE IN PERFORMANCE
(May be taken as part of FTT 24014 or 24015)
2 credits   Michael Hattaway/Boika Sokalova
12:45 – 4:00 M, 5/14-6/15
4:15 – 6:30 W, 5/14-6/15
9:15-12:00 R, 6/7, 6/14
CRN 3366
Shakespeare in the Theatre is a course which draws upon the theatrical resources of London and Stratford. It is designed as a page-and-stage exercise, where the study of texts in class is linked to seeing and analysing live and filmed performances and the way they make Shakespeare ‘mean’ to modern audiences. The syllabus will cover four texts, most/all of which will be seen in production. Since performance is inscribed in the cultural climate of a place and time, discussion will also consider the influence of the cultural and political vibes of the moment, i.e., the question of how the modern Shakespearean stage negotiates between past and present.

Apart from class work and seeing performances, the learning experience includes a visit to the replica of the Globe playhouse (Shakespeare’s Globe) and its excellent exhibitions, which offer rich information about the organisation of Shakespeare’s company and the ways the various parts of the theatre worked. A one-day trip to Stratford-upon-Avon will include a tour of the town and a performance at the Royal Shakespeare Company’s brand-new theatre.
The course will also include talks by distinguished visiting scholars, thus exposing students to different points of view, critical approaches and opinion.
Additional activities will be announced in the course of the program as well.

Pre-course preparation and work:
Given the demands on time, students are requested to have read the plays before arriving in London. It is easier to read these in individual volumes with footnotes and scholarly introductions, e.g. The New Cambridge Shakespeare, The Oxford Shakespeare, The Arden (‘New New’ Arden) Shakespeare, etc. (The London Centre has a number of copies of the Complete Works, which can be borrowed, but these are heavy volumes, difficult to read from and use in class.)

At their first class students should submit a short essay on a topic set by the instructor before their arrival in London

The titles of the plays will be announced as soon as the theatre bill for the time of the course is advertised.

AL 34104 THE DUTCH PAINTERS IN LONDON
1 credit Giles Waterfield
12:45 – 4:00 F, 5/16, 5/23
12:45 – 4:00 R 5/14-6/14
CRN 3367
This course provides an overview of Dutch painting and architecture in the seventeenth century, an art style that has wide appeal among art historians and the public at large.   This visually attractive and accessible art is shaped by the vigorous history of the Netherlands, a small but powerful and expanding country in the seventeenth century. The relationship between the history of the country, and its artistic achievement, will be considered in some depth, particularly in relation to traditional academic readings of the nature of Dutch art.

While the course concentrates on Holland in the seventeenth century, its activities as a colonial power and its maritime achievement are assessed for their impact on the nature of Dutch art. The remarkable cities of the seventeenth century will be examined not only for their architectural achievement but as models of successful urban constructs, both in the 1700s and today: both through painted images and through site visits.

The course capitalizes on the remarkable collections of the National Gallery sited as it is immediately next to the premises of Notre Dame and with free entry, and other renowned London art galleries.

AL 34105 “LONDON CONCERTS”
1 credit Avril Anderson, David Sutton-Anderson
12:4-4:00 F. 5/16. 5/23
12:45-4:00 R, 5/14-6/15
CRN 3368
Participants are given the opportunity of experiencing concert performances in London and Paris. The works heard in the concerts attended will be placed in the broader context of music history from an essentially European perspective. Two or more seminal works from the concert will be studied and analysed as set worksfor the course.

While in London, students will visit key sites associated with the life and work of G.F.Handel, and the Fenton House, Hampstead, home of the unique Benton Fletcher collection of early keyboard instruments and pianos. The visit includes a tour of the house and a demonstration/recital on a number of the instruments by Prof. Sutton-Anderson, accredited performer at Fenton House. Many prominent musicians and composers (as well as actors,artists and writers) lived/live in Hampstead and the visit concludes with a walk through the village.
Set text (recommended) Music: a Listener's Introduction' (Harper and Row, New York 1983)
Pre-course assignment: listening/research on the set works (Mozart: Symphony in Bb K.319 and Sibelius: Symphony no. 4 in A minor).

The following course is offered as one of the London Summer Programme’s special one-credit hour courses or it may be taken as one module in the three-credit course entitled “An Introduction to Film, Television, and Theatre in

Britain

.”

AL 34106 THE BBC: THE VOICE OF THE NATION
(May be taken as part of FTT 24012 or 24013)
1 credit Christopher Cook
9:15 – 12:00 W, 5/14-6/15
4:15 – 6:30 R, 6/14 only
CRN 3369
This course will provide an overview of the history and practice of the British Broadcasting Corporation since it came into existence in 1927. The monopoly supplier of broadcasting service for over quarter of a century until the arrival of ITV and commercial television in the late 1950s and deliberately removed from the market place by an act of political will, the BBC proceeded to invent its own version of Public Service Broadcasting ‘to inform, educate and entertain’. And for three generations the BBC has effectively set the ideological agenda for all British terrestrial Radio and Television.

The Corporation is bracing itself for the greatest changes in

broadcasting. In the new digital multi-channel world can the BBC still hope to speak for the nation for which it was created? And as

Britain

England

. London: Faber & Faber, 1970
Christoph Lindner (Editor) The James Bond Phenomenon: A Critical Reader
Richards, J & A. Aldgate. Best of British. Oxford: Basil Blackwell, 1983
Walker, A. National Heroes. London. Harrap, 1986

__________________________________________________________________________________

The following course is offered as one of the London Summer Programme’s special one-credit hour courses or it may be taken as one module in the three-credit course entitled “An Introduction to Film, Television, and Theatre in

Britain

.”

AL 34108 BRITISH THEATRE: The London Scene
(May be taken as part of FTT 24012 or 24014)
1 credit Christopher Cook
9:15 -12:00 F, 5/23
12:45 - 4:00 W, 5/14-6/15
CRN 3371
London has been described as the theatre capital of the world, home to a unique blend of privately and publicly funded theatre that midwifes new dramatic writing and nurtures a distinctively British style of acting. Visitors think, perhaps, of Lloyd Webber musicals or The Mousetrap, the world’s longest running show, but be warned this course includes no outings to musicals or to The Mousetrap. And students who decide to visit The Woman in Black are best advised to keep it a dark secret!

We can attend only four productions, so the course will focus on four different kinds of London Theatre, mainstream subsidized houses like Shakespeare’s Globe and the National Theatre, West End companies like that at the Gielgud Theatre and one of the most adventurous smaller theatres in the heart of London, the Donmar Warehouse.

This course, aims to explore the nature of the theatrical experience and to develop a properly critical appreciation of its constituent elements. This means that you will become far more aware of what you experience in the theatre and better able to judge how the different disciplines within theatre practice can contribute to that experience, namely, playwriting, acting, directing, proxemics (the use of space) and scenography (the use of set design, costume, lighting and sound).

REQUIRED READING: The prescribed book for this course is Peter Brook’s The Empty Space. But it should be read as a ‘guide’ rather than a ‘bible’ to ways of thinking about theatre, the collected ideas of one of the most radical directors of the past half-century. I am always happy to suggest other reading material and where appropriate there will class handouts. The Web, used wisely, remains an important research tool.

Students are also advised to think very carefully before signing up for theatre courses because of the high level of time commitment involved.
__________________________________________________________________________________

The following course is offered as one of the London Summer Programme’s special one-credit hour courses or it may be taken as one module in the three-credit course entitled “An Introduction to Film, Television, and Theatre in

Britain

.”

AL 34109 NEW BRITISH THEATRE: Off Shaftsbury Avenue
(May be taken as part of FTT 24013 or 24015)
1 credit Christopher Cook
4:15 - 6:30 F, 5/16, 5/23
4:15 - 6:30 M, 5/14-6/15
CRN 3372
You will certainly not be going to any of the commercial theatres that line the streets of the West End of London, those late Victorian and Edwardian theatre palaces in cream, gold and red plush. However, there will be visits to subsidized spaces which use modest amounts of public funding from Central and Local Government to explore work that would be unlikely to succeed in a purely commercial environment. And journeys out the theatre fringe of the city, East and West.
The work we will be seeing will be new plays often by young playwrights. Work that is produced on shoe-string budgets and performed in small spaces some of which were never intended to be professional theatres. These plays can be political, socially angry, dangerously funny, and right out on a limb in terms of dramatic form and styles. This is the theatre that Londoners cherish but tourists only rarely discover. Theatre at the cutting edge.
Since these plays often deal with contemporary English events and issues, class discussions will inevitably focus on a consideration of the social, cultural and political contexts in which each play and its production is located. These plays may well be controversial in nature and in subject matter, and students who are sensitive and easily offended should bear this in mind.
The prescribed book for this course is Peter Brook’s The Empty Space. But it should be read as a ‘guide’ rather than a ‘bible’ to ways of thinking about theatre, the collected ideas of one of the most radical directors of the past half-century. I am always happy to suggest other reading material and where appropriate there will class handouts. The Web, used wisely, remains an important research tool.
Students are also advised to think very carefully before signing up for theatre courses because of the high level of time commitment involved.

ANTH 34720: MEDICAL PRACTICE AND POLICY UK
(cross-listed with SCPP44497 and STV 34166)
3 credits Cornelius O’Boyle
9:15 - 12:00   F, 5/14, 5/23
9:15 - 12:00   MTR, 5/14-6/15
12:45 – 4:00   W, 5/14-6/15
CRN 3107
This course introduces American students to the structure of socialized medicine in Britain and the public welfare system of which it forms a part. The course begins with a history of the National Health Service (NHS) and a description of the principles underpinning the system. The course then explores British medical education and the various careers available to medical doctors in Britain. Special attention is paid to the reforms currently being introduced to medical education. The course ends with an examination of the challenges facing the NHS. These include financial constraints; administrative changes in the provision of medical services; the changing balance between primary care and hospital medicine; the demands of new medical technology; new ethical challenges in medicine; and the relationship between public and private medicine.

The course will be taught primarily in the form of a discussion group. Students will be encouraged to make comparisons and contrasts between the American and British system of health care. Visits will also be made to places of relevant historical interest to give students greater appreciation of the background to the problems facing health care providers in London.

Required Texts:
James Le Fanu, The Rise and Fall of Modern Medicine (Abacas Books, 1999) [R149.L45] (four copies on Reserve in the Library)
Ivan Illich, Limits to Medicine: Medical Nemesis, The Expropriation of Health (Penguin, 1977) [RA418.I44] (two copies on Reserve in the Library)
Recommended Texts:
Michael Fitzpatrick, The Tyranny of Health: Doctors and the Regulation of Lifestyles (Routledge, 2001) [RA395.G6.F586]
Christopher Ham, Health Policy in Britain, 4th ed. (Macmillan, 1999) [RA395.G6.H29]
Helen Jones, Health and Society in Twentieth-Century Britain (Longman, 1994) [RA418.G7.J65]
Rudolf Klein, The New Politics of the NHS, 4th edition (Longman, 2001) [RA395.G6.K64]

PRE-PROGRAM ASSIGNMENT: To be Announced

ANTH 44338 ETHNIC CONFLICT RESOLUTION IN IRELAND AND NORTHERN IRELAND
(CROSS-LISTED WITH IRST 44413/IIPS 44501/POL SCI 34424)
3 Credits Brendan O’Duffy
12:45 - 4:00   F, 5/16, 5/23
12:45 - 4:00 TR, 5/14-6/15
Wednesday, May 28 to Sunday, May 31, 2008 to Northern Ireland
CRN: 3124
This course aims to analyse the ways in which British and Irish governments have attempted to resolve or regulate the conflict in Ireland and

Northern Ireland

. Given the concentrated structure of the course, students will be expected to have read thoroughly the pre-assignment reading (the first three chapters of the core text) before they arrive in London.

Core text: McKittrick, David and McVea, David, Making Sense of the Troubles
Other useful texts:
Brendan O'Leary and John McGarry The Politics of Antagonism:Understanding Northern

Ireland

2nd Edition (Athlone Press, 1996)
McGarry, John and Brendan O'Leary Explaining Northern Ireland: Broken Images Oxford: Blackwell, 1995).
J. Ruane and J. Todd, The Dynamics of Conflict in Northern Ireland 2nd Edition (Cambridge: CUP, 2001)
Whyte, John Interpreting

Northern Ireland

(Oxford: University Press, 1990).
Bew, Paul, Gibbon, Peter and Patterson, Henry Northern Ireland 1921-1996: political forces and social classes (London : Serif, 1996).
Buckland, Patrick A History of

Northern Ireland

(Gill and Macmillan, 1981).
Mansergh , Nicholas The Irish Question, 1840-1921 ( Allen and Unwin, 1976).
Mansergh , Nicholas The Unresolved Question: The Anglo-Irish Settlement and its Undoing, 1912-1972 (Yale, 1991).
Kee, Robert The Green Flag Three Volumes (Weidenfeld and Nicholson, 1972)
See, Katherine O'Sullivan First world nationalisms: class and ethnic politics in Northern Ireland and Quebec (Chicago : University of Chicago Press, 1986).
Keogh, D. and Haltzel, M. (eds.)

Northern Ireland

and the politics of reconciliation (Cambridge UP, 1994).
Wichert, Sabine.

Northern Ireland

since 1945 (London: Longman, 1998).

ARHI 24351 ART OF THE NETHERLANDS IN THE 17th CENTURY
3 credits Giles Waterfield
12:45 - 4:00 F, 5/16, 5/23
12:45 - 4:00 TR, 5/14-6/15
Wednesday, May 28 to Sunday, June 1, 2008 to Amsterdam
CRN 3360
This course provides an overview of Dutch painting and architecture in the seventeenth century, an art style that has wide appeal among art historians and the public at large. This visually attractive and accessible art is shaped by the vigorous history of the Netherlands, a small but powerful and expanding country in the seventeenth century. The relationship between the history of the country, and its artistic achievement, will be considered in some depth, particularly in relation to traditional academic readings of the nature of Dutch art.

While the course concentrates on Holland in the seventeenth century, its activities as a colonial power and its maritime achievement are assessed for their impact on the nature of Dutch art. The remarkable cities of the seventeenth century will be examined not only for their architectural achievement but as models of successful urban constructs, both in the 1700s and today: both through painted images and through site visits.

The course capitalizes on the remarkable collections of the National Gallery and other renowned London art galleries. Participants also travel to Holland for five days and four nights, to take advantage of the extensive collections of seventeenth century art in Amsterdam and in the galleries of other Dutch cities.

Set Texts:
1. E. H. Gombrich, The Story of Art (1950, many later editions) -
Introduction: On art and artists
Chapter 20: The mirror of nature
2. W. H. Fuchs, Dutch Painting (Thames and Hudson, 1996)
Chapters 2 – 5
3. Seymour Slive, Dutch Painting 1600 - 1800 (Yale University Press, 1995)
Chapter 2: Historical Background
Introductions to chapter 3, 6, 7, 8, 9. 10, 11 (pp. 246 - 8), 13 (277 - 9)
4. Simon Schama, The Embarrassment of Riches (Collins, 1987)
Introduction
Chapter 5
5. Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century (University of Chicago Press, 1984) Introduction & Chapts 1, 2

ENGL 44515 “LONDON WRITERS”
3 credits Gill Gregory
9:15 - 12:00 F, 5/16, 5/23
9:15 - 12:00 MTR, 5/14-6/15
12:45 - 4:00 W, 5/14-6/15
CRN 3361
This course considers the work of a wide range of London writers from the late nineteenth century to date. The texts studied include fiction, poetry, plays, essays, historical and biographical materials along with contemporary criticism and articles. The ways in which London figures in these texts as a dynamic, complex and cultural hub of ideas, movements and histories are explored throughout the course. We will also consider the extent to which individual writers and groups interact, imagine and at times re-invent and critique the contexts within which they were working.

SET TEXTS
Arthur Conan Doyle, The Adventures of Sherlock Holmes
George Bernard Shaw, Pygmalion
E.M. Forster, ‘The Machine Stops’ (photocopies provided)
Virginia Woolf, Mrs. Dalloway
Ian McEwan, Saturday
Meera Syal, Life Isn’t All Ha Ha Hee Hee
Benson et al, New Poems On The Underground

Photocopies of bibliographies and relevant critical and historical material will be provided throughout the course.

Pre-course assignment:
Please read George Bernard Shaw’s Pygmalion and write 500 words on the ways in which the city is depicted as a dynamic context for the exploration of ideas relating to social class, gender and language.

1) FTT 24012 AN INTRODUCTION TO FTT IN LONDON With British Theatre the London Scene
CRN 3375
Christopher Cook

THE QUIET ENGLISHMAN: ACTING THE HERO IN BRITISH CINEMA
1 credit Christopher Cook
12:45 - 4:00 M, 5/21, 6/4
4:15 - 6:30 W, 6/6, 6/13
This course will explore the idea of the ‘hero’ in British cinema over the past half a century and examine how three different generations of British actors have attempted to create and act a ‘hero’ that reflects the values of their own particular age. British ideas about creating on-screen heroes are markedly different from those embraced by American cinema. Indeed, it could be argued that an idea of Englishness in the cinema is effectively defined by how it presents its leading men. In common with other aspects of British culture words invariably speak louder than actions in British cinema, so that there is a distinctly literary flavour to many films made in this country over the past half a century. Students will therefore need to be alert to the differences between American and British cinema and the ways in which each ‘writes’ its own version of the hero. The idea of the ‘hero’, and indeed the ‘heroine’ cannot exist in a cultural vacuum so we shall also be exploring the wider background to the four films that form the core of this course. Those four films will be Brief Encounter (1945), Saturday Night and Sunday Morning (1960), Goldfinger (1964 )and Four Weddings and a Funeral (1994)
There is no prescribed course book for The Quiet Englishman: Acting the Hero in British Cinema. However, a short relevant bibliography is included in this course outline and these books along with some others are all available here in the Centre. I am always happy to suggest other reading material and where appropriate there will class handouts. The Web, used wisely, remains an important research tool.

KEY TEXTS
(Selected Readings)
Armes, R. A Critical History of British Cinema. London: Secker & Warburg, 1978
Durgnat, R. A Mirror for

England

. London: Faber & Faber, 1970
Christoph Lindner (Editor) The James Bond Phenomenon: A Critical Reader
Richards, J & A. Aldgate. Best of British. Oxford: Basil Blackwell, 1983
Walker, A. National Heroes. London. Harrap, 1986

WITH

THE BBC: THE VOICE OF THE NATION
1 credit Christopher Cook
9:15 - 12:00 W, 5/14-6/15
4:15 - 6:30 R, 6/14 only
This course will provide an overview of the history and practice of the British Broadcasting Corporation since it came into existence in 1927. The monopoly supplier of broadcasting service for over quarter of a century until the arrival of ITV and commercial television in the late 1950s and deliberately removed from the market place by an act of political will, the BBC proceeded to invent its own version of Public Service Broadcasting ‘to inform, educate and entertain’. And for three generations the BBC has effectively set the ideological agenda for all British terrestrial Radio and Television.

The Corporation is bracing itself for the greatest changes in

broadcasting. In the new digital multi-channel world can the BBC still hope to speak for the nation for which it was created? And as

Britain

England

. London: Faber & Faber, 1970
Christoph Lindner (Editor) The James Bond Phenomenon: A Critical Reader
Richards, J & A. Aldgate. Best of British. Oxford: Basil Blackwell, 1983
Walker, A. National Heroes. London. Harrap, 1986

WITH

THE BBC: THE VOICE OF THE NATION
1 credit Christopher Cook
9:15 - 12:00 W, 5/14-6/15
4:15 - 6:30 R, 6/14 only
This course will provide an overview of the history and practice of the British Broadcasting Corporation since it came into existence in 1927. The monopoly supplier of broadcasting service for over quarter of a century until the arrival of ITV and commercial television in the late 1950s and deliberately removed from the market place by an act of political will, the BBC proceeded to invent its own version of Public Service Broadcasting ‘to inform, educate and entertain’. And for three generations the BBC has effectively set the ideological agenda for all British terrestrial Radio and Television.

The Corporation is bracing itself for the greatest changes in

broadcasting. In the new digital multi-channel world can the BBC still hope to speak for the nation for which it was created? And as

Britain

strives to embrace multiculturalism how easily can an institution created to champion a single national voice adapt itself to cultural change?

This course will take full advantage of the fact that the BBC is based in London. So that we will make a field trip to the BBC Television Studios in West London.

There is no prescribed course book for The BBC – The Voice of the Nation? However, two relevant and useful texts are noted and these books along with some others are all available in the Centre. I am always happy to suggest other reading material and where appropriate there will class handouts. The Web, used wisely, remains an important research tool.

KEY TEXTS
(Selected Readings)
Andrew Crisell - An Introduction to the History of British Broadcasting Routledge, (2002)
Curran and Seaton - Power without Responsibility: The Press and Broadcast in the United Kingdom Fontana

AND

NEW BRITISH THEATRE: Off Shaftsbury Avenue
1 credit, Christopher Cook
4:15 - 6:30 F, 5/16, 5/23
4:15 - 6:30 M, 5/14-6/15
You will certainly not be going to any of the commercial theatres that line the streets of the West End of London, those late Victorian and Edwardian theatre palaces in cream, gold and red plush. However, there will be visits to subsidized spaces which use modest amounts of public funding from Central and Local Government to explore work that would be unlikely to succeed in a purely commercial environment. And journeys out the theatre fringe of the city, East and West.

The work we will be seeing will be new plays often by young playwrights. Work that is produced on shoe-string budgets and performed in small spaces some of which were never intended to be professional theatres. These plays can be political, socially angry, dangerously funny, and right out on a limb in terms of dramatic form and styles. This is the theatre that Londoners cherish but tourists only rarely discover. Theatre at the cutting edge.

Since these plays often deal with contemporary English events and issues, class discussions will inevitably focus on a consideration of the social, cultural and political contexts in which each play and its production is located. These plays may well be controversial in nature and in subject matter, and students who are sensitive and easily offended should bear this in mind.

The prescribed book for this course is Peter Brook’s The Empty Space. But it should be read as a ‘guide’ rather than a ‘bible’ to ways of thinking about theatre, the collected ideas of one of the most radical directors of the past half-century. I am always happy to suggest other reading material and where appropriate there will class handouts. The Web, used wisely, remains an important research tool.
Students are also advised to think very carefully before signing up for theatre courses because of the high level of time commitment involved.

3) FTT 24014 THEATRE ON THE LONDON STAGE
Shakespeare and British Theatre the London Scene
SHAKESPEARE IN PERFORMANCE
2 credits, Michael Hattaway/Boika Sokolova
12:45 - 4:00 M, 5/14-6/15
4:15 - 6:30 W, 5/14-6/15
9:15 -12:00 R, 5/14-6/15
CRN 3376
Shakespeare in the Theatre is a course which draws upon the theatrical resources of London and Stratford. It is designed as a page-and-stage exercise, where the study of texts in class is linked to seeing and analysing live and filmed performances and the way they make Shakespeare ‘mean’ to modern audiences. The syllabus will cover four texts, most/all of which will be seen in production. Since performance is inscribed in the cultural climate of a place and time, discussion will also consider the influence of the cultural and political vibes of the moment, i.e., the question of how the modern Shakespearean stage negotiates between past and present.

Apart from class work and seeing performances, the learning experience includes a visit to the replica of the Globe playhouse (Shakespeare’s Globe) and its excellent exhibitions, which offer rich information about the organisation of Shakespeare’s company and the ways the various parts of the theatre worked. A one-day trip to Stratford-upon-Avon will include a tour of the town and a performance at the Royal Shakespeare Company’s brand-new theatre.
The course will also include talks by distinguished visiting scholars, thus exposing students to different points of view, critical approaches and opinion.
Additional activities will be announced in the course of the program as well.

Pre-course preparation and work:
Given the demands on time, students are requested to have read the plays before arriving in London. It is easier to read these in individual volumes with footnotes and scholarly introductions, e.g. The New Cambridge Shakespeare, The Oxford Shakespeare, The Arden (‘New New’ Arden) Shakespeare, etc. (The London Centre has a number of copies of the Complete Works, which can be borrowed, but these are heavy volumes, difficult to read from and use in class.)

At their first class students should submit a short essay on a topic set by the instructor before their arrival in London

The titles of the plays will be announced as soon as the theatre bill for the time of the course is advertised.

AND

BRITISH THEATRE: The London Scene
1 credit, Christopher Cook
9:15 -12:00 F, 5/23
12:45 - 4:00 W, 5/14-6/15
London has been described as the theatre capital of the world, home to a unique blend of privately and publicly funded theatre that midwifes new dramatic writing and nurtures a distinctively British style of acting. Visitors think, perhaps, of Lloyd Webber musicals or The Mousetrap, the world’s longest running show, but be warned this course includes no outings to musicals or to The Mousetrap. And students who decide to visit The Woman in Black are best advised to keep it a dark secret!

We can attend only four productions, so the course will focus on four different kinds of London Theatre, mainstream subsidized houses like Shakespeare’s Globe and the National Theatre, West End companies like that at the Gielgud Theatre and one of the most adventurous smaller theatres in the heart of London, the Donmar Warehouse.

This course, aims to explore the nature of the theatrical experience and to develop a properly critical appreciation of its constituent elements. This means that you will become far more aware of what you experience in the theatre and better able to judge how the different disciplines within theatre practice can contribute to that experience, namely, playwriting, acting, directing, proxemics (the use of space) and scenography (the use of set design, costume, lighting and sound).

REQUIRED READING: The prescribed book for this course is Peter Brook’s The Empty Space. But it should be read as a ‘guide’ rather than a ‘bible’ to ways of thinking about theatre, the collected ideas of one of the most radical directors of the past half-century. I am always happy to suggest other reading material and where appropriate there will class handouts. The Web, used wisely, remains an important research tool.
Students are also advised to think very carefully before signing up for theatre courses because of the high level of time commitment involved.

4) FTT 24015 THEATRE ON THE LONDON STAGE: Shakespeare and New Theatre On and Off Shaftsbury Ave

SHAKESPEARE IN PERFORMANCE
2 credits, Michael Hattaway/Boika Sokolova
12:45 - 4:00 M, 5/14-6/15
4:15 - 6:30 W, 5/14-6/15
9:15 -12:00 R, 6/5, 6/12
CRN 3396
Shakespeare in the Theatre is a course which draws upon the theatrical resources of London and Stratford. It is designed as a page-and-stage exercise, where the study of texts in class is linked to seeing and analysing live and filmed performances and the way they make Shakespeare ‘mean’ to modern audiences. The syllabus will cover four texts, most/all of which will be seen in production. Since performance is inscribed in the cultural climate of a place and time, discussion will also consider the influence of the cultural and political vibes of the moment, i.e., the question of how the modern Shakespearean stage negotiates between past and present.

Apart from class work and seeing performances, the learning experience includes a visit to the replica of the Globe playhouse (Shakespeare’s Globe) and its excellent exhibitions, which offer rich information about the organisation of Shakespeare’s company and the ways the various parts of the theatre worked. A one-day trip to Stratford-upon-Avon will include a tour of the town and a performance at the Royal Shakespeare Company’s brand-new theatre.
The course will also include talks by distinguished visiting scholars, thus exposing students to different points of view, critical approaches and opinion.
Additional activities will be announced in the course of the program as well.

Pre-course preparation and work:
Given the demands on time, students are requested to have read the plays before arriving in London. It is easier to read these in individual volumes with footnotes and scholarly introductions, e.g. The New Cambridge Shakespeare, The Oxford Shakespeare, The Arden (‘New New’ Arden) Shakespeare, etc. (The London Centre has a number of copies of the Complete Works, which can be borrowed, but these are heavy volumes, difficult to read from and use in class.)

At their first class students should submit a short essay on a topic set by the instructor before their arrival in London

The titles of the plays will be announced as soon as the theatre bill for the time of the course is advertised.

AND

NEW BRITISH THEATRE: Off Shaftsbury Avenue
1 credit Christopher Cook
4:15 - 6:30 F, 5/16, 5/23
4:15 - 6:30 M, 5/14-6/15
You will certainly not be going to any of the commercial theatres that line the streets of the West End of London, those late Victorian and Edwardian theatre palaces in cream, gold and red plush. However, there will be visits to subsidized spaces which use modest amounts of public funding from Central and Local Government to explore work that would be unlikely to succeed in a purely commercial environment. And journeys out the theatre fringe of the city, East and West.

The work we will be seeing will be new plays often by young playwrights. Work that is produced on shoe-string budgets and performed in small spaces some of which were never intended to be professional theatres. These plays can be political, socially angry, dangerously funny, and right out on a limb in terms of dramatic form and styles. This is the theatre that Londoners cherish but tourists only rarely discover. Theatre at the cutting edge.

Since these plays often deal with contemporary English events and issues, class discussions will inevitably focus on a consideration of the social, cultural and political contexts in which each play and its production is located. These plays may well be controversial in nature and in subject matter, and students who are sensitive and easily offended should bear this in mind.

The prescribed book for this course is Peter Brook’s The Empty Space. But it should be read as a ‘guide’ rather than a ‘bible’ to ways of thinking about theatre, the collected ideas of one of the most radical directors of the past half-century. I am always happy to suggest other reading material and where appropriate there will class handouts. The Web, used wisely, remains an important research tool.

Students are also advised to think very carefully before signing up for theatre courses because of the high level of time commitment involved.

HIST 34420 “TWENTIETH CENTURY BRITISH HISTORY 1900-1990”
3 credits, Keith Surridge
12:45 - 4:00, F, 5/18, 5/23
12:45 - 4:00 TR. 5/14-6/15
Wednesday, May 28 to Sunday, June 1, 2008 to Normandy
CRN 3134
This course is a chronological examination of twentieth-century Britain and will look at British history in its political, social, economic and cultural aspects. It will focus on Britain and the Second World War, particularly as we will be visiting the Normandy beaches. Various themes will be considered, such as Britain's economic decline, the impact of two world wars on British political and social life, and general changes in state and society. The course will start at the end of the Victorian era and conclude with the downfall of Mrs Thatcher. Topics covered will include the two world wars; the rise of the welfare state; and the advent of consumerism and the permissive society.

Main course book: Trevor Lloyd, Empire, Welfare State, Europe: English History 1906-1992
Complementary course books: Stephen Ambrose, D-Day.
Paul Johnson (ed.), 20th Century Britain. Economic, social and cultural change.
L. Butler & H. Jones,

Britain

in the Twentieth Century, vols 1 & 2. Documentary Readers.

The book review should be about 1,000 words in length. It should say something about the author: the argument put forward by the author (is he biased towards one side or the other); and of course what the book is about by giving some account of the content. For guidance it would be good if you could read the reviews in a history journal, such as the `American Historical Review’ or the `English Historical Review’, both of which should be in the Notre Dame library, as will other history journals.

I am quite willing to answer any questions relating to the book review before students arrive in Britain. My email address is: keith.surridge.2@nd.edu

IRST 44413 ETHNIC CONFLICT RESOLUTION IN IRELAND AND NORTHERN IRELAND
(CROSS-LISTED WITH ANTH 44338/IIPS 44501/POL SCI 34424)
3 Credits, Brendan O’Duffy
12:45 - 4:00 F, 5/16, 5/23
12:45 - 4:00 TR, 5/14-6/15
Wednesday, May 28 to Sunday, June 1, 2008 to

Northern Ireland

CRN 3123
This course aims to analyse the ways in which British and Irish governments have attempted to resolve or regulate the conflict in Ireland and Northern Ireland in the modern era. After outlining the historical, religious and political foundations of the conflict, the bulk of the course will focus on the period from the Civil Rights era (1960s) until and the negotiation and implementation of the Belfast (Good Friday) Agreement (1998-2007).
The course will be comprised of a mixture of lectures, seminars and a 5 day field-trip to Belfast and Armagh in Northern Ireland. Given the concentrated structure of the course, students will be expected to have read thoroughly the pre-assignment reading (the first three chapters of the core text) before they arrive in London.

Core text: McKittrick, David and McVea, David, Making Sense of the Troubles

Other useful texts:
Brendan O'Leary and John McGarry The Politics of Antagonism:Understanding Northern Ireland 2nd Edition (Athlone Press, 1996)
McGarry, John and Brendan O'Leary Explaining Northern Ireland: Broken Images Oxford: Blackwell, 1995).
J. Ruane and J. Todd, The Dynamics of Conflict in Northern Ireland 2nd Edition (Cambridge: CUP, 2001)
Whyte, John Interpreting

Northern Ireland

(Oxford: University Press, 1990).
Bew, Paul, Gibbon, Peter and Patterson, Henry Northern Ireland 1921-1996: political forces and social classes (London : Serif, 1996).
Buckland, Patrick A History of

Northern Ireland

and the politics of reconciliation (Cambridge UP, 1994).
Wichert, Sabine.

Northern Ireland

since 1945 (London: Longman, 1998).

MUS 14902 “THE CONCERT LIFE OF TWO CITIES”
3 credits, Avril Anderson, David Sutton-Anderson
12:45 - 4:00 F, 5/16, 5/23
12:45 - 4: TR, 5/14-6/15
Wednesday, May 28 to Sunday, June 1, 2008 travel to Paris
CRN 3363
Participants are given the opportunity of experiencing concert performances in London and Paris. The works heard in the concerts attended will be placed in the broader context of music history from an essentially European perspective. Two or more seminal works from the concert will be studied and analysed as set worksfor the course.

While in London, students will visit key sites associated with the life and work of G.F.Handel, and the Fenton House, Hampstead, home of the unique Benton Fletcher collection of early keyboard instruments and pianos. The visit includes a tour of the house and a demonstration/recital on a number of the instruments by Prof. Sutton-Anderson, accredited performer at Fenton House. Many prominent musicians and composers (as well as actors,artists and writers) lived/live in Hampstead and the visit concludes with a walk through the village.

On the Paris leg of the course, trips will be made to the Palace of Versailles, a musical hot-house of the French Baroque period, and to the Cite de la Musique, the recently completed complex dedicated to the semination of international musical life. Students will also attend Sung Gregorian Mass at Notre Dame Cathedral.

Set text (recommended) Music: a Listener's Introduction' (Harper and Row, New York 1983)
Pre-course assignment: listening/research on the set works (Mozart: Symphony in Bb K.319 and Sibelius: Symphony no. 4 in A minor).

IIPS 44501 ETHNIC CONFLICT RESOLUTION IN IRELAND AND NORTHERN IRELAND
(cross-listed with IRST 44413/ANTH 44338/POL SCI 34424)
3 Credits, Brendan O’Duffy
12:45 - 4:00 F, 5/16, 5/23
12:45 - 4:00 TR, 5/14-6/15
Wednesday, May 28 to Sunday, June 1, 2008 to Northern Ireland
CRN 3121
This course aims to analyse the ways in which British and Irish governments have attempted to resolve or regulate the conflict in Ireland and Northern Ireland in the modern era. After outlining the historical, religious and political foundations of the conflict, the bulk of the course will focus on the period from the Civil Rights era (1960s) until and the negotiation and implementation of the Belfast (Good Friday) Agreement (1998-2007).
The course will be comprised of a mixture of lectures, seminars and a 5 day field-trip to Belfast and Armagh in Northern Ireland. Given the concentrated structure of the course, students will be expected to have read thoroughly the pre-assignment reading (the first three chapters of the core text) before they arrive in London.

Core text: McKittrick, David and McVea, David, Making Sense of the Troubles

Other useful texts:
Brendan O'Leary and John McGarry The Politics of Antagonism:Understanding Northern

Ireland

Northern Ireland

(Oxford: University Press, 1990).
Bew, Paul, Gibbon, Peter and Patterson, Henry Northern Ireland 1921-1996: political forces and social classes (London : Serif, 1996).
Buckland, Patrick A History of

Northern Ireland

and the politics of reconciliation (Cambridge UP, 1994).
Wichert, Sabine.

Northern Ireland

since 1945 (London: Longman, 1998).

PHIL 24277 “A PHILOSOPHICAL INTRODUCTION TO THE MIND”
(cross-listed with PSY 24130)
3 credits, James Hopkins
9:15 – 12:00 F, 5/16, 5/23
9:15 – 12:00 MTR, 5/14-6/15
12:45 – 4:00 W, 5/14-6/15
CRN 3135
The overall aim of this course is to introduce students to the application of philosophical methods of analysis and argument in understanding the mind and its relation to the brain, as we encounter these in pure philosophy and also in some examples of behavioural and neural science. Accordingly the course will begin with a brief review and examination of a pre-course assignment on arguments and disambiguation, which introduces topics to be applied in the remainder of the course. (Students will be provided with tutorial help on these matters should this be relevant). After this we will consider the topic of concepts, considering in particular the difference between mental and physical concepts, that is, the different ways we think of material things as opposed to the mind. This will enable us to consider in depth two of the main arguments which have been brought to bear on the understanding of mind and brain: the separation argument for dualism, first rigorously formulated by Descartes, and employed by many philosophers and scientists through to the present day; and the causal argument for physicalism, which, together with advances in neuroscience, has had particular influence in recent decades.
These arguments will be presented together with the phenomenological and causal considerations which render them plausible, and will be the topic of a required essay (1000 – 2500 words), which will be discussed one-to-one with a member of the teaching staff.

Pre-course Assignment: Students will be given a detailed pre-course assignment on arguments and their evaluation, which will be examined at the beginning of the course.

POLS 34424 ETHNIC CONFLICT RESOLUTION
IN IRELAND AND NORTHERN IRELAND
(CROSS-LISTED WITH IRST44413/ ANTH 44338 /IIPS 44501)
3 Credits, Brendan O’Duffy
12:45 - 4:00 F, 5/16, 5/23
12:45 - 4:00 TR, 5/14-6/15
Wednesday, May 28 to Sunday, June 1, 2008 to

Northern Ireland

CRN 3122
This course aims to analyse the ways in which British and Irish governments have attempted to resolve or regulate the conflict in Ireland and

Northern Ireland

in the modern era. After outlining the historical, religious and political foundations of the conflict, the bulk of the course will focus on the period from the Civil Rights era (1960s) until and the negotiation and implementation of the Belfast (Good Friday) Agreement (1998-2007).
The course will be comprised of a mixture of lectures, seminars and a 5 day field-trip to Belfast and Armagh in Northern Ireland. Given the concentrated structure of the course, students will be expected to have read thoroughly the pre-assignment reading (the first three chapters of the core text) before they arrive in London.

Core text: McKittrick, David and McVea, David, Making Sense of the Troubles

Other useful texts:
Brendan O'Leary and John McGarry The Politics of Antagonism:Understanding Northern Ireland 2nd Edition (Athlone Press, 1996)
McGarry, John and Brendan O'Leary Explaining Northern Ireland: Broken Images Oxford: Blackwell, 1995).
J. Ruane and J. Todd, The Dynamics of Conflict in Northern Ireland 2nd Edition (Cambridge: CUP, 2001)
Whyte, John Interpreting

Northern Ireland

(Oxford: University Press, 1990).
Bew, Paul, Gibbon, Peter and Patterson, Henry Northern Ireland 1921-1996: political forces and social classes (London : Serif, 1996).
Buckland, Patrick A History of

Northern Ireland

and the politics of reconciliation (Cambridge UP, 1994).
Wichert, Sabine.

Northern Ireland

since 1945 (London: Longman, 1998).

PSY 24130 “A PHILOSOPHICAL INTRODUCTION TO THE MIND”
(cross-listed with PHIL 24277)
3 credits, James Hopkins
9:15 12:00   F, 5/16, 5/23
9:15 12:00 MTR, 5/14-6/15
12:45 – 4:00 W, 5/14-6/15
CRN 3136
The overall aim of this course is to introduce students to the application of philosophical methods of analysis and argument in understanding the mind and its relation to the brain, as we encounter these in pure philosophy and also in some examples of behavioural and neural science. Accordingly the course will begin with a brief review and examination of a pre-course assignment on arguments and disambiguation, which introduces topics to be applied in the remainder of the course. (Students will be provided with tutorial help on these matters should this be relevant). After this we will consider the topic of concepts, considering in particular the difference between mental and physical concepts, that is, the different ways we think of material things as opposed to the mind.   This will enable us to consider in depth two of the main arguments which have been brought to bear on the understanding of mind and brain: the separation argument for dualism, first rigorously formulated by Descartes, and employed by many philosophers and scientists through to the present day; and the causal argument for physicalism, which, together with advances in neuroscience, has had particular influence in recent decades.

These arguments will be presented together with the phenomenological and causal considerations which render them plausible, and will be the topic of a required essay (1000 – 2500 words), which will be discussed one-to-one with a member of the teaching staff.
Pre-course Assignment: Students will be given a detailed pre-course assignment on arguments and their evaluation, which will be examined at the beginning of the course.

SCPP 44497 MEDICAL PRACTICE AND POLICY UK
(cross-listed with STV 34166 and ANTH 34720)
3 credits, Cornelius O’Boyle
9:15 - 12:00 F, 5/16, 5/23
9:15 - 12:00 MTR, 5/14-6/15
12:45 – 4:00 W, 5/14-6/15
This course introduces American students to the structure of socialized medicine in

Britain

and the public welfare system of which it forms a part. The course begins with a history of the National Health Service (NHS) and a description of the principles underpinning the system. The course then explores British medical education and the various careers available to medical doctors in Britain. Special attention is paid to the reforms currently being introduced to medical education. The course ends with an examination of the challenges facing the NHS. These include financial constraints; administrative changes in the provision of medical services; the changing balance between primary care and hospital medicine; the demands of new medical technology; new ethical challenges in medicine; and the relationship between public and private medicine.

The course will be taught primarily in the form of a discussion group. Students will be encouraged to make comparisons and contrasts between the American and British system of health care. Visits will also be made to places of relevant historical interest to give students greater appreciation of the background to the problems facing health care providers in London.

Required Texts:
James Le Fanu, The Rise and Fall of Modern Medicine (Abacas Books, 1999) [R149.L45] (four copies on Reserve in the Library)
Ivan Illich, Limits to Medicine: Medical Nemesis, The Expropriation of Health (Penguin, 1977) [RA418.I44] (two copies on Reserve in the Library)

Recommended Texts:
Michael Fitzpatrick, The Tyranny of Health: Doctors and the Regulation of Lifestyles (Routledge, 2001) [RA395.G6.F586]
Christopher Ham, Health Policy in Britain, 4th ed. (Macmillan, 1999) [RA395.G6.H29]
Helen Jones, Health and Society in Twentieth-Century Britain (Longman, 1994) [RA418.G7.J65]
Rudolf Klein, The New Politics of the NHS, 4th edition (Longman, 2001) [RA395.G6.K64]

STV 34166 MEDICAL PRACTICE AND POLICY UK
(cross-listed with ANTH 34720and SCPP 44497)
3 credits, Cornelius O’Boyle
9:15 - 12:00 F, 5/16, 5/23
9:15 - 12:00 MTR, 5/14-6/15
12:45 - 4:00, W, 5/14-6/15
This course introduces American students to the structure of socialized medicine in Britain and the public welfare system of which it forms a part. The course begins with a history of the National Health Service (NHS) and a description of the principles underpinning the system. The course then explores British medical education and the various careers available to medical doctors in Britain. Special attention is paid to the reforms currently being introduced to medical education. The course ends with an examination of the challenges facing the NHS. These include financial constraints; administrative changes in the provision of medical services; the changing balance between primary care and hospital medicine; the demands of new medical technology; new ethical challenges in medicine; and the relationship between public and private medicine.

The course will be taught primarily in the form of a discussion group. Students will be encouraged to make comparisons and contrasts between the American and British system of health care. Visits will also be made to places of relevant historical interest to give students greater appreciation of the background to the problems facing health care providers in London.

Required Texts:
James Le Fanu, The Rise and Fall of Modern Medicine (Abacas Books, 1999) [R149.L45] (four copies on Reserve in the Library)
Ivan Illich, Limits to Medicine: Medical Nemesis, The Expropriation of Health (Penguin, 1977) [RA418.I44] (two copies on Reserve in the Library)

Recommended Texts:
Michael Fitzpatrick, The Tyranny of Health: Doctors and the Regulation of Lifestyles (Routledge, 2001) [RA395.G6.F586]
Christopher Ham, Health Policy in Britain, 4th ed. (Macmillan, 1999) [RA395.G6.H29]
Helen Jones, Health and Society in Twentieth-Century Britain (Longman, 1994) [RA418.G7.J65]
Rudolf Klein, The New Politics of the NHS, 4th edition (Longman, 2001) [RA395.G6.K64]