HUMANITIES
400, 401. DIRECTED RESEARCH. (2, 2 or 3, 3) Guided reading and research in philosophers or philosophical topics. 402. PHILOSOPHY OF SCIENCE. (3) An analysis of the nature of scientific theory, scientific knowledge, and scientific experimentation. Consideration of the limits of science as well as the relation of science to epistemology and metaphysics. 403. CURRENT PROBLEMS IN PHILOSOPHY. (3) Selected problems in philosophy. SPEECH Objective. The courses offered by this department are designed to acquaint the student with the essential theori es that govern effective discourse and to develop in him a measure of proficiency in th e various skills demanded by the speech arts. Department Major: 30 units , of which 24 must be upper division . Department Minor: 18 units , of which 12 must be upper division. 101. BASIC SPEECH. (3) Either term Consideration of the basic principles and practices of eff ective oral communication, with emphasis on finding , evaluating, and organizing materials and on simplicity and directness in style and delivery. Expe rience in the preparation and delivery of suitable speeches. 212. ORAL INTERPRETATION. (3) Theory and technique of oral reading; practice in the reading of various types of literature. 224. VOICE AND DICTION. (2) Development of tone production , breath control, voice projection, pro• nunciation, and articulation. Extensive use of individual and class exercises. 244, 245. INTERCOLLEGIATE FORENSICS. (1-1) Practical speech experience in debate and other forms of contest speak ing. 251. ELEMENTS OF DRAMATIC PRODuCTION. (3) Lectures, demonstrations, assignments and laboratory experience in the theory and practice of production. Lighting, construction and painting of scenery, assembling of stage properties and methods of costuming. Management, promotion and rehearsals. Preparation and presentation of a three-act play two consecutive nights. 261. ELEMENTS OF DRAMATIC INTERPRETATION. (3) Lectures, demonstrations , assignments and laboratory experience in acting and directing. Play anal ysis, casting, the actor's resources and methods, and clarity of expression. Stage composition , balance, move ment, and business in addition to oral interpretation and voice develop ment. Production of a three-act play presented two consecutive nights. 65
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