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WWU / Fairhaven College of Interdiscipinary Studies

100-200 Level Fall Courses, 2009

42591 101a Introduction to Interdisciplinary Study

McClure (1 Credit)

Materials Fee:  $13.73
Prerequisites:  admission to Fairhaven College; required of all new students in the first quarter of enrollment at Fairhaven.

 

One credit, one credit is all it takes to teach you EVERYTHING you need to know to be a successful, interdisciplinary, revolutionary Fairhaven College student?  As you've figured out already Fairhaven College is a different sort of place.  That's why you're here.  Most of you haven't experienced an educational system quite like Fairhaven.   We get to show you the ropes.  We are Fairhaven's Advising Coordinator, Jackie McClure and a cadre of savvy, skilled Peer Mentors.  

 

We hope you will leave this class understanding more about why you are in college and what you can do with your time here.  Fairhaven College students, faculty and staff congregate by virtue of a shared vision of education.  We want to help you experience that vision to better understand it.  We'll be a big group, by Fairhaven class standards, enrolling all 90 of the new students beginning at Fairhaven this Fall.  The class structure will include some large group meetings, several small group workshops and participation in the college community.  We will spend time de-coding the mysteries of the educational practices we use (Writing Portfolio; Transition Conference; ISPs; Evals...) and sharing essential information you need to proceed toward a major and participate as an informed member of your new community of Fairhaven College and Western Washington University.  

 

Texts: Materials to be provided.

 

Credit/Evaluation: This Fairhaven College Core Class is a graduation requirement.  Award of credit will be based on documented participation and written assessment in the required class meetings and required workshops outlined in the syllabus as well as submission of a narrative self-evaluation.  We expect your curiosity, your playfulness, your active engagement, your collaborative spirit. 

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42596 201a Critical & Reflective Inquiry

Bower (5 Credits)

Materials Fee:  $14.49
Prerequisites:  admission to Fairhaven College; required of all new students in the first quarter of enrollment at Fairhaven.

World Environment


This course focuses on the state of the world environment.  In the first half of the course, we will study two important case studies, global climate change and the health of the world's oceans.  The second half of the course will be designed in collaboration with students to survey other global environmental issues such as food and water issues, desertification, and the role of the environment in health issues.  Throughout the course we will consider the question of whether environmental issues pose the same level of threat as the many other issues facing the world.  We will also consider whether there is significant interplay between environmental issues and other issues, such as wars and poverty.  Finally, while we will not hide from the enormity of global environmental problems, we will also seek out those who are proposing and implementing solutions.

 

While the content we cover will be the global environment, a primary goal for the course will be to develop reading, writing, communication, and research skills.  And we will develop the skills needed to succeed in a collaborative academic culture.  Since all these skills are necessary parts of the Fairhaven College student's academic toolkit, we will practice them regularly in this course.

 

Texts:  Books and other readings will be determined.

 

Credit/Evaluation:  Regular attendance in class, informed participation in class discussions, participation in the development of research questions and assignment of readings pertaining to the questions, weekly 2-3 page written reactions to class readings and other students' writing, completion of two drafts of an autobiographical paper, two drafts of a research paper, a College writing plan, and a presentation based on the research paper.

 

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42594 201a Critical & Reflective Inquiry

Anderson (5 Credits)
Materials Fee:  $14.49
Prerequisites:  admission to Fairhaven College; required of all new students in the first quarter of enrollment at Fairhaven.

Historian as Detective


The focus of this section will be case studies from American history that present interesting and challenging problems of interpretation and analysis.  Good historians are good detectives.  So are good social activists, creative writers, lawyers, consumers, journalists, parents, and anyone determined to gather accurate and sensible information.  This class explores the skills, habits of mind, and character traits involved in investigating both the past and the present and in constructing narratives that make sense of the evidence.  It involves weekly activities such as treasure hunts in the library, interpreting manuscripts, exposing plagiarists, uncovering historical models for fictional characters, and constructing personal narratives from historical evidence.  It involves meeting with professionals in local museums, libraries, and archives to learn about gathering, storing, and retrieving information.  In the end, it means coming to appreciate scholarship as an "art," a way of thinking, not the accumulation of facts, events, and dates for their own sake.  Not incidentally, it most likely will result in a heightened sense of ease and self-confidence in the library or anywhere else that information might be found. 

 

Major projects will be a personal narrative, compiled from short essays inspired by Stegner's novel or historical case studies, and a research paper.  As an integral part of the research process, students will critique a related scholarly article by retracing the writer's steps.  (Sometimes the best way to learn how to build something is to take it apart and see how the elements fit together.)  They will locate (some of) the sources and evaluate how the author uses them, as well as identify and assess the author's conceptual approach, writing style, selection of evidence, arguments, and conclusions.  With a heightened critical sensibility and the research involved in achieving it, students will be able to construct their own narrative. 

 

Texts:  THE INFORMATION-LITERATE HISTORIAN by Presnell; AFTER THE FACT: THE ART OF HISTORICAL DETECTION by Davidson and Lytle; ANGLE OF REPOSE by Stegner; and A POCKET STYLE MANUAL (5th edition) by Hacker.

 

Credit/Evaluation:  Regular attendance and informed participation in class discussions, completion of weekly assignments, quality of insights, questions, and observations on assigned reading and other activities; ability to listen attentively and engage other students in meaningful discussions; and growth in critical tools manifested in oral presentations and writing assignments, including short response papers, reflective and analytical essays, a series of short personal narratives, a final paper that demonstrates an increased understanding of the process of gathering and interpreting information, and a writing plan.

 

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43414 201a Critical & Reflective Inquiry

Eaton (5 Credits)
Materials Fee:  $14.49
Prerequisites:  admission to Fairhaven College; required of all new students in the first quarter of enrollment at Fairhaven.

 

Food for Thought

Co-enrollment is required:  This class is linked with Dana Jack's Social Relationships and Responsibilities

Tell me what you eat, I'll tell you who you are.  ~Anthelme Brillat-Savarin


Hunger:  One of the few cravings that cannot be appeased with another solution.  ~Irwin Van Grove


"Hunger also changes the world - when eating can't be a habit, then neither can seeing" ~ Maxine Hong Kingston

 

This interdisciplinary seminar engages students in the processes of critical and reflective thinking, reading, and writing around a particular theme. It is a place to explore what these processes are, why they are valued, how they work, and where they fit into a Fairhaven education.

 

The overall "processes" of critical and reflective thinking, reading, and writing will be rooted in an exploration of the issue of hunger in our world and the role of food in culture. Almost nothing is as essential to human existence and social structures as the production and consumption of food. Food is sustenance, providing one of the essential elements to sustain life.  Food is family and ritual, as we celebrate joyful occasions and offering comfort for sorrow and despair. Food is history, connecting us to places, to ethnicity, and sometimes to community, or to a particular person. Food is culture, often charged with religious or political significance.  Food is power, and in simple terms, those lines of power divide those who have more than enough to eat and those who go hungry. Food is money, and there are complex economic and social costs to bring food from those who grow it to our tables.

Together we will investigate some of these varied aspects of food, using both critical and reflective reading and writing to consider of how social relationships and individual responsibility relate to the geography of hunger and inequalities in food production and consumption and to explore our relationships with food and work together to investigate recipes to live by that might sustain our hungry bodies, spirits and humanity.

 

At critical points in the quarter, this course will link with Dana Jack's 203a seminar Social Relationships and Responsibilities to consider how social relationships and individual responsibility relate to the geography of hunger and inequalities in food production and consumption.  At times, we will use films, joint writing projects, field trips and shared meals to explore the intersection of these issues. Since all students who are in this class will also be taking Dana Jack's seminar, students will have an opportunity to form a learning community that spans two classes.

 

Texts:  Tentative -- RENEWING SALMON NATION'S FOOD TRADITIONS BY Nabhan, and A POCKET STYLE MANUAL 5TH ed., by Hacker.  Other reading selections are on Blackboard.

 

Credit/Evaluation:  Regular, informed participation in class discussion. Evaluation will be based on grasp of understanding of multiple perspectives presented in the readings.  In addition, this is a writing intensive class, and all formal assignments will be revised and redrafted over the course.  In addition to varied in-class study questions and writing assignments, the following formal writing will be expected: short critical response papers on topics related our joint readings about food, culture and society, reflective papers about food and family, a research paper connected to some aspect of the linked course content, an intellectual autobiography and a writing plan.

 

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42595 201a Critical & Reflective Inquiry

Tag (5 Credits)
Materials Fee:  $14.49
Prerequisites:  admission to Fairhaven College; required of all new students in the first quarter of enrollment at Fairhaven.

 

Animal

You will know
when you walk
in bear country.
By the silence
flowing swiftly between juniper trees
by the sundown colors of sandrock
all around you.
—Leslie Marmon Silko

 

This class is an invitation to walk in bear country.  Or, as poet Denise Levertov put it, to "Come into animal presence."  We will explore what it means, as humans, to be animals, and how we imagine, understand, use, encounter, and live with nonhuman animals.  At the core of our explorations will be a series of questions that we develop, write down, talk about, examine, and share.  Think about all the ways in which your life intersects with and depends upon other creatures: worms making compost, bees pollinating crops, salmon frying on your grill, ravens calling down through the trees as you walk below, a cat rubbing against your leg.  What rights do such animals have?  How do they think, communicate, survive?  What are the limitations or possibilities for what we can know about animals beyond ourselves?  To what extent are our own actions, beliefs, senses, and being shaped by our animalness? 

 

To explore such questions we will read stories, articles, essays, and poems, write reflections, autobiographical narratives, and research essays, and spend lots of time talking, asking questions, and thinking critically.  We will consider the ways in which scientists, writers, artists, wildlife managers, veterinarians, ranchers, vegetarians, musicians, and storytellers speak about animals and their own animalness. Animals will be at the center of everything we do and say and explore, even the very modern and ancient idea that we, too, are animals, and what that means for our actual relationships to the wild and domestic creatures with whom we share this planet. This will be a reflective, thought-provoking, and creative class.  Please bring stories of your own animal encounters and a willingness to collectively investigate, illuminate, and listen to the many and varied stories of animal presence.

 

Texts: THE ANIMAL READER, by Kalof and Fitzgerald; INTIMATE NATURE: THE BOND BETWEEN WOMEN AND ANIMALS, by Hogan; NEVER CRY WOLF, by Mowat; A POCKET STYLE MANUAL (5th edition) by Hacker.

 

Credit/Evaluation:  Faithful attendance.  Active participation in class discussions, presentations, writing workshops, and other activities.  Completion and quality of coursework: several short reflective and analytical essays, an Autobiographical Narrative, a Research Essay, a Writing Plan, and a Book of Questions.

 

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43640 201a Critical & Reflective Inquiry

Rowe (5 Credits)
Materials Fee:  $14.49
Prerequisites:  admission to Fairhaven College; required of all new students in the first quarter of enrollment at Fairhaven.

Information Overload


This section explores the information explosion, the need to critically evaluate competing messages, and the importance of developing effective expressions of our own views.  We will consider the plethora of technological innovations for conveying our words and how we manage them (or do they manage us?).  We will entertain concomitant themes of credibility, diversity, and relevance in what we read and consider how to apply such concerns to our own writing.

 

Our primary reading stimulates discussion with such questions as: How are Facebook and MySpace changing student life? How important is ethnic identity?  Are there real, biologically caused differences between the way men and women act, think, speak, and behave?  Do we need an ethics of consumption to combat child labor?  Is a college education today the equivalent of high school forty years ago and are Americans getting dumber by the day?  Is the earth warming at a dangerous rate or that just a lot of hot air?  The essays written on different perspectives of these and other timely issues will help us hone our critical reading skills.   They will also serve as models for our own writing.

 

Texts:  AMERICA NOW 8th ed., edited by Robert Atwan; A POCKET STYLE MANUAL 5TH ed., by Hacker.

 

Credit/Evaluation: Credit will be awarded based regular, punctual attendance, meaningful contribution to discussions, completion of several essays, a writing plan and completion of a formal research paper suitable for inclusion in your Fairhaven writing portfolio.

 

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43639 201a Critical & Reflective Inquiry

Cornish (5 Credits)
Materials Fee:  $14.49
Prerequisites:  admission to Fairhaven College; required of all new students in the first quarter of enrollment at Fairhaven.

 

The Five Senses

Hairs make wonderful organs of touch. 'Breeze' our brain says without much
fanfare, as a few hairs on our forearms lift imperceptibly.
- Diane Ackerman, A Natural History of the Senses

 

Most people think of the mind as something floating in the head, yet studies in physiology tell us that "the mind" isn't centered in the brain but travels the whole body by hormone and enzyme, making sense of the complex wonders we call touch, taste, smell, hearing, sight. We sip a Starbuck's frapuccino, lift our faces to the rain: our senses define the edge of awareness, and we spend our lives in bodies that explore the perimeters. Thoreau took moonlight walks through the fields when the tassels of corn smelled dry. Flaubert wrote of smelling his lover's slippers and mittens, which he kept in his desk drawer. This class considers touch, taste, smell, hearing, vision, and how they relate to culture, to memory, to a notion of the "self." We consider taboos that attach to the senses and examine the consequences of excess. Beyond this, we contemplate how we expand individual, empirical knowledge with the authoritative knowledge others: whose authority do we accept and how does it alter our perspective?

 

Texts: A NATURAL HISTORY OF THE SENSES by Ackerman; A POCKET MANUAL OF STYLE (5th edition) by Hacker. Others to be announced.  Also, students are to compile a notebook of texts they download and print from Blackboard, as well as any handouts.

 

Credit/Evaluation: Students are expected to make a commitment to the class. Such commitment requires steady effort in one's own work (the timely completion of assigned writing and reading), as well as thoughtful, active participation in class discussion. The class is both reading and writing intensive; rewriting and revising is required of all formal work. Papers include: analytical or reflective responses to readings; an intellectual autobiography; a writing plan; a research paper based on our explorations. Students will also keep a quarter-long journal of more casual writing. Regular, prompt attendance is essential to our class dynamics, as well as to your growth. More than 3 absences, and you will not receive credit for the class.

 

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42598 202a Humanities and the Expressive Arts

Feodorov (5 Credits)
Materials Fee:  $13.73

 

What are artists? Are they misunderstood geniuses that passionately express themselves and the times they live in? Are they forward thinking visionaries, utopian idealists or con men? The term "Artist" has meant different things to different peoples, cultures and eras. The common myth of the artist as some tortured genius has been promoted and reinforced in popular culture through movies, television, literature and magazine ads. Why does this myth persist and what/who does it serve? In this class, we will investigate several ideas throughout history, from Plato to the art critic Clement Greenberg, regarding what an "artist" is. In addition, we will discuss topics such as authenticity, originality and celebrity. Students will write responses to assigned readings and participate in class discussions. Each student will create three art projects influenced by the assigned readings and maintain a 40-page journal or sketchbook to be periodically reviewed by the instructor. Students will develop their ability to think analytically, cultivate perceptive reading and writing skills, and formulate and articulate ideas based upon research and class discussion.

 

Text: TBA

 

Credit/Evaluation: Credit is based upon regular punctual attendance, active informed participation in class discussions, understanding of the material covered in class and timely completion of three visual art projects as well as all reading and writing assignments.

 

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42600 203a Social Relationships and Responsibilities

Jack (5 Credits)
Materials Fee:  $13.73
Prerequisites:  admission to Fairhaven College; required of all new students in the first or second quarter of enrollment at Fairhaven.

 

Food for Thought

Co-enrollment is required:  This class is linked with Marie Eaton's 201a (5) Food for Thought: Critical and Reflective Inquiry

We will apply social theories to the issue of hunger in our world. At critical points in the quarter, this course will link with Marie Eaton's 201a course Food For Thought: Critical and Reflective inquiry seminar to consider how social relationships and individual responsibility relate to the geography of hunger and inequalities in food production and consumption.  This interdisciplinary seminar draws on perspectives of psychology, history, sociology and social theory to examine how societies construct individual lives and social relationships.  Among the questions we explore are: What does it mean to be a socially responsible citizen? How do a range of critical social theorists, including the dispossessed, oppressed and excluded, all writing from different standpoints of power and privilege, inform our understanding of social relationships and responsibility? How do interdisciplinary and multicultural perspectives influence our understanding of social justice and notions of truth?

 

Our readings consider multiple perspectives on fundamental issues: human survival on a finite planet, equality, and freedom. Our scope of study will range from local to international venues; reading selections will include Vandana Shiva, Patricia Hill Collins, W.E.B. DuBois, Karl Marx, Thomas Hobbes, Carole Pateman, and others. Students should expect to gain key concepts for the study of the social world, to reflect critically on ideas of social justice and the Fairhaven Mission's commitments to Social Justice and Diversity, and to engage deeply with ideas.

 

At times, we will use films, joint writing projects, field trips and shared meals to explore the intersection of these issues. Since all students who are in this class will also be taking Marie Eaton's seminar, students will have an opportunity to form a learning community that spans two classes.

 

Texts:  Readings are all on blackboard.

 

Credit/Evaluation: Regular, informed participation in class discussion. Students will be asked to lead one class discussion and prepare a synopsis and handout of the reading they discuss.  Two short reflection papers and a final project/paper will be required. Evaluation will be based on grasp of understanding of multiple theoretical perspectives presented in the readings and on development of analytical skills.

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42796 203a Social Relationships and Responsibilities

Takagi (5 Credits)

Materials Fee:  $13.73
Prerequisites:  admission to Fairhaven College; required of all new students in the first or second quarter of enrollment at Fairhaven.

 

This seminar incorporates history, sociology, ethnic and feminist studies and social theory to explore the relationship between the society and the individual.  What is, if any, the social contract between the society and its citizens and residents?  Is it "human nature" to be autonomous and independent individuals?  Are acts of domination (by the state or by individuals) over citizens an attempt to "make community"?  Are freedom and free will social constructions? These are some of the questions we will grapple with during this quarter through readings by Du Bois, Hobbes, Marx, Winant and Collins, among others. 

 

Texts: to be announced

 

Credit/Evaluation: Regular attendance (no more than 3 absences for credit).  Informed participation in class discussion.  Students will be asked to lead one class discussion.  Two analytical papers on course readings.     

 

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42599 203a Social Relationships and Responsibilities

Akinrinade (5 Credits)
Materials Fee:  $13.73
Prerequisites:  admission to Fairhaven College; required of all new students in the first or second quarter of enrollment at Fairhaven.

 

Human Rights

This course focuses on the philosophical foundations of human rights and considers the role of natural rights in the evolution of the concept. It will examine "choice theory" and "interest theory" and the distinction between positive and negative rights. The course will look at the relationship between rights and duties and explore the possibility of determining which rights could be considered basic. It will also look at the cultural argument in relation to rights, whether rights could be universal or admits of relativity. We will try to gain an understanding of these issues by exploring the following the following questions, among others:

 

What are the philosophical roots of the modern day concept of human rights? Which of the many competing theories best explain the origins and content of human rights? Are there rights without a concomitant duty and are rights absolute? Which of the rights in the human rights corpus are the most important? Which are the most basic, without which meaningful existence is possible? Are human rights universal? If yes, is universalism of human rights another form of imperialism? Can human rights be particularized to the different regions in the world?

 

We will use philosophical texts and other relevant sources to attempt to answer these questions.

 

Texts: Basic Rights: Subsistence, Affluence, and U.S. Foreign Policy by  Shue; THE PHILOSOPHY OF HUMAN RIGHTS by Hayden.

 

Credit/Evaluation: Conducted in a seminar format, all students are expected to attend class, prepared and on time, and participate actively. Your evaluation will take account of regular attendance, evidence of critical reading, engagement in class discussion, the quality of short reactions, and two assignments. Regular unexcused absences will affect your evaluation. All assignments must be completed to receive academic credit in this course.

 

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42601 206a Science and Our Place on the Planet

Wendy Walker (visiting Faculty) (5 Credits)
Materials Fee:  $14.49

 

The theme for this section is Sustainability: A study of human interaction with our habitats within natural systems. We can scarcely avoid the evidence that much of human activity today is bringing the earth into serious ecological imbalance, threatening the survival of our species. This class will examine how certain dominant values in science, technology, and society may have worked together to aggravate these problems. We will study and create visions for a future where other values might improve human prospects for living more sustainability.
 
Hopeful alternatives are emerging in the new field of sustainability studies. This class will allow students to recognize the techniques of science that might lead us into new ways of seeing ourselves and our place on the planet, new sustainable technologies and new ways of acting as individuals and as cultures.  
 
Students will read various articles, books and view acclaimed videos to provide a broad and solid background in the content of the applicable sciences. We will then examine and question the assumptions and methods customarily associated with traditional science noting strengths and limitations of these approaches. Class discussions will explore the social matrix in which science is practiced, recognizing influences of culture, economics and geography.  Field trips to local sites of promising sustainability efforts and guest speakers will give the class a place-based, local perspective.
 
Each student will research and present to the class an overview of particular case-study of human interaction with natural systems via historic and present practices. Students will then work as a group to develop visions for the future, incorporating factual knowledge, research on cutting-edge technology, creative problem solving and divergent thinking.  Group visions will be presented to the class either in the traditional form of lecture, PowerPoint or in more expressive communication forms such as poetry, plays, short stories, editorials, and speeches, paintings, sculpture, dances and songs.
 
Texts: ECOLOGICAL LITERACY by Orr and THE SUSTAINABILITY REVOLUTION by Edwards.  Various on-line and copied articles
 
Credit/Evaluation: Students will be expected to attend regularly; to read and reflect on the assigned reading material and to contribute thoughtfully to class discussion and exercises; to keep a journal of responses to reading, videos, class discussion, and other observations related to the course, and to turn in at least two essays from this journal; to learn about, analyze, and report on a particular sustainability topic; and to inform themselves on current happenings in science through the reading of popular journal articles or viewing documentaries, briefly reporting on three of these to the class.

 

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43798 212c Introduction to Political Economy

ÓMurchú (5 Credits)
Materials Fee:  $13.23

 

What is political economy? How is it different from economics, politics, and sociology? How can we use political economy to understand and address local and global crises, including the global economic downturn? In the first part of this course we will alternate between exploring the intellectual history of political economy and acquiring basic literacy in economics. Together we will examine Adam Smith's praise of free markets, Karl Marx's critiques of capitalism, Thorsten Veblen on wealth, John Maynard Keynes' ideas for reconstructing the global economy after war and depression, and the legacies of Galbraith's ideas about the affluent society. This historical and intellectual exploration of political economy will be complemented by a critical exploration of conventional macroeconomics, microeconomics and international trade.

 

Our twin journeys through political economic thought and basic economic theory will be complemented by class sessions devoted to understanding aspects of the current global financial crisis and economic downturn using blogs, audio-recordings, and news media, including The Economist magazine.

 

For the last part of the class we will examine the political economy of the United States in the 25 years from the election of Ronald Reagan in 1980, including the dramatic rises in income inequality. Students will lead class in groups on one day when we explore the Reagan revolution and its discontents. This course is designed to help Fairhaven students explore the very real connections between economics, politics, and history.

 

Texts:  THE UNITED STATES SINCE 1980 by Baker; INTRODUCTION TO POLITICAL ECONOMY by Sachrey, Schneider, and Knoedler; DOLLARS & SENSE by Weaver; ECONOMIC LITERACY: BASIC ECONOMICS WITH AN ATTITUDE by Weaver and THE ECONOMIST Magazine

 

Credit/Evaluation: will be based on attendance, preparation, participation, regular homework assignments on basic economic theory, and a book review essay.

 

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43638 213d Slave Narratives & Other Testimonies

Takagi (3 Credits)
Materials Fee:  $13.23

 

This course is an introductory level class on slavery in North America focusing on the period beginning in the early 18th century through the Civil War.  No prior courses is necessary for this class, but a basic understanding of the chronological order of events and some idea what those events entailed, (e.g. when was the antebellum era—and what does antebellum mean?--when was the Fugitive Slave Act passed?  What did the Dred Scott decision signify for slave and free black Americans?) is important.  Some materials concerning these events will be handed out in class, otherwise you are required to look up these dates at the library on your own.  Furthermore, you are required to participate in creating a time line in class, so knowledge of these events is necessary. 

 

Course goals:
Learn about slavery and slave experiences primarily from the viewpoint of enslaved African and African Americans.  Recognize that these written accounts reflect but a small portion of the innumerable experiences that existed.
To critically read the narratives and other testimonies.  To pay close attention to the language used, meaning inferred, and to be familiar with the audience who read it.


To be critical of the works (and all historical documents) in terms of who may have been the intermediary (e.g. editor or who it was dictated to).  What "authenticates" a slave narrative?  And once you have figured out some of the answers to these questions, to then tackle what Henry Louis Gates, Jr., meant when he wrote, "current language use signifies the difference between cultures and their possession of power, spelling out the distance between subordinate and super ordinate, between bondsman and lord in terms of their 'race.'" 


To understand how slave narratives challenged slaveholders' power and the larger national pseudo-scientific beliefs about people of African descent that under girded the slave institution by:

  • Displaying the intelligence and determination that white Euro-Americans did not believe African American slaves could possess.
  • Providing a glimpse into the lives of the "voice-less"
  • Providing a counter narrative to the "master narrative"
  • Being against the law
  • Being a form of resistance


Texts:   THE NARRATIVE OF THE LIFE OF FREDERICK DOUGLASS by Douglass, INCIDENTS IN THE LIFE OF A SLAVE GIRL  by Jacobs, Document Reader (sold at the bookstore), and Articles on Blackboard.

 

Credit/Evaluation: 
3 response/analysis papers: 2 pages each, due dates on syllabus; 1 paragraph description of research topic and bibliography; 1 rough draft of final paper (the first 3-4 pages of entire paper); 1 Final Paper (6-8 pages)


Other requirements: Regular attendance (more than 3 absences will result in no credit); informed participate in class discussion; papers must be handed in on time.

 

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42706 218c The Hispano/a-American Experience

Estrada (3 Credits)
Materials Fee:  $13.23

Note: This class is cross-listed and meets with AMST 203.  Students taking the Fairhaven section will be graded S/U and written self-evaluations will be required.

 

This course will provide an introduction to the historical and contemporary development of the Hispano/a-Chicano/a community.  Interdisciplinary in nature, it will focus on such topics as education, emigration and economic stratification as well as on social and political  institutions.  Additionally, we will analyze the social context in which the Hispano/a-Chicano/a has sought to maintain and develop his and her respective culture.  Special emphasis will be given to understanding the Hispano/a's Mesoamerican roots, evolving roles of the Chicana, the nature of gangs within the barrio setting, and the development of social protest.  The course will involve lectures, class discussions and oral presentations by students.

 

Texts:  To be announced.  Possibly: FROM INDIANS TO CHICANOS by Virgil; MASSACRE OF THE DREAMERS, by Castillo; and THE LATINO READER, by Augenbaum and Olmos. 

 

Credit/Evaluation: Class participation, perspective papers, participation in Bellingham's Latinfest, midterm exam, and group term project and oral presentation.

 

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42707 219d African-American Experience

Takagi (3 Credits)
Materials Fee:  $13.23

Note: This class is cross-listed and meets with AMST 204.  Students taking the Fairhaven section will be graded S/U and written self-evaluations will be required.


This course examines and explores the social, political, and cultural history of African Americans from the development of slavery to the late 1980s.   Though ten weeks is absurdly too short a time to thoroughly understand the African American experience, this class will help create a learning environment that encourages appreciation of the history and culture of African Americans; teach the economic, psychological, and social situation of Blacks past and present; and explore the diversity and range of thought in the African Diaspora.

 

Texts: CREATING BLACK AMERICANS by Painter and LET NOBODY TURN US AROUND by Marable. Additional readings on Blackboard.

 

Credit/Evaluation:
(1) There are 9 quizzes. The quizzes will be on selections of the readings.
(2) There will be one creative project with a short paper (5 pages + bibliography of sources). 
(3) There will be one take-home exam due the last day of class, at the end of the class.  This exam will be worth 100 points.  I will hand out the question one week in advance of the due date. 

 

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42719 222g Imaginative Writing: Poetry and Image

Cornish (4 Credits)
Materials Fee:  $6.61

 

A glass of water with a flower is different from a glass of water and a lemon.
-Henri Matisse

 

What is known about the nature and acquisition of images? Of words? How does this relate to what scientists have called "primary metaphor"– and what does this mean to us as working poets? Mark Doty says, "I wait to be haunted, as it were, by an image… it's a metaphor-making process...my metaphors know ahead of me." What kind of knowledge is available to us this way? This course sets out to explore the visual image that "haunts" the poet, and follow its transformation into words. What images call our attention and why? How is the image verbally constructed in our work and to what effect? We can increase our understanding and extend our "toolbox," by looking at the work of other poets. The Imagists declared, "we are not a school of painters," but their manifesto said the poet should "present an image." How is their manifesto reflected in the poems of Pound or H.D.? Did Surrealists approach the image differently? And what about the "deep image" poets– voices as diverse as Bly, Merwin, Neruda, Lorca–  is there such a thing as a "deep" image? This course, with a workshop format, focuses on student poems, but includes extensive exercises as well as journal work, and the writing of "ekphrastic" poems (those written in response to a visual work of art). We make of our class an attentive place, a safe place– even playful– yet a place where there is genuine demand and absolute risk-taking. (This is a beginning poetry class, but all levels of expertise are welcome.)

 

Text: To be announced. Students are to compile a notebook of xeroxed readings as the class proceeds (or texts may be posted on Blackboard).

 

Credit/Evaluation: Students are expected to make a commitment to workshop. Such commitment requires steady effort in one's own work (the timely completion of assigned writing and reading), as well as thoughtful, active responses to work done by others. Rewriting and revising is also required for credit; a portfolio of all writing done during the term will be due at the end of the quarter. Regular, prompt attendance is essential to our commitment; more than three absences and you will not receive credit for the class.


 

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42603 223g Elements of Style

Tag (1 Credit)
Materials Fee:  $7.20

 

What is a comma but a claw rending the sheet, the asthmatic's grasp? What is a question mark but what's needed to complete this thought? Punctuation: what is it, after all, but another way of cutting up time, creating or negating relationships, telling words when to take a rest, when to get on with their relentless stories, when to catch their breath?
—Karen Elizabeth Gordon

 

If you care even the least whit about how you write, this is a class for you. We will certainly examine the rules and principles of English composition, including grammar, punctuation, word usage, sentence construction, and strategies for proofreading and revision. But such examinations are sometimes dull, stuffy, self-righteous, and boring. Ours will attempt a more stylish exploration of written style, like trying on hats in a haberdashery, or hounding the hobgoblins from our foolish consistencies, or swinging outward on a swaggering buccaneer's highest rope. Will it be dangerous? Of course! An education should be.

 

So come all ye word-sick, word-loving, word-puzzled pilgrims. Bring your grammatical contusions and confusions. Your punctuated paralysis. Your fears of saying what you have to say—clearly, directly. Together we will try to unlock the mysteries of writing with style (or at least help decide when to use parentheses—when a dash). We will un-dangle our participles, un-awk our words. All are welcome to take this course. This will be a fun and challenging one-credit course, hopefully helping each of us get out of our one-horse towns, tilt at a few windmills, and learn what there is to learn in the wide, wide world of writing well. 

 

Text: A DASH OF STYLE, by Lukeman

 

Credit/Evaluation: Faithful attendance. Active participation in all in-class writing exercises.  Quality and completion of all weekly writing assignments.  Presentation of a special project.

 

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43776 223k Personal Narratives: Interview

Anderson (4 Credits)
Materials Fee:  $12.44

 

The interview is a special form of interpersonal communication where one person invites and encourages another to explore and reflect on a chosen topic.  It differs from ordinary conversation in that it is not reciprocal; interviewers ask most of the questions and narrators provide most of the answers.  It is an especially powerful tool for research, mediation, negotiation, and related purposes because it allows for individuals to construct meaning in the context of a dynamic interaction.  Obviously, questions matter.  We will explore the consequences of choosing different kinds of questions and develop sufficient skill so that we can choose the most effective kind for each circumstance.  Not so obviously, listening matters even more.  Thus, we will spend much of our time examining and practicing the subtle communication behaviors that constitute effective listening.

 

This class is a skills-oriented workshop with weekly assignments and many opportunities to give and receive feedback on developing skills.  Topics will include: Choosing appropriate interview structures, basic skills for using recording equipment, research and preparation, developing rapport, formulating questions, probing, and especially, listening.  We will focus on open-ended, information gathering interviews but, in the process, we will also develop skills that can be applied to a variety of other situations. 

Students may want to do a series of interviews and investigate different perspectives on some common questions and themes.  For a final project, students will transcribe on interview and assess its strengths and weaknesses in a 6-8 page paper.

 

Text:  RECORDING ORAL HISTORY by Yow.

 

Credit/Evaluation: Evaluation will be based on the quality of participation in practice interviews, progress in ability to analyze one's own and other interviews, and skills demonstrated by a final interview and critique.


 

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42605 231n Introduction to Applied Human Ecology: Sustainable Systems

Bornzin (3 Credits)
Materials Fee:  $14.49

Note: This class will be coordinated by Fairhaven College and/or Huxley students under the supervision of Professor Bornzin. For guidelines for such courses, see the "Student Guide to Fairhaven College."

The field of human ecology explores relationships between human systems and the environment. Such systems may be considered sustainable if they are maintained and renewed through internal processes and external interactions which are non-exploitative and do not rely on non-renewable resources. This class explores the concept and physical reality of sustainability through shared reading, group interaction, and the development of new skills. The class is intended to further students' awareness of their own ecological relationships, and to enable students to live more simply, in greater harmony with the environment. The most basic human activities of growing and gathering food and herbs, creating shelter, restoring and maintaining the natural environment, and developing cooperative communities are examined in light of the principle of sustainability. Consumerism, technology, food, agriculture, and the many faces of change will be addressed and discussed in a comfortable yet challenging group environment. Academic studies, including models of sustainable development and appropriate technology, complement the learning and practice of practical skills such as making compost and growing vegetables using the five-acre Outback Outdoor Experiential Learning Site.

Text: Discussions will be based on readings available on-line, and on individual student research. Readings vary each quarter according to the interests of the class, but typically include articles such as Wendell Berry, "Waste"; Gary Snyder, "Four Changes" Gary Paul Nabhan, Food, "Health, and Native American Agriculture"; David McCloskey, "Cascadia"; Dana Jackson, "The Sustainable Garden"; Susan Griffin, "Split Culture"; Peter Berg," A Green City Program"; and selections from STAYING ALIVE by Shiva, ONE STRAW REVOLUTION by Fukuoka, IN THE ABSENCE OF THE SACRED: THE FAILURE OF TECHNOLOGY AND THE SURVIVAL OF THE INDIAN NATIONS by Mander, and ECO-JUSTICE: LINKING HUMAN RIGHTS AND THE ENVIRONMENT by Sachs.

Credit/Evaluation: Students are expected to attend regularly and to participate actively in the class discussions, exercises, and outdoor projects. For experiential learning to be successful, students must be present and engaged. Students will also be required to write one five-page research paper on a related topic, or a reflection paper on a service learning experience of their choice, and make a brief presentation of their topic or experience to the class.

 

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43874 243u Topics in Mind and Body: Mind & Brain

Brewer (4 Credits)
Materials Fee:  $15.47

 

 

Brain Connections: Introduction to the Human Brain

What is really going on in our brain as we go through our daily tasks? Is there a difference between male and female brains? How does our brain change as we grow? What effect does stress have on our brain? What happens in the brain during learning and how can we maximize learning effectiveness ? Participants will discover answers to these and other questions in this exploration of the biological basis of consciousness and mental processes.
 
This course studies how the brain organizes millions of individual nerve cells into action and explains how these cells are influenced by the environment. Following an overview of basic brain structure and function, we will examine how the brain changes during the human lifespan. Using the recent findings of neuroscience, we will learn about the essential chemical messengers that communicate within the brain and body to facilitate actions, emotions, memory, and learning. We will learn how stress and other environmental factors affect our thinking and behavior and discover ways to reduce the impact of these effects. Most importantly we will determine ways that knowing how our brain works can assist us in our daily tasks and life goals.
 
Texts: To be decided
 
Credit/Evaluation: Consistent attendance and active participation in class activities and discussion are necessary for this course. Students will be responsible for assigned readings, informed discussions, and weekly assignments. An independent project culminates in an in-class presentation on a related topic of interest at the end of the quarter.

 

 

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42607 252v Introduction to Drawing

S'eiltin (4 Credits)
Materials Fee:  $21.13

 

This class is designed for students with little or no prior drawing experience, but can accommodate advanced drawing students willing to expand on all assignments. All exercises will emphasize drawing from "nature" as opposed to one's imagination. Various observation exercises will contribute to improved and refined rendering skills and the ability to create the illusion of three dimensions on a two dimensional surface.

 

Throughout the quarter lessons in basic design principles, color theory and draftsmanship will be explored and experimental drawing exercises, such as combined media drawings using printmaking techniques, may be included in the final projects.

Students will be encouraged to take risks, to experiment with new drawing styles, to draw without looking and to look without drawing! A wide variety of collaborative and individual drawing exercises will work to challenge previously held standards and parameters that constitute a "good" drawing. Together we will create very large and very small expressive, daring and meaningful drawings.

 

Text: EXPERIMENTAL DRAWING by Kaupelis.

 

Credit/Evaluation: In class and take-home drawing assignments will be evaluated on student's ability to work with integrity, to become and remain engaged in the drawing process, to take aesthetic risks and to accept that each assignment represents a learning experience not a masterpiece. Four major take-home assignments as well as in class assignments will be critiqued throughout the quarter. Students will also be required to keep an "active" journal/sketchbook with approximately 75 entries made by quarter's end. Perfect attendance, promptness, fluency in the artwork and active participation in group assignments and critiques will be essential for receiving credit.

 

 

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41496 255y Folk Music Experience

Eaton/Bower (1 Credit)
Materials Fee:  $7.52

 

This course combines playing traditional folk music with the study of the contexts in which folk music has evolved.  For this quarter, the course will focus on the history of blues music.  Students will be expected to participate in discussions on the book Deep Blues: A Musical And Cultural History Of The Mississippi Delta during the first five weeks of the course.  The class will choose several blues tunes to practice together over the course of the quarter, including work on blues style instrumentation and singing.  In addition, each student will also be asked to introduce one song to the class that enriches our knowledge of folk music or the context within which folk music has been written and performed.  We will encourage, but will not require, that these songs come from the blues tradition.  Students will write a short research paper that forms the basis for their presentation on the song and its context.  Students will also be responsible for learning and practicing the songs that are presented to the class, including practice in small groups.  Students are encouraged to gain practice at playing one or more folk music instruments during the course, and are invited to join the course even if they are beginners at playing an instrument or if they prefer to just sing. 

 

Texts:  For the fall we will read Robert Palmer, DEEP BLUES: A MUSICAL AND CULTURAL HISTORY OF THE MISSISSIPPI DELTA. 

 

Credit/Evaluation:  Regular attendance and participation in our weekly sing, informed participation in class discussions, one short research paper and song presentation, and practicing music in a small group.  Writing in this course:  One draft of a one page single-spaced research paper.

 

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42608 258w Introduction to Acrylic Painting

video Feodorov (4 Credits)
Materials Fee:  $15.80

Please note: Intro to Acrylic Painting and Studio Painting: Theory and Practice will be taught concurrently. You cannot sign up for the advanced level unless you have already taken both 258w Intro to Acrylic Painting and 358w Advanced Acrylic Painting.

 

This class will focus on the use of acrylic painting techniques and elements of form, composition and color using still life, photographs and live models to create a minimum of 5 projects. Students will work during class time while maintaining a 40-page sketchbook outside of class. In addition, students will research and give an oral presentation on two artists from a provided list. Each student will also present their art projects to the class and participate in class discussions and critiques. Students must provide their own materials such as paint, canvas or paper, and brushes. A materials list will be handed out the first day of class.

 

Text: no text, but occasional handouts will be given.

 

Credit/Evaluation: Credit will be based upon attendance, promptness, quality of coursework and active class participation.  Students will also be required to maintain and complete a 40-page sketchbook for both sessions.

 

 

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42613 275b Introduction to Digital Video Production

Miller (2 Credits)
Materials Fee:  $49.89

 

This class will introduce basic camera use and video editing in the digital medium. Students will script, shoot, and edit 5 assignments using Final Cut Pro. Projects range from a 30-second commercial to a 3-5 minute final video on the student's choice of topic. The assignments are set up to encourage individual creativity & personal editing styles.

 

Texts: Optional, but recommended, FINAL CUT PRO 5 FOR MACINTOSH by Brennies. Students will need to purchase 5 mini DV tapes at a cost of about $25.

 

Credit/Evaluation: Completion of assignments, participation in class, attendance, and understanding gained from the class assignments.

 

 

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275e 50 Random Acts of Theater

Robinson (4 credits)


"At school any spontaneous act was likely to get me into trouble. I learned never to act on impulse, and that whatever came into my mind first should be rejected in favor of better ideas. I learned that my imagination wasn't 'good' enough. I learned that the first idea was unsatisfactory because it was 1) psychotic; 2) obscene; 3) unoriginal. The truth is that the BEST ideas are often psychotic, obscene, and unoriginal."  ~ Keith Johnstone

 

To play. To act. To take action through playing.

 

Adults often look at a child's sense of wonder and freedom and lament their own loss of openness and aliveness. The urges that motivate us often get usurped by feelings of obligation, guilt, apathy or fear. What has happened to our impulses to create art outside of a studio, to dance in a stairwell, to sing on a bus, to tell a joke to a stranger before getting off an elevator?

 

Get out! Get going! Get it on! Let's abolish the four walls of conventional theatre - the lights, the seats, the price of admission. Let's -instead - take theatre to the street corners, the coffee shops, the senior centers, the farmers' market, the city council chambers.

Nine weeks of freedom to create, perform, and document 50 random acts of imagination, beauty, goodness, awareness, surprise, poignancy, and wonderment. As one becomes fluent in the language of playfulness, a person's ability to recognize and to seize opportunities – acting upon artistic and imaginative impulses - becomes heightened. This practice then serves as a resource for living more presently, so much so that complacency and dull routine become strange figures from a distant past. In a moment of action, a shift in consciousness is possible. Students are encouraged to risk action, and then to practice self-reflection of each act with acute attention to outcome - both personal as well as what is observed in others. To articulately document the process of impulse, action, reaction allows the actor to gain greater awareness and empowerment of her/himself as a "conscious catalyst."

 

A selection of everyone's favorite 50 random acts will be woven together by the entire class in an end-of-quarter performance piece. Intense journaling is required.

 

Texts: AND THEN YOU ACT by Bogart; IMPRO by Johnstone; a selection of short writings ranging from the Dalai Lama to Oprah to local elementary students.

 

Credit/Evaluation: An effective and fulfilling ensemble is one in which everyone can't possibly miss a class, is eager to participate, and follows through with integrity. Oftentimes students will be paired for field assignments - collaboration and mutual coordination is key. Discussions of the texts is yummy. So are in-class exercises. Participation in the weaving of and performing of the final presentation of selected acts is our final hurrah!  All class members are to turn in a journal of their acts, insights, and observations at the end of the quarter. Journals will be returned. Warning: following artistic urges may be habit-forming.

 

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----- 275f Interdisciplinary Perspectives on Sustainability

Bornzin (4 credits)

 

The word sustainability is all over in the news these days – adopted by every cause from local food to global warming, and co-opted by commercial interests eager to promote their pseudo-green products.  Yet the emergence of a sustainability “movement” in these times signifies a growing awareness that we live on a finite planet; that the rapidly growing human population is having a significant impact on that planet; that many of our practices cannot be sustained for much longer, even with “wonderful” new technologies; that growing numbers of the human population is not being served, “sustained,” by present systems; and that we have to learn to get along.  The message of sustainability is that the challenges we face are urgent and comprehensive, and that radical change and global cooperation are required.  The message of this class is that sustainability is doable, already being done in places, and empowering.
 
Through conversations with invited guests from among the faculty associated with Western’s Sustainability Academy and from the larger community, and from sharing readings, web research, and our own personal stories, we will increase our own awareness of how multi- and inter-disciplinary perspectives on sustainability are contributing to all realms and systems of human activity, from the personal to the global. We will introduce students to the opportunities to study sustainability here at Western and elsewhere.  We will examine definitions of sustainability and connections between social, economic, and environmental sustainability. We will ask, what lessons can be learned from history, from historically sustainable and unsustainable cultures, from the recent history of the movement, from how nature works, from systems thinking, and from existing models of sustainable communities, best practices.  Finally we will ask ourselves, where do we go from here – as individuals, concerned citizens, dedicated professionals, as humans on a lovely, vulnerable planet.
 
Texts: To be selected

 

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42614 275h Audio Recording I

videoVita (4 Credits)
Materials Fee:  $71.39

 

Audio Recording Techniques I explores the techniques, tools, and technology used in "multi-track" recording.  From a beginner's perspective, this course follows the recording process starting with the tracking session, then the overdub session, and through the mix-down session.  By examining the various pieces of the recording process students will learn the concepts and skills necessary to use studio equipment such as microphones (their characteristics and placement), mixing consoles (explained in detail),  multi-track recorders (analog and digital), patchbays, signal and effect processors, headphone systems, and multi-track punching and bouncing.
  
Each student is also expected to attend a weekly three-hour small group lab, held in the studio, giving the student a chance to experience multi-track recording in a "hands-on" manner.  A detailed manual will be provided to each student so that each concept will be encountered first in independent reading, then in lab, and finally in the regularly scheduled class.  In addition to the regularly scheduled lab, the student is also required to sit in and observe ten hours of actual recording being done by advanced students.  All time spent in the studio will be documented in the lab manual in a journal entry fashion.
  
Texts: THE RECORDING ENGINEER'S HANDBOOK by Owsinski


Credit/Evaluation:  Students will be evaluated through a combination of attendance (lab and lecture), participation, and understanding gained from the material evaluated from a written and "hands-on" exam.

 

 

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275r Sensing in Motion

Nichols (4 Credits)
An Introduction to Somatics and Mobility


Movement is basic to all of life.  Awareness within movement is paramount to understanding our relationship with personal and shared development.  This course is a comprehensive curriculum of evidence, exercises, and practices to raise awareness and to become conscious of our own movement, perceptions, and sensations, in relationship to our development within a variety of contexts.  This course will provide experiential learning opportunities for movement, dance, play, mindfulness and meditation, and will survey some of the literature of Somatics, Dance Movement therapy, and developmental psychology.  This course will also provide a supportive community of learning, practice, and fun to help develop awareness in movement, mobility, and connection.  It promises to be a refreshing and revealing experience that will spill into every aspect of your life.
 
Research is revealing that we develop throughout our life span, so as a child begins to crawl or an adult learns to play an instrument, we are learning through awareness and movement. In developing awareness of movement we are engaging our embodied life at the edges of our nervous system, our developing edge, and at the edges of what is known and unknown.  Growth, mobility, and movement are interdependent and woven into the formation of the experience of our selves in relationship with our environments.  Mindfully playing in this experience supports a full participatory engagement with our life, our body, our deepest interests, and directions.  Basic actions shape how we are physically formed and are continuously forming: breathing, walking, posture, and gestures.  The basic unity of movement is a simple and profound interface, a window into our experience.   Embodied awareness or mindfulness is a way to deeply listen to our experience in the moment. The results of body awareness have a growing body of empirical evidence to suggest that it is a worthy domain of information to begin to include in our ways of being in the world.  Please come join us.

Credit/Evaluation:  Regular attendance, weekly journals, reading questions, participation in all aspects of the course, and three educational products:  personal development history paper, three mini literature reviews, facilitate one "sensing in motion" activity for the class.

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43921 275Q Dreams: Theory and Practice

Wischerth/Jack (4 credits)

This is a student-led course supervised by faculty member Dana Jack
 
 In the beginning, we will learn and experiment with techniques to improve, remember & record dreams.  By improving recall and vividness, we can test the theories we will read with our own dream experiences.  In the coming months, we will study three dreaming theories from different historical, cultural and philosophical traditions: psychoanalysis, neuroscience and Buddhism.
 
We will read Freud, the father of psychoanalysis during the dawn of the 20th century and discuss repression, censorship, childhood and sexuality.  We will read Hobson, a prominent anti-psychoanalytic neuroscientist of the present, and discuss neuroscience, brain-mind isomorphism, evolution and consciousness. Lastly we will read Wangyal Rinpoche, a Tibetan Buddhist dream yogi and discuss karma, attachment, ignorance and energy. We will also deconstruct how these ideologies reflect the societies in which they evolved and why they may be so influential.

Together we will delve into the mysticism, magic and mystery of other dream theories with your own personal dream research. There will be a final paper, in which students chose their own dream theories to research, discover, analyze and play with.

Over the course of this term, we will use our burgeoning understanding of dream theories to guide our own personal dream work. This includes faithfully documenting our dreams in a dream journal, setting intentions for dreaming, dream experimentation, creating dream-inspired artwork, and sharing dreams every week with the class community.
 
Texts: THE INTERPRETATION OF DREAMS by Freud, DREAMING: AN INTRODUCTION TO THE SCIENCE OF SLEEP by Hobson, and THE TIBETAN YOGAS OF DREAM AND SLEEP by Rinpoche

Credit/Evaluation: Students are expected to attend regularly, keep up with readings, participate passionately in class discussions and dream sharing sessions, keep a daily dream journal, make dream art, write theory/practice response papers and complete a final research paper on a topic of your choice.

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