Advanced level independent study project. Typically, an independent study at this level builds on significant previous work in this content area or with this topic. With the guidance of a faculty sponsor, the student developed a proposal identifying learning objectives related to the specific topic area. The proposal also described the resources necessary to complete the study and the criteria for demonstration and evaluation of learning. Additional documentation about the specifics of this project are available in the student's Independent Study Project proposal form.
A capstone independent study required of all students undertaking an Interdisciplinary Concentration. The senior project is an identifiable extension of the concentration's rationale and course work and the proposal for the senior project is prepared in consultation with the student's faculty committee. Additional documentation about the specifics of this project are available in the student's Independent Study Project proposal form.
Larner 4 Credits
MWR 200-350 FA 300
Prerequisites: Fair 354v, pervious 300-level work in scriptwriting in any medium, or permission of instructor.
Materials Fee: $6.28
Meets the following Core Requirement: Humanities and the Expressive Arts II
The workshop is a collaborative, supportive group experience. Students are expected to comment on, support, and participate in the work of their fellow students in the workshop. Initial exercises and rewriting work with each others' material will be followed by gradual development of each student's project for the term. We may also read a published play or screenplay and discuss it together, as well as attend at least one production or film showing during the term.
The emphasis in 354 is to acquire a working sense of dramatic action and a feel for how storytelling works dramatically, in any medium. Experimentation and trial-and-error are encouraged. By the end of the term, students will be expected to complete a one-act play (20-30 minutes) or its equivalent in another medium.
Attention will be paid to getting complete drafts of scripts finished, and then if time remains, to get them ready for production--screenplays for video production and showcasing here on campus, through the Projections Film Festival in Bellingham, and possibly beyond; stage plays for production here at Fairhaven, at the New Playwrights Theatre in the Theatre Arts Department, at iDiOM Theatre in Bellingham, at the Bellingham One Act Theatre (BOAT) Festival at the Bellingham Theatre Guild, and at new play festivals in Seattle, at Northwest Playwrights Alliance events, and other venues; and radio plays for production at KUGS.
Texts: Textbooks TBA, to be selected from PLAYWRITING: THE STRUCTURE OF ACTION by Smiley; SCREENPLAY: THE FOUNDATIONS OF SCREENWRITING by Field; STORY by McKee; THE DRAMATIST'S TOOLKIT by Sweet; J. THE COMPLETE BOOK OF SCRIPTWRITING by Staczynski; SCREENWRITING STRATEGIES ON THE INTERNET by Wehner; THE WAY OF THE SCREENWRITER by Buchbinder, and others. A play and/or a screenplay, TBA, may be required, as may attendance at selected film screenings and/or theatre productions.
Credit/Evaluation: Students are expected to complete at least a substantial one-act play (approximately 20-30 minutes in length), or its equivalent in another medium. Work must be brought to class regularly and shared with the group. A portfolio of selected writings done during the term will be due at the end of the course. Unfailing, dependable attendance; completion of assigned readings; progressively better informed, responsive and constructive participation in the workshop; and steady effort in rewriting and revising are required for credit. Writing will be evaluated for its aptness for the stage (or the appropriate medium) and the development of the writer during the term.
Practicum in an area related to student's course of study or concentration with specific roles and responsibilities. Specific learning goals and criteria for evaluation are identified in consultation with the faculty sponsor and the field supervisor. Additional documentation about the specifics of this project are available in the student's Independent Study Project proposal form.
Johnson 5 Credits
Prerequisites: PLSC 497
Materials Fee: See Summer Programs Web Site
* Subject to minimum enrollment
This course surveys contesting notions of identity in post-apartheid South Africa: race, ethnicity and class. It will do so via a three week study tour of South Africa. Also offered as PLSC 437, INTL 437, ANTH 437
Gilman 3 Credits
T 200-520 FA 344
Prerequisites: Fair 203a or permission of instructor
* Subject to minimum enrollment
Are you a leader? Would you like to become a leader? What is a leader? What is a responsible leader? What does it mean to be responsible? How do you lead within the limits of responsibility? Lots of questions here.
In this investigation we will examine alternative models of leadership and of ethics. We will work together to see if we can create an integrated model of an effective and responsible leader and envision how she or he operates.
Does leadership require a kind of personality or require a kind of vision? A kind of knowledge or a kind of skill? Is responsibility about character or about principles? About behavior or about attitude? Is one born a leader or can one learn to become a leader? Is responsibility something universally defined? Or is it relative to one's group? Does responsibility require protecting others from harm and promoting their welfare? Or does it require creating fairness and showing respect? Does the responsible nature of our actions or practices lie in their intentional motivations or in their behavioral consequences? Lots of issues here.
What are the specific practices within ethical limits that leaders use to transform values into actions, visions into realities, obstacles into innovations, separateness into solidarity, and risks into rewards? What are the moral boundaries that constrain a leader's choice for creating the climate and context in which others can turn opportunities into successes? What are the capacities needed to guide others? How can one develop these? How can a leader help improve a valued organization so that it flourishes into the future? How can a leader model the way forward? Improve a shared vision? Challenge the process? Enable others to act? And encourage them in the face of challenges? What kind of relationship must be built between those who aspire to lead and those who are willing to follow?
What do people look for and admire in their leader? Still more questions.
If you're serious about becoming a leader and not afraid to think, or to openly analyze yourself, then this conversation might be for you. We'll use our head, heart, and hands in this project. We'll clarify our values and passions, align our practices and habits with these, imagine enabling futures, enlist others in a shared vision, critically design changes, take risks, build trust and competence in others, show appreciation for excellence, and celebrate our success in a spirit of community.
We'll look at concrete ideas to use for anyone who needs to take the lead in almost any situation, under most organizational conditions, no matter who's in charge - strategies that apply not only to people at the top but also to those who must lead without the benefit of authority. How does a leader get others to avoid looking to him or her to save them from difficult challenges and get them to deal with problems for which there are no simple, painless solutions? How does a leader help others adapt by developing organizational and cultural capacities to work on problems successfully according to our values and purposes (which requires facilitating their clarification and integration of competing values). Leadership provides this service to others. Do you want to develop this capacity for helping others past their defenses that tempt them to avoid reality or stay conflicted about values? If so, this class is for you.
Texts: LEADERSHIP WITHOUT EASY ANSWERS, by Heifetz.
Credit/Evaluation: In this seminar workshop we will engage in discussion, self-analysis, writing,