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Winter 2009 Course Descriptions

300 Level

300 Independent Study

1-15 credits


By arrangement: fall, winter, and spring. Student-initiated studies under faculty sponsorship. Refer to Fairhaven College "Independent Study Guidelines." Independent Study Proposal form (available on-line) required, final version due last day of registration. ISPs should be discussed with faculty member the quarter before the study takes place. Procedure: On-line ISP Proposal required - available at Email form to faculty sponsor. To register, pick up lavender ISP Registration card in Fairhaven front hall, fill it out, get it signed by the sponsor and authorized staff member, and return to Fairhaven office or Registrar's office. You are not able to register an ISP on-line.

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13997 303A Interdisciplinary Concentration Seminar

Ta/.a href="/fairhaven/about/faculty/s'eiltin.shtml">S'eiltin 5 credits

Prerequisite(s): Fair 101a, 201a, 203a, and 305a. Required of students undertaking an Interdisciplinary Concentration.

Note: Required of all students pursuing the Interdisciplinary Concentration as their major. The Concentration
Proposal must be completed and filed at least three quarters before graduation.

This seminar is designed to assist you with your development and writing of an interdisciplinary self-designed concentration. It will serve as a forum for discussion, guidance, and support during the proposal writing process. While your Concentration Committee must finally approve your proposal, you will work collaboratively in small groups, meeting with each other weekly, and meeting with the instructor individually in order to write your learning proposal and identify relevant courses and experiences to help you achieve your educational goals. Here are some of the questions we will examine through this process:
- What are the appropriate guidelines and requirements involved?
- What exactly is it you want to achieve in your degree?
- How can your intentions be given effective shape and form?
- Who should be on your committee?
- How do the parts of your concentration work together conceptually?
- What are the best vehicles for your learning?
- What should you put in and what should you leave out of your concentration?

Text: Handbook provided.

Credit/Evaluation: Work steadily on your proposal, meet regularly with your group, contribute to the development of your group members' proposals, work cooperatively, prompt attendance to all meetings. Credit for the course is granted when your completed committee-approved proposal has been filed with the Fairhaven Records Office and a regular self evaluation form is submitted to the instructor.


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13998 305A Writing & Transition Conference

McClure 3 credits

Prerequisite(s): FAIR 101a or 201a.


The Writing Portfolio and Transition Conference are Core graduation requirements for all Fairhaven College students. Your Writing Portfolio will be a selective collection of your academic writing and an introductory statement of self-assessment about your writing at this point in your education. It will be reviewed and assessed by two Fairhaven faculty, including your advisor. Your Transition Conference is a rite of passage officially moving from the "Exploratory" stage of Fairhaven's program into the "Concentrated" stage of your educational plans. You should embark on these requirements when you and your faculty advisor agree you're ready for them.


This is not a class, however you must attend one of the following orientation meetings:
Wednesday, January 14, noon-1 p.m., Room 340
Thursday, January 15, 2 -3 p.m., Room 101f (meeting location will be sent via email to registered students and posted at Fairhaven College).

In order to receive credit for FAIR305a you must:


1) Submit your Writing Portfolio & 2 copies of green Writing Portfolio Evaluation Form to Jackie McClure by Monday, January 22. Writing Portfolios must follow the format outlined on the green Writing Portfolio Instructions and Evaluation Form (available in the front hall at Fairhaven College.)

2) Schedule and Conduct your Transition Conference and write your Transition Conference statement and submit it to all conference participants. Consult your faculty advisor and the yellow Transition Conference form for details.

3) After your Transition Conference, submit your Transition Conference form to Jackie McClure with the signatures of all participants.

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14001 312E Transgender Identities and History

Montoya-Lewis 4 credits

Prerequisite(s): FAIR 201A and 203A.
This course meets the following core requirement: Society and the Individual II


You know who you are. No one has to tell you. -David Reimer (Sex: Unknown)

How do you know you are male or female, man or woman? From birth, we are told we are one or the other and expected to behave in accordance with the norms associated with our sex, our gender. But many do not - and as a result, transgendered people (those who are born as one sex, but identify more closely with another, those who are born with sexually ambiguous genitalia, those who are intersex, and other identities) are among the most marginalized people in U.S. society. In this course, we will look at the histories and identities of transgendered people. In so doing, we will interrogate mainstream U.S. society's beliefs about sex and gender, look at other society's beliefs about the same, as well as look closely at our own personal identities and histories of gender.


In this course, we will learn from many guest speakers, read personal stories and academic analyses, and discuss, discuss, discuss. Assignments will develop from the class discussion; expect this to be a reflective course that will require each of us to consider closely our own beliefs about ourselves.


Text: to be announced.

Credit/Evaluation: The success of this class depends upon the active participation of each student. I expect excellent attendance (more than two absences may result in no credit for the course) as well as successful completion of all assignments.

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14164 323g Imaginative Writing II: Poetry & Sound

Cornish 4 credits

Prerequisite(s): Fair 222g or 222h, a course in creative writing or permission of instructor.
This course meets the following core requirement: Humanities and the Expressive Arts II



By flat tink
of tin, or thin
copper tong,
brass clang
bronze bong

the bell gives
metal a tongue
to sing
in one sound
it's whole song
-- Valerie Worth


Language gives us each a voice with which (like the bell) we may sing. From childhood, we carry the rhythm of poems inside us: " Hey, diddle, diddle/The cat and the fiddle." Neuroimaging tells us that the perception of exact rhyme lights up a pleasure center of the brain, so when "spoon" rhymes with "moon," we feel an exuberance like that of the jumping cow. In this creative writing workshop, we study and celebrate the way a poem uses sound-play. In one of his Glanmore sonnets, Seamus Heaney describes how he used to lie with an ear to the railroad line, listening for the "iron tune of flange and piston pitched along the ground." We'll keep our ear to the lines of poems, listening for their tunes, identifying patterns of rhythm and chime. The class looks at traditional forms and devices, as well as their relevance to the contemporary poem. As this is a workshop format, students will also apply what they are learning to their own craft as poets. (Although we will touch on spoken-word poetry, that isn't the focus of the class.)


Text: To be announced.


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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14002 328M American Lives: Growing Up

Tag 4 credits
Prerequisite(s): FAIR 202A or instr perm.
This course meets the following core requirement: Humanities and the Expressive Arts II

“American writers are mesmerized by childhood, the quizzical journey from innocent to adulthood. What a journey it is, too: precarious and wonderful; frightening and alluring; delightful and tragic.  Not one journey, but many, and every one of them different,” writes Harry Middleton in the preface to his memoir, The Earth is Enough.  In this course we will explore the experiences and narratives of growing up, childhood and adolescence.  We will talk about memory, neighborhoods, family life, race, dreams, landscape, identity, humor, and what it means to make sense of our lives in the midst of growing up.  What is it about our childhoods that shape us for the rest of our lives?  Why do we tell stories about these early years again and again?  Each of us will also write about our own growing up experiences.  This course is an opportunity to examine our own childhoods through reading, discussions, and creative writing, and to attempt to imagine other lives than our own, often through the eyes of a child. It should be a rewarding and illuminating experience.


Credit / Evaluation: Presence.  Extent and quality of participation in classwork and discussions.  Completion and quality of reflection essays, autobiographical narratives, in-class writings, and final project.

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14085 334N Topics in Evolutionary Biology: Humans

Bower 4 credits
Prerequisite(s): FAIR 206A.
This course meets the following core requirement: Science and Our Place on the Planet II


"You and me baby ain't nuthin' but mammals/So let's do it like they do on the Discovery Channel." Is it true, as The Bloodhound Gang sings, that we are "nuthin' but mammals?" And what does it mean to be a mammal, human or otherwise? And, just how and why do we "do it?"


This course will explore an evolutionary history and evolutionary theory, focusing on the implications of considering humans as animals. We will start with a brief look at the diversity of the evolutionary bush, and then move on to study whether evolutionary biology can teach us anything important about past and present human behavior. How does human evolution influence our behavior - our eating habits, our creative force, our sense of self, how we relate to family, friends, and foes? And does our evolutionary past influence our choice of romantic partners (short term or long term) and how we relate to them over the short or long haul? In the bigger picture - can our knowledge of evolutionary biology inform us about how conflict and cooperation occur in human societies?


And - what about the discovery channel? What happens when scientists debate these issues in private and public? What happens when evolutionary theory leaves the halls of science and interacts with cultural forces? In particular, we explore how evolutionary views of humans have been used to justify oppression. Finally, we will consider whether the recent resurgence of evolutionary views of human behavior are likely to play a repeat role in oppressive politics or whether they can might help us construct a more just society.


To do this we will rely on readings and on two recent groundbreaking video series that explore evolution and biological diversity. We will play an evolutionary game, in which small groups of students will create a habitat and species to live there, and imagine the evolutionary changes that might take place given imposed changes in the environment.


Texts: LUCY'S LEGACY: SEX AND INTELLIGENCE IN HUMAN EVOLUTION by Jolly; and EVOLUTION: THE TRIUMPH OF AN IDEA by Zimmer. Recommended: Additional readings will be available in the Wilson Library and/or the Fairhaven library, including selections from; THE EVOLUTION OF DESIRE by Buss; and HUMAN SPERM COMPETITION: COPULATION, MASTURBATION AND INFIDELITY by Bellis and Baker.


Credit/Evaluation: Regular attendance in class, informed participation in class discussions and the "evolution game," weekly 1 to 2 page written reactions to class readings and weekly responses to other students' writing posted to our "Blackboard" web site, and two drafts of a 5-7 page paper that develops a position about issues relevant to the class.

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14174 336b Topics in Social Issues: Political Psychology

Ducat 4 credits
Prerequisite(s): FAIR 203a or equiv
This course meets the following core requirement: Society and the Individual II


Politics is at once everywhere and disguised, obvious and inscrutable, conscious and unconscious. These paradoxes are less baffling if we keep in mind that unconscious phenomena, whether personal or political, are not necessarily hidden from view. Often, manifestations of the unconscious are right there on the surface - unseen because they are neither named nor understood. This "unthought known," as psychoanalyst and playwright Christopher Bollas has called it, nevertheless animates our lives. In politics, just as in our private worlds, we can often find ourselves mysteriously moved - filled with rage, overcome with sadness, longing for connection, driven to seek vengeance, and suddenly inspired to act out of empathy and compassion. Often, the catalysts for these powerful feelings remain camouflaged. In public life, political propaganda can be one of the most effective means to activate and direct our emotions and neural circuits. When this occurs during elections, the manufactured narratives and messages of campaign ads and rallies can change history.

In this course we will grapple with a set of questions that have long defied conventional political and economic explanations, such as: Why do economic self-interest, rational arguments, and the "issues" play such a small role in the political decisions and behavior of most people? How have so many citizens in our society come to look for meaning, personal satisfaction, and a sense of self-worth in the consumption of merchandise? What drives millions of Americans on that desperate search for the "good things in life," even though it leaves them with a vacuous life of things? What are the political consequences of defining manhood as the subordination of others? How does an ideology that justifies domination by a ruling elite become anchored in the individuals dominated? What enables people to vilify, demonize, rape, torture and kill other people whom authorities designate "the enemy"? Through conversation, reading, videos, class presentation, and writing, students will join me in wrestling with these troubling questions.

Texts: Selected readings will be assigned from the work of Jessica Benjamin, Lynn Chancer, Guy Debord, Stephen Duncombe, John Fisk, David Kertzer, George Lakoff, Lynn Layton, Rosalind Minsky, Donald Moss, Vamik Volkan, Drew Westen, and Judith Williamson. In addition, we will be reading a few of my own writings on the psychology of politics, including selections from my most recent book, The Wimp Factor: Gender Gaps, Holy Wars, and the Politics of Anxious Masculinity.

Credit/Evaluation: Based on attendance, quality of participation in class discussion, oral presentation accompanied by written abstract, and final paper.
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14158 336B Topics in Social Issues: International Human Rights

Akinrinade 4 credits
Prerequisite(s): FAIR 203a or equiv
This course meets the following core requirement: Society and the Individual II


This course examines the idea of human rights, its historical, philosophical and legal origins. It explores the notion of universal rights and examines the relativity debate. It will introduce students to rights that are guaranteed and selective substantive rights will be examined - civil and political rights; economic, social and cultural rights, and other classes of rights. Other considerations include national, regional and international institutions created to supervise implementation of and compliance with those rights. It will also consider the role of non-governmental organizations and activists who seek to enforce human rights.




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 the quality of participation, oral presentation, and two assignments. Students will be assigned to lead class discussion. Regular unexcused absences will affect your evaluation. All assignments must be completed to receive academic credit in this course (Paper topics will be determined by mutual consultation).

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14084 336B Topics in Social Issues: Conservative Voice

Keller 5 credits
Prerequisite(s): FAIR 203a or equiv
This course meets the following core requirement: Society and the Individual II


Between 1968 and 2004 the Republican Party won seven of ten presidential elections. Why? Why are conservative ideas so compelling to many Americans of all social classes? Can liberals and conservatives have rational, meaningful discussions? Are you a conservative yourself and don't know it? What are the different types of conservatives? Do such political labels do more harm than good? How are both terms, "liberal" and "conservative," misused to the point of losing their meaning? How have certain social ideas changed over time, and what forces, interests, and individuals brought about these changes? What history do we need to know to make sense of the 2008 U.S. presidential election?

In addressing such questions, this class seeks to identify the basic concepts of conservative philosophy from Edmund Burke to Barry Goldwater and David Brooks, in the process asking ourselves to examine our own political and social beliefs whether right, left, center, or elsewhere on the spectrum. Requirements include reading and analysis of texts, written reports, and meetings with local political thinkers.




Evaluation: Based on completing all assignments and demonstrating ability to fairly engage and respond to a variety of political concepts. Assignments include oral reports, several written reports, an arranged interview in the local community, and a final paper. Evaluation criteria: ability to understand different political philosophies; capacity to critique and test one's own beliefs; enhanced appreciation for the role of thought in human affairs; quality of writing; active, constructive participation in the seminar.

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14162 336b Topics in Social Issues: Humane, Post-Modern Visions of Schooling

Marshak 4 credit
Prerequisite: Fair 203a or equivalent
This course meets the following core requirement: Society and the Individual II


Most government-run schools from the inception of universal education to the present day have embodied an industrial paradigm, founded largely on the modernist idea of education as the production of compliant workers and citizens.


At the same time educators with post-modern consciousness have created a variety of schooling forms that focus on human potential, liberation and agency, and the evolution of consciousness.


In this course we'll begin by exploring the origins and continuing attraction of industrial paradigm schools. Then we'll investigate the post-modern school paradigm and several of its main expressions: Sudbury Valley/democratic schools, Montessori schools, Waldorf schools, Enki education, Self Design, and progressive schools.


We'll also consider how the quality of consciousness impacts the kind of schooling that people choose and consider the issue of how consciousness evolves.


Texts: What Are Schools For by Ron Miller, The Holistic Curriculum by John P. Miller, various articles


Credit/evaluation: Regular attendance and lively participation. One "schooling autobiography;" several reflection papers or alternative reflection activities, i.e. movie, PowerPoint; final assignment: design your own school.

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14091 336V Topics in Art: Into Film

Dugger 4 credits
Prerequisite(s): FAIR 202a or equiv
This course meets the following core requirement: Humanities and the Expressive Arts II


One of the most powerful early influences on film was the novel, and novels continue to play a significant role as textual and stylistic sources for film productions. This course examines the collision of visual and verbal forms of expression in prose-to-film adaptations in order to gain a better sense of both genres. What can be done in film that can't be done in prose, and vice versa? What narrative techniques does each genre adopt to tell its story? We will consider not only medium constraints, but also production requirements and reception history. Approaches we will use include genre, narrative, and historiographical theory, and special attention will be given to the issues of formal translation and cross-cultural adaptation. Writers and filmmakers to be considered include Charles Dickens, D.W. Griffith, Jane Austen, Gurinder Chadha, John Fowles, Harold Pinter, Susan Orlean, Charlie Kaufman, Laurence Sterne, and Frank Boyce.


Texts: MANSFIELD PARK/PRIDE AND PREJUDICE by Austen (half the class will read one, half the other).
OLIVER TWIST by Dickens; THE FRENCH LIEUTENANT'S WOMAN, by Fowles; THE ORCHID THIEF, by Orlean; and TRISTRAM SHANDY, by Sterne. Articles available on library reserve.
Film screenings to include Oliver!, Oliver Twist (Polanski), The French Lieutenant's Woman, Tristram Shandy: A Cock and Bull Story, Mansfield Park, Bride and Prejudice, Adaptation.


Credits/Evaluation:Regular, prompt, and active participation in class discussion and workshop sessions.
Attendance at film screenings. Informal reflective writing as requested. May include Blackboard posts.
Final project agreed upon by the student and instructor. Options will include (but are not limited to) writing a scene for a screenplay adaptation, filming an adapted scene, or writing an analytical paper.

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14163 336V Topics in Art: Instruments of Change

Coulet du Gard 4 credits
Prerequisite(s): FAIR 202a or equiv
This course meets the following core requirement: Humanities and the Expressive Arts II


Instruments of Change explores the position of youth and music in various social change movements affecting human rights throughout the world. The course will concentrate on examples from the 20th and 21st centuries.
We often study human rights and music as separate entities and realize that reality is not that compartmentalized. Music is and has often been used as a vehicle for survival and change. We are also often led to believe that youth have no power in the political process or in human rights movements. In fact, many have paved the way through avenues that the larger society, especially in the US, finds less-than-important.


The course will stress a strong link between music and social movements. We will analyze music structure and lyrics with a focus on social implications of the position of youth within those movements.


Examples include HIV-AIDS epidemic and use of music for AIDS education awareness predominantly in Africa (with an emphasis on the Mopani Junction program of Zimbabwe); the role of music in late 60s and early 70s feminism; the use of music in the anti-war Vietnam Era; music and street dance in inner city USA of the 90s and the first decade of this century, in East Los Angeles post Rodney King. We will also be analyzing the human rights and youth roles, and effectiveness of "benefit concerts."

Text: (not including articles, music links online and posted in Blackboard):REBEL MUSICS: HUMAN RIGHTS, RESISTANCE SOUNDS, AND THE POLITICS OF MUSIC MAKING by Fischlin and Heble.


Credit/Evaluation: Students will be required to:

(1) write one weekly journal entry/critical thought statement paper (1-2 pages) regarding the readings, music samples, or Blackboard postings/links to websites (the classroom will be equipped with reliable hardware);

(2) lead a discussion during the quarter with instructor's approval and in conjunction with assigned readings and recordings;

(3) complete one final project, presentation or paper commensurate with a 300 level undergraduate course.


Many of the readings will be posted on Blackboard with weekly music selections or links to online resources. Each student must have access to Blackboard within the first week of class.

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14036 338P Cultural and Biological Perspectives on Pregnancy and Childbirth

Bower 5 credits
Prerequisite(s): FAIR 203A & 206A or instructor permission.
This course meets the following core requirement: Science & Our Place on Planet II


This course seeks to understand cultural and biological aspects of pregnancy and childbirth. We will study the development of the fetus, the biological and psychological changes women experience during pregnancy and childbirth, and the co-evolutionary relationship between mothers and fetuses. We will also explore childbirth from feminist, historical, anthropological, economic, political, and spiritual perspectives. We will pay special attention to the ways American medicine has viewed and treated childbirth, and will explore the recent changes in American childbirth practices including a comparison of the midwifery model of care and the medical model. Other topics will include assisted reproductive technologies and a cross-cultural perspective on pregnancy and birth. Students will participate in a quarter-long "pregnancy game" in which she or he will experience a fictional pregnancy. Students will research and make and explain decisions based on complications or situations that arise in their pregnancies. Videos, guest speakers (birth stories, midwives, and an obstetrician), and a field trip to the St. Joseph Hospital Birthing Center will augment discussions.


Texts: HAVING FAITH: AN ECOLOGIST'S JOURNEY TO MOTHERHOOD by Goer and Stengraber; and THE THINKING WOMAN'S GUIDE TO A BETTER BIRTH. Additional reading will be assigned from such publications as OUR BABIES,OURSELVES by Small; HARD LABOR by Diamond; SPIRITUAL MIDWIFERY by Gaskin, and BIRTH AS AN AMERICAN RITE OF PASSAGE by Davis-Floyd.


Requirements for credits and criteria for evaluation: Regular attendance in class, informed participation in class discussions, weekly 2 pg. "pregnancy game" report and/or written reactions to class readings, 2 drafts of an 8-10 page research paper, and teaching a class based on your research paper.

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14103 351W Printmaking Narratives

S'eiltin 4 credits
Prerequisite(s): FAIR 254X or 2 dsgn or 2 studio art crses.
This course meets the following core requirement: Humanities and the Expressive Arts II
*This course will be co-taught with Fair 354x Introduction to Relief Printing


This class is designed to expand on experiences, techniques and sills that were developed in the Introduction to Relief Printing class. Students will further their printing skills through the exploration of experimental techniques and build on a visual vocabulary that is based on particular subject matter or theme. Research on a specific theme will be required as it will provide inspiration in the development of a visual narrative. Students will be asked to present their prints and researched topic to the class. Feedback from students and instructor will encourage successful illustration of the selected narrative. To better understand narrative art, we will look at a number of artists' work, such as Paul Klee, who illustrated Russian folk tales, and Hulleah Tsinhahjinnie, who creates photographs from the Native American women's perspective.


Traditional relief printing was emphasized in the previous class with the introduction of some experimental approaches to printing. In this class, we will focus on digital photo and etching processes. Our goal will be to invent alternative personal techniques. Printing demonstrations will provide insight for the exploration of alternative printing methods.




Credit/Evaluation: Completed prints will be critiqued throughout the quarter. Final evaluation is based on the student's ability to take risks and develop a unique printing style that successfully illustrates chosen subject matter.

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14006 352Y Visual Art Workshop

S'eiltin 2-5 credits
Prerequisite(s): concurrent registraiton in a visual arts independent study project.


This class is designed for students who are registered for an independent study and are interested in collaborating with other visual art students. Class sessions will consist of bi-weekly critiques, field trips to museums, galleries and local artists' studios. Responsibilities and requirements will vary according to student's credit load. All students will be required to attend field trips and critiques, give a formal presentation that focuses on a contemporary artist, and participate in a public group exhibition. Those students carrying 4 or 5 credits will be required to participate in and complete the responsibilities listed above as well as facilitate a workshops and create a portfolio.


Texts: None required.


Credit/Evaluations: Based on credit load, students will be evaluated on their timely completion and quality of projects, participate in critiques and workshop, attendance, ability to facilitate a workshop and a final presentation of their work.

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14007 354V Scriptwriting Workshop I

Larner 4 credits
Prerequisite(s): prev crse wrk or exper w/creative writing or instr perm
Dramatic writing (stage, screen, radio, television) recommended
This course 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.

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14010 358W Advanced Acrylic Painting

Feodorov 4 credits
Prerequisite(s): FAIR 258W or instructor permission.


This class will expand upon acquired painting techniques, allowing students to continue to develop and challenge their skills and ideas. Students will have more flexibility in determining their own themes. The class will also focus on the development and repetition of these themes. Students will present their art projects to the class and participate in class discussions. Each student will be responsible for one artist presentation as well as developing and writing an artist statement. Looking for exhibition opportunities will also be discussed.

Text: none

Credit/Evaluation: Credit will be based upon attendance, promptness, quality of coursework and active class participation.

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14052 366E Comparative Cultural Studies

Hazelrigg-Hernandez 4 credits
also offered as AMST 301

This course meets the following core requirement: Society and the Individual II


Sociological and socio-historical aspects of ethnic/minority relations within the larger U.S. society. The course will examine ethnic/minority and majority group dynamics focusing on institutional constructs such as education, the judicial and legal systems, and immigration patterns, along with the concept of White privilege. The concepts of pluralism, racism, prejudice and discrimination will be examined in light of societal and economic stratification.

Anticipated Course Outcomes - At the end of the course students should be able to:
1. Understand the differences between race, class, caste, tribe, nationality, nation, minority, and ethnicity processes;
2. Have an adequate knowledge of the ethno-geographical mapping to U.S. ethnic groups, their distribution and placement in American society;
3. Have an adequate knowledge of the principal trends in the life experiences of the major ethnic minority communities in the United States;
4. Have a heightened awareness of major issues in ethnic processes, including such issues as racism; assimilation; bilingualism; social and territorial conflict; problems of land, religion and citizenship; and the role of the Civil Rights movement in contemporary life.
5. Complete a comprehensive set of readings that record the diversity of ethnic experiences in the U.S.;
6. Have a more sensitive appreciation of cultural diversity and its contribution to the unity of American life.
7. Understanding of major policy issues impacting the American racially stratified society (i.e. Affirmative Action, Federal Policy & various State Propositions)


Texts: RACE, ETHNICITY AND GENDER by Healey and O'Brien; WHITE PRIVILEGE by Rothenberg.

Credit/Evaluation: The course will meet two times a week. Attendance is mandatory unless cleared by the instructor ahead of time or in the case of illness. The course will consist of lectures, discussions, videos and guest lecturers. The course is cross listed with ACS-301 and Fairhaven students will be evaluated in the Fairhaven manner rather than receiving a final grade for the course. Evaluation is based on participation in classroom discussions, one perspective paper, one ethnographic autobiography, one final exam and a group project paper and oral presentation.

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14011 369C Vietnam War Redux

Rowe 4 credits
Prerequisite(s): FAIR 215f, 414b or instr perm
Previous course in twentieth century American history, twentieth century Asian history strongly recommended.
This course meets the following core requirement: Society and the Individual II


This course examines the war in Vietnam from 1962-1975 from the under/other side. It does not focus on whether or why the United States lost the war. Rather, it explores the tragic costs of the war from usually marginalized perspectives: Vietnamese fighters and civilians, American families, and women and minorities who served. We will begin by using a short history textbook, lectures, and films to gain an overview of the war. We will view additional films, read personal narratives, and host guest lecturers for the remainder of the course. Participants will prepare a research and teaching project for presentation to the seminar at the end of the quarter. Great latitude will be allowed in the choice of individual projects that might include dance, stand-up comedy, art, oratory, music, film, photography, interviews, or an academic research paper. Students will be encouraged to apply an interdisciplinary approach in their contributions to the seminar, especially in preparing their individual projects. They will also be encouraged and facilitated in seeking inputs from faculty, family members, veterans, community members and others who recall the war and its impacts.




Credit/Evaluation: Evaluation for granting credit will be based on prompt and regular attendance; prepared and meaningful participation in discussions; demonstrated engagement with course materials in written responses to readings, films, or guest lectures; the effectiveness of the final project.

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14013 375H Audio Recording II

Vita 4 credits
Prerequisite(s): FAIR 275H


Audio Recording Techniques II takes the concepts introduced in Fair 275h, Audio Recording Techniques I, and allows the student to apply and practice them in a "hands-on" manner, with the goal of becoming familiar with and competent in the use of all of the gear in the Fairhaven Recording Studio. Students will complete two small-group multi-track recording projects and will have the opportunity to work on other recording sessions as well. Through the students' work on these projects they will learn efficiency and speed in the techniques of tracking, overdub, and mixdown sessions. The recording projects will be evaluated by the instructor as well as the other students in the class. This course also starts the development of critical listening skills as well as the creative and imaginative expression possible in audio recording. Students will keep a detailed journal of their session work.


Texts: None.


Credits/Evaluation: Each student must finish the assigned projects which will be critiqued by the instructor and peers based on sound quality, balance, clarity and realization. Overall evaluation will be made based on effort, participation, and growth as an engineer.


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14179 375I Space, Form and Mischief

Merrill 4 credits
Prerequisite(s): upper-division standing or permission of instructor
This course meets the following core requirement: Humanities and the Expressive Arts II


This course will investigate: (1) Learning to appreciate open space, the unresolved question, the uncertain moment… as fertile ground. (2) Then, the direct experience of phenomena (situations and form) arising as they are, free from fixed mind, untainted by bias, projection, romanticism, concept… (Japanese rock garden, telephone lines cutting a blue sky, a sudden smile.) (3) Because we allow/notice things to be simply as they are, we are moved by their freedom and rigor; we are inspired to have confidence in our sense perceptions and potential as human being to communicate and compose as nature does, with the open warmth of space and the passionate brilliance of form, without fear or further commentary.


Class content:
Exercises in movement, deep listening, observing natural and man-made environments, arrangements of objects in space, collaborative poetic composition.
Guest presentations by visual artists, ikebana (flower arrangement) practitioners, architects, gardeners, poets, choreographers.
Students will be asked to keep journals, recording and reflecting upon their experiences. Journals will be handed in and/or shared with the class on a weekly basis.
Each student will develop and lead the class through exercises designed to open us to experience space in some unexpected way. The student will then lead a class discussion to elicit individual and group experiences and reflection.
Students will be assigned (2 or 3) papers. In these papers students will reflect upon topics(s) that have moved them to new insights, make connections between the disciplines we have explored and articulate how these experiences have affected their perception in daily life.


Texts: May include work by Andy Goldsworthy, John Berger, Peter Brook, M. C. Escher.


Credit/Evaluation: Faithful attendance and enthusiastic participation in class activities. Willingness to loosen one's familiar reference points and the desire to conceptualize and tame experience. Fulfillment of the class activities and papers mentioned above.

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14014 375P Aud MD Disk Edit

Vita 2 credits
Prerequisite(s): FAIR 375H
Note: Meeting times will be determined on the first Friday of the quarter.


This class will introduce students to mixing and editing sound on a computer using Digidesign's Pro Tools LE software (version 7.4) and the Digi002 digital audio interface. Covered topics will include:
importing and recording sound into Pro Tools, editing and manipulating sound waves, the use of plug-ins and an overview of mastering processes such as compression/limiting, dithering and overall equalization. As this is primarily a mixing class, already recorded material (from Audio II or otherwise) is helpful. Students will be expected to attend class regularly, demonstrate critical listening skills through critique of their classmates work and will be expected to apply the skills learned in previous Fairhaven recording classes to their mixing projects.


Texts: Reprinted materials.


Credit/Evaluation: Students will keep a journal of their progress and the projects will be evaluated throughout the quarter by the instructor and the other members of the class.

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14015 375Q Pro Tools HD Recording

Vita 2 credits
Prerequisite(s): FAIR 375P
Note: Meeting times will be determined on the first Friday of the quarter.


This class will give students with advanced recording experience the opportunity to record and mix on a Pro Tools HD professional recording system. Students will enhance their knowledge of Pro Tools and learn how to use this software in conjunction with a Digidesign Control 24 control surface. Students will be expected to conduct at least two recording/mixing sessions throughout the quarter and prepare a final mix for in-class critique. We will look at the specifics of digital recording, including how to maximize resolution throughout the recording process.

Students will also learn how to properly configure Pro Tools HD hardware and software components, how to set up session templates and how to utilize each component of the HD system. This course will also look at new ways to use Pro Tools' plug-ins and audio editing features.


Texts: Reprinted materials.


Credit/Evaluation: Students will keep a journal of their progress and the projects will be evaluated throughout the quarter by the instructor and the other members of the class.

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14016 375T World Issues Group Study

Osterhaus 3 credits


What do we, as engaged citizens, know and understand about global issues and ourselves in a world faced with the complex issues of growing economic disparities, fragile democracies, environmental degradation, wars on terrorism, homeland security, civil liberties, military expenditures, racial profiling, globalization, and ethnic/religious conflicts? What is our awareness of and participation in local and global efforts for peace and justice? In addition to the weekly forums of speakers, videos, and discussions open to the campus and Bellingham community, students in the class will participate in weekly research and discussion of the issues.

Texts: Students will read a book of their choice related to global concerns and read/listen to alternative media sources.

Credit/Evaluation: Regular attendance and participation in the class discussions, reading of one book of their choice related to global concerns followed by an oral and written book report, weekly reading of/listening to four alternative media sources, two reflection papers, weekly acting for positive social change. Students will be evaluated on meeting the above requirements, their ability to critique and research alternative media sources, their analysis and understanding of the inter-connection of issues, the relationship of the local to the global and the personal to the political.

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14017 377D Whatcom Civil Rights Project

Helling 3 credits
Prerequisite(s): FAIR 201A or any writing intensive course.

Suggested Skills: Strong writing skills, ability to work well with diverse populations, confidentiality and reliability.


**You do NOT have to be a Fairhaven student to take this class**


The Whatcom Civil Rights Project course is an excellent class for anyone interested in civil rights, going to law school, or working with parties harmed by discrimination. This is a tremendous opportunity to work "hands on" with harmed parties and the legal system.


Working in conjunction with the Whatcom Human Rights Taskforce, Fairhaven College and LAW Advocates, the Whatcom Civil Rights Project (WCRP) provides pro bono legal assistance and advocacy to persons harmed by discrimination. Trained WCRP students interview victims and write legal memos on potential cases.

In this class, students gain the skills necessary to participate in WCRP by learning interviewing skills, how to write organized summaries of fact and law, and how to present cases orally. Major civil rights laws such as the Americans with Disability Act and Title VII of the Civil Rights Act of 1964 will be covered. Basic legal research skills are taught. Much of the class will be conducting mock intake interviews and learning how to approach cases.


WCRP Practicum:
The WCRP runs continuously throughout the year. After taking this course, students may take the WCRP practicum (Fairhaven class 378e) in future quarters for continued work in the WCRP. If you want to work immediately with actual persons harmed by discrimination, sign up for the WCRP Practicum in the same quarter.


Text: Class manual prepared by instructor (distributed in class)


Credit/Requirements: No more than two absences from class, active and informed participation and faithful completion of case worksheets. Students will write at least two revised legal memos containing a summary of facts and law for each mock intake interview as well as lead discussions and make oral presentations.

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14018 378E Whatcom Civil Rights Project Practicum

Helling 2-5 credits
Prerequisite(s): instr perm
You do NOT have to be a Fairhaven student to participate!


"Volunteer Advocate" role (2 credits):

Take Volunteer Training on Wednesday, January 14, 2009 from 5-7 p.m. at Fairhaven College
Attend Weekly practicum meetings
Be on call one evening a week for interviews
Explore non-legal advocacy needs of person at interview


"Legal Interviewer" role (3 credits):

Must have taken FAIR 377 class previously or concurrently
Facilitate Volunteer Training on January 14
Attend weekly practicum meetings
Be on call one evening a week for interviews
Explore legal needs of person at interview
Present cases to Attorney Review Panel


If any one wishes to earn more credits than is designated for their role, they must arrange in advance with the instructor to complete additional projects for the WCRP.


About the Practicum

Working in conjunction with the Whatcom Human Rights Taskforce, LAW Advocates and the Law and Diversity Program, the Whatcom Civil Rights Project (WCRP) provides legal assistance and advocacy to victims of discrimination. ALL Western students are invited to participate.

Persons in the "interviewer" role interview victims and write legal memos on potential cases. They meet with the instructor (and fellow students) to discuss the case. Finally, persons in the "interviewer" role present the case orally before the Attorney Review Panel.


Persons in the "advocate" role also assist in the intake interviews, focusing on the non-legal needs of the party harmed. Under the direction of the Whatcom Human rights Taskforce, advocates prepare an Advocacy Plan for each case following the intake interview. Advocates are trained in the advocate training offered once per quarter (advocates do not need prior experience or training).


In this practicum both interviewers and advocates will be on-call for a weekly three hour shift in the evening to conduct intake interviews at Fairhaven College throughout the quarter. To participate, students must recognize their responsibility to the WCRP and the victims. This includes confidentiality, reliability, sensitivity to diverse populations, and ability to meet deadlines.

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14019 378F Court Watch

Helling 1-5 credits
Prerequisite(s): FAIR 203a and instr perm; Fair 211a strongly recommended.
*This is a variable credit class. You are entitled to 3 credits if you perform the tasks listed below appropriately. If you want more than 3 credits, you must arrange this with the instructor IN ADVANCE by agreeing to undertake additional work.


The Whatcom County Court Watch's (WCCW) mission is to encourage equal treatment for victims of domestic violence while students and the community learn about the judicial system through observation.


This course will: Train student and community observers to watch protection order hearings.
Provide feedback to interested parties on judicial proceedings.


Text: Training Manual given in class


Credit/Evaluation. Students must engage in the following:
Attend class weekly on Wednesdays, 4-5 p.m.
Observe court weekly during one of the following shifts:
Whatcom Superior Court: Mon or Wed at 9 a.m., Thurs at 8:30 a.m.
Whatcom District Court: Mon-Thurs at 8:30 a.m., Fri at 3 p.m.
Record detailed notes on observations
Assist in analyzing data and drafting report
Evaluation: excellent attendance in class (only one absence) and in court, active participation in class discussion, and faithful and intelligent written monitoring of courts.

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14020 381G Topics in Literature: Philip Pullman

Helling 4 credits
This course meets the following core requirement: Humanities and the Expressive Arts II


British author Philip Pullman is best known for his fantasy trilogy, His Dark Materials. The first book, The Golden Compass (originally known as Northern Lights in England), was made into a major motion picture. The third book in the series, The Amber Spyglass, was the first "children's" book to win the Whitbread Book of the Year award in 2002. And Mr. Pullman stopped on his book tour for The Amber Spyglass in Mt. Vernon, Washington (of all places), where this professor had the good fortune of hearing him read from his book. (The audio versions of the three books, read by the author with a supporting cast, are outstanding.)

We will ponder the works separately and as a whole, and look to the large body of material that has cropped up examining the series. The series has come under some fire for allegedly espousing an "anti-Christian" agenda and we will pay close attention to which worldview Pullman is indeed espousing (a question that, obviously, students will ultimately answer for themselves). What does he say about morality, religion and the existence of God? How does Pullman treat issues of gender, sexual orientation and race? What types of science does he draw from in promoting his imaginary worlds? Why is this book found under children's literature? What can/does the best children's literature teach us about ourselves? What is the power of a story? We'll have a good time delving as far as we can go into these meaty questions…


Texts: His Dark Materials series collected into one volume (Golden Compass, Subtle Knife, Amber Spyglass) by Philip Pullman and more supporting texts to come.


Evaluation: Excellent attendance (no more than 3 absences), active participation informed by the reading, short papers on each book and a longer final paper on the series.

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14021 393B Rights, Liberties and Justice in America

Larner 4 credits
Prerequisite(s): upr-div crses in social sci or HIST highly recomnd
This course meets the following core requirement: Society and the Individual II


Recent legislation, including the USA PATRIOT Act and its recent renewal, the Homeland Security Act, recent revisions of the FISA Act, and recent actions by the federal Justice Department and the President have restricted the civil liberties of all Americans, reduced judicial supervision of the conduct of law enforcement officers at all levels, and increased levels of permissible surveillance on individuals and groups, typically without a warrant, and without notification to the individuals who are being monitored. More recent legislation has confirmed the power of the executive to deny the right of habeus corpus to detainees.

Individuals have been jailed indefinitely, and in complete secrecy, with no bail, no hearing of any kind, no access to their families or an attorney. Religious, political and charitable groups have been placed under surveillance. Incidents of torture of persons in US custody have been disclosed, but no high-ranking officers have been held responsible. Incidents of "rendition," torture of persons originally in US custody but sent to other countries where torture is not illegal, have also been reported.


Is there such a thing as an appropriate "balance" between civil liberties and national security? If so, what kinds of measures are justified? If not, what promotes security in a democratic society? Would racial, national, or religious profiling be appropriate? Has any additional security been achieved by these measures? Have the arrests lead to any convictions? What can we discover about the intelligence that is allegedly being gathered through these measures?


In the wake of the election of 2008, what needs to be done to re-assert constitutional protections, to promote democracy, freedom of speech and learning, and the return of open government, and to re-invigorate forward movement toward equity and equality in all aspects of legal and civil life?


In this course, our primary task will be to work directly with the Bill of Rights, to understand those fundamental amendments to the Constitution and some important cases which illustrate the issues and competing interests surrounding them. We will also learn something about the history of rights and liberties in America, to gain some perspective on the evolution of currently held points of view. We will consider readings, positions, interpretations, and theories which come from a variety of perspectives, including those of supporters of the measures mentioned above, and keep abreast of developments.

We will also look carefully at the media to determine what information we are and are not getting from common sources of various kinds.


Students can expect to read extensively and to be reporting and writing about what they learn.


The class will be open to working on ways of informing the community about our various findings, and about our questions.

Texts: Common readings will be selected from In Our Defense, by Alderman and Kennedy, Terrorism and the Constitution, edited by Cole and Dempsey; American National Security and Civil liberties in an Era of Terrorism, by Cohen and Wells; Unequal Protection, by Hartmann; Less Safe, Less Free, by Cole and Lobel; The Velvet Coup: The Constitution, The Supreme Court, and the Decline of American Democracy.


Credit/Evaluation: The class will be taught as a seminar which will require the contributions of all its members. Therefore reliable attendance, reliable preparation and participation in discussion, and a willingness to tackle projects and bring them back to class are all vital to the learning community of the class. Evaluation will be based on the student's learning as reflected in writings and other projects, and on the participation of the student with others in the daily activities of the seminar.

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14022 397G Ecology and Culture in Mesoamerica

Tuxill 4 credits
This course meets the following core requirement: Science and Our Place on the Planet II


Mesoamerica—including Mexico and much of Central America—is a region of bio-cultural superlatives: a global hotspot of biodiversity; a seven-thousand year old center of origin for agriculture; a cradle of over 350 languages, and a contemporary homeland for indigenous cultural traditions and vibrant national societies. This course surveys the ecology and culture of Mesoamerica from both historical and contemporary perspectives. Among the questions that will guide our investigations are: How have past dynamics of settlement and natural resource use by Mesoamerican peoples influenced the present regional environment? How should wildlands protection and biodiversity conservation proceed when biologically rich landscapes have been inhabited and managed for over 5,000 years? How is ecological sustainability related to regional and extra-regional developments such as the loss of indigenous languages, the growth of tourism, large-scale emigration of rural populations, and other patterns of socio-economic and cultural change? Particular emphasis will be placed upon understanding the history, ecology, and culture of Mayan societies. Bey ku ya'ala'al ich Maaya: ko'oten xooke'ex tuláakle'ex! (In Mayan words: Come study, everyone!)



Credit/Evaluation: Regular attendance and informed contribution to discussions is essential. Evaluation will be based on each student's grasp and understanding of the themes and issues presented in the readings. In addition to brief reflective writing assignments, students will research, present, and document a case study of cultural-ecological relationships from Mesoamerica, either independently or in small groups.

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