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WWU / Fairhaven College of Interdiscipinary Studies

Fall 2010 Courses: 300 Level

42053 | 303A Core: Interdisciplinary Concentration Seminar

Estrada / Feodorov (5 credits)

 

Prerequisite: Fair 201a and 303a. Required of students in Interdisciplinary Concentration.

Materials Fee: $7.20

Note: If you began at Fairhaven during Summer quarter and did not take 101a, contact Kathy Johnson for an override.
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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42053 | 305a Writing and Transition Conference

McClure (3 credits)

 

Prerequisite: Fair 101a and 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 constructive mid-point conversation with advising resource people you invite to share your educational plans and collect advice officially moving you from the "Exploratory" stage of Fairhaven's program into the "Concentrated" stage of your educational plans, regardless of your choice of major. 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: Monday, September 27 at 3 p.m. or Wednesday, September 29 at 11 a.m. (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, October 18. Writing Portfolios must follow the format outlined on the green Writing Portfolio Instructions and Evaluation Form (available on Blackboard & on the Fairhaven College website under forms.)

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 & statement to Jackie McClure with the signatures of all participants.

 

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43799 | 312d Issues in International Studies: Contemporary S/SE Asia

Osterhaus 4 credits

Prerequisites: Fair 203a or instructor permission

Materials fee: $6.85

 

This course is designed for anyone interested in Southeast Asia; and specifically for students embarking on international, educational, and service-learning travel experiences to Southeast Asia with the Institute for Village Studies in Winter 2011. The course will broaden our understanding of the political, economic, social, cultural, and religious background of the people with who we will be interacting and working with in Northern Thailand and India. We will explore contemporary issues and how Asian communities, in both the cities and villages, are addressing critical concerns such as the environment, conflict situations and globalization. We will examine situations and questions related to traveling responsibly and ethically. Time will be given to the logistics of travel abroad including language learning, service-learning, health and safety.

 

Resources: Selections tba or on reserve. Scupin, Raymond, ed 2006. Peoples and Cultures of Asia; Tanabe, Shigeharu. 2008. Imagining Communities in Thailand: Ethnographic Approaches; Sangdad Publishers. 1995. The Hill Tribes of Thailand; Luce, Edward. 2007. In Spite of the Gods; Mehta, Gita. 1997. Snakes and Ladders: Glimpses of India; Iyer, Pico. 2008. The Open Road: The Global Journey of the Fourteenth Dalai Lama; Davis, Wade. 2001. Light at the Edge of the World: The Realm of Vanishing Cultures

 

Credit/Evaluation: Course registration is required for winter travel participants. Regular attendance is expected of all. Evaluation will be based on engaged participation from thoughtful reading of the course materials, concise reflective essays addressing assigned readings, and a final paper outlining reasons for undertaking the class, influences upon their thinking during the course, expectations and projected research focus for the winter travel course. Course resources will include readings, guest speakers, and films. The combination of activities will ensure engaged discussion and exchange of views about the diverse ethnographic, methodological, and ethical issues we will be confronting.

 

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43703 | 325j Studies in Myth and Mythology

Larner (4 credits)

 

Prerequisite: Background in humanities or cultural history.
Materials Fee: $8.65
THIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS REQUIREMENT or THE SOCIETY AND THE INDIVIDUAL REQUIREMENT.

 

Myths tell us who we are, where we came from, what we desire, how we can live and die, what awaits us.. Myths can relate the beginnings and endings of things, the roots of our ecstasies and terrors, our wishes and dreams. They can tell us how to behave, what our values should be, and how to bring up the next generation. They can tell us what came before us and what will live after us. Myths express human capacities and divine power, and sometimes embody the mystery of our deepest questions. Myths take us to realms of meaning, feeling and understanding it is sometimes difficult to explain and hard to have any other way.

 

Whether the stories that embody myths seem profound and etermal, or odd and outrageous, realistic or fantastic, they tend to radiate truth, not the patent falsehood which is implied by the popular usage of the term ("That's just a myth!"). On the contrary, myths beckon us to understand better, go deeper, venture on a sea of meaning where there may be a risk of sinking.

 

Myths also get born, arise new in front of us, floating in the reeds on the banks of some contemporary river of meaning we had previously missed. Myths often are disguised in tales of ordinary life, in songs, shows, plays and movies, videos and commercials, in our clothing and our possessions and our ways of living.

 

We will engage with myths from different times, places, and cultures, trying to fathom their workings and their special character. What distinguishes a story that becomes a myth from other stories?

 

Our emphasis this quarter will be first to learn about mythic stories, to understand what they are or can be, where they come from, and what our needs for them are. Second, we will search for mythic elements in our own culture(s). What are the stories, the narratives which circulate among us, explicit or implied, displayed or hidden, which shape our world, the way we see things, what we expect, fear, and hold dear?

 

We will practice a variety of means of encountering and responding to myths--reading, viewing video, storytelling, discussing. We will read theoretical and critical studies of myth, read stories, engage films and stage works, and look for myth in the contemporary media. Some may wish to engage the particularly rich heritage of Native American myth and story which surrounds us here.

 

There will be an opportunity for individuals to look with some depth into religious traditions which are implicated in contemporary conflicts, and begin to comprehend the stories (the mythos) of those traditions.

You may create a mythic story yourself, or explore and explain outcroppings of other myths in our time. We will work individually, in small groups, and all together, sometimes choosing together the materials we will work on.

 

Texts. TBA. Readings will be chosen from Rollo May, The Cry for Myth; David Leeming, The World of Myth; Selections from The Holy Bible (King James trans.); Selections from The Holy Qu'ran (trans. Allamah Nooruddin, abdul Mannan, Amatul Rahman Omar); Mariza Gimbutas, The Language of the Goddess; Carolyn Larrington, The Feminist Companion to Mythology; Gary Ferguson, Spirits of the Wild: The World's Great Nature Myths.; Robert Bellah (and others), Habits of the Heart. Joseph Campbell, Myths to Live By, and Transformations of Myth Through Time. Katherine Judson, Myths and Legends of the Pacific Northwest; the Star Wars films; ET; William Shakespeare, Hamlet and Romeo and Juliet

 

Credit/Evaluation. Regular preparation of readings for discussion and faithful attendance. Commitment to the community of the class, including a willingness to complete assignments on time, to contribute to the discussions of readings, and to participate in the sharing of stories. Mid-term presentation and final project (paper and presentation).

 

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43722 | 332q Topics in Applied Conservation Biology: Restoration

Tuxill (4 credits)

 

Prerequisite: Fair 206a or equivalent.
Materials Fee: tba
THIS COURSE MEETS THE UPPER-DIVISION SCIENCE AND OUR PLACE ON THE PLANET REQUIREMENT

 

Long-term solutions to present-day environmental problems increasingly involve the restoration of ecologically healthy landscapes and communities. This course introduces students to the science and practice of restoring ecological systems. We will examine the implications of ecological theory for understanding how natural landscapes change under the impacts of diverse human activities. We also will review case studies where shifts in natural resource use and environmental policies have helped restore the ecological health of lakes, rivers, grasslands, forests, and other ecosystems. Students will gain practical skills by working collaboratively to plan, implement, and evaluate ecological restoration projects at local field sites. As part of the interdisciplinary focus of this course, we will connect our scientific understanding to social, philosophical, and psychological meanings of ecological restoration as experienced by individuals, communities, and cultures.

 

Texts: Reading assignments will be drawn primarily from scientific journals and distributed via Blackboard.

 

Credit/evaluation: Regular attendance and informed contribution to discussions is essential. Students will: 1) work in teams to research, plan, implement, and evaluate an ecological restoration project locally; 2) document their restoration work with a written proposal, final report, and oral presentation; and 3) complete at least 3 hours of service learning (i.e. one morning or afternoon) with a local or regional conservation organization involved in ecological restoration. Evaluation also will be based on each student's grasp and understanding of the issues presented in the readings.

 

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42558 | 334c | International Human Rights

Akinrinade

Prerequisites: Fair 203a or instructor permission

Materials Fee: $15.47

 

This course meets the upper-division Society and the Individual requirements. 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.

 

Texts: TEXTBOOK ON INTERNATIONAL HUMAN RIGHTS, by Smith, Rhona K. M.; INTERNATIONAL HUMAN RIGHTS IN CONTEXT: LAW, POLITICS, MORALS, by Steiner, Henry J., Alston, Philip & Goodman, Ryan

 

Credit/Evaluation: Evaluation will take account of regular attendance, evidence of critical reading, engagement in class discussion, the quality of short reactions, and two assignments.

 

 

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43704 | 334f International Law

Akinrinade (4 credits)

 

Prerequisite: Fair 203a or permission of instructor
Materials Fee: $18.00
THIS COURSE MEETS THE UPPER-DIVISION SOCIETY AND THE INDIVIDUAL REQUIREMENT

 

This course is an introduction to public international law, which governs the relations of States and increasingly, other non-State actors, including individuals and organizations. The course will cover the basic doctrines of public international law and the international legal system. Topics to be covered include the law of treaties, international organizations, international courts and dispute settlement, international law and the use for force. Other topics include issues of self-determination, environmental protection, international human rights and international criminal law. These principles will be applied to contemporary issues of international law and international affairs. This survey course will help students gain an understanding of the main principles of international law, its role in international affairs and how it influences, directly or indirectly, the conduct of States, how past events have helped shaped contemporary international law and how international law is responding to emerging issues around the world, thus serving as a tool for legal analysis of contemporary events in the world.

 

Texts: INTERNATIONAL LAW (2008), by Janis, Mark; INTERNATIONAL LAW: CASES AND MATERIALS (2009), by Damrosch, Lori F., Henkin, Louis, Murphy, Sean D., & Smit, Hans

 

Credit/Evaluation: Evaluation will take account of regular attendance, evidence of critical reading, engagement in class discussion, the quality of short reactions, and two assignments.

 

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43719 | 336b Topics in Social Issues: Horror Films

Takagi (4 credits)

 

Prerequisites: Fair 203a or equivalent
Materials Fee: $13.73
THIS COURSE MEETS THE UPPER-DIVISION SOCIETY AND THE INDIVIDUAL REQUIREMENT

 

What do zombies, vampires and Freddy from Elm Street have in common?  They are common features of horror films that scare us silly, of course.  And given how much these films make at the box office, clearly we go to them often.  But if we are the most evolved creatures, why do we go to movies to purposefully frighten us?  Isn’t daily life scary enough?  Some scholars believe we watch horror films because we need to reiterate and reinforce the notion that technology and “goodness” will always overcome and destroy evil monsters, even those who refuse to stay dead.  Other scholars believe we watch them because they shake us out of our daily complacency and demand that we “live in the moment.”  After reading many of the interpretations and history of horror films, you can decide for yourself.

 

In this class, we will watch classic horror films and more recent films (newer twists on old themes) and learn the history of the horror genre, scholarly interpretations of horror movies and we will discover how these films reflect the anxieties, fears, and concerns of American society at the time they were released.  The films include “The Cabinet of Dr. Caligari” (1920), “Dracula” (1931), “Invasion of the Body Snatchers” (1956), “Pyscho” (1960), “The Exorcist” (1973), “Alien” (1979), and many others. 

 

Texts:Kendall R. Phillips, Projected Fears: Horror Films and American Culture, Praeger, 2005. (on sale at University Bookstore)
Articles on Blackboard. 

 

Credit/Evaluation:Write a short horror story (3-5 pages); 3 short analyses (3 pages max); 1 longer film analysis (5-8 pages); Timely, regular attendance.  More than 2 absences will result in “no credit.”  Informed participation in class discussions. Must lead part of a discussion. Must share your horror story with the rest of the class

 

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43804 | 336b Topics in Social Issues: Adolescence

Marshak (4 credits)

 

Prerequisites: Fair 203a or permission
Materials Fee: $13.73

 

Adolescence is a radically new developmental stage that has emerged only in the past hundred years, even though homo sapiens sapiens, modern humans, first appeared nearly 200,000 years ago.

In this course we will explore the invention of the concept of adolescence, the social and cultural developments that allowed adolescence to emerge as a distinct stage of human development, and the developmental attributes of adolescent identity and experience as we know these today.

We will also explore adolescent/youth culture as it has developed since 1910, the potential of adolescence in furthering the evolution of our species, and what might be the social and cultural values and norms that would allow adolescents to truly flourish.

 

Texts: David Bainbridge (2009). Teenagers: A Natural History. Also a set of articles, some reprints and others on Blackboard.

 

Credit/Evaluation: Regular attendance, engaged participation. Weekly 1-2 page reflections; two interviews of adolescents with analyses; a final paper or project, negotiated with the instructor.

 

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43742 | 336n Topics in Science: The Brain

Brewer (4 credits)

 

Prerequisites: Fair 206a or permission of instructor
Materials Fee:
This course meets the upper-division Science and Our Place on the Planet requirement

 

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 announced.

 

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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43793 | 336n Topics in Science: Wilderness

Ryan (5 credits)

 

Prerequisites: Fair 206a or permission of instructor
Materials Fee: $89
This course meets the upper-division Science and Our Place on the Planet requirement

 

Note: Course includes a mandatory weekend field trip to North Cascades Institute’s Environmental Learning Center on Diablo Lake in the North Cascades, leaving Friday morning (October 1) and returning Sunday evening (October 3).

 

What is wilderness? How have perceptions of wilderness changed over time? How have shifting views on nature and wilderness influenced the science of ecology? What are the ecological processes and challenges that affect species living in wilderness regions today? Where do we fit as individuals and communities in relation to “nature” and wilderness? These are some of the questions we will ask as we explore the American concept of wilderness and the ecology and conservation of wilderness regions. Drawing from the work of writers such as Roderick Nash, Max Oelschlaeger, John Muir, Aldo Leopold, Terry Tempest Williams, Gary Snyder, and Donald Worster, we will examine the evolution of the American idea of wilderness and its interplay with the development of modern ecological thought. From there we will examine the ecology of wilderness areas, with a focus on montane and alpine regions of the Pacific Northwest. We will learn about ecological theories of natural reserve design and the ecology of large spatial scales, empirical studies of the ecological challenges facing wilderness regions such as climate change, and the emerging conservation focus on protecting evolutionary processes. The course will conclude by circling back to the idea of wilderness to consider how ecological knowledge influences our individual and cultural conceptions of wilderness moving forward.

 

Texts: Required - WILDERNESS AND THE AMERICAN MIND by Nash; NATURE’S ECONOMY by Worster. Other required readings (scientific journal articles and book chapters) will be distributed electronically. Recommended - THE IDEA OF WILDERNESS by Oelschlaeger; CASCADE-OLYMPIC NATURAL HISTORY by Mathews.

 

Credit/Evaluation: 1) Attendance and participation in class discussions, activities, and the weekend trip to the North Cascades (see above), 2) active participation in a course leadership team, 3) individual natural history presentation, 4) participation in a group presentation and discussion lead, 5) a 7-10 page research paper due on the last day of class, with the option of submitting a first draft for comments two weeks prior.


 

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43817 | 336n Topics in Science: NW Wild Food

Hahn (5 credits)

 

Prerequisites: Fair 206a
Materials Fee: $15
THIS COURSE MEETS THE UPPER-DIVISION SCIENCE AND OUR PLACE ON THE PLANET REQUIREMENT

 

For 1000s of years the First Nations of the northwest, including the Coast Salish, ate via a “seasonal round” from the bountiful shellfish, salmon, camas, berries, seaweed, and greens they foraged and traded throughout this area. What were these foods? Where did they grow? How did they contribute to the culture and ecology of the area, as well as human health? How were they managed for sustainability? What ethics did people apply to gathering, processing and eating food?

 

In this course we will explore and study northwest wild foods across time, cultures, and ecosystems within a 50-mile range of Bellingham, Washington. Our study area will encompass the Salish Sea to the Cascade mountain crest. We will learn to identify, sustainably forage, process and prepare wild foods with a modern twist, via readings, field trips, guest speakers, hand’s-on projects and presentations, research, and the preparation of a feast celebrating the foods we have studied.

 

We will also look at native food culture against the backdrop of European settlement and farming. How did two cultures—Indigenous and European--interface and impact one another? What factors have contributed to the loss of Indigenous food wisdom over the last 150 years? Today, many wild foods are also threatened due to the introduction of invasive species and loss of traditional ecological knowledge of how to use these foods. How can we imagine a modern food culture that incorporates sustainable wild foods? How might the traditional ecological knowledge of indigenous people apply to how we manage our “foodshed” today?

 

Texts: Handouts, on-line papers, and the following texts:
“PACIFIC FEAST: A Cook’s Guide to Coastal Foraging and Cuisine” by Jennifer Hahn, Mountaineers/Skipstone Press, Fall 2010; “THE EARTH’S BLANKET: Traditional Teachings for Sustainable Living by Nancy J. Turner, University of Washington Press; KEEP IT LIVING: Traditions of Plant Use and Cultivation on the Northwest Coast of North America by Douglas Deur and Nancy Turner, University of British Columbia.

 

Credit/Evaluation: Students are required participate in class discussions and have regular class attendance; to participate in two (of four) Saturday field trips; co-lead one discussion on readings; research and write a final 8-page paper on one wild food and complete a hands-on project (e.g., carving a traditional clam digging stick and clamming; building a berry drying mold and drying huckleberry cakes). Details on assignments will be given in class.

 

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43738 | 336v Topics in Art: Art and the "Other"

Feodorov (4 credits)

 

Prerequisites: Fair 202a
Materials Fee: $15.80
THIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS REQUIREMENT

 

Until recently, the Western World has dominated most discussions on Art and Art History, despite the existence of important artists, art movements and philosophies from around the world. Historically, these artworks were resigned to Museums of Natural History; considered unsophisticated and even primitive in comparison to Euro- American traditions. However, increasing accessibility to non-Western cultures has created greater opportunities to understand, and often misunderstand, these artworks and their cultures of origin. Questions we will tackle include: "What happens when we frame these artworks and artifacts with Western eyes?" "Is it enough to respond to them on a purely aesthetic basis or must we understand them within a specific cultural context?" "Is Art universal, 'belonging' to everybody without regard to the original context of creation, or does Art transcend context?" "How might/does cultural hybridity challenge notions of Authenticity and Identity?"

 

This class will also explore the work of several contemporary artists from around the world, (including within the U.S) who address and comment upon issues relating to Identity, Post-Colonialism, Cultural Hegemony and the "Western Gaze".

 

Credit/Evaluation: Students will be responsible for assigned readings, weekly response/reflection papers and regular participation in class discussions. In addition, students will give oral presentations on two artists whose work addresses topics discussed in class.

 

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43721 | 338p Cultural and Biological Perspectives on Pregnancy and Childbirth

Bower (5 credits)

 

Prerequisites: Fair 203a & Fair 206a or instructor permission
Materials Fee: $7.13
THIS COURSE MEETS THE UPPER-DIVISION SCIENCE AND OUR PLACE ON THE PLANET REQUIREMENT

 

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 evolution of pregnancy and childbirth. We will also explore pregnancy and 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 manage a fictional pregnancy. Students will research and make and explain decisions based on complications or situations that arise in their pregnancies. Videos and field trips to the Bellingham Birth Center and the St. Joseph Hospital Birthing Center will augment discussions.

 

Texts: Sandra Steingraber: HAVING FAITH: AN ECOLOGIST'S JOURNEY TO MOTHERHOOD; Henci Goer: THE THINKING WOMAN'S GUIDE TO A BETTER BIRTH, and Tina Cassidy: BIRTH: THE SURPRISING HISTORY OF HOW WE ARE BORN. Additional reading will be assigned from various sources.

 

Credit/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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43705 | 353y Songwriting Workshop

Eaton (4 credits)

 

Materials Fee: $6.61
THIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS REQUIREMENT

 

Songs are a magical language, and songwriting is a quest for the sacred, the comical, or the singular within everyday life. Songwriters journey with an ordinary object, image or event and discover what makes it extraordinary. In the inspiration phase, we form relationships with the songs we write, whether we ever finish them, or even like them. Like any good relationship, we must take risks when writing and be willing to explore avenues that may lead nowhere. There are many paths in the creative process of songwriting, but on each path songwriters use similar tools to craft something unique and new - melody, lyric, structure, and groove.

 

The crafting of songs, like any other creative effort, is a combination of both this inspiration and perspiration. Songwriting is not just the magic and rush of the new idea. It's also a craft. Once all the ideas are down, we invite the analytical part of our brains to join the creative spirit to help refine the concept. Although crafting a song may not result in a gem every time, you can be sure that neglecting this part of the process can doom a song -- and a songwriter -- to mediocrity.

 

In this class, we will explore the tools and craft of songwriting through a series of fun (and maybe a little risky) exercises that will lead toward songs, and work together on songs that have gotten stuck between inspiration and completion. We'll discuss techniques, strategies and blocks, the roles and interrelationships of melody, rhythm, and lyric, and song forms and styles. The class will operate in a workshop format with all class members bringing work for critique and advice to other participants. Previous songwriting experience is not necessary, but participants should come with a willingness to take some risks.

 

Texts: Required: A class manual, available through Blackboard. Recommended: A rhyming dictionary, a thesaurus and any good book on the creative craft of writing such as: Peter Elbow's Writing with Power; Natalie Goldberg's Writing Down the Bones or Brenda Ueland's If You Want to Write: A Book about Art, Independence and Spirit.

 

Credit/Evaluation: Attendance at all group sessions and willingness to fully engage in songwriting exercises, both in and out of class, including sharing your work once each week, Attendance at least two concerts which feature singer/songwriters including written review and critique, Development of a final songwriting portfolio and participation in a Songwriter's Showcase at the end of the term.

 

 

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42059 | 354v Scriptwriting I

Larner (4 credits)

 

Prerequisites: Previous course work or experience with creative writing or instructor permission
THIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS REQUIREMENT

 

The workshop is a collaborative, supportive group experience. Students are expected to comment on, support, and participate in the work of their fellow students. Initial exercises and rewriting work with each other's 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. Risk-taking, 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, and/or 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: Jeffrey Sweet, Solving Your Script; Robert McKee, Story; 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 beginning development of techniques, aptness for the stage (or the appropriate medium) and the overall development of the writer during the term.

 

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43737 | 356x Dreams, Imagination, Creativity

Conton (4 credits)

 

Prerequisites: Fair 203a or 243r or instruction permission
Materials Fee: $7.20

 

"Creativity is something new and fresh that arises in the absence of preconceived ideas; it is the ability to bring something into existence from nothing, to observe the unexpected, the unknown, and then use what one finds there in a new, unique way." –Rosenfield

 

In this class, students encounter new ways of perceiving and being in the world by experience and enhancing the creative-intuitive dimension of consciousness. Through readings, creativity, practice of awareness, and ordinary living, we consciously cultivate the natural cross-fertilization of the intellectual mode of perception and the creative-imaginative. We will extend the range of imagination through the active cultivation of mindfulness; we will re-cognize the cultural trance in which we live in order to entertain alternatives to our culturally-conditioned responses; we will invite synchronicity and miracles into our lives. We will create art as a natural extension of everyday living. We will explore our own dreaming processes and those of other cultures, and we will learn to enhance the quality of our dreaming, awake and asleep. Because this class becomes an example of what it studies, the attitudes you bring to this class will have a large effect on what happens, so exercise your intuitive intelligence to determine if you are open to the challenge and the risk of reviving your natural creativity before enrolling.

 

This class is predominately experiential in nature; those seeking a cognitive psychological approach to creativity will do well to seek elsewhere.

 

Texts: TBA

 

Credit/Evaluation: Satisfactory completion of the course involves a creative-activity log and journal, group or individual projects and presentations, regular reading, co-facilitation of discussions, and informed participation in all class sessions; completion of daily assignments and consistent practice are expected. Evaluation will be based on student’s enhanced integration of creative/imaginative processes in daily life, and developing consistency and a more sophisticated understanding of the practice of dream techniques and other methods for inviting creative living.

 

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43707 | 370h Audio Recording II

Fish (4 credits)

 

Prerequisites: Fair 270h (previously 275h) or permission of instructor
Materials Fee: $74.00
NOTE: This course was formally 375h. Students who received credit for 375h may not take 370h for credit.

 

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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43708 | 370p Intro to Pro Tools

Fish (2 credits)

 

Prerequisite: Fair 370h (previously 375h) or permission of instructor
Materials Fee: $42.00
NOTE: This course was formally 375p. Students who received credit for 375p may not take 370p for credit.

 

This class will introduce students to mixing and editing audio with Digidesign's Pro Tools LE software.

Covered topics will include: importing and recording audio into Pro Tools, editing and manipulating performances, the use of plug-ins, and an overview of mastering processes such as compression/limiting, dithering and 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.

Texts: Reprinted materials.

Credit/Evaluation: Projects will be evaluated throughout the quarter by the instructor and the other members of the class.

 

Meeting Times: Students may choose to attend either a Wednesday or Thursday section from 12-1pm.

 

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43709 | 370q Pro Tools HD Recording

Fish (2 credits)

 

Prerequisite: Fair 370p (previously 375p) or permission of instructor
Materials Fee: $42.00

NOTE: This course was formally 375q.

 

This class will give students with advanced recording experience the opportunity to record and mix on an industry standard Pro Tools HD system. Students will enhance their knowledge of Pro Tools and learn how to use this software in conjunction with a large-format analog mixing console. Students will be expected to conduct at least two recording/mixing sessions throughout the quarter and prepare a final mix for in-class critique.
Students will also learn how to properly configure Pro Tools HD hardware and software components, how to setup session templates and how to utilize each component of an HD/analog system. This class is repeatable.
Texts: Reprinted materials.

Credit/Evaluation: Projects will be evaluated throughout the quarter by the instructor and the other members of the class.

 

Meeting Times: Students may choose to attend either a Wednesday or Thursday section from 12-1pm.

 

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43710 | 370t World Issues Group Study

Osterhaus (3 credits)

 

Prerequisites: Fair 270t or Fair 203a, or SSC GUR Course
Materials Fee: $ 18.00

 

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, 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, weekly 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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43712 | 375d Video Production Team

Miller (3 credits)

 

Prerequisite: Fair 275 or Comm 442 or instructor permission

 

This class will provide a realistic hands-on experience in video production and will extend the students' knowledge of basic production/editing and will also teach the importance of the production schedule and working within a team. After completing the course, students will have professional examples of work to add to their demo reel.

 

In this course you will learn how to produce and distribute for web and television programs in a professional manner. You and your fellow production team members will be given various assignments to be carried out during the term.

Assignments will range from shooting/editing weekly live events to small interviews with faculty, students and outside professionals.

Credit/Evaluation: On-time attendance at your scheduled crew call times, successful completion of your crew assignments, and the continual striving for production quality on your part will equal a grade of S. Failing to show up without notice or failure to meet deadlines without cause will result in loss of credit for the course.

 

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42063 | 378f Court Watch

Helling(variable credit, see text below)

 

Prerequisite: Fair 203a or equivalent or instructor permission
Course Fee: $16.52

 

*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.

Note: must get instructor's permission to take this course (e-mail Julie.Helling@wwu.edu for override); Fairhaven 211b American Legal System strongly recommended. You do NOT have to be a Fairhaven student to take this course.

 

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:
1) Train student and community observers to watch civil protection order hearings and criminal cases.
2) Provide feedback to interested parties on judicial proceedings.

 

Students must engage in the following:
1) Attend special training
2) Attend class weekly on Wednesdays
3) Observe TWO HOURS of court weekly during an assigned day shift. Shifts include the following times:
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.
4) Record detailed notes on observations
5) Assist in analyzing data and drafting report

 

Texts: Training Manual given in class and BATTERED WOMEN IN THE COURTROOM by James Ptacek

 

Credit/Evaluation: excellent attendance in class and in court (only one absence in each), active participation in class discussion, and faithful and intelligent written monitoring of courts.

 

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43766 | 387k Grantwriting

Coulet du Gaard (4 credits)

 

Materials Fee: $6.61

 

This course focuses on the basics of grant writing, including researching and seeking funding sources; reading and interpreting funding guidelines; developing and refining proposals; and tricks of the trade. Development of individual short and long grant proposals are required.

 

Do you think of writing grants as begging for money? Do you have a fear of grant writing? Have you got a great idea that can’t be implemented because you don’t have the resources? This workshop will help you think of grant writing in a different way. Learning to prepare a good proposal allows you to help granting agencies find a way to spend the dollars they are required to spend to meet their own mandates. You need the money. They need to spend it. Your challenge is to find the match between your need and theirs, and to persuasively articulate that match. In this workshop you will learn the basics of writing proposals to funding agencies, including how to find appropriate funding sources, how to read and interpret funding guidelines, funding restrictions, the steps for developing and refining proposals, including the budget. Aspects of story telling will be used to help with the narrative process. It is highly recommended that you have identified a project and an agency before the quarter begins.

 

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43713 | 388m Oral History

Anderson (4 credits)

 

Prerequisite: Fair 223 or instructor permission
Materials Fee: $6.61
THIS COURSE MEETS THE UPPER-DIVISION HUMANITIES AND THE EXPRESSIVE ARTS REQUIREMENT

 

Oral history's appeal is rooted in the power of personal narratives to connect us with the past and with experiences different from our own. Collecting and interpreting narratives raises numerous interdisciplinary challenges. Among those that we will explore in this class are: issues of shared authority in interaction between narrator and interviewer (whose story is it?), the meaning-making processes of listening and hearing, the credibility of memory, the relationship between individual and collective memory, the role of subjectivity in history, and the importance of standpoint or context for both interviewer and narrator.

 

To explore theoretical and methodological issues, we will discuss the insights of experts from many fields as presented in The Oral History Reader. We will apply these and other insights as we discuss and compare the final forms of specific oral history projects including documentary films, such as The Uprising of '34 and Smells Like Money (award winning documentary by Fairhaven student David Albright), monographs such as Like a Family, and The Order Has Been Carried Out: History, Memory, And Meaning Of A Nazi Massacre In Rome, performances such as Anna Deavere Smith's Twilight Los Angeles, and compilations such as Doing what the day Brought: an Oral History of Arizona women.

 

Students will be expected to undertake an oral history project with two or more narrators or contribute to the ongoing Fairhaven Memories Project. Alternatively, students may focus on analysis and interpretation of an existing series of interviews. These projects will be shared in class, both as works in progress and in terms of final epiphanies and reflections.

 

Texts: Robert Perks and Alistair Thomson, eds., THE ORAL HISTORY READER, 2nd edition. Alessandro Portelli, THE DEATH OF LUIGI TRASTULLI AND OTHER STORIES. Recommended; Valerie Yow, RECORDING ORAL HISTORY, 2nd edition.

 

Credit/Evaluation: Regular attendance and informed participation in discussing theoretical essays. The final project will include a paper meeting the requirements for expository writing in the FHC writing portfolio and a class presentation demonstrating understanding of and reflection on theoretical and methodological concepts as applied to specific narratives the student has chosen to scrutinize during the quarter.

 

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