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WWU / Fairhaven College of Interdiscipinary Studies

Winter 2010 Courses: 300 Level

12675 303A Interdisciplinary Concentration Seminar

Eaton/Akinrinade (5 credits)

Materials Fee: $7.20

Prerequisite:Fair 101a, 201a 203a and 305a.

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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12676 305A Writing & Transition Conference

McClure (3 credits)

One meeting from the following: Friday, Jan. 8 12-1:00 OR Monday, January 11, 3-4

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: Friday, Jan. 8, noon-1 p.m. or Monday, January 11, 3 – 4 p.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, January 25. Writing Portfolios must follow the format outlined on the green Writing Portfolio Instructions and Evaluation Form (available in the Fairhaven College Office.)
  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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13348 310N American Indians in the Cinema

Rowe (5 credits)

Materials Fee: $4.32

Prerequisite: Previous course in Native American studies or permission of instructor. This course meets the Society and the Individual II Core requirement.

 

Why do most Indians "crack up" at some scenes in very serious movies such as Powwow Highway and Smoke Signals? Why do Pawnees often complain that the quintessential Indian-friendly movie, Dances With Wolves, is not friendly at all? What negative stereotypes of Natives do Hollywood movies perpetuate? Does cinema replicate the stereotypes and images found in popular literature and culture? What are the impacts of those stereotypes on Indians’ identity, self-esteem, and cultural survival? To what extent do Natives participate in producing cinema? Can the cinema be a force of empowerment for Natives? Can it be a weapon of resistance? This course seeks answers to these questions and more. We will view representative films from major periods in the history of cinema and students will view additional videos outside of class. During the course students will write several short papers on the films and readings. As a final research/ teaching project students will present a formal review of a film chosen in consultation with the instructor.

 

Texts: Required: CELLULOID INDIANS: NATIVE AMERICANS AND FILM by Kilpatrick. Recommended:, DRESSING IN FEATHERS: THE CONSTRUCTION OF THE INDIAN IN AMERICAN POPULAR CULTURE by Bird; Philip J. Deloria, PLAYING INDIAN; FROM SAVAGE TO NOBLEMAN: IMAGES OF NATIVE AMERICANS IN FILMS by Hilger; HOLLYWOOD’S INDIAN: THE PORTRAYAL OF THE AMERICAN INDIAN IN FILM by Rollins and O'Connor.

Credit/Evaluation: Participants will be evaluated on attendance, meaningful contributions to discussions, and the effectiveness and quality of written assignments including the final.

 

 

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13555 319B Current Issues Law: Hate Crimes

Haggerty (4 credits)

Prerequisite: Fair 201a, 203a, and 211b.

This course meets the Society and the Individual II Core requirement.

 

This course will examine current legal issues related to hate crime law from several interdisciplinary perspectives, including sociology, criminology, and law. The course will explore the statutes and court decisions that authorize criminal penalties for crimes motivated by discrimination as well as laws requiring the collection of statistics or authorizing civil remedies for discriminatory crimes. We will also explore the role of hate crime law in society, with a focus on the legal knowledge produced by the judicial, administrative, and social labeling of disputed events as hate crimes.

 

Text: HATE AND BIAS CRIME: A READER by Perry. Additional readings, including court opinions, statutes, and journal articles will posted on Blackboard or placed on electronic reserve at the library.

Credit/Evaluation: The course will be a seminar, which students must attend on time and prepared to participate. Students will write several short reflective papers on selected topics during the quarter and one research paper at the end. Each student will make one presentation and lead one class discussion.

 

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13349 322M Childhood in America

Eaton (4 credits)

Materials Fee: $13.23

Prerequisite: Fair 201a and 203a or equivalent or instructor permission.

This course meets the Society and the Individual II Core requirement.

 

What does it mean to be a child? How do we remember our childhood experiences? How do these memories reflect America’s idealized ideas about childhood? Who lives that childhood and who does not? Childhood is a developmental stage unique to humans, yet historical, economic, and cultural contexts influence children’s experiences and social roles as well as their development of language, knowledge, moral reasoning, and gender identity. Using memoir, novel and film, accompanied by a few theoretical readings and some observations of children in a variety of settings, we will investigate the ideas and myths of childhood. Together we’ll explore the landscape of childhood as ‘remembered’ in these varied books and films and connect these memories to our own experiences.

 

Texts: BONE BLACK by hooks; ELLEN FOSTER by Gibbons; HOUSE ON MANGO STREET by Cisneros; THE EARTH IS ENOUGH by Middleton; AMERICAN CHILDHOOD by Dillard, ONE HUNDRED DEMONS by Berry, and MY NAME IS SEEPEETZA by Sterling.

Credit/Evaluation: · Attendance at all group sessions and willingness to fully engage in the readings, class discussions of the readings and films, and in-class exercises. · Observational log. · Active participation in the varied memoir writing assignments, including redrafting and polishing · Development of a final portfolio that includes at least six memoir pieces in at least three forms (prose, poetry, song, script, visual art, three-dimensional art, video, etc) that capture some aspect of your childhood and connect with the themes in our readings and observations. · Class presentation of some aspect of your portfolio.

 

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13350 323G Imaginative Writing II

Cornish (4 credits)

Materials Fee: $7.20

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

 

Sudden Fictions

 

Once upon a time, suddenly, while it still could, the story began. - Robert Coover

 

This class explores the narrative impulse in “short-short” fictions. Raymond Carver once described a moment at the laundromat when he realized he would always write short stories and poems, genres which would allow drafts to come in bursts of creation, between loads of dirty clothes. Perhaps the development of “flash” fiction is a reflection of our era. Does modern life appear more authentic when recorded briefly, as a fragment of story, rather than the rising and falling arc of a novel? Perhaps, by creating “miniatures,” we simply like to tighten the circle of mystery surrounding what we know. In any case, short fictions present a challenge in compression and concision: in how small a space might we create the weight, the felt presences, that animate a story? This class experiments especially with form, taking on anecdote, true experience, dream, poetry, parable, etc., as ways for the short-short to express itself through a given approach. Although primarily a creative writing class, this workshop also involves the reading and study of narrative models.

 

Texts: SUDDEN FICTION: AMERICAN SHORT-SHORT STORIES edited by Shapard; IN SHORT edited by Kitchen; MICRO FICTION edited by Stern and student binder composed of xeroxed handouts (or may be posted on Blackboard to be downloaded)

Credit/Evaluation: Students are expected to make a commitment to our writing community, bringing with them an absolute respect for the potential of each voice––their own as well as that of others. They’ll participate in the growth of those voices by: completing all writing assignments and rewrites; studying all assigned readings; taking an active part in class discussions. The nature of workshop is collaborative and supportive—dare I say loving?

Attendance is required: more than three absences and you will not receive credit for the class.

 

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13505 334B Human Rights Accountability

Akinrinade (4 credits)

Materials Fee: $15.47 Prerequisite: Fair 203a

This course meets the Society and the Individual II Core requirement.

 

This course examines different approaches taken by countries and the international community in dealing with past serious violations of human rights, and the process by which formerly repressive States transform themselves into societies based on democracy and the rule of law. It examines the various means of establishing accountability including truth, reconciliation and historical commissions; national, international and hybrid prosecutions of perpetrators of human rights abuse; reparation for victims of human rights and humanitarian law violations; "lustration" laws and institutional reforms. It also considers the obstacles to this process including political instability, amnesty laws, and the lack of engagement by the international community in particular situations. While all these mechanisms pertain/are suited to serious violations of civil and political rights, the course will explore the possibility of accountability processes for gross violations of economic, social and cultural rights.

 

Text: THE HAUNTED LAND: FACING EUROPE’S GHOSTS AFTER COMMUNISM, by Rosenberg; CRIMES AGAINST HUMANITY: THE STRUGGLE FOR GLOBAL JUSTICE, by Robertson, & ACCOUNTABILITY FOR HUMAN RIGHTS ATROCITIES IN INTERNATIONAL LAW: BEYOND THE NUREMBERG LEGACY, by Ratner, Abrams & Bischoff.

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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13351 334D State Failure & Collapse

Akinrinade (4 credits)

Prerequisite: Fair 203a or permission of instructor

This course meets the Society and the Individual II Core requirement.

 

This course explores State failure and State collapse – States that have witnessed the total implosion of internal governance processes. It considers the causes and consequences of State collapse and related issues of anarchy, civil war and the emergence of strong non‐State actors that challenge the State monopoly of violence. The course also examines the regional implications of State collapse – how this affects neighboring countries; the possibility of predicting/anticipating collapse in particular countries and how to prevent State failure and collapse. Thus, the course aims to expose students to the concept of statehood and its importance in the present international system. Students will gain an understanding of the mutual dependency of States and how problems considered internal in one country may ultimately affect neighboring States and the entire international community. The course will explore how to deal with State failure and collapse and what other States can do to prevent internal crises from leading to total implosion of governance structures. Case studies will focus on contemporary cases of State failure and collapse including Afghanistan, Haiti, Somalia, Sierra Leone, and Colombia.

 

Text: TBA; selected chapters from different texts; various article journals.

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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13352 336B Topics in Social Issues: Right to Water

Osterhaus (4 credits)

Materials Fee: $13.73

Prerequisite: Fair 203a or equivalent. This course meets the Society and the Individual II Core requirement.

 

Water is precious and sustains all life on earth, and increasingly, water is seen as a critical global resource issue of the 21st century. Internationally, the United Nations declared 2005-2015 as the Water for Life Decade and March 22 as World Water Day to bring awareness and action in securing access to clean water and to protecting the earth’s finite resource, water. This class will research and examine the human and ecological situations of the deepening water crisis affecting communities globally, nationally, and locally. We will look at the forces, such as the privatization of water, climate change, pollution, and consumption, that are impacting the depletion of the world’s fresh water. We will familiarize ourselves with local efforts concerning water and be mindful of our personal connections with water. Together we will ask: if access to water is a human right and what does it mean to honor the right to water? In response to our findings of the current water situation, we will celebrate the work of the global water justice movement, a formidable force of thousands of grassroots organizations who are inspiring a new revolution in the right to water and what belongs to the commons. Students will be actively engaged in water awareness and education on the campus and in the local community through creative educational actions and involvement with local grassroots efforts.

 

Texts: BLUE COVENANT: THE GLOBAL WATER CRISIS AND THE COMING BATTLE FOR THE RIGHT TO WATER, by Barlow and Articles on blackboard and reserve.

Credit/Evaluation: Attendance is to be consistent and fully engaged. If you miss more than two classes, please see instructor about dropping the class. Students are expected to come to each class well prepared with notes from a thoughtful and thorough reading of all the material, raise questions, contribute insights and take leadership in the facilitation of a class. In small groups, students will be asked to be engaged in creative, educational consciousness-raising activities on campus/community. Students will be required to meet several times outside of the regular class hours to collaborate with students in other disciplines. The final research paper and class presentation will highlight a current situation relating to the right to water.

 

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13581 336V Topics in Art: Music - 1930s & Today

Coulet du Gard (4 credits)

Materials Fee: $15.80

Prerequisite: Fair 202a or equivalent. This course meets the Humanities and the Expressive Arts II Core requirement.

 

We are told that our economic situation is the worst in American history, second only to the Great Depression of the 1930s. This course will begin by taking a look at the1930s, with largely an ethnomusicological emphasis. Period music recordings and diaries and WPA Federal Music Project data will provide us the materials tin understanding the hardship and small glories experienced during 1930s America. Recent economic articles and music composed within the last year will serve as comparative data. Music festivals are being canceled, musicians are releasing songs celebrating frugality, lamenting corporate greed and government bailouts. What comparisons can we draw, if any between the 1930s and today?

 

Texts: HARD TIMES: AN ORAL HISTORY OF THE GREAT DEPRESSION by Terkel; MUSIC OF THE GREAT DEPRESSION (AMERICAN HISTORY THROUGH MUSIC by Young and Young Music, and additional readings will be available on Blackboard

Credit/Evaluation: (1) one weekly journal entry/critical thought statement paper (1 page, typed, single spaced) regarding the readings, music samples, or Blackboard postings/links to websites (2) lead one discussion during the quarter with the instructor’s approval and in conjunction with assigned readings and recordings, videos and Blackboard postings. (3) complete one final project, presentation or paper

 

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13584 336V Topics in Art:Shakespeare Play

Burnett (5 credits)

Materials Fee: $15.80

Prerequisite: Fair 202a or equivalent.This course meets the Humanities and the Expressive Arts II Core requirement.

 

"A Midsummer Night's Dream"

William Shakespeare’s "A Midsummer Night’s Dream" in Production The lunatic, the lover and the poet Are of imagination all compact. Through the magic of theater—and Shakespeare’s rich poetic language--we will bring Midsummer to deepest winter, through a full production of Shakespeare’s comedy of imagination, lunacy, love and midnight transformation. We will study the play and a range of critical interpretations to appreciate it as a literary text, to savor its poetry and explore its constellations of imagery. But we will also explore the play with an eye and ear for its life on the stage and screen, and view several past performances to get a sense of the range of possible interpretations. In addition to studying the play, we will begin the process of mounting a full production—casting, rehearsing, staging, costuming, music, lights, dance, etc—to be performed for the public at Fairhaven during the last week of Winter quarter. Class members will be expected to participate fully in the production, and should understand that, though much of the work will be during scheduled class times, rehearsals and production work will extend into evenings as the quarter progresses. No theater experience is necessary: Anyone interested in acting, directing, staging and theatrical design, lighting and media, costuming, music, dance, stage management and publicity--as well as immersion into a world of magic, intrigue, comedy and romance--is invited to join us.

 

Texts: A MIDSUMMER NIGHT’S DREAM, by William Shakespeare, Signet Classic Edition, Wolfgang Clemen, ed., plus selected articles.

Credit/Evaluation: Pick a character in the play, and write an essay exploring that character in terms of theme, image, and relation to other characters. Write an essay in response to one of the critical essays discussed in class. Participate—as actor or production personnel—in the development and performance of this production.

 

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13589 336V Topics in Art: Sound Applications of Music

Brewer (4 credits)

Materials Fee: $15.80 Prerequisite: Fair 202a or equivalent.

 

This course meets the Humanities and the Expressive Arts II Core requirement. Beethoven very intuitively suggested that “Music is the electrical soil in which the spirit lives, thinks and invents.” This course is intended to increase understanding of the mental, physical, emotional, and spiritual effects of music through direct experience, perceptive listening, and personal experimentation with sound. We will draw on the fields of music, psychology, physiology, science, sociology and history as we examine how people have intentionally used music to enhance and support daily life. Students will experience the possibilities music offers to support our biological rhythms of attention, energy, and emotion. Students will learn techniques to intentionally expand the use of music in ways that can increase well-being, evoke personal insights, and support daily tasks of learning, working, and interacting with others.

 

Texts: A Course Packet of materials will be available at the bookstore.

Credit/Evaluation: Credit is based upon consistent attendance and enthusiastic participation. Students will keep a response journal to listening experiences that are designed to explore music use for specific purposes. Students are asked to complete a pre- and post-evaluation of their music listening habits and will be required to design, complete and present a project related to music and its use in daily life. The project may involve a creative product, academic work, collaborative experience or other approved format. A concluding self-evaluation will allow students to reflect upon their learning and demonstrate understanding about the intentional use of music.

 

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13353 339N Environmental Issues of Indigineous Peoples of N. America

Bower (5 credits)

Materials Fee: $14.49

Prerequisite: Fair 206a or instructor permission. This course meets the Science and Our Place on the Planet II Core requirement.

 

This course opens with a brief exploration of environmental ethics of Native American tribes and a survey of environmental issues on Native lands, focusing on the issue of “eocide” – the destruction of natural resources on current Native lands. From there we examine case studies to explore the history, ethics, politics, and biology of environmental issues facing Native Americans. We will devote several weeks to studying the whaling rights of the Inupiat People of the Alaska’s North Slope and the Makah Indians of the Olympic Peninsula, culminating with a weekend visit to Makah Nation. We will also briefly study the ecological and political history of salmon in the Pacific Northwest. The final two weeks of the course will be taught by students on topics they have chosen for their research papers. Throughout the course, we will seek out Native voices through readings, vistor presentations, and field trips. Field trip notes: There are two required field trips that happen outside of class time for this course. The first, a visit to Lummi Nation, is scheduled for 9 AM to 1 PM on one of the Fridays in January. In addition, all course participants will be required to participate in a 3-day field trip to Makah Nation at Neah Bay on the Olympic Peninsula (trip is currently scheduled to leave Friday, February 26th and return 7 p.m. on Sunday, February 28th).

 

Texts: Required: ALL OUR RELATIONS: NATIVE STRUGGLES FOR LAND AND LIFE by Laduke; INUIT, WHALING, AND SUSTAINABILITY by Freeman; TRADITION AND CHANGE ON THE NORTHWEST COAST - THE MAKAH, NUU-CHAH-NULTH, SOUTHERN KWAKIUTL, AND NUXALK by Kirk; A WHALE HUNT: HOW A NATIVE-AMERICAN VILLAGE DID WHAT NO ONE THOUGHT IT COULD by Sullivan. We will also read from: FIRST FISH, FIRST PEOPLE: SALMON TALES OF THE NORTH PACIFIC RIM by Roche and McHutchinson; LUMMI ELDERS SPEAK edited by Nugent, THE ECOLOGICAL INDIAN: MYTH AND HISTORY by KrechIII.

Credit/Evaluation: Regular attendance in class and on field trips, informed participation in class discussions, short written reactions to class readings, completion of two drafts of a research paper, and teaching a class based on your research.

 

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13867 343U Embodiment and Agency: Grounding purpose and inspiration in authentic action

Nichols (4)

Course fee: $15.47

Prerequisites: 201A; and any somatic based course or ISP

 

How can each of us embody our purpose, our values, our passions, and make choices (agency) that bring about a shift in the social body? Agency, our ability to make both small and large choices that impact and influence the world, is the manifestation of our own unique visions through actions. Our individual agency, once enacted, is shared with others’ individual agency and thus shapes and influences the social body. How does the body provide valuable forms of information beyond than cognition that can guide our agency? What role do sensations and affective responses to our environment and our sense of beauty and connective intimacy (attachment bonds) to others play in developing agency that is inspired, purposeful and in service to the common good?

 

We will collaboratively define authentic embodied action through readings from current research in a wide range of theoretical perspectives such as social theory, phenomenology, feminist philosophy, and to research data from experimental social psychology and more. We will also engage in experiential activities to explore how our embodied agency and the use of the sensate tacit present moment can powerfully inform our own choices and can ground our individual and collaborative capacity to explore, discover, understand and create opportunities for action. We will explore the rich somatic texture that creates the both the idea of agency, and the felt sense of agency as inspired action. Case studies of individuals will help focus our understanding of the embodiment and the mastery of skillful agency (Joanna Macy, Ani DiFranco, Paul Hawken, and more). Although each of these individuals operate in different realms of expression, they each embody and model their message in such a way that empowers their purpose to make deep impacts on many of us. This advanced course will give scholastic grounding, rich language, and somatic experiences to enact our embodied agency.

 

Credit/evaluation:

Utilizing both qualitative and quantitative objectives and assessments, each student will design a rubric for themselves and each other, create an agency project, weekly journals, and share our process with the greater Fairhaven community based upon a collaborative offering. Students will be responsible for reading and leading group discussions based on the readings.

 

Bibliography: Required: Macy, J. (2007). World as lover world as self. Parallax Press. Richards, M. (1989). Centering in pottery, poetry, and the person. Wesleyan. Senge, P. (2005). Presence: exporing profound change in people, organizations, and society. Nicholas Brealey. Articles to be handed out: Thomas Csordas, Donna Ladkin, Don H. Johnson, Frantz Fanon, Katharine Young, Amanda Sinclair, Sue Campbell and more

 

 

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13466 349V Art During Wartime

Feodorov (4 credits)

Materials Fee: $15.80 Prerequisite: Fair 202a or equivalent. This course meets the Humanities and the Expressive Arts II Core requirement.

 

Sometimes promoting it, other times condemning it, artists have had a contentious and sometimes ambivalent relationship with war. In ancient times, artists recorded military conquests of kings and emperors to thank the gods and instill fear in potential enemies. In modern times, anti-war art has become an expected element of protest. World War I uprooted and claimed the lives of many influential artists such as Franz Marc, or led other artists to mental collapse such as Max Beckmann. During the Second World War artists created visual propaganda on both sides while in the 1960’s and 70’s more critical artists made art protesting the Vietnam War. This class will explore how various artists, composers and filmmakers have expressed enthusiasm and disdain for war and its injustices throughout history. We will discuss potential contemporary applications for art during wartime and create three art projects based upon readings, discussions as news headlines. We will also explore strategies for effectively communicating with a potentially unsympathetic audience about a topic as emotionally divisive as war.

 

Text: To be determined.

Credit and evaluation: Credit is based upon regular and punctual attendance, active informed participation in class discussions, and timely completion of assignments and projects. It is imperative that each and every student participates and completes the assigned readings in a timely manner. The course is organized around the concept of informed discussion and will fail without it. Students must demonstrate verbal as well as written evidence of engagement with the course material. Students are required to share their studio projects during group feedback sessions and to participate in the discussions about their work. Projects are critiqued according to the following criteria: Ability to create while taking into account both content and form. The desire and ability to take creative risks. Attention to craft and process. • Responsiveness to suggestions and feedback.

 

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13478 351W Printmaking Narratives

S'eiltin (4 credits)

Materials Fee: $29.57

Prerequisite: Fair 254x or 2 design or 2 studio art courses. This course meets the Humanities and the Expressive Arts II Core requirement.

*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.

 

Text: THE COMPLETE PRINTMAKER by Ross, Romano and Ross; and ART AND FEAR OBSERVATIONS ON THE PERILS (AND REWARDS) OF ARTMAKING by Bayles and Orland.

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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13354 352Y Visual Art Workshop

S'eiltin (2 credits)

Materials Fee: $15.80

Prerequisite: Concurrent registration 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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13362 358W Advanced Acrylic Painting

Feodorov (4 credits)

Materials Fee: $15.80

Prerequisite: Fair 258w

 

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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13587 366E Comparative Cultural Studies

Hazelrigg-Hernandez

Also offered as AMST 301

This course meets the Society and the Individual II Core requirement.

 

This course will explore the sociological and socio-historical aspects of ethnic/minority relations within U.S. society and focus on institutional constructs such as education, the legal system, and immigration patterns, along with the concept of White privilege. 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, nationality, nation, minority, and ethnicity processes; 2. Have adequate knowledge of the ethno-geographical mapping to U.S. ethnic groups, their distribution and placement in American society; 3. Have 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 movements 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 AMST 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 & accompanying poem, unit review essays and a group term project paper and oral presentation.

 

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13345 371B Topics in Middle East Studies

Ó Murchú (5 credits)

Materials Fee: $7.20

Prerequisite: Fair 203a or permission. This course meets the Society and the Individual II Core requirement.

 

This course is an introduction to modern Middle East politics. What historical factors, including nationalism, religion, and colonialism, have shaped the region’s political systems? Why have states in the Middle East tended towards authoritarianism? Why are there only a few semi-democracies in the Middle East? These are some of the questions that we will explore as a class. Since the events of 9/11 (and indeed much before) the Middle East has been at the center of many cultural, economic, and political debates. The ongoing wars in Afghanistan and Iraq dominate the news, as pundits make wild guesses on when the United States will invade Iran, and whether peace will ever be reached in Israel/Palestine. This course will provide a context for thinking about these issues as we engage the writings of regional experts. Students will be asked to undertake a research project on one of the states in the region.

 

Texts: UNDERSTANDING THE CONTEMPORARY MIDDLE EAST by Schwedler and Gerner; AUTHORITARIANISM IN THE MIDDLE EAST by Pripstein and Angrist, editors; and selected articles and chapters on electronic reserve.

Credit/Evaluation: Regular class attendance (no more than three absences for credit), completed reading assignments; Preparation for seminar by responding to the text; a research paper on a political issue in a Middle Eastern country of your choice or a project of equivalent substance.

 

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13592 375a Speak the Speech: Words in Motion

Robinson (4 credits)

Prerequisite: Fair 201a or permission of instructor

 

Breathing Life into Language

If language were liquid, it would be rushing in… instead here we are, in a silence more eloquent than any word could ever be. These words are too solid, they don't move fast enough to catch the blur in the brain that flies by, and is gone… I'd like to meet you in a timeless, placeless place; somewhere out of context and beyond all consequences…” - Suzanne Vega

 

Speaking remains, at best (onstage and in our culture), an act of survival. Speaking is a physical act, not a psychological one. Habit and fear too often engender a narrow range in a performer’s physical and vocal exploration. Vocal Viewpoints highlights the limitations of one’s vocal range and subsequently encourages more radical and dynamic vocal choices, generating an adventurous attitude to the voice’s potential through freedom, control and responsiveness. – Obie-award winning theatre director, Anne Bogart

 

How do we know that the words we are speaking are truly communicating our intentions? How does tone, pitch, and tempo shape the meaning of a sentence? When is silence louder than any word we might utter? Consider this course a vocal performance playground, an explorative sound-awareness workshop in which we learn from one another as we navigate sound and silence. Through the use of Vocal and Physical Viewpoints, Linklater exercises, and the Fabrizi Technique, we will have an opportunity to consciously play with and embody words, and the spaces between them. Those who are afraid of speaking will have an opportunity to share what it's like to be stymied by the spoken word, and will learn from those for whom performing is comfortable. Students who are at ease in front of an audience will, likewise, get to share what still intimidates them about performing, and reveal their processes in overcoming their fears. Together we will dovetail the beauty and power of both speaking and listening, performing and witnessing. Through collaborative, courageous, and supportive trial-and-error, we will first learn to ease into the shallow waters of audibility, to explore the very essence of vibration; playing with sound and discovering our own tones, pitches, resonances. Next, we’ll wade our way toward deeper pools of liquid language to cavort with wild words, smooth sentences, pregnant pauses. Dynamically and languorously we’ll lift the language off the pages of our favorite stories, plays, poetry and works of fiction. Eventually, each of us will attempt a grand high-dive, and plunge into the personal performance goal set by each of us at the beginning of the quarter: a story read aloud, an evening of jokes told with confidence, a speech, a memorized solo narrative, a scene-study, a sound and movement collage…

 

Texts: Excerpts from FREEING THE NATURAL VOICE by Linklater; A DIRECTOR PREPARES by Bogart; LETTERS TO A YOUNG ARTIST by Deavere Smith; articles and periodicals from current studies on stage fright and performance anxiety.

Credit/Evaluation: Each student will make a personal commitment to push through fear to attend every class. Participation in class exercises is the point, afterall. Discussions stemming from the texts will be generated from questions written by each student outside of class at the time of reading. Readings aloud and soundings are opportunities to grow. A final performance of each student’s set goal is required. Personal journaling is highly encouraged.

 

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375c Leadership from the Bottom

Riggins (4 credits)

Prerequisite: Fair 203a or permission of instructor

 

When it comes to work, paid or volunteer, we spend most of our lives working for other people-employers, supervisors, managers, owners, boards of directors-"bosses" of one thing or another. Organizations, good and bad, large and small, are typically hierarchical, with control and authority vested at the upper levels. This course will address the following questions: What skills, knowledge and understanding can help those of us inhabiting the lower echelons succeed in such environments? How do we achieve our goals? And how do we get what we want?

 

Key concepts: Power, influence, empowerment, tribes, activism, politics, leading, leadership, ally, values, and organization dynamics. Process terms: Workshop, democratic education, seminar, reflective journaling, praxis. In the early stages of the class, we will decide what to learn, generating questions, topics, and themes to tackle. We will also explore effective ways to learn what we set out to learn and the manner in which we will be held accountable for learning. From these discussions, we will develop a syllabus, expectations, and requirements for the course.

 

Texts: Readings to be distributed in class.

Evaluation: Students considering taking this course should prepare to engage actively in a seminar learning approach, have a place in which to test and practice concepts examined in class, and maintain a reflective journal related to the class.

 

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13600 375d Video Production Team

Miller (2-5 credits)

Prerequisites: Fair 275b or Comm 442 or permission of instructor

 

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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12684 375H Audio Recording II

Vita (4 credits)

Materials Fee: $75.32

Prerequisite: 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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12685 375P Audio MD Disk Edit

Vita (2 credits)

Wednesday 12:00-1:00 FC 108 OR Thursday 12:00-1:00

Materials Fee: $40.31

Prerequisite: Fair 375h

 

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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12686 375Q Pro Tools HD Recording

Vita (2 credits)

Materials Fee: $40.31

Prerequisite: Fair 375p

 

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.

 

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12687 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, 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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12689 378E Whatcom Civil Rights Project Practicum

Helling (Variable credit)

Materials Fee: $5.26

Prerequisite: Instructor permission

Prereq: Override required. You do NOT have to be a Fairhaven student to participate!

 

“Volunteer Advocate” role (2 credits):

  • Take Volunteer Training
  • 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):

  • Take Volunteer Training
  • Attend weekly practicum meetings
  • Be on call one evening a week for interviews
  • Explore legal needs of person at interview and write legal memo
  • 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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12690 378F Court Watch

Helling (Variable credit)

Materials Fee: $15.80

Prerequisite: Fair 203a or equivalent or instructor permission *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.

Pre-req: must get instructor's permission to take this course (e-mail for override); Fairhaven 211b American Legal System strongly recommended

 

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 class weekly on Wednesdays, 5:30-6:30p.m. 2) 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., Fri at 3 p.m. 3) Record detailed notes on observations 4) Assist in analyzing data and drafting report Texts: Training Manual given in class, BATTERED WOMEN IN THE COURTROOM by Ptacek 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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13463 381G Topics in Literature: Whitman

Tag (5 credits)

Materials Fee: $14.49

This course meets the Humanities and the Expressive Arts II Core requirement.

 

In 1844, in his essay “The Poet,” Ralph Waldo Emerson declared: “America is a poem in our eyes; its ample geography dazzles the imagination, and it will not wait long for metres.” No poet—according to Emerson—had yet fully realized “the value of our incomparable materials.” “It is not metres,” stated Emerson, “but a metre-making argument that makes a poem,—a thought so passionate and alive that like the spirit of a plant or an animal it has an architecture of its own, and adorns nature with a new thing.” In 1855, Walt Whitman published the first edition of his Leaves of Grass, and in doing so adorned America (and eventually the world) with a new thing, a thing that many of his contemporaries did not even consider poetry. Leaves of Grass violated poetic conventions, conventional morality, moralistic poetics. What Whitman offered his readers was not sentimentality and fireside pleasantries, but a man, a Kosmos, full of contradictions, prophecies, sexual desires, democratic urgings, adhesiveness, songs of the soul, the self, the sea, the cities, and the openest of open roads. If you are willing to immerse yourself into Whitman’s poetry, to explore and examine the cultural contexts of his life and work, to consider what his poetry has meant to other poets, to write your own Whitmanesque poetry, to research something that intrigues you in his work, and to share what you discover with comrades, then I urge you to take this seminar. In addition to Whitman’s poetry, we will read Specimen Days, his journalistic reflections on the Civil War and nature. Our seminar will attempt to examine the multiple dimensions of Whitman’s life and work: the cultural, historical, literary, personal, natural, political, sexual, spiritual, prophetic, and the playful. I invite each of you to bring your own creativity, critiques, biases, questions, and passions to this study of Whitman. For as Whitman will keep reminding us, reading his work is another way of exploring our own lives, of singing our own singular, evolving, contradictory songs of ourselves.

 

Texts: POETRY AND PROSE, by Walt Whitman, edited by Justin Kaplan; WALT WHITMAN: THE MEASURE OF HIS SONG, edited by Perlman, Folsom and Campion

Credit/Evaluation: Faithful attendance, passionate, and engaged participation in class discussion, in-class writings, and activities. Completion and quality of written work—reflective essays, creative responses, Whitmanesque poems, seminar essay and project—and oral or creative presentations.

 

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13366 397E Ethnoecology: Conservation and Development

Tuxill (3 credits)

Prerequisite: Previous course in ecology, anthropology or environmental studies recommended. This course DOES NOT meet a core course requirement. Ethnoecology is the study of conceptions of ecological relationships and the natural world held by different peoples and cultures. In this course we use the lens of ethnoecology to explore the role of traditional ecological knowledge—also called indigenous or local knowledge--in maintaining and restoring healthy ecological relationships between communities and the environment. We begin by comparing local ways of knowing with western science, identifying the epistemological strengths and weaknesses of each. Using a case study approach, we will then explore how local knowledge is conceptualized, systematized, and helps guide the management of landscapes and biota by rural, indigenous, and folk communities in many different contexts worldwide. Students will examine how traditional ecological knowledge based on a profound and active engagement with place can lead to a rethinking of current approaches to environmental conservation and rural development.

 

Texts: SACRED ECOLOGY: TRADITIONAL ECOLOGICAL KNOWLEDGE AND RESOURCE MANAGEMENT by Berkes, and ZAPOTEC SCIENCE: FARMING AND FOOD IN THE NORTHERN SIERRA OF OAXACA by Gonzalez. Additional reading assignments on Blackboard.

Credit/Evaluation: Regular attendance and informed contribution to discussions is essential. Evaluation will be based on each student’s grasp and understanding of the issues presented in the readings. Students also will: 1) prepare an oral presentation on a case study of traditional ecological knowledge and its application; and 2) complete a final take-home essay evaluation.

 

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13367 397F Sustainable Forestry

Tuxill (4 credits)

Prerequisite: Fair 206a or instructor permission.This course meets the Science and Our Place on the Planet II Core requirement.

 

Forests provide many benefits for people and society. In recent years, environmental debates in the Pacific Northwest and many other locations worldwide have made clear that the practice of forestry is much more than just the production of timber and wood products. This seminar will ask: what is sustainable forestry? Students will begin by learning about the development of forestry as an applied science in Europe and the United States. We will then examine forest management in a variety of different settings worldwide, including multiple use and ecosystem-based approaches on U.S. national forests, forestry on tribal and private lands, traditional agroforestry systems, and the forest certification movement. In the process, we will ask: what common conditions favor or promote sustainable approaches to forest management? A particular focus will be case studies from our own Northwest region, including guest speakers and field trips. An underlying theme throughout the course will be the critical examination of sustainability itself as a guiding concept in natural resource management.

 

Texts: SUSTAINING THE FOREST, THE PEOPLE AND THE SPIRIT by Davis, and NORTHWEST TREES by Arno and Hammerly. Additional reading assignments on Blackboard.

Credit/Evaluation: Regular attendance and informed contribution to discussions is essential. Evaluation will be based on each student’s grasp and understanding of the issues presented in the readings and field exercises. Students also will: 1) conduct and write up a forest inventory; 2) carry out additional field labs; and 3) research, present, and write up a case study of sustainable forest management or a related forest value.

 

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