Skip to Main Content

WWU / Fairhaven College of Interdiscipinary Studies

Fall 2011 Courses: 100-200 Level

41847 | 101A Introduction to Interdisciplinary Study

McClure (1 credit)

Materials Fee: $13.73

Prereqs: Required of all Fairhaven students in the first quarter of enrollment at Fairhaven

 

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

 

We hope you will leave this class understanding more about why you are in college and what you can do with your time here. Fairhaven College students, faculty and staff congregate by virtue of a shared vision of education. We want to help you experience that vision to better understand it. This class is structured by providing several small group workshops targeted to help de-code the mysteries of the educational practices we use (Writing Portfolio; Transition Conference; ISPs; Evals...) and sharing essential information you need to participate as an informed member of your new community of Fairhaven College and Western Washington University.

 

Texts: Fairhaven College website.

 

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

 

< back to course list | Classfinder

 

41249 | 201a Core: Critical & Reflective Inquiry

Anderson (5 credits)

Materials fee: $14.49

Prereqs: Required of all Fairhaven students in the first quarter of enrollment at Fairhaven

 

"Historian as Detective"

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

 

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

 

Texts: THE INFORMATION-LITERATE HISTORIAN by Presnell; AFTER THE FACT: THE ART OF HISTORICAL DETECTION by Davidson and Lytle; and ANGLE OF REPOSE by Stegner.

 

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

 

< back to course list | Classfinder

42009 | 201a Core: Critical & Reflective Inquiry

Eaton (5 credits)

Materials fee: $14.49

Prereqs: Required of all Fairhaven students in the first quarter of enrollment at Fairhaven

 

"Food for Thought"

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

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

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

 

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

 

In this section of Fairhaven 201a we will investigate some of these varied aspects of food, using both critical and reflective reading and writing to consider how social relationships and individual responsibility relate to the geography of hunger and inequalities in food production and consumption and to explore our relationships with food and work. Together we will investigate recipes to live by to sustain our hungry bodies, spirits and humanity.

 

Texts, References, Materials: Text – Michael Pollan, Omnivore’s Dilemma. Other reading selections on Blackboard.

 

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

 

< back to course list | Classfinder

42107 | 201a Core: Critical & Reflective Inquiry

Cornish (5 credits)

Materials fee: $14.49

Prereqs: Required of all Fairhaven students in the first quarter of enrollment at Fairhaven

 

"The Five Senses"

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

 

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

 

Texts: A NATURAL HISTORY OF THE SENSES, Ackerman, Diane; THIS I BELIEVE, ed. Allison. Others if announced. Also, students are to compile a notebook of texts they download and print from Blackboard, as well as any handouts.

 

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

 

< back to course list | Classfinder

42108 | 201a Core: Critical & Reflective Inquiry

Rowe (5 credits)

Materials fee: $14.49

Prereqs: Required of all Fairhaven students in the first quarter of enrollment at Fairhaven

 

"Information Overload"

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

 

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

 

Texts: AMERICA NOW 9th ed., edited by Robert Atwan..

 

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

 

< back to course list | Classfinder

 

43600 | 201a Core: Critical & Reflective Inquiry

Bower (5 credits)

Materials fee: $14.49

Prereqs: Required of all Fairhaven students in the first quarter of enrollment at Fairhaven

 

"Solving The World's Environmental Crisis"

We will begin the course by seeking differing voices on the health of the world’s environment, from those who believe that we are in an environmental crisis to those who deny such a crisis exists. We will follow with a survey the world’s environmental health in which students will be assigned several randomly chosen locations on the earth and asked to determine the environmental health at or near that location, including identification of environmental issues pertinent to that area. I expect issues such as food and water availability, degradation of the world’s oceans, desertification, and the loss of biodiversity, amongst others, will come up in this exercise. Students will also be asked to identify efforts being made (if any) to improve the state of the environment in that area. After our survey, we will consider the reasons for the apparent global environmental crisis, emphasizing how capitalism affects the environment and asking how culture and “human nature” might interact to cause environmental destruction. Late in the course, each student will write two drafts of a research paper relevant to the course, and make a presentation to the class based on this paper.

 

While the content we cover will be the global environment, a primary goal for the course will be to develop reading, writing, communication, and research skills – all skills needed to succeed in a collaborative academic culture such as Fairhaven.

 

Texts: James Speth: THE BRIDGE AT THE EDGE OF THE WORLD: CAPITALISM, THE ENVIRONMENT, AND CROSSING FROM CRISIS TO SUSTAINABILITY, and possibly another text to be chosen later, and additional articles form a variety of sources.

 

Requirements for credit: Regular attendance in class, informed participation in class discussions, participation in the development of research questions and assignment of readings pertaining to the questions, weekly 2-3 page written reactions to class readings and other students’ writing, completion of two drafts of an autobiographical paper, two drafts of a research paper, a College writing plan, a presentation based on the research paper, and occasionally helping to teach the class.

 

< back to course list | Classfinder

41851 | 202a Core: Humanities & the Expressive Arts

S'eiltin (5 credits)

Materials fee: $14.30

 

…people are almost universally unprepared to respond to the vanguard art of our present age. They are indeed unprepared, almost as if they belonged to an earlier century, to acknowledge it as art! --Arthur C. Danto

 

Today’s artists violate conventions once considered fundamental to art. Art critics and historians struggle to label, categorize, and define contemporary work that is more distinguished by theme than style or aesthetics. Contemporary art work, therefore, requires explanations of the artist’s intention, point of view, and social environment. In this class we will identify the aspects of our modern, changing, and overwhelming society that have stimulated artists to express themselves in new ways and in new media. Contemporary artists ingeniously create works to match the scope, speed, and complexity of current events. Using mediums such as pollen, toxic earth, used dolls, menstrual blood and urine, they respond to the dynamics of the media-permeated environment, the illusions generated by Hollywood and the crisis of a defiled environment. As a result, art work raises such questions as: Is it art if it doesn’t sit on a pedestal or hang on a wall? If it isn’t made by the human hand? If it isn’t the product of an inspired moment? If it isn’t enduring or pleasing? If visual stimulation is not the artist’s primary concern?

 

Throughout the quarter we will look at various contemporary (1970-2000) American artists who were and still are consistently pushing against institutionalized canons. We will study the art of David Hammons, an African American man who assembles his art from discarded vestiges of the streets of Harlem that White Americans are likely to categorize as debris. His work is molded to reference the lifestyle in Harlem or serve as reminders of this African heritage. Barabar Kruger’s bold black and white photo images incorporating healing and uplifting messages promote gender equity. James Luna, a member of the Luiseño/Diegueño tribe, uses performance art, photography and installation art as means to expose suppressed truths and project fantasies that afflict individuals and whole societies. The study of contemporary art and artists will not only help us to understand the art that exists in museums and galleries but will also enhance our perceptions of modern culture.

 

Students will work to develop personal creativity, practice active and perceptive reading and writing skills, cultivate a keener appreciation of aesthetic objects and events, and acquaint themselves with the critical and analytical skills and techniques of research in the humanities. The goal is to develop a sharper sense and understanding of who you are, why you are making what you are making -- a knowledge which spreads naturally to other parts of your life.

 

Texts: To be announced, plus photocopied articles.

 

Credit/Evaluation: Regular class attendance, participation in discussion, completion of two visual art projects, regular journal/sketchbook entries, regular written assignments leading to a final term paper of approximately 10 pages, and development of an understanding of the visual arts as they reflect human experience.

 

< back to course list | Classfinder

 

41853| 203a Core: Social Relationships & Responsibilities

Takagi (5 credits)

Materials fee: $13.73

Prereqs: Required of all Fairhaven students in the first or second quarter enrollment at Fairhaven.

 

"POWER"

This course is an introduction to modern social theory focusing on the theme of POWER. By exploring the concept/resource of power, we will learn the various definitions of power, the theories concerning the sources of power, its application and the people who benefit and suffer because of power. We will also explore how the so-called “powerless” survive and even challenge the powerful. Unwittingly, you will become more familiar with and competent in critically reading texts, ideas, and competing theories. You will also learn to evaluate and interpret the experiences and writings of Maria Stewart, Hannah Arendt, Malcolm X, Audre Lorde and others within the context of economic materialism, military force, biological determinism and Foucaldian theory. Competencies gained Critical reading skills; critical writing skills; the ability to compare and contrast competing theories and ideas.

 

Texts There are no texts to purchase. Everything is either on-line through Blackboard, or through established websites.

 

CRITERIA FOR EVALUATION:

--Successful completion of all assignments

--Preparedness for class discussions

--Participation in class discussions

--Attendance

--Quality and improvement in written work

--Timeliness of assignments

--Depth of analysis

 

Self evaluations should reflect on each of these elements, as well as general considerations you may wish to consider at the end of the quarter.

 

< back to course list | Classfinder

 

41922| 203a Core: Social Relationships & Responsibilities

Akinrinade (5 credits)

Materials fee: $13.73

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

 

"Philosophy of Rights"

This course focuses on the philosophical foundations of human rights and considers the role of natural rights in the evolution of the concept. Among other things, it will examine the “choice theory” and “interest theory” of rights and the distinction between positive and negative rights. The course will look at the relationship between rights and duties and explore the possibility of determining which rights could be considered basic. It will also look at non-Western conception of rights and the cultural argument in relation to rights, whether rights could be universal or admits of relativity. We will try to gain an understanding of these issues by exploring the following the following questions, among others:
What are the philosophical roots of the modern day concept of human rights? Which of the many competing theories best explain the origins and content of human rights? Are there rights without a concomitant duty and are rights absolute? Which of the rights in the human rights corpus are the most important? Which are the most basic, without which meaningful existence is possible? Are human rights universal? If yes, is universalism of human rights another form of imperialism? Can human rights be particularized to the different regions in the world?

 

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

 

Texts: Basic Rights: Subsistence, Affluence, and U.S. Foreign Policy, by Shue, Henry

 

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.

 

< back to course list | Classfinder

 

43575| 203a Core: Social Relationships & Responsibilities

O'Murchu (5 credits)

Materials fee: $13.73

Prereqs: Required of all Fairhaven students in the first or second quarter enrollment at Fairhaven.

 

The seminar is a critical introduction to modern social theory – the ideas and ideologies on which liberal democracy is based. The seminar will trace the origins of enlightenment ideas that men are born free and equal. We will examine how radical those ideas were in the context of their times, and how they provided a basis for limiting the power of the state and the church to intervene in propertied men's lives. We will then examine how the universalist ideals of the liberal enlightenment excluded those without property, people of color, and women. Students examine what happens when the ideal of society as a social contract between free and equal rights-bearing citizens is confronted with the realities of class-based inequality, racism, and sexism. Is society really a contract between free individuals? What rights and obligations should our membership in society entail? Liberals, libertarians, multiculturalists all employ competing theories of social justice. We ask whether modern liberal democracy can really provide equal citizenship for workers, women, and people of color, and we examine the theories of social justice that movements for socialism, decolonization, and feminism employ to remake our world.

 

Texts: John Locke, SECOND TREATISE ON GOVERNMENT; Karl Marx and Frederick Engels, COMMUNIST MANIFESTO; W.E.B. Du Bois, THE SOULS OF BLACK FOLK; and Harry Brighouse, JUSTICE; and selected pieces by Nancy Fraser, Milton Friedman, Will Kymlicka, Malcolm X, Charles Mills, Susan Moller Okin, John Rawls, Amartya Sen, and Patricia Hill Collins.

 

Credit/Evaluation: Active and informed participation in class discussion, contribution to a small group presentation, and two or three short analytical papers, in two drafts, engaging with the course’s theoretical perspectives and questions of social justice.

 

< back to course list | Classfinder

 

41854| 206a Core: Science & Our Place on the Planet

Bornzin (5 credits)

Materials fee: $15.09

 

The theme for this section is “Sustainability: A study of human interaction with natural systems.”

 

We can scarcely avoid the evidence that much of human activity today is bringing the earth into serious ecological imbalance, threatening the very survival of our species. We see increasing rates of deforestation, species extinction, resource depletion, ozone depletion, pollution of all kinds, dying oceans, global warming, overpopulation, widespread drought and famine, fear of global plagues, proliferation of weapons large and small—and we begin to wonder whether today's unsustainable practices can be turned around—and if so, how? How have certain dominant values in science, technology, and society worked together to aggravate these problems, and can other values be emphasized, from personal to global levels, which improve human prospects for sustainability?

 

If we look and listen closely, we can discern hopeful alternatives emerging, new models of human activity that work harmoniously with nature. As we further our qualitative and quantitative understanding of present-day problems and their interrelated causes, we can recognize how the techniques of science can complement other human actions in dealing with present-day problems, altering causes, introducing appropriate corrective feedback. How can science challenge our imaginations and lead us into new ways of seeing and understanding that can help humanity and the earth through our present crises?

 

We will read various articles and view several acclaimed videos to provide a broad and solid background in the content of the sciences. We will then examine, question, and practice, with our own hands and minds, the assumptions and methods customarily associated with science—pattern recognition, mapping, modeling, developing language, developing and testing hypotheses, predicting, refining, challenging—noting strengths and limitations of these approaches. We will explore the social matrix in which science is practiced, recognizing power relationships and potentials for liberation or oppression.

 

From this shared perspective we will work singly or in small groups to research and present to the class an overview of particular case-studies of human interaction with natural systems, addressing the questions in the first paragraph above. Remembering that science is but one of various perspectives for understanding nature and effecting change, groups may also initiate the writing of poetry, plays, short stories, editorials, and speeches, painting pictures, making sculpture, choreographing dances and singing songs in order to address their chosen issues.

 

Text: To be selected

 

Credit/Evaluation: Students will be expected to attend regularly; to read and reflect on the assigned reading material and to contribute thoughtfully to class discussion and exercises; to keep a notebook of responses to reading, videos, class discussion, and other observations related to the course, and to turn in at least two essays from this notebook; to learn about, analyze, and report on a particular eco-topic, preferably in collaboration with a small group; and to inform themselves on current happenings in science through the reading of popular journal articles, briefly reporting three of these to the class.

 

< back to course list | Classfinder

 

43577| 211b The American Legal System

Montoya-Lewis (5 credits)

Materials fee: $ 11.06

 

What is justice? Do the legal systems of the United States provide it? This course is an introduction to the federal, state and tribal legal systems. We will look at the common law (cases written by judges), statutes, and the U.S. Constitution. Over the course of the quarter, students will learn how to read and analyze cases and statutes and use legal reasoning techniques to make legal arguments. We will consider the role of attorneys and judges in society and the role of the legal system in society as one of our most critical institutions. Throughout the quarter we will ask how/whether the legal systems provide access to justice.

 

In this course, we will focus on the development of a particular line of cases that address a single issue. By the end of the quarter, students will have a thorough understanding of a series of cases and be able to analyze the possible directions the U.S. Supreme Court might take in upcoming cases on a similar issue. We will look closely at how changes to the make up of the Court impact the analysis of legal issues.

 

This course is a required prerequisite for all upper division law-related courses taught by Professor Montoya-Lewis and Professor Helling.

 

Texts: INTRODUCTION TO LAW, Beth Walston-Dunham There will be a course reader required for this course as well (available at the bookstore). A legal dictionary is also required—any will do, including Black’s Law Dictionary or Barron’s.

 

Credit/Evaluation: In order to receive credit for this class, every assignment must be turned in. In addition, excellent attendance will be required (missing more than two classes may result in no credit). Evaluations will be based upon successful completion of assignments, attendance, and class participation.

 

< back to course list | Classfinder

 

43999| 212c Introduction to Political Economy

O'Murchu (5 credits)

Materials fee: $13.23

 

What is political economy? How is it different from economics, politics, and sociology? How can we use political economy to understand and address local and global crises, including the global economic downturn, and the domestic American increase in inequality? In the first part of this course we will alternate between exploring the political economy of inequality, and acquiring basic literacy in economics. We will explore competing explanations of the rise in inequality. This focus will be complemented by a critical exploration of conventional macroeconomics, microeconomics and international trade.*

 

Our journeys through the political economy of inequality and basic economic theory will culminate with student presentations on the political economy of the Great Recession. Groups will lead class for one day as we explore the causes of the global financial crisis and its unequal impacts across society. This course is designed to help Fairhaven students explore the very real connections between economics, politics, and history. You are strongly encouraged to follow at least one blog on economics throughout the quarter and to read THE ECONOMIST magazine each week.

 

Texts: Baker, Dean, FALSE PROFITS: RECOVERING FROM THE BUBBLE ECONOMY, Sausalito, CA: Polipoint Press, 2010. Hacker, Jacob S. & Paul Pierson, WINNER-TAKE-ALL POLITICS NY: Simon & Schuster, 2010. Magdoff, Fred & Michael Yates, THE ABCS OF THE ECONOMIC CRISIS: WHAT WORKING FAMILIES NEED TO KNOW. NY: Monthly Review, 2009. Weaver, Frederick, ECONOMIC LITERACY: BASIC ECONOMICS WITH AN ATTITUDE, 3rd edition, Lanham, MD: Rowman & Littlefield, 2010. THE ECONOMIST Magazine

 

Credit/Evaluation will be based on attendance, preparation, participation, and three sets of assignments: 1) regular homework assignments on Economic Literacy; 2) a review essay on Winner-Take-All Politics; and 3) A class presentation and short paper on the Great Recession.

 

* If you need a thorough grounding in microeconomics for further classes, I recommend ECON 206 Introduction to Microeconomics.

 

< back to course list | Classfinder

 

42627 | 212e Hoboism and the Great Depression

Rowe (4 credits)

Materials fee: $ 2.23

 

Explores the phenomenon of “riding the rails” in America especially during The Great Depression. Beyond romantic images of vagabonds and freedom of the open road, we will examine American labor, race, politics and creative expression during one of the nation’s most traumatic eras. Utilizes multi-media materials to explore the influences of “Hobos and Hard Times” in literature, music, and art. Individual research and teaching projects allow examination of additional aspects such as homelessness, hunger, gender relations and itinerant labor.

 

Students will write several short essays and prepare a research and teaching project for presentation to the seminar at “Hobohemia” near the end of the quarter.

 

Texts: Required: Errol Lincoln Uys: RIDING THE RAILS: TEENAGERS ON THE MOVE DURING THE GREAT DEPRESSION. Recommended: Todd DePastino: HOW A CENTURY OF HOMELESSNESS SHAPED AMERICA; Clifford Williams: ONE MORE TRAIN TO RIDE: THE UNDERGROUND WORLD OF MODERN AMERICAN HOBOES; Eddy Joe Cotton: HOBO: A YOUNG MAN’S THOUGHTS ON TRAINS AND TRAMPING IN AMERICA; Thomas Minehan; BOY AND GIRL TRAMPS OF AMERICA; Tom Kromer: WAITING FOR NOTHING AND OTHER WRITINGS.

 

Credit/Evaluation: Evaluation for granting credit will be based on prompt and regular attendance, prepared and meaningful participation in discussions, the quality of several short essays and the effectiveness of the research and teaching project.

 

< back to course list | Classfinder

 

42758| 219d African-American Experience

Takagi (3 credit)

Materials fee: $13.23

 

Note: Also offered as AMST 204. This course examines and explores the social, political, and cultural history of African Americans from the development of slavery to the late 1980s. Though ten weeks is absurdly too short a time to thoroughly understand the African American experience, this class will help create a learning environment that encourages appreciation of the history and culture of African Americans; teach the economic, psychological, and social situation of Blacks past and present; and explore the diversity and range of thought in the African Diaspora.

 

Texts: Nell Irvin Painter CREATING BLACK AMERICANS and Manning Marable, LET NOBODY TURN US AROUND. Also additional reading on Blackboard.

 

Credit/Evaluation: (Since we meet only once a week, which is equivalent to two classes, you cannot miss more than 1 time without penalties. ) (1) There are weekly quizzes. (2) There will be one creative project with a short paper (5 pages + bibliography of sources). (3) There will be one take-home exam.

 

< back to course list | Classfinder

 

41907| 222h Imaginative Writing: Poetry and Image

Cornish (4 credits)

Materials fee: $5.95

 

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

 

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

 

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

 

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

 

< back to course list | Classfinder

43601 | 223k Personal Narratives: Interview

Anderson (4 credits)

Materials fee: $12.44

 

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

 

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

 

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

 

Text: RECORDING ORAL HISTORY by Yow.

 

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

 

< back to course list | Classfinder

 

41856| 231n Applied Human Ecology: Sustainable Systems

Bornzin (3 credits)

Materials : $15.09

Note: This class will be coordinated by Fairhaven College and/or Huxley students under the supervision of Dr. Bornzin. For guidelines for such courses, see the "Student Guide to Fairhaven College." This course may not be used for Fairhaven Core or General University Requirements (GURs).

 

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

 

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

 

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

 

< back to course list | Classfinder

 

43998| 243t Awareness Through the Body

Conton (4 credits)

Materials fee: $7.20

 

“We do not have bodies; we are bodies. We do not move; we are movement.” Emilie Conrad-Da’oud

 

Zen master Suzuki-Roshi wrote, “The most important point is to own your own physical body.” This course is designed as a step toward reclaiming one’s own body and one’s internal authority. Through understanding and embodiment of somatic concepts such as awareness, intention, centering, authenticity, and the interplay of mind and body, students have the opportunity to create an awareness of self from their own life processes, rather than from externally imposed images, standards and expectations. In this experiential course, we begin the work of coming to know our bodies, and external reality through our bodies. Students are invited to explore and enjoy the dance already going on inside their bodies, to learn to perceive, interpret and trust the natural intelligence of intrinsic bodily sensations. The class uses experiential techniques derived from several traditions of somatic philosophy and from pioneers such as Charlotte Selver, Wilhelm Reich and Alexander Lowen, Therese Bertherat, Stanley Keleman, Emilie Conrad-Da’oud, and Moshe Feldendrais. The course requires patience and attention to details. The explorations offer a way of working toward integration of the physical and mental aspects of living.

 

Texts: (Tentative) SENSES WIDE OPEN by Putnoi; A NATURAL HISTORY OF THE SENSES by Ackerman; and selected articles.

 

Credit/Evaluation: Regular attendance and participation in the class sessions; close study of the texts and demonstration of learning in a class discussion and journals; students will keep a daily journal which will include, but not be limited to, several assigned short essays, interaction with experiential assignments given in class, and reflections on the class materials and experiences. The work of the instructor consists of asking questions, posing problems, and designing experiences within which student self-evaluation can take place. Students are evaluated on the depth of their involvement in the self-exploration opportunities provided.

 

< back to course list | Classfinder

44001| 254x Introduction to Relief Printing

S'eiltin(4 credits)

Materials fee: $22.01

 

In this studio art class we will explore various skills and techniques in relief printing. A relief print is created by carving into a surface that yields an image by inking only the raised areas. This technique can be applied to a wide variety of surfaces, which are considered plates. We will begin by carving into linoleum blocks, and later work with wood and plexiglass. Of all the forms of expression in printmaking, the relief print is the most ancient. In the process of creating relief prints we will also explore some of printmaking’s rich history.

 

The primary focus of this class will be relief printing and its history, but we will also create and combine experimental printing techniques. Monotypes and collographs are some of the alternative printing methods that will incorporated with relief techniques. Also emphasized in this class will be the importance of content and visual narratives. Students will be encouraged to create images based on a theme of their choice. Personal themes will be developed throughout the quarter with feedback form classmates and instructor. The goal is to create images that successfully reflect a particular subject matter.

 

Text: THE COMPLETE PRINTMAKER by Romano.

 

Credit/Evaluation: Final prints will be critiqued twice a week. Final evaluation is based on the student’s ability to break creative boundaries and to produce technically skilled prints that successfully reflect the development and refinement of a specific subject matter or theme.

 

< back to course list | Classfinder

 

41229| 255y Folk Music Experience

Eaton/Bower (1 credit)

Materials fee: $7.52

 

This course combines playing traditional folk music with the study of the contexts in which folk music has evolved. For this quarter, we will do something a little different and study the ukulele, and the music that is played on the ukulele in a number of different musical genres, but especially the music of Hawaii where the uke has its roots. Students will be expected to participate in discussions on readings assigned during the first five weeks of the course. The class will choose several tunes to practice together over the course of the quarter. In addition, each student will also be asked to introduce one song to the class that enriches our knowledge of folk music or the context within which folk music has been written and performed. We will encourage, but will not require, that these songs come from music related to the ukulele, and we will have several ukes on hand for students to play or use in learning to play the ukulele. Students will write a short research paper that forms the basis for their presentation on the song and its context. Students will also be responsible for learning and practicing the songs that are presented to the class, including practice in small groups. Students are encouraged to gain practice at playing one or more folk music instruments during the course, and are invited to join the course even if they are beginners at playing an instrument or if they prefer to just sing.

 

Texts: There will be no one text for this course - readings will be assigned from a variety of sources.

 

Credit/Evaluation: Regular attendance and participation in our weekly sing, informed participation in class discussions, one short research paper and song presentation, and practicing music in a small group.

 

< back to course list | Classfinder

 

44064 | 257z Topics in Studio Art: Beyond the Self

Feodorov (4 credits)

Materials fee: $20.00

 

“What I want to show in my work is the idea which hides itself behind so-called reality.” – Max Beckmann

 

One of the most popular artists in history, Vincent Van Gogh, painted 36 self-portraits during his lifetime. Another popular artist, the Mexican painter, Frida Kahlo, painted 55. In fact, for centuries artists have utilized their own faces and bodies to create honest and thought-provoking artworks—not because they had huge egos (though some certainly did), but as an effort to understand what it means to be human. They realized that the artist’s image could become a gateway for viewers to begin questioning their own identity and humanity.

 

In this class students will work with their own image (through such media as painting, drawing, photography, and assemblage) to freely explore the human condition. Rather than make broad assumptions about others, students are encouraged to delve into their own experience, backgrounds and concerns in order to crate visual strategies for engaging others.

 

Please note: This class is not about making “pretty” pictures! Students are expected to dig much deeper than physical appearance by employing techniques such as color, composition, exaggeration and abstraction to explore and convey what lies within and beyond their Selves in order to create powerful artworks that will connect with others.

 

Text: none, but there will be occasional handouts.

 

Credit/evaluation: Credit is based upon regular and punctual attendance, active participation in discussions, and timely completion of all readings and projects. Students are required to share their studio projects during group feedback sessions and to talk about their work with the class. Each student will also give a short oral presentation of one artist whose work fits within the theme of the course.

 

< back to course list | Classfinder

 

 

44063| 261e Race in/to Movies I: 1900-1950

Takagi (4 credits)

Materials fee: $13.23

 

What do “Lascivious Latinas,” “Cunning Chinese,” “Befuddled Blacks,” and “Inebriated Indians,” have in common? These were harmful stereotyped images of racial minorities that dominated the American silver screen between 1900 and 1950. By viewing these films, critically analyzing them, and reading texts about American race relations, we will explore how these movies both framed and distorted, the discourse between the dominant society and racial minorities over time. Films to be viewed include D.W. Griffith’s “Birth of a Nation,” C.B. DeMille’s “The Cheat,” John Ford’s “Drums Along the Mohawk,” and Elia Kazan’s “Pinky.” In addition, early films made by filmmakers of color, such as Oscar Micheaux, will be shown to give another view of the discourse.

 

Texts: Friedman, ed., UNSPEAKABLE IMAGES: ETHNICITY AND THE AMERICAN CINEMA, Ronald Takaki, A DIFFERENT MIRROR, and articles on blackboard.

 

Credit/Evaluation: Regular and timely attendance. If you miss a film viewing class, you must watch the film on your own, in time for the discussion. If you miss the discussion class, you must write an additional analysis. If you miss two or more discussion classes, you will not receive credit for the class. Informed participation in class discussions.

 

One 350-word page analysis on each film due one week after viewing the movie Two (5-7 page) papers that uses the readings for evidentiary support.

 

< back to course list | Classfinder

 

42630| 270b Introduction to Digital Video Production

Miller (2 credits)

Materials fee: $52.00

 

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

 

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

 

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

 

< back to course list | Classfinder

 

42631 | 270h Audio Recording I

Fish (4 credits)

Materials fee: $74.00

NOTE: This course was formerly 275h. Students who received credit for 275h may not take 270h for credit.

 

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

 

Texts: THE RECORDING ENGINEER'S HANDBOOK (2nd edition) by Owsinski

 

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

 

< back to course list | Classfinder

 

44021 | 275z MindBody: Health through Self

Conton (3 credits)

Note: This is a student-taught course led by Senior Elena Dominquez under the supervision of Professor Leslie Conton.

This course may not be used for Fairhaven Core or General University Requirements (GURs).

 

In a time when healthcare is crumbling in the US and the majority of deaths are caused by lifestyle related diseases, one can step back and wonder, "have we forgotten how to take care of ourselves?" Our current medical system tends to focus on symptoms and diseases rather than whole human beings. This trend results in reoccurring cycles of disease because root causes are not commonly addressed. Through the lens of mind-body health, this course will begin to uncover some root causes of disease in a way that helps put the "self" back into a role of maintaining health.

 

Health is dependent upon more than pharmaceuticals and procedures. True health must be supported through self and a conscious effort toward well-being. By looking at the importance of mind-body connections and therapeutic lifestyle choices we will learn ways to optimize health and reduce personal and social health care costs. We will learn both experientially and through scientific studies about the mind-body connection by examining the roles that emotions, relationships, exercise, diet, stress, relaxation and other lifestyle factors have on health.

 

In addition to studying theories of health and well-being, we will actively pursue it through regular, in-class practice of yoga and meditation as mind-body healing modalities.

 

Texts: Keith J. Karren, MIND/BODY HEALTH: THE EFFECTS OF ATTITUDES, EMOTIONS AND RELATIONSHIPS, Third or Fourth Edition. Optional: Timothy McCall, YOGA AS MEDICINE: THE YOGIC PRESCRIPTION FOR HEALTH AND HEALING. (readings will be available on googlebooks.com) In addition to the text, there will be required readings posted on Blackboard.

 

Credit/Evaluation: Regular attendance and participation in class, short weekly reflection papers, one response paper and one final presentation are the basis for credit and evaluation.

 

< back to course list | Classfinder