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Winter 2011 Courses: 300 Level

11992 | 303A Core: Interdisciplinary Concentration Seminar

S'eiltin/Bower (5 credits)


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

Materials Fee: $7.20


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

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


This seminar is designed to assist you with your development and writing of an interdisciplinary self-designed concentration. It will serve as a forum for discussion, guidance, and support during the proposal writing process. While your Concentration Committee must finally approve your proposal, you will work collaboratively in small groups, meeting with each other weekly, and meeting with the instructor individually in order to write your learning proposal and identify relevant courses and experiences to help you achieve your educational goals. Here are some of the questions we will examine through this process:

- What are the appropriate guidelines and requirements involved?

- What exactly is it you want to achieve in your degree?

- How can your intentions be given effective shape and form?

- Who should be on your committee?

- How do the parts of your concentration work together conceptually?

- What are the best vehicles for your learning?

- What should you put in and what should you leave out of your concentration?

Texts: 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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11993 | 305A Writing and Transition Conference

McClure (3 credits)


Prerequisite: Fair 101a and 201a


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


This is not a class, however you must attend one of the following orientation meetings: Tuesday, Jan. 11, 3 p.m. or Wednesday, January 12, 11 a.m. (both meetings will take place in FA 318 - the science lab). 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 24. Writing Portfolios must follow the format outlined on the green Writing Portfolio Instructions and Evaluation Form (available on the FAIR 305a blackboard and 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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13166 | 313E Gay/Lesbian/Bisexual/Transgendered Issues in Education

Eaton 4 credits

Prerequisites: Fair 219d or AMST 242

Materials Fee: $14.49

This course meets the Society and the Individual Upper-Division Requirement


"The message from the top down is "If you want to make it kid, just stay locked in the closet!"

(Michaelangelo Signorele, Queer in America, 1993.)


Schools often reflect the social mores of the society around them, for better or for worse. In a culture that is almost uniformly homophobic and heterosexist, gay, lesbian, transgendered and questioning youth face rejection, isolation, verbal harassment and even physical violence in schools. GLBTQ teachers fear dismissal and ostracism. GLBTQ families fight to create safe environments for their children. (For example, recent studies on GLBTQ experiences in school settings indicate that 80% of GLBTQ youth report severe social isolation; 53% of teachers report they would feel uncomfortable working with an openly GLBTQ colleague; 19% of GLBTQ youth report that they have suffered physical attacks based on their sexual orientation.) In this course we will examine the issues for gay, lesbian, bisexual, transgender and questioning students, families and teachers in the education system. Specifically, questions about inclusive curriculum, impact of mediated heterosexism and homophobia on children and youth, political and structural impacts on social and interpersonal development and sexual identity formation, and coming out issues will be explored. In the end, we will conserve only what we love, we will love only what we understand, we will understand only what we are taught. Baba Dioum


Texts: Arthur Lipkin, Understanding Homosexuality, Changing Schools and other readings as assigned on Blackboard


Credit/Evaluation: Active, informed participation in class discussions, regular attendance, timely and competent completion of the in-class assignments, a narrative on 'schooling stories,' a research paper on an issue related to the course and a presentation to the class on your research.


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12412 | 323G Imaginative Writing II: American Women's Poetry

Cornish (4 credits)


Materials Fee: $7.20

Prerequisites: Fair 222g or Fair 222h or creative writing course

This course meets the Humanities and the Expressive Arts Upper-Division Core Requirement


This course takes its focus from Alicia Ostriker's book, Stealing the Language: The Emergence of Women's Poetry in America. Although not a survey course, the class examines the struggle of American female voices to define themselves, both with and against literary tradition. In 1650, Anne Bradstreet wrote, "I am obnoxious to each carping tongue/Who says my hand a needle better fits." This seminar will explore the work of a number of female poets — largely from the 20th and 21st centuries, although we will make forays into previous centuries at various points to look at antecedents. Emily Dickinson wrote, "I'm Nobody" at approximately the same time Whitman proclaimed that he was multitudes. In what way must women "steal" language? What is the meaning of gender in poetry - and in poetic reception? What do women have to say [qua women], and in what ways, new or old, do they choose to say it? What about women who don't want to be identified by gender, preferring just to be seen as poets? How do specific poetic modes intersect with the interests and voices of women (modernism, confessionalism, language poetry, etc.) There has been an extraordinary tide of poetry by contemporary American women: are such writers challenging and transforming the shape of poetry?


This class is an advanced poetry workshop; it is writing-intensive. We will study models and write poems weekly. Although we'll turn our attention to various themes which Ostriker identifies with the female experience (such as the body's language), we'll stay open to the understanding that gender identity may prove more complex than "male" or "female" distinctions. Your experience&mdash;and the voice you give to it—will enliven and (enlighten) our study.


*Note: Students taking this class are encouraged to co-enroll in Drue Robinson's Improv/Viewpoints course and/or Stan Tag's Imaginative Writing II: Stories course. The writing produced in this class and Tag's class will also be used as the texts for Robinson's spring course "Words in Motion."


Texts: When She Named Fire: An Anthology of Contemporary Poetry by American Women (ed. Budy); others as announced


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 and peer critiques. 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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13167 | 323G Imaginative Writing II: Stories

Tag (4 credits)


Materials Fee: $7.20

Prerequisites: Fair 222g or Fair 222h or a creative writing course.

This course meets the Humanities and the Expressive Arts Upper-Division Core Requirement


"The universe is made of stories, not of atoms." —Muriel Rukeyser

"Some of us need stories more than bread. Food for survival." —Barry Lopez


This is a course for those of us who find ourselves waking up in the middle of the night, hungry, and reaching for pen and paper. For those who stock our cupboards and refrigerators with stories and who want to share our sautéed, microwaved, made-from-scratch creations with others, fellow connoisseurs of late-night sandwiches and other strange feasts. Those of us who are not afraid to eat our words, week after week. In classic Fairhaven potluckian style, we will each bring our own stories to share and consume together. We will write stories, read them to each other, listen to honest critique, suggestions, questions, and delight, rewrite our stories again and again, and do everything we can to become a community of writers. This class will explore both fiction and creative nonfiction, mixing them together, experimenting with them, and concocting new recipes to try out on all those hungry for good stories. All should expect to work hard — as writers and readers, creators and listeners, cooks and dinner guests. Expect to taste a diversity of point-of-views, sample a smorgasbord of plots, structures, styles, narratives, and characters, and hopefully to find some sweet new satisfying concoction of your own, something to savor during the short, dark, rainy days of winter.


*Note: Students taking this class are encouraged to co-enroll in Drue Robinson's Improv/Viewpoints course and/or Mary Cornish's Imaginative Writing II: American Women Poetry course. The writing produced in this class and Cornish's class will also be used as the texts for Robinson's spring course "Words in Motion."


Texts: THE MAKING OF A STORY, by LaPlante


Credit/Evaluation: Presence; full participation in writing workshop, discussions, weekly writing exercises, in-class activities, and group work; reading stories aloud; and completion of at least three revised stories and a final portfolio of writing.


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13168 | 324H Poetry and Lyric


Materials Fee: $6.85

Prerequisites: Fair 202a or equivalent or poetry course.

This course meets the Humanities and the Expressive Arts Upper-Division Core Requirement


Poets and songwriters both use the word lyric, but they may mean very different things. In poems the words stand-alone, while in a song, melody and harmonic choices join the words to create a whole. Originally the distinctions between poetry and musical lyrics were not so carefully drawn (Sappho's work was sung) and today these distinctions are again being blurred as poets and rap and hip-hop musicians blend the poetry and music in a variety of forms. The distinctions are becoming both harder to define as the two formats create a continuum of creative expression.


In this class we will explore both poetry and song lyrics, searching for the similarities and differences of compositional intent. Together we'll read, listen and write to discover how the constraints and conventions of form shape poems and songs. As there is no clear formal discipline that examines these connections, we'll engage in a joint inquiry by tackling some of these questions: Can a poem be a song? Can a musical lyric stand on its own as poetry? How do poems and song lyrics use images and sonic devices to tell stories or present intense, subjective, highly compressed emotions? How do the repeated rhythms and sounds of language evoke a 'musical' experience? Is a good poem set to music a song? Do good song lyrics possess the same aesthetic merits as poems? How do the forms affect the reader? The writer? We will also explore questions related to how beat, vibration and resonance may shift the experience of the listener or performer both emotionally and physically.


Texts: The Poet's Companion by Kim Addonizio & Dorianne Laux and varied handouts and websites posted on Blackboard. You will also need access to books of poetry and CDs with songs, as we'll be reading poems to each other, listening to songs, using them to explore the questions we generate.


Credit/Evaluation: Attendance at all sessions prepared to explore the questions that are raised by the readings. Willingness to fully engage in writing exercises both in and out of class and to share your work with others in the class. Participation in an honest and caring critique of both the novices and pros. Development of a Final Portfolio and a class presentation on some aspect of your final portfolio.



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12545 | 334B Human Rights Accountability

Akinrinade (4 credits)


Materials Fee: $15.47

Prerequisites: Fair 203a

This course meets the Upper-Division Society and the Individual 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.




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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13169 | 334E State Collapse/Reconstruction

Akinrinade (5 credits)


Materials Fee: $18.00

Prerequisites: Fair 203a or permission of instructor

This course meets the Upper-Division Society and the Individual Core Requirement


This course examines the causes and consequences of State failure and 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 and its impact in international security and the possibility of predicting and preventing failure or collapse. Case study countries include Afghanistan, Haiti, Somalia, Sierra Leone, and Colombia. The second half of the course explores the concept of State reconstruction and the prospects for rebuilding failed and collapsed States. It will look at the main assumptions, actors and the challenges of contemporary efforts to rebuild imploded States and will identify the determinants for success or failure of those efforts. Case study countries will focus on extant post-conflict reconstruction cases, and UN Transitional Administrations. These include Afghanistan, East Timor, Kosovo, Iraq, Sierra Leone and Liberia.

Note: Student cannot receive credit for this course and either Fair 334D or Fair 334G.




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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13170 | 334N Topics Evolutionary Biology: Human Evolution

Bower (5 credits)


Materials Fee: $7.78

Prerequisites: Fair 206a

This course meets the Upper-Division Science and Our Place on the Planet Core Requirement


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


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


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


To study these questions, we will rely on readings and on two groundbreaking video series that explore evolution and biological diversity. We will also spend some time playing an evolutionary game, to look at the mechanisms of evolution.


Texts: Alison Jolly: LUCY'S LEGACY: SEX AND INTELLIGENCE IN HUMAN EVOLUTION. Carl Zimmer: EVOLUTION: THE TRIUMPH OF AN IDEA. Recommended: Additional readings will be available through blackboard, including selections from; David Buss: THE EVOLUTION OF DESIRE; Mark Bellis & Robin Baker: HUMAN SPERM COMPETITION: COPULATION, MASTURBATION AND INFIDELITY.


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


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13171 | 336B Topic Social Issues: Science Fiction Film

Takagi (4 credits)


Materials Fee: $13.73

Prerequisites: Fair 203a or equivalent

This course meets the Upper-Division Society and the Individual Core Requirement


Note: Please note on Mondays, the class begins at 10:30 am because the films we are watching are longer than an hour and 50 minutes. On Wednesdays when we meet with will gather at 11:00.


In 1902, Georges Méliès produced a short film called "A Trip to the Moon," which tells of a group of scientists who, using a cannon to launch their rocket ship, visit the moon and meet its local inhabitants. 107 years later, it is the extraterrestrials who come to visit and reside on earth, as captured in the film "District 9." Though separated by an entire century of technological advancements in filmmaking, including computerized images, special makeup, and sound (to name a few), these two films are quite similar. They are a part of the science fiction genre that involves ìa situation that could not arise in the world we know, but which is hypothesized on the basis of some innovations in science or technology, or pseudo-science or pseudo-technology, whether human or extraterrestrial in origin." (Kingsley Amis, New Maps of Hell).


In this class, we will watch classic and new science films and learn the history of the science fiction genre (and how it differs from horror films), scholarly interpretations of science fiction movies and we will discover how these films reflect the anxieties, fears, and concerns of American society at the time they were released. Beginning with the 1902 classic by Georges Méliès, this class will also screen, "Destination Moon," "2001: A Space Odyssey," "Andromeda Strain," "Blade Runner," "Brother From Another Planet," "The Matrix" and "District 9."


Texts: Vivian Sobchack, Screening Space: The American Science Fiction Film and articles on BlackBoard.


Credit/Evaluation: 5 (4 pages) short analyses of the films, 1 (5-8 page) research paper on a film of your choice, help lead a discussion on one of the films, Informed participation in class discussions and

regular, punctual attendance


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13450 | 336B Topics Social Issues: Education & the Production of Social Order

Ferrare (4 credits)


Materials Fee: $13.73
Prerequisites: Fair 203a or equivalent
This course meets the Upper-Division Society and the Individual Core Requirement

Title: Education and the Production of Social Order


In 1932 George Counts raised the question, “Dare the school build a new social order?” Counts’ question incited a vehement debate: Does the education system reproduce existing inequalities in society, or are there instances in which education provides spaces of practice to contest and transform the existing social order? In this course we will use the “production/reproduction” debate as a way to critically examine mainstream and alternative educational practices, and the role these practices can and do play in shaping gender, class, and race relations within educational systems and the broader social order. To examine these relationships we will primarily draw from a range of critical theories. With this focus in mind the course will center on the following specific themes:


1. The historical and contemporary roles of education and “schooling” in society
2. The sociological and political contexts of pedagogy and the curriculum
3. Issues involving race, class, gender, ethnicity, and immigration
4. Inter-generational mobility
5. Education policy
6. Alternative pedagogical practices and “real” utopias


These themes are not mutually exclusive and do not constitute a sequential order. Rather, they represent a sample of the many points of reference from which we will situate education in society. Some flexibility has been built into the course design so that students may delve more or less deeply into one or more of these themes.


Texts: Dare the School Build a New Social Order? by George Counts; In addition, there will be numerous journal articles and chapter selections (on BlackBoard) spanning sociology, education, political science, philosophy, history, and anthropology. These selections include the work of (among others): Nancy Fraser, Pierre Bourdieu, Annette Lareau, Michael Apple, Ivan Illich, John Ogbu, Madeleine Arnot, James Gee, Maxine Greene, Basil Bernstein, Jeannie Oakes, Ian Hacking, Dianna Hess, Erik Wright, David Labaree and Charles Tilly.


Credit/Evaluation: Students are expected to critically engage with the readings and class discussions on a regular basis, and to complete two short assignments and a research project. The latter project will have considerable flexibility so long as it fits within the broad parameters of the course material. Integrating community engagement into the project will be encouraged when appropriate and feasible.

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13234 | 336N Topics in Science: Tesla

Burnett (4 credits)


Materials Fee: $15.00

Prerequisites: Fair 206a or equivalent

This course meets the Upper-Division Science and Our Place on the Planet Core Requirement


Flip a switch: turn on a light. What happens next is a magic we now take for granted, but which we owe to a charismatic wizard, showman, and scientific genius named Nicola Tesla, 'The Man Who Invented the Twentieth Century.' Tesla's fascination with electricity and magnetism led to many innovations and a host of patents, paving the way for alternating current (flip that switch!), robotics, X-rays, neon lights, computers, wireless telegraph, and radio. He harnessed the power of Niagara Falls and lit up the Chicago World's Fair with 'the pulse of the future': alternating current. He died alone and almost penniless.


We will plunge into Tesla's world, a world teeming with larger-than-life figures: J. P. Morgan, George Westinghouse, Guglielmo Marconi, Thomas Edison, and Mark Twain, among others. We will explore the science behind Tesla's inventions, doing some basic lab work, explore the nature of scientific and technological innovation, including the links between science, business, and the culture, and discuss how Tesla's inventions transformed our world.


We'll take field trip to the American Museum of Radio and Electricity to witness the largest Tesla Coil west of Chicago in action. And we will be visited by NICOLA TESLA HIMSELF (told you he was a wizard) who will talk to us about his life, times, and experiments with his beloved electricity.


Texts: Chosen from: Margaret Cheney, Tesla, Man out of Time, Mark Seiffer, Wizard: The Life and Times of Nicola Tesla, Samantha Hunt, The Invention of Everything Else, plus the resources of the American Radio Museum, plus a range of Tesla's writings available on Blackboard.


Credit/Evaluation: Regular attendance, active, informed engagement in class discussions and activities, two short reflection papers and a final project/presentation.


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13424 | 336N Topics in Science: Water

Ryan (4 credits)


Materials Fee: $122
Prerequisites: Fair 206a or equivalent
This course meets the Upper-Division Science and Our Place on the Planet Core Requirement

Note: Course includes a mandatory weekend field trip to the Elwha Valley (Olympic Peninsula), leaving Friday morning (January 28) and returning Sunday evening (January 30). We will visit the site of the largest dam removal project in US history, Elwha and Glines Canyon Dams, slated to begin in 2011. We will also hike the river & rain forest, and meet with members of the Lower Elwha Klallam Tribe involved in the project.

Water is a fundamental driver of ecosystems, and the foundation of civilizations. This class explores the ecological and cultural history of water development in the American West, drawing on the writings of early American explorers and environmental historians, environmental law, and the current ecological literature regarding the effects of hydrologic manipulation (dam building and irrigation projects) and projected climate change on ecological systems. We will explore questions such as: How does our history of water development reflect changing American views on relationship with the natural world? Who owns water, and how are water rights decided? What are the ecological effects of widespread hydrologic modification? Where do we go from here? We will focus part of the course on current hydrologic issues in the Pacific Northwest regarding salmon, dam removals, climate-related hydrologic change, and proposals to export water.


Texts: Required – CADILLAC DESERT by Reisner; RIVERS OF EMPIRE by Worster; CROSSING THE NEXT MERIDIAN by Wilkinson (all available used at low cost on Amazon). Other required readings (journal articles and book chapters) will be distributed electronically. Recommended – SILENCED RIVERS by McCully; A RIVER RUNNING WEST by Worster.


Credit/Evaluations: 1) Attendance and participation in class discussions, activities, and the weekend field trip to the Olympic Peninsula (see above), 2) active participation in a course leadership team, 3) individual ecology presentation, 4) completion of short written assignments throughout the course, 5) a 7-10 page research paper due on the last day of class, with a mandatory first draft due two weeks prior.


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13448 | 336N Topics in Science: Nutrition

Keller(4 credits)


Materials Fee: $ 10.00
Prerequisites: Fair 206a or equivalent
This course meets the Upper-Division Science and Our Place on the Planet Core Requirement


This course explores nutrition from physiological, personal, and cultural perspectives. Many of us sense healthful eating is vital to our health, but may not fully realize how, why, or to what extent. The course seeks to deepen our appreciation of the beneficial nutrients occurring naturally in plants (and animals) – including carbohydrates, calcium, protein, vitamins, fat, water, and other substances - and the amazing ways our bodies make use what we eat. How do macro and micro nutrients benefit specific parts of our body, and what are the anatomical processes involved? How does consumption of non-nutrients (i.e. sugar, caffeine, additives) impact our body? What does healthful eating look like? You will learn what you eat (or don’t eat) impacts your entire wellbeing over the course of our lifetime. Connections between food and disease (especially diabetes, obesity and, cancer), and the role adequate nutrition plays in disease prevention are examined. A major focus of the course will also be exploring nutrition from social and economic perspectives. What disparities or challenges do specific populations face? (children, women, American Indians, Hispanics, African Americans, migrant workers). What other cultural factors influence nutrition? Whatcom County will be used as a lens in which to explore these and other issues. You will have the opportunity to research a specific area of interest, and to develop a deeper connection to and appreciation for food and your body.


Text: Textbook on nutrition (to be determined); A “Reader” of selected articles, video clips, and interactive modules will be posted on Blackboard.


Credit/ Evalution: Students will: Be part of a student panel and facilitate a learning activity; Participate in workshops; Prepare reading responses; Maintain a food journal; Conduct a research paper on an area of interest related to nutrition; Demonstrate verbal and written engagement with subject matter.


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13354 | 336V Topics in Art: Sound Applications of Music

Brewer (4 credits)


Materials Fee: $16.45

Prerequisites: Fair 202a or equivalent

This course meets the Humanities and the Expressive Arts Upper-Division Core Requirement.


What lies behind the ability of music to affect us? How have people used sound throughout time to enhance their lives? How can we use it more effectively in our own lives? These are some of the questions this course explores.


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. A brief overview of physics principles related to vibration (including overtones, entrainment, resonance and coherence) provides background information for understanding the effects of music as does a review of brain and physiological responses to sound. An overview of the use of music in therapy reveals the possibilities of its use in our society.


Students will personally experience the possibilities music offers to support our biological rhythms of attention, energy, and emotion. The course incorporates 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. A wide array of musical styles will be explored and examined to determine the ways in which different forms of music can assist us. Students will also be asked to share selections of contemporary music that support intentional use of music for varied purposes.


Texts: This is Your Brain on Music: The Science of a Human Obsession by Daniel J. Levitin and The Tao of Music: Sound Psychology by John M. Ortiz.


Selected readings may also include resources such as Musicophilia by Oliver Sacks; The Wonders of Sound: Its Application in the Healing Arts by Daniel Kobialka; The Mozart Effect by Don Campbell; The Music Effect: Music Physiology and Clinical Applications by Daniel J. Schneck and Dorita S. Berger.


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. Blackboard postings will provide an opportunity for sharing music suggestions and observations. Students are asked to complete a pre- and post-evaluation of their music listening habits and write a concluding self-evaluation of music use to reflect upon their learning and demonstrate understanding about the intentional use of music. Each student 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 and may be presented to the class or in the form of a written paper.


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13243 | 341R Psychology of Mindfulness and Well-being

Jack (5 credits)


Materials Fee: $7.20

Prerequisites: Fair 206 or equivalent or instructor permission

This course meets the Upper-Division Society and the Individual Core Requirement


We all face difficult experiences, guaranteed as part of being alive. In response, human beings have created a range of methods to deal with crises and negative life events. Recent research spanning disciplines as diverse as bio-behavioral medicine, the cognitive and affective neurosciences, physics and psychology have uncovered the benefits of the practice of "mindfulness," now proven through numerous studies to reduce stress and emotional suffering. In this class on the psychology of mindfulness, we will examine what mindfulness is, its relationship to well-being, its origins, and whether and how it reduces stress.


Mindfulness, as a method, is a means of training the mind to be keenly aware of sensory phenomena and the flow of thoughts in the present moment. It is learned through "meditation," or quieting the body to sharply focus awareness on thoughts and sensations as they arise. Though originating in Buddhist contemplative traditions, mindfulness meditation has been adopted by a number of medical schools, mental health training, and treatment programs. This adaptation has been encouraged by Buddhist scholars - including the Dalai Lama - most notably at the Mind and Life Conferences for psychologists, physicists, neurologists, and philosophers. Mindfulness meditation is being offered to prisoners by volunteers, and used in a wide variety of settings, not as a spiritual practice but as a way of fostering well-being through stress reduction. As Western psychologists are documenting through rigorous studies, mindfulness can alter brain states, attentional capacities, clarity, physiological responses, and well-being.


In this class, we will study what mindfulness means, focusing on results of mindfulness and how to critically appraise these results, including to examine how and whether they influence the development of empathy, health and well-being. Our methods will include the third-person approach using the scientific method, which examines stress reduction from a presumed objective position outside ourselves. First-person approaches, which study mindfulness and stress reduction from a subjective position, are also important. Can a scientific study of mind, stress and mindfulness leave out what is ever-present for humans, our own experience?


Students can expect to have a relaxing, yet exciting, experience in this class.




Credit/Evaluation: Informed, thoughtful participation in class discussions and regular attendance. Students' learning will be assessed through a final project, two short papers, and a journal that demonstrates engaged reading and practice.


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12416 | 352Y Visual Art Workshop

S'eiltin (variable credit)


Materials Fee: $16.52

Prerequisites: Concurrent enrollment in a visual art independent study


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 workshop and create a professional art portfolio.


Collaborative Projects: Mixed Media Arts and Performance


Field trips include: Picasso: Masterpieces from the Musee National Picasso, Paris at the Seattle Art Museum, mage Transfer: Pictures in a Remix Culture - This exhibition spotlights attitudes toward the appropriation, recuperation and, repurposing of extant photographic imagery. Henry Art Gallery, WWU, Seattle Lucia Douglas Gallery, Bellingham, WA

Texts: None required.


Credit/Evaluation: 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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13174 | 353V Art in the Public Sphere

Feodorov (4 credits)


Materials Fee: $16.52

Prerequisites: Introduction to drawing and one of: Fair 355y, Fair 359v, Fair 355w or permission. Background in art history recommended

This course meets the Humanities and the Expressive Arts Upper-Division Core Requirement


Public art has been the focus of much controversy, especially when public funds are used to support it. What role does public art play? Who does it serve? What are the considerations for both artist and community? Does it necessitate a "dumbing-down" of ideas or should public art "elevate" us from our ordinary everyday considerations? Must public art always be sanctioned? Who are the "public" in public art anyway? We will research the history and concepts behind public art, explore artists working in this field, and discuss issues involving working with communities and various arts organizations. Students will create proposals for public art and community projects, create plans for each project, and present research projects on two artists who work in the field. Students will present their art projects to the class, write short response papers to the readings and participate in class discussions.


Texts: The Lure of the Local by Lucy Lippard, and Arts for Change: Teaching Outside the Frame, by Beverly Naidus.


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



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13175 | 354V Scriptwriting I

Larner (4 credits)


Materials Fee: $5.47

Prerequisites: Previous course work or experience with creative writing or instructor permission

This course meets the Humanities and the Expressive Arts Upper-Division Core Requirement


The workshop is a collaborative, supportive group experience. Students are expected to comment on, support, and participate in the work of their fellow students. Initial exercises and rewriting work with each other's material will be followed by gradual development of each student's project for the term. We may also read a published play or screenplay and discuss it together, as well as attend at least one production or film showing during the term.


The emphasis in 354V is to acquire a working sense of dramatic action and a feel for how storytelling works dramatically, in any medium. Risk-taking, experimentation and trial-and-error are encouraged. By the end of the term, students will be expected to complete a one-act play (20-30 minutes) or its equivalent in another medium.


Attention will be paid to getting complete drafts of scripts finished, and then if time remains, to get them ready for production: screenplays for video production and showcasing here on campus, and/or through the Projections Film Festival in Bellingham, and possibly beyond; stage plays for production here at Fairhaven, at the New Playwrights Theatre in the Theatre Arts Department, at iDiOM Theatre in Bellingham, at the Bellingham One Act Theatre (BOAT) Festival at the Bellingham Theatre Guild, and at new play festivals in Seattle, at Northwest Playwrights Alliance events, and other venues; and radio plays for production at KUGS.


Texts: Jeffrey Sweet, Solving Your Script; Robert McKee, Story; A play and/or a screenplay, TBA, may be required, as may attendance at selected film screenings and/or theatre productions.


Credit/Evaluation: Students are expected to complete at least a substantial one-act play (approximately 20-30 minutes in length), or its equivalent in another medium. Work must be brought to class regularly and shared with the group. A portfolio of selected writings done during the term will be due at the end of the course. Unfailing, dependable attendance; completion of assigned readings; progressively better informed, responsive and constructive participation in the workshop; and steady effort in rewriting and revising are required for credit. Writing will be evaluated for its beginning development of techniques, aptness for the stage (or the appropriate medium) and the overall development of the writer during the term.


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13190 | 366E Comparative Cultural Studies

Estrada (4 credits)

Also offered as AMST 301

This course meets the Upper-Division Society and the Individual Core Requirement


Sociological and socio-historical aspects of ethnic/minority relations within the larger society; emphasis will be placed on non-white subcultures in the United States. The course will examine ethnic/minority and majority group relations focusing on institutional constructs such as education, the judicial and legal systems, and immigration patterns. The concepts of pluralism, racism, prejudice and discrimination will be examined in light of societal and economic stratification. The course will also explore the intersecting dynamics of gender and sexuality within U.S. ethnic/minority communities.


Anticipated Course Outcomes: at the end of the course students should be able to:

1. Understand the differences between race, class, caste, tribe, nationality, nation, minority, and ethnicity processes;

2. Have an adequate knowledge of the ethno-geographical mapping to U.S. ethnic groups, their distribution and placement in American society:

3. Have an adequate knowledge of the principal trends in the life experiences of the major ethnic minority communities in the United States;

4. Have a heightened awareness of major issues in ethnic processes, including such issues as racism; assimilation; bilingualism; social and territorial conflict; problems of land, religion and citizenship; and the role of the Civil Rights movement in contemporary life;

5. Complete a comprehensive set of readings that record the diversity of ethnic experiences in the U.S.;

6. Have a more sensitive appreciation of cultural diversity and its contribution to the unity of American life;

7. Understanding of major policy issues impacting the American racially stratified society (i.e. Props. 187, 209 Affirmative Action, Initiative 200, EEO Federal Policy)


Texts: RACE, ETHNICITY AND GENDER, 3rd ed. Joseph Healey and Eileen O'Brien, (Pine Forge Press, 2010); WHITE PRIVILEGE, Paula Rothenberg, (Worth Publishers, 2005); and Annual Editions: RACE AND ETHNIC RELATIONS, 18th ed., John Kromkowski (Mc-Graw Hill/Dushkin, 2010). Recommended: TAKING SIDES: RACE & ETHNICITY, 6th Ed. D'Angelo and Douglas (McGraw Hill/Dushkin, 2008)


Credit/Evaluation: The class is a (4 cr.) cross listed course with AMST301. Fairhaven students will be evaluated rather than receiving a final grade for the course. Credit will be granted for regular attendance and accomplishment of the following criteria and assignments: participation in classroom discussions, one perspective paper, one final, one ethnographic interview and a group project paper with an oral presentation. Perspective Paperó 2 1/2 - 3 page paper outlining personal perspectives in line/contrast with major concepts, ideas, issues presented after viewing the video "Blue Eyed". The Ethnographic Interview --will follow a specialized format which involves interviews with students, staff, faculty, and or community members who represent individuals of the following ethnic groups (i.e. Asian American, Native American, African American, and Hispanic). The interviews will be double-spaced typewritten pages, ranging in length from 5-6 pages, and submitted to the instructors at the beginning of the class session indicated below. Final Exam--is composed of primarily essay, matching and short answer questions that cover the readings, classroom lectures, and discussions.


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13177 | 369D American War Stories

Rowe (4 credits)


Materials Fee: $4.00

Prerequisites: Fair 203a or permission of instructor

This course meets the Upper-Division Society and the Individual Core Requirement


This seminar presents an exploration of the major stories (literature, cinema, arts) and social movements produced by American wars. Rather than a traditional history of the wars aimed at discovering how and why someone lost and why others won, the seminar examines the impacts war has had on American and opponents' veterans, families, arts and ideals. We will learn how war affects people at the individual and family level, how movements of support and resistance develop and what have been the wars' major influences on popular culture. Students will read two novels and see several videos together and engage additional materials to prepare a research and teaching project for presentation to the seminar.


Texts: Required: Barker, Pat. Regeneration; Heller, Joseph. Catch 22; French, Albert. Patches of fire; Crawford John R. The Last True Story I'll Ever Tell: An Accidental Soldier's Account of the War in Iraq.


Credit/Evaluation: Evaluation for purposes of granting credit will be based on regular attendance, meaningful participation in discussions, completion of assignments, and quality of the individual research and teaching project.



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13178 | 370H Audio Recording II

Fish (4 credits)


Materials Fee: $74.00

Prerequisites: Fair 270h or permission of instructor

NOTE: This course was formally 375h. Students who received credit for 375h may not take 370h for credit.


Audio Recording II takes the concepts introduced in Fair 275h, Audio Recording 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 the equipment 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 improves 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.


Credit/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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13179 | 370P Intro to Pro Tools

Fish (2 credits)


Materials Fee: $42.00

Prerequisites: Fair 370h or permission of instructor

This class is equivalent to Fair 375p taught through Spring 2010. Students who completed Fair 375p cannot receive credit for this class.


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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13180 | 370Q Pro Tools HD Recording

Fish (2 credits)


Materials Fee: $42.00

Prerequisites: Fair 370p

NOTE: This course was formally 375q.


This class will give students with advanced recording experience the opportunity to record and mix on an industry standard Pro Tools HD system. Students will enhance their knowledge of Pro Tools and learn how to use this software in conjunction with a large-format analog mixing console. Students will be expected to conduct at least two recording/mixing sessions throughout the quarter and prepare a final mix for in-class critique.


Students will also learn how to properly configure Pro Tools HD hardware and software components, how to setup session templates and how to utilize each component of an HD/analog system. This class is repeatable.


Texts: Reprinted materials.


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


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13375 | 370T World Issues Study Group

Rofkar (3 credits)


Materials Fee: $18.00

Prerequisites: Fair 270t or Fair 203a, or a social science GUR course.


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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13192 | 374B Cultural Creation of Identity

Montoya-Lewis (5 credits)


Prerequisites: Fair 203a or instructor permission

This course meets the Upper-Division Society and the Individual Core Requirement


I'm nobody! Who are you?

Are you nobody, too?

Then there's a pair of us ó don't tell!

They'd banish us, you know.


How dreary to be somebody!

How public, like a frog

To tell your name the livelong day

To an admiring bog!

--Emily Dickinson


How do we know who we are? What names do we give ourselves and what names do others assign to us? The way we identify ourselves privately and the way society identifies us both have significant ramifications on the choices we make and the choices available to us. In this course, we will look at the impact that naming has upon us as individuals and on our society (societies) and culture (cultures), as well and the impact our society and culture has upon how we choose to identify ourselves. Though identity studies often limit the discussion to issues of race and gender, expect to go beyond those limits in this course. We will look critically at the cultural context in which each of us sit; we will also look creatively at our own personal decisions about how we identify ourselves.


Texts: After Long Silence by Helen Fremont, Hunger of Memory by Richard Rodriguez, Flight by Sherman Alexie, and The Mascot by Mark Kurzem. There will be additional readings provided on Blackboard or as handouts.


Credit/Evaluation: This course will be evaluated on the basis of attendance (no more than two missed classes), completion of all assignments and quality of written work, class participation in discussions. Lively and informed discussion is the heart of this class. At least three written response papers (3-5 pages) and a longer final project (a paper or other project approved by professor) will be required.


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13181 | 375D Video Production Team

Miller (2-5 credits)


Prerequisites: Fair 275b (now 270b) or Comm 422 or instructor permission


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


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


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


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


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11999 | 378F Court Watch

Helling (1-5 credits)


Materials Fee: $16.52

Prerequisites: 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.


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


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

This course will: 1) train student and community observers to watch civil protection order hearings and criminal cases, and 2) provide feedback to interested parties on judicial proceedings.


Students must engage in the following: Attend training. Attend class weekly on Wednesdays, 5-6 p.m.

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.

Record detailed notes on observations. Assist in analyzing data and drafting report


Texts: Training Manual given in class and Battered Women in the Courtroom by James Ptacek.


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


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13182 | 381G Topics in Literature: Playwrights

Larner (4 credits)


Materials Fee: $14.49

This course meets the Humanities and the Expressive Arts Upper-Division Core Requirement


This course explores the work of playwrights who love language. Poets, inventors, idiomizers, inventive connoisseurs of the way people speak, or might speak. When the sound of the language itself helps propel the action of the drama, when the taste-in-the-mouth of the words animates the meaning, the play explodes into a sensuous, luscious feast, and acting becomes an ecstatic rite. Audiences go wild. We will read, taste, and savor, and find new ways, through the language, to approach the play. Those of us who write, or want to write drama, can try our hand at it, becoming immersed in those waters; those of us who prefer to stay on the critical/appreciative shore, can learn what might happen when we jump in a dreamboat and cruise the critical lake in a bracing mist, the steaming poetry stinging our skin but clearing our eyes.


We will look at a large variety of writers, from honored poets of the stage like Shakespeare and Marlowe, to more recent versifiers like Anderson and Fry, to contemporary lyricists like Eliot, Beckett and Overmeyer, and Kennedy. We will look at political satirists (Kushner, Edgar) and inventors who can play with language more as gesture than as speech (Parks), and others who use the idioms of speech to imprison their characters and crystallize small worlds (Mamet).


We will read, write, and recite, on our way to exploring and expanding critical and creative sensibilities in the world of drama, and having an adventure with the languages we find there.


Texts: Texts will be selected from the work of William Shakespeare, Christopher Marlow, Christopher Fry, Maxwell Anderson, T.S. Eliot, Samuel Becket, Eric Overmeyer, Adrienne Kennedy, David Edgar, David Mamet, Tony Kushner, Suzan-Lori Parks, Timberlake Wertenbaker, and others.


Credit/Evaluation: We count on the presence of students who want to be members of a collaborative, mutually supportive learning community, so reliable attendance, faithful and timely preparation of assignments for class, and a willingness to share one's perceptions, understandings, and arguments in class with others are all expected. Students will be working both on common texts for class discussion, and on solo assignments, reporting back to class. There will be a final project, which can be creative or scholarly (or some inventive combination!).


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13382 | 387K Grantwriting

Coulet du Gard (4 credits)


Materials Fee: $6.61

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


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


Three course sessions will be online. The three days will be Wed Feb 2, Wed Feb 16 and Wed Mar 2.


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13183 | 397G Ecology/Culture Mesoamerica

Tuxill (4 credits)


Materials Fee: $7.13

This course meets the Upper-Division Science and Our Place on the Planet Core Requirement

Mesoamerica—including Mexico and much of Central America—is a region of bio-cultural superlatives: a global hotspot of biodiversity; a seven-thousand year old center of origin for agriculture; a cradle of over 350 languages, and a contemporary homeland for indigenous cultural traditions and vibrant national societies. This course surveys the ecology and culture of Mesoamerica from both historical and contemporary perspectives. Among the questions that will guide our investigations are: How have past dynamics of settlement and natural resource use by Mesoamerican peoples influenced the present regional environment? How should wildlands protection and biodiversity conservation proceed when biologically rich landscapes have been inhabited and managed for over 7,000 years? How is ecological sustainability related to regional and global trends such as the loss of indigenous languages, the growth of tourism, large-scale emigration of rural populations, and other socio-economic and cultural change? Particular emphasis will be placed upon understanding the history, ecology, and culture of Mayan societies. Bey ku ya'ala'al ich Maaya: ko'oten xooke'ex tul·akle'ex! (In Mayan words: Come study, everyone!)


Texts: ANIMALS AND PLANTS OF THE ANCIENT MAYA by Victoria Schlesinger; AMERICA'S FIRST CUISINES by Sophie Coe. Additional materials will be made available electronically. 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 research case studies of the biota and cultural ecology of Mesoamerica, and share their findings via oral class presentations and written assignments (one short paper and a term paper).


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13366 | 397H Nonprofit Social Entrepreneur

Coulet du Gard (4 credits)


Prerequisites: Fair 203a or Fair 387k or permission of instructor

Students interested in pursuing a career in the nonprofit world, creating their own nonprofit or establishing a for-profit business will all benefit from this course. Given the climate of large corporate control and management systems throughout the world, this course will instead delve into successful environmental-friendly and socially-responsible examples of entrepreneurship (small and often green businesses) in the United States, Europe, Africa, and South America. Blackboard documents will be a significant part of the readings.


The course will be divided into a number of topics including: the basics of nonprofit management, creating a nonprofit

creating a small business, and socially responsible and environmentally friendly alternatives to large corporate models


Texts: Required: The Complete Guide to Nonprofit Management, Smith, Bucklin & Associates, Inc., 2nd ed. (2000), Build A Green Small Business: Profitable Ways to Become An Ecopreneur, McGraw-Hill (2008), and Blackboard documents and links.


Credit/ Evaluation: Students will be expected to write 1 weekly journal entry or critical thought paper of 1-2 pages; participate in class discussions of assigned readings; complete a final project or paper; and attend classes regularly (no more than 3 missed classes will be allowed.)


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