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WWU / Fairhaven College of Interdiscipinary Studies

Winter 2012 Courses: 300 Level

11611 | 303A Core: Interdisciplinary Concentration Seminar

O'Murchu / Feodorov (5 credits)


Materials Fee: $7.20

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

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

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


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


Here are some of the questions we will examine through this process:

- What are the appropriate guidelines and requirements involved?

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

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

- Who should be on your committee?

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

- What are the best vehicles for your learning?

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


Text: Handbook provided. Credit/Evaluation: Work steadily on your proposal, meet regularly with your group, contribute to the development of your group members proposals, work cooperatively, prompt attendance to all meetings.


Credit for the course is granted when your completed committee-approved proposal has been filed with the Fairhaven Records Office and a regular self evaluation form is submitted to the instructor.


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11612| 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: January 11th at 11:00am OR January 12th at 3:00pm.


In order to receive credit for FAIR 305a you must:

1) Submit your Writing Portfolio & 2 copies of the green Writing Portfolio Evaluation Form to Jackie McClure by 5:00pm on January 23rd. 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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13406 | 312D Issues in International Study: Civil Resistance

O'Murchu 5 credits


Materials Fee: $7.20

Prerequisite: Fair 203a or instructor permission



Civil Resistance from Gandhi to the Arab Revolutions

Last January we witnessed the overthrow of entrenched one party dictatorships in Tunisia and Egypt. How do we begin to understand successful unarmed revolutions against durable, repressive states? From where did the participants draw ideas and inspiration and how did they coordinate their actions or initiate them? This course will explore three sources of inspiration for the Arab Revolutions in an effort to explore their relative importance: history, culture, and social media. 1) We'll look at the history of civil resistance to repressive powers from Gandhi's Quit India movement to the US struggle for civil rights, through to the struggles against Communism in Eastern Europe and Apartheid in South Africa. (How) have the Arab revolutions drawn from these histories and through what mechanisms? 2) What local traditions of non-violent organizing and resistance to authoritarian rule were there in the Middle East before 2010-11? Why were those traditions so feeble? 3) Did social media, including Facebook and Twitter, play a necessary role in coordinating the Arab Revolutions? Were they sufficient on their own to inspire hundreds of thousands to take to the streets demanding change? If not how did they interact with regional media and local movements to support change? Join us for this open-ended journey through the history of our present world-historic moment.


Readings: We will read selections from these books and electronic resources: Adam Roberts and Timothy Garton Ash eds. CIVIL RESISTANCE & POWER POLITICS (2010); Maria Stephan ed. CIVILIAN JIHAD: NON-VIOLENT STRUGGLE, DEMOCRATIZATION AND GOVERNANCE IN THE MIDDLE EAST (2010); Phil Howard, THE DIGITAL ORIGINS OF DICTATORSHIP AND DEMOCRACY (2010); GENE SHARP, FROM DICTATORSHIP TO DEMOCRACY (1993 online pamphlet); Sean Aday et al, Blogs and Bullets: New Media in Contentious Politics (2010 online report); and Marc Lynch, Blake Hounsell & Susan Glasser eds. Revolution in the Arab World (2011 ebook).


Credit/Evaluation: Attendance, preparation and engaged, active participation; Quarter long research project on a question about non-violent revolutions you find especially interested conducted and presented with research partner; individual research paper on your joint research.


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13111| 322M Childhood in America

Eaton(4 credits)


Materials Fee: $13.23

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



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


Texts: bell hooks, BONE BLACK; Sandra Cisneros, HOUSE ON MANGO STREET; Henry Middleton, THE EARTH IS ENOUGH; Linda Berry, ONE HUNDRED DEMONS; Francisco Jimenez, THE CURCUIT; Shirley Sterling, MY NAME IS SEEPEETZA



* Attendance at all group sessions and willingness to fully engage in the readings, class discussions of the readings and films, and in-class exercises.

* Observational log.

* Active participation in the varied memoir writing assignments, including redrafting and polishing

* Development of a final portfolio that includes at least six memoir pieces in at least three forms (prose, poetry, song, script, visual art, three-dimensional art, video, etc) that capture some aspect of your childhood and connect with the themes in our readings and observations.

* Class presentation of some aspect of your portfolio.


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13853 | 323G Imaginative Writing II/Illustrating Children's Books

Cornish (4 credits)


Materials Fee: $7.20

Prerequisite: Fair 222g or Fair 222h, creative writing course, or instructor permission



"And now," cried Max, "let the wild rumpus start!"


It's been over forty years since Maurice Sendak won the Caldecott Medal for Where the Wild Things Are, a book which continues to enter the imagination of each generation. How did this simple text of ten sentences become a children's classic? From The Tale of Peter Rabbit to Madeline, Winnie-the-Pooh to George and Martha, stories from childhood--and the heroes who inhabit those stories-- often stay with us more vividly than the books we read as adults. This class looks at some of our favorite picture books and how they are constructed, especially the magic by which text and illustration work together to tell a story (six pages of "Wild Things" has no text). In what way does a book for young children differ from one for adults? C.S. Lewis once said, "I am almost inclined to set it up as a canon that a children's story which is enjoyed only by children is a bad children's story." Students explore this question of audience, as well as other aspects of the picture book, by creating their own texts and illustrations in a workshop setting (that is, through generative prompts as well as critique). Although this is not a survey class, students familiarize themselves with the genre by reading and studying a number of picture books over the quarter. Let the wild rumpus start!


Text: To be announced. Students will also be responsible for a class text printed from postings on Blackboard.


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 responses to work done by others. Rewriting of drafts and essays 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 expected; more than three absences and you will not receive credit for the class. Evaluation includes a final picture book project.


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13039 | 334D State Failure & Collapse

Akinrinade (5 credits)


Prerequisite: Fair 203a or permission of instructor.



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


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


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


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13130 | 336B Topics in Social Issues: Spirit of Justice

Osterhaus(4 credits)


Materials Fee: $13.73

Prerequisites: Fair 203a or equivalent



Justice infused with spirituality becomes a powerful source of transformation in a world impacted by human activity and profoundly in need of healing and liberation. What are the connections between compassion, courage, resistance, solidarity that take form in action? What gives people courage, hope, and resiliency along with commitment to act in ways that create a better world? What does it mean to have the universe bend toward justice?


This course will explore various world views and reflect on the energy that emerges when people resist and challenge ethnocentrism, inequities, and materialism. We will consider an array of voices raised to promote the common good: political and religious leaders, poets and activists, ordinary global citizens in hopes of deepening our understanding of key shifts towards biocentrism and interconnectedness. While highlighting concern for planet earth and the marginalized, we will examine the roots of social transformation for social equity and balance. This class serves to enliven passion and compassion which are vital to truly build a world with justice.


Texts: Required Texts and E-reserve material: TBA


Credit/Evaluation: Students are expected to actively contribute to discussions and group learning through prepared questions and responses to readings; through leadership facilitation with course material; and with consistent attendance. Throughout the course, students will be asked to write 5-7 brief reflective essays and/or create art projects related to thematic questions posed by the instructor and students; interview someone engaged in justice making in the community/world; and present a final written research project.


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13753 | 336B Topics in Social Issues: Sexuality, Race, and Nation in U.S. History

Thuma(4 credits)


Materials Fee: $13.73

Prerequisite: Fair 203a or equivalent

This course meets the Society and the Individual Upper-division core requirement


This course explores the intersections of race and sexuality in the making of US culture and citizenship, from the early nineteenth-century to the present. Students will build their theoretical and historical understanding of how racial and sexual identities, hierarchies, and exclusions have been constructed in relation to one another. We will consider a series of case studies that reveal how race, sexuality, and gender have intersected and shaped the political and cultural boundaries of the US nation-state in different historical moments, as well as how these boundaries came to be lived in and contested through everyday life, cultural production, and social movements.


The assigned literature draws from the fields of social, cultural, and legal history, literary analysis, ethnic studies, sexuality studies, and feminist, queer, and critical race theory. We will also analyze a range of primary sources and social texts, including legal documents, memoir, film, activist ephemera, and collected oral histories. Case studies will include the gender and sexual dimensions of racial slavery, colonial projects, and immigration law; and the racial politics of reproductive freedom, lesbian, gay, bisexual, transgender, and queer identities, and contemporary feminist and LGBTQ social movements.


Texts: Articles available on Blackboard; and Margot Canaday, The Straight State: Sexuality and Citizenship in Twentieth-Century America; Laura Briggs, Reproducing Empire: Race, Sex, Science and U.S. Imperialism in Puerto Rico; and Peggy Pascoe, What Comes Naturally: Miscegenation Law and the Making of Race in America.


Credit/Evaluation: This course is designed to help students sharpen their critical thinking and analytical writing skills, carefully interpret difficult texts, and analyze primary sources. Evaluation will be based on consistent attendance, prepared and active participation in class sessions, and quality of written work. Assignments will include biweekly reading response papers (2-3 pages), one co-presentation, and a primary source analysis paper (6-8 pages).


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13129 | 336B Topics in Social Issues: Debating Globalization

O'Murchu (5 credits)


Materials Fee: $13.53

Prerequisite: Fair 203a or equivalent



This course surveys the global political economy from the late nineteenth century to the early twenty-first. This period is bookended by two long periods of increasing global trade, investment, and migration from 1870-1914 and from 1972 (or 1990) to the present, now known by the ugly word globalization. Between British- and American-led globalizations was an age of great turmoil and upheaval in world politics and the global economy, shaped by the two World Wars, the great depression, and the Cold War.


We will examine how and why the first era of globalization collapsed during the First World War and the Great Depression, and the challenges western capitalism faced from fascism and state socialism. We then explore how the liberal capitalism was reestablished as a managed system in the West during the Cold War, but how that system was gradually displaced by a neo-liberalism since the 1970s. We ask whether the current global capitalist system is destined to implode like its predecessor or can be better managed and maintained.


We explore the problems of: unequal trade between developed and developing countries; the political economy of capital mobility and financial instability; the global economic crisis; debt; and structural inequalities in health and development between the developed and developing world. We focus especially on the tensions between economic globalization, democracy and national self-determination and how to manage global trade to enhance development and well-being. This class will be cross-listed with International Studies and combine seminar discussions, short lectures, and documentaries.




Credit/Evaluation: Preparation, attendance, and engaged participation all required to succeed; Country profile and class presentation on a developing country of your choice; choice between take-home final exam and independent research paper.


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13451 | 336B Topics in Social Issues: Education and Social Order

Ferrare (4 credits)


Materials Fee: $13.73

Prerequisite: Fair 203a or equivalent



In 1932 George Counts raised the question, "Dare the school build a new social order?" Counts' question spoke to a provocative debate that is as relevant today as it ever has been: Does the education system reproduce inequalities in society, or are there instances in which education provides spaces to contest and transform existing social orders? 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, ethnic, 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, as well as empirical research spanning the past 35 years. With this focus in mind the course will center on the following specific themes:

* The historical and contemporary roles of education and "schooling" in society

* The sociological and political contexts of pedagogy and the curriculum

* Issues involving race, class, gender, ethnicity, and immigration (and their dynamics)

* Education policy

* Alternative educational 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 within the social order.


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): Herbert Kliebard, Pierre Bourdieu, Annette Lareau, Michael Apple, Ivan Illich, John Ogbu, Madeleine Arnot, James Gee, Maxine Greene, Jeannie Oakes, Pamela Perry, Dianne Ravitch, Diana Hess, Erik Wright, and David Labaree.


Credit/Evaluation: Students are expected to critically engage with the readings and class discussions on a regular basis, and to complete biweekly in-class assignments. In addition, students are expected to complete two short writing 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.


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13453 | 336N Topics in Science: Predators

Ryan (4 credits)


Materials Fee: to be determined

Prerequisites: Fair 206a or equivalent



Note: Course includes 3-day weekend field trip.


Predators have influenced the trajectory of human evolution and captivated the human psyche and imagination as far back as cultural records go. They also play a critical ecological role in natural systems. This course draws on the work of evolutionary biologists, ecologists, wildlife & conservation biologists, scientific journalists to examine the ecological role of predators in terrestrial, freshwater, and marine systems. We will also explore our species' shifting relationship with predators over time as seen through mythologies, cultural histories, and changing policy & laws. Case studies will draw from around the globe, but we will focus in particular on predator policy in the US, looking at the predator extermination campaigns of the early 1900s, recent reintroductions & recolonizations in the East and West, and continuing controversies.


Texts: Required - HUNTER AND HUNTED by Kruuk & Brown; MONSTER OF GOD by Quammen; OF WOLVES AND MEN by Lopez. Other required readings (scientific journal articles and book chapters) will be distributed electronically. Recommended - WOLF WARS by Fischer; URBAN CARNIVORES by Gehrt; PEOPLE AND PREDATORS by Fascione et al; NATURE'S ECONOMY by Worster.


Credit/Evaluation: 1) Class attendance and participation, 2) Participation in a course leadership team, 3) Individual presentation or discussion lead, 4) Completion of occasional short written assignments, 5) biweekly journal entries, 6) Completion of one of the following: a 7-10 page research paper; independent or 2-person field project (pending instructor approval); expanded journal & reflective project.

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13500 | 336N Topics in Science: History of the World in Six Glasses

Burnett (4 credits)

Materials fee $15


This course meets the upper-division Science and Our Place on the Planet requirement


Long before humans came around, birds and other animals made a great discovery: Eating fallen fruit that has sat awhile makes you feel good - and walk funny. When any of hundreds of yeast varieties digest sugar, their waste products - yeast poop - are carbon dioxide and...alcohol. That "gift of the gods" has affected human (and animal) life from the stone age to the present, shaping our religion, politics, economics, social life, arts, commerce and health.


We will investigate the biology and chemistry of the fermentation process, both as it occurs in the wild, and in the many ways different cultures, in different time periods, have used this alchemy for medicine, fuel, cuisine, and drink. The Instructor is the winemaker of a small local winery, so we'll pay special attention to the making of beer and wine, a heady mix of art and chemistry. In addition, we will experiment with the distillation process, through which the alcohol content of a liquid is greatly increased, and discuss the many uses of ethanol in the past and in the modern world, from anesthetics to fuel, sterilizer to the perfect martini.


What is the effect of alcohol on the body? What is the physiological basis of inebriation, and what are its effects? What is the nature and causes of alcohol addition: alcoholism? Does moderate alcohol consumption provide health benefits? What are the effects of alcohol abuse? What about caffeine? What does it do to, and for, us?


In addition to the science, a prime focus of the course is the cultural history of beer, wine, and spirits - and of three other drinks that have powerfully affected human history: tea, coffee, and cola - throughout history and cross-culturally. What have we said, sung, and legislated about alcohol and caffeine? How have we praised, damned, and used them? What happens when we view the panoply of human life through the lens of the beverages we choose to drink?


Texts: Tom Standage, A HISTORY OF THE WORLD IN SIX GLASSES; Iain Gately, DRINK: A CULTURAL HISTORY OF ALCOHOL, plus assorted readings available on Blackboard


Credit/Evaluation: Regular attendance, active, informed , and engaged participation in class discussions, field trips, and activities. In addition, participants will chose two different subjects related to the six glasses, research those subjects, and write papers on each, which they will share with the class in illustrated presentations at mid-quarter and at the end.

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13499 | 336N Topics in Science: Health, Disease and Culture

James (4 credits)


The course meets the Upper-division Science and Our Place on the Planet core requirement.


The role of culture in bringing health or disease into our lives is a crucial issue for each of us. Join this class to learn what it is that we do to ourselves to be either fit and healthy or diseased and decrepit. Learn what role environmental exposures play in keeping us out of the hospital. Leant what the role of our social status and income are in health status. Comparing the health of a population of people and the health of individual people will show you how some people benefit from the advantages of race, income, education and social status while others find life's challenges more than they can manage. Discover what you can do to make a difference in your own health and the health of your community.


At the end of this course you will be able to answer the following questions and be able to take action on these issues in your life and the life of your community:

What are the social determinants of health?

Why is the disease-care system largely unimportant in extending our lives and improving our health?

What are the most important actions we can take to be and stay healthy?

What are the corporate interests in your 'healthcare' and how do they compete with your best interests?

Comparing healthy and unhealthy communities: San Juan County vs Native Americans in Washington State, what makes them that way?

Why do some groups of people live a lot longer than others?

The US vs Cuba: Healthcare costs and outcomes, who wins and why?

What are the leading causes of death in America? Who can do something about them?

If you add a healthcare system where one does not exist does it make a difference: the story of East Timor.


Text: The readings will be from papers and online resources. No text book will be required though extensive reading will be expected. Some films will be watched on your own and discussed in class.


Credit/Evaluation will be based on class participation (missing more than two classes will make it very hard to pass) and written papers. Papers will be written collaboratively in small groups with rare exceptions.

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13455 | 336v Topics in Art: Community Narratives Through Art & Photography

Feodorov (4 credits)


Materials Fee: $16.45

Prerequisite: Prerequisite: Fair 202a or equivalent



Please note: Due to time constraints and the potentially delicate nature of this subject, it is highly suggested that students work with communities and issues with which they are already somewhat familiar, engaged and/or recognized. Any questions should be directed to the instructor before enrolling.


This combination seminar/studio class focuses on how students may develop and utilize their art interests in support of and in partnership with diverse communities. However, this course is not about flattering or presenting a whitewashed image of a community. Rather, the goal is understand how art may empower communities through participative examination of issues and the creation of collaborative community narratives.


Since the Renaissance, Western culture has promoted the artist a mythic solitary genius and/or dysfunctional misunderstood visionary, often out of touch with the rest of societyóa mythology that persists to this day. However, with Community Art, the artist submits his/her personal expressive vision to the needs of the community who, in some cases, may be asked to dig deep into subjects and histories that are often uncomfortable. Importance is placed upon helping communities to recognize and voice THEIR concerns rather than those of the artist.


Projects may entail conducting interviews with members of local communities to better understand the issues they face. In class we will discuss strategies for collaborating with community members on art projects. We will also examine the work of numerous artists such as Suzanne Lacy, Judy Baca, Krzysztof Wodiczko and Mierle Laderman Ukeles who work in the field of community arts, as well as read several essays from artists and theorists regarding art and community engagement.


Text: The Citizen Artist, by Linda Frye Burnham and Steven Durland ed. (available on the web)


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.

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13459 | 336V Topics in Art: Relationships

Robinson (4 credits)


Materials Fee: $16.45

Prerequisite: Fair 202a or equivalent



Everything is in relationship to everything else. What we do and how we act has an effect on something or someone, somewhere. As human beings, we might improvise or calculate our actions and navigate our relationships according to perception, need, desire, fear, love. In this course we will expand our views about what it means to be a relational being, and explore through creative and embodied ways our individual and collective connection to time, space, ourselves, and each other. We will explore our relationship to dirt, music, water, dreams, sex, words, plastic, silence, gender, institutions, addiction, thoughts, books, bodies, memories, and more.


At the beginning of each class, every student will submit a topic or a question. We will then explore our relationship to these "prompts" through dialogue, action, improvisational movement, paint, music, and writing. Through creative risk-taking we'll attempt to step outside our individually preferred labels of poet, painter, actor, activist, scientist, dancer, philosopher, etc. and try on each other's ways of being to more fully embrace how we all relate as feelers and thinkers. Introduction to - or continued training in - "Viewpoints" (a physical exploration of tempo, repetition, architecture, kinesthetic response, gesture, spatial relations, shape, duration, and topography) will expand our physical awareness of our relationship to time and space. Mask-work (those we construct, and those our personalities obscure), sketching/drawing, music, and improvised dialogue will offer opportunities for new ways of relating to poetry, scriptwriting, oration, testimony, teaching, healing.


Holding everyone's experience with compassion, students will be asked to workshop with one another and support each other's creative risks as we step out of our comfort zones. At quarter's end, all students will be asked to present two long-term creative responses to one of the prompts or questions raised during the quarter: one that is created in a medium that is familiar; the other, created in a format or medium that is new to the student.


Texts: A selection of texts and essays may include works by: The Dalai Lama, Eve Ensler, Pablo Neruda, Tony Kushner, Mary Oliver, Anne Bogart, Anne Lamott, Keith Johnstone, and others.


Credit/Evaluation: Students are required to submit a question or a "prompt" for each class period, to willing participate in class exercises involving writing, movement, dialogue, visual art, music. The objective is to explore and expand our personal relationship to each. Students are also asked to make a personal commitment to push through discomfort and attend every class. Discussions stemming from the texts will be generated from questions written by each student outside of class at the time of reading. (These questions may or may not figure in to the daily prompt questions.) Readings aloud and soundings are opportunities to grow. A final sharing of each student's creative response is required. Personal journaling is highly encouraged.


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13445 | 341T Awareness Through Body II

Conton (4 credits)


Materials Fee: $10.97

Prerequisite: Fair 243r or instructor permission


Description: A continuation of Fair 243t, and open only to those who have completed the first course. We will continue the work of coming to know ourselves and external reality through our bodies and our senses. The philosophical concepts of the first course, such as sensory awareness, intention, being grounded, being centered, and the connection of mind and body, will receive deeper attention, both experientially and intellectually. The experiential work will be slower, deeper and more detailed than the first course. In addition, more attention will be directed to the underlying principles and theories of somatic work, through reading as well as practice. Unlike the first course, we will consider various notions of "correctness" in human movement and function.


Text: (tentative) Required: BODY AND EARTH by Andrea Olson, GROUNDWORKS: NARRATIVES OF EMBODIMENT by Don Johnson, recommended: BODY, SPIRIT AND DEMOCRACY by Don Johnson, and a packet of selected readings.


Credit/Evaluation: Regular punctual attendance and substantive participation in the class sessions; close study of the texts and demonstration of learning in class discussion. Students will design a class experience or write several assigned short essays, interacting with experiential assignments given in class and reflecting 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.


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13122 | 349V Art During Wartime

Feodorov (4 credits)


Materials Fee: $15.80

Prerequisite: Fair 202a or equivalent



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


Credit and evaluation: Credit is based upon regular and punctual attendance, active informed participation in class discussions, and timely completion of assignments and projects. It is imperative that each and every student participates and completes the assigned readings in a timely manner. The course is organized around the concept of informed discussion and will fail without it. Students must demonstrate verbal as well as written evidence of engagement with the course material. Students are required to share their studio projects during group feedback sessions and to participate in the discussions about their work. Projects are critiqued according to the following criteria:

-Ability to create while taking into account both content and form.

-The desire and ability to take creative risks.

-Attention to craft and process.

-Responsiveness to suggestions and feedback.


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13122 | 352Y Visual Art Workshop

S'eiltin (variable credit)


Materials Fee: $16.45

Prerequisite: 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 workshops and create a portfolio.


Texts: None required.


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


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12299 | 354V Scriptwriting Workshop I

Larner (4 credits)


Materials Fee: $5.47

Prerequisite: previous course work or experience with creative writing or instructor permission



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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13448 | 361E Race In/To Movies II: 1950-80

Takagi(4 credits)


Materials Fee: $2.88

Prerequisite: Fair 261e or other film studies class.



Cinematic stereotyped images of racial minorities, such as the "Cunning Chinese" and "Befuddled Blacks," are not as prevalent nor as blatant in films produced nowadays as they were in earlier years-or are they? We will answer this question by viewing and critically analyzing popular films, reading texts about American race relations, and exploring how movies both framed and distorted the discourse between the dominant society and racial minorities between 1950 and 1980.


Texts: Harry M. Benshoff and Sean Griffin, AMERICA ON FILM and articles on Blackboard. Credit/Evaluation: Students must help lead a discussion, complete all readings in time for each discussion, be timely and punctual and have no more than two absences.


Written requirements: Seven scene analysis papers 350 words. NOTE THESE ANALYSES ARE DUE THE DAY OF OUR DISCUSSION (EVERY TUESDAY) Final Research or Comparative Paper : This paper is either an in-depth examination that compares two of the films shown over the quarter OR a paper based on a film of your choice. This paper is 5-7 pages long. Typed, double-spaced. More discussion on the papers will follow.


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12311 | 366E Comparative Cultural Studies

Estrada(4 credits)



Note: Also offered as AMST 301.


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 dynamics 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.


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 racially stratified American society (i.e. Props. 187, 209 Affirmative Action, Initiative 200 EEO Federal Policy).


Texts (required): RACE, ETHNICITY AND GENDER, Healey and OíBrien, (Pine Forge Press, 2007), WHITE PRIVILEGE, Rothenberg, (Worth Publishers, 2005), ANNUAL EDITIONS: RACE AND ETHNIC RELATIONS 07/08, Kromkowski (Mc-Graw Hill/Dushkin, 2007)

Recommended Reading: TAKING SIDES: RACE & ETHNICITY, 5th Ed. DíAngelo and Douglas (McGraw Hill/Dushkin, 2005)


Course Format: Attendance is mandatory unless cleared by the instructor ahead of time or in the case of illness. The course will consist of lectures, discussions, videos and guest lecturers. The course is cross listed with AMST 301 and Fairhaven students will be evaluated in the Fairhaven manner rather than receiving a final grade for the course


Course Work: Participation in classroom discussions, one perspective paper, one final exam, one ethnographic interview and a group project paper and oral presentation.


Perspective Paper-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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12302 | 370H Audio Recording II

Fish (4 credits)


Materials Fee: $74.00

Prerequisite: 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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12303 | 370P Intro to Pro Tools

Fish (2 credits)


Materials Fee: $42.00

Prerequisite: 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 Avid's Pro Tools 9 software. Covered topics will include: importing and recording audio into Pro Tools, editing and manipulating performances, MIDI, 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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12304 | 370Q Pro Tools HD Recording

Fish (2 credits)


Materials Fee: $42.00

Prerequisite: Fair 370p (previously 375p) or permission of instructor

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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12419 | 370T World Issues Study Group

Osterhaus (3 credits)


Materials Fee: $18.00

Prerequisite: 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, wars on terrorism, militarism and homeland security, civil liberties, racial profiling, globalization, and ethnic/religious conflicts? How are multiple global issues interconnected? What does it mean to be an informed and engaged global citizen? Through research with independent media sources, students will gain access to more diversified information, and develop more critical thinking and media literacy skills. In addition to the weekly forums of speakers, videos, and discussions that are open to the campus and Bellingham community, registered students in the class will participate in weekly research of the issues, reflection, discussion and actions for positive change.


(The campus at large is invited to weekly Wednesday noon World Issues Forums /Paths to Global Justice series. Speakers, along with group discussions, will address local, national, and global issues)


Credit/Evaluation: Each week, students are expected to come well prepared with documented research from independent media sources. In class, students will have opportunity to share, digest and question what they found in their research and heard in the forum. Following the Wednesday World Issues Forum, students will write a reflection paper on the speaker's presentation. In addition to individually acting consciously for positive social change, students will be required to meet several times outside of the regular class hours to collaborate on a group action project. Each student will choose a book of their choice on a global issue and in the final week, offer the class a report on its content. They will also write a final integration paper relating the interconnection of all the themes researched and presented in the World Issues Forums. Attendance is to be consistent and fully engaged.


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13446 | 374B Cultural Creation of Identity

Montoya-Lewis (5 credits)


Prerequisite: Fair 203a or instructor permission.



I'm nobody! Who are you?

Are you nobody, too? Then there's a pair of us -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 may be additional texts. There will be additional, substantial readings provided as handouts.


Requirements for Credit and Criteria for 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 assigned.


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13131 | 391E American Indian Resistances

Rowe (4 credits)


Materials Fee: $2.00

Prerequisite: Fair 263b or Fair 399b or AMST 202 or AMST 315, or course in Native American studies or instructor permission



This course examines American Indian resistance to European and United States settler-state colonialism. We will survey religious and social revitalization movements, armed resistances, pan-Indian reform movements, and Red Power activism. Our survey will touch on Handsome Lake's, Tenskwatawa's, and Wovoka's movements, the Native American Church, and pan-Indian organizations such as the Society of American Indians and the National Congress of American Indians. We will discuss the National Indian Youth Council, American Indian Movement, Indians of All Tribes, International Indian Treaty Council, Women of All Red Nations, Indigenous Women's Network, and Indigenous Environmental Network. We will also explore the ways in which contemporary Indian writers, filmmakers, and artists creatively resist and assert cultural identity, sovereignty, and demand social justice. Participants will write several response papers and prepare a research and teaching project for presentation to the seminar at the end of the quarter. Individual projects should be interdisciplinary and might include dance, stand-up comedy, art, oratory, music, film, photography, interviews, or an academic research paper.





Credit/Evaluation: Evaluation for granting credit will be based on regular attendance; prepared and meaningful participation in discussions; the quality of several 2-3 page response papers on readings, films, or guest lectures and the effectiveness of the final project.


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13454 | 397H Nonprofit Social Entrepreneur

Coulet du Gard (4 credits)


Materials Fee: $15.00

Prerequisite: Fair 203a or Fair 387k


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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13697 | 375N Advanced Topics Mind/Body: Embodied Future

Nichols(4 credits)


Materials Fee: $ 15.47

Prerequisites: Fair 201a


The world has changed dramatically and is changing dramatically. With the growing complexity of the world we need a radical new inquiry, a new world view that can intelligently encompass, perceive, interact and frame the complexity. Through an in depth 10 week course we will look through the cross pollination of interdisciplinary studies that gives insight to this new world. It is at the edges of academic disciplines that innovations and discovery of new understanding occur. The ground that gives continuity to this course will be the body, but more specifically the growing field of somatics. Soma is Greek for the "lived experience" or the interdisciplinary investigation of life lived from the inside out.


Embodied Futures will investigate the edges of interwoven relationships between our self, our communities, our world and effects of media, technologies and science. The multitude of disciplines will include, but are not limited to; somatics, neuroscience, psychophysiology, philosophy, neurobiology, and biopsychosocial studies. Not only will this course be demanding on an academic level, but also core to this investigation will be personal experiential investigations. Understanding solution-based change will require that we ask essential questions about our "lived experience" and how we relate to the world. This class will explore how to support change, growth and development in behavior, in learning, and in our communities. The Soma is the interface of experience for the outer world and must be studied in relationship to exponential complexity. This is an unprecedented time in human history where we have more access to infinite forms of information/data/media and technological power. How are we changing our behavior with these new forces? Are these forces disembodying? How do we become synthesizers of seemingly disparate information to create new order, new patterns and learn to work in collaborative ways? We will be exploring alternative ways to facilitate learning, understanding, and empathy. This course is a radical re-orientation to learning and sharing learning to inspire a shift in ourselves and in our world. This is indeed an experimental course that will require each of us to take a new positioning in the learning experience. We will work in multimodal ways: lecture, cognitive, body centered, media, movement, art, left and right brain, and collaboratively.


Texts: Will be in the form of a reader and will include, Thomas Lewis et al, A General Theory of Love; J. Krishnamurti, Education and the Significance of Life; Daniel Pink, A Whole New Mind: Why Right-Brainers will rule the future; Peter Hershock, Buddhism in the Public Sphere; Nick Totten, Body Psychotherapy: An Introduction; and more.


Credit/Evaluation: Regular attendance and informed discussion. Weekly Journal and class blog entries. Demonstration of synthesized information through three collaborative group projects and finally a paper expressing one's learning.

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