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Winter 2012 Courses: 400 Level

13110 | 403A Advanced Seminar

Conton (4 credits)


Materials Fee: $14.49

Prerequisite: Required by all Fairhaven Students. Senior status.

Note: Student must have applied for graduation for Winter quarter in order to register.


ANNE TREAT, Spring 2007 grad, said:

"There is no possible way I can give justice to the complexity of experiences, triumphs, pitfalls and challenges of my academic career in the course of this paper. This artifact of self-reflection is simply a pause in the broader conversation of my academic journey, an invitation for me to mindfully articulate the ways those things I've studied, read, discussed and experienced over the past four years have informed and challenged my personal development, and how I've chosen to integrate and express that knowledge through the actions of my life" This seminar is a wonderful opportunity to reflect on what you have been up to all these years of being educated--through writing, conversation, presentations, and listening to each other. You will read and discuss a book and other readings, co-facilitating at least one discussion; write and share a variety of short writing assignments, designed to help you complete your Summary and Evaluation, and provide a supportive community in which to summarize and critically reflect upon your Fairhaven (or Life) education.


Each student will also present or teach something to the class from the heart of his or her educational experience. This course is one of our favorites to teach at Fairhaven because we learn so much about our students, and the many intriguing, complex, deep, creative and quirky ways there are to be human and to become educated. The class also illustrates the value of writing as a process of discovery, synthesis and meaning. We will all do our best to help you express most clearly what your education has been about, and are honored to learn from your stories, your minds, your creativity, and your lives. The course will be as significant as you make it. Be honest. It is your life, your education, so let us understand what it has meant and what it really means to you now.


Texts: varies by instructor


Credit/Evaluation: Active, informed participation in class discussion and excellent class attendance; supportive collaboration with your classmates in the writing process; timely completion of assignments; a final presentation of significant aspects of your educational experience; and a final draft of your Summary and Evaluation, approved and signed by your concentration chair (or by your advisor for majors or upside-down students).


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13125 | 412E Advanced Topics in Law

Helling (5 credits)


Prerequisite: Fair 201a or Fair 203a, and 211b or permission of instructor


Using a law school textbook, we will explore the ways in which the American legal system responds (or doesn't respond) to domestic violence. Why is there so much violence within homes? Has the criminal justice system learned to take this violence seriously? Which responses are effective and which are not?


The teacher is a passionate former domestic violence prosecutor who handled thousands of DV cases in a major metropolitan area. We will look at criminal law and the law of self-defense and rape. We will look at civil law and the process of getting orders for protection (including observing court). Guest speakers will round out the experience.


This course is particularly suited to anyone interested in domestic violence, the criminal justice system or going to law school. You do NOT need to be a Fairhaven student to take this course. You do need to be able to do your share of the work in this advanced legal seminar.


Text: Domestic Violence and the Law (2d ed. or 3rd. if it becomes available) and any legal dictionary (Barron's is recommended)


Credit/evaluation: active and informed participation by keeping up with the heavy reading load, no more than three absences, three short papers reacting to the text, and one seven-page research paper on your choice of topics involving domestic violence and the law (followed by an oral presentation to the class on the topic). Please complete the readings in advance of class and take notes on them. No more than 3 absences allowed if you want to get credit.



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13133 | 422J Art of the Essay: Writing the Body

Tag (4 credits)


Materials Fee: $13.62

Prerequisite: Fair 201a or Fair 202a, and 300 level writing course



This is an advanced level course in the art of essay writing-what some call the "personal essay" and others call "creative nonfiction." The etymological roots of the word "essay" mean simply to try, to make an attempt. In our essays we will be making honest attempts to say clearly and creatively what it is swirling around inside us. Scott Russell Sanders says this about the essayist: Unlike novelists and playwrights, who lurk behind the scenes while distracting our attention with the puppet show of imaginary characters, unlike scholars and journalists, who quote the opinions of others and shelter behind the hedges of neutrality, the essayist has nowhere to hide. While the poet can lean back on a several-thousand-year-old legacy of ecstatic speech, the essayist inherits a much briefer and skimpier tradition. The poet is allowed to quit after a few lines, but the essayist must hold our attention over pages and pages. It is a brash and foolhardy form, this one-man or one-woman circus, which relies on the tricks of anecdote, conjecture, memory, and wit to enthrall us.


This winter's course will challenge each of us to push the boundaries of the personal essay form, focusing particularly on "writing the body," surely a potentially brash and foolhardy topic if there ever was one. And perhaps something vital and necessary, close to the skin, something we rarely take the time to explore in words. What is the body? Our bodies? Mine? Yours? What are the connections between body and mind? Body and soul? Body and the food we eat, the liquids we drink, or the air we breathe? What is the history of our bodies? How do family and culture shape the ways we see and feel about our bodies? What do scars, moles, creases, hair, bones, pain, diseases say about who we are? What can we mean by producing a "body" of writing? Each of us will explore these questions and more, and write and share three fully-revised and finished personal essays, each of them illuminations on the rich and intriguing possibilities in writing the body.


Texts: BODY by Fiffer and Fiffer, eds., and TOUCHSTONE ANTHOLOGY OF CONTEMPORARY CREATIVE NONFICTION by Williford and Martone, eds.


Credit / Evaluation: Faithful attendance and participation in the work, writing workshops, and discussions of the class. Completion and quality of weekly writing exercises, and four personal essays, three of them revised, finished, and shared.


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13127 | 422K Advanced Legal Writing

Montoya-Lewis (4 credits)


Materials Fee: $11.06

Prerequisite: Fair 201a and Fair 211b


This course will focus on learning evaluative & persuasive legal writing, including how to properly cite sources using legal citation. We will review case reading, analysis, and synthesis and learn how to use cases to write persuasive legal arguments. Students will be given as side to argue and write a persuasive appellate brief on a current legal issue. The case will be a hypothetical case around a current issue being argued in the courts. Students will have the opportunity to argue the case orally, as well as in writing.




Credit/Evaluation: Writing requirements will include several small assignments discussing and synthesizing cases and will culminate in drafting a formal appellate brief. Evaluation will be based upon the progress of each students writing, regular attendance, and class participation.


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13134 | 440N Ethnoecology

Tuxill (3 credits)


Prerequisite: Fair 206a or equivalent or permission of instructor


Ethnoecology is the study of conceptions of ecological relationships and the natural world held by different peoples and cultures. In this course we use the lens of ethnoecology to explore the role of traditional ecological knowledge--also called indigenous or local knowledge--in maintaining and restoring healthy ecological relationships between communities and the environment. We begin by comparing local ways of knowing with western science, identifying the epistemological strengths and weaknesses of each. Using a case study approach, we then explore how local knowledge is conceptualized, systematized, and helps guide the management of landscapes and biota by rural, indigenous, and folk communities in many different contexts worldwide. Students will examine how traditional ecological knowledge based on a profound and active engagement with place can lead to a rethinking of current approaches to environmental conservation and rural development.


Texts: Sacred Ecology: Traditional Ecological Knowledge and Resource Management by Fikret Berkes, and Zapotec Science: Farming and Food in the Northern Sierra of Oaxaca by Roberto J. Gonzalez. Additional reading assignments on Blackboard.


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


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12300 | 454Y Scriptwriting Workshop II

Larner (4 credits)


Materials Fee:$6.61

Prerequisite: Fair 354v; previous 200-level work in scriptwriting in any medium, 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 in the workshop. Initial exercises and rewriting work will be followed by intensive work on each student's individual project. Students are expected to complete at least the equivalent of a longer one-act play (30-60 minutes in length), and are strongly encouraged to tackle part or the whole of a full- length work. The particular goal for each 454y student will be individually negotiated with the instructor early in the quarter. 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.


Emphasis will be placed on acquiring a sharp, critical sense of dramatic action, on developing strong technique for the stage, screen, or radio, and on completing the script and bringing it through a complete revision. If time remains, students will be urged to get their scripts ready for production--screenplays for video production and showcasing here on campus, and/or through the Projections Film Festival in Bellingham, and through film and video festivals in Seattle; stage plays for production here at Fairhaven, and/or at the New Playwrights Theatre or Student Theatre Productions 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. There will also be discussion and resources available for marketing scripts to theatres and film producers.


454y students are expected to make substantial critical contributions to the work the class, to offer leadership in discussion, and to reflect an advanced understanding of our texts, and our dramatic material and its workings.


Texts: Jeffrey Sweet, SOLVING YOUR SCRIPT; Robert McKee, STORY. Syd Field, SCREENPLAY: THE FOUNDATIONS OF SCREENWRITING, may be used, and a play and/or a screenplay, TBA, may be required, as may attendance at selected film screenings and/or theatre productions.


Credit/Evaluation: In addition to providing leadership in class discussion, and in doing and staging the exercises, 454 students will be responsible for finishing the project individually negotiated with the instructor. Minimum requirement: one act play or its equivalent in another medium, 30-60 minutes in length. 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 improvement in technique and style, its aptness for the stage or screen (or appropriate medium), and the overall development of the writer during the term.


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13132 | 486E Advanced Topics in Humanities: Myth of Primitivism

S'eiltin(4 credits)


Materials Fee: $13.73


Prerequisite: Fair 202a or equivalent; 300 level humanities course



European and Euro-American artists fascination with Western concepts of primitivism lies at the heart of some of the most influential developments in mainstream art produced between 1890 and 1950. Anthropological and sociological interpretations of Charles Darwinism theory of evolution, or Social Darwinism, inspired to look at the primitive and their art for innovative artistic direction without regard to the subjects social context. In some cases it was believed that the study of the savage, or the uncivilized, could provide insight to the use of the unconscious mind and therefore promote the creation of new art free from institutionalized standards. Anthropologists, sociologists, and psychologists built their theories by studying indigenous tribal groups from Africa, America, and Oceania, and also included Europe peasant population.


In this class we will study Western artists, their philosophies, and pay much attention to their resources and the people whose art greatly influenced dramatic changes in mainstream European and American art movements. The French painter Paul Gauguin, for example, is the most famous of the modern artists who sought out what he believed to be primitive places and people outside of Europe and attempted to become involved in the "primitive" way of life. His interest took him to the Caribbean and later to Tahiti and the Marquesas Islands. We will study the development of his paintings and the use of flat graphic designs and arbitrary colors that contributed to the development of the "primitive" art style. We will look closely at the Oceania cultures he encountered during the latter part of the nineteenth century. Is it possible that his artistic depictions of a tranquil primitive lifestyle are not accurate, since the island and the indigenous peoples had already been invaded and their culture and religion were being destroyed? Our goal in this class will be to unveil the myths of primitivism.


In this course we will learn to look closely, to recognize and describe the forms of things and what they contain. We will develop a critical vocabulary that helps us be clear about these matters in writing, creating, and discussing. We will be looking closely at traditional Western and non-Western categories of philosophy, history, and the visual arts.


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




Credit/Evaluation: Regular class attendance, participation in discussion, completion of one visual art project, regular written assignments leading to a final term paper of approximately 7 pages, and evidence of development of an understanding of the visual arts as they reflect human experience.


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