(CHOOSE ONE SECTION - 4 credits)
Materials Fee: $15.11
Prerequisite: Students must have applied to graduate in Spring 2013 or Summer 2013
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 section
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.).
Helling (4 credits)
Prerequisites: Fair 201a, Fair 203a, Fair 211b (now 311b) or permission of instructor
THIS COURSE MEETS THE SOCIETY AND THE INDIVIDUAL UPPER DIVISION CORE REQUIREMENT.
This is a study of the law of evidence and trials skills such as opening statements, direct and cross-examination, objections, and closing arguments. Legal analysis skills will be stressed in determining which evidence in a case is relevant and how to get the evidence admitted. Effective public presentation skills will be stressed. The final project is having students participate in full mock trials with a jury and judge (every student will serve as an attorney and a witness in different mock trials). In the interest of some friendly competition, we will try to arrange having at some of the mock trials against teams from the Political Science Department.
Texts: to be determined
Requirements: Rigorous reading load. Regular and punctual attendance required (no more than 3 absences if you want to get credit) and students will be expected to come to class having read and briefed the legal cases. Weekly mock trial exercises, and three papers of 4-6 pages of case analysis required.
Tag (4 credits)
Materials Fee: $13.62
Prerequisites:Fair 201a and Fair 202a, and 300-level writing course
THIS COURSE MEETS THE HUMANIITES AND THE EXPRESSIVE ARTS UPPER DIVISION CORE REQUIREMENT.
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 spring'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.
Materials Fee: $course fee to be added
Prerequisites:Fair 206a, 300-level science course or equivalent
This seminar will explore the applications of agroecological principles for promoting sustainable agriculture, agroforestry, and foodways. We will undertake critical examination of ideas and concepts from permaculture, biodynamic and organic farming, and food systems theory, with a goal of identifying how to grow and supply food sustainably. Topics of inquiry include: soil properties and nutrient cycling, polycropping and agrodiversity, applied pest management, landscape ecology, biotechnology, foodshed models, carbon budgets, and organic/ecological certification. Student-led inquiry and field learning are both hallmarks of this course.
Texts: AGROECOLOGY: THE ECOLOGY OF SUSTAINABLE FOOD SYSTEMS, by Stephen Gliessman. Additional readings will be made available electronically.
Credit/Evaluation: As part of the course, students (working both individually and in groups) will be expected to:
1) Research and present one of the principal course themes, in collaboration with the instructor;
2) Research, write and present a case study applying agroecological principles to analyze some aspect of sustainable agriculture, agroforestry, or foodways.
Regular class attendance and informed contribution to discussions, field trips, labs, and guest lectures is essential. Students also are evaluated on their grasp and understanding of the themes and issues presented in the readings, including ecological principles and theoretical concepts.
Materials Fee: $12.44
Prerequisites: previous course in psychology or instructor permission
THIS COURSE MEETS THE SOCIETY AND THE INDIVIDUAL UPPER DIVISION CORE REQUIREMENT.
This course integrates knowledge from different traditions and disciplines to examine what we know about "the self." Drawing from attachment theory, recent advances in neurobiology and from Buddhist traditions that argue against the felt reality of a unitary self, we will examine basic questions. What is the self? How do we think about it, experience it, act on it? What does "identity" mean? Is there any permanence in our self-experience or is it so contextually dependent and so in flux that to talk about identity is to make up a story? What models of the self have guided Western psychology, and how are these models being challenged? For example, current research in cognitive neuroscience and attachment theory argue that the developing brain/mind organizes itself in the context of an emotional relationship with other brain/minds; that the self is fundamentally relational. Rather than being "determined" by our early relationships, the possibility of profound change through healthy connections occurs throughout the lifespan. In this exciting journey, prepare for your basic assumptions about the self to be challenged.
Required Texts: THE NEUROSCIENCE OF HUMAN RELATIONSHIPS: ATTACHMENT AND THE DEVELOPING SOCIAL BRAIN, by Cozolino; THE DEVELOPING MIND: HOW RELATIONSHIPS AND THE BRAIN INTERACT TO SHAPE WHO WE ARE, by Siegel and additional materials from John Bowlby, Philip Shaver and others will be available through Blackboard.
Credit/Evaluation: Regular attendance, informed contribution in class discussions, short essays in response to readings and a final project.
Larner (5 credits)
Materials Fee: $6.89
Prerequisites: Fair 354v, previous 300-level work in scriptwriting in any medium or permission of instructor
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 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 in the Theatre Arts Department, at KUGS Radio, and/or other opportunities in Bellingham and the northwest. 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, DRAMATIST'S TOOLKIT; Robert McKee, STORY. 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. 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