Skip to Main Content

WWU / Fairhaven College of Interdiscipinary Studies

Spring 2014 Courses: 300 Level

21224 | 303A Core: Interdisciplinary Concentration Seminar

Eaton (5 credits)


Materials Fee: $ 7.20

Prerequisites: Fair 101a, Fair 201a, Fair 203a and Fair305a. Required of students in the Interdisciplinary Concentration.

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.


< back to course list | Classfinder

21225 | 305A Writing and Transition Conference

TBD (3 credits)


Prerequisites: Fair 101a and Fair 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 your Fairhaven faculty 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 an orientation meeting early in the quarter: times and meeting location will be sent via email to registered students and posted at Fairhaven College.


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

1) Submit your Writing Portfolio prepared according to specifications to be provided at our orientation and on our class Canvas site.

2) Schedule and conduct a Transition Conference which includes writing and circulating a Transition Conference Statement to your invited participants prior to the conference.

Additional details and instructions will be provided at our orientation and on our class Canvas site.


< back to course list | Classfinder

22239 | 311B The American Legal System

Helling (5 credits)


Materials Fee: $ 11.00

Prerequisites: Fair 203a or Social Science GUR or permission of instructor.



Race and Education

An in-depth look at the American legal system and how it affects individuals and society, with coverage of legal vocabulary, sources of law, the structure of the government, the Supreme Court and the judicial system. We will focus on the structure and evolving nature of the legal system, legal reasoning and the role of courts in government. Case analysis skills will be stressed, including identifying the issue, procedural history, facts, reasoning and holding of each case. We will particularly examine issues of affirmative action in school admissions to explore lines of precedent. Students will also engage in a mock trial.


Required Texts: Class Manual of case readings prepared by Instructor, Law 101 (3d edition) by Jay M. Feinman, Any legal dictionary (Barron’s is recommended)


Credit and Evaluation: No more than THREE absences will be allowed if you want credit for this class. Active and informed class participation will be expected. Assignments will include oral presentations on Supreme Court Justices, weekly case briefs and worksheets, an 8-10 page revised research paper, and satisfactory participation in the mock trial.


< back to course list | Classfinder

23124 | 313D Slave Narratives

Takagi (5 credits)


Prerequisites: Any lower division U.S. history course or AMST 204 or Fair 203a; or permission of instructor



The image of massive cotton fields filled with Black slaves tilling the soil under the watchful eye of an overseer has been indelibly printed on most Americans’ minds as the quintessential Southern slave experience. And given that over three million black American men and women worked and lived on plantations by 1860, this image holds a lot of truth. But as “accurate” as this one-dimensional view of slavery may be, it does not show the complex nature and character of slavery, the social relations that developed within this “peculiar institution,” the strength slave men and women summoned to combat oppression, and the unusual positions that free Black, poor white, and white slave mistresses held within the larger slave society.


These and other elements in the history of the Old South will be examined through the voices of those who lived during the antebellum era. Slave narratives, free Black diaries, and the papers left behind by poor white Southerners and their richer counterparts, will be the primary source of documentation and an important guide to understanding the personal side of a grim era in American history.


Texts: AFRICAN AMERICAN VOICES: THE LIFE CYCLE OF SLAVERY, edited by Steven Mintz (3rd edition) and WOMEN’S SLAVE NARRATIVES (Dover Publication). Works by Solomon Northrup, Martha Colquit (former slaves) and Robert Gould Shaw and Corporal James Henry Gooding, among others will be assigned.


Credit/grade: Regular, punctual attendance, informed participation in class discussions, and 3 (2-page) analyses, 1 rough draft of final paper, and 1 final paper (8 -10) pages long.


< back to course list | Classfinder

21540 | 323G Imaginative Writing II: Illustrated Journal

Cornish (4 credits)


Materials Fee: $ 7.51

Prerequisites: Fair 222g or 222h, creative writing course, or permission of instructor.



But do worms and metaphors belong on the same page? I’ve written some of my best stories about worms --but I keep a different kind of farm journal in addition to my writing journal. No one said I couldn’t have more than one. - David Mas Masumoto


In his notebooks, Charles Darwin recorded the voyage of The Beagle. In his, Raymond Chandler kept a list of San Quentin prison slang. Tucker Shaw set out to photograph everything he ate for a year, and midway through his journal said he could suddenly “see a story in a bagel.” What begins as documentation takes on deeper meaning as the act of writing things down deepens experience itself. Darwin wrote: May 19th These days have glided away very pleasantly, but with nothing particular to mark their passage. What will not habit do? I find my eye wanders idly from the Orange to the Banana, & from it to the Cocoa Nut; whilst I take no more notice than if they were laurel or apple trees. Even the exotic can become ordinary if we fail to observe it as extraordinary, but just what awakens our vision is particular to each one of us. In this most personal of writing genres, we set out to discover not only a new world, but our most intimate relationship with that world, finding the unique language––in pictures and words–– through which we speak to ourselves. The class is writing-intensive. Each student will also create an original handmade and hand-bound book, expanding the written journal with collage, monoprint, buttons, beads, paper, ribbon, sticks, feathers, photographs, etc. We will also read and study the journals of artists, naturalists, poets, travelers, musicians.


Text: to be announced


Credit/Evaluation: Regular attendance and full engagement in class activities, including informed participation in class discussions. Completion and quality of coursework: readings; journal exercises (both written and visual); oral presentation; design and fabrication of the final journal.


< back to course list | Classfinder

22241 | 323H Elements of Style II

Tag (1 credit)


Prerequisites: Fair 223g or permission of instructor.


“Grammar is a piano I play by ear, since I seem to have been out of school the year the rules were mentioned. All I know about grammar is its infinite power. To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed. Many people know about camera angles now, but not so many know about sentences. The arrangement of words matters, and the arrangement you want can be found in the picture in your mind.” —Joan Didion


If you are interested in exercising your sentence-writing muscles, this is the class for you. Why is it that this particular sentence is arranged as it is? Or that the words you are now reading fall into patterns just so? This is a class about sentences: how they work, where they come from, what they do, how to write them. We will explore anything about sentences we can possibly imagine. We will write short, bold sentences. We will write long sentences, sentences that unfold slowly, adding detail after detail, until somewhere in the heart of it all a kind of luminous sense of meaning emerges, as if these long sentences themselves were able to transport us to the very essence of understanding. Hopefully, everyone who takes this class will come out of it confident and experienced at writing a wide range of sentences: simple, complex, pointed, lyrical, playful, clear, sexy, honest, intellectual, delicious, precise. The class will be challenging. Be prepared to train like a runner for a marathon, like a gymnast for a difficult vault, like a curler for a well-thrown stone. Sentences matter. I hope you will join us and discover what pleasures there are in writing, imagining, studying, and exploring the fascinating lives of sentences.




Credit/Evaluation: Faithful attendance. Active participation in all in-class writing exercises and discussions. Quality and completion of weekly writing assignments. Presentation of a final Sentence Extravaganza.


< back to course list | Classfinder

21541 | 330E Ethnobotany

Tuxill (4 credits)


Materials Fee: $ 7.13

Prerequisites: Fair 206a or equivalent



For thousands of years plants have provided humankind with food, medicine, fuel, shelter, and inspiration. This course concerns the science of ethnobotany—the study of interactions between people and plants. We will examine the historical geography of plant use by human societies worldwide, and the many ways that botanical resources continue to contribute to our wellbeing today. Ethnobotanical perspectives on conservation, grassroots development, environmental education, and sustainable living also will be highlighted. During the course we will gain practical skills for identifying and utilizing the Pacific Northwest flora, and put our skills to work on an applied research project.


Texts: Jim Pojar and Andy MacKinnon, PLANTS OF THE PACIFIC NORTHWEST COAST; Ronald J. Taylor, NORTHWEST WEEDS. Other required readings will consist of journal articles, book chapters, and essays made available electronically.


Credit/Evaluation: As part of the course, students will be expected to:

1) Prepare a collection of at least 20 plant specimens, including identification and documentation of uses for each plant collected.

2) Research and write a case study of ethnobotanical knowledge and its practical applications, based on either an in-depth interview or library research.

3) Give a brief class presentation about an ethnobotanically significant plant species.

4) Contribute to a collaborative class field project aimed at documenting and interpreting ethnobotanical information about the native and cultivated Northwest flora. Regular class attendance and informed contribution to discussions is essential. Students also will be evaluated on their grasp and understanding of the themes and issues presented in the readings, including the foundations of plant identification and the ethical aspects of ethnobotanical research and plant use.


< back to course list | Classfinder

23150 | 334B Transitional Justice

Akinrinade (4 credits)


Materials Fee: $ 16.15

Prerequisites: Fair 203a



The 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 country 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.


Texts: Peace and Justice : Seeking Accountability after War, by Kerr & Mobekk


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. A final portfolio containing all written work by the student is also required at the end of the quarter.


< back to course list | Classfinder

23337 | 334H Human Rights in Africa

Akinrinade (5 credits)


Materials Fee: $ tba

Prerequisites: Fair 203a or Fair 334c or Social Science GUR course or instructor permission.



This course examines the state and contemporary practice of human rights in Africa. It reviews efforts aimed at human rights promotion and protection, in the context of colonialism and neo-colonialism, apartheid, the authoritarianism of the post-colonial African State and recent health challenges that threaten the welfare and dignity of individual Africans. It aims to develop awareness of the varying context of human rights violations in Africa. Topics to be covered include the role of the African Charter on Human and Peoples’ Rights; human rights and democracy; the NEPAD initiative and prospects for greater human rights protection; economic, social, and cultural rights; the public health challenge -- HIV/AIDS, malaria and other diseases; human rights of women, children, and other vulnerable groups (migrants, refugees, internally displaced persons); human rights and armed conflict in Africa; challenges to and future prospects for human rights in Africa. This course situates Africa in the global human rights movement and enhances understanding of human rights laws, policies, and practices.




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. A final portfolio containing all written work by the student is also required at the end of the quarter.


< back to course list | Classfinder

23342 | 334P Field Studies in Science: Ornithology

Bower (5 credits)


Materials Fee: $ tba

Prerequisites: Fair 206a



The primary focus of this course will be to learn to identify the resident and migratory land and water birds that are common to northwestern Washington and to conduct a collaborative scientific study of avian ecology or animal behavior. Seminar classes will be devoted to learning field identification, including visual and acoustic characteristics of about 50 species of birds, as well as work devoted to field research such as developing protocols, analyzing data, and reporting field study results. In the field, students will work in small groups to conduct student-designed field studies to address a particular question in avian ecology or animal behavior.


The early part of the course will focus on learning to identify the birds and designing studies. The middle part of the course will be devoted to fieldwork, while the final part of the course will focus on data analysis, writing a scientific paper based on field study findings, and presenting field studies to other students.


Texts: David Sibley: SIBLEY FIELD GUIDE TO THE BIRDS OF WESTERN NORTH AMERICA. Additional readings will be made available.


Requirements for credits and criteria for evaluation: Working to learn identification of 50 or so species that are common in spring. Participation in class discussions, study design, fieldwork, data analysis, and the writing of the results of field studies.


< back to course list | Classfinder

23415 | 334P Field Studies in Science: Botanical Inventory

Tuxill (5 credits)


Materials Fee: $ tba

Prerequisites: Fair 206a



The primary focus of this course will be to conduct a botanical inventory of a local natural area through a quarter-long scientific investigation into the diversity and abundance of the plants present at the site. The early part of the course will focus on the study’s conceptual design and field-testing appropriate inventory methods. We will also work on the scientific skills needed to do the study, including plant identification (including making a pressed plant collection), characterization of ecological communities, and field sampling and mapping. During the middle third of the quarter, we will conduct our study in the target natural area. We will use standard field ecology techniques to identify the plant species present and to document their distribution and abundance. In the latter part of the course, we will prepare a formal report on our findings, with the goal being to make it of publishable quality. Note: the Friday field component of this class will be taught jointly with Fair 334P Field Studies in Science: Ornithology (CRN 23342). Enrollment in both classes is encouraged but not required.


Texts: Jim Polar and Andy MacKinnon: PLANTS OF THE PACIFIC NORTHWEST COAST. J.E. Brower, J.H. Zar, and C.N. von Ende: FIELD AND LABORATORY METHODS FOR GENERAL ECOLOGY. Additional readings will be available in the Fairhaven library. Recommended: A compass sufficient for map work and navigation (about $20 - specific model will be recommended in class).


Credit/Evaluation: Demonstration of ability to document and identify plants of the Pacific Northwest; ability to design and implement an ecological field inventory; and navigational, map reading and map making skills. Participation in the development of a class pressed plant collection. Participation in study design, fieldwork, data analysis, and the writing of our report on the distribution and abundance of plants at our study site.


< back to course list | Classfinder

21542 | 335N Visioning Sustainable Futures

Bornzin (5 credits)


Materials Fee: $ 11.45

Prerequisites: Fair 201a or Eng 101 and previous course work/experience in sociopolitical/environmental issues from sociopolitical perspective. THIS COURSE MEETS THE UPPER-DIVISION SCIENCE AND OUR PLACE ON THE PLANET CORE REQUIREMENT.


In his Foreword to the book THE IMAGE OF THE FUTURE by Fred Polak, futurist/economist Kenneth Boulding writes: "The image of the the key to all choice-oriented behavior. The general character and quality of the images of the future which prevail in a society is therefore the most important clue to its overall dynamics. The individual's image of the future is likewise the most significant determinant of...personal behavior.


In the 21st century--as nations contend for power and resources, as individuals consume and discard, as new technologies amplify human power to kill people, annihilate species, and degrade the planet at unprecedented rates--who is stopping to ask the question: what images of the future are driving the pathological, self-destructive behavior so prevalent in today's world? And where in the public discourse are the alternative visions of a healthy, just, and sustainable future? What does such a world look like? Is such a world possible? Amid the many factors that divide humans into bickering factions of race, nationality, ethnicity, religion, politics, and power--can we, individually and collectively, begin to uncover, create, and share compelling stories and visions of a positive future that can inspire people to come together to solve the problems of our times? Can visioning healthy sustainable futures help replace fear with hope, apathy with vitality, despair with dedication? In this class we challenge one another to dream big--radical, idealistic and realistic--to transcend our habitual reliance on facile cliches, short-term remedies and technological fixes. We challenge one another to re-invent or reshape the various systems of human society, and to seek visions which respect and support the life and health of people in all their rich diversity as well as the other animals and plants that share this planet with us. Task groups within the class may focus on particular realms such as food, housing, land use, energy, health care, transportation, education, political structure, economic and legal systems, family and interpersonal relationships, relations with the rest of the world, philosophical foundations, etc., according to student interests.




Credit/Evaluation: Students are expected to attend regularly, to engage the assigned readings, to participate actively in class discussions, to think seriously about, develop, and imaginatively articulate their own visions of a sustainable future in a five to ten page paper; to participate in a task group, researching and reporting to the class some particular aspect of their future vision. Passion, commitment, openness, and a willingness to share and support others will be valuable assets in creating an exciting and visionary learning community.


< back to course list | Classfinder

23525 | 336B Topics in Social Issues: Psychology of Media

Lippman (4 credits)


Materials Fee: $ 13.73

Prerequisites: Fair 203a or equivalent



This course will explore the complex and far-reaching culture of technology, visual and social media and their impact on child and adolescent development. From a holistic, integrated perspective merging developmental theory, anthropology and media studies, we will examine how young people interact with and experience technology as well as how media functions as a key agent of socialization and enculturation (hence, development). We will look at how the media and technology shape behaviors, values, attitudes, stereotypes, eating habits, family dynamics, communication patterns, self-concept, consumption patterns, etc.


Topical areas to be explored:

• The co-option of childhood via our fast-paced, media saturated world (the call for a return to the power of play, cognitive development and play, ‘helicopter’ parents, Nature Deficit Disorder, etc.).

• The impacts of media consumption on cognitive development, creativity and expression, inter-personal communications, etc. (impact of hyper stimulation on brain development, etc.)

• The connections between the consumption of media violence and violent/aggressive behaviors in children

• Examination of social media and its impact on parenting (ability to monitor behavior, etc.), communication, identity expression, dating patterns, and development, etc. We will also explore the issue of social media and bullying, as well as social media as an agent of expression and catalyst for social change and expression

• Exploration of how media images and messages impact identity development, self-esteem, and self-concept. We will look at the construction of masculinity and femininity in the media and how this translates to cultural expectations of gender norms, gender dynamics, etc. This will include discussion of disorders that are casually related to social messages e.g. anorexia and bulimia and depression.

• Impact of consumption patterns and sold values on national culture and individual well-being.

• We will explore these issues from a cross-cultural and global perspective.


This course will include a service learning component. We will be partnering with Bellingham Public Schools to develop and deliver a media/technology literacy and education workshop to both elementary and high school students.


Texts: TBA. Supplementary readings will be provided via Canvas.


Credit/Evaluation: Evaluation will take into account attendance of class sessions, active, prepared engagement in class discussions, activities and other in-class work. Students will demonstrate an understanding of course materials and topics, as well as the ability to integrate and apply concepts and perspectives. Students will participate in reflective/reaction writing on individual blogs, will help lead and facilitate seminar discussions, and will help develop and deliver a media/technology literacy and education workshop to local elementary or high school students. Most preparation for this workshop will be done in class. The timing of the delivery of the workshop will be arranged during the quarter.


< back to course list | Classfinder

23574 | 336M Topics in Music & Society: DIY & the New Music Business

Sehman(4 credits)


Materials Fee: $12.00



The DIY Musician and the New Music Business What are the implications of giving away your music for an email address, Facebook “like” or Tweet? Is this new digital currency a viable model for selling and promoting music, or a self-imposed devaluation of one’s art?


The music business has undergone staggering changes over the last 15 years. Funding, production, promotion and distribution have become the artist’s responsibility. While this has democratized music making in exciting ways, there is no question that the creative process has been drastically altered.


This course will begin with an examination of some traditional aspects of the music business, such as copyright, royalties, distribution, licensing, publishing and record deals. We will follow that with an extensive study of the new DIY music business. We will look at the practical methods required by today’s musician, including engaging with a fanbase, creating a powerful digital presence, self-promotion, and designing a successful crowd funding campaign.


We will also examine the complex social and artistic issues that are a result of the changes in the music business, such as the potential tolls created by DIY music making on the often fragile creative process.



1) Digital Development Project

Students will participate in a quarter-long project of developing and releasing one of the practical tools we examine. This might include:

Creating a social media presence

Releasing and promoting a single online

Designing a crowd funding campaign

Booking and promoting a gig

Finding and tracking fans using social media and Google Analytics


Students can use actual music or bands they are involved with as material, or create “release-ready” tools for future use. Throughout the quarter, we will release our projects into the digital realm and share the ongoing experience with classmates.


2) There will be weekly readings and online viewings, and occasional writing assignments (including précis, in-class free writing, and a short paper detailing your digital development project.)


Texts: 1) Required: Get More Fans: The DIY Guide to the New Music Business, by Jesse Cannon 2) Optional: All You Need to Know About the Music Business, 8th edition, by Donald Passman 3) We will also reference a number of online resources (to be determined in class)


Credit/Evaluation: Students will be expected to complete weekly readings, viewings and writing assignments, and actively participate in class discussions that arise from them. Each student will also be asked to lead discussion at least once during the quarter.


All students are welcome to participate in this course, whether you are an active musician or are simply interested in the state of the current music business.


< back to course list | Classfinder

23406 | 336N Topics in Science: Wild Foods

Hahn (4 credits)


Materials Fee: $15.00

Prerequisites: FAIR 206a or equivalent.



For thousands of years the First Nations of the northwest, including the Coast Salish, ate via a “seasonal round” from the bountiful shellfish, salmon, camas, berries, seaweed, and greens they foraged and traded throughout this area. What were these foods? Where did they grow? How did they contribute to the culture and ecology of the area, as well as human health? How were they managed for sustainability? What ethics did people apply to gathering, processing and eating food?


In this course we will explore and study northwest wild foods across time, cultures, and ecosystems within a 100-mile range of Bellingham, Washington. Our study area will encompass the Salish Sea to the Cascade mountain crest. We will learn to identify, sustainably forage, process and prepare wild foods with a modern twist, via readings, field trips, guest speakers, hands-on projects and presentations, research, and the preparation of a feast celebrating the foods we have studied.


We will also look at native food culture against the backdrop of European settlement and farming. How did two cultures—Indigenous and European--interface and impact one another? What factors have contributed to the loss of Indigenous food wisdom over the last 150 years? Today, many wild foods are also threatened due to the introduction of invasive species and loss of traditional ecological knowledge of how to use these foods. How can we imagine a modern food culture that incorporates sustainable wild foods? How might the traditional ecological knowledge of indigenous people apply to how we manage our “foodshed” today?


Texts: Handouts, on-line papers, and the following texts: “THE EARTH’S BLANKET: Traditional Teachings for Sustainable Living by Nancy J. Turner, University of Washington Press; “PACIFIC FEAST: A Cook’s Guide to Coastal Foraging and Cuisine” by Jennifer Hahn, Mountaineers/Skipstone Press, Fall 2010. FOOD PLANTS of COASTAL FIRST PEOPLES by Nancy J. Turner, UBC Press.


Credit/Evaluation: Students are required to participate in class discussions and have regular class attendance; to participate in three field trips (two of these are 1-day trips on a weekend); to write 4-5 critical reading journal papers based on our readings/guest lectures; to complete two hands-on projects—A) a wild food harvesting/cooking project (eg., gathering /processing nettles for nettle pesto and sharing with class) and B) build and use a traditional pitfire for roasting root vegetables and salmon with the group; and to research and write a 10-15 page verbatim research papers on a wild food species; to present a “Final Project” based on the latter research (past projects include writing a children’s book on nettles; creating wild harvesting songs for kids; designing an interactive computer model for state parks on wild food; designing seaweed ID/harvesting cards, etc) Details on assignments will be given in class.


< back to course list | Classfinder

23159 | 336N Topics in Science: Nutrition

Schwandt (4 credits)


Materials Fee: $ tba

Prerequisites: Fair 206a or equivalent



In the first phase of this course we will cover the biology of nutrition and work as a learning community to answer the following questions: What happens inside our bodies when we eat food? How do our bodies break down food and use the nutrients from the food we eat for energy and growth? What types of nutrients do we need? Why does this differ by country/culture? How much of each nutrient do we need? Where does each essential vitamin and mineral come from? Why do our bodies need essential vitamins and minerals? Can vitamin or mineral supplements meet our nutritional needs as well as the naturally occurring forms?


In the second phase of the course we will build on our understanding of nutrition and discuss various types of malnutrition, such as: starvation, eating disorders, and obesity; as well as a variety of metabolic disorders and food allergies. In this class we will always include a discussion on the impact of diet on health with every topic covered. We will also explore inequities in nutrition – why they might exist and what types of programs have been piloted to address the inequities.


Text: Walter C. Willett, EAT, DRINK, AND BE HEALTHY (Free Press, USA, New York, 2001); Carol Ann Rinzler, NUTRITION FOR DUMMIES (Wiley Publishing, Inc., New Jersey, 2011)


Credit/Evaluation: Students will be evaluated on their attendance, preparation for - via reading reflections, and participation in course discussions. Students will work in small groups on a nutrition service learning project with a local or international community. Assignments related to the group service learning projects include a group project proposal, paper (1500 words), and presentation. Finally, each student will work independently on a research presentation and two drafts of a research paper (1500 words) detailing a popular diet, outlining the pros and cons of the diet based on what we learn about good nutrition, as well as the demographics of the people who are drawn to the diet – and who isn’t and why there might be a difference between who is on the diet and who isn’t. Students can choose to try the diet throughout the course to augment their knowledge of, and experience with, the diet if they choose to do so – but this is not a requirement.


< back to course list | Classfinder

23405 | 336V Topics in Art: Performance Activism

Robinson (4 credits)


Materials Fee: $ 17.17

Prerequisites: Fair 202a or equivalent



"We're learning so much about corruption, environmental degradation, and social injustice. What I want to know is: what can I do to change it?" — Overheard in the halls of Fairhaven College


I always took for granted that the best art was political and was revolutionary. It doesn’t mean that art has an agenda or a politics to argue; it means the questions being raised are explorations into kinds of anarchy, kinds of change, identifying errors, flaws, vulnerabilities in systems.” – Tony Morrison



This course is designed to apply your collective inspirations and non-linear imaginations through artistic agency to the issues you want to help transform: educational corporatization, race and gender discrimination, genetic engineering of food, privatization of water, immigration laws, environmental policy-making, globalization, climate change, and more.


In the spirit of such radical artists and activists as Vermont’s Bread & Puppet Theatre; philosopher and community organizer Grace Lee Boggs; spoken word performance artists Andrea Gibson, Paul Flores, and Saul Williams; Brazil’s late theatre activist, Augusto Boal; activist and playwright, Eve Ensler (Vagina Monologues and One Billion Rising); Artist Lily Yeh and Barefoot Artists; and many others, we will embark on a journey to discover just how far-reaching and powerful the arm of the artist truly is.


Our tools for transformation will morph and mix according to our projects and passions. We have an opportunity to raise awareness about poverty and homelessness through dance and theatre; address gender discrimination through visual art installations and music; speak out against domestic violence through poetry and video; work side-by-side with youth and elders to reconnect community through storytelling, mural making, and interviews. Each week we'll pair up and go out on creative activist assignments, while simultaneously working on a large-scale group collaboration to wrap up the quarter.




Selected excerpts, interviews, essays, and TED-talks: Pussy Riot, Grace Lee Boggs, Tony Kushner, Augusto Boal, Terry Tempest Williams, and Anne Bogart.


Plays and Films: The Corporation, The Future of Food, The Vagina Monologues, Aristophanes’ Lysistrata; A Woman’s Translation, The Cradle Will Rock, Sicko, and others.


Credit/Evaluation: This is a highly active and rigorous class meant for students who are serious and passionate about exploring and applying their art to help heal social and environmental brokenness. Fully engaged participation in the collaborative artistic process is essential. Students will be required to turn in a comprehensive activity journal, read texts, and submit written assignments. Each student must collaborate fully in the group final project, as well as creatively participate in each weekly artistic assignment.


< back to course list | Classfinder

23527 | 336V Topics in Art: Artists & Climate Change

Goldman (4 credits)


Materials Fee: $ 17.17

Prerequisites: Fair 202a or equivalent



The inescapable reality of our changing climate will have a significant impact on how we organize ourselves in societies, what resources we exploit and how we respect and honor each other in a world where increased interconnectedness has collapsed the traditional six degrees of separation into one. Nowhere is this more apparent than in the Arctic where warming temperatures are displacing entire ecosystems and changing local populations’ way of life.


In this course we will look at the many examples of artists from around the world who have focused their creative work to address the undeniable facts of our planets changing climate. This inescapable reality will have a significant impact on how we organize ourselves in societies, what resources we exploit and how we respect and honor each other. More than ever before we are becoming acutely aware of our interconnectedness; as the ice melts our planet warms, our crops fail, our food systems suffer, tidelines rise, rivers run dry, tropical storms intensify. Although there is a wealth of scientific data to explain these many disruptions, we still lack narratives and images that can help us organize these facts into stories of personal significance. Only when we begin to see how relevant this chapter in human history is to our own futures can we possibly redirect this chaotic moment into an opportunity for growth and cultural transformation.


Students will be introduced to many of the international artists who are working in different media on the topic of climate change. There will be several readings, films, videos and possible field trips to see actual installations. Students will also be assigned a partner to collaborate on a visual project that addresses issues of climate change. This could involve any number of media choices but must be within the realm of the students experience and availability. This project will be presented in an exhibition or temporary installation. Students will also write a paper/statement regarding the project.


Students will be expected to develop their ability to think analytically and demonstrate perceptive reading and writing skills. Participation in all assigned readings, journals and class discussion is required and essential.


Credit/Evaluation: Credit is based upon REGULAR PUNCTUAL attendance, active informed participation in class discussions, understanding of the material covered in class and timely completion of all studio projects, readings and writing assignments.


< back to course list | Classfinder

23411 | 336V Topics in Art: Drawing Nature

S'eiltin (4 credits)


This course introduces the historical and contemporary use of nature as a source for artistic inspiration. Students will develop drawing ideas based on observation of natural phenomena and understanding of cultural and social significance of nature. Through the exploration of specific subjects (the human body, botanical studies, landscape forms and weather) students will learn to integrate forms and content in drawing. Design principles such as scale, form, value and color theory will be emphasized. In addition to traditional drawing, students will be encouraged to use of a wide variety of mediums and experimental techniques.


Students will complete 5 finished drawings, related art statements, 20 preliminary sketches and 50 exploratory entries in a journal/sketchbook. Students will be evaluated on the timely completion of all assignments, attendance, participation in class critiques, workshops and discussions. Students must maintain a strong commitment to their creative endeavors throughout the quarter.


< back to course list | Classfinder

22233 | 341R Psychology of Mindfulness and Well-being

Jack (5 credits)


Prerequisites: Fair 203a and psychology related course or instructor permission.



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.


< back to course list | Classfinder

23151 | 343R Death and Dying

Eaton (5 credits)


Materials Fee: $ 14.49



“What you call to die is to finish dying and what you call birth is the beginning of death and what you call to live is dying and you go on living.” Death - speaking in Francisco de Quevedo’s Sueños y discursos (Dreams and Discourses) 1627.


All living things die. This event, and our varied human responses to it, will be examined from many different vantage points: literature, art, music, medicine, psychology, religion, culture, philosophy. The course is a “survey,” as any one of these approaches could more than fill our time. The inevitability of bereavement and loss, the denial and certainty of our own death, provide the coherence to this study. We will explore emotional and rational languages, subjective and objective realities of the ways people in the western world have made sense of death and dying. Although we will focus primarily on western, and specifically North American practices, we also will look cross-culturally to provide avenues for contrast and methods to evaluate and critique our own practices and beliefs. We will discuss contemporary issues such as the management of death by funeral and health care industries, legal, ethical and policy issues, and the psychology of bereavement.



This course will help students:

Identify and assess the field of thanatology from the perspective of various disciplines. Demonstrate an understanding of how dying and death are incorporated into and given meaning within social contexts.

Learn the terminology and language that are critical to the study of dying and death.

Explore and synthesize critical issues relative to such important dilemmas as defining “death” in a technological society.

Assess the impact of religion, culture, race/ethnicity and socioeconomic status on perceptions and practices related to dying and death.


Texts: Plato, THE LAST DAYS OF SOCRATES (on Canvas), Sherwin B. Nuland, HOW WE DIE; Leo Tolstoy, THE DEATH OF IVAN ILLYCH (on Canvas); Rebecca Brown, GIFTS OF THE BODY; THE TRUE WORK OF DYING, A PRACTICAL AND COMPASSIONATE GUIDE TO EASING THE DYING PROCESS (on Canvas), Jan Selliken Bernard and Miriam Schneider and other readings on Canvas.


Credit/Evaluation: Required readings, weekly written assignments (study questions and Quote Dialogues) and class exercises: You are expected to be prepared with the common readings, weekly written and/or in-class assignments and exercises, and to participate in informed discussions. A Book of Questions and a final term project on a topic of your choice related to death and dying.


< back to course list | Classfinder

23404 | 343U Advanced Topics in Mind & Body: The Learning Body

Nichols (4 credits)


Materials Fee: $ 15.47

Prerequisites: Fair201a


“…rather than a mind and a body, man is a mind with a body, a being who can only get to the truth of things because its body is, as it were, embedded in those things.” Merleu-Ponty


Traditional approaches to learning make the assumption that the body is a passive participant in learning and knowledge acquisition. The body becomes passive in the role of learning when the very pedagogical design of education is focused on the learner as a brain or mind only; the person as existing above the neck. This class will challenge this assumption and foster understanding of how mind and body work together in learning. Through an interdisciplinary approach we will investigate a wide range of research and pedagogical designs that challenge what is commonly known as mind body-dualism. One of the greatest fallacies of the mind-body dualism is that learning is inherently done within the isolation of the individual mind, yet bodies are innately relational, social, and embedded within social expectations and situational contexts. This class will include experiential learning to focus on embodied learning the design of embodied pedagogy. Central to our inquiry will be the following questions: how does embodiment play a role in learning, thinking, and knowledge acquisition? What does embodiment have to do with learning about empathy and learning how to relate to others? In what ways does the brain respond to feelings of safety or threat within learning environments and how does this impact learning?


Texts: EDUCATION AND THE SIGNIFICANCE OF LIFE by J. Krishnamurti and A series of journal articles posted on Canvas.


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


< back to course list | Classfinder

23411 | 357V Topics in Studio Art II: Textile Sculpture

S'eiltin (4 credits)


Materials Fee: $ tba

Prerequisites: Fair 202a and previous experience in studio art or permission of instructor


Contemporary sculptures, constructed from textile, defy categorization as it challenges former definitions of craft and fine art. Today artists use silk fabric, plastic panels, and human hair, for example to create large installations as well as small intimate objects. In this class students will be encouraged create three-dimensional objects, as well as consider the possibilities of altering a given space with the use of textiles and other media. Students will build a context for this genre through the research, exploration and presentation of well-known artists who have revolutionized textile arts.


No text required


Students will be encouraged to take creative risks with the construction and design of their projects. Successful projects will reflect their understanding of class exercises and lessons of design principles. Students will be evaluated on their timely completion of every project, their ability take creative risks as well as their efforts and genuine commitment to all class activities and assignment.


< back to course list | Classfinder

23531 | 367B Issues in Political Economics: Economics Exclusions

O'Murchu(5 credits)


Materials Fee: $ 7.50

Prerequisites: Fair 203a or permission



Prereqs: FAIR 203A

Please note: that those with a prior course in economics or political economy will be at a significant advantage in this class. Please contact the instructor ( if you are uncertain about your preparation for this course.


Why is the United States the most unequal country among the world’s rich democracies? More specifically, what institutions and public policies reproduce high levels of inequality and categorical divisions among classes, “races,” and genders in the United States? This course compares the answers developed in four different disciplines – sociology, economics and political economy, political science, and anthropology – to assess how the answers offered in different fields compete with, or complement each other.


How does sociologist, Doug Massey, use neuropsychology, history and political economy, to explain the institutionalization of categorical inequalities by “race”, class, and gender? How do race, class and gender interact with each other in a system of categorical stratification? How do neoclassical economists and political economists compete to explain racial and gender inequalities? Why do mainstream economists focus on individual attributes and decisions, while political economists focus on segmented labor markets? By contrast, why do political scientists focus primarily on political institutions and government policies to explain the persistence of racial divisions in the American polity? Lastly, what does the ethnographic approach of medical anthropology teach us about the impacts of racial stratification on migrants’ health and bodies? Finally, we examine what public policies and political strategies could begin to dismantle the deeply entrenched system of categorical inequalities in the American political economy.


Texts: Douglas Massey, Categorically Unequal: The American Stratification System (NY: Russell Sage, 2007); Randy Albelda and Robert Drago, Unlevel Playing Fields: Understanding Wage Inequality and Discrimination (Boston: Dollars and Sense, 2013; 4th ed); Desmond S. King & Rogers Smith, Still a House Divided: Race and Politics in Obama’s America, (Princeton: Princeton, 2011 (pb 2013)); and Seth Holmes, Fresh Fruit, Broken Bodies: Migrant Farmworkers in the United States (Berkeley: California, 2013).


Requirements for Credit: Faithful attendance, preparation and attendance; 4 short book reviews of our required texts; and a quarter long final project. Final project options include but are not limited to: research paper; bibliographic essay; extended book review; ethnographic study; or a community based project combined with a theoretical reflection.


< back to course list | Classfinder

21543 | 370H Audio Recording II

Fish (4 credits)


Materials Fee: $ 77.21

Prerequisites: Fair 270h or permission of instructor


Audio Recording II takes the concepts introduced in Fair 270h, 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: THE RECORDING ENGINEER'S HANDBOOK (2nd edition) by Owsinski


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.


< back to course list | Classfinder

21544 | 370P Introduction to Pro Tools

Fish (2 credits)


Materials Fee: $ 43.82

Prerequisites: Fair 370h or permission of instructor


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.


< back to course list | Classfinder

21545 | 370Q Pro Tools HD Recording

Fish (2 credits)


Materials Fee: $ $43.82

Prerequisites: Fair 370p


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.


< back to course list | Classfinder

23426 | 372F Race-Society in Latino/a Caribbean

Estrada (5 credits)


Prerequisites: One of Anth 101, Anth 104, Anth 201, Fair 201a, Fair 203a, Amst 203 or Hist 273.



Populations from the Spanish-speaking sectors of the Caribbean Basin (Cuba, Puerto Rico, The Dominican Republic) constitute one of the fastest growing populations within the United States. In conjunction with existing Latino communities and immigrants coming from Mexico and other parts of Latin America they are literally transforming and rejuvenating many U.S. communities.


Increasingly, the Caribbean is becoming a critical area of study and interest to researchers, academicians, theorists and others who wish to understand the growing nexus between the Latino Caribbean and U.S. Society. The appointment of the first Puerto Rican supreme court justice of the United States, recent overtures to the government Cuba, the U.N. enactment of a special commission on Haitian affairs led by former-President Clinton and the expansion of political and economic ties with the Dominican Republic and Cuba promoted by the Obama administration have all prompted a greater awareness of the hemispheric linkages and co-dependency between the United States and the Caribbean.


The class is intended to look at many of the aforementioned issues and place them within the cultural and historical context of U.S./Caribbean relations. Themes included within the class will focus on: history of the region, immigration, U.S. hegemonic politics and the Caribbean, social/racial stratification within the Caribbean, cultural syncretism, the role of women within the workplace and the economy as well as national /regional identity.




Credit/Evaluation: Credit will be granted for regular attendance, evidence of preparation, satisfactory completion of 2-3 written perspective papers in addition to a group term project and class group presentation. Criteria for evaluation include informed and active engagement in class discussions; informative, relevant group presentation and a term project paper that illustrates a sound grasp of the socio-historical dynamics of the Latin Caribe region.


< back to course list | Classfinder

23528 |374B Cultural Creation of Identity

Montoya-Lewis (5 credit)


Prerequisites: 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 Grace of Silence by Michelle Norris. There may be additional texts. There will be additional, substantial readings provided 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 assigned.


< back to course list | Classfinder

23715 |375P Poverty in the United States

Gale/Tag/Velez (4 credit)


Prerequisites: FAIR 203 or Permission from the instructor


This is a student taught class taught by Senior, Troi Gale and supervised by Dr. Stan Tag and Dr. Veronica Velez.


This course will explore poverty thru a lens of peoples histories as well as theory. There will be a community based service learning component to this course where you must work hands on in the community within an aid agency/organization. We shall strive to bridge the theory and the experience of working with and for peoples and their histories. There will be many hands-on class exercises, workshops, and learning experiences throughout the quarter designed to provoke thought, discussion, and debate. This space is also intended to generate discussion on personal experience and first hand narratives.


This course is designed to make you think about the societal/social, political, economic, and governmental constructs of poverty. What is poverty? How do we measure poverty? How do people end up living in poverty? Should individuals living in poverty be offered forms of assistance? What role do various institutions play in perpetuating class stratification? What role do social interactions play in poverty? Who are the faces of people living in poverty? What resources are out there? What should be developed to empower individuals living in poverty?


While this class will have plenty of reading, much of the homework will allow you to explore yourself and the perceptions you have. Be ready to navigate some sticky fields and emotionally draining issues, while also feeling empowered to work with individuals experiencing poverty and create resources.


Texts: Stephen Pimpare’s: A People’s History of Poverty in America is the required text. We will also supplement readings of various articles and essays on poverty. We will also take a look at personal narratives from those who live or have lived in poverty within our community. Additional materials, such as sociological studies and documentaries will be watched/read and analyzed.


< back to course list | Classfinder

23162 | 381G Topics in Literature: Artistic Process of Filmmaking

Larner (4 credit)


The Artistic Process of Filmmaking—Imagining a story in Film and Envisioning (Planning) the Film that Follows: Screenplays and Films.


Materials Fee: $ 14.49


Do you love movies? Do you want to make films? Have you ever taken a story and imagined it for film? Can you create a film theatre in your head, seeing movies vividly in your mind as you read the script? Can you take that leap of visual, auditory, narrative, and dramatic imagination without the help of directors, producers, camera people, and editors? How does one “see” a film? How do writers conceive of the action they are writing, the look and feel of that action, the narrative/dramatic contour of the scene, and the personalities of the characters in action? If we can learn to do that as readers, our lives as writers, actors, critics, filmmakers, dramatists, or just people who love film, will be deeply enhanced.


Our work begins with learning to read a variety of screenplays from a mixture of times and places, and learning to talk about them. We will work hard to understand the basic conventions of film form and film sense (apologies to Sergei Eisenstein). When we see the film that was made from that script, we will be intensively engaged in comparing our visions to those of the writers, directors, designers, actors, producers and editors who made the film.


In addition to our readings, we may agree to attend one or more films screened in town. Students will do several short writings on the screenplays we read, and a final project will be required. This could be a paper. It could also be a variety of artistic projects: for example, a cooperative project in which a team invents or adapts a story, then writes it and creates a production plan for the film.


We count on students who want to be members of a learning community, so faithful attendance, reliable and timely preparation of assignments for class, and a willingness to share one’s perceptions, understandings, and arguments with others in class are all expected.


Texts: A variety of published screenplays will be assigned. Some past examples and current possibilities: AMERICAN BEAUTY, by Alan Ball; PULP FICTION, by Quentin Tarantino; GOOD WILL HUNTING, by Matt Damon and Ben Afleck; SHAKESPEARE IN LOVE, by Marc Norman and Tom Stoppard; CHINATOWN, by Robert Towne; THE PIANO, by Jane Campion; Inception, by Christopher Nolan; LINCOLN, by Tony Kushner; CITIZEN KANE, by Herman J. Mankiewicz and Orson Welles; MICHAEL COLLINS, by Neil Jordan. Many more may be considered, and student suggestions are welcome.


< back to course list | Classfinder

23341| 384J Writing Nature

Tag (5 credit)


Materials Fee: $ 15.11

Prerequisites: Fair 201a or instructor permission



“The earth is not a mere fragment of dead history, stratum upon stratum like the leaves of a book, to be studied by geologists and antiquaries chiefly, but living poetry like the leaves of a tree, which precede flowers and fruit—not a fossil earth, but a living earth.”—Henry Thoreau


We will explore the writing of nature, the nature of writing, nature's ways of writing, the writer's nature, the literary genre of nature writing, and what it means to be creatures of nature who write. The paths we will follow (or make) will be shaped by our readings, our writing, our discussions, our field excursions, and the continued presence of oxygen, water, earth, and sunlight (without which no course, nor university for that matter, would be possible). This is primarily a writing course, but each of you may also "write" nature through other mediums: drawing, painting, mapmaking, collecting, photography, song, recording, walking, and perhaps even cooking and eating. The point is to experiment with what it means to write nature, and to explore the limitations and illuminations other mediums bring to language and words.


THE TREE, by Fowles; THE JOURNAL 1837-1861, by Thoreau; WAVE, by Deraniyagala; WE THE ANIMALS, by Torres; GEOGRAPHIES OF A LOVER, by de Leeuw.


Credit / Evaluation: Attendance and presence. Completion of weekly writing assignments, as well as a short story, a collection of poems, a personal essay, and a final project.


< back to course list | Classfinder

23408 | 386E Topics in Humanities: Documentary Film

Badgley (4 credit)


Materials Fee: $ 14.30

Prerequisites: Fair 202a or equivalent


Documentary film has absolutely exploded in terms of popularity and pervasiveness within mass media over the last half-century. The genre that started with the straight educational style documentary film now includes as many styles and variations on the original concept as there are directors. This Class examines pivotal directors of documentary film with a keen eye out for their contribution to the art form as well as the representations of their personal philosophies found in their films.


Texts: Films will be viewed in class and assigned readings are to be completed outside of class time.


Credit/Evaluation: Award of credit will be based on participation in group discussions held in class as well as completion of a one page paper for each film covered in the course. Films will be viewed in class and readings will be completed outside of class time.


< back to course list | Classfinder

23551 | 386E Topics in Humanities: Writing Arguments

Helling (4 credit)


Required Text Writing Arguments, 9th edition, by John Ramage, John Bean and June Johnson


It is through writing arguments that we refine our own views, test their validity, and share our views with others. Thus, the ability to write arguments—to identify claims, evaluate evidence, and support conclusions—is a cornerstone of an undergraduate liberal arts education.


This class is designed to serve as an introduction to constructing and writing arguments, including mastering the standards for an academic research paper. At the conclusion of the class, the student will have completed a 10-15 page revised research paper on a topic of their choice, and should have the ability to start, research, and structure papers in upper-level classes to effectively convey their reasoned and well-supported position. We will engage in peer review, individual conferences, and frequent writing exercises.


We welcome those with some dread of writing and those who simply would like to improve their writing. This class, a sequel to Fair 201A Critical and Reflective Inquiry, could be an obvious part of a Writing Plan. If you plan on going to graduate school, this is definitely a good class to take. If there’s an issue you have been wanting to research, now is your chance to dive in head first and really learn about it. Prepare to have some fun!


Learning Objectives

• Ability to construct a viable argument (a claim with reasons) in writing

• Introduction to types of arguments

• Ability to plan and conduct interdisciplinary research

• Assessing sources and quality of evidence

• Construction and use of thesis sentence and paragraph

• Revision techniques, including the importance of multiple drafts

• Ability to engage in peer review (to formulate and receive constructive criticism orally and in writing)

• Mastery of appropriate format of formal academic research paper

• Mastery of one academic citation form (APA, MLA, Chicago, etc.)

• Tone of voice (use of formal and informal)


< back to course list | Classfinder

21546 | 393B Rights, Liberties, and Justice in America

Larner (4 credit)


Materials Fee: $ 7.74

Prerequisites: upper-division courses in social science or history highly recommended.



The USA PATRIOT Act, the Homeland Security Act, recent revisions of the FISA Act, and recent actions by the Justice Department, the courts, the past President, and the current President have restricted the civil liberties of all Americans, and increased levels of permissible surveillance on individuals and groups. More recent legislation has confirmed the power of the President to jail individuals indefinitely, and in complete secrecy--in effect, to “disappear” them. Immigrants have been detained, held indefinitely, and deported with no charges and no hearings. Religious, political and charitable groups have been placed under surveillance. Incidents of torture have been disclosed, but no high-ranking officers have been held responsible. At the same time the rights of corporations as “persons” under the law have been enhanced, most notably with the US Supreme Court decision in the CITIZENS UNITED case.


Is there such a thing as an appropriate "balance" between civil liberties and national security? If so, what kinds of measures are justified? If not, what promotes security in a democratic society? Are racial, national, or religious profiling violations of right? To what extent should “human rights” be “civil rights”? What needs to be done to re-assert constitutional protections, to promote democracy and open government? Does the Occupy Wall Street movement offer any clues?


In this course, our primary task will be to understand the Bill of Rights, the first ten amendments to the Constitution, and cases which illustrate the issues and competing interests surrounding them. We will also learn something about the history of rights and liberties in America, examined critically from a variety of perspectives. Students can expect to read extensively and to be researching, reporting and writing about issues and developments in civil liberties. One short, mid-term paper on an issue, and a final research paper, and class presentations on each, will be required.


Texts: Common readings will be selected from IN OUR DEFENSE, by Ellen Alderman and Caroline Kennedy; JUSTICE IN THE UNITED STATES: HUMAN RIGHTS AND THE U.S. CONSTITUTION, by Judith Blau and Alberto Moncada; TAKING LIBERTIES, by Susan Herman; UNEQUAL PROTECTION, by Thom Hartmann; and other works. Some articles and materials will be provided.


Requirements for Credit/Evaluation: The class requires the contributions of all its members. Reliable attendance, preparation and participation in discussion, and a willingness to tackle projects and bring them back to class are all vital to the learning community. Evaluation will be based on the student's learning as reflected in writings and other projects, and on the participation of the student with others in the daily activities of the seminar.


< back to course list | Classfinder

23424 | 397H Nonprofit Social Entrepreneurship

Coulet du Gard (4 credit)


Prerequisites: Fair 203a or Fair 387k


This course is an introduction to nonprofit and small business structures and management, emphasizing socially responsible and sustainable systems from a cross cultural perspective. 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 environmentally friendly and socially responsible examples of entrepreneurship (often green businesses) in the United States, Europe, Africa, and Asia. Canvas documents will be a significant part of the readings.


Texts: Required:

• NONPROFIT MANAGEMENT 101, Heyman, Darian Rodriguez, ed. (2011)



Canvas documents and links



Credit/Evaluation: Attendance (only 3 missed classes allowed); all readings for the day’s discussions; 5 reflections, essays or online-related assignments; one final presentation or project; guest speaker attendance; one fieldtrip attendance.



< back to course list | Classfinder