2011-12 Undergraduate Index A-Z

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Title	Offering	Standing	Credits	Credits	When	F	W	S	Su	Description	Preparatory	Faculty	Days	Multiple Standings	Start Quarters	Open Quarters
Adolescent Literature Terry Ford education literature	Course	FR–SRFreshmen - Senior	4	04	Day				Su 12Summer Full	Adolescent literature differs from children's literature to meet the developmental needs of middle and high school ages. Participants will learn about adolescent literature in an historical perspective, young adult development in reading, and genres with representative authors and selection criteria. Participants will read and critique a variety of genres, developing a knowledge base of a variety of current authors, themes, and classroom uses. Course credits contribute to minimum coursework expectations for teaching endorsements in middle level humanities and secondary English/Language Arts.		Terry Ford	Mon	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Against All Odds: The Black Woman's Experience Kabby Mitchell and Joye Hardiman African American studies American studies cultural studies dance gender and women's studies history literature music	Program	SO–SRSophomore - Senior	16	16	Day			S 12Spring		How did Black women, of many different cultures and ages, succeed against all odds? How did they move from victim to victors? Where did they find the insurmountable courage to deconstruct and reconstruct their lives? In this program, students will participate in an inquiry-base exploration of the efficacy, resiliency and longevity of the lives and legacies of selected Black women from Ancient Egypt to contemporary Seattle. Our exploration will use the lenses of Ancient Egyptian studies, African, African-American and Afro-Disaporic history, dance history and popular culture to investigate these womens' lives and cultural contexts.The class will have a variety of learning environments, including lectures and films, workshops, seminars and research groups. All students will demonstrate their acquired knowledge, skill and insight by: creating an annotated bibliography; giving a final performance based on the life of a chosen black woman; and an end-of-the-quarter "lessons learned presentation" demonstrating how our collective studies applied to each individual student's life and legacy.		Kabby Mitchell Joye Hardiman	Tue Tue Tue Wed Wed Wed Thu Thu Thu	Sophomore SO Junior JR Senior SR	Spring	Spring
An Educated Society Stephanie Kozick and Leslie Flemmer education history literature outdoor leadership and education psychology writing	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		This is an inquiry-based program structured as a collaborative effort to engage authentic questions about the process of learning. What is an educated society and what does it mean to become educated within a society? Whose ways of knowing count in such educational pursuits assumed to ultimately achieve happiness and personal fulfillment? Can one be considered “educated” if one lacks educational credentials, cultural knowledge of the arts, political awareness, or social and economic connections? And, to what end and in what means must we even consider these questions? In this program, we will inquire about the role that educators, artists, authors, and the environment play in guiding us toward a more vibrant and holistic outlook. This comprehensive inquiry requires an interdisciplinary curriculum designed to employ dialogue and the arts in an examination of what is meant by the term “education.” The program will include student-centered learning activities of readings, discussions, talks, film, and expressive projects.Students who are curious about paths to knowledge, the field of education, social justice, and cultural and historical considerations can join us in a wide-ranging examination of our diverse society. Students can expect to work collaboratively to think, learn, and interpret how individuals form, interact in, and become participants in an educated society while engaging topics that include critical pedagogy, arts and humanities, and the construction of knowledge through social networks and cultural practices. Motivated, open-minded students willing to work with others in critical discussions of readings, to experiment with the arts and writing projects, and to closely observe the contributions of others will gain new perspectives about what matters when contemplating an educated society. At quarter’s end, students will be able to identify their own and others efforts to understand what it means to be educated. Some of the authors who will have contributed to that understanding are: Virginia Woolf, Paolo Freire, William Ayers, James Baldwin, John Dewey, Terry Tempest Williams, Sherman Alexi, Gerald Durrell, and Maxine Green.		Stephanie Kozick Leslie Flemmer	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
The Architecture of Human Movement Stephanie Kozick and Robert Esposito dance history literature somatic studies writing	Program	SO–SRSophomore - Senior	16	16	Day	F 11 Fall				This program is intended for students who are eager to pursue academic and personal explorations of human development. This program will feature inquiry into the richness, density, and complexity of human awareness, development, and relationship by integrating a theoretical and practical study of human development with movement and dance Students will gain a vocabulary for specific ways of talking about human development and movement, which will involve a study of key influences: Kegan’s ideas about the problems and process of human development, Piaget’s developmental expressions of physical knowledge, Laban analysis, and Alwin Nikolais’ formal analysis of space, shape, time, and motion. The concept of "motion" will be addressed as the refinement or qualification of “movement” into an infinity of potential aesthetic expressions. The ways in which we develop as human beings involves a set of areas that include cognitive development, social/emotional development, language development, and physical development. The latter, physical development is an especially fascinating topic. The movement study in this program will be situated historically in the 20th-century. Rudolph Laban, along with many European artists and intelligentsia were influenced by Eastern thought, as well as by advanced science and technology. Historical events such as the World Wars spurred an aesthetic and intellectual diaspora leading to postmodern concepts of integrative thinking and holism in environmental and human affairs. These historical movements mark a pivotal transformational period toward the development of viable, holistic networks of integrative theory and technologies designed to inform and create a human community that respects uniqueness and diversity in service of sustainable living. Studio work will offer a practical mode of human movement study that will develop students’ personal somatic understanding. It will also involve group work by engaging the practice of Laban’s “movement choirs,” an expressive way of exploring human development through motion. Studio work will be placed in the context of living in a world of others that requires free exploration and creative play: fun with intent. This program's curricular activities will take an interdisciplinary approach that includes reading and discussing scholarly material, critiquing films, group and individual movement explorations, writing, and academic workshops.	human development, movement, and dance related fields.	Stephanie Kozick Robert Esposito		Sophomore SO Junior JR Senior SR	Fall	Fall
The Art of Writing Poetry Gail Tremblay literature writing	Program	SO–SRSophomore - Senior	16	16	Day	F 11 Fall	W 12Winter			Poets use language to create an experience for the reader by using images, metaphors, similes, rhythm and sound like musicians use notes, sound and rhythm to tempt audiences to feel deeply what can be known about the roots of the human condition. In this program, students will read poetry by a wide variety of writers, study poetic form and explore a variety of strategies for writing poetry. They will read by John Frederick Nims and David Mason and will be required to write at least two poems each week and to present those poems for discussion in a writers' workshop. Students will also be required to attend poetry readings, and to study poetry publications and strategies for publishing their work in a variety of magazines, journals and online sites. They will also have the opportunity to study chapbook and book length collections of poems and to discuss how poets choose and arrange poems to prepare them for submission to a press.	creative writing, editing, and teaching English.	Gail Tremblay	Mon Mon Tue Tue Thu Thu	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Arts In New York Ariel Goldberger architecture community studies consciousness studies cultural studies dance field studies language studies literature media studies moving image music queer studies somatic studies theater visual arts writing Signature Required: Spring	Program	FR–SRFreshmen - Senior	16	16	Day and Evening			S 12Spring		This program will immerse students in studying the intense and lively cultural life of New York City, the most active arts production center in the United States, and perhaps the world. Sessions will meet weekly in different cultural institutions to participate in art events as active audience members, to develop an educated and critical appreciation of the richness, complexity and current trends of artistic production in New York.We will spend two weeks on campus doing preparatory research in areas of each student's interest in order to create the structure for an individual project or practicum. Students may choose to create a project by engaging in artistic work, research, or both. Students will be responsible for making all necessary arrangements for room and board, as well as budgeting for individual event tickets. All students will be expected to present a final report of their experience and project.After the initial two weeks of research and preparation, participants in the program will fly to New York City for six or seven weeks, where they will engage in group and individual activities, depending on each student practicum or project. Students will attend some events as a group and some related to their own projects. We will attend events in a wide range of sites, from established world-renowned institutions to emergent art spaces.Depending on the season, performance events may include events in places such as PS 122, La MAMA, The Kitchen, HERE Art Center, off-off-Broadway small theaters, the Brooklyn Academy of Music, Broadway productions and Lincoln Center. Regular dance events may include modern dance performances, experimental works, festivals at the Joyce Theater, and more traditional ballet events in venues such as the New York City Ballet. Specific visual arts events may consist of trips to the gallery "scene" in Chelsea, PS1, MOMA, DIA Arts Center, The Met, under the radar spaces and other sites. We may attend poetry readings at places such as The Bowery Poetry Club, the Nuyorican Poets Cafe, The St. Marks Poetry Project, The Academy of American Poets and The New York Public Library. The class will also endeavor to attend other culturally relevant institutions such as the Japan Society, the Asia Society, The Jewish Museum, The Schomburg Center, The Dwyer Cultural Center and El Museo del Barrio to experience a wide range of cultural diversity. Most weekly group activities will be followed by a discussion or seminar.We will spend the final week of the quarter back on campus in Olympia, completing final report presentations for the whole class.	architecture, community studies, consciousness studies, cultural studies, dance, field studies, language studies, literature, media studies, moving image, music, queer studies, somatic studies, theater, visual arts, and writing.	Ariel Goldberger		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Astronomy and Cosmology: Stars and Stories Rebecca Chamberlain astronomy education field studies literature philosophy philosophy of science	Program	FR–SRFreshmen - Senior	8	08	Day and Evening				Su 12Summer Session II	This intensive course will explore a variety of cosmological concepts from mythology, literature, philosophy, and history, to an introduction to astronomy, archeo-astronomy, and theories about the origins of the universe. We will employ scientific methods of observation, investigation, hands-on activities, and strategies that foster inquiry based learning and engage the imagination. This class is focused on field work, and activities are designed for amateur astronomers and those interested in inquiry based science education as well as those interested in doing observation-based research or in exploring literary, philosophical, cultural, and historical Cosmological traditions.Students will participate in a variety of activities from telling star-stories under the night sky to working in a computer lab to create educational planetarium programs. Through readings, lectures, films, workshops, and discussions, participants will deepen their understanding of the principles of astronomy and refine their understanding of the role that cosmology plays in our lives through the stories we tell, the observations we make, and the questions we ask. Students will develop skills and appreciation for the ways we uncover our place in the universe through scientific theories and cultural stories, imagination and intellect, qualitative and quantitative processes, and "hands on" observation.We will visit Pine Mountain Observatory, and participate in field studies at the 25th Anniversary of the Oregon Star Party. This year’s celebratory events include a presentation by a Space Shuttle Astronaut and workshops with mentors, scientists, storytellers, and astronomers. We will develop a variety of techniques to enhance our observation skills including use of star-maps and navigation guides to identify objects in the night sky, how to operate 8” and 10” Dobsonian telescopes to find deep space objects, and how to use binoculars and other tools. We will be camping and doing field work in the high desert for a week. (first session): A few students will have the opportunity to attend an invitational research conference at Pine Mountain Observatory, July. 15-20 (first session). They must 1) be enrolled in the class or have prior experience and 2) work with the instructor to complete an independent study contract prior to the first session of summer quarter. Since a limited number of students will be able to participate this year, students will be selected based on their background, qualifications, and interests. Research sessions are still to be determined but may include photometry, astrometry, spectroscopy, or Binary Star Research. Students must have the ability and interest to camp and do fieldwork in the high dessert for a week. A planning meeting will be held on campus July 11, 6-10 pm. Contact the instructor ASAP if you are interested.		Rebecca Chamberlain	Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Between Image and Word Shaw Osha (Flores) and Trevor Speller aesthetics cultural studies literature visual arts writing	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		- Marlene Dumas (1984) In (1789; 1794), the English poet and painter William Blake famously presented his poems on pages surrounded by his own drawings. This kind of interrelationship of images and words is an artistic tradition that is still alive and well, in visual arts and book arts, from painting to graphic novels. This kind of work asks important questions of both literature and visual art, such as: This one-quarter, all-level program explores the relationships between visual art and the written word. Over the course of the program, we will be examining and producing singular works in which words and images each other - where one form does not privilege or illustrate the other. They both work in the service of art and aesthetics by framing and giving form to ideas. These hybrid works of language and art point to new and alternative ways of seeing, reading, and interpreting the world. We plan to take a look at the ways language has interacted with image: reading and seeing. The program work will be both creative and critical. In addition to reading and viewing artwork, criticism, and theory, students can expect to finish a small book of multi-, inter- or mixed medial writing and artwork by the end of the quarter that challenges and responds to the curriculum. The program includes lecture, seminar, and studio time.Of literary interest will be the traditions of concrete poetry, children's literature, graphic novels and book arts. Representative authors and artists may include William Blake, Lewis Carroll, Tom Phillips, John Cage, Alan Moore, Maurice Sendak, Barbara Lehman, Donald Crews, and others.Of artistic interest will be visual art that uses text and artists' books. Representative authors and artists may include Art Spiegelman, Cy Twombly, Philip Guston, Ed Ruscha, Ree Morton, Jenny Holzer, Raymond Pettibon, and others.In addition to primary works, students will be expected to read works of artistic and literary theory relating to issues germane to the program. Theorists such as Johanna Drucker, Roland Barthes, Edward R. Tufte, Roy Harris and Scott McCloud will help shape our understandings of the gaps between the image and the word.	visual art, writing, literature, and critical studies.	Shaw Osha (Flores) Trevor Speller		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Book Torrent: Information Studies in the 21st Century Julianne Unsel history literature media studies Signature Required: Fall	SOS	SO–SRSophomore - Senior	16	16	Day and Evening	F 11 Fall	W 12Winter			What is the past and future of books in academic publishing and library collections today? How are human capacities altered by the use of books in comparison to other media and formats? What is the past and future of books as a medium for teaching and learning? How do print and electronic book formats compare in their utility and power for undergraduate scholarship and research? How do they compare in their capacities for the formation, presentation, and preservation of knowledge?This program will partner students with Evergreen library faculty and staff to engage these and related questions through organized academic coursework (theory) and through an in-program internship within the Evergreen library (practice). The academic component will include seminar classes and research options in the history of print media, electronic media, and the book form. Students and faculty will experiment with and test a range of state-of-the-art e-book formats and e-readers. All e-texts and e-readers will be provided for student use by the college.Internship work will provide opportunities for students to contribute to a two-year project by library faculty and staff which will begin in Fall. The project is for the modernization and reinvention of the library and its policies, procedures, and collections in context of the capacity for scholarly work with and across various information and communication media. Students will choose and design specific work assignments within current and ongoing library operations, planning activities for the immediate and long-term future of the library, and intellectual discussion and exploration of possible futures for academic libraries and learning more generally.The academic and in-program internship components of this program will maintain thematic emphasis on the place of the library in its direct support of the college curriculum, its role in shaping the interdisciplinary pedagogy of the college, and its own character as a coordinated studies teaching institution within the college.	education, history, library and information science, media studies	Julianne Unsel		Sophomore SO Junior JR Senior SR	Fall	Fall
Business and Sustainability: Myth or Method? Bobbie McIntosh and Rebecca Chamberlain business and management environmental studies leadership studies literature sustainability studies writing	Program	FR–SRFreshmen - Senior	8	08	Weekend	F 11 Fall	W 12Winter	S 12Spring		Current business and leadership programs at Evergreen support the concept of sustainability, but there is still confusion in the debate about terminology as well as what constitutes “best practices.” In this year-long, interdisciplinary program, we will ask, “What does it mean to live sustainably on a personal, local, and global level?” What does it mean to claim that an organization is moving toward sustainability, or is “green?” Paul Hawken suggests, in , that our economy is shifting from human-based productivity to radical increases in resource productivity. How is this measured? One of the goals of this program is to develop a set of competencies that will address this need, in an increasingly changing economy and job market, as we also engage in developing a well-rounded liberal arts education. Each of the participants will develop an economic business plan and story that will support their evolving understanding of sustainable business, green branding, and how to use effective marketing and promotional skills to create a vision for economic and social happiness. Each business plan will contain team writing projects. We will also develop storytelling, writing, and other academic and professional skills and tools that will enable us to create a strong foundation and to form a vision for understanding the economics of "The Green Business Myth." We will develop critical reading, writing, and thinking skills in the liberal arts, as we promote and implement concepts of social change, ethics, personal and community enrichment, and support our goals in forming pathways to move toward cultural and environmental sustainability. This program will have a thematic focus each quarter. In the fall, we will explore the personal, heroic, and mythic journeys we go on, individually and collectively, as we pursue our outer and inner dreams. In the winter, we will explore different historical and cultural perspectives of the American dream, and how it relates to community, family, place, and commodities of exchange, gift-giving, and reciprocity. In the spring, we will explore home-coming, finding our deepest purpose, community service, leader as martial artist, and pathways for creating a new earth, through mindfulness practices of gratitude and appreciation. We will explore each of these themes through the lens of literature, writing, mythology, psychology, cultural studies, and sustainable business practices.	business, economics, social change and service, communications, humanities, education, leadership.	Bobbie McIntosh Rebecca Chamberlain	Sat Sun	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Creative Writing: Act and Artifact of American Voice Anne de Marcken (Forbes) and Jennifer Calkins American studies cultural studies literature writing	Program	FR–SRFreshmen - Senior	16	16	Day		W 12Winter			Participants in this quarter-long creative writing and literary studies program will study and practice writing across genres and movements. We will use a variety of critical frameworks to analyze, interpret, and create a diverse selection of American literature, interrogating the boundaries of nation, identity and genre. Program participants will learn about and practice the elements of narrative and lyrical discourse, developing a portfolio of short fiction, poetry, and hybrid forms. There will be an emphasis on the relationship between critical and creative thought and practice, as well as on development of a sustaining, independent creative writing practice.The program will have five major components: presentation, workshop, peer critique, seminar, and practice. Students, faculty and guest writers will gather for presentations and lectures on creative and critical texts and on ideas related to our area of inquiry. In hands-on workshops, students will develop creative and critical skills. Working in small groups, students will develop critical skills in support of one another's creative objectives. Students will gather in seminar to discuss critical and creative texts at depth in light of overarching program concerns. And finally, each student will define, develop, and maintain an independent creative writing practice to support his or her program goals. Possible texts include: Maggie Nelson's Elaine Scarry's Alice LaPlante’s , as well as works by American writers ranging from Emily Dickinson to Claudia Rankine, from Jean Toomer to Yi Yun Li.		Anne de Marcken (Forbes) Jennifer Calkins	Mon Mon Tue Tue Tue Thu Thu Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Discovering the Unknown Russia Elena Smith cultural studies history literature	Course	FR–SRFreshmen - Senior	4	04	Evening				Su 12Summer Session I	This is a fascinating course that attempts to inspire a better understanding of today's Russia and the people of Russia through a study of their history, art, and culture. Everyone who has an interest in exploring Russia beyond the stereotypes of mainstream headlines or history textbooks is welcome. The students will be introduced to certain dramatic events of Russian history through film, literature, and personal experiences of the Russian people. Besides the traditional academic activities, the students will have hands-on experience of Russian cuisine, song, and dance. Armed with an open mind and lead by a passionate native Russian professor, you should find Russia irresistibly attractive and learn to appreciate the similarities of American and Russian cultures.		Elena Smith	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Embodying The Book Marla Elliott and Steve Blakeslee literature theater	Program	FR–SRFreshmen - Senior	8	08	Evening	F 11 Fall	W 12Winter			What could be better than reading a wonderful book? Reading it aloud! In , students will cultivate their capacity to bring literature fully to life through the medium of voice. In a safe and supportive environment, students will approach the human voice as an instrument of expression, exploring such topics as effective sound production, enunciation, pacing, tone, emphasis, and rhythm. Then they will apply their new learning to a range of narrative, dramatic, and poetic texts, developing the nuanced intellectual and emotional understandings necessary to forging their own meaningful interpretations. Our ultimate goal is to deepen our connections to literature, language, and ourselves.	literature, teaching, performing, fields involving public speaking	Marla Elliott Steve Blakeslee	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Forbidden Metaphors: Rewriting the Real in 20th Century France Marianne Bailey, Olivier Soustelle, Judith Gabriele, Steven Hendricks and Stacey Davis aesthetics art history cultural studies history language studies literature philosophy study abroad writing Signature Required: Spring	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter	S 12Spring		...man is struck dumb...or he will speak only in forbidden metaphors... Friedrich Nietzsche, "On Truth and Lies in a Nonmoral Sense" Nietzsche's critique of traditional Western values--dismantling absolutes of God, Truth, Self and Language--opened up an abyss. "Only as an aesthetic phenomenon," Nietzsche argued, would "human life and existence be eternally justified." Meaning and Self would be individually crafted, as the artist crafts a work, in the space of a human existence. Life, as Rimbaud wrote, must be remade.Inspired by this notion of remaking life along aesthetic lines, we will study literature and creative writing, critical theory and philosophy, art history and music as well as French language. Students will participate in lectures, films and workshops, and choose between seminar groups in literature and critical theory or history. Each will develop a substantive individual (or group) project, and will be able to study French language at the Beginning, Intermediate or Advanced level.To better understand Modernist and Postmodernist avant-garde, we will focus on outsider works of art and ideas in 20th century France and the post-colonial world. Like the Decadents and Symbolists, modernist artists go in quest of a pure artistic language "in which mute things speak to me," as Hofmannsthal wrote, beyond concepts and representation, privileging passion over reason. This quest is influenced by worldviews and works from the broader French-speaking world, which refocuses art on its ritual origins, and on its magical potential. "Art", in the words of Martinican poet and playwright Césaire, "is a miraculous weapon."In fall and winter, we will study aesthetic theories and works from Primitivism and Surrealism to Absurdist Drama, Haitian Marvelous and Oulipo; and writers such as Mallarmé, Jabès, Artaud, Beckett, Blanchot, Derrida, Sartre, Irigaray and Foucault. We will look at historical and cultural change from WWI through the student riots of 1968 and the multi-cultural French-speaking world of today.Key themes will include: memory and the way in which it shapes, and is shaped by, identity; concepts of time and place; and the challenges and opportunities for French identity brought by immigration. We will focus on French social, cultural and intellectual history from the 1930's to the present, exploring the myths and realities of French Resistance and the Vichy Regime during World War II; the legacy of revolutionary concepts of "universal" liberty, equality and fraternity as France re-envisioned its role in Europe and the world from the 1950s to the present, including uprisings from 1968 through today; and the impact of the Franco-Algerian war on contemporary France and the post-colonial Francophone world.In spring, students have two options. They can travel to France, where they will participate in intensive language study, perform cultural and art historical fieldwork, and pursue personal research on a "quest" of their own. Alternatively, students may remain on campus to undertake a major personal project, springing from ideas, writers and artists in prior quarters. This is an excellent opportunity to complete a substantive body of creative or research oriented work, with guidance from faculty and peer critique.		Marianne Bailey Olivier Soustelle Judith Gabriele Steven Hendricks Stacey Davis	Mon Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
The Graphic Novel Steve Blakeslee literature visual arts	Course	FR–SRFreshmen - Senior	4, 8	04 08	Evening				Su 12Summer Session I	Over the past 30 years, the graphic novel has won numerous readers with its bold topics, innovative forms, and vivid artwork. We will explore the origins, development, and unique workings of these sequential narratives, from the socially conscious woodcut novels of the 1930s (e.g., Lynd Ward’s ) to the global adventures of Hergé’s to Alan Moore and Dave Gibbons' 1980s game-changer, . Other works will include Scott McCloud's and recent graphic memoirs. Our overall goal is to develop an informed and critical perspective on this powerful medium. Students registered for 8 credits will research a particular author-artist, genre, or theme, or develop graphic narratives of their own.		Steve Blakeslee	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
The Graphic Novel: A Critical Examination Steve Blakeslee and Tom Maddox literature media studies visual arts writing	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		In the past decade, graphic novels have become recognized as an important new form of storytelling, shaping contemporary culture even as they are shaped by it. These book-length, comic-art narratives and compilations employ a complex and iconic visual language. Combining and expanding on elements associated with literature, 2-D visual art, and cinema, the medium offers unique opportunities for reader immersion, emotional involvement, and even imaginative co-creation. We will study sequential narratives that represent diverse periods, perspectives, styles, and subject matter--from the “high art” woodcut novels of the 1930s (e.g., Lynd Ward’s ) to Art Spiegelman’s groundbreaking Holocaust memoir, , to the bizarre but entrancing alternate universe of Jim Woodring’s . While many of these works include humor, they frequently center on serious topics, including war, religious oppression, social and economic inequality, and dilemmas of ethnic and sexual identity. We will carefully examine each text at multiple levels of composition, from single frames to the work as a whole, and read selected theory, criticism, and commentary, including Scott McCloud’s and Matt Madden’s . More generally, we will work with a widely-employed model of storytelling—based on act structure, character arc, and protagonist-focused narrative—to explore the ways that stories can migrate across media and find new modes of expression. As writers, students will develop and articulate their new understandings by means of response papers, visual analyses, background research, fictional and nonfictional narratives, reflective journals, and other activities as assigned. Our studies will conclude with group projects focused on particular artists, works, and themes, or on the creation of original graphic narratives. Finally, while this is not a studio art course, we will experiment with drawing throughout the quarter as a way to develop an artist’s-eye view of comic art. Our goal is to develop an informed and critical perspective on this powerful medium.The faculty do not assume any previous experience with comic art in general or graphic narratives in particular. Fans, skeptics, artists, and the generally curious are all welcome, provided they are ready for sustained and serious work.		Steve Blakeslee Tom Maddox	Mon Tue Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Heart and Mind on Screen and Page Tom Maddox communications literature media studies moving image writing	Program	FR–SRFreshmen - Senior	16	16	Day		W 12Winter			Storytelling has changed in extraordinary ways during the thousands of years separating preliterate tellers and singers of tales from contemporary novelists, graphic artists, or filmmakers. However, in all their work we can recognize the elements and structures of . This program is for students who want to understand these elements in order to make better stories, and who want to develop a deep, practical understanding of the structures that govern forms such as film, television, and the short story. Primarily, they will learn the grammar and practice of storywriting by examining the works of masters and attempt to apply this knowledge in their own work. Students who want to tell stories are welcome, whatever their chosen expressive mode--prose, poetry, graphics, film, television, videogame script, or any other genre or mix of media. Movies and television are media that pose unique challenges and opportunities regarding story and dramatization; they are also the dominant media of our time. They are inherently collaborative and demand specialized talents and skills from a writer, who must work within limits imposed by time, space, money, and the myriad complexities of production, as well as the formulaic expectations that have come to govern the 50-minute television drama or 22-minute comedy and the 120-minute film. Thus we will spend considerable time examining how screenplays work and discovering the conventions governing them.We will also pay attention to short stories, perhaps the most demanding story form, in order to learn from its masters how to combine economy of expression with great power. Authors will most likely include Anton Chekhov, William Faulkner, Eudora Welty, Flannery O'Connor, Alice Munro, and Raymond Carver.Students will begin the quarter by describing a storytelling project they want to complete; then, in consultation with the faculty, they will write a project proposal detailing their goals. The projects will be the core and driving force of student work. As the quarter progresses, students also submit work in progress for ongoing critique and guidance. At the end of the quarter, they will present their finished project for group review and response.Every week students will read stories and view films or television episodes. They will also participate in weekly film and story seminars, where they will respond to the week's viewing and reading. In weekly story workshops, they will submit their work for group critique and do a series of workshop exercises. Finally, every week will end with meetings of the SIGs (special interest groups). These small groups will be defined, organized, and run by the students. This is the part of the program where students are free to define their own topic and pursue it according to their own needs. As examples, these might include short fiction, situation comedies, hard-boiled detective fiction, or graphic novels.	writing, screenplay writing, American film, theory of fiction, and literary studies.	Tom Maddox		Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Human Rights and Wrongs Greg Mullins cultural studies literature media studies	Program	SO–SRSophomore - Senior	16	16	Day	F 11 Fall	W 12Winter			Human rights law is encoded in the spare language of treaties, but human rights practice comes alive in the materiality of daily life. After a quick tour of human rights law, we will devote our energies in this program toward understanding how human rights accrue force and meaning insofar as they are embedded in cultural practice, and specifically in cultural practices of representation. Our inquiry will be guided by these questions: How do human rights frameworks prevent or redress human wrongs (including atrocities such as torture and genocide)? What leads some people to abuse human rights, and other people to respect them? How are human rights struggles pursued using modes of visual and textual representation? What role do cultural forms such as film, literature, and public memorials play in either fostering or hindering respect for human rights? In the fall quarter, our mode of inquiry will be primarily textual. Even as we study film, photography, new media, public monuments and memory projects, that study will be accomplished by reading theoretical accounts of rights and representation. We will also read historical accounts of the rise of human rights frameworks, and we will consider a variety of critiques of human rights. Students will build a strong foundation in the theory of human rights, as well as in theories of visual and textual representation. A typical week's work will include a film screening, lecture, and seminars. Students will write two long essays, several shorter pieces, and a prospectus for a winter quarter project. In the winter quarter, we will continue to read and seminar as a group as we expand our focus to include literature. We will read Arendt by way of concentrating our inquiry around questions of judgement, we will read Dawes by way of focusing on problems of narrative, and we will take up the case study of the Guantanamo Bay detention facility on the tenth anniversary of its opening. Students will also pursue projects. Depending on student background and interests, these projects could result in a traditional research paper or in a more practical implementation of the theory they've learned (for example, a new media project).	human rights, politics, philosophy, literature, film and media studies.	Greg Mullins	Mon Tue Wed	Sophomore SO Junior JR Senior SR	Fall	Fall
I Hear America Singing: 19th Century American Literature and Culture Susan Preciso and Marla Elliott American studies literature music	Program	FR–SRFreshmen - Senior	8	08	Evening and Weekend			S 12Spring		In this one-quarter program, students will read classics in American literature, learn about American music, and explore American culture as it was shaped in the vibrant, chaotic years that frame the Civil War. Herman Melville, Stephen Foster, Emily Dickinson, Walt Whitman, Harriet Beecher Stowe, and B.F. White are some of the authors and composers we will study. Students will learn and participate in our exploration of American music by learning shape note singing, an American folk choral tradition. Exploring ante and post-bellum beliefs about race and the politics of slavery will be central to our study. Students should expect to be active participants in all program activities, which will include seminar, workshops, lectures, and films. We will also meet for one full Saturday this quarter, which may be a field trip or other program enrichment.	teaching, American studies	Susan Preciso Marla Elliott	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
In Our Image Lisa Sweet, Andrew Reece and Rita Pougiales anthropology art history community studies literature philosophy religious studies visual arts	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter			Making meaning of our lives and the world we inhabit is the essence of being human. Through knowledge, stories and images, we manifest what it is we hold most sacred and essential in our lives. Religion, through its liturgy, music and imagery, reflects what a people hold to be essentially human. Our work will address questions like the following: What are the fundamental mysteries humans address through religious practice and expression? What are the stories being told through artistic and written material? What is the experience of the artist creating sacred images? What are the meanings that have endured over centuries? How is it that sacred images and texts provide direction for us? Our inquiry into meaning-making will center on Christianity, one religious tradition that has been a wellspring for expressions of spiritual and moral meaning, as well as a source of insight and understanding that has inspired magnificent artistic creations and sacred texts. In fall and winter, we focus on the first thirteen centuries of the tradition, from the life of Christ to the end of the Medieval period, during which the story of Christ's life, death and resurrection helped transform the Roman Empire into Europe and "the West." During this time, Christians, like Muslims and Jews a "people of the Book," gave the world some of its most inspired, and inspiring, books: the New Testament, the works of Anselm and Augustine, Dante's , and others, which will form part of our curriculum. The role of images in religious practice will form another part of our study. We'll consider the functions of icons, reliquaries, church architecture and devotional images, created solely to express and link us to the sacred. We'll consider the strategies image-makers employed to interpret scripture and early theology, as well as the anxieties and iconoclasms provoked by images that attempt to depict God. Through readings, seminars and lectures, we'll explore the history of images and objects made before the the concept of "Art" as we understand it today was established.In spring, the focus on the history and culture of Christianity through the 14th century will be directed toward more focused topics addressing meaning-making and Christianity. Students will have the option of continuing in the program in one of the following focused, full-time disciplines or themes: recent developments in theology and philosophy (Andrew), communities of faith (Rita), or studio-practice in printmaking (Lisa). Spring components of the program will be open to both continuing and newly enrolled students.	medieval history, religious studies, art history and community studies.	Lisa Sweet Andrew Reece Rita Pougiales		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Individual Study: American Studies Nancy Koppelman American studies history literature philosophy	Contract	JR–SRJunior - Senior	16	16	Day		W 12Winter			Individual study offers the advanced, highly disciplined student the opportunity to pursue a self-directed and self-constructed syllabus. The work may be completely academic in nature, or may be combined with an internship. Students interested in pursuing such work in American Studies are invited to contact me. I specialize in American history before 1920, particularly social history, industrialization, economic history, American literature, popular culture, pragmatism, and the history of technology, and how all these topics intersect with ethical concerns of the modern era. I am interested in working with students who want to study American history and culture in an effort to understand contemporary social, cultural, and political concerns. (Students interested in this offering are also encouraged to consider enrolling in , where they can pursue a major independent project as part of an ongoing learning community.) Students with a lively sense of self-direction, discipline, and intellectual curiosity are encouraged to contact me via e-mail at koppelmn@evergreen.edu.		Nancy Koppelman		Junior JR Senior SR	Winter	Winter
Individual Study: Japanese Culture, Literature, Film, Society and Study Abroad Harumi Moruzzi cultural studies history international studies language studies literature moving image Signature Required: Spring	Contract	FR–SRFreshmen - Senior	12, 16	12 16	Day			S 12Spring		This Individual Study offers opportunities for students who are interested in creating their own courses of study and research, including internship and study abroad. Possible areas of study are Japanese studies, cultural studies, literature, art and film. Interested students should first contact the faculty via e-mail (moruzzih@evergreen.edu) before the Academic Fair for spring quarter.	Japanese studies, cultural studies, international studies, literature and film studies.	Harumi Moruzzi		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Individual Study: Performing Arts and Humanities Ratna Roy African American studies cultural studies dance international studies literature theater writing Signature Required: Winter	Contract	SO–SRSophomore - Senior	16	16	Day		W 12Winter			I am interested in working with students who wish to do independent work in the Performing Arts and the Humanities. I am broadly interested in the intersections between the social and the creative worlds, as my own creative work has explicitly dealt with this intersection. As well, since my Ph.D. is in African-American Literature, I am deeply interested in minority arts, be they defined by race, gender or sexual orientation, and whether they be in writing, or in the visual or performing arts.As an artist, I have concentrated in the world of choreography, in particular, in Orissi dance from India. A strong influence on my work has been the ancient mythologies of the Indian sub-continent, and the contemporary realities of neo-colonialism and its consequences.Students interested in working with me should submit an on-line Independent Study form, available at: Click on "Online Contract Process", create a contract, then submit it to me for my review.		Ratna Roy		Sophomore SO Junior JR Senior SR	Winter	Winter
Individual Study: Performing Arts and Humanities Ratna Roy African American studies cultural studies dance international studies literature theater writing Signature Required: Spring	Contract	SO–SRSophomore - Senior	16	16	Day			S 12Spring		I am interested in working with students who wish to do independent work in the Performing Arts and the Humanities. I am broadly interested in the intersections between the social and the creative worlds, as my own creative work has explicitly dealt with this intersection. As well, since my Ph.D. is in African-American Literature, I am deeply interested in minority arts, be they defined by race, gender or sexual orientation, and whether they be in writing, or in the visual or performing arts.As an artist, I have concentrated in the world of choreography, in particular, in Orissi dance from India. A strong influence on my work has been the ancient mythologies of the Indian sub-continent, and the contemporary realities of neo-colonialism and its consequences.Students interested in working with me should submit an on-line Independent Study form, available at: Click on "Online Contract Process", create a contract, then submit it to me for my review.		Ratna Roy		Sophomore SO Junior JR Senior SR	Spring	Spring
Individual Study: Poetics and Literary Studies Leonard Schwartz literature philosophy writing Signature Required: Winter	Contract	SO–SRSophomore - Senior	16	16	Day		W 12Winter			contract proposals in the area of poetics for the winter quarter. This could include literary studies of modernist figures or examinations of avant-garde movements. It could also involve projects in literary theory, continental philosophy, or theories of language.		Leonard Schwartz		Sophomore SO Junior JR Senior SR	Winter	Winter
Individual Study: Poetics and Literary Studies Leonard Schwartz literature philosophy writing Signature Required: Spring	Contract	SO–SRSophomore - Senior	16	16	Day			S 12Spring		contract proposals in the area of poetics for the winter quarter. This could include literary studies of modernist figures or examinations of avant-garde movements. It could also involve projects in literary theory, continental philosophy, or theories of language.		Leonard Schwartz		Sophomore SO Junior JR Senior SR	Spring	Spring
Individual Study: Queer Studies, Performance Walter Grodzik American studies aesthetics anthropology architecture communications community studies consciousness studies cultural studies dance education field studies gender and women's studies literature media arts media studies moving image music queer studies somatic studies study abroad theater visual arts writing Signature Required: Winter	Contract	SO–SRSophomore - Senior	16	16	Day		W 12Winter			Individual study offers individual and groups of students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unique combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Individual and groups of students interested in a self-directed project, research or internships in Queer Studies or the Performing and Visual Arts should contact the faculty by email at		Walter Grodzik		Sophomore SO Junior JR Senior SR	Winter	Winter
Innovation EJ Zita and Mark Harrison literature media arts moving image philosophy of science physics theater	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		What motivates and facilitates creativity, discovery, and invention, in arts and in sciences? To what extent do scientists and artists work within traditional practices or bodies of knowledge, and how do they move beyond and expand standard models or forms to achieve true innovation?What are the roles of community, genius, luck, plain hard work, and being in the right place in the right time in history? Are certain resources prerequisite, or is creativity truly democratic? Can any patterns be discerned in revolutions in science? In art? What qualifies as a revolution or innovation? We will explore questions such as these by reading (and sometimes staging) plays, fiction, philosophy, and nonfiction about arts and sciences. We will learn about the advent and development of the moving image. Students may, individually or in teams, explore and present special cases of particular interest to them, as research projects. Students will write short, thoughtful essays and responses to peers’ essays. We will learn some classical and modern physics (from dynamics to quantum mechanics and/or cosmology) using mostly conceptual methods.	physics, performing and visual arts, teaching, sciences, and philosophy of science.	EJ Zita Mark Harrison	Mon Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Japan Today: Japanese History, Literature, Cinema, Culture, Society and Language Harumi Moruzzi and Tomoko Hirai Ulmer cultural studies history international studies language studies literature moving image Signature Required: Winter	Program	FR–SRFreshmen - Senior	16	16	Day and Evening	F 11 Fall	W 12Winter			Japan is a vital, energetic and dynamic society that is constantly reinventing itself even while struggling to maintain a semblance of cultural and social continuity from the long lost past. Meanwhile, the conception and image of Japan, both in Japan and the West, has varied widely over time mostly due to Japan’s changing political and economic situation in the world. In the late 19th century when Japan re-emerged into Western consciousness, Lafcadio Hearn, the Greek-Irish-American writer who later became a Japanese citizen, thought of Japanese society and its people as quaintly charming and adorable, whereas Americans in the 1940s viewed Japan as frighteningly militaristic and irrational. While the French semiotician Roland Barthes was bewitched and liberated by Japan’s charmingly mystifying otherness during his visit to Japan in 1966, when Japan began to show its first sign of recovery from the devastation of WWII, the Dutch journalist Karel Van Wolferen was disturbed by the intractable and irresponsible system of Japanese power in 1989, when Japanese economic power was viewed as threatening to existing international power relations. As is clear from these examples of how Japan was viewed by Westerners in the past, the idea and image of Japan is highly dependant on the point of view that an observer assumes. This is a full-time interdisciplinary program devoted to understanding contemporary Japan, its culture and its people, from a balanced point of view. This program combines the study of Japanese history, literature, cinema, culture and society through lectures, books, films, seminars and workshops, with a study of Japanese language, which is embedded in the program. Three levels of language study (1st, 2nd, and 3rd-year Japanese) will be offered for 4 credits each during the fall and winter quarters. The language component is offered by Tomoko Ulmer in the evening. In fall quarter we will study Japan up to the end of American occupation. We will emphasize cultural legacies of the historical past. In winter quarter, we will examine Japan after 1952. Special emphasis will be placed on the examination of contemporary Japanese popular culture and its influence on globalization. Although this program ends officially at the end of winter quarter, students who are interested in experiencing Japan in person can take Japanese language classes in Tokyo through Harumi Moruzzi’s Individual Study: Japanese Culture, Literature, Film, Society and Study Abroad in spring quarter.	Japanese literature and culture, film studies, cultural studies and international relations.	Harumi Moruzzi Tomoko Hirai Ulmer		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Literary and Cinematic Storytelling Eddy Brown and Marilyn Freeman cultural studies literature media arts moving image visual arts writing	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter			How do you distill the essence of a great story? How do you convey that essence across media boundaries? Is an adaptation a process of translation or creative destruction? How is a work rendered with an audience in mind? This two-quarter program will explore these questions by using 'adaptation' as a portal into creative writing, and literary and film analyses. Students will examine, analyze and critique a range of written works, both fiction and nonfiction, that have been adapted for the screen. We will study a variety of literary genres and art forms including: the short story, novel, biography, memoir, essay, screenplay, and film. We will follow each selected literary work from original text through screen adaptation in order to decipher and appreciate its singularity as a work of art and as a representative of its respective genre, its transformation into a cinematic production, and its relatedness to other narrations of the human experience. We will study the genesis, creative process, and presentation of each story on both the page and screen, including the consideration of its hypothetical, intended, and ideal audiences, and socio-cultural representations. In fall quarter, students will be introduced to fundamental aspects of narrative, to the principles of classical story design, and to exemplars of narrative adaptations across media. Skills will be developed in literary and film analyses through lectures, readings, screenings, seminars and critical writing assignments. Students will begin to build creative writing skills through a sequence of short-form assignments in fiction, creative nonfiction, and screenwriting, and through the practice of critiques and peer reviews. The quarter will conclude with collaborative student presentations of critiques of literary texts and their corresponding adapted films. In winter quarter studies will deepen in literary and film art and analyses in order to more fully understand the process of adapting the screenplay and the role of the screenwriter. Students will originate their own short-format projects in literary fiction or nonfiction, and develop adaptations through a series of progressive story design and writing assignments: controlling ideas, character bios, primary outlines, treatments, step-outlines, preliminary screenplays, revisions, synopses, loglines, and story reports. Students will conclude the program with staged readings of screenplay adaptations. This program is focused on literature, film, and creative writing. Students may be required to attend off-campus film screenings. Students are expected to participate fully in all program activities, and to work about 40 hours per week including class time.	literature, film, writing, and visual arts.	Eddy Brown Marilyn Freeman	Tue Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Marketing Authenticity: Craft, Commodity and Culture Tom Womeldorff, Alice Nelson and Jean Mandeberg cultural studies economics literature visual arts	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		A tourist travels from the United States to a folk festival in the Andean highlands and decides to buy a tapestry from an indigenous woman. What, exactly, is being bought and sold? From the buyer's perspective, perhaps the object serves as a memento of the trip or offers functionality as décor back home, or perhaps it represents something else: a sense of connection with the "other" a way to "help" a person in need, an "authentic" representation of a seemingly timeless culture. From the seller's perspective, the object may well express a craft tradition, often adapted to the demands of the tourist market, a way to make a living or to serve some other purpose. Whatever the case, both the buyer and the seller are enmeshed in contexts larger than themselves as individuals: cultural belief systems shaping their viewpoints and values (moral, political, and aesthetic), global capitalist pressures, and the legacies of colonialism. We will explore the intersections of cultural studies, economics, and the arts, focusing on various cases of craft production, their connections to systems of power, and the ways competing notions of "authenticity" are expressed in them. We will examine the factors shaping artistic production in each case: who or what decides the form a given craft may take, its relationship to "tradition" and who profits from its sales. We will look at the larger economic contexts shaping arts and crafts globally, such as the rise of mass-produced craft replicas and the lack of access to alternative forms of development. We will explore the links between craft and story, including the ways that literary and film representations raise pointed questions about cultural expectations and intercultural exchange. During the quarter, we will undertake two or three small projects connecting the theory and practice of aesthetic design to marketing within specific cultural contexts. Ultimately, we will ask: given all the challenges, how might specific groups use art and craftsmanship to improve their own lives?	the arts, business, cultural studies, economics and international studies.	Tom Womeldorff Alice Nelson Jean Mandeberg		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Masquerade and Metaphor Ann Storey and Joli Sandoz art history gender and women's studies literature visual arts	Program	SO–SRSophomore - Senior	8	08	Evening		W 12Winter			Using masquerade as our primary metaphor, we will take an in-depth, interdisciplinary, and multicultural approach to the study of 20th-century history, art, and literary writing by women. Cultures construct gender expectations, in part through “scripts” of femininity in ways that serve a myriad of purposes; where people identifying as girls and women reject those preconceptions but also act within them, masquerade – the adoption of pretense or disguise – becomes an inevitable part of female lives.Our work will center on studying women’s creative expression in both art and literature. We will also work with the medium of collage, make masks and use them in performance art pieces, and design and play gender-themed board games in class. The final project will be a research paper and presentation.Guiding questions: How have people identifying as girls and women expressed, defied, and transformed constructions of femininity through their art and writing? What role does masquerade play not only in women’s survival, but their flourishing? How does women’s resistance help us transform ourselves?	fine arts, education, writing, history, sociology, museum work	Ann Storey Joli Sandoz	Tue Thu	Sophomore SO Junior JR Senior SR	Winter	Winter
Mathematical Fiction Brian Walter literature mathematics	Course	SO–SRSophomore - Senior	4	04	Day			S 12Spring		Mathematical principles can provide the basis for creative writing, from plot structures to themes, content, and even style. Jorge Luis Borges’s stories provide numerous examples. In “The Aleph,” the narrator attempts to describe a location from which all places can be seen simultaneously: "Mystics, faced with the same problem, fall back on symbols: to signify the godhead, one Persian speaks of a bird that somehow is all birds; Alanus De Insulis, of a sphere whose center is everywhere and circumference is nowhere; Ezekiel, of a four-faced angel, who at one and the same time moves east and west, north and south." Works like “The Aleph” not only reflect mathematical concepts but also give them flesh, rendering those abstractions poetic and tangible.The overarching question of this course, which we'll stay focused on as we read the assigned texts, is: What are the ways in which mathematical ideas can guide or influence works of fiction? We’ll see that there are a number of very different ways in which this can happen. By paying attention to this issue we’ll learn more about both literature and the nature of mathematics. This course is also the seminar portion of the program. Students who do not have some solid background in mathematics, or at least a healthy, inquisitive attitude toward mathematics, are not encouraged to take this course. Come prepared to read closely and carefully, and to think actively about mathematics and literature as part of one unified intellectual endeavor.		Brian Walter		Sophomore SO Junior JR Senior SR	Spring	Spring
Museum or Mausoleum? The Framing of Art, Culture and Neuroplasticity Lara Evans and Sarah Williams Native American studies anthropology art history consciousness studies cultural studies field studies gender and women's studies literature media arts media studies somatic studies visual arts Signature Required: Winter Spring	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter	S 12Spring		Do museums transform living, changing cultural objects into fixed, preserved, inviolate collections? What stories do museums tell? What stories do objects embody? And what stories do we, visitors, tell ourselves? How do objects housed in museums affect our sense of self-identity? What does it take to become aware of how stories we tell both frame and are framed by objects? Is it possible to heal culture and the self through the interactions of narratives and objects? What happens to historical ideas about human consciousness when we explore the mausoleum-like exhibitions of what this consciousness has exhibited as other? What happens to consciousness when it is framed by neuroscience or to the self when it encounters thinking as an evolutionary internalization of movement?We'll explore the power of narrative objects in a variety of exhibition spaces: museums, galleries, shopping malls, book/web pages. We'll identify curiosities about the relationship between art objects and self-representation, particularly shifts in cultural influences and identities as they relate to shifts between the museological and mausoleum-like aspects of exhibition spaces. A triptych is a narrative object that uses three pictorial panels to convey movement in time, space, and states of being. A triptych, of sorts, is the focus of our fall quarter work and the model for our winter field studies. Consider our left panel: in the lives and other virtual realities of William Gibson's , the effects of narrative objects range from creative to preservative to destructive. Equally significant is how these effects are framed in movements between exhibition spaces experienced as "bird-cages of the muses" and those encountered in computer generated Joseph Cornell-like bird boxes. In the center panel is the narrative power of an artwork in Sheri Tepper's science fiction novel, . Here, alien races experience the consequences when a fresco at the heart of their cultural identity has been violently misinterpreted for a millennium. Now, the right panel. Here, in Catherine Malabou's texts the shifting movement or adaptability of self is called neuroplasticity. Her analysis of Claude Levi-Strauss' fascination with two sides--graphic and plastic--of masks illustrates her definition of neuroplasticity. We'll read this post-Derridean theory of self and do fieldwork with masks available for viewing in collections in this region. During winter quarter faculty and students will explore narrative objects and self-representation through six weeks of fieldwork in museums of their choice. Museums can be exhibitions of art, history or science; even zoos and botanical gardens can be considered museums. Students will document their research on their museum and will return to compile a multi-media presentation of their research project. In studios and workshops during fall and winter quarters students can expect to learn audio recording, digital photography, drawing with color pastels, ethnographic fieldwork, mindfulness practices (yoga, meditation), creative non-fiction writing, blogging and public speaking. During spring quarter students will have the opportunity to integrate individual and peer-group projects into a core all-program curriculum. That is, in addition to the 8-credit all-program activities of seminar, lecture, visiting artists' lecture and film series, a retreat week, and related assignments (e.g., weekly seminar response essays, a theory as evocative object chapter, a mindmap and 3D triptych, and mid-term and final reflective and evaluative writing), each student will design an in-program individual or peer group project for 8 credits. These projects may include (but are not limited to) the curation and/or installation of an exhibition or collection, an internship, a studio-based artistic or technical practice, community-based learning in support of Paddle to Squaxin 2012 ( ; ), or a field-based museum-related study. Partially funded by TESC's Noosphere Award, week 7 retreat week activities will include a range of contemplative practices: 5 rhythm dance; yoga nidra; lectures with Seattle University philosopher and Zen priest, Dr. Jason Wirth; and a retreat day at SU's St. Ignatius Chapel. Students will document their individual or peer-based learning and create a multi-media presentation for week 10.	art history, art, cultural studies, writing, anthropology, feminist theory and contemplative education.	Lara Evans Sarah Williams	Mon Tue Tue Tue Wed Wed Wed Thu Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Myth and Idea Leonard Schwartz, Martine Bellen and Trevor Speller literature philosophy writing Signature Required: Winter	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter			This two-quarter program will examine the ways in which poetry and music are influenced by philosophy, and the other way around. The concentration is on a poetry devoted to the idea of myth, where myth can transform, or impeach, or pass into hoax; indeed, the subject of literary hoax and its relationship to fiction will be crucial. Some of the pairings of poets and philosophers that might be included are Fenellosa and Pound, Hobbes and Rochester, Locke and Defoe, Coleridge and Schelling, George Eliot and Ludwig Feuerbach, Walter Pater and Wilde and Swinburne, The Black Mountain Poets and Jed Rasula’s ideas on Ecopoetics, the Afro-Caribbean poet Kamau Brathwaite’s writing and thinking, Schopenhauer, the Symbolists and Richard Wagner, as well as Nietzsche's . In fall quarter we will embark on a viewing/listening of Wagner's , while winter quarter will feature a study of the Russian Futurists and their influence by, and struggle with, Marxist theory. Theories of myth to be considered include Roland Barthes , Edward Said’s , Kamau Brathwaite’s , and Nathaniel Mackey’s . The program will contain both a critical and creative component, which means we will both study texts and incorporate a poetry writing workshop into the program for those inclined to explore the language of poetry through constraint based writing exercises. There will be frequent guest speakers.	literature, writing and publishing.	Leonard Schwartz Martine Bellen Trevor Speller		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Native City: Histories, Policies and Images Jennifer Gerend and Kristina Ackley Native American studies community studies history literature political science Signature Required: Spring	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter	S 12Spring		How have indigenous homelands been eroded by development and how have they endured? In what ways do Native people make urban places their own? Our program will explore the linkages between American cities and Native Americans, framing our discussion around themes of environmental and economic sustainability, social justice and education, and popular culture. Diverse concepts of "native" will be examined involving not only people but also native landscapes and species.We will consider the perceptions, realities, and shared experiences of Native, non-Native, and recent immigrants in American cities, using the lens of history, urban studies, public policy and cultural studies. We will look at alliances in areas such as environmental restoration projects, contemporary art, economic development and local governance.During the fall and winter quarters we will examine the forces that formed the cities of Seattle, Chicago and New York - and how Native life and landscapes changed as a result. Attention will be paid to both immediately apparent and curiously intertwined events and periods in history, such as Native displacement, industrialization, World's Fairs, the rise of urban planning, tourism, and the arts. Changes in the political life of Native groups will be addressed through a study of legislation and legal cases, tribal casinos, land development, environmental justice, and contemporary art. We will question how Native people are portrayed in museum environments, case studies, films, and texts.From mid-winter to mid-spring, the program will continue to deepen its exploration of these issues. Students will engage in their own qualitative work by utilizing case study methodology to carry out a project on an urban area of their choice. Workshops will develop skills in GIS (Geographic Information Systems), demographic analysis using the U.S. census, community development, policy research, film critique, interviewing and oral history. Students will use these skills to become stronger writers and researchers, and importantly, community members. We will require extensive reading and writing on these topics and students will assist in the facilitation of weekly seminars. Guest presenters, documentary films, museum exhibits, and field trips to tribal museums and urban community organizations will support our analysis throughout the year.	the humanities, land use planning, government, community development, law, environmental policy, elementary and secondary education and mass media.	Jennifer Gerend Kristina Ackley		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
On Freud's "Interpretation of Dreams" Kathleen Eamon literature philosophy psychology writing	Program	FR–SRFreshmen - Senior	8	08	Day				Su 12Summer Session II	In this intensive five-week program, we will read Freud's in its entirety, using textual analysis, writing, and conversation to understand what it means to claim that the "interpretation of dreams is the royal road to the unconscious," watching closely how Freud forges a new path between physiological-scientific explanations of dreams, on the one hand, and mythic, religious, and popular belief in their deep meaning, on the other. This work is foundational not just in psychology and philosophy but also in understanding contemporary approaches to film, aesthetics, and literature.		Kathleen Eamon	Tue Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Orthodoxies and Apostasies: Judaism, Christianity, Islam Richard Benton community studies cultural studies literature philosophy religious studies	Program	FR–SRFreshmen - Senior	16	16	Day		W 12Winter			For two thousand years Jews and Christians agree on some issues and disagree on others. For 1300 years, Muslims have entered into this discussion. What issues do these monotheistic religions agree on? What do they differ about? How do they identify the “orthodox” believer of their own faith, in contrast to the “unbeliever” of another faith? In this program, we will ask the following questions: What makes someone Jewish? Christian? Muslim? How have they interacted? Often these religions ask the same questions; their answers separate them from each other.Each religion depends on writing as the divine expression of belief. Jews depend on Written Torah and Oral Torah. Christians hold the Written Torah, or Old Testament, as inspired, as well as the New Testament. Muslims proclaim the superior status of the Qur’an, while the Bible (Torah and Gospel) lie subordinate to it. Yet all of these writings refer to the other works. Moreover, each religion has produced a body of interpretation. Jews read Midrash, Christians, commentaries, and Muslims, the Hadith. These interpretations further develop the lines that distinguish the community of “true believers” from the “unbelievers” or “apostates.”We will read and interpret the above sacred texts and their interpretations to develop literary and philosophical sensitivities. These texts lie at the basis of all the religious thought of these groups. Knowledge of and ability to interpret sacred texts provide the foundation of grasping the interactions of later periods. Students will also acquire knowledge and develop appreciation for how individuals understand their historical circumstances. We will read secondary literature that describes religious life in various historical contexts. Each student will develop a research project in which they learn how to interpret a religious text from the inside—from the point of view of the text—and learn how to distinguish text from personal interpretation.		Richard Benton		Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Orthodoxies and Apostasies: Judaism, Christianity, Islam Richard Benton community studies cultural studies literature philosophy religious studies	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		This is a repeat of the winter quarter program; students who took in winter may not enroll in this program.For two thousand years Jews and Christians agree on some issues and disagree on others. For 1300 years, Muslims have entered into this discussion. What issues do these monotheistic religions agree on? What do they differ about? How do they identify the “orthodox” believer of their own faith, in contrast to the “unbeliever” of another faith? In this program, we will ask the following questions: What makes someone Jewish? Christian? Muslim? How have they interacted? Often these religions ask the same questions; their answers separate them from each other.Each religion depends on writing as the divine expression of belief. Jews depend on Written Torah and Oral Torah. Christians hold the Written Torah, or Old Testament, as inspired, as well as the New Testament. Muslims proclaim the superior status of the Qur’an, while the Bible (Torah and Gospel) lie subordinate to it. Yet all of these writings refer to the other works. Moreover, each religion has produced a body of interpretation. Jews read Midrash, Christians, commentaries, and Muslims, the Hadith. These interpretations further develop the lines that distinguish the community of “true believers” from the “unbelievers” or “apostates.”We will read and interpret the above sacred texts and their interpretations to develop literary and philosophical sensitivities. These texts lie at the basis of all the religious thought of these groups. Knowledge of and ability to interpret sacred texts provide the foundation of grasping the interactions of later periods. Students will also acquire knowledge and develop appreciation for how individuals understand their historical circumstances. We will read secondary literature that describes religious life in various historical contexts. Each student will develop a research project in which they learn how to interpret a religious text from the inside—from the point of view of the text—and learn how to distinguish text from personal interpretation.		Richard Benton		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Poets on Serendipity Farm Kate Crowe literature writing	Course	FR–SRFreshmen - Senior	6	06	Day, Evening and Weekend				Su 12Summer Session II	We will read and write poetry on Serendipity Farm, which is nestled at the foot of Mt. Walker in the Olympics. This class is open to beginning, intermediate, and seasoned poets. We will research and present on contemporary poets as we explore our various poetic voices within an inner and outer landscape. We will write haiku, free verse, nature poems, and other poetic forms. Students will perform their work around the campfire at night. Students can expect their writing and understanding of poetry to be enhanced significantly.		Kate Crowe		Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Radical Amazement: Interrogating Everyday Experience through Poetry and Video Essay Donald Foran and Marilyn Freeman literature media arts moving image visual arts writing	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		“Awareness of the divine begins with wonder. It is the result of what man does with his higher incomprehension. The greatest hindrance to such awareness is our adjustment to conventional notions, to mental clichés. Wonder or radical amazement, the state of maladjustment to words and notions, is therefore a prerequisite for an authentic awareness of that which is.” From Abraham Heschel’s How do we cultivate a disciplined sense of wonder?We invest a lot of personal energy in certainty—being certain of what we know, of how we feel, of what we think, and, of course, of what others think of us. Heschel’s quote suggests that there are many ways to enter into not knowing, to be surprised anew, to experience wonder and amazement. In order to challenge conventional notions productively we might need to cultivate a healthy maladjustment. But, it’s difficult to subvert the dominant paradigm.How might we as writers and media artists use poetry and video essay to intensify our awareness of everyday experience, to explore our experience, and to express our findings artfully while keeping an audience in mind?The purpose of this program is to heighten our curiosity and to foster the possibility for amazement in the everyday by developing interrogative strategies rooted in the creative practices of writing poetry and personal essays, and of crafting video essays.The program will include creative writing intensives in poetry and creative nonfiction as well as a series of electronic media workshops in which students will gain basic competencies in alternative audio/visual scriptwriting, audio recording and editing, photography, and multimedia editing. Lectures, screenings, and guest writers and artists will address or engage formal, historical, and conceptual concerns in poetry, creative nonfiction literature, film and video essay, and will relate to issues of dominant paradigms, heresy, imagination, reflexivity, the everyday, representations of the self and other, auteur theory, and collaboration. Through weekly seminar papers and discussions students will reflect in more depth on the program’s themes, issues, activities, and texts.A rigorous collaborative midterm electronic media project will require students to interrogate everyday experience in a shared way while negotiating issues of authorship, voice, collectivism, project management, and accountability. Students will exercise creative writing skills and electronic media competencies in this comprehensive midterm assignment, blending their literary works with audio and images in video essays that are crafted collaboratively.Finally, each student will individually craft a video essay that demonstrates a disciplined sense of wonder by drawing on the program’s creative practices and that takes up our thematic concern with radical amazement. The quarter will conclude with student presentations of final projects.		Donald Foran Marilyn Freeman	Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Reading and Writing Short Stories Donald Foran education gender and women's studies literature philosophy writing	Course	FR–SRFreshmen - Senior	4, 6	04 06	Day				Su 12Summer Session II	This will involve reading short stories by writers like Flannery O'Connor, Raymond Carver, Alice Walker, Eudora Welty, Don Chaon, and others, then crafting our own stories, with particular attention to structure, imagery, tone, and theme. Students taking the course for six credits will have additional reading and writing assigned. Some videos will be screened featuring stories by Faulkner and Carver.		Donald Foran	Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Re-Interpreting Liberation: Third World Movements and Migration Therese Saliba, Alice Nelson and Savvina Chowdhury cultural studies economics gender and women's studies history literature Signature Required: Winter Spring	Program	SO–SRSophomore - Senior	16	16	Day	F 11 Fall	W 12Winter	S 12Spring		For centuries, shouts of liberation have echoed through the streets, from Kolkata, India, to Caracas, Venezuela. Today, new movements are afoot, inviting us to re-visit the question, "What does independence mean in the cultural, historical, political and economic context of the global South?" Third World liberation movements that arose in the aftermath of World War II did so not only as organized resistance to colonial forms of oppression and domination, but also as attempts to reconceptualize an alternative, anti-imperial and anti-racist world view. While gaining some measure of political independence, nations such as India, Egypt, Algeria, Mexico and Nicaragua found that they remained enmeshed in neo-colonial relations of exploitation vis-à-vis the former colonial masters. Their post-colonial experience with nation-building bears witness to the actuality that political liberation remains inseparable from economic independence.Through the disciplinary lenses of literature, cultural studies, political economy and feminist theory, this program will explore how various ideas of liberation (sometimes complementary, sometimes contradictory) have emerged and changed over time, in the contexts of Latin America, the Middle East and the Indian subcontinent. We will explore religious, national, gender, ethnic and cultural identities that shape narratives of liberation through the discourses of colonialism, neocolonialism, religious traditions and other mythic constructions of the past. We will examine how deep structural inequalities have produced the occupation and partitioning of land, and migrations, both forced and "chosen."With emphasis on a variety of texts, we will examine the ways in which authors revisit their histories of European and U.S. colonialism and imperialism, question the ways stories have been written, and seek to tell another story, re-interpreting liberation. In fall, we will explore several historical models of liberation and critique dominant representations of Third World nations. We will focus especially on India's path to independence, the Algerian and Cuban revolutions, Egypt/Arab Nationalism, the Chilean Road to Socialism, and connect resistance in Chile under Pinochet to Lebanon in the 1980s. In winter, we will move forward chronologically, and our cases will include: Iran and Nicaragua in the late 1970s and 1980s (with emphasis on theologies of liberation and the Iran-Contra affair), the Palestinian/Israeli conflict, the indigenous, post-nationalist resistance movements in Chiapas and India, the state-led Bolivarian Revolution in Venezuela, the Green Movement in Iran today, and opposition to U.S.-led wars in Afghanistan and Iraq. We will look at feminist involvement in each of these contexts, as well as the role of U.S. foreign and economic policy in suppressing liberatory movements.In spring quarter, we will focus on migration as a legacy of colonial relations, now reconstituted through neoliberal structural adjustment, combined with heightened militarization and corporate control. We will examine the day-to-day realities of dislocation through the literature of various diasporas, and the quest for community, sovereignty and economic security in the post 9-11 era.One aspect of this program includes participation in the campus Spring Symposium, "The Occupy Movement: Uprisings at Home and Abroad" to be held Thursday evenings 6-9pm.	education, international studies, community advocacy and foreign service.	Therese Saliba Alice Nelson Savvina Chowdhury		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Resistance and Social Change: Critical Readings in African American and Latina/o Literature Elizabeth Williamson and Grace Huerta African American studies American studies gender and women's studies literature writing	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		Why is it important to consider African American and Latina/o literature in the 21st century? What is the value of studying works based on the identity of their authors, and how can we account for the lasting effects of history, cultural loss, and oppression as represented in these texts without succumbing to the limitations of a "politically correct" politics of identity? How can these authors both fuel and complicate our struggle against all the various forms of oppression we face today?In this program, we address such questions by examining the treatment of hegemony, identity, and gender in the works of authors such as Julia Alvarez, Gayl Jones, Christina Garcia, and Nella Larsen. Together, these authors present culture through the conditions of power relations and its historic aftermath: colonization, slavery, and marginalization. We will focus on writers whose works cross both cultural and national borders and forcefully contest the identity politics of race, gender, class and language.Throughout this quarter, we will also examine social and political change, particularly noting how activism is conceptualized in the literature we read. In addition, we will consider the important role of anticolonial aesthetics by developing our own skills in literary analysis through experimental critical writing. It is through such writing that we will generate even more questions to consider, for example: how do other literary genres and media challenge conventional notions of national belonging for African Americans? How are the cultural borders between the United States and Mexico, or the United States and Cuba, more fluid than the existing political borders? We will strive to get beyond politicized literary analysis, moving instead toward collective cultural reflection and understanding.Our shared concepts and questions will be explored through seminars, workshops, group discussions, and multi-media presentations. Students will co-facilitate seminars and complete critical writing activities, including the use of peer feedback.		Elizabeth Williamson Grace Huerta		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Roots of China: Culture, Art and Poetics Andrew Buchman, Wenhong Wang, Rose Jang and Mingxia Li cultural studies history language studies literature music study abroad theater Signature Required: Winter	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter	S 12Spring		We'll study Chinese history, poetry, visual art, theatre and music in fall and winter, then spend an optional month at the National Academy of Chinese Theatre Arts in Beijing in the spring. Extra financial aid is available for this study abroad program for qualified students. We'll study Chinese civilization from ancient to contemporary times, comparing it with Western cultural models. As Ai Weiwei's case demonstrates, artists continue to be agents of social change in Chinese society today. We'll look at artists' lives as well as their work throughout China's history. To appreciate the central Chinese artistic tradition of depictions of and meditations on nature, we'll study the natural history of China, a country the size of the U.S. with remaining wilderness, despite its large population and burgeoning economy.Workshops on mythology, poetry, folk songs, martial arts, theatrical movement, ritual and secular music, and calligraphy will bring cultural legacies alive for us. In lively, interactive Chinese language lessons, students will create new works of poetry, music, and theatre inspired by Chinese model. We will study Chinese language in order to approach the Chinese world, since, as Heidegger put it, it is from language that "we receive the soundness of our roots" – that is, become intimate with the linguistic idioms, shapes, and sounds that color Chinese culture. Students will study language at their own levels and their own pace, as part of a holistic, supportive, inspiring curriculum.Although there are no prerequisites in performance, arts, Chinese language or aesthetics, interests or previous study in any of these fields will be useful. Expect plenty of reading and writing, creative workshops featuring small group work, and independent research and creative projects that will increase in size as the year progresses. Students will have ample opportunities to develop their individual artistic and academic interests.During fall quarter, we will survey the poetry and art of pre-modern China, from ancient texts and excavated musical instruments to recurrent images in Chinese folklore. We'll address the mythological and philosophical subtexts of these works as well, such as aspect of gender and class. We'll focus on works that continue to be enacted and reinterpreted by contemporary poets, performers and artists. We'll examine vital controversies around competing approaches to the tradition.Winter quarter will take us into the modern era. We will study important writers, poets, musicians, performers, visual artists and filmmakers from the late 19th and 20th centuries, including some from the Chinese global diaspora who helped to create and shape a new vision of China as a republic. We will analyze how processes of cultural transformation and modernization within the last century are reflected in departures, in content and form, from classical models and traditions. Students will finish a research paper and teach the rest of the program what they've learned through individual or group presentations.In spring quarter, we'll get to know some prominent contemporary Chinese artists and literary figures, and explore the blossoming artistic scenes in many Chinese cities. During the second half of the quarter, interested students will have the opportunity to go to Beijing to study Chinese language and culture first-hand. These students will also study and practice the beauty of Chinese theatre arts with professional teachers in small, intimate workshops. Students who elect not to study abroad will pursue a major research project, and/or ethnographic fieldwork in an Asian community in the United States, and/or pursue internship opportunities. Update on Scholarships for Study in China: Students who receive the Federal Pell Grant should apply for a Gilman Scholarship by the October 4, 2011 deadline. For more information, go to "http://www.iie.org/en/Programs/Gilman-Scholarship-Program", or contact Michael Clifthorne on campus at 360-867-6421.	Chinese-American joint ventures, arts-related fields, English teaching in Asia, travel and tourism, and cultural studies.	Andrew Buchman Wenhong Wang Rose Jang Mingxia Li		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Shakespeare and His Time Trevor Speller language studies literature writing	Course	FR–SRFreshmen - Senior	4	04	Day				Su 12Summer Session II	This all-level summer program offers students an opportunity to study the works of Shakespeare in the context of Elizabethan literature. We will read plays, poems, fiction, and non-fiction by Shakespeare and his contemporaries, and we will look at different productions of Shakespeare’s works on film and on stage. A significant part of the program involves traveling to the Oregon Shakespeare Festival (Aug 13-16) to see two contemporary productions of Shakespeare’s plays, which may include , , and .Over the course of five weeks, we will try to understand who Shakespeare was through a close reading of his works. Students will read and write, converse and research, and watch films in seminar and lecture. We will consider whether Shakespeare is deserving of his reputation, in part by comparing his works to those of his peers in Elizabethan England.Interested students are encouraged to contact the instructor via email.		Trevor Speller	Mon Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Slavic and Celtic Folklore: Heroic, Spiritual, Practical Sean Williams and Patricia Krafcik anthropology cultural studies history literature music theater	Program	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		This program will explore the folklore of the Slavic and Celtic peoples from epic times to the present in a cross-cultural study of two of Eurasia's oldest ethnic groups. Both groups are dispersed: the Slavic regions across eastern and southeastern Europe and into Eurasia, and the Celtic regions across the islands and peninsulas of the West. Both are renowned for their abundant folklore traditions, which have deep roots in a remote past and have served as a valuable source of inspiration for writers, composers and dramatists from the 19th century through the present. What characteristics do both traditions share? What distinguishes the two cultural traditions? What essential historical, linguistic and spiritual elements permeate the hearts and minds of local people in these regions? What do their folklore practices reveal?We begin the quarter with regional epic narratives and explore the histories and belief systems of the two regions. We follow this foundational work with an exploration of folklore practices (customs, rituals, beliefs), examine 19th-century cultural nationalist movements in music and literature, and conclude with how it all plays out in contemporary life, both rural and urban. This program may serve as a springboard for further study of the Celtic and Slavic peoples, of folklore, and of the material elements of culture.Each week includes lectures, films, seminars, and possible workshops, collaborative presentations, and guest performers or presenters. Students will be expected to write short essays, as requested, and to complete a significant essay at the end of the quarter that examines the role, use and appropriation of folklore materials in a particular Slavic or Celtic region.	folklore, anthropology, ethnomusicology, history and literature.	Sean Williams Patricia Krafcik	Mon Tue Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Slicing Life: Crafting the Narrative Memoir Eddy Brown cultural studies literature writing	Course	FR–SRFreshmen - Senior	4	04	Day				Su 12Summer Session I	Through writing exercises, informal reader responses to published literature, workshops, and seminars on selected readings, students will be guided toward improving their writing and storytelling skills and gaining a deeper understanding of narrative nonfiction and the short story. Participants will develop practical, transferrable knowledge of literary genres, writing as a craft and process, and story analysis. Overall, students will be directed toward becoming more capable and confident readers and writers and more self-aware individuals. The major project for the course will be a 10-15 page narrative memoir.		Eddy Brown	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Stages of Discovery: Revolutions in Art and Science Elizabeth Williamson, Andrea Gullickson and Krishna Chowdary aesthetics history literature physics theater writing	Program	FR–SOFreshmen - Sophomore	16	16	Day	F 11 Fall	W 12Winter			If you are interested in either art or science and are curious to find out what happens when art and science meet, this introductory program is for you. We will work to become familiar with the methods used by artists and scientists and see if these methods can help us make sense of, and live better in, an increasingly complicated world.We will trace developments in art (primarily theater and music) and science (primarily physics) during two time periods: the Renaissance and the early 20th century. We will explore three major questions:Our study of the Renaissance will focus on major revolutionaries, including Galileo and Shakespeare. Galileo's scientific conclusions about the natural world conflicted with some deeply held church teachings. Similarly, Shakespeare's plays highlighted and challenged social conventions and their impact on the day-to-day lives of his audience. We will examine the roles of science and art in challenging commonly held beliefs and explore how society can be transformed through the new perspectives and insights they offer.Our study of the early 20th century will focus on major revolutions in physics, theater, and music. Relativity and quantum mechanics challenged the idea that natural phenomena could be studied without taking into account the role of the observer in shaping those phenomena. In the arts, the observers were seen to play a central role in the artistic product. Brecht and Schoenberg, among others, challenged the notion that art should hold "a mirror up to nature," arguing that art should prompt us to take action rather than merely acclimating us to the way things are. Our studies of art and science will come together as we work with plays that draw on science for subject matter and are experimental in structure, staging, and purpose. Together we will examine and critique the aesthetics and accuracy of plays that merge science and theatricality, such as Brecht's , Stoppard's and Frayn's . Weekly activities will include workshops designed to develop skills critical to success in college and beyond. Collaborative workshops will emphasize improving your written and oral communication skills as well as your analytical and creative thinking. Hands-on activities will provide you with supportive opportunities to apply math and physics and develop scientific reasoning. Together we will approach the art and science content in a manner that is accessible to students with little background in these areas, while still challenging those with prior experience. As a final collaborative project, program members will produce creative interventions dramatizing a science topic.	literature, science, education and theater arts.	Elizabeth Williamson Andrea Gullickson Krishna Chowdary		Freshmen FR Sophomore SO	Fall	Fall Winter
Student-Originated Studies: Poetics Leonard Schwartz literature philosophy writing Signature Required: Spring	SOS	FR–SRFreshmen - Senior	16	16	Day			S 12Spring		Poetics involves language as creative functions (writing, poetry, fiction), language as performance, language as image, and language as a tool of thought (philosophy, criticism). Our work will be to calibrate these various activities.Students are invited to join this learning community of culture workers interested in language as a medium of artistic production. This SOS is designed for students who share similar skills and common interests in doing advanced work that may have grown out of previous academic projects and/or programs. Students will work with faculty throughout the quarter; we will design small study groups, collaborative projects and critique groups that will allow students to support one another's work.	literature, publishing, writing, and academics.	Leonard Schwartz		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Suburban Nation? Sarah Ryan and Nancy Parkes community studies cultural studies environmental studies history law and public policy literature sustainability studies	Program	FR–SRFreshmen - Senior	8, 12, 16	08 12 16	Evening and Weekend	F 11 Fall	W 12Winter			Is the United States a “suburban nation?” Why do we have a unique pattern of urban/suburban development that contrasts with that of other nations? What do we need to know, and what do we need to do, in order to create more sustainable, equitable, and livable communities? This program will look critically at historical, sociological, and environmental aspects of suburbs, including the role of the federal government and financial institutions in structuring our landscape and living environments. Our work during both quarters will be centered in the historical study of suburbanization. During fall, we will look at the critique New Urbanists make of the configuration of suburban space and evaluate local areas as examples of problems or solutions. We will also acquaint ourselves with quantitative analysis through evaluating the story that census data tells. During winter, our focus will move toward the way suburbia is reflected in literature and film, and how this shapes us individually and collectively. During both quarters, students will continually have opportunities to consider proposed solutions as suburbs shift and change that will better meet challenges for housing, social equality, and both social and ecological sustainability. Our goals include an immersion in the historical roots of policies that resulted in suburbanization and an examination of the economics, class, race, and gender systems that underlie many urban/suburban problems. We will strive to understand how current suburban configurations shape popular culture, political power bases, transportation policies, ecological consequences, families, and educational opportunities. We will investigate successful alternatives to current suburban developmental norms and consider obstacles that inhibit individuals and communities from adopting more sustainable and socially just practices. We will examine whether suburbs establish islands of privilege that reject urban complexity and diversity and whether the laws and policies encouraging home ownership still meet the needs of individuals and communities. Our program will include a rich mixture of readings, interactive workshops, and lectures by both faculty and guests as well as opportunities to explore suburbanization in our own and nearby communities. Students will also have opportunities to strengthen their research, collaborative, and writing skills. Students registering for 12 credits will take on an individual project, connected to a group study of a specific suburban community, that will involve substantial historical, sociological, or geographical research, writing, and an interactive presentation. 12-credit students should expect to spend an additional 10 hours per week on this work. Students registered for 12 credits will also meet Mondays from 6-8 p.m.Students registering for 16 credits must have at least 20 daytime hours per week available to devote to an internship in land use planning or community development, in addition to the 20 hours per week for required for class and study time. The faculty have arranged some internships with local municipal government bodies that require references, referrals, and conferences with sponsors. Students are also welcome to arrange their own 20-hour internships in planning and community development in collaboration with faculty. Faculty signature is required for this registration option; please contact the faculty if you are interested or would like more information.	history, literature, environmental studies, planning, government, public policy	Sarah Ryan Nancy Parkes	Mon Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Taking Things Apart: A Scientific and Artistic Exploration Bob Haft and Donald Morisato biology literature philosophy of science visual arts Signature Required: Winter	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter			Both science and art take things apart. In some instances--like the evisceration of a frog or an overly-analytical critique of a poem --the process can result in the loss of the vital force. In the best scenario, carefully isolating and understanding individual parts actually reconstitutes the original object of study, bringing appreciation for the whole that is greater than the parts. Sometimes taking things apart results in a paradigm shift: suddenly, the ordinary becomes extraordinary.In one strand of this program, we will use a biologist's tool kit to explore how living organisms function. We will learn how biology takes apart and studies life in different ways. In fall, we will focus on visual perception, beginning with anatomy, proceeding onto the logic of visual processing, and concluding with an examination of the specialized neurons and molecules involved in phototransduction. In winter quarter, we will play with the idea of mutation, exploring how genetics can be used to dissect complex processes, in addition to providing an entry point for the molecular understanding of inheritance at the level of DNA.Another strand takes visual art as its point of departure. Here, we will combine what we learn about the anatomy and physiology of the eye with a study of how to use sight to apprehend and appreciate the world around us. We will work with different tools--charcoal pencils and camera, for example--both to take things apart, and to construct new things. During fall quarter, we will learn the basics of drawing. In winter, we will switch to using black-and-white photography as a means of studying life at a more macroscopic level than in the biology lab. Ultimately, our goal here is the same as that of the scientist: to reconstitute and reanimate the world around us.There are ideas for which literature provides a more sophisticated and satisfying approach than either science or the visual arts. Thus, in a third strand, we will examine how literature depicts and takes apart the emotional and behavioral interactions that we call "love." Authors that we may read include Shakespeare, Stendhal, Henry James, Virginia Woolf, James Baldwin, John Berger, Haruki Murakami and Louise Gluck.Our goal is to weave these strands together, to produce an understanding about the world that is informed by both cognition and intuition. Throughout our inquiry, we will be investigating the philosophical issue of objectivity. This is a rigorous program that will involve lectures, workshops, seminars, studio art and laboratory science work. Student learning will be assessed by weekly seminar writing assignments, lab reports, art portfolios and exams.	biology, visual arts, sciences and the humanities.	Bob Haft Donald Morisato		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Travel Writing Greg Mullins literature writing	Program	SO–SRSophomore - Senior	16	16	Day			S 12Spring		The best way to advance one's ability to write is to read insatiably and write indefatigably. In this program we will do both. We will read extensively in the area of travel writing broadly construed, including fiction, journalism, and poetry. Assignments will include writing from personal experience and writing reviews (of restaurants, hotels, etc.). Students will learn a variety of research methods, including academic research on travel destinations and how to interview people as part of a travel writing project.All kinds of writing involve ethics, but travel writing offers specific ethical complexities. Even if we draw a sharp distinction between tourism (as superficial experience) and travel (as deep and thoughtful experience), there is a long tradition of travel writing embedded in structures of power. Reading, research, and writing assignments will focus centrally on the choices travel writers make regarding fairness and accuracy. For example, we will read deeply in literary and cultural theory in order better to understand the political dimensions of representation in and through language. We will practice writing strategies that construct fair and complex representations of the people and places writers visit.During the spring quarter, the emphasis will be on classroom learning, although some writing assignments will take students off campus to practice how to conduct research and how to negotiate unfamiliar surroundings. This work will provide a foundation for students to design a project that requires extensive travel and writing.		Greg Mullins		Sophomore SO Junior JR Senior SR	Spring	Spring
Universal Themes in Art, Literature, and Life Donald Foran and Patt Blue literature visual arts writing Signature Required: Winter	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter			How do universal themes inform our actions and our work as writers and photographers? As artists, photographers, and writers become better at capturing the unique particularities they discover in life through their craft, they increasingly articulate common themes. The combined study of universal themes, literature and photography provides an opportunity to explore the differences, similarities, and intersections. Throughout this rigorous program, we will examine universal themes expressed in classic literature through reading, writing, and discussion. Literary texts in fall quarter include by Herman Melville, by Joseph Conrad, several Raymond Carver stories. Guest writers include Paul Lindholdt and Carolyne Wright. Analytic and creative writing assignments run through the quarter Photography readings include by Roland Barthes, and by James Agee and Walker Evans. Slides and videos of artists Duane Michals, Richard Avedon, Robert Frank, Diane Arbus, Shelby Lee Adams and others will be shown and discussed in conjunction with visual assignments. In winter, individual photography and writing projects will be a major emphasis. Our focus is to equip participants with the visual literacy to develop a signature style and analytical and creative writing skills. To this end, we’ll read stories, poems, one play, , and one novel, . After analysis we will write our own stories, poems, and possibly dramatic scenes. In photography, we’ll be exposed to the work of Dave Heath, Nan Goldin, Clarissa Sligh, Christian Boltanski, Sophie Calle, and David Wojnarowicz. Program participants will journey to Seattle for exhibitions at the Northwest Photography Center and other galleries.It is challenging to chart the intersection of art and life, but this program goes a long way toward doing so.	visual arts, education, literary arts, and all fields which benefit from careful analysis and effective communication.	Donald Foran Patt Blue		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
The Victorian World Susan Preciso and Thomas Rainey geography history literature Signature Required: Winter	Program	FR–SRFreshmen - Senior	8, 12	08 12	Evening	F 11 Fall	W 12Winter			Victorian Britons believed in the idea of progress. They believed that a nation, a culture, could “improve” itself; and indeed, Victorian England led the western world in the development of new ideas in science, economics, industrialization, technology, suffrage, and religious tolerance. At the same time, Britain “appeared as a colossus astride the world,” with the most powerful army and navy of the time. British imperialists bragged that “the sun never set on the Union Jack,” and London became the capital, the very heart of this economic political, and scientific-technical giant. During fall quarter, our focus is on the Industrial Revolution and its social, economic, and cultural consequences. In winter quarter, students will continue their exploration of Victoria’s century, pushing the focus to the tensions emerging from British economic and imperial hegemony. We will see how some Victorians questioned the progress so hailed by others. Moving from the apex of British power and influence, we will study ways Britons struggled with an empire grown too big to control, challenges to traditional thinking in religion and science, and calls for reform and change. British novels, in particular, often deal with the consequences of rapid economic, social, cultural, and political change and how Victorians saw themselves and others in this evolving landscape. Thus, students can expect to study the literature of the era as works of art, social documents, and moral statements. Reading historians’ analyses of the era provides the important background that enriches and informs any study of Victorian literature and art.We will see as well the ways in which the Victorian world shaped who we are and how we see ourselves in the 21 century. How did Victorians like Charles Darwin, Karl Marx, and others move us toward the modern world? Writers like George Eliot (Mary Ann Evans), Rudyard Kipling, Thomas Hardy, Oscar Wilde, and Joseph Conrad will provide a wide and complex picture of Victorian thinking. We will read histories by Eric Hobsbawm, Judith Walkowitz, and E. P. Thompson. We will also see film adaptations of some great Victorian fiction. Lectures, workshops, and seminar discussions will continue to be central activities for students and faculty in Winter quarter there will be a 12 credit option offered to students who began their work in fall quarter. The 12 credit group will meet every week for a seminar discussion of their assigned reading TBA.The assigned reading and writings assignments will supplement their other program work.Credits may be awarded in 19 Century British History and Culture, 19 Century English Literature, and the Geography of Empire.Students who complete this program will be well prepared for more advanced work in the humanities, particularly in history and literature.	teaching, literature, history	Susan Preciso Thomas Rainey	Mon Mon Wed Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
The Video Essay Anne de Marcken (Forbes) literature media arts moving image visual arts writing	Program	FR–SRFreshmen - Senior	8	08	Day				Su 12Summer Session II	Philosopher Theodor Adorno, wrote, “The essay’s innermost formal law is heresy.” And heresy rules the video essay—a defiant mix of text, sound, and image confounding the boundaries of literature and time-based art. In this program we’ll study video essays by contemporary writers and filmmakers who are redefining the essay as an emergent form of creative nonfiction media art. We’ll also study—through lectures, screenings, and readings—the video essay’s origins in literature and film. Finally, through progressive workshops and assignments in writing, scripting, audio recording, photography, and editing, students will craft their own video essays. Please visit - .		Anne de Marcken (Forbes)	Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
The Women's West Ann Storey and Joli Sandoz art history gender and women's studies literature visual arts	Program	SO–SRSophomore - Senior	8	08	Evening			S 12Spring		Western women's experience is as varied as the cultures it supports. Engaging with history, writing, and art from a variety of cultural perspectives, we'll look beyond the mythical (and male) West of the pioneer, cowboy, miner, and logger to the many Wests women have lived and imagined. Ultimately, creative work by Western women has expanded U.S. critical and aesthetic discourses with new ideas, methods, and perspectives. Guiding questions: What does the modern West look like to feminist artists and writers? How does contemporary women's creativity transform the "myth of the West"?	fine arts, education, writing, history, sociology, museum work	Ann Storey Joli Sandoz	Tue Thu	Sophomore SO Junior JR Senior SR	Spring	Spring
Writer's Paradise Nancy Parkes literature writing	Program	FR–SRFreshmen - Senior	8	08	Evening and Weekend				Su 12Summer Session I	is open to writers of all ability levels seeking an intensive writing experience that complements a busy summer schedule. Students may enroll for 8 credits for first session and continue through second session for up to 8 additional credits by individual contract with faculty. Students who continue on individual contract in second session will have the choice to either continue with group sessions, one-on-one meetings with faculty, and an additional hike to Klahhane Ridge; continued work at an advanced level by distance; or a combination of the two. Students may focus on poetry, fiction, essays, and/or creative non-fiction. We will engage in a rich array of writing-related activities. Peer critique groups will meet weekly at a mutually agreeable time. Faculty will offer extensive individual support, feedback, and time to students. Program work will include seminars on short fiction, a novel, and non-fiction; regular writing workshops; in-class critique; day hikes; and a workshop on publication. The program is designed with an intensive weekend session including a day hike to the Hoh River Rainforest, and a Saturday workshop and writing celebration at the end. Faculty will be available for individual sessions during a combination of evening and weekend hours, day hours, and will also be available to assist critique groups.Students choosing to continue by individual contract in second session to achieve 16 credits should contact Nancy A. Parkes before summer registration to collaborate on mutually agreeable terms that support more advanced writing work.		Nancy Parkes	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Writing American Cultures Samuel Schrager, Chico Herbison and Nancy Koppelman American studies anthropology community studies cultural studies history literature sociology writing Signature Required: Winter	Program	FR–SRFreshmen - Senior	16	16	Day	F 11 Fall	W 12Winter	S 12Spring		These words of Ralph Ellison's are the starting point for our inquiry. This program will explore diversity and unity in the United States through outstanding narratives by artists and scholars who, like Ellison, capture distinctive characteristics of the hybridity endemic to American experience. Students will use these studies to take their own fresh looks at American life and to become adept practitioners of the writer's craft.The program involves close reading of literary, historical, and anthropological-sociological texts, and attention to traditions of story, music, film and humor. We will consider a range of group experiences-African American, Asian American, Jewish, working-class, place-based, queer, female, youth, differently-abled, and others. We will focus on understanding dynamics between historical pressures and legacies, and present realities and aspirations. How, we will ask, have race relations, immigrant experiences, and family life both expressed and extended democratic ideals, and both embodied and challenged a wide range of power hierarchies? What are the most compelling stories that this unpredictable culture has produced, and how have they nourished and articulated community? What will be the impact of emergent technologies on the increasingly permeable boundaries between human and machine, "real" and virtual, self and other, particularly for the making of democracy?Fall and the first half of winter will feature intensive practice of writing in non-fiction, imaginative and essay forms. Research methods will also be emphasized: ethnographic fieldwork (ways of listening, looking, and documenting evidence to make truthful stories), and library-based scholarship in history, social science and the arts. From mid-winter to mid-spring, students will undertake a full-time writing and research project on a cultural topic or group in a genre of their choice, locally or elsewhere. These projects are akin to the kinds that students pursue with Individual Learning Contracts; students in Writing American Cultures will undertake them in community, with strong faculty support. The project is an excellent context for senior theses. In the final weeks of spring, students will polish and present their writing in a professional format. Throughout the program, dialogue about our common and individual work will be prized. Among the fiction writers we may read are William Faulkner, Maxine Hong Kingston, Herman Melville, Toni Morrison and Ishmael Reed; essayists Gerald Early, Ralph Waldo Emerson, Albert Murray, Cynthia Ozick and Mark Twain; ethnographers Joan Didion, Zora Neale Hurston, Joseph Mitchell and Ronald Takaki; historians John Hope Franklin, Oscar Handlin and C. Vann Woodward. Films may include , , and Music we'll hear may be by Louis Armstrong, John Coltrane, Bob Dylan, Jimi Hendrix, Billie Holiday, Janis Joplin, and Tupac Shakur. Humor/comedy will be provided by Lenny Bruce, Margaret Cho, Richard Pryor, and others. Students who are serious about becoming capable writers are warmly invited to be part of this program. Those who give their time and energies generously will be rewarded by increasing their mastery as writers, critics and students of American culture and society.	the humanities and social sciences, community service, journalism, law, media and education.	Samuel Schrager Chico Herbison Nancy Koppelman		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Writing Beyond the Basics Peter Bacho communications literature writing	Program	FR–SRFreshmen - Senior	4, 8	04 08	Day				Su 12Summer Full	This class will focus on enhancing writing skills needed for communicating with academic and popular audiences. During the first session, students will study the art of composition, with an emphasis on improving writing projects typically associated with the effective dissemination of community resource materials, manuals, position papers, etc. Students will study the art of effective and accurate editing. Regarding the latter, students will edit an unedited version of a journal entry that is part of a novel – written by the Instructor – and published by the University of Hawai’i Press.During the second session, students will shift their focus to creative writing. They will create a credible protagonist, do a variety of effective creative writing exercises, and hold weekly readings of their work.		Peter Bacho	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer

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