2012-13 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
The 1960s @ 33 1/3 Chico Herbison American studies cultural studies music writing	Course	FR–SRFreshmen - Senior	4	04	Day				Su 13Summer Session I	This course will explore U.S. popular culture of the 1960s through five of the decade’s seminal albums: The Beach Boys’ , James Brown’s , Bob Dylan’s , Jimi Hendrix’s , and . Our texts will include each album’s counterpart from the book series. The final project will be a similar close reading of another 1960s album. Students interested in expanding their final projects into a major piece of music writing—à la the series—can develop individual learning contracts for additional credit during second session.		Chico Herbison	Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Academic Writing as Argument (A) Emily Lardner writing	Course	FR–SRFreshmen - Senior	4	04	Evening	F 12 Fall						Emily Lardner	Mon	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Academic Writing as Argument (B) Emily Lardner writing	Course	FR–SRFreshmen - Senior	4	04	Evening	F 12 Fall				This course focuses on the ways writers make arguments in a variety of contexts. Our initial shared topic will be climate change, which we will explore from various disciplinary and interdisciplinary perspectives. Within that topic, we will examine and practice strategies for taking positions, considering objections, and using evidence. No science background is necessary. In addition to writing an argument related to our shared topic, each student will select a topic of their own for a second project.		Emily Lardner	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Advanced Writer's Workshop Nancy Parkes literature writing	Program	SO–SRSophomore - Senior	12	12	Evening and Weekend			S 13Spring		This 12-credit workshop is designed for 15 students who already have a foundation in writing fiction and/or creative non-fiction. Through our writing, reading, and review of film as a medium, we will examine and practice the craft of creating rich characters, vibrant scenes, and crisp dialogue. During spring quarter, students will produce one memoir-based piece, a short story or novel chapter, and a "student choice" writing block. We will concentrate on the craft of revision with each section of writing. This is an evening/weekend based program that will meet every Wednesday evening and five full Saturdays, with shorter Monday evening meetings for critique groups and workshops where students share drafts and assist one another with writing. Students should also expect to spend additional time critiquing peer work outside the classroom.		Nancy Parkes	Mon Wed Sat	Sophomore SO Junior JR Senior SR	Spring	Spring
Afrofuturism Andrew Buchman, Chico Herbison and Joye Hardiman African American studies cultural studies literature music writing	Program	SO–SRSophomore - Senior	16	16	Day			S 13Spring		Afrofuturism is an emergent literary and cultural aesthetic embraced by artists who have imagined alternative futures, while often grappling with aspects of race, gender and ethnicity. Rone Shavers and Charles Joseph offered a critical working definition of the genre, first named by Mark Dery around 1995, as follows: "Afro-Futurism...combines elements of science fiction, historical fiction, fantasy and magic realism with non-Occidental (non-Western) cosmologies in order to critique not only the present-day dilemmas of people of color, but also to revise, interrogate, and re-examine the historical events of the past." Artists often listed in an emerging Afrofuturist pantheon include authors Samuel R. Delany and Octavia Butler; visual artists Jean-Michel Basquiat and Renée Cox; and musicians Parliament-Funkadelic (including George Clinton and Bootsy Collins), Sun Ra, DJ Spooky (Paul D. Miller), and Janelle Monáe.After laying the groundwork for explorations of the work of these and other artists, we will ask students to help us address these and other avenues for explorations of Afrofuturism, including race and digital culture; the role of technology in cultural formations; notions of Utopia, Dystopia, and the "post-historical" in Afrofuturistic literature; non-Occidental (non-Western) cosmologies and their uses in Afrofuturistic texts; trauma theory and its role in Afrofuturistic literary and cultural production; Afrofuturism's relationship to digital and/or urban music (i.e., drum and bass, garage, hip-hop, house, jungle, neo-soul, funk, dub, techno, trip hop, etc.); Black identity in Western literature, in light of Afrofuturism's general interrogation of identity and identity politics; Afrofuturism and its relation to previous race-based art movements and aesthetics (e.g., the Harlem Renaissance, Black Arts Movement, the New Black Aesthetic, etc.); Black Music as a source of Afrofuturistic discourse and/or liberation; the black superhero as Afrofuturistic rebel, and the black comic book as a "paraliterary" source of contemporary folklore; Afrofuturism from the perspective of film studies and/or video culture; and/or the social and cultural implications of a theory of Afrofuturism.Because the artworks we will be dealing with will be both exciting, provocative and fine, we think that students will find this hard intellectual work deeply rewarding, sometimes in unexpected ways. We expect to learn from students, and to share an intellectual adventure in an emerging, engrossing artistic terrain. While research writing and criticism will be emphasized, students will also be encouraged to pursue optional creative writing and music projects, for possible presentation to the entire program.	the humanities or the arts, especially creative writing and music.	Andrew Buchman Chico Herbison Joye Hardiman		Sophomore SO Junior JR Senior SR	Spring	Spring
America Abroad Stacey Davis, Samuel Schrager and Eric Stein American studies anthropology community studies cultural studies history international studies literature study abroad writing	Program	SO–SRSophomore - Senior	16	16	Day	F 12 Fall	W 13Winter	S 13Spring		. -Ralph Ellison To educated Europeans around 1800 the new republic called The United States of America was founded on an incredible idea drawn from 18th century Enlightenment discourse: that human beings could govern themselves. The fraught implications of this democratic ideal have played out ever since. They loom large in the promise of a new start that drew 35,000,000 immigrants between the 1840s and the close of unrestricted immigration in the 1920s, and millions more who have continued to come; in the institutions that supported 19th century slavery, 20th century Jim Crow segregation, and subsequent Civil Rights movements; in the aspirations, past and present, of women and other lower-status groups. The meanings of American democracy, contested at home, have also been much scrutinized abroad. While American power has often been feared or resisted, other peoples often invoke or adapt democratic ideals to serve their own needs.This program will explore these complex relationships between the world-in-America and America-in-the-world. How, we will ask, are our identities as Americans shaped by ethnic, religious, gendered, class and place-based experiences--for example, by the cultural hybridizations and the real (and imagined) ties to home cultures endemic in American society? How do diverse Americans wrestle with democratic values in their ordinary lives? We will also consider some of the contemporary manifestations of American presence and power in various locations abroad. Using an anthropological lens, we will reflect on people's often ambivalent readings of tourists and soldiers, American aid organizations and NGOs, Hollywood mediascapes, and American commodities. How, we will ask, ought we to understand American representations of foreign "others" in travel writing, cinema, or museum display, and how have Americans themselves been represented as "others" in relationship to the larger world?Our program will provide strong contexts for students to study and work closely with faculty in the fields of history, anthropology, folklore, literature and creative non-fiction. In the fall and the first half of winter we will focus on in-depth readings of texts and training in the crafts of ethnography, writing and academic research in preparation for major independent research and senior theses. Students will undertake these projects on a topic of their choice, from mid-winter to mid-spring, either in the U.S. or abroad, in ongoing dialogue with peers and faculty. In the last half of spring the program will reconvene to review students' written work in light of the leading issues of our inquiry. There will be three main kinds of research projects. can be conducted locally, or elsewhere, on topics involving cultures, identities, community or place; they will have an emphasis on creative non-fiction writing, and optional opportunity for internships. can explore a historical, art historical, literary, or sociological topic, using primary or secondary resources. will combine service learning with research on an aspect of American culture or on values and practices in another society. Service opportunities include include health, education, youth, agriculture, community development, women's empowerment and human rights. Thailand will be a featured destination, with faculty providing language training and in-country instruction and support. While students can choose any location with faculty approval, there will be additional opportunities for students in Guatemala and Western Europe.		Stacey Davis Samuel Schrager Eric Stein		Sophomore SO Junior JR Senior SR	Fall	Fall Winter
The Art and Practice of Poetry Rebecca Chamberlain literature writing	Course	FR–SRFreshmen - Senior	4	04	Evening		W 13Winter			How are poems brought to life? How are they crafted? How do poets invoke the senses, emotions, and imagination? How do poems transform individuals, as well as culture and society? This course will explore both traditional and modern poets and poetic forms. We will tap into word play—images, sounds, patterns, and rhythms—as we write and study poems. Our explorations will include narrative, lyric, and contemporary poetic forms; and we will draw on examples from a variety of cultures, historical time-periods, and traditions.Activities will be designed for both beginning and advanced students, and will encourage both collaborative and self-motivated learning. We will develop a basic understanding of both theory and practice as we survey the historic, cultural, and artistic context of the poetic tradition. Participants will be involved in a number of workshops and improvisational activities to develop and revise poems and writings, will meet local poets, and will cultivate an understanding of different poets, genres, and traditions.		Rebecca Chamberlain		Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Art/Work Julia Zay, Shaw Osha (Flores) and Kathleen Eamon aesthetics art history cultural studies gender and women's studies media studies philosophy visual arts writing	Program	FR–SOFreshmen - Sophomore	16	16	Day	F 12 Fall	W 13Winter			- In this program, we want to think about art, and we want to think about work, but we want to think about them in a historically-specific sense. We will be talking about art and work as practices and discourses specific to “modernity,” and we will talk about modernity as marked by the emergence of art and work as distinct from the rest of social life. And we will ask what it means to live, work, and make art right now. Two broad disciplines, visual studies and philosophy, will orient us, and we will also look to the spirit of the (1919-1933) and its struggle to define a modernist art school curriculum as a way of making these questions concrete. We will work our own intellectual and theoretical capacities right alongside our skills and techniques in visual and time-based art. We will come to understand what it takes to have both intellectual and artistic , as well as how to produce our own intellectual and artistic . In terms of coverage, the program will offer foundational work in visual and cultural studies, art and media practice, as well as 18 -20 century European philosophy. We will study history in order to understand our own moment better. We will begin our study with important texts that respond to the gradual rise of industry as the dominant mode of production, and we will continue our examination into the eras that follow. We will trace the emergence of two tendencies that stand in some tension with one another: the idea of “work” undergoes some disenchantment with the rise of large-scale industry, but it also takes on a romantic aspect with the possibility of greater egalitarianism. “Art,” and its work, is also simultaneously both debased and exalted, thought of as both epitome and critic of commodity culture, a space apart from and the ironic fulfillment of the market economy. Following our study of the we will look to the rise of conceptualism in art in the 1960s and 70s and contemporary forms and institutions of art that are grappling with the question of art as labor and artists as workers under current economic pressures. All of these case studies will support our study of how the meaning and value of art has become invested in the everyday and uses labor as an organizing principle of the aesthetic. We will pursue our themes by thinking, looking, and making. In fall we will set our foundation by studying major philosophical and artistic movements and texts, basic skills in visual and time-based art, but also by developing our skills in reading, discussing, and writing about challenging texts in philosophy, cultural theory, and art history. In winter quarter, we will build on our foundation. One of our central aims will be to reconcile our own utopian aspirations, inspired by the struggles of the , by developing “schools” of our own. Each of our schools will be responsible for designing a curriculum around a specific discipline and for making collaborative “work” across those disciplines. We will study a range of theorists, artists, objects and practices. Authors include: G. W. F. Hegel, Karl Marx, Sigmund Freud, Michel Foucault, Pierre Bourdieu, Michel de Certeau, Judith Butler, Linda Nochlin, Julia Bryan-Wilson, and Miwon Kwon. Artists include: Joseph Albers, Walter Gropius and others affiliated with the Fluxus-affiliated artists, Robert Morris, Yvonne Rainer, Mika Rottenberg, Chantal Akerman, Charles Burnett, the Maysles Brothers, Fritz Lang and John Sayles. We will also read from a variety of sources in art and media history and theory, and social theory. Program work will include research, writing (both formal academic writing as well as writing experiments), and the making of visual and media art.	humanities, visual studies, gender studies, cultural studies, education and communications.	Julia Zay Shaw Osha (Flores) Kathleen Eamon		Freshmen FR Sophomore SO	Fall	Fall Winter
Art/Work/Site Julia Zay, Miranda Mellis and Shaw Osha (Flores) art history literature visual arts writing	Program	FR–SRFreshmen - Senior	16	16	Day			S 13Spring		The private, individual artist’s studio emerges out of an historically constructed ideal of art as an expression of the artist’s inner life. In the last fifty years, with the advent of institutional critique; relational aesthetics; dematerialization; installation art; earthworks; conceptualism; and performance art, there has been an increasing turn outward, away from the interiority of the artist and the studio and towards outdoor, social, public, and collaborative aesthetic engagements. This program will investigate the artist’s specific sites, including work spaces and exhibition spaces, and interrogate art’s relationship to site. By what powers and strategies do site specific artworks illuminate, localize, and focalize the politics of time and the poetics of space? The boundaries of studio walls shift and dissolve as artists move their practice into everyday life, turning commons into public studios, making visible the artist's process, and turning ordinary places into conspicuous locations that confront us with the tensions and mutabilities of public properties and local materialities, histories, temporalities, edifices, and processes.In our research-based art practice, we will work inside and outside traditional exhibition sites, as we repurpose place and engage in study, critique, historical research, commemoration, and ritualization. We’ll explore how location shapes our projects and experiment with breaking conventions; for instance, if convention demands that form follow content, what are the results of letting content follow form? If the material attributes of our projects normally dictate the kinds of spaces we work in, what kinds of works might result if we let the spaces we find and activate with our attention determine our materials and inform our forms? We will engage the above and other questions through readings in art history and theory to analyze a variety of artworks, both individual and collaborative, in terms of their relation to site. The program is structured to include critical and creative writing; critique; seminar; and lecture. Students should be prepared to read, write and make art in equal proportions. There will be a field trip May 17-19 to Portland to attend , an international conference on art and social practice whose theme this year is on publics, contexts, and institutions in relation to contemporary socially engaged art, education, and institutional practice.		Julia Zay Miranda Mellis Shaw Osha (Flores)		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
As Poetry Recycles Neurons: Flocks of Words, Tracks of Letters Sarah Williams and Donald Foran consciousness studies cultural studies environmental studies gender and women's studies literature somatic studies writing	Program	FR–SRFreshmen - Senior	16	16	Day	F 12 Fall	W 13Winter	S 13Spring		"Poetry is good for neural development." You can buy a T-shirt that says so. This program will engage you experientially in understanding how and why the recycling of neurons informs poetry's transformative power. We'll explore how reading can be understood from an evolutionary perspective as an exaptation in which the ability to interpret animal tracks and bird flight was co-opted for the ciphering of lines and circles as letters and words. This exploration will include the scientific writing of Stanislas Dehaene as well as the poetry of Susan Howe, who in "Pythagorian Silence" writes: "age of earth and us all chattering/a sentence or character/ suddenly/steps out to seek for truth fails/falls into a stream of ink Sequence/trails off/ ... flocks of words flying together tense/as an order/cast off to crows." We'll recite, analyze, discuss, perform, and write poems about the mind's reflexivity.Our goal is a mindful recycling of neurons, one in which the neuroscience of poetry reveals a continuity with the neurology of our ancestors. Thus, we'll reflect on our experiences of flocks of words and tracks of letters as binding mechanisms for neural integration and ecological adaptation. Indeed, Frederick Turner refers to poetry as a "neural lyre." Urban spoken-word poets and indigenous healers produce what Eliot describes as "music heard so deeply it is not heard at all/ And you are the music while the music lasts." We're equally interested in how poetry can have the opposite effect on consciousness. We'll engage in contemplative practices to learn more about experiences of neural disintegration, such as the thumps and jolts of modern life. As Seamus Heaney put it, poetry is "a thump to the TV set to restore the picture" and "a jolt to the fibrillating heart." Throughout the year we'll be exploring the emergence of a new meta-field of scholarship in which poetry and neuroscience interact, remaking and renewing the meaning and impact of the poetic as words become flesh ... and vice-versa. Emily Dickinson's poetic rendering of this polarity provides one model of the neuro-phenomenological: "I felt a cleaving in my mind/As if my brain had split/I tried to match it, seam by seam/But could not make it fit. The thought behind, I strove to join/Unto the thought before/But Sequence ravelled out of sound/Like balls upon a floor." We'll experiment with this process of "sequence ravelling out of sound" as a transformation of a new archaic.Fall quarter's immersion in the scholarship of this meta-field will include group research projects: ethnographic studies of poetic jolts. When, where and from whom or from what do we hear poetry? Can we sense it in our own reading and writing? Our fall quarter nature retreat to the Hoh Rain Forest and the beaches of the Olympic Peninsula will introduce practices we'll use throughout the year for experiencing the reciprocity between specific forms of poetry and states of consciousness. During winter quarter we’ll experience and articulate specific forms of consciousness and language in relation to a particular passion. One of us might want to explore Gerard Manley Hopkins’ love of bluebells and windhovers in relationship to his poetry, or create a poetic world around a passion for sport or to experience how fantasy sports are a poetic world. One of us might immerse herself in the biodynamic rhythms of chocolate sustainably farmed, or listen for the resonance between silence and sound in YoYo Ma’s performance of Bach’s Cello Suite #1 in G. The methodology of our field study will aspire to that of 18 C poet and civil engineer, Novalis for whom "knowledge and creation were united in a wondrous mutual tie.” Writing in response to our field studies will take the form of reciprocal creations such as in Melissa Kwasny’s . Spring quarter work will combine theory and practice. Students will engage in peer group community-based service projects that use poetry to "jolt fibrillating hearts.” Writing projects will accompany this work in order to illuminate the relationship between the growth of dendrites and the flourishing of both neurons and community. There will be a weekly film and poetry series that inspires "poetic jolts" and demonstrates their meaning for communal life. Throughout the year students will keep a creative journal, a field notebook, participate in poetry writing and recitation, and compile an anthology of program work.		Sarah Williams Donald Foran	Mon Tue Tue Tue Wed Wed Thu Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Awakening the Dreamer, Pursuing the Dream Terry Setter and Cynthia Kennedy aesthetics community studies consciousness studies sociology writing Signature Required: Spring	Program	FR ONLYFreshmen Only	16	16	Day	F 12 Fall	W 13Winter	S 13Spring		-Joseph Campbell Joseph Campbell points out that our greatest challenge is how to live a humane existence in inhuman times. Awakening the Dreamer, Pursuing the Dream will focus on the individual's relationship to personal and cultural values, society, leadership and the creative process. This program is intended for students who seek to explore and refine their core values in a context where they can act upon them with increasing awareness and integrity.The program faculty recognize that the social, ecological and psychological challenges of every era have required people to live their lives in the face of significant challenges and it is now widely recognized that crisis often precedes positive transformation. Therefore, this program will begin by focusing on how people in the past have worked to create a meaningful relationship between themselves and the world around them. We will explore movement, stories, and images of various creative practices and spiritual traditions from ancient to modern times to discover their relevance in our own lives. As students gain knowledge and skills, they will develop their own multifaceted approaches to clarifying their identity, then prioritizing and pursuing their dreams.Throughout the year, the program will work with multiple forms of intelligence, somatic practices and integrative expressive arts approaches to learning. Students will explore the practices of music, movement (such as dance or yoga), writing, drawing and theater in order to cultivate the senses as well as the imagination and powers of expression. These practices will help us understand the deeper aspects of the human experience, which are the source of self-leadership, intentional living and positive change. Students will also investigate the relationship between inner transformation and social change through engagement in community service. Students will read mythology, literature and poetry while exploring ideas that continue to shape contemporary culture. We will also look to indigenous cultures to deepen our appreciation of often-overlooked wisdom and values. We will seek to develop a broader understanding of contemporary culture as a stepping stone to thinking critically about how today's dreams can become tomorrow's reality.	the liberal arts, expressive arts, psychology, sociology, and cultural studies.	Terry Setter Cynthia Kennedy	Tue Wed Thu	Freshmen FR	Fall	Fall Winter Spring
Beat Poets on Serendipity Farm Kate Crowe literature writing	Course	FR–SRFreshmen - Senior	6	06	Day, Evening and Weekend				Su 13Summer Session II	We will camp on Serendipity Farm which is nestled at the foot of Mt. Walker and read our poetry around a campfire. This poetry class is open to beginning, intermediate, and seasoned poets. Students will research and present on a Beat writer of their choice as well as write poetry inspired by various voices of the Beats. They will work collaboratively and independently to present their respective Beat writer in an engaging manner to the group. Students can expect to accelerate their poetry writing as well as gain a greater understanding of why the Beat poets influenced history and literary culture.		Kate Crowe		Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
British Literature, 1000 - Present Trevor Speller cultural studies literature writing	Program	FR–SRFreshmen - Senior	8	08	Day				Su 13Summer Session II	This program will offer a broad survey of British literature from the years 1000 to the present. We will read poetry, novels, nonfiction, and drama from all major time periods. Major authors may include Geoffrey Chaucer, William Shakespeare, Aphra Behn, Jane Austen, Oscar Wilde, T.S. Eliot, and Kazuo Ishiguro. As we read, we will pay attention to how these books and authors make sense of changing linguistic, religious, and political issues.Students will be expected to write papers, complete quizzes and assignments, and engage in collaborative work. We will also see plays and films.In the past, this course has been useful for students who need specific requirements to enter teaching programs. Students with these concerns are encouraged to contact the instructor.		Trevor Speller	Tue Wed Thu Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Cultivating Voice: A Writing Tutor's Craft Sandra Yannone education writing Signature Required: Spring	Course	FR–SRFreshmen - Senior	2	02	Day			S 13Spring		This course combines a seminar with a practicum to prepare students to become peer tutors at Evergreen's Writing Center on the Olympia campus. In seminar, we will explore tutoring theories, examine the role of a peer tutor and develop effective tutoring practices. In the practicum, students will observe peer tutoring and graduate to supervised tutoring. The course also will address working with unique populations of learners. Students considering graduate school in related fields will benefit from this course.		Sandra Yannone	Mon	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Dramatic Fiction: Settings, Scenes and Subtext Eddy Brown cultural studies literature writing	Program	FR–SRFreshmen - Senior	16	16	Day		W 13Winter			In what situations, milieux, and other kinds of settings do characters find or put themselves? How and why did they get there? How do they then behave? What habits, values, self-identity paradigms, world views, conscious and unconscious needs, goals and fears drive them and affect or determine their actions and decisions? The answers to these key questions help authors to create compelling, rounded characters in realistic settings, dramatized through vivid, engaging scenes with meaningful subtexts, in stories that are surprising yet convincing. With that in mind, this class will explore these and other narrative design elements in service of students constructing their own short fiction prose narratives.Students will also be given the guidance and tools for analyzing existing literary texts. Along with reading, discussing and writing about selected published materials, students will consider and practice spontaneous and experimental modes of story development, as well as apply some established cinematic and classical dramatic paradigms for story structure and development.Typical program activities will include writing exercises, story drafting, self-editing, small- and large-group peer activities including writing critiques, and weekly seminars on assigned readings. The major project will be a short story that has undergone revision through several drafts.In general, students will explore and practice story crafting, writing as a process, fiction genres, and literary analysis, and are expected to be active, consistently engaged members of a learning community.Interested students should enter the program with sound, college-level writing skills, and ideally, having successfully completed a college-level creative writing class.		Eddy Brown		Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Entrepreneurship with a Purpose: Human, Community, and Economic Development for Sustainability Brenda Hood business and management community studies cultural studies economics government leadership studies sustainability studies writing	Program	FR–SRFreshmen - Senior	16	16	Day		W 13Winter			What does it mean to be a successful entrepreneur? What does authentic success look like to the individual, to the organization, to the larger community, and to the economy? These logical questions arise after realizing traditional small business approaches which attempt to achieve excessive profits often fail socially, ethically and economically. Today's creative entrepreneurs may realize, far too late, they are doing something they really don't want with their lives, and to the world, in pursuit of some idealized vision of independence and wealth. How might we reconsider entrepreneurial success and economic progress in terms of having a purpose and quality of life: meaningful work within an empowering organizational culture that sustains us financially, community well-being, a healthy environment, and supportive, collaborative relationships?This program will build on the skills learned in fall quarter’s Entrepreneurship and Power program. The fall program focused on basic business principles, the process of how to start a business, understanding the business lifecycle, business finances, organizational behavior, marketing, and entrepreneurship within the larger context of systems dynamics. The winter program builds on this foundation to incorporate critical discussions around entrepreneurship with a purpose: social responsibility, economic development, principled leadership, and “good business.” Case analyses will investigate business ethics and strategic management. We will apply these concepts and skills toward building a dream business that identifies and explores key aspects of feasibility analysis, business planning, and strategic planning.The program will be foundational for forming business pathways to move toward greater cultural, economic, and environmental sustainability. Throughout the program we will ask: how might entrepreneurs innovate, challenge and transform their cultures and their environments as well as themselves? One of the goals of this program is to develop a set of competencies that will address this need, in an increasingly challenging economic and business climate, as we also engage in developing a well-rounded liberal arts education. You will be introduced to the tools, skills, and concepts you need to develop strategies for navigating organizations in an ever-changing environment. You will develop critical reading, writing, and thinking skills in the liberal arts, as we promote and implement concepts of social change, life-long learning, and personal and community enrichment. Class work will includes lectures, book seminars, projects, films, workshops, field trips, case studies, guest presentations, and group and individual assignments. By the end of the program, students will be expected to demonstrate competence in current business practices and concepts in innovation and entrepreneurship, economic development, environmental impact, sustainability, leadership decision-making, and distributive justice as ethical and social concerns. Expect to read a lot, study hard, and be challenged to think and communicate clearly, logically, and often.		Brenda Hood		Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Equality and the Constitution Jose Gomez government law and government policy law and public policy political science writing	Program	SO–SRSophomore - Senior	16	16	Day			S 13Spring		Equality is an ancient ideal, yet at best the United States has embraced it ambivalently throughout its history. Thomas Jefferson wrote in the Declaration of Independence that "all men are created equal," yet he owned slaves; the framers claimed to cherish equality, yet they chose not to enshrine it in the Constitution. Even the Fourteenth Amendment's guarantee of equal protection did not prevent the states from passing Jim Crow laws to maintain white supremacy or the Supreme Court from ruling that the amendment did not mean what it said. Women were denied the right to vote until the ratification of the Nineteenth Amendment in 1920. The struggle to secure equal rights for all Americans continues to this very day.We will begin by taking a critical look at the early cases in which the Supreme Court eviscerated the ideal of equality by circumventing the Thirteenth, Fourteenth and Fifteenth amendments. Then we will study the many cases in the 20th and 21st centuries that have chipped away at Jim Crow and inequality. These involve struggles for equal rights in education, employment, public accommodations, housing, voting and university admissions. We will also examine the modern cases that have gone beyond race to fight discrimination based on sex, age, disability, indigence, alienage, wealth and sexual orientation.Working in legal teams, students will develop appellate briefs on real equal protection cases and will present oral arguments before the "Evergreen Supreme Court." Students will also rotate as justices to read their peers' appellate briefs, to hear arguments, and to render decisions. Students should expect rigorous study; the principal text will be a law school casebook.		Jose Gomez	Mon Wed Thu	Sophomore SO Junior JR Senior SR	Spring	Spring
Field Ecology: Forests Dylan Fischer and Alison Styring biology botany ecology field studies writing zoology Signature Required: Spring	Program	JR–SRJunior - Senior	16	16	Day			S 13Spring		This program will focus on intensive group and individual field research on current topics in ecological science. These topics will include forest structure, ecosystem ecology, effects of forest management, ecological restoration, riparian ecology, fire history, bird abundance and monitoring, insect-plant interactions, and disturbance ecology. Students will be expected to intensively use the primary literature and student-driven field research to address observations about ecological composition, structure and function. Multiple independent and group research projects will form the core of our work in local forests of the south Puget lowlands, national forests, national parks, state forests and other relevant natural settings. Students are expected to "hit the ground running" and should develop research projects for the entire quarter within the first several weeks of the program.Through a series of short, intensive field exercises, students will hone their skills in observation, developing testable hypotheses, and designing ways to test those hypotheses. We will also explore field techniques and approaches in ecology, and especially approaches related to measuring plant and avian biodiversity. Students will have the option to participate in field trips to sites in the Pacific Northwest and the Southwest (U.S.). Research projects will be formally presented by groups and individuals at the end of the quarter. Finally, student research manuscripts will be created throughout the quarter utilizing a series of intensive multi-day paper-writing workshops. We will emphasize identification of original field research problems in forest habitats, experimentation, data analyses, oral presentation of findings, and writing in scientific journal format.		Dylan Fischer Alison Styring		Junior JR Senior SR	Spring	Spring
Gateways: Academic Mentoring Program Elizabeth Williamson political science writing	Program	FR–SRFreshmen - Senior	4, 8	04 08	Day				Su 13Summer Session II	The Gateways Academic Mentoring Program (AMP) offers Evergreen students the opportunity to work one-on-one with incarcerated young men at Green Hill, a medium/maximum-security institution. Weekly learning will be guided by the theory and practice of popular education, and subjects covered will vary based on the educational interests of both Evergreen students and incarcerated students. This course is ideal for students who participated in the 12-13 Gateways program, who are seeking admission to the 13-14 Gateways program, or who have worked with AMP in the past. Students who have not worked with Gateways programs should contact the instructor, who will facilitate their orientation to AMP.		Elizabeth Williamson	Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Gender and Power in Cross-Cultural Context Toska Olson anthropology cultural studies gender and women's studies sociology writing	Program	FR–SRFreshmen - Senior	16	16	Day			S 13Spring		Around the world, people's sex, gender and bodies have been socially constructed in ways that have had profound impacts on power and interpersonal dynamics. This program is a sociological and anthropological exploration of gender, masculinity, femininity and power. We will examine questions such as: How do expectations of masculine and feminine behavior manifest themselves worldwide in social institutions like work, families, schools and the media? How do social theorists explain the current state of gender stratification? How does gender intersect with issues of race, ethnicity, sexual orientation, and social class identity? One major component of our inquiry will be an investigation of how people move, adorn and utilize their bodies to shape and reflect gender and sexuality. We will examine topics such as prostitution, body modification, standards of beauty and reproduction.We will study cross-cultural variation in gendered experiences and opportunities within several different social institutions. Lectures, sociological fieldwork exercises, and seminar readings will provide students with common knowledge about gender theory and gendered experiences in the United States and elsewhere. Students' collaborative research presentations will provide the class with information about gender in cultures other than their own.This program involves extensive student-initiated research and puts a heavy emphasis on public speaking and advanced group work. Students will learn how to conduct cross-cultural library research on gender, and will produce a research paper that represents a culmination of their best college writing and thinking abilities. Students are invited to register for this program if they are excited about working closely in a small group and conducting a large-scale independent research project. Students should be prepared to spend at least 20 hours per week in the library conducting research for these projects.Credit may be awarded in areas such as sociology of sex, gender, and bodies; cultural studies; anthropology of sex, gender, and bodies; student-originated studies; and collaborative research and presentation.		Toska Olson		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Gothic Constructions: Architecture and Literature Trevor Speller and Anthony Tindill aesthetics architecture cultural studies history literature writing	Program	SO–SRSophomore - Senior	16	16	Day	F 12 Fall	W 13Winter			In 1748, Horace Walpole purchased an estate in London. Over the next thirty years he converted that estate into a Gothic castle and planned "ruins." In 1765, Walpole wrote a novel widely regarded as the first true work of Gothic fiction. In an age of reason, Walpole's focus on the supernatural, feudal ruins and high passion pulled a medieval past into the order of the day, transforming it to meet the desires of a modern public both in print and in stone. From its beginnings, Gothic fiction shared a common link and a common bond with architecture. For generations before Walpole, the architecture of the Gothic period was the equivalent of history books and literature. Architectural historian Jonathan Glancey writes, "The Architecture of the great medieval Gothic cathedrals is one of the glories of European civilization. Here was an attempt to lift everyday life up to the heavens--to touch the face of God--using the highest stone vaults, the highest towers, the most glorious steeples permitted by contemporary technology...it led to some of the most inspiring and daring buildings of all time." Though not written in actual words, Gothic architecture is written in structural form and religious allegory.We will ask ourselves:We will investigate examples of Gothic literature and architecture in Europe and the Americas from the twelfth century to the present, as well as the history, theory and interrelationship of these artistic modes. Students will be asked to attend lectures and seminars, write papers, take examinations, and develop work in studio that may include drawing, model-building and writing. In addition, students will visit examples of Gothic architecture in concert with their readings. Architectural texts may include: by Roland Recht, by John Fichen, and by Nicola Coldstream. Fictional texts may include texts from the medieval period to the present, including , and stories by Edgar Allen Poe, H.P. Lovecraft, Angela Carter and Joyce Carol Oates.	literary studies and architecture.	Trevor Speller Anthony Tindill		Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Grammar in Context Emily Lardner communications education writing	Course	FR–SRFreshmen - Senior	4	04	Evening				Su 13Summer Session I	Standard written English has enough irregularities to make any careful writer or teacher nervous. Given that it's impossible to memorize everything, what's a writer or teacher to do? Which strategies for working on conventions of written English are most productive for you as a writer? Which ones will engage any writers you find yourself working with? This course is based on the premise that learning grammar happens best in the context of meaningful writing. Expect to write, and think about writing, and develop both your grammatical vocabulary and your grammatical skills, all with the aim of becoming a more effective writer. Class time will spent in workshops, and the on-line learning component will be used for trying out new strategies. All writers welcome.		Emily Lardner	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Grant Writing and Fundraising: Ideas to Realities Don Chalmers writing	Course	FR–SRFreshmen - Senior	2	02	Weekend		W 13Winter			This course will introduce students to the fundamentals of grant writing and fund raising. After an orientation to contemporary philanthropy and trends, students will learn how to increase the capacity of an organization to be competitive for grants and other donations. We will share ways to plan realistic projects, identify promising funding sources and write clear and compelling components of a grant, based either on guidelines for an actual funder or a generic one. Working individually or in small groups, students will develop their project idea, outline the main components of a grant and prepare a brief common application.	Non-profit grantwriting and fundraising; government resource development.	Don Chalmers	Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Grant Writing and Fundraising: Ideas to Realities Don Chalmers writing	Course	FR–SRFreshmen - Senior	2	02	Weekend	F 12 Fall				This course will introduce students to the fundamentals of grant writing and fund raising. After an orientation to contemporary philanthropy and trends, students will learn how to increase the capacity of an organization to be competitive for grants and other donations. We will share ways to plan realistic projects, identify promising funding sources and write clear and compelling components of a grant, based either on guidelines for an actual funder or a generic one. Working individually or in small groups, students will develop their project idea, outline the main components of a grant and prepare a brief common application.	Non-profit grantwriting and fundraising; government resource development.	Don Chalmers	Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Grant Writing and Fundraising: Ideas to Realities Don Chalmers writing	Course	FR–SRFreshmen - Senior	2	02	Weekend			S 13Spring		This course will introduce students to the fundamentals of grant writing and fund raising. After an orientation to contemporary philanthropy and trends, students will learn how to increase the capacity of an organization to be competitive for grants and other donations. We will share ways to plan realistic projects, identify promising funding sources and write clear and compelling components of a grant, based either on guidelines for an actual funder or a generic one. Working individually or in small groups, students will develop their project idea, outline the main components of a grant and prepare a brief common application.	Non-profit grantwriting and fundraising; government resource development.	Don Chalmers	Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Green Nature, Human Nature Karen Hogan and Emily Lardner botany ecology environmental studies writing	Program	FR–SRFreshmen - Senior	12	12	Evening and Weekend		W 13Winter	S 13Spring		Humans have always been interested in plants and our lives are interwoven with plants in myriad ways. This program is intended for students with an interest in plants, including students who are starting to notice plants for the first time. Through a mix of readings, workshops, field trips, and projects, we will investigate three major questions: • • • The overarching goal for this two quarter program is to help students develop their capacities as civic botanists. Winter quarter will focus primarily on developing an understanding of plant biology and ecology, and exploring several approaches to writing about nature in general and plants in particular. Spring quarter will focus on "civic botany"–the role plants play within human communities. We will focus particularly on urban agriculture, stormwater management, and the role of parks and open spaces. Students will keep field journals, assist with community agriculture projects, and develop a practice of writing that supports effective civic engagement.		Karen Hogan Emily Lardner	Mon Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter Spring
Human Rights and the Tragedies of History Nancy Koppelman and Joseph Tougas history international studies literature philosophy writing Signature Required: Winter	Program	JR–SRJunior - Senior	16	16	Day	F 12 Fall	W 13Winter			History is unkind. This program will consider the possibilities for human rights in light of the tragedies of history.The phrase "human rights" suggests high moral principles and political ideals. It champions the dignity of all persons who have ever lived based solely on their humanity. It calls forth an image of a world better than the one we are in now--a world in which ideals have become realities and people can hold high moral principles with complete integrity. But humanity existed long before human rights.Historians show that in any particular historical moment, people can think and act only with the conceptual tools they have. Structural realities can cause people to harm one another because they do not have the ability or desire to challenge or resist them. As a result, violence, racism, anti-Semitism and sexism are central to our history. For most people who have ever lived, there was no hope for their human rights. What are we to make of these tragic features of history?What if Hegel is right, and "history is the slaughter-bench of happiness"? Are suffering and injustice the costs of making progress toward a better world? When and how does moral idealism help or hinder aims of "social justice"? If we can find out, how might that knowledge shape efforts to make a better world in our own time?Before human rights, suffering was thought to be caused by mysterious forces - divine or human. For example, when John Adams defended British soldiers who fired into an angry mob during the Boston Massacre of 1770, he noted that there are "state-quakes in the moral and political world" akin to earthquakes in the physical world. Our program will examine a range of "state-quakes," and particularly those that shaped the lot of Native peoples, the Puritans, American slaves and their owners, and generations of women, immigrants, and people devoted to the life of the mind. We will learn about the philosophical history of human rights from its precursors in the ancient world through the Enlightenment. We will consider the rise of the nation-state in the 19th and 20th centuries, tensions between political liberalism and pluralism, and the emergence of 21st century internationalism which seems to eclipse mutual obligations tethering citizens to states. Writing will focus on employing the skills of close analysis and developing sound arguments informed by our texts. Students will write lengthy term papers that could serve as writing samples in graduate school applications.Students who have completed substantial studies in the humanities and social sciences and who are prepared for advanced level work are warmly invited to join this program.		Nancy Koppelman Joseph Tougas		Junior JR Senior SR	Fall	Fall Winter
Illustrations of Character: Literary and Philosophical Studies Nancy Koppelman, Trevor Speller and Charles Pailthorp American studies classics history literature philosophy writing	Program	FR–SRFreshmen - Senior	16	16	Day			S 13Spring		What is character but the determination of incident? What is incident but the illustration of character? - How do we determine what to do when faced with hard choices? Is our own happiness uppermost in our minds, or is something else--loyalty to a friend, say, or religious principles? How can we live with integrity in the face of temptation or tragedy? These ethical questions demand that we think carefully about character. Character comprises not only our distinctive qualities, but also our disposition to act in certain ways, for good or ill. Indeed, our word "ethical" derives from the Greek word for character, , which, like our word, can refer to a literary figure (a character) or to an individual's qualities and dispositions. In this program, we study works of philosophy, history, drama and fiction that illuminate our understanding of character. We explore how character affects, and is affected by, desire, deliberation, action and suffering. We read literary and historical accounts that illustrate the character of people or a people. These accounts may portray profound moral dilemmas or day-to-day trials woven into the fabric of human experience. Texts in ethical philosophy will broaden our notions of character, particularly in relation to external goods, habit, happiness, friendship and duties. They provide powerful interpretive tools and a refined vocabulary for grappling with questions raised by our other texts. Authors will include Plato, Aristotle, Sophocles, Immanuel Kant, Soren Kierkegaard, Nathaniel Hawthorne and Edith Wharton, among others.This program suits students who are prepared not only to think critically, but to investigate their own beliefs and submit them to rigorous scrutiny: that is, to practice ethical thinking as well as study it. Writing will be central to that practice, and students will write long and short essays submitted to peer and faculty review.		Nancy Koppelman Trevor Speller Charles Pailthorp	Mon Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Individual Study: Integrative Evolution Jennifer Calkins biology ecology environmental studies field studies natural history philosophy of science writing zoology Signature Required: Spring	Contract	JR–SRJunior - Senior	16	16	Day, Evening and Weekend			S 13Spring		This individual study opportunity will facilitate independent student molecular genomic lab and evolutionary ecological field work with animal species. Students may also have the opportunity to integrate creative writing and multimedia work into their studies. With faculty guidance, students will engage in integrative projects investigating the evolution of focal taxa by incorporating methods such as sequencing, bioinformatic analysis, niche analysis and vertebrate field ecology. All participants will also work as a cohesive lab group, meeting regularly to share and trouble-shoot projects and read and discuss research papers. They will also have the opportunity to interact with faculty, students and postdocs from other colleges such as the UW and Occidental College in Los Angeles.		Jennifer Calkins		Junior JR Senior SR	Spring	Spring
Individual Study: Book Arts, Letterpress Steven Hendricks literature visual arts writing Signature Required: Winter	Contract	JR–SRJunior - Senior	16	16	Day		W 13Winter			Individual study offers 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. Students proposing well-conceived projects in bookbinding, artists' books, and letterpress printing are invited to contact the faculty.Students with a lively sense of self-direction, discipline and intellectual curiosity are strongly encouraged to apply.		Steven Hendricks		Junior JR Senior SR	Winter	Winter
Individual Study: Fiber Arts, Installation Art, Native American Studies, Creative Writing, Poetry, and Multicultural American Literature Gail Tremblay Native American studies art history cultural studies visual arts writing Signature Required: Spring	Contract	SO–SRSophomore - Senior	16	16	Day			S 13Spring		This is an opportunity for intermediate and advanced students to create their own course of study, creative practice and research, including internships, community service and study abroad options. Prior to the beginning of each quarter, interested individual students or small groups of students must describe the work to be completed in an Individual Learning or Internship Contract. The faculty sponsor will support students wishing to do work that has 1) skills that the student wishes to learn, 2) a question to be answered, 3) a connection with others who have mastered a particular skill or asked a similar or related question, and 4) an outcome that matters. Areas of study other than those listed above will be considered on a case by case basis.	the arts, art history, literature and creative writing, especially poetry, and the humanities.	Gail Tremblay		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: Spring	Contract	SO–SRSophomore - Senior	16	16	Day			S 13Spring		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: 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 13Winter			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: Fall	Contract	SO–SRSophomore - Senior	16	16	Day	F 12 Fall				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	Fall	Fall
Individual Study: Poetics and Literary Studies Leonard Schwartz literature philosophy writing Signature Required: Fall	Contract	SO–SRSophomore - Senior	16	16	Day	F 12 Fall				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	Fall	Fall
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: Fall	Contract	SO–SRSophomore - Senior	16	16	Day	F 12 Fall				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	Fall	Fall
Inexpressibility and its Discontents Marianne Bailey and Leonard Schwartz literature philosophy theater writing	Program	SO–SRSophomore - Senior	16	16	Day	F 12 Fall	W 13Winter			In this program we will study the function of myth, the concept of art as ritual and the critique of language and representation in vanguard poetry, theater and opera. We are interested in the work of the artist as creator of new, unexpected artistic languages which attempt to communicate that which is inexpressible, that which lies behind and beyond ordinary words. We will consider how it is that a poet's words can say more than they mean, or that a symbol, as philosopher Paul Ricoeur writes, points toward a meaning otherwise inaccessible. The poets, dramatists, philosophers and theorists whom we will study never relent in their fascination with reconceiving their means of expression, and act with the reckless abandon of the free spirit described by Nietzsche in his essay "On Truth and Lie in an Extramoral Sense". Two of the major figures under study in our work will be the composer Richard Wagner and the poet and theoretician of the theater, Antonin Artaud, both of whom dreamed of a work of art that would contain word, image, music, flesh and movement in a single medium; both realized ritualized spectacles, in opera and in theater, capable of the transformation of their participants. We will read extensively from Artaud's work, considering his poetry, his essays comprising Theater and its Double, as well as his records of personal quests to places which he considered privileged, in which the Marvelous or the divine was written on the face of the land. We will view and listen to both Strauss's and Wagner's . Wagner's "Total Art" or "Gesamtkunst" realized the 19th Century artists' dream of a perfect language, in which music, words, gestures and scenic symbols spoke as one single language. The philosophizing of Friedrich Nietzsche, embedded in the creative power of myth, will also be crucial for us in terms of conceptualizing the life-giving presence of myth in creative expression and the nature of language itself, as both problematic and world generating. Nietzsche's Birth of Tragedy also takes us back to the Greeks, their masterpieces of theater as communal ritual, their metaphor of the artist as "entheos" imbued with the god, and their art as arising from the whispering of a muse, or an Orpheus. During fall quarter, our reading will include as well the Dark Romantic and Symbolist poets of the later 19th Century, their reconception of art, and their aesthetic and philosophical groundwork for 20th Century Modernism. In addition to our work on Artaud, Wagner and Nietzsche during both quarters, readings will be drawn from Baudelaire, Rimbaud, Mallarmé and Rilke in the European poetic tradition. During winter quarter, we will study Aimé Césaire, as well as Aioné and Kamau Brathwaite, contemporary Caribbean poets. We will read Robert Duncan, Barbara Guest, Alice Notley, Fanny Howe, Nathaniel Mackey and others from the contemporary American poetic tradition growing out of the Black Mountain School. We will study composers Strauss and Berg in the Modern Western operatic tradition, and daring theatrical creators such as Peter Weiss and Peter Brooks. Other theoreticians to be considered during both fall and winter might include Rene Girard's , Blanchot’s , Bataille’s , Sigmund Freud's , and Robert Duncan's All students will read, write and analyze poetic, philosophical and critical texts, will discuss key theorists in aesthetics, and will choose between weekly workshop/seminars on either creative writing or on the key philosophical writings of Friedrich Nietzsche. Over the two quarters of this program, students will develop and complete a major personal project. This substantial body of work students will develop over the first weeks of the quarter, and carry through over two quarters; this offers serious creative writers and dramatists, and students of theory, philosophy and literary interpretation the opportunity to undertake a collection of poetry, a play or performance/spectacle, an interpretive work on Nietzschean philosophy, or a research-based project on your choice of themes and artists in our curriculum.This upper-division program demands a serious commitment of time and effort; the works which we will study are demanding, and the reading and writing will be significant.	the humanities.	Marianne Bailey Leonard Schwartz	Mon Wed	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Jazz: Music, History, and Culture Chico Herbison American studies cultural studies music writing	Course	FR–SRFreshmen - Senior	4	04	Day				Su 13Summer Session I	This course will provide an introduction to jazz music, an overview of its history and styles, and an assessment of its impact on American culture. Students will explore the musical elements of jazz; its aesthetic, cultural, and historical roots; its evolution through a variety of styles, including New Orleans, Swing, Bebop, Cool, and Avant-Garde; and the ways in which the music, its players, and its history have helped shape American culture. The final project will involve the close reading of a single jazz album. Students interested in expanding their final projects into a major piece of music writing can develop individual learning contracts for additional credit during second session.		Chico Herbison	Mon Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Landscapes of Change: Writing & Mapping the Future Anne de Marcken (Forbes) and Peter Impara environmental studies geography literature natural history sustainability studies writing	Program	FR–SRFreshmen - Senior	16	16	Day	F 12 Fall	W 13Winter			How do our landscapes shape us and how do we shape them? How can the endeavors of science and art inform our understanding of the changing planet—what can they tell us about its past, and how can they shape its future? Both stories and maps are ways of finding patterns and organizing information: they locate us in time and space and in relation to one another. In this program, using geography and creative writing as methods of inquiry, students will encounter the environment today, discover its past, and imagine its future. Using historical and present-day climate change as a framework, we will investigate the ways cultural and personal identity emerge from the natural landscape and the ways that people, in turn, shape the environment. We will the story of our physical environment in cultural, literary and geographic records and in the land itself. We will our own stories of place using maps and creative writing. Experiential learning is an important aspect of this program; in addition to other day trips, we will go on an extended field trip to Washington's Long Beach Peninsula, a 28-mile spit separating the Pacific Ocean from the Willapa Bay. There we will experience firsthand the interconnectedness of climate, landscape and culture. We will use the tools of geography, creative writing, and digital media to envision and even affect the future of this landscape and how we inhabit it, and will consider and experiment with the ways information and imagination influence our sense of connection to and responsibility for the physical world.In addition to generating research and creative writing in response to the program's themes, students will collaborate to create interactive tools for public engagement and will play an active role in producing Evergreen's 2013 TEDx conference on Climate Change Innovations.Students will develop science skills through interpretation of maps and spatial data, by making their own maps, and through site and landscape analysis. They will cultivate creative writing skills through independent practice and workshop-based critique with an emphasis on creative non-fiction and hybrid literary forms such as image-based essays and interactive texts. Scientific, literary and artistic perspectives, practices, and theories will inform lectures, readings and seminars. Students will use critical and technical skills as they learn to research, analyze and interpret environments through readings and seminars, in writing and computer workshops, and by using the landscape itself as a classroom.	ecology, environmental studies, geography, literature, natural history and writing.	Anne de Marcken (Forbes) Peter Impara	Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Making Public Health Matter: Reimagining Health-Based Journalism Nancy Anderson and Suzanne Simons cultural studies health writing	Program	FR–SRFreshmen - Senior	8	08	Weekend			S 13Spring		Public health and prevention are often the invisible part of health policy. Those who are healthy or whose diseases have been prevented never know what they missed. But the decay in preventive health infrastructures has clear consequences: population health and well-being suffer with consequences for our futures. How can the importance of public health be made clear to those who pay for preventive services – funders and taxpayers? For many people, health awareness begins with a personal crisis or insight that later is generalized to a population overall. The individual narrative can serve as a beacon, catalyzing an understanding of the importance of what we don’t see. This program will explore the importance of narrative as a source of advocacy through exploration of health journalism ranging from students’ own personal health narratives to tracking and critiquing public health journalism in a variety of mainstream, alternative, and specialty media. Students will also write a public health article based on attending a public policy meeting or hearing with public health implications. This preliminary work will ground us in envisioning and creating advocacy narratives of new models for health systems that emphasize the primacy of prevention and well-being. As final projects, students will work in small groups to design a vision for a health care system that meets these criteria, creating narratives for specific target audiences.		Nancy Anderson Suzanne Simons	Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Mount Rainier: The Place and its People Jeff Antonelis-Lapp and Lucia Harrison environmental studies natural history outdoor leadership and education visual arts writing	Program	FR–SRFreshmen - Senior	16	16	Day	F 12 Fall				Mount Rainier, known locally as "the Mountain" or "Tahoma", dominates the landscape of the Puget Sound region and commands the attention, imagination and respect of its inhabitants. The relationship of people to the Mountain has varied widely: prized by Indigenous Peoples for a variety of activities; seen by European-American settlers as a potentially vast resource for timber and minerals; and visited as a wilderness and recreation destination for Puget Sound inhabitants and tourists from the world over.This 1-quarter program begins with a 3-day on-campus intensive that will provide instruction on keeping an illustrated field journal and thoroughly prepare students for a 9-day field trip to Mount Rainier National Park which immediately follows the orientation. Students must be prepared for primitive campground conditions, sleeping in tents and preparing meals outdoors without electricity. Students must also be fit for strenuous hikes and outdoor service learning work. Field trip activities will include studying the parks's natural history, hikes with and presentations by park service staff and conservation service learning.Once back on campus, we will place Mount Rainier in its historical context by studying the history of the National Park Service and Tahoma's precontact history that reaches back 8,000 years. Each student will select a species of interest to create a thematic series of expressive drawings, conduct a scientific literature review, and write a creative nonfiction essay. Drawing workshops will provide strategies for developing ideas visually and writing workshops will support all phases of the writing process.We will conclude the quarter with a week 10 4-day field trip returning to Mount Rainier (this time staying in cabins) during which students will share their species of interest portfolios.		Jeff Antonelis-Lapp Lucia Harrison	Tue Wed Thu Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Nature Writing: Classic and Contemporary Matthew Smith American studies environmental studies writing	Program	FR–SRFreshmen - Senior	16	16	Day			S 13Spring		Today as we move into the second decade of the 21 century, environmental issues are in the mainstream. Everything from the food we eat to climate change, from the philosophy of the nature to the nature of our communities, from economic policy to our understanding of earth and human history is being rethought. This program provides an opportunity for students to read and respond to some of the best new environmental writing and ideas in the context of classic texts in the field. We will trace the origins of nature writing, the twin traditions of exploration and romanticism as they emerge and develop in the early 19 and early 20 century. Authors including Thoreau, Emerson,; and Aldo Leopold, A will form the background for our reading of contemporary nature writing and environmental thinking. We will read contemporary writers including Gary Snyder, ; Freeman House, ; Terry Tempest Williams, ; John Vaillent, : Timothy Morton, and Barbara Kingsolver, . We will supplement our work with poetry, articles and essays. We will read and discuss each text carefully. We will maintain a reader’s journal in which we reflect upon the text and themes that have emerged in our reading. Students will be expected to write short formal essays, an extended piece of nature writing, and a research essay dealing with a particular topic, writer, or theme that has emerged from our work. Each student should anticipate becoming the resident expert in the work of at least one of our authors or one major issue.The program is designed to give students an opportunity to read a variety of important pieces of environmental literature and to work on their own writing. We will share our writing with peer and faculty support and will expect all students to participate regularly in all phases of the program. Our work will offer opportunities for serious conversation, focused research, and reflection on personal and collective understandings of environmental ethics and action.		Matthew Smith		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Performing the Text: Mixed-genre writing and dissent David Wolach cultural studies theater writing	Course	FR–SRFreshmen - Senior	4	04	Evening and Weekend			S 13Spring		What does it mean to perform the text? What happens when genres collide? This creative writing program will bring together several terms often thought to be well-defined—including "poetry," "prose," "theater," "politics," and "essay"—and, through experiments in writing, reading, and collaborating, re-narrate their meanings and implications. Along the way we’ll investigate key concepts and texts in poets theater, guerilla poetry, and other forms of performance-based text, mining them to create our own individual and collaborative writings. During the quarter, our meetings will consist of weekly seminars, lectures, and "language labs"—times for brainstorming, rehearsing, and trying out language experiments.		David Wolach	Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
PLE Document Writing Nancy Parkes writing Signature Required: Spring	Course	SO–SRSophomore - Senior	4, 6, 8	04 06 08	Evening			S 13Spring		This course supports the Prior Learning from Experience (PLE) program through which select adults have the unique opportunity to demonstrate college equivalent learning and knowledge stemming from significant professional and cultural experiences. In this rigorous program, students develop an extensive written document made up of a several essays that document and demonstrate college level learning. Through expository writing and research, as well as appendices of prior work, the document analyzes both experience and modes of learning. Students earn credit through a combination of coursework and professional faculty evaluation of the completed document for academic equivalency. Students may take the class for up to a year as they write their document, selecting four, six, or eight credits each quarter up to a cumulative total of 16 credits. Students have extensive opportunities to work with one another in collaborative editing and construction of portfolios. Students completing a PLE Document generally describe their experience as "transformative," helping them to understand the college level equivalence of their professional and life experience, as well as better preparing them for future academic and professional work.		Nancy Parkes	Tue	Sophomore SO Junior JR Senior SR	Spring	Spring
PLE Document Writing Nancy Parkes writing Signature Required: Fall	Course	SO–SRSophomore - Senior	4, 6, 8	04 06 08	Evening	F 12 Fall				This course supports the Prior Learning from Experience (PLE) program through which select adults have the unique opportunity to demonstrate college equivalent learning and knowledge stemming from significant professional and cultural experiences. In this rigorous program, students develop an extensive written document made up of a several essays that document and demonstrate college level learning. Through expository writing and research, as well as appendices of prior work, the document analyzes both experience and modes of learning. Students earn credit through a combination of coursework and professional faculty evaluation of the completed document for academic equivalency. Students may take the class for up to a year as they write their document, selecting four, six, or eight credits each quarter up to a cumulative total of 16 credits. Students have extensive opportunities to work with one another in collaborative editing and construction of portfolios. Students completing a PLE Document generally describe their experience as "transformative," helping them to understand the college level equivalence of their professional and life experience, as well as better preparing them for future academic and professional work.		Nancy Parkes	Tue	Sophomore SO Junior JR Senior SR	Fall	Fall
PLE Document Writing Nancy Parkes writing Signature Required: Winter	Course	SO–SRSophomore - Senior	4, 6, 8	04 06 08	Evening		W 13Winter			This course supports the Prior Learning from Experience (PLE) program through which select adults have the unique opportunity to demonstrate college equivalent learning and knowledge stemming from significant professional and cultural experiences. In this rigorous program, students develop an extensive written document made up of a several essays that document and demonstrate college level learning. Through expository writing and research, as well as appendices of prior work, the document analyzes both experience and modes of learning. Students earn credit through a combination of coursework and professional faculty evaluation of the completed document for academic equivalency. Students may take the class for up to a year as they write their document, selecting four, six, or eight credits each quarter up to a cumulative total of 16 credits. Students have extensive opportunities to work with one another in collaborative editing and construction of portfolios. Students completing a PLE Document generally describe their experience as "transformative," helping them to understand the college level equivalence of their professional and life experience, as well as better preparing them for future academic and professional work.		Nancy Parkes	Tue	Sophomore SO Junior JR Senior SR	Winter	Winter
The Practice of Writing Steve Blakeslee writing	Course	FR–SRFreshmen - Senior	4	04	Evening			S 13Spring		This course will give students a broad overview of prose writing and help them to broaden, deepen, and improve their own writing practice. We will explore every element of the writing process, learning to brainstorm, structure, draft, critique, rewrite, polish, and share work in progress. The course will also address key principles of good writing, challenges like procrastination and writer’s block, and ways to develop productive writing routines.		Steve Blakeslee	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Religion, Society and Change Joli Sandoz, Rebecca Chamberlain and Suzanne Simons history religious studies sociology writing	Program	FR–SRFreshmen - Senior	12	12	Evening and Weekend	F 12 Fall	W 13Winter			Religion, Society and Change is appropriate for students of any belief system, whether faith-based or secular. While students who enroll for all three quarters will receive the most depth of learning and experience, anyone is welcome to join the program at the beginning of fall, winter, or spring quarters.This program centers on historical, cultural, theological, literary, and artistic aspects of religion and spiritual practices. Each quarter will balance intellectual study with hands-on explorations of religious practice and sacred texts. Fall quarter will open with study of origins and development of the three Abrahamic faiths—Judaism, Christianity, and Islam—from their beginnings through the Medieval era. Visits to local faith communities, guest speakers, and a sacred art retreat in addition to lectures and workshops will deepen our understanding of these religions and their practices. Our work will draw on art, music, contemplative practices, and the literary qualities of sacred texts in addition to the political and socio-economic contexts of religious thinking and religious community development.We will consider cultural roles of institutional religion, especially U.S. Christianity, during winter quarter by focusing on two very different social justice movements. The Civil Rights Movement of the first half of the 20th century—started and sustained by African Americans, and organized in important ways by and through clergy and faith communities—is a landmark in U.S. religious and political history, and an exemplar of American efforts toward social justice. Our second winter topic, following on Hurricanes Katrina and Sandy, will be religious organizing and thinking in relation to climate change, planetary health, and effects on individuals and communities. Here we will examine contemporary religious statements, Biblical texts, and additional materials as we contemplate the part religion currently plays in U.S. political and social affairs and as we reflect on responses to natural disasters (once called "acts of God") and the people most directly touched by them.Recognition and acknowledgement of human interrelationships and differences, including empathy and compassion, are important aspects of social justice work; program members will undertake faculty-supported service learning in local faith communities. We will also participate in a Tai Ji retreat held on campus. Reading, writing, reflection and collaborative work will be important aspects of instruction and of program energy, as we draw ideas and approaches from history, sociology, journalism and religious studies to inform our work.		Joli Sandoz Rebecca Chamberlain Suzanne Simons	Mon Wed Fri Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Rites of Passage: Ceramics and Fine Metalwork Jean Mandeberg and Evan Blackwell aesthetics art history visual arts writing Signature Required: Winter Spring	Program	JR–SRJunior - Senior	16	16	Day	F 12 Fall	W 13Winter	S 13Spring		Our long lives are marked by celebrations, ceremonies and often age-related events that we remember years later through associated objects and images. Artists are the ones who make the plaques, gravestones, amulets, awards, medals, lockets, etc. that pass through the memories of generations, and these objects are often made using ceramics or precious metals. Clay and metal are the materials we will focus on in this studio art program as we explore materials and technical processes that express our understanding of rites of passage. Which rites are public and which are private across cultures? How have these commemorations changed over time and been influenced by travel and technology?This will be a rigorous studio-based program where students will spend one quarter focusing on ceramics and one quarter focusing on fine metalworking while continually experimenting with mixing media. There will be particular emphasis on the relationship between these two studios and the way surfaces such as glazes and enamels are fired over dimensional forms, and ways the process of casting can be used in either metal or ceramics. We will consider political aspects of the collection and processing of our materials, as well as the meaning associated with them in particular commemorative forms.Art historical examples such as memento mori ("Remember your mortality") or milagros and ex votos will be closely examined through weekly writing, extensive readings and lively seminar discussion. Students should be prepared to constantly juxtapose theory and practice as they address both individual and collaborative assignments during fall and winter quarters.During spring quarter each student will either pursue a theme-based project or an internship with a practicing artist or regional arts organization. It will be the student's responsibility to write a detailed proposal for an individual project and faculty will assist students in locating and developing internships. Both paths of study in the spring will build on the conceptual framework, technical skills and studio work ethic established during fall and winter. We hope spring quarter will be a time for students to connect their visual work to the social and political realities of these ideas outside the studio.		Jean Mandeberg Evan Blackwell		Junior JR Senior SR	Fall	Fall Winter Spring
Sea Change: The Science of Climate Change in the Oceans Trisha Towanda environmental studies marine science writing	Program	JR–SRJunior - Senior	16	16	Day			S 13Spring		Studying climate change processes in the ocean frequently requires approaches that are unique to the marine environment. In this program, we will study the instruments and methods that allow us to conduct science beneath the sea. Lectures will cover marine topics in climate change and regional ecosystems of the Pacific Northwest.We will explore various marine ecosystems of the Pacific Northwest through a series of formal field exercises, including a multi-day field trip on the Olympic Coast. Students will maintain detailed field notebooks with observations, questions and hypotheses that will be the foundation of subsequent literature research. Working in groups, students will write formal scientific reports on each site to address effects of climate change. Students will also conduct a poster session on oceanographic instruments used to study various physical, geological, chemical and biological phenomena in the ocean. Weekly seminar sessions will allow each student opportunities to facilitate seminars on primary scientific literature. In addition, students will interpret scientific literature regarding effects of rapid global climate change on marine systems for non-scientist audiences though various media forms. Through final group presentations, students will convey the scientific research behind efforts to address the impacts of global climate change on marine environments.		Trisha Towanda		Junior JR Senior SR	Spring	Spring
Self and Story: Studies in Psychology, Literature, and Writing Steve Blakeslee and Mark Hurst literature psychology writing	Program	FR ONLYFreshmen Only	16	16	Day	F 12 Fall	W 13Winter			Who do you say you are, and why? How and why do people continually adjust and adapt their claims about themselves—their origins, preferences, values, and actions—to suit different audiences and occasions, at times even overhauling their identities completely? We will apply the practices and insights of psychology and the literary arts to the topic of self-narratives, both formal and informal: how they function, the many and varied forms they take, and the highly influential role they play in shaping our understanding of human experience. In the process, we will explore how self-stories can both expand and limit people’s thinking as they interpret their past, narrate their present, and plan their future.Through a variety of small- and large-group seminars, lectures, and experiential workshops, we will use psychology as a lens to examine, investigate, and theorize about our own identities and experiences. Recent innovations and activities in the field—for example, James Pennebaker’s groundbreaking work on narrative therapy—will be explored via video conferences with leading social psychologists. At the same time, we will explore the world of literature with a focus on considerations of the self. Of particular importance will be autobiographical narratives and the rich and intricate issues of memory, authority, persona, and truth that face every self-portraying writer. These accounts—ranging from Frederick Douglass’s slave narrative to Thoreau’s to Marjane Satrapi’s contemporary graphic novel, —embody a particularly critical function of self-stories: to open windows onto times, places, and social and political settings that differ sharply from our own. We will create a supportive group environment in order to write freely and fearlessly about memories, thoughts, and emotions. Students will also learn to recognize and articulate elements of traditional story form, such as settings, premises, and plot progressions involving conflict and resolution. Writing assignments will include response papers, summaries, short narratives, reflective journals, and a substantial memoir-essay. While this program focuses on particular topics, questions, and materials, it is also designed to systematically help students acquire the skills and abilities in the areas necessary to effective college-level study: reading (and rereading), writing (and rewriting), thinking, listening, speaking, and working together. We will consistently keep in sight both the “what” of our subject matter and the “how” of our approach to learning about it. The program will include many activities for students to undertake as individuals, but the larger aim is always to pursue a inquiry about the nature of selves and stories, pursuing knowledge and understanding together. In winter quarter, we will deepen our consideration of such topics as self-determination, willpower, the nature of happiness, and the notion of the double in both psychology and literature. Winter's literary texts will include works by Oscar Wilde, Virginia Woolf, Sylvia Plath, and Jean-Dominique Bauby.		Steve Blakeslee Mark Hurst		Freshmen FR	Fall	Fall Winter
Shaking it Up: From Journalism to New Media Nancy Parkes communications community studies media studies political economy writing Signature Required: Winter	Program	FR–SRFreshmen - Senior	8, 12, 16	08 12 16	Evening and Weekend	F 12 Fall	W 13Winter			Students will learn many foundational aspects of journalism over two quarters including interviewing techniques, news reporting, and investigative techniques. We will study the history, present, and future of journalism, including its role or failure as a watchdog of government and advocate for community. In addition to producing portfolios of written work using traditional journalistic techniques and story modes, we will engage in blogging, advocacy writing, literary journalism, and community-based journalism tied to independent media as well as techniques for electronic publishing. We will also examine the history of journalism and media, including questions such as who has controlled or owned various mediums. Finally, we will consider the political economy of new media and traditional media, and examine possibilities that will work for independent and underrepresented voices.Questions we will consider include the following: Why is journalism regarded as the "fourth estate?" Is this still true as readership of print diminishes? What level of training do today's electronic journalists have, and how does this affect the role of investigatory journalism? What are the differences between "straight" news/analysis and advocacy journalism, and where do each work best? As more journalists become unpaid reporters, does this set up a system where more privileged people become the purveyors of information because they can afford to donate time? How can the United States have both trained journalists and independent media? What role will the power of social media play in shaping the future of media? In the future, what will be the role of corporate sponsored media, and what will be the role of independent media?In winter, students may also apply for in-program media internships and seek faculty approval for an additional 4 or 8 credits. This will allow students to be enrolled for 8, 12, or 16 credits in winter. Fall quarter participation is a prerequisite for winter internships.		Nancy Parkes	Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
The Spanish-Speaking World: Cultural Crossings Diego de Acosta, David Phillips, Amaia Martiartu and Alice Nelson cultural studies history language studies literature study abroad writing Signature Required: Winter Spring	Program	SO–SRSophomore - Senior	16	16	Day	F 12 Fall	W 13Winter	S 13Spring		Spain and Latin America share not only the Spanish language but also an intertwined history of complex cultural crossings. The cultures of both arose from dynamic and sometimes violent encounters, and continue to be shaped by uneven power relationships as well as vibrant forms of resistance. In this program, students will engage in an intensive study of the Spanish language and explore the literature remembered, imagined and recorded by Spaniards and Latin Americans in historical context. Every week will include seminars on readings in English, Spanish language classes, a lecture or workshop conducted in Spanish, and a Spanish-language film. There will be regular written seminar responses, synthesis essays and a winter quarter research project. Please note that Spanish language classes are integrated into the program, so students do not have to register for them separately. We welcome students with any level of Spanish, from true beginner to advanced. No previous study of Spanish is required to enter in fall. Fall quarter, we will explore cultural crossings in Spain and Latin America prior to the 20th century through literary and historical texts. In medieval Spain, Jews, Christians and Muslims once lived side-by-side during a period of relative religious tolerance and cultural flourishing known as the . Military campaigns and the notorious tribunals of the Spanish Inquisition eventually suppressed Jewish and Muslim communities, but their cultural legacies have persisted. In the late 15th century, Spain began a process of imperial expansion marked by violence against indigenous peoples and Africans forced into slave labor; these early clashes are strikingly documented in contemporary accounts. Subsequent colonial institutions, including imposed governmental structures, , religious missions and slavery were contested by diverse resistance movements. These dynamics culminated in Latin America's independence in the 19th century and they continue to be reexamined and reimagined within Latin American cultural production today. Winter quarter, we will turn to literature from the 20th and 21st centuries. During this time, Spain and several countries of Latin America experienced oppressive dictatorships as well as the resulting emergence of social movements that enabled democratization. The questions of language, regional identity and difference have also defined several nations' experiences, from Catalonia and the Basque region in Spain, to various indigenous communities throughout Latin America. More recently, the context of economic globalization has given rise to unprecedented levels of international migration, with flows from Latin America to Spain and the US. All of these cultural crossings have involved challenges and conflict as well as rich and vibrant exchanges expressed in literature, art and cinema.Spring quarter offers two options for study abroad, and an option for doing internships with local Latino organizations for those who stay on campus. The Santo Tomás, Nicaragua program is coordinated with the Thurston-Santo Tomás Sister County Association and its counterpart in Nicaragua, and is open to 4-8 intermediate/advanced language students; the Quito, Ecuador program is co-coordinated with CIMAS, an Ecuadorian non-profit research organization, and is open to 15 or more students of all language levels. For students staying in Olympia, the program will have two components: an on-campus core of Spanish classes and seminars focused on Latino/a communities in the US; and the opportunity for student-originated studies through internships and project work. All classes during spring quarter, whether in Olympia or abroad, will be conducted entirely in Spanish.		Diego de Acosta David Phillips Amaia Martiartu Alice Nelson		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Stop Making Sense Steven Hendricks and Laura Citrin literature psychology sociology writing Signature Required: Winter	Program	JR–SRJunior - Senior	16	16	Day	F 12 Fall	W 13Winter			Through the lenses of social psychology, literature and literary theory, we will inquire into the process of constructing external and internal realities. How does our conception of self, other and society depend upon learned social routines, metaphors and narratives? How do the ritual discourses and behaviors of everyday life become part of who we are and what we are capable of doing and thinking? What myths allow us to go about our days as if they made any sense?In fall quarter, we'll equip ourselves with the psychological and theoretical models for understanding reality, culture and self as constructions. In winter quarter, we'll take a critical look at processes of conformity and assimilation, attempting to understand the mechanisms by which ways of thinking, feeling and acting become naturalized.Our study of literature will range over 20th century novels, stories and essays, predominantly from Europe and the U.S.--works that challenge familiar literary forms and that relate strongly to themes and questions within our study of psychology. Creative writing work will give students another venue for understanding inquiries in literature and psychology. Our goal is not, however, to produce realistic psychological narratives; on the contrary, we'll look at how the conventions of psychological portraiture in novels frequently fail to take actual psychological insight into account, insights that challenge us more profoundly than the goal of realism. Our study of literary theory will focus on theorists whose work deals closely with the nature of literary meaning and the process of constructing the world through language. Over the year, we'll take in a sweep of 20th century theory, emphasizing the work of Roland Barthes as a thinker capable of making rich connections between the everyday mythologies of culture, the complexity of internal life, and the richness of literature.Our study of psychology will enable us to examine how individuals construct their sense of self via observation of and interaction with others in social context. Possible social psychological themes to be explored include identity formation, social norms, social hierarchy, power, conformity, transgressions, obedience, prejudice, stigma, marginalization, groupthink, persuasion and moralization.The program material will be taught via lectures, workshops, seminars, films and substantial reading of literature, theory and research studies. Writing- and research-intensive projects, as well as the reading of dense theoretical material, will make this a demanding program, designed for upper-level students prepared for more advanced work in the humanities and/or social sciences.		Steven Hendricks Laura Citrin		Junior JR Senior SR	Fall	Fall Winter
Student-Originated Studies: Creative Writing (Short Story) Eddy Brown cultural studies literature writing Signature Required: Fall	SOS	SO–SRSophomore - Senior	16	16	Day	F 12 Fall				This SOS supports students doing individual projects in short story writing, to foster their skills and knowledge in creative writing in general, the short story in particular, and literature. Participants are expected to be self-motivated and have good work habits. In addition to online forums and out-of-class individual and small-group activities, we will hold weekly class sessions. These meetings are intended to provide ongoing individualized support and build a sense of community. Students must attend and participate in these sessions to be eligible for full credit. During these gatherings we will explore story crafting, the writing process, fiction genres, and published literature. Students will also carry out some in-class writing activities, report on and share work-in-progress, conduct peer critques, and receive applicable instruction and guidance. Potential variations on proposed work and activities may be considered, and if acceptable, will be worked out individually with the faculty member.There will also be weekly text-based seminars and written reader responses to both assigned and self-selected published fiction. Students will be expected to maintain and submit a process portfolio and reading journal. At the end of the quarter, we will have in-class student readings of their work.		Eddy Brown		Sophomore SO Junior JR Senior SR	Fall	Fall
Student-Originated Studies in Literary Arts Steven Hendricks literature writing	Program	JR–SRJunior - Senior	16	16	Day			S 13Spring		For this SOS program, appropriate projects in the literary arts include fiction writing in any prose genre, literary analysis, and researched essays in literary theory. Projects that combine depth in literature with work in other disciplines are welcome. Students should join the program with a project of sufficient scope to warrant a quarter of intensive work. It's preferable that students already have a manuscript underway or a clearly conceived object of study/writing goal. We will spend many hours in peer critique, read a variety of challenging works together, and develop strong writing and discursive practices as a community of writers and thinkers. While much of the program content will be generated by student projects, faculty will expect students to complete a number of assignments related and unrelated to their individual projects as a means of creating a common discourse about literature and to establish a measure of intellectual and creative rigor.		Steven Hendricks	Mon Wed Fri	Junior JR Senior SR	Spring	Spring
Student-Originated Studies: Independent Projects in Literature, Philosophy, Myth/Religion and Writing for Freshmen Marianne Bailey literature philosophy religious studies writing	SOS	FR ONLYFreshmen Only	16	16	Day			S 13Spring		In this SOS, first year students will learn how to conceive, plan, structure and successfully carry through a major independent learning project. More importantly, they will have the pleasure and fulfillment of realizing their first major college level independent body of work. Students have an exciting array of humanities and artistic areas to work in. For example, I can foresee projects as different from one another as a well edited collection of stories or free form poetry, perhaps illustrated and bound in a beautiful book, or a research project in religious symbolism and ritual in Celtic or Haitian worldviews, or in archetypal characters such as the Trickster, the Underworld mediators, or the artist/Orpheus and his quest. A student could write and compile an innovative collection of essays and images dealing with a philosopher such as Nietzsche or Foucault; or with a philosophical topic, such as the human/nature relationship, or the power and nature of artistic language. Students could also plan and research a transformational, pilgrimage journey, keep a rich travel journal, make art quality photographs and present the pilgrimage experiences at the quarter’s end to your colleagues in the class. Students could plan a multimedia spectacle or a short film based on artistic work as a small group in the style of the Surrealists.In other words, if it is a challenging academic or artistic body of work which you find deeply fascinating and which will keep you going enthusiastically for a quarter, we can shape this idea and make it possible for you to carry it through. We will do this step-by-step, in close collaboration between professor and individual student, and with the support of a small group of other program students working in similar veins of inquiry or creation, who will serve as a critique and support group. At Evergreen this mode of intellectual and creative work is a hallmark of our belief in fostering self-direction, intellectual discipline and stamina, and in pursuing academic projects about which we are passionate. It is no easy feat, however, to master the fine art of writing and proposing, let alone bringing to fruition, a top quality independent learning project. The purpose of this SOS is first, to coach you through the conception stage, then, to help you to choose your readings and activities and make your schedule, and finally, to guide and support you along the path to completion of the best work of which you are capable.During the first eight weeks of spring quarter, students will meet every week with their professor as an individual, and as a member of a small work and critique group. We will meet as a large group, as well. Students will report in writing and orally on their progress every week. In the final weeks of the quarter, all students will present their completed work to the group.Students enrolling should have a first proposal of a project which they want strongly to undertake, including, at least, the kind of work you plan to do, for example: writing poetry, studying the work of a given writer or philosopher, and/or studying a particular kind of religious or mythic symbolism. This should be carefully written, typed and ready on the first day of class. The rest we will do during the first two weeks of the program. You may enroll in this program for 12 or 16 credits.		Marianne Bailey	Mon Wed	Freshmen FR	Spring	Spring
Student-Originated Studies: You Can't Handle The Truth Yvonne Peterson and Gary Peterson Native American studies history law and government policy writing	SOS	SO–SRSophomore - Senior	16	16	Day and Weekend	F 12 Fall	W 13Winter	S 13Spring		This program is for learners who would like to learn how to do research in a learner-centered environment. There will be an emphasis on Indian Child Welfare, Indian education, and the history of education (specifically how early child education has developed in the United States).Through each learner's area of interest, we will look at a variety of cultural and historical perspectives. Work will be concentrated in cultural studies, human resource development, early childhood education issues/themes and ethnographic studies to include historical and political implications of encounters, and cross-cultural communication. We shall explore Native American perspectives and look at issues that are particularly relevant to Indigenous people of the Americas.Faculty and learners together will work to develop habits of worthwhile community interaction in the context of the education process and social justice. We are interested in providing an environment of collaboration where faculty and learners will identify topics of mutual interest and act as partners in the exploration of those topics. In the fall, participants will state research questions for 2 topics to be covered during the three quarters. During the first weeks of fall quarter ongoing workshops will allow participants to learn the skills for completing their projects. In late fall and winter, individually and in small study groups, learners will develop the historical background for their chosen questions and do the integrative review of the literature and data collection. Depending on their individual projects, learners will develop, use and explore some of the following areas: NAEYC Standards for Early Childhood Education, Bloom's Taxonomy; the theory of multiple intelligence; curriculum development, assessment and instruction and Choice Theory; Paul’s Elements of Critical Thinking, Maslow’s Hierarchy of Needs, Expectations of an Evergreen graduate and the Five Foci; quantitative reasoning; self- and group-motivation; and communication (to include dialogue, e-mail, resources on the Web and our moodle site).		Yvonne Peterson Gary Peterson		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Thinking Through Critical and Creative Writing David Wolach writing	Course	FR–SRFreshmen - Senior	4	04	Evening and Weekend	F 12 Fall				When working through a set of ideas, many writers oscillate between what gets called "critical writing" and "creative writing"—for instance, between the essay and the poem. This course hopes to play with, complicate, and trouble the notion that these are set categories or distinct ideas by shifting between poetry, prose, and the essay to engage rigorously with contemporary social problems including the circumstances of living in classed, gendered, and racialized bodies. We will examine writing as labor and question the economic value attached to various kinds of written texts. We will take as models for our experiments the work of several writers, such as Fred Moten, kari edwards, and Rodrigo Toscano. Weekly writing assignments will revolve around processes of radical revision—shortening and lengthening the work and translating it from one form into another. This course is suitable for students without significant experience in either creative or critical writing and will teach skills that can be applied to any future writing. More advanced students will be encouraged to take more risks with their formal experimentation.		David Wolach	Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Trajectories in Animation, Mathematics, and Physics Ruth Hayes and Krishna Chowdary mathematics media arts moving image physics visual arts writing Signature Required: Winter	Program	FR–SRFreshmen - Senior	16	16	Day	F 12 Fall	W 13Winter			"Animation follows the rules of physics - unless it is funnier otherwise." - Art Babbitt, animatorWhat are the 'rules' of physics, and where do they come from? How do animators follow these rules? How do they know when to break them?This challenging program will introduce you to the mathematical models that help describe and explain motion in the natural world. You will learn how to combine observation, reason and imagination to produce such models, explore the creative uses that can be made of them, and consider the new meanings that result. We hope to highlight similarities and differences between how artists and scientists make sense of, and intervene in, the world.We do not expect prior experience in drawing, animation or physics; the program is designed to accommodate new learners in these areas. We do expect that you can read and write at the college level and have completed math through intermediate algebra. You will all engage in common work in drawing, animation, mathematics and physics, for 14 credits. You will also be asked to choose one of two more focused tracks for the remaining two credits, either in (1) drawing or (2) mathematics. Students who choose to focus on drawing will gain two quarters experience of college-level drawing. Students who choose to focus on mathematics will cover two quarters of calculus in this program. Which ever you choose, the work will be intensive in both art and science, and you should plan to spend on average up to 50 hours per week (including class time).Through workshops, labs, seminars and lectures, you will learn basic principles of drawing, animation, mathematics and physics, while improving reading and writing skills. You will integrate these areas to represent and interpret the natural and human-created worlds, and to solve scientific and design problems in those worlds. For example, in physics labs and animation workshops you might record high-speed video to analyze motion or construct animation toys that play with the boundaries between motion and illusions of motion.In fall we will introduce you to basic principles and practices of drawing, 2D analog animation and video production, as well as the fundamentals of physics, including kinematics, forces and conservation principles. To support this work, you will also study mathematics, including ratios and proportional reasoning, geometry, graphing, functions, and concepts of calculus. In winter, you will learn 2D digital animation techniques, focus in physics on special relativity (modern models of space, time and motion), and continue to learn concepts of calculus. The program will culminate in creative projects that integrate your new technical skills with your learning in art and science.		Ruth Hayes Krishna Chowdary		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
The Uncanny in Psychoanalysis and Philosophy Kathleen Eamon aesthetics literature philosophy psychology writing	Program	FR–SRFreshmen - Senior	8	08	Day				Su 13Summer Session I	Using Freud’s famous essay on as our starting point, we will investigate this category of experience which has been described as hovering between the natural and the supernatural. Although our approaches will be diverse (including philosophical and psychoanalytic texts, as well as short stories and other media), we will focus on the way "the uncanny" has been mined for insight onto life, politics, and experience in modernity. Other possible authors include Kant, Baudelaire, E.T.A. Hoffmann, Edgar Allan Poe, Otto Rank, Tzvetan Todorov. The program will be reading, writing, and conversation intensive.		Kathleen Eamon	Mon Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Undergraduate Projects in Critical and Creative Practices Naima Lowe, Anne de Marcken (Forbes), Marilyn Freeman and Joli Sandoz African American studies art history communications cultural studies gender and women's studies literature media arts media studies moving image visual arts writing Signature Required: Winter Spring	Program	SO–SRSophomore - Senior	V	V	Day, Evening and Weekend		W 13Winter	S 13Spring		This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. uses creative writing and digital media production as methods of inquiry. Her process-based work results in short stories, personal essays, longer hybrid narratives, time-based forms of these things (films and videos), and sometimes web environments. Her current areas of inquiry include climate change and the interactions of place and identity, in particular as related to the idea of home. Students working with Anne will have opportunities to work on one or more literary projects in the early development phase. Activities will include concept development, research, preliminary structuring, proposal writing, grant writing, and critique of early draft creative writing. Students may also work with Anne to continue development of an internet-based project related to climate change. (writing and media arts) is an interdisciplinary artist working primarily with time-based art for the page, the screen, and installation. Presently, Marilyn is particularly focused on the video essay as an ascendant form for creative and critical experiments with text, sound, and image. Her immediate projects include two video essay productions and a book— (University of Chicago Press, 2014). These projects provide opportunities for advanced students to assist with research and to enhance media arts skills through working directly with Marilyn in preproduction, production, and post-production of the video essays. (creative nonfiction) draws from experience and field, archival and library research to write creative essays about experiences and constructions of place, and about cultural practices of embodiment. She also experiments with juxtapositions of diagrams, images and words, including hand-drawn mapping. Students working with Joli will be able to learn their choice of: critical reading approaches to published works (reading as a writer), online and print research and associated information assessment skills, identifying publishing markets for specific pieces of writing, or discussing and responding to creative nonfiction in draft form (workshopping). Joli’s projects underway include a series of essays on place and aging; an essay on physical achievement and ambition; and a visual/word piece exploring the relationship of the local to the global. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes. Please go to the catalog view for specific information about each option.		Naima Lowe Anne de Marcken (Forbes) Marilyn Freeman Joli Sandoz		Sophomore SO Junior JR Senior SR	Winter	Winter Spring
Undergraduate Projects in Critical and Creative Practices with A. de Marcken Anne de Marcken (Forbes) cultural studies environmental studies literature media arts media studies moving image visual arts writing Signature Required: Winter Spring	Research	SO–SRSophomore - Senior	V	V	Day, Evening and Weekend		W 13Winter	S 13Spring		This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. uses creative writing and digital media production as methods of inquiry. Her process-based work results in short stories, personal essays, longer hybrid narratives, time-based forms of these things (films and videos), and sometimes web environments. Her current areas of inquiry include climate change and the interactions of place and identity, in particular as related to the idea of home. Students working with Anne will have opportunities to work on one or more literary projects in the early development phase. Activities will include concept development, research, preliminary structuring, proposal writing, grant writing, and critique of early draft creative writing. Students may also work with Anne to continue development of an internet-based project related to climate change.		Anne de Marcken (Forbes)		Sophomore SO Junior JR Senior SR	Winter	Winter Spring
Undergraduate Projects in Critical and Creative Practices with J. Sandoz Joli Sandoz communications writing Signature Required: Winter Spring	Research	SO–SRSophomore - Senior	V	V	Evening		W 13Winter	S 13Spring		This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (creative nonfiction) draws from experience and field, archival and library research to write creative essays about experiences and constructions of place, and about cultural practices of embodiment. She also experiments with juxtapositions of diagrams, images and words, including hand-drawn mapping. Students working with Joli will be able to learn their choice of: critical reading approaches to published works (reading as a writer), online and print research and associated information assessment skills, identifying publishing markets for specific pieces of writing, or discussing and responding to creative nonfiction in draft form (workshopping). Joli’s projects underway include a series of essays on place and aging; an essay on physical achievement and ambition; and a visual/word piece exploring the relationship of the local to the global.		Joli Sandoz		Sophomore SO Junior JR Senior SR	Winter	Winter Spring
Undergraduate Projects in Critical and Creative Practices with M. Freeman Marilyn Freeman communications literature media arts media studies moving image visual arts writing Signature Required: Winter Spring	Research	SO–SRSophomore - Senior	V	V	Day, Evening and Weekend		W 13Winter	S 13Spring		This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (writing and media arts) is an interdisciplinary artist working primarily with time-based art for the page, the screen, and installation. Presently, Marilyn is particularly focused on the video essay as an ascendant form for creative and critical experiments with text, sound, and image. Her immediate projects include two video essay productions and a book— (University of Chicago Press, 2014). These projects provide opportunities for advanced students to assist with research and to enhance media arts skills through working directly with Marilyn in preproduction, production, and post-production of the video essays.		Marilyn Freeman		Sophomore SO Junior JR Senior SR	Winter	Winter Spring
Water in the West: Ecology and History Matthew Smith and Dylan Fischer ecology environmental studies history writing	Program	FR–SRFreshmen - Senior	16	16	Day	F 12 Fall	W 13Winter			“There are two ways to die in the desert, too much water and not enough.” In this two-quarter program, we will focus an interdisciplinary lens on the myriad ways we survive when water is scarce and when water is overwhelmingly present.Life and growth in the west has always been limited by availability of water. Human interactions with rivers, lakes, rainfall, snow pack, and ground water resources have been central themes of the western experience. Ownership of water and apportioning its use has been a constant dilemma and struggle among myriad users and claimants, human and natural. Climate change threatens different patterns of precipitation and more rapid evaporation. This will intensify these dilemmas and calls for new physical and policy responses, along with new adaptations and efficiencies in water use.Water has limited the spread of organisms in the American West for millions of years. We will examine how organisms have adapted to water scarcity in diverse and interesting ways. Understanding biological adaptations to water abundance and scarcity requires an understanding of general ecology that may provide analogies for solutions to the current water crises humans face in an era of climate change. Just as humans deal with what climate change means for the future of water availability, ecosystems have been adapting to changing water availability since the dawn of terrestrial life forms.This program will first explore what it’s like to live with water scarcity (in the fall), and then what it’s like to live in the presence of overabundance of water (in the winter). We will contrast wet and dry landscapes in the American west using water as a central theme. We will use a combination of modern environmental literature, classic environmental nonfiction, field trips, hands-on experiences, guest speakers and seminars to help us delve deep into the central theme of this program.		Matthew Smith Dylan Fischer		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Write Where You Are Anne de Marcken (Forbes) community studies writing	Program	FR–SRFreshmen - Senior	8	08	Day				Su 13Summer Session I	- Gretel Erlich Professor of social and cultural geography Tim Cresswell calls place, "not just a thing in the world but a way of understanding the world." Using writing as a creative/critical mode of inquiry, and working in a variety of traditional, innovative and hyrbid forms, members of this program will investigate this place—Olympia—in an effort to come to a more nuanced and complex understanding of our world and perhaps themselves and one another. Students will participate in intensive critique sessions and seminars on critical and literary texts and screenings, will conduct research into the nature of place and into Olympia's cultural and natural history, will go on writing/research field trips around the Olympia area, will experiment and gain skill with the elements of narrative and lyrical discourse, and will cultivate the makings of a sustaining and sustainable creative practice.Members of this program will spend extensive time in the field. We will experiment with different ways of getting from place to place and different ways of experiencing place that are both defamiliarizing and connection-forming. Students may have the opportunity to work in multidisciplinary and experimental literary forms depending upon the skill-level and interest of program participants.		Anne de Marcken (Forbes)	Tue Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Writer's Paradise Steven Hendricks and Nancy Parkes literature visual arts writing	Program	FR–SRFreshmen - Senior	8, 16	08 16	Evening and Weekend				Su 13Summer Full	Fiction! Essays! Creative non-fiction! Academic writing! Journalism! Poetry! Dive into any of these genres in . This craft-intensive program has it all: weekly peer-critique groups; copious, ongoing feedback from faculty; seminars on fiction and creative non-fiction; workshops to sharpen skills and generate ideas; and guided, in-class, one-on-one, and online critique. Deepen your engagement with your own writing, build your close reading skills, and refine your editorial eyes and ears. Use your summer to draft a number of smaller projects; push yourself and produce a finished, publishable manuscript; get the time and support you need to make your writing project the capstone of your academic year.In addition to intensive writing and revision, you’ll get to engage in writing-related activities that celebrate the creative process and the written word: is designed for accomplished and beginning writers to engage deeply in creative processes and to build skills that they can use artistically, academically, and professionally. The program includes two weekend sessions (one per session) during which we’ll meet all day Saturday and Sunday for workshops, walks, sharing work, and discussion. Students may enroll for the full 10-week quarter or for either of the 5-week sessions.		Steven Hendricks Nancy Parkes	Mon Wed Sat Sun	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Writing Beyond the Basics Peter Bacho communications literature writing	Program	FR–SRFreshmen - Senior	4, 8	04 08	Day				Su 13Summer 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
Writing from Life Nancy Parkes writing Signature Required: Spring	Course	FR–SRFreshmen - Senior	4	04	Evening			S 13Spring		This course is designed to help prepare Prior Learning from Experience (PLE) students to write documents that provide evidence of college-level learning from life experience. We will explore various techniques for deriving, clarifying, and expressing meaning from life experience. Students will identify specific knowledge they have gained and will explore various writing techniques available for self-expression. There are also openings in this course for another set of students who will engage in the same readings and preparatory work about effective writing but will engage in creative writing workshops while the PLE students concentrate on learning how to create their PLE documents. Though both groups will follow different writing tracks, we will all share time together supporting and enjoying one another’s work. All students should be prepared to work collaboratively in small groups to discuss ideas and give feedback on each other's writing.		Nancy Parkes	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Writing from Life Nancy Parkes writing Signature Required: Fall	Course	FR–SRFreshmen - Senior	4	04	Evening	F 12 Fall				This course is designed to help prepare Prior Learning from Experience (PLE) students to write documents that provide evidence of college-level learning from life experience. We will explore various techniques for deriving, clarifying, and expressing meaning from life experience. Students will identify specific knowledge they have gained and will explore various writing techniques available for self-expression. There are also openings in this course for another set of students who will engage in the same readings and preparatory work about effective writing but will engage in creative writing workshops while the PLE students concentrate on learning how to create their PLE documents. Though both groups will follow different writing tracks, we will all share time together supporting and enjoying one another’s work. All students should be prepared to work collaboratively in small groups to discuss ideas and give feedback on each other's writing.		Nancy Parkes	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Writing from Life Nancy Parkes writing Signature Required: Winter	Course	FR–SRFreshmen - Senior	4	04	Evening		W 13Winter			This course is designed to help prepare Prior Learning from Experience (PLE) students to write documents that provide evidence of college-level learning from life experience. We will explore various techniques for deriving, clarifying, and expressing meaning from life experience. Students will identify specific knowledge they have gained and will explore various writing techniques available for self-expression. There are also openings in this course for another set of students who will engage in the same readings and preparatory work about effective writing but will engage in creative writing workshops while the PLE students concentrate on learning how to create their PLE documents. Though both groups will follow different writing tracks, we will all share time together supporting and enjoying one another’s work. All students should be prepared to work collaboratively in small groups to discuss ideas and give feedback on each other's writing.		Nancy Parkes	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Writing Nature, Writing "Race" Chico Herbison American studies cultural studies environmental studies history literature writing	Program	FR ONLYFreshmen Only	16	16	Day	F 12 Fall	W 13Winter			"What then, is Earth to American people of color?" (Alison H. Deming and Lauret E. Savoy, ) This two quarter program explores nature writing by people of color in the United States. Deming and Savoy provide an eloquent and passionate starting point, as well as critical unifying themes and issues, for our exploration: "[if nature writing] examines human perceptions and experiences of nature, if an intimacy with and response to the larger-than-human world define who or what we are, if we as people are part of nature, then the experiences of all people on this land are necessary stories, even if some voices have been silent, silenced, or simply not recognized as nature writing."We will begin our quest by addressing the many meanings of "nature" and, by extension, "nature writing." Our journey's next phase will involve an introduction to, and brief overview of, the American nature writing tradition. Students will read selections from some of the country's best-known nature writers, including Henry David Thoreau, Ralph Waldo Emerson, John Muir, Mary Hunter Austin, Wendell Berry, Rachel Carson, Barry Lopez, Annie Dillard and Terry Tempest Williams. Fall quarter will conclude with introductory readings on the historical and cultural relationships between people of color and nature. Students will engage with program readings, not only to develop a stronger appreciation of, and respect for, nature writing, but also to strengthen their critical thinking, reading and academic writing skills. In winter quarter, our selection of texts will foreground major works of nature writing by people of color, including writings by Toni Morrison, Leslie Marmon Silko, Ruth Ozeki, Percival Everett, and by those anthologized in . Students will continue to hone their academic writing skills; however, they will have the opportunity to explore "the colors of nature" through a variety of other writing forms: fiction, poetry, music lyrics, and creative nonfiction, among others. By winter quarter's end, students will be equipped to respond, in a variety of ways, to that question posed above: "What then, is Earth to American people of color?" Only at that point can we begin to address the enduring question, "What then, is Earth to all people?" Program activities will include lectures, workshops, seminars, film screenings, guest presentations and field trips. Students should be prepared to devote at least twice as many hours outside of class, as those spent in class, to program readings, writing and other assignments.	the humanities, writing, education, and environmental studies.	Chico Herbison	Tue Thu Fri	Freshmen FR	Fall	Fall
Writing our Future Histories: Creative writing out of struggle David Wolach cultural studies political economy writing	Course	FR–SRFreshmen - Senior	4	04	Evening and Weekend		W 13Winter			This course challenges students to write the world that does not yet exist. Or, as Marxian poet and theorist of radical black performance Fred Moten proposes, we will engage in writing that "investigates new ways for people to get together and do stuff in the open, in secret." Each week we’ll work individually and collaboratively on writing experiments—prose, poetry, essay—that critique and advance beyond our own assumptions about what is socially possible and that do so by paying careful attention to the rhythms of current crises. As a basis for this creative production, we will engage critically with writers whose work exists at the point where the border between politics and art ruptures. In sound, in sight, and through a kind of improvisatory ensemble we will resist what too often gets counted as the inevitable outcome of a political economy that treats people as objects that just happen to speak. What is inevitable about the future, and what is it about controlled acts of creative improvisation that helps us not just see but hear our future’s past?		David Wolach	Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter

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