2013-14 Undergraduate Index A-Z | The Evergreen State College

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Title	Offering	Standing	Credits	Credits	When	F	W	S	Su	Description	Preparatory	Faculty	Days	Multiple Standings	Start Quarters	Open Quarters
A Sense of Wonder Hirsh Diamant and Nancy Parkes communications cultural studies education environmental studies literature natural history sustainability studies writing	Program	SO–SRSophomore–Senior	12	12	Evening and Weekend	F 13 Fall	W 14Winter			Students in this interdisciplinary program, which continues from Fall quarter, will learn how to cultivate a “sense of wonder” while building skills as writers, activists, artists, and interdisciplinary scholars. Our work will combine theory and practice as we delve into the rich areas of literature, cultural studies, writing, creative arts, contemplative practice, natural history, and environmental/outdoor education. We will explore how we develop roots to the natural world and explore themes related to natural history literature, the Pacific Northwest, and global multicultural traditions that have intimate connections to place, family, education, and artistic practice. At the core of our inquiry will be the questions: What enlivens culture? What motivates change? Working from a rich, interdisciplinary perspective, we will study what it means to be rooted to place and how place connects us to a deep sense of purpose and meaning through word and image, language and tradition, stories and activism, and education and scholarship. Highlights of Winter quarter will include a three day Lunar New Year and Tai Ji celebration and Community Service work in areas of students’ interests.		Hirsh Diamant Nancy Parkes	Mon Wed Sat	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Academic Writing at Evergreen Emily Lardner education writing	Course	FR–SRFreshmen–Senior	4	04	Evening	F 13 Fall				Evergreen students are expected to demonstrate integrative, independent, and critical thinking—that's one of the six expectations for graduates. Most often, students demonstrate their thinking in writing. The purpose of this course is to help you develop skills as a writer and thinker in academic programs across the curriculum. We will focus on critical components of academic writing, including skills related to working with ideas found in other writers' texts, whether those texts are books or articles or take some other form. We will explore preconceptions you have about what good writers do, investigate conventions for writing across academic fields, and practice a lot of writing. All levels welcome.		Emily Lardner	Mon	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Advanced Writer's Workshop Nancy Parkes communications literature writing	Program	SO–SRSophomore–Senior	12	12	Evening and Weekend			S 14Spring		This 12-credit program, Advanced Writer's 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. Students should also expect to spend significant additional time critiquing peer work outside the classroom.		Nancy Parkes	Mon Wed Sat	Sophomore SO Junior JR Senior SR	Spring	Spring
Art and Narrative in Response to Place Rebecca Chamberlain and Gail Tremblay cultural studies literature sustainability studies visual arts writing	Program	FR–SRFreshmen–Senior	16	16	Day			S 14Spring		How does place affect the worldview and visions of writers, poets, artists, storytellers, and filmmakers from diverse cultures in the Americas? How can we develop an ecological and ethical identity that shapes culture and place through creative and artistic practice? As we study art history, natural history, and the natural world, we will use these questions to explore our connections to the earth and place through analysis and creation of poems, essays, and multimedia art projects. Through observations of the natural world, we will cultivate our ability to heighten sensory perceptions and gain insights that feed metaphors, images, and imagination. As we examine the way in which our relationships to words, images, myths, cultural teachings, stories, and the arts enhance our understanding, we will reflect on the strategies we need to address environmental education, activism, and the ecological challenges and health of our planet.Readings include essays by American Transcendentalists like Thoreau, Emerson, and Fuller, and natural history writers and eco-poets such as Leslie Marmon Silko, Terry Tempest Williams, Linda Hogan, Alice Walker, Mary Austin, John Muir, Rachel Carson, Gary Snyder, David Abrahm, Pablo Neruda, Eric Chock, and other diverse writers. Field trips and workshops include hikes, natural history observations, writing, a trip to Mt Rainier, and visits to museums, cultural, and arts events like the “Procession of the Species,” and the “Cascadia Poetry Festival.” We will work to develop practices of close observation of the natural world to fuel creativity. The quarter’s work will include the creation of art, poetry, personal essay, and a creative journal that allows us to refine our observations of local places, and to sketch and develop concepts for use in our artistic practice. Students of different skill levels will work on improving their writing and editing abilities so they can write and work towards publication. They will create multimedia art installations on campus and in the community, submitting proposals for one individual art project, and one group collaborative artistic project, and preparing the works for public presentation by the end of Spring quarter.Assignments: Writing includes a personal essay about place, a series of ten poems, and a creative journal. Art includes an individual multimedia installation and a group multimedia installation. Each student is responsible for presenting one of the projects on which they worked, in a community setting. Note: This class was formerly called Creativity and Diversity in American Culture: Art and Narrative in Response to Place. You can review fall and winter quarters at:		Rebecca Chamberlain Gail Tremblay	Tue Thu Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Astronomy and Cosmology: Stars and Stories Rebecca Chamberlain astronomy education field studies literature philosophy of science writing	Program	FR–SRFreshmen–Senior	8	08	Day, Evening and Weekend				Su 14 Session II Summer	This class is focused on fieldwork and activities designed for amateur astronomers and those interested in inquiry-based science education, as well as those interested in exploring mythology, archeo-astronomy, literature, philosophy, history, and cosmological traditions. Students will participate in a variety of activities from telling star-stories under the night sky to working in a computer lab to create educational planetarium programs. We will employ qualitative and quantitative methods of observation, investigation, hands-on activities, and strategies that foster inquiry based learning and engage the imagination. Through readings, lectures, films, workshops, and discussions, participants will deepen their understanding of the principles of astronomy and refine their understanding of the role that cosmology plays in our lives through the stories we tell, the observations we make, and the questions we ask. We will participate in field studies at the Oregon Star Party as we develop our observation skills, learn to use binoculars, star-maps, and navigation guides to identify objects in the night sky, and operate 8” and 10” Dobsonian telescopes to find deep space objects. We will camp in the desert and do fieldwork for a week.		Rebecca Chamberlain		Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Autobiography Steve Blakeslee literature writing	Program	SO–SRSophomore–Senior	8	08	Evening		W 14Winter	S 14Spring		"Could a greater miracle take place," writes Henry David Thoreau, "than for us to look through each other's eyes for an instant?" This two-quarter program will approach autobiography (literally, "self-life-writing") as a powerful way to make sense of human experience, particularly in times, places, and social and political settings that differ from our own. In seminars, students will delve into the rich and intricate issues of memory, authority, persona, and truth that face every self-portraying writer. In "writing marathons," they will learn to write freely and fearlessly about their memories, thoughts, and emotions. Finally, students will develop substantial memoir-essays of their own.	humanities and education.	Steve Blakeslee	Mon Wed	Sophomore SO Junior JR Senior SR	Winter	Winter Spring
Be Wilder: Writing from Wilderness John Schaub literature outdoor leadership and education sustainability studies writing	Program	FR–SRFreshmen–Senior	8	08	Day and Evening				Su 14 Session II Summer	Many cultures have a tradition of teachers and students spending time in wilderness. We’ll let wilderness work in us, inspire us and help immerse us in writing. Carrying our own food and shelter brings focus, and opens new viewpoints on sustainability. We’ll study and live Leave-No-Trace ethics as we paddle to Squaxin Island and backpack at Mts. Rainier, St. Helens and the Olympics. We’ll seminar, write and engage in peer review, with ongoing faculty feedback.This all-level program could be orientation for incoming students, and a chance for anyone to engage deeply with writing, and/or produce a finished publishable manuscript.Students who wish to extend work into the other session for additional credit may do so through individual learning contracts.		John Schaub	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Botany: Plants and People Frederica Bowcutt botany economics environmental studies field studies gender and women's studies history natural history writing Signature Required: Winter	Program	SO–SRSophomore–Senior	16	16	Day	F 13 Fall	W 14Winter			This two-quarter program allows students to learn introductory and advanced plant science material in an interdisciplinary format. The program is suitable for both advanced and first year students who are looking for an opportunity to expand their understanding of plants and challenge themselves. Students will learn about plant anatomy, morphology and systematics. Lectures based on textbook readings will be supplemented with laboratory work. The learning community will explore how present form and function informs us about the evolution of major groups of plants such as mosses, ferns, conifers and flowering plants. Students will get hands-on experience studying plants under microscopes and in the field. To support their work in the field and lab, students will learn how to maintain a detailed and illustrated nature journal. Instruction will be given in the history and practice of botanical illustration.A central focus of the program is people's relationships with plants for food, fiber, medicine and aesthetics. Economic botany will be studied through seminar texts, films, and lectures that examine agriculture, forestry, herbology and horticulture. Students will examine political economic factors that shape our relations with plants. Through economic and historical lenses, the learning community will inquire about why people have favored some plants and not others or radically changed their preferences, for example considering a former cash crop to be a weed. Readings will examine the significant roles botany has played in colonialism, imperialism and globalization. Students will also investigate the gender politics of botany. For example, botany was used to inculcate "appropriate" middle and upper class values among American women in the 19th century. Initiatives to foster more socially just and environmentally sustainable relations with plants will be investigated.In winter, students will write a major research paper on a plant of their choosing. Through a series of workshops, they will learn to search the scientific literature, manage bibliographic data and interpret and synthesize information, including primary sources. Through their research paper, students will synthesize scientific and cultural information about their plant.		Frederica Bowcutt	Mon Tue Wed Fri	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Creating Dangerously: Advanced Studies Naima Lowe and Therese Saliba African American studies cultural studies gender and women's studies media studies writing Signature Required: Fall Winter	Program	JR–SRJunior–Senior	16	16	Day and Evening	F 13 Fall	W 14Winter	S 14Spring		This is an opportunity for a small number of Junior-Senior students with a strong background in one or a combination of the following: visual art, art history, literature, creative writing, media theory, cultural studies, critical race studies, or feminist studies. Students with this background will participate in all of the activities and readings of , but also be asked to complete longer and more in-depth assignments and a large-scale project that will be developed over the course of the year. These students will also act as peer mentors for the Freshman-Sophomore students in the class, and will have opportunities for ongoing critique on projects with program faculty. In addition, advanced students will be required to take a year-long, 2-credit sequence in Critical and Cultural Theory offered one evening a week by Greg Mullins.		Naima Lowe Therese Saliba		Junior JR Senior SR	Fall	Fall Winter
Cultivating Voice: A Writing Tutor's Craft Sandra Yannone education writing Signature Required: Spring	Course	FR–SRFreshmen–Senior	2	02	Day			S 14Spring		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
Dark Romantics Marianne Bailey, Olivier Soustelle, Shaw Osha (Flores), Bob Haft, Judith Gabriele and Stacey Davis aesthetics art history cultural studies history international studies language studies literature philosophy study abroad visual arts writing	Program	SO–SRSophomore–Senior	16	16	Day	F 13 Fall	W 14Winter	S 14Spring		... ...—Hölderlin, "Bread and Wine" We will study art history, literature, philosophy and music in their social and historical contexts in order to understand the Romantic avant-garde thinkers and artists, outsiders in 19th- and early 20th-century Europe, and their tenuous but fruitful dialogue with mainstream culture and the emerging popular culture of the laboring class. We will emphasize French Romanticism, but will also consider the pan-European nature of the phenomenon. This era offers a figurative battlefield where concepts of art, nature and self, order and chaos, locked swords, testing the limits of rational thought. French language study will be an important component of our weekly work; students will study French at one of four levels, from beginning to advanced.The 19th century was an era of immense political change spanning revolutions, empires and finally the establishment of democracy at home, just as European imperialism spread across Africa and Asia. We will study ways in which average women and men crafted their own identities and responded to the larger social forces of industrialization, the creation of a new working class, the solidification of gender and class roles, the rise of modern cities and the redefinition of the criminal, the socially-acceptable and the outsider.In fall, our work will begin with the paintings, poems and ideas of the early Romantics. The Romantics privileged feeling, intuition and empathy. Like adepts in an ancient mystery cult, they sought to commune with Nature. Romantic philosophers, from Schopenhauer to Nietzsche, spoke of Becoming rather than Being. Rejecting Classical order, clarity and restraint, they envisioned a pure art, beyond language and depiction, which speaks musically through color, passion, suggestion, enigmatically, as do dreams.In winter, focus will turn to the late Romantics. Decadents pushed the Romantic temperament and aesthetic to extremes through self parody and the aesthetic of fragmentation. Symbolists attempted to express the inexpressible through their art. Yet Mallarmé, Wilde and Yeats, Moreau and Gauguin, among others, helped prepare the “rites of spring” of the dawning 20th century, the arising vanguard of modernist and postmodern movements.In spring quarter, students may pursue individual research/creative projects on campus or may travel to France for 10 weeks. There they will study in a Rennes, Brittany, language school, do cultural and historical study in Paris and Lyon, as well as make side trips for research of their own.In this program, students will gain a significant grasp of key ideas in art, history and thought within their context, and will have the opportunity to specialize, creating advanced work in their choice of history, art history or writing and literature. We expect strong interest and background in humanities, and considerable self-discipline and motivation. The workload, including French language study, will be substantial and rigorous. Students will work in interdisciplinary all-program sessions and assignments, as well as choose one of three possible seminar groups. These emphasize: 1) literature and philosophy, 2) history, and 3) photography and visual arts, practice and theory.		Marianne Bailey Olivier Soustelle Shaw Osha (Flores) Bob Haft Judith Gabriele Stacey Davis		Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Doing Research: Addressing Topics That Matter Emily Lardner and Allen Mauney education environmental studies mathematics sustainability studies writing	Program	FR–SRFreshmen–Senior	8	08	Evening		W 14Winter	S 14Spring		The skills to design and conduct effective research—defined as systematic inquiry-- are essential components of a liberal arts education and professional work. In this program, students will develop strong writing, critical reading, and statistical reasoning skills applicable to a variety of fields. The program is organized around two core assumptions: first, that research is more about thinking than doing, and second, that good research uses appropriate methods to support claims and communicate results effectively. In winter quarter, we will use the broad topic of climate change—understanding it, preparing for it, and adapting to it—as a shared focus for developing research skills. Students will focus on aspects of climate change that connect with their previous and future studies, or their current interests. Students will build skills through active-learning workshops, hands-on data collection and analysis, and critical analysis of online and print media reports. We will discuss research articles from a variety of fields, noting what makes some articles effective and others less so. In the second quarter of the program, students will be invited to identify their own topics for investigation, and continue to develop research tools and methods.The goal of the program is to help students become good researchers—good at asking and answering questions about complex topics in systematic ways. We expect that students will come to the program with a variety of backgrounds—from little or no experience with quantitative reasoning and statistics to some background, and from limited writing experience to lots of it. Successful students in this program will be intellectually curious and keen to become better at asking and answering good questions.		Emily Lardner Allen Mauney	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter Spring
Dramatic Fiction: Settings, Scenes and Subtext Eddy Brown cultural studies literature writing Signature Required: Spring	Program	SO–SRSophomore–Senior	16	16	Day			S 14Spring		In what situations, milieus, 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.		Eddy Brown	Tue Fri	Sophomore SO Junior JR Senior SR	Spring	Spring
The Epic and The Everyday Ulrike Krotscheck and Caryn Cline classics cultural studies literature media arts media studies moving image visual arts writing	Program	FR–SRFreshmen–Senior	16	16	Day	F 13 Fall	W 14Winter			Must quotidian always be associated with humdrum? Rather, it is perhaps the quotidian—the everyday, the banal—that, in the long run, heroically ensures the survival of the individual and the group as a whole. -Michel Maffesoli, An “epic” is generally defined as a poem or narrative of considerable length, which explores grand themes such as a hero’s journey, or the origin myth of a country or peoples. As an adjective, “epic” refers to something that is larger than life and often extra-ordinary. By contrast, the “everyday” is flatly defined as ordinary and is often seen as boring, trivial, and lacking in grandeur. Yet, the “everyday” has a rich creative history and garners remarkable attention in contemporary art, spiritual practices, and other areas of study and praxis. Our lives are made up of both the epic and the everyday; both are integral components of the human experience. And the tension that exists between the two is rich territory for insight and imagination.This program interrogates how the essence of the epic enters the everyday and how the quotidian gives meaning to the epic.We will juxtapose the exploration of the “epic” as a literary form with the exploration of the “everyday” as a creative practice that engages experiments in text, sound, and image. We will conduct these explorations through readings, film screenings, analyses, lectures, workshops, seminars, and by developing discovery strategies rooted in the creative practices of writing nonfiction and of crafting video essays.During fall quarter students will read ancient Greek epic poetry, myth, and tragedy. These works tap deeply into the human condition, and they explore our most persistent and universal questions, such as the concepts of destiny, power, morality, mortality, and the (in-)evitabilty of fate. As we analyze the grand questions raised by epic texts we will also consider if or how we encounter such themes in everyday life. Conversely, we will examine how everyday life may intersect with epic-scale experiences and insights.To facilitate these considerations students will develop a daily writing practice and craft a variety of creative nonfiction essays—meditative, lyrical, personal, and hybrid forms—and we will factor into our studies exemplars that engage thematically with the everyday. Fall quarter explorations will move off the page to incorporate sound and image as tools for creative and critical inquiry. Students will take a series of electronic media workshops and gain hands-on experience with audiovisual scriptwriting, audio recording, photography, and video editing. Fall quarter will conclude with students applying their creative writing skills and electronic media competencies in collaboratively crafted video essays that blend students' literary works with audio and images to explore the realm between the epic and the everyday.During winter quarter we will deepen our investigations into the epic and the everyday through additional readings and analyses of classic Greek texts and by furthering our audiovisual inquiries. One goal of this quarter will be to advance students’ understanding of various film and adaptation theories to put into practice in their individual work. Winter quarter will conclude with rigorous individual projects that encompass a research paper on sources and methods of adaptation, and an independently made video essay.This is a full-time program emphasizing classical Greek literature and media arts, creative and critical practice, collaborative learning, and individual accountability. Expect assignments to be process-driven, highly structured, and challenging. Students are expected to participate fully in all program activities, and to work about 40 hours per week including class time. If you’re eager to blend the study of Ancient Greek literature with experiments in media arts, then this program is for you.		Ulrike Krotscheck Caryn Cline		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Fiction Laboratory Steven Hendricks literature writing	Program	FR–SOFreshmen–Sophomore	16	16	Day			S 14Spring		In this introductory literary arts program, we’ll investigate the tradition of experimental literature by treating literary experiments—our own included—as creative research into the possibilities of language and narrative. The alphabet, the language, the myriad tropes and formulae for literary expression and the archetypal patterns that haunt our stories: we will view these as a vast table of elements that can be combined and synthesized into new substances: new genres, prose forms, syntax, strategies for reading and making meaning...new reasons to write. Our own creative work will provide a rigorous testing ground for literary ideas. Student writing will be examined by faculty and peers on a regular basis with half a mind toward developing one's craft, and the other half toward investigating, for its own sake, the complex relationship between reader, text and writer. Program seminars will emphasize a lineage of exceptional exceptions: novels and short fiction of the last half century by writers who have taken careful stock of shifts in literary and cultural theory. Lectures will introduce students to analytic reading practices, literary criticism and theory. Throughout the program, we'll practice rich and extended reading of just six book-length works (along with short ancillary texts). Thus, just three pairs of authors will shape our studies: (Pair 1) Virginia Woolf and Samuel Becket;(2) Italo Calvino and Harry Mathews; and (3) Thalia Field and Ben Marcus. Each pair will comprise the focal point for a three week unit; each unit will include an in-class exam. Students enrolled in the program should be prepared to read the range of challenging texts, practice the art of writing in the spirit of experimentation and play, conduct independent research into complex questions relevant to program texts and themes, and participate actively in program seminars, workshops and critiques. Interested students should study the program schedule carefully, as there will be extensive in-class work, as with a studio-based program; in our case, studio practice means writing, reading and critique.		Steven Hendricks	Tue Wed Thu Fri	Freshmen FR Sophomore SO	Spring	Spring
Fiction Laboratory: Advanced Studies Steven Hendricks literature writing Signature Required: Spring	Program	JR–SRJunior–Senior	16	16	Day			S 14Spring		This is an opportunity for advanced students of writing and literature to participate in a small, focused group of like-minded students while also contributing actively to the learning of peers who are beginning their study of writing and literature.		Steven Hendricks		Junior JR Senior SR	Spring	Spring
Fictive Certainties Leonard Schwartz aesthetics philosophy writing	Program	FR–SRFreshmen–Senior	16	16	Day	F 13 Fall	W 14Winter			In this two-quarter program we will read contemporary fiction, poetry, and essays as well as several theoretical texts that pertain to our central inquiries: What kind of knowledge do we encounter in fiction and poetry? What is the relation between the artifice of form and the experience of truth? In what way is the factual (that which we take to be given) also artefactual (that which has been made)? By what powers and strategies do poetry and fiction convey truths?Fall quarter will develop the coordinates of the inquiry via reading, writing, and visitors; winter extends the inquiry into our own writings. Required texts include poetry by modernists such as Ezra Pound, Wallace Stevens, and Gertrude Stein; and poetry and prose by Robert Duncan (from whom we take our course title) much of which was written in response to the generation of modernists who preceded him. The required texts are extremely diverse formally, but share overlapping preoccupations with memory and amnesia; metaphysics and transformation; realism and perception; and ethics and poetics.Fall quarter will be reading-intensive and comprised of seminars on the required texts; a range of writing exercises aimed towards generating material; and opportunities to hear and dialogue with visiting writers. In this quarter students will learn literary critical vocabulary and close reading skills. Winter quarter will involve an extended writing project and intensive writing workshops in small groups in which we will utilize the skills learned in the first quarter towards critiquing and revising student writing.		Leonard Schwartz		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Grammar in Context Emily Lardner education writing	Course	FR–SRFreshmen–Senior	4	04	Evening				Su 14 Session I Summer			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			S 14Spring		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
Grant Writing and Fundraising: Ideas to Realities Don Chalmers writing	Course	FR–SRFreshmen–Senior	2	02	Weekend	F 13 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		W 14Winter			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
How to Do Things with Words: poiesis and praxis Eirik Steinhoff literature writing	Program	FR–SRFreshmen–Senior	16	16	Day	F 13 Fall	W 14Winter			This intensive introductory critical and creative writing program will investigate the relation between and , between making in language and taking action . We will do this by studying the ways in which the arrangements of our words influence the shapes of our thought and vice versa. The objective is to better comprehend the material consequences and political upshots of the choices we make with the language we use both on and off the page. We will read (and sometimes write) poetry and fiction and drama, in order to sharpen our alertness to the operation of a variety of verbal tactics and strategies. But the primary form in which we conduct our experiments, both as readers and as writers, will be that old stand-by, the essay. Our effort shall be to re-animate this form, prying it free from any knee-jerk reflexes, worn-out proficiencies, and straight-up allergies we might have by reconnecting ourselves to the form’s roots in the French word for “attempt,” , as one of the essay’s progenitors, Michel de Montaigne, will so helpfully remind us. The wager here is that the essay itself is a kind of laboratory, a space in which experiments in language can be composed, where new forms of thought may be invented, and new actions and practices persuasively proposed. Our reading will be organized around a handful of case studies designed to expose us to various ways of doing things with words in relation to particular subject matter. These will allow us to build our toolkit together as readers and writers, and they will prepare us to branch out into areas of research we will conduct on our own as the program proceeds. Authors to be consulted range from philosophers to poets to scientists to fiction writers, such as Hannah Arendt, Anne Carson, Charles Darwin, and Franz Kafka. Case studies to be considered are likely to include: metamorphosis, metaphor, tricksters, slogans chanted in Tahrir Square, the commodity form, pencils, cargo containers, the placebo effect, LCD screens, and how to think in an emergency. The short of it is this: we’ll be reading and writing (and re-writing) a lot, both in class and out of it, on the page and on the screen. No experience necessary, some assembly required, all students welcome. But whoever you are, be sure to bring a notebook and a good pen to our first class. The only way to do this right is by writing.		Eirik Steinhoff		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Imperialism Jon Davies and Zahid Shariff education history political economy writing	Program	SO–SRSophomore–Senior	16	16	Day		W 14Winter			By the time the First World War broke out in 1914, the imperial powers of modern Europe had radically transformed the vast majority of the societies of Asia, Africa, the Middle East and the Americas. Religious, scientific and discursive practices that legitimized colonial aspirations facilitated colonial rule imposed through military conquests, political subjugation and the exploitation of human and natural resources. How did the experiences of imperialism affect colonized societies? What effects did imperialism have on the imperialists themselves? What lasting effects of imperial subjugation continue to impact relations between the former colonial powers and postcolonial states in the 21st century?We are interested in unpacking the discursive practices of both the colonial past and the neo-colonial present. Through our study of history, literature and political economy, we will examine the ways in which European ideologies, traditions and scientific knowledge legitimized the formation of empire and continue to re-inscribe asymmetrical relations of power today under the guise of modernity, progress and global economic development.We will explore these issues through readings, lectures, films, as well as weekly papers, a well-developed research paper, and a presentation of that paper's findings to the class.		Jon Davies Zahid Shariff	Mon Tue Thu	Sophomore SO Junior JR Senior SR	Winter	Winter
Individual Study: Water Law, Cultural Studies and the Arts Cheri Lucas-Jennings American studies aesthetics agriculture community studies cultural studies ecology environmental studies field studies gender and women's studies government health hydrology international studies law and public policy media arts political economy political science sustainability studies visual arts writing Signature Required: Fall	Contract	SO–SRSophomore–Senior	16	16	Day and Evening	F 13 Fall				Individual studies offers important opportunities for advanced students to create their own course of study and research. Prior to the beginning of the quarter, interested individuals or small groups of students must consult with the faculty sponsor to develop an outline of proposed projects to be described in an Individual Learning Contract. If students wish to gain internship experience they must secure the agreement and signature of a field supervisor prior to the initiation of the internship contract.This faculty welcomes internships and contracts in the areas of the arts (including acrylic and oil painting, sculpture, or textiles); water policy and hydrolic systems; environmental health; health policy; public law; cultural studies; ethnic studies; permaculture, economics of agriculture; toxins and brownfields; community planning, intranational relations.This opportunity is open to those who wish to continue with applied projects that seek to create social change in our community; artists engaged in creative projects and those begining internship work at the State capitol who seek to expand their experience to public agencies and non-profit institutions; and to those interested in the study of low income populations and legal aid.		Cheri Lucas-Jennings		Sophomore SO Junior JR Senior SR	Fall	Fall
Interrogating Emotions Laura Citrin and Anne de Marcken (Forbes) gender and women's studies literature media studies moving image psychology sociology writing Signature Required: Winter	Program	SO–SRSophomore–Senior	16	16	Day	F 13 Fall	W 14Winter			What are emotions, sentiments, and feelings? What functions do they serve, both for the individual and for society? In this full-time, two-quarter program, we will use social pyschology, scientific research, creative writing, and literary and film analysis as methods of inquiry into the ways that emotions are connected with cultural ideologies and assumptions. We will study the ways emotions are expressed, avoided, embraced, and rejected according to complex display rules that vary across and within cultures based on gendered, raced, and classed social norms. Underlying all of this discussion will be an analysis of the ways that power operates on and through us to get under our skin and into what feels like our most personal possessions: our emotions. If we read between the lines, what is the subtext of our cultural narratives about fear, love, guilt, anger…? We will look to literature and film for examples of dominant and alternative narratives, and we will experiment with creative writing—fiction, nonfiction, and hybrid forms—as both a mode of expression and a method of inquiry: a way of looking under the surface of our habitual reactions and cultural norms.Fall QuarterWe'll survey the "big six" emotions: anger, sadness, happiness, disgust, surprise and fear, as well as the socio-moral emotions like embarrassment, contempt, shame, and pride. We will also discuss the field of positive psychology and its analysis of the positive emotions (e.g., joy, hope, interest, love) and the role they play in what positive psychologists refer to as "the good life." We will consider published psychology research and literature from the field of social psychology, and students will design, propose and lay the groundwork for Winter Quarter research projects. Through analysis of films and literary and critical texts, students will consider how stories convey, evoke, and manipulate our emotions. They will develop fluency with critical terminology and concepts related to narrative, literary and cinematic theories. Through creative writing assignments and workshops, students will cultivate facility with elements of narrative discourse such as scene, summary, description, exposition, and dialogue.Winter QuarterOur interrogation of emotions will continue winter quarter with greater focus on independent, in-depth, and finely-crafted work. In addition to continued reading, screening and discussion of literary, critical and research-based texts, students will conduct the primary research projects approved during Fall Quarter, and will work to develop a portfolio of creative work representative of their inquiry. Winter quarter is an opportunity to participate first-hand in knowledge production within the interdisciplinary domain of affect studies, and to engage directly in the contemporary critical/creative discourse as art-makers.The interrogation of emotions in this program will occur via readings, screenings, lectures, research and creative writing workshops, and student-led seminars. Designed as a two-quarter program, the Fall Quarter will lay the foundation for more in-depth work in Winter. We strongly encourage students to enroll who are interested in sustained inquiry.		Laura Citrin Anne de Marcken (Forbes)		Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Jane Austen and Contemporary Culture Trevor Speller gender and women's studies literature writing	Program	FR–SRFreshmen–Senior	8	08	Day				Su 14 Session I Summer	It seems that contemporary audiences cannot get enough Jane Austen. Some two hundred years after her novels were written, they continue to be filmed, adapted, and discussed. Why do we keep rewriting Austen’s work? How should we understand what Austen had to say about mating, marriage, and material success? How should we understand what she had to say about women and writing? How do we maintain those values in our society – and what might that mean for us? To answer these questions, we will read Austen’s novels alongside contemporary interpretations of her work. For example, students will compare with or with , or with , all the while considering the impact of Jane Austen on our contemporary culture.		Trevor Speller	Tue Wed Thu Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Law and Outlaw: Personal Identity and Social Control in the United States Julianne Unsel and Artee Young African American studies American studies Native American studies community studies economics history visual arts writing Signature Required: Winter Spring	Program	JR–SRJunior–Senior	16	16	Day	F 13 Fall	W 14Winter	S 14Spring		As currently measured by the United Nations' Human Development Index, the United States has one of the highest standards of living in the world. Average life expectancies, educational levels, and annual incomes place even poor Americans among the most privileged people on earth. Even so, there are gross inequalities inside the U.S. Factors of personal identity, including race, class, and gender, predict with uncanny precision the range of life choices available to any given individual. The U.S. has the highest incarceration rate in the world. Cities are rife with violence, the political system is polarized and corrupt, and personal lives of rich and poor are marked by addiction, excess, apathy, and want. This program questions how this has happened: How do the personal identities and everyday lives of a people come together to shape social, economic, and political conditions in a nation like the United States? How do such conditions, in turn, shape individual identities and lives? What institutions have framed and enforced these conditions over time? What institutions currently sustain them? How do diverse Americans understand and react to these conditions? What can we do to make things better now? To find answers, we will focus on two institutions fundamental to personal identity and social control in the American present and past – law and commerce. We will examine how property law and the criminal justice system in particular have shaped American history, how history has shaped them, and how both have managed personal identities through social control.In fall quarter, we will study the diverse array of social, economic, and political relationships that developed in the U.S. from settlement to the end of slavery. In winter, we will examine changes in relationships from the closing of the western frontier through the present. In spring, we will place our own lives in proximate context with exploration of contemporary theories of personal identity and social control. In all quarters, we will make a visual study of "the outlaw" as a trope both romanticized and reviled in American folklore and popular culture. We will also place U.S. economic development into a general global context. Interdisciplinary readings will include legal studies, legal history, social and economic history, critical race studies, visual studies, and feminist theory. Classes will include discussion seminars, writing workshops, lectures, student panel presentations, library study periods, and occasional film screenings.Program assignments will help us grow in the art and craft of clear communication and well-supported argumentation. They will include critical reading, academic writing, research in peer-reviewed literature, and public outreach and speaking. A digital photography component will explore "the outlaw" through visual expression. In spring, internship opportunities and individualized learning plans will bring program themes to social outreach agencies and groups in our local community.This program will offer appropriate support to all students ready to do advanced work. Activities will support student peer-to-peer teaching, personal responsibility for learning and achievement, contemplative study habits, and intensive skills development. Transfer students are welcome.		Julianne Unsel Artee Young		Junior JR Senior SR	Fall	Fall Winter Spring
Marx and the Critical Imagination: Politics, Literature, and Philosophy Kathleen Eamon aesthetics literature philosophy political economy political science writing	Program	FR–SRFreshmen–Senior	8	08	Day				Su 14 Session I Summer	We will begin with a short, intensive study of Marx's early work and selections from , vol. 1 and track the themes raised there in a number of political-theoretical, literary-critical, and philosophical schools of thought, as well as reading a number of literary works that instantiate, provide materials for, or challenge these approaches. Our theoretical texts may be from Lukács, Bloch, Benjamin, Adorno, Althusser, Raymond Williams, Žižek, and Jameson, and our literary texts might include Flaubert, Melville, Poe, Sebald, and Kluge.		Kathleen Eamon	Mon Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Narrative Objects Steven Hendricks and Jean Mandeberg aesthetics art history literature visual arts writing	Program	FR–SOFreshmen–Sophomore	16	16	Day	F 13 Fall	W 14Winter			What makes a work of art capable of narrative expressiveness? What constitutes a narrative? How do artists invest tangible records, stories, artifacts and objects with meaning, and how do readers work to recuperate or transform those meanings for themselves?Many artists and writers have used objects, visual forms, books and text in combination to create a hybrid language that can carry narrative possibilities. How do such works exploit the possibilities of conventional and nonconventional narrative to stimulate the intellect and the imagination? Does imposing a narrative on a work of visual or sculptural art limit it, reduce it to a single interpretation? How can we navigate the space between object and idea as artists, as readers, as makers of things and makers of meaning?This program will explore such questions through intensive studio work in fine metals and book arts. Equally important will be our study of literature that tests the boundary between narrative and non-narrative and the practice of critical and creative writing. The general program structure will include alternating periods of focused writing, imaginative reading, seminar discussion and extended, deliberate work in the studio.Student projects will be direct responses to the themes and questions of the program: explorations of the nature of narrative, the various ways in which objects can participate in, contain, and create narratives. This unique opportunity to combine book arts and fine metals will persistently require competence in technical skills, unusual patience, attention to detail and materials, and articulate translations between ideas and visual forms.The second quarter of the program will in part evolve from the discoveries of the first and will involve deepening our work in both studios, with the necessary emphasis on thoughtful self-critique and aesthetic rigor. This program will be important and challenging for students in the arts and humanities who think of artists as aesthetic and conceptual problem solvers, seeking new puzzles, forms and possibilities for constructing meaning using words, the book and small-scale sculptural forms. As a first-year program, this program provides specific support for students at the beginning of their Evergreen careers.		Steven Hendricks Jean Mandeberg		Freshmen FR Sophomore SO	Fall	Fall
Narrative Strategies Miranda Mellis literature writing Signature Required: Winter	Program	JR–SRJunior–Senior	16	16	Day	F 13 Fall	W 14Winter					Miranda Mellis		Junior JR Senior SR	Fall	Fall Winter
Nature Writing Matthew Smith American studies environmental studies writing	Program	FR–SRFreshmen–Senior	16	16	Day			S 14Spring		Today as we move into the second decade of the 21 century, environmental issues are in the mainstream. Concerns about the environment have compelled us to rethink 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. 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. Texts including H.D. Thoreau's ; R.W. Emerson's ; John Muir's and Aldo Leopold's A will form the background for our reading of contemporary nature writing and environmental thinking. We will read contemporary works including Timothy Morton's Gary Snyder's ; John Vaillent's ; Ann Coplin's ; Marc Fiege's ; and other articles, poems 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 arises 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 all students will be expected 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	Wed Thu Thu Fri	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 14Spring		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	FR–SRFreshmen–Senior	4, 6, 8	04 06 08	Evening			S 14Spring		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	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
PLE Document Writing Nancy Parkes writing Signature Required: Fall	Course	FR–SRFreshmen–Senior	4, 6, 8	04 06 08	Evening	F 13 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	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
PLE Document Writing Nancy Parkes writing Signature Required: Winter	Course	FR–SRFreshmen–Senior	4, 6, 8	04 06 08	Evening		W 14Winter			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	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Poetry New York Leonard Schwartz literature writing Signature Required: Spring	Program	SO–SRSophomore–Senior	16	16	Day			S 14Spring		The goal of this program will be to immerse students in an intense and various writing community, both as writers of poetry themselves and as critical writers. It is hoped that this daily contact with practicing writers, poets, translators, and publishers will advance each student's writing horizons and range of reading possibilities, demystifying the practice and profession of writing while inspiring students to advance in their own art.This field study program features an immersion in New York City's poetry, literary and publishing worlds. We will spend two weeks on campus preparing for our trip by way of various readings in New York's literary history and in The New York School of Poets. The focus will be on the relationships between poetry and painting in the NY School poets John Ashbery, Barbara Guest, and James Schuyler, the connections between current publishers like Ugly Duckling Presse and Farrar, Straus, & Giroux and the writers they choose to publish, and NYC's international literary character. The program will then fly to New York City for five weeks, where, in addition to class meetings, students will pursue their own writing, write critical pieces on the poetry they hear at readings, and of the books they read for class, interview poets they meet, and be required to attend at least one event a day (or night) across the city: The St. Marks Poetry Project, The Academy of American Poets, The New York Public Library, Poets House, and so on, are all options for students to pursue their writing. Local projects might include working on poems to appear in public spaces in the city, working collaboratively on translations of poets in town writing in other languages, or compiling a journal of field notes. Field trips will also be arranged to the offices of various publishers of the instructor's acquaintance to study, close up, the way in which literature is made. Some of these publishers might include: The New York Review Of Books, Archipelago Books, Seven Stories Press, etc.The final three weeks of the quarter will be spent back on campus in Olympia, debriefing, finishing poems and essays, and producing an anthology of our work.		Leonard Schwartz		Sophomore SO Junior JR Senior SR	Spring	Spring
Poetry of Place Suzanne Simons aesthetics literature writing	Program	SO–SRSophomore–Senior	8	08	Weekend			S 14Spring		"The natural environment is always a shaping force of individual and group psychology and identity - and this force can only be ignored or suppressed at a price," authors Kathleen Wallace and Karla Armbruster argue in Using the natural world as framework, this half-time, writing and reading intensive program will explore how poetry helps us understand and express our complex relationships with the world around us, including the interplay between the natural world and built environment. Program activities will include field-based writing workshops at the Nisqually National Wildlife Refuge, downtown Olympia, and other locations. We will also participate in community poetry readings in Olympia and Seattle. Other program activities will include seminar, guest speakers, films, and critique workshops. Emphasis will be placed on learning and refining the practice of the craft of poetry, including sound, form, imagery and revision through extensive reading of published works as well as sharing of students' poetry. By the end of the program, students will have written and revised a modest collection of original poetry. This program is suitable for all levels of student poets, from the curious to dabblers to regular practitioners.		Suzanne Simons	Sat	Sophomore SO Junior JR Senior SR	Spring	Spring
Poetry on Serendipity Farm Kate Crowe literature writing	Course	FR–SRFreshmen–Senior	6	06	Day, Evening and Weekend				Su 14 Session II Summer	We will read and write poetry while camping on Serendipity Farm, which is nestled at the foot of Mt. Walker in the Olympics. This class is open to beginners, intermediate and seasoned poets. We will research and present on contemporary poets as we explore our various poetic voices within an inner and outer landscape. We will write haiku, free verse, nature poems and other poetic forms. Students can expect their writing and understanding of poetry to be enhanced significantly.		Kate Crowe	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Political Economy of Public Education: Contemporary Historical Realities Michael Vavrus and Jon Davies education history political economy writing	Program	SO–SRSophomore–Senior	16	16	Day	F 13 Fall				Throughout U.S. history, people have politically contested the nature and purposes of elementary and secondary education for children and youth. This program will analyze these competing perspectives on public education and the political and economic contexts in which schools exist. Therefore, we will examine public education and schools both broadly, using a macro social, political and economic lens, and narrowly, using a micro, school-level lens.Schools are a human invention with a history. As such, schools change form and adapt in response to social and political pressures. We will examine the significant political, economic and social tensions on what the term “public” in public education means. We will analyze historical patterns of U.S. schooling from political and economic perspectives. This inquiry covers the locally controlled, Protestant Christian origins of public education and its effects on our contemporary, multicultural environment. We also investigate the political and economic debates surrounding the expectations for public education to measure accountability by means of high-stakes standardized tests.At the micro level we will analyze the school as a formal institution that functions to socialize groups of children and youth into specific behaviors and roles. This school-level lens examines this socializing process by primarily focusing on the demographic characteristics of the people who make up the power structures of public schools and the dynamics of their interactions.In a collaborative learning community environment, students will gain experience in engaging in dialogue through a close reading of texts. Among the writing assignments students will have, they will have opportunities to engage in writing short but focused analytic essays. Students can expect to leave this program having developed the analytical reading and writing skills to participate in the current political and economic debates about the purposes of public education, informed by the historical patterns that have created the present climate.		Michael Vavrus Jon Davies	Tue Wed Thu Fri	Sophomore SO Junior JR Senior SR	Fall	Fall
The Practice of the Everyday Julia Zay and Miranda Mellis art history cultural studies literature media studies visual arts writing	Program	FR–SOFreshmen–Sophomore	16	16	Day and Evening			S 14Spring		In this interdisciplinary foundational program in visual studies, literature, cultural theory, and creative and critical writing, we will practice observing, rendering, and reflecting on the ordinary and the everyday. We’ll study texts, objects, ideas, art and films, aspiring to Henry David Thoreau’s lifelong goal: to be surprised by what we see, in “the bloom of the present moment.” Slowing down to observe, render, and reflect on what tends to go unnoticed will galvanize curiosity and insights about our basic experiences of embodiment and raise new questions to pursue critically, ethically, and artfully. We’ll write, read, make images, and perform thought experiments to heighten our awareness of practices often obscured by the habitual and overly-familiar aspects of daily life (for example, calendar time, e-mail correspondence, house-cleaning, eating, and even walking to get from point A to point B – what other kinds of walks might we take?). By activating our perceptual abilities to make visible and thinkable these quotidian structures, we will in turn consider the ways the everyday constitutes not only our private lives, but also our public and social worlds. We will study a range of philosophical, poetic, filmic, visual, and fictional texts that theorize and enact the constitution of dailiness. In all our work we will focus on cultivating practices of attention—skills essential to creative and critical engagement – while furthering our abilities to read and view closely, attend to historical and cultural context, and write – academically and creatively – with precision and patience. Class sessions will include lectures, screenings, workshops and seminar. Students can expect to both work individually and collaborate with peers on assignments. Finally, we'll expand our critical and creative lexicons by intersecting with two campus arts and humanities forums: the Critical and Cultural Theory lecture series on Monday evenings and the Art Lecture series on Wednesday mornings.		Julia Zay Miranda Mellis	Mon Mon Wed Thu	Freshmen FR Sophomore SO	Spring	Spring
The Practice of Writing Steve Blakeslee writing	Course	FR–SRFreshmen–Senior	4	04	Evening	F 13 Fall				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	Fall	Fall
Public Speaking Lori Blewett communications leadership studies writing	Course	FR–SRFreshmen–Senior	4	04	Evening and Weekend				Su 14 Session I Summer	This two-week intensive course focuses on the fundamentals of public speaking. It is aimed at improving speaking confidence and skill regardless of one’s current level of experience. Students will learn to control speech anxiety, compose well-organized presentations, and produce dynamic performances. We will draw on contemporary and traditional rhetorical theories in relation to persuasive and informative speaking goals. All students will receive individualized feedback and coaching in order to enhance their ability to speak effectively in the classroom, workplace, or public arena. The course provides communication credit for selected Master In Teaching endorsement areas.		Lori Blewett	Tue Sat Sun	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Reading Landscapes: Earth Science and Literature Trevor Speller and Abir Biswas aesthetics cultural studies environmental studies geology literature natural history writing	Program	FR–SRFreshmen–Senior	16	16	Day			S 14Spring		This introductory program is dedicated to understanding the back and forth between the physical environment and the written word. How do texts shape what we are able to see in the physical environment? How does one's understanding of the physical environment shape ways of writing and understanding the world? How do we describe it? What do we read into it?In 1815, William Smith produced the first geological map of Great Britain. His investigations were a product of a new way of seeing his physical world. Rather than assuming the earth to be a stable object which remained unchanged since Noah’s flood, Smith drew on his observations, and began to see the earth as a dynamic physical entity. His discoveries came in a time when Enlightenment thinkers were questioning the order of the world, the role of religion and the value of science and industry. The modern science of geology can thus be said to have arisen from a new way of seeing: William Smith was able to read and write about the Earth not only through observations, but because of the set of cultural changes that changed his frame of mind. Importantly, Smith's observations came at a time when poets, novelists and political philosophers were beginning to actively investigate the influence of the natural world on humans and human behavior.We will consider the frames through which we read and write our physical world, through an introduction to foundational concepts in geology and literary study. We will consider how geologists investigate and describe the physical world, and examine concepts including geologic time, plate tectonics, earth materials and the evolution of life. We will consider how writers investigate and describe the natural world in the works of 18th- and 19th-century literature, as well as contemporary literature about the Pacific Northwest. We will read works of poetry, fiction, political philosophy and travel writing. Program texts may include works by John McPhee, Simon Winchester, William Wordsworth, Daniel Defoe and others.Students should expect to participate in lecture, lab and seminar, write critical papers and take examinations. There will also be field trips to locations of geological interest as well as cultural venues.		Trevor Speller Abir Biswas		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Skin Amy Cook, Catalina Ocampo and Chico Herbison biology cultural studies literature physiology writing	Program	FR–SRFreshmen–Senior	16	16	Day			S 14Spring		—Alicia Imperiale, “Seminal Space: Getting Under the Digital Skin” Organ, membrane, boundary and border. Canvas, map, metaphor and trope. Skin is the identity that all animals present to the world. It has multiple physiological functions and takes a wide variety of forms, from the simple epidermis of a sea anemone to the complex light show of a squid or the intricate system of spines that protects a porcupine. In human culture, skin functions as a marker of “race”/ethnicity, age and gender; provides a canvas on which to create very personal forms of art and cultural narratives; and, in the 21st century, has become a critical site of interface between the “real” and the virtual.In this introductory program we will look at skin through the lenses of biology, culture and art. The biology of skin includes its visual and olfactory role in communication, its structure and physiology and its role in defense of the body from both microbes and large predators. Our exploration of skin in/as culture and art will include encounters with the mythology of “race,” body modification (piercing, tattooing and plastic surgery) and the posthuman meanings of skin (in cyberspace and in the world of cyborgs, androids and prosthetics).Program activities will include lectures; labs in which we will examine the microscopic structure of skin and learn about the various structures that arise from it, including scales, feathers and hair; seminars on a selection of texts (books, films and other texts) that look at skin from a variety of different perspectives; and workshops in which students will explore skin through their own creative writing. Students will have the opportunity to develop a deeper understanding of biology and humanities in an interdisciplinary setting, as well as sharpen their critical thinking and reading and college writing skills.	biology and the humanities.	Amy Cook Catalina Ocampo Chico Herbison		Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Still/Moving Julia Zay and Amjad Faur art history communications cultural studies media arts media studies visual arts writing	Program	FR–SOFreshmen–Sophomore	16	16	Day	F 13 Fall	W 14Winter			This is an art foundations program invested in opening up the dense histories and meanings of photographic images in their many forms, from still to moving and back again--and the unsettled places between. We explore what it means both to know and to make an image– photographic, moving, and time-based. We will pay equal attention to the history, theory and practice of the photographic image, both still and moving, in the context of visual studies--a field that yokes a broad study of the visual arts with social and cultural history and theory--art history, film/cinema history, and philosophy. Through a critical engagement with still and moving photographic images as well as related forms of visual art, we will map a broad contextual territory and challenge received notions of the boundaries between forms, genres, and mediums.Photography can never be thought of as simply a medium, technology or practice but a convergence of material, history, culture and power. In the Fall, we will start with the unfolding of the Western enlightenment, from the 16th to the 19th century, when optical technologies radically reorganized the senses and methods of knowledge production, posing new questions about temporal, spatial and visual relationships to artists and scientists alike. We will then move more deeply into the 19th and first half of the 20th century, when photography emerged into an art world dominated by painting, a visual culture organized around print technologies, and societies in the throes of rapid industrialization. Photography initially emerged not out of art contexts but out of the institutions of science and industry, so we will consider, in particular, the ways it was used to produce social categories, shaping dominant discourses of gender, class and criminality. For example, we’ll look at the language of portraiture so central to the emergence of both a middle class and the language of criminal and medical photography. Our materials and techniques will first be limited to those from the 19th century (proto-photography, early processes, hand-built cameras). In winter, we move from the 19th to the long 20th century and the emergence of cinema. We will look at the way early cinema was organized around a fascination with duration, spectacle, and experimentation and on the relationship between photography and cinema, stillness and movement. We will continue to work in still photography, broadening our range of techniques, and add a small amount of 16mm filmmaking to the mix as we explore the larger social and historical contexts and philosophical questions surrounding the relationship between still and moving photographic images. In our creative and intellectual work, we’ll ask many questions about the phenomenon, concept and experience of time--for example, how is a four minute exposure in a still photograph both similar to and different from a four minute continuous shot of film or video of the same subject?In all our work we will focus on building essential skills in practices of attention--learning how to slow down our modes of seeing, experiencing and working. In our photographic practice, this will mean moving away from the pursuit of “finished” images and towards experimental processes and conceptual problem solving. In our work with texts and images, this will mean developing our ability to read and view closely and write with precision and patience. Class sessions will include lectures/screenings, workshops, seminar, critical reading and writing, and critique. In addition to working individually, students can expect to collaborate regularly with their peers on a variety of assignments and larger projects. All along the way we will intentionally examine how our investments in collaboration animate our intellectual and creative work. We will spend significant time in critique to help each other see, describe, evaluate and improve our creative and critical work.		Julia Zay Amjad Faur		Freshmen FR Sophomore SO	Fall	Fall Winter
Student-Originated Studies: Critical and Poetic Theory and Practice Eirik Steinhoff aesthetics communications education literature philosophy writing Signature Required: Spring	SOS	SO–SRSophomore–Senior	16	16	Day			S 14Spring		This one-quarter critical and creative reading and writing program is designed for advanced students embarked on the composition of long-range and wide-ranging writing projects oriented toward or against or beyond the emergent occasions that surround us. Intensive independent writing and reading will be complemented by weekly seminars, small-group workshops, and weekly and semi-weekly lectures ( the Critical and Cultural Lecture Series and the Art Lecture series); occasional screenings and a local field-trip are possible as well. “Language is fossil poetry,” Emerson declares. And indeed the radical sense of each term in this program’s subtitle offers substantial orientation for the various directions we might take: in the sense of “decision” or “choice”; in the sense of “making” (not only in what is called “poetry,” but also in other kinds of composition, whether in prose or verse, for the page or the stage or the screen); in the sense of “making visible”; in the sense of “action” or “doing.” All of which is to say that in addition to Emerson’s etymological enthusiasms we will be mindful withal of Wittgenstein’s no less fruitful suggestion that “the meaning of a word is its use.” An expanded engagement with the question Montaigne had emblazoned on the rafters of his study — — will guide us in our individual and collective inquiry: What do I know? And what do I do? How do I know and how do I do? How do we do? How do we know? How can we do things with words to find out? How might our writing become an instrument for conducting rigorous ethical and epistemological investigations designed to reconnect us, by means of our study (however elaborate or playful or recondite), back to the world we live in right now?		Eirik Steinhoff		Sophomore SO Junior JR Senior SR	Spring	Spring
Student-Originated Studies: Seeds, Beads, Bees and other Biodynamical Processes Sarah Williams and Martha Rosemeyer agriculture consciousness studies cultural studies field studies gender and women's studies sustainability studies writing Signature Required: Winter Spring	SOS	SO–SRSophomore–Senior	16	16	Day	F 13 Fall	W 14Winter	S 14Spring		J.W. Goethe Like the role of bees and seeds in the evolution of agriculture, beads—which often are seeds, shells, wax or bone—have an inside and an outside that commute. Seeds, beads and bees are interpenetrating, reciprocal creations. They form assemblages with centers and their use over time can be a measure of the fertility of mind, spirit and body. This SOS will support students in bead-like studies of biodynamic processes in conjunction with an internship, creative practice or field research project. Whether defined in relationship to agricultural, artistic or somatic practices, biodynamic processes are characterized by interconnected, recursive and iterative movements that form holistic patterns. Thus, students will be guided to reflect on their learning itself as a biodynamic process. To what extent is the subject and object of a liberal arts education mutually causative? In what ways might thinking be enlivened if informed by a consciousness of temporal rhythms (e.g., respiration) and cosmic forces such as tides and sunlight?This program is ideal for responsible, enthusiastic and self-motivated students with an interest in developing and reflecting on a substantial project over a substantial period of time. In addition to classroom work, each student will create an individual course of academic learning including an internship (e.g., at a local organic farm), creative practice (e.g., nature writing), or field research project (e.g., discovering the differences—and why they matter—between commercial and biodynamic beekeeping). Collaboration, including shared field-trip opportunities, with the Ecological Agriculture and Practice of Sustainable Agriculture programs will be available. Academic work for each quarter will include weekly group meetings, an annotated bibliography and maintenance of a field journal to document independent project learning. In addition to this independent project component, students will engage in weekly readings and written responses, seminar discussions and a final presentation. Unless exceptions are designed into students' projects and agreed upon in advance, all students will be required to attend and actively participate in this one day of weekly class activities, as well as individual self-assessment meetings with the faculty at mid-quarter and the end of the quarter. Interested students should browse the following authors and texts to explore their ability to think and act biodynamically within an intentional learning community: , edited by David Seamon and Arthur Zajonc; by Wolf Storl; by Charles Ridley; by Catherine Cole; by Gary Snyder; by Robert Bringhurst; by Ruth Ozeki; and : by Rudolf Steiner		Sarah Williams Martha Rosemeyer	Tue	Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Tend and Tell: Developing and Interpreting an Ethnobotanical Garden Marja Eloheimo Native American studies botany communications community studies consciousness studies education environmental studies health writing	Program	FR–SRFreshmen–Senior	12	12	Weekend	F 13 Fall	W 14Winter	S 14Spring		Working as a multidisciplinary project team, this year-long program has a mission. Students will engage in hands-on work to enhance the fledgling ethnobotanical garden at the Evergreen “House of Welcome” Longhouse by refining and caring for existing habitat and theme areas. Through this work, we will create a valuable educational resource and contribute to multiple communities including Evergreen, local K-12 schools, local First Nations, and a growing global collective of ethnobotanical gardens that promote environmental, medical, and cultural diversity and sustainability.During winter quarter, students will focus on the garden's "story" through continued work on existing signage, a book draft, and/or other interpretive materials such as a web page. Students will work independently on skill development, research, and project planning or implementation in their selected areas of interest and garden areas. Students will also be active during the winter transplant season and will prepare procurement and planting plans for the spring season.During spring quarter, students will plant and care for the garden, wrapping up all of the work they have begun. They will complete interpretive materials, create and implement educational activities, and participate in the Longhouse Cleansing Ceremony.Since this unique program is grounded in community-service learning, topics in various subject areas – including field botany, community-based herbalism, horticulture, and Indigenous studies – are woven into the fabric of student learning when most appropriate to overall objectives, and are introduced through readings, lectures, workshops, assignments, and projects.The program cultivates community by nurturing each member's contributions and growth, and acknowledges the broader context of sustainability, especially with regard to food and medicine.		Marja Eloheimo	Sat Sun	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Therapy Through the Arts (daytime) Gilda Sheppard and Carl Waluconis art history communications education literature media arts media studies psychology sociology visual arts writing	Program	FR–SRFreshmen–Senior	8, 16	08 16	Day				Su 14 Full Summer	This program will explore the role that movement, visual art, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training.		Gilda Sheppard Carl Waluconis	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Therapy Through the Arts (evening) Gilda Sheppard and Carl Waluconis art history communications education literature media arts media studies psychology sociology visual arts writing	Program	FR–SRFreshmen–Senior	8, 16	08 16	Evening				Su 14 Full Summer	This program will explore the role that movement, visual art, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training.		Gilda Sheppard Carl Waluconis	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Undergraduate Projects in Critical and Creative Practices Naima Lowe, Shaw Osha (Flores), Kathleen Eamon 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: Fall Winter Spring	Program	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 13 Fall	W 14Winter	S 14Spring		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. (social and political philosophy, aesthetics, philosophy of art) has interests in German idealism (Kant and Hegel), historical materialism (Marx, 20 C Marxists, and critical theory), and psychoanalysis (Freud and Lacan). She is currently working on an unorthodox project about Kant and Freud, under the working title “States of Partial Undress: the Fantasy of Sociability.” Students working with Kathleen would have opportunities to join her in her inquiry, learn about and pursue research in the humanities, and critically respond to the project as it comes together. In addition to work in Kantian aesthetics and Freudian dream theory, the project will involve questions about futurity, individual wishes and fantasies, and the possibility of collective and progressive models of sociability and fantasy. (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. (visual art) works in painting, photography, drawing, writing and video. She explores issues of visual representation, affect as a desire, social relationships and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw would have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work and concerns in contemporary art making. (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. Please go to the catalog view for specific information about each option.		Naima Lowe Shaw Osha (Flores) Kathleen Eamon Joli Sandoz		Sophomore SO Junior JR Senior SR	Fall	Fall 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 14Winter	S 14Spring		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 Research in Teaching and Learning Emily Lardner education writing Signature Required: Fall Winter Spring	Research	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 13 Fall	W 14Winter	S 14Spring		Students who are interested in understanding the relationship between teaching and learning, including students who are interested in pursuing a career in education (at any level--from preschool through college, and in any role--from counselor to teacher to administrator) as well as students who would like to examine the principles and practices embodied in education at Evergreen, are welcome to apply to join this research group. Students will develop their abilities to identify, analyze and synthesize studies related to the research questions. Students will also have opportunities to design individual or collaborative research projects related to the group’s research questions. We will function as a collaborative research group, and our focus will be on understanding how students develop as writers at an interdisciplinary liberal arts college with no required writing classes. We will examine early studies of student writing at Evergreen and current studies of students’ development as writers at colleges across the U.S. We will also review literature on the nature of disciplinary and interdisciplinary understanding. Based on our collective review, we will develop research questions and design research studies that will allow us to probe a variety of topics including the following: Students who participate in this group for the whole year will have opportunities to develop their own research projects related to teaching and learning. Students may choose to organize their work so that it culminates in submissions to peer-reviewed national journals like Y		Emily Lardner		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Undergraduate Research in Teaching and Learning Emily Lardner education writing Signature Required: Fall Winter Spring	Program	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 13 Fall	W 14Winter	S 14Spring		Students who are interested in understanding the relationship between teaching and learning, including students who are interested in pursuing a career in education (at any level--from preschool through college, and in any role--from counselor to teacher to administrator) as well as students who would like to examine the principles and practices embodied in education at Evergreen, are welcome to apply to join this research group. Students will develop their abilities to identify, analyze and synthesize studies related to the research questions. Students will also have opportunities to design individual or collaborative research projects related to the group’s research questions. We will function as a collaborative research group, and our focus will be on understanding how students develop as writers at an interdisciplinary liberal arts college with no required writing classes. We will examine early studies of student writing at Evergreen and current studies of students’ development as writers at colleges across the U.S. We will also review literature on the nature of disciplinary and interdisciplinary understanding. Based on our collective review, we will develop research questions and design research studies that will allow us to probe a variety of topics including the following: Students who participate in this group for the whole year will have opportunities to develop their own research projects related to teaching and learning. Students may choose to organize their work so that it culminates in submissions to peer-reviewed national journals like Y Please go to the catalog view for additional information, including the CRN.		Emily Lardner		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Writer's Paradise Steven Hendricks and Nancy Parkes literature writing	Program	FR–SRFreshmen–Senior	8, 16	08 16	Evening and Weekend				Su 14 Full Summer	Fiction! Essays! Non-fiction! 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 feedback from faculty; seminars on fiction and creative non-fiction; workshops to sharpen skills and generate ideas; and one-on-one and online critique. Deepen your engagement with your own writing, build critical reading skills, and refine your editorial eyes and ears. Use your summer to draft a number of small projects, push yourself to produce a finished, publishable manuscript, or build on academic or professional work to develop your individual projects— will challenge you to follow through on your passion for writing. In addition to intensive writing and revision, you’ll engage in writing-related activities that explore the creative process and the written word, including meditative hikes, daytime program retreats (on weekends), workshops on conventional and self-publishing strategies, and a variety of playful and rigorous approaches to the art of reading and writing. is designed to help beginning and accomplished writers to develop skills that they can use artistically, academically, and professionally. Regular weeknight sessions will include lectures, workships, seminar, and guided critique group opportunities. We'll have two weekend retreats per session during which we'll meet all day Saturday and Sunday for workshops, walks, sharing work, and discussion. Each five week session will culminate in a Saturday workshop and celebration. We have designed this program schedule to include students who work and for anyone who wants to work intensively on writing. The schedule is summer friendly. Students may enroll for the full 10-week quarter or for either of the 5-week sessions. Students can expect to have significant time with faculty, as well as opportunities to work independently and with strong peer support. *This program may help future Master in Teaching Students to fulfill the 12-credits in expository and other writing. The program may also help current MIT students to meet English Language Arts endorsements. Please contact faculty ( ) to further discuss this, or see us at academic fair for summer.		Steven Hendricks Nancy Parkes	Tue Wed Thu Sat Sun	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Writing as Thinking Emily Lardner education writing	Course	FR–SRFreshmen–Senior	4	04	Evening	F 13 Fall				Writing makes thinking visible to us and to others. In this course, we'll explore how writing and thinking are connected. We will experiment with strategies that make it easier to think in writing, as well as strategies for sharing our thinking with others. We'll do lots of low-stakes practicing, and we will study how writers in different fields present similar ideas. Students will have the opportunity to explore where they feel most at home as writers--the kinds of writing and the kinds of thinking they prefer to do, and what that means in the context of getting a liberal arts education. Writers of all experience levels are welcome.		Emily Lardner	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Writing Beyond the Basics Peter Bacho communications literature writing	Program	FR–SRFreshmen–Senior	4, 8	04 08	Day				Su 14 Full Summer	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 14Spring		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 13 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 14Winter			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 is a Social Act Sara Huntington communications literature writing	Program	JR–SRJunior–Senior	16	16	Day	F 13 Fall	W 14Winter			You write alone but you always write for others: readers matter. Here, you will keep company with great authors and your peers as you master the rhetorical tools needed to write persuasively, compellingly, and beautifully. We will proceed from Annie Dillard’s advice that if you like sentences, then you can become a writer because you have a place to start—not to mention a passion for what makes writing lively and pleasurable. Storytelling will feature prominently in our common work, especially descriptive practices that move prose toward shape and meaning. In other words, we will learn how to show, rather than just tell, a story.We will begin with a review of sentence structure focusing on subjects and verbs, clauses and phrases. With the aim of achieving clarity, students will study editing techniques, especially ways to rewrite overly abstract prose. Working with samples of professional writing, students will learn how to use agent-action analysis, how to start and end sentences and paragraphs, and how to coordinate and balance the parts of longer sentences. Rather than focusing on writing rules, we will approach style as the range of choices available in different rhetorical contexts. Students will also revise a piece of their own writing to identify patterns and problems in their craft. After these trial runs, they will begin original composition in a genre, mode, or vein of their choosing.Readings include three types of texts: those about the practice and theory of rhetoric, from Plato and Aristotle to Stanley Fish and Barbara Tufte; those that exemplify beauty, eloquence and force, from Philip Roth and Cormac McCarthy to Darwin and Watson and Crick; and those that fail to persuade, from examples of academic discourse to the ghastly delights of purple prose. Students will search for an author who will teach them how the commitment of close reading fuses with the practice of good writing. Students must reach for the development of aesthetic standards that should inform any piece of writing that’s worth reading and that merits any meaningful critical response.Our work will be collaborative and social. The class blends lectures, student presentations, workshops, and seminar periods. Students will present their work regularly for critique (generally in small sections), and they will enjoy the difficult work of responding to their peers with concrete suggestions. Students from all disciplines are welcome, especially since effective writing and rhetoric is a fundamental part of a good liberal arts education.		Sara Huntington		Junior JR Senior SR	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 14Winter			This course challenges students to write the world that does not yet exist. Or, as poet and theorist of radical black performance Fred Moten does, we will try to 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 or probable 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" (as Moten puts it) 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 "guess at" but hear our future’s past?		David Wolach	Wed Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter

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