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Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days | Multiple Standings | Start Quarters | Open Quarters |
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Chico Herbison
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Course | FR–SRFreshmen–Senior | 4 | 04 | Day | Su 16 Session I Summer | This course will explore U.S. popular culture of the 1960s through five of the decade’s seminal albums: The Beach Boys’ , James Brown’s , Bob Dylan’s , Jimi Hendrix’s , and . Our texts will include each album’s counterpart from the book series. The final project will be a similar close reading of another 1960s album. Students interested in expanding their final projects into a major piece of music writing—à la the series—can develop Individual Learning Contracts for additional credit during second session. | Chico Herbison | Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Emily Lardner
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | F 15 Fall | This writing intensive course has two purposes. The first is to help students develop as academic writers, to engage in writing as intellectual work. We will work on developing "rhetorical reading" skills--noticing not only what something is about, but also how it is put together. Building on common readings, students will write and revise several academic essays. Students with more academic experience will have the option of writing essays in areas related to their academic concentrations. A key element for all students will be engaging in productive revision processes. We will also explore academic writing at Evergreen--in particular, the purpose and practice of Evergreen's Academic Statement. This course can serve as an introduction to academic writing; for more advanced students, it offers the opportunity to develop a stronger practice of revision. | Emily Lardner | Mon | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Julia Zay
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Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | We are living in the archive. The 21st century, age of the digital and of infinite information horizons, offers particularly fertile conditions for future artists, writers, curators, and educators to meet, collaborate, and reinvent their identities as cultural workers, memory agents, and experimental pedagogues. This program is designed to support students in the arts and humanities who are interested in forging a practice that combines creative and critical engagement with questions of memory, the writing of history, the document and the object, the history of exhibition and display, the gallery, museum, and archive.We will investigate the ways that cultural institutions, including museums, ethnographic films, and documentary photography have written "official" histories; our own creative experiments will be directed toward critiquing and intervening in these visual narratives by working closely with archival materials. Our studios and laboratories will often be museums and archives; we will visit museums in Seattle and Portland, and we will spend time almost every week in a local archive, getting to know the Washington State Archives here in Olympia as artist-researchers.This is an advanced program for students who are looking to develop their own research-based artistic practice and who want to pursue small-scale individual or collaborative projects within the context of a program structured around supporting that work through lecture/screenings, presentations, weekly writing workshop and project critique, and seminars on common readings. Students will plan independent work for the quarter under faculty guidance. Students will also share in leading class sessions that may include regular work-in-progress presentations, seminar facilitation, and other presentations of research related to program themes. Projects supported: critical/creative writing (we will do our best to blur the line between these), non-traditional writing for the moving image and performance, video and film, photography, and other visual arts.Students interested pursuing an in-program internship as part of their academic work in the program should register first, then research their options and contact the faculty to discuss further. | Julia Zay | Junior JR Senior SR | Fall | Fall | |||||
Chico Herbison and Andrew Buchman
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Program | JR–SRJunior–Senior | 16 | 16 | Day | S 16Spring | David Ritz, music writer This program will provide an introduction to, and overview of, that magnificent and enduring American art form we know as “the blues”: its musical elements, African and African American roots and precursors, historical and stylistic evolution, major practitioners, and its influence on other musical genres (most notably, jazz, rhythm & blues, rock & roll, rock, and rap/hip hop). Equally importantly, we will examine its impact on American culture and, among other ventures, apply a blues theory of aesthetics to U.S. literature in general, and African American literature in particular. Our primary written text will be the anthology, (Steven C. Tracy, editor). Additional written texts will include biographical and autobiographical selections, fiction, poetry (including music lyrics), and scholarly articles on the blues. Weekly film screenings will include a range of fiction works and documentaries such as Martin Scorsese’s critically acclaimed series, . Finally, there will be extensive listening assignments that will provide the soundtrack for our journey from Africa to the southern United States, to the urban North, throughout our nation, and across the globe. We will devote two weekly seminars to close readings of written texts, films, and music. In addition to short weekly writing assignments, students will produce a final project that will help them refine both their expository and creative nonfiction writing skills. There will be a weekly open mic opportunity for musicians—whether aspiring or experienced—to play and share the blues, as well as a three-day field trip to a major Pacific Northwest blues festival. | Chico Herbison Andrew Buchman | Tue Tue Thu Thu Fri | Junior JR Senior SR | Spring | Spring | ||||
Rebecca Chamberlain
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Program | FR–SRFreshmen–Senior | 8 | 08 | Day, Evening and Weekend | Su 16 Session II Summer | This program 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 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 12” Dobsonian telescopes to find deep space objects. We will camp in the high desert and do fieldwork for a week. | Rebecca Chamberlain | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | |||||
Steve Blakeslee
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Program | SO–SRSophomore–Senior | 8 | 08 | Evening | W 16Winter | S 16Spring | “All sorrows can be borne,” writes Isak Dinesen, “if you put them in a story, or tell a story about them.” This program will approach autobiography (literally, ‘self-life-writing’) as a powerful way to make sense of human experience, particularly in times, places, and social, political, and personal settings that differ from our own. Our texts will range from classics in the genre, like Angelou’s and McCourt’s , to works of autobiographical fiction by Joyce and Plath, to innovative graphic novels like Marjane Satrapi’s and Craig Thompson’s In seminars, students will delve into the intricate issues of memory, authority, persona, and truth that present themselves to every writer of self-narrative; in “writing marathons” they will learn to write freely and fearlessly about their experiences, thoughts, and emotions. Students will also develop and articulate their new understandings by means of response papers, reflective journals, bibliographic summaries, and related activities. Finally, each quarter students will write substantial memoir-essays of their own, developing their topics and drafts in a supportive group environment. | Steve Blakeslee | Tue Thu | Sophomore SO Junior JR Senior SR | Winter | Winter Spring | |||
John Schaub
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Program | FR–SRFreshmen–Senior | 8 | 08 | Day and Evening | Su 16 Session II Summer | Many cultures have traditions 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 will focus us, and open new outlooks on sustainability. We’ll live Leave-No-Trace ethics as we paddle to Squaxin Island and hike in the Olympic and Cascade Mountains, including Rainier and St. Helens. We’ll read, seminar, write and critique, with ongoing faculty feedback.This all-level program could be an orientation for incoming students, and a chance for anyone to engage deeply with writing, and/or produce a finished publishable manuscript. | John Schaub | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Leonard Schwartz and Andrea Gullickson
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | S 16Spring | Ideas matter. Words and music are powerful; they can profoundly alter how we view ourselves, everything outside ourselves, and the intersection of the two. What can the works of composer Ludwig van Beethoven and poet William Blake teach us about the power of imagination and the possibilities of human freedom? Through close listening and reading, we will study the textures of their work in the context of the 19th century, as well as consider several of their late 19th-century inheritors and 20th-century transformers and critics: in poetry, the experimental formalism of Gertrude Stein and Louis Zukofsky (“upper level music, lower level speech”); and in music, the compositions of Richard Wagner and John Adams. Other readings will include Nietzsche’s Georg Buchner's and Adalbert Stifter's as well as essays by Maynard Solomon, Richard Taruskin, Edward Said, and Theodore Adorno. Particular works of Beethoven to be considered are the 3rd, 5th, and 9th symphonies, piano sonata No. 17, and his late string quartets. | Leonard Schwartz Andrea Gullickson | Mon Tue Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Frederica Bowcutt
Signature Required:
Winter
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | This program focuses on people's relationships with plants for food, fiber, medicine, and aesthetics. Students will study economic botany through seminar texts, film, and lectures that examine agriculture, forestry, herbology, and horticulture. They 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, such as considering a former cash crop to be a weed. In our readings, we will examine the significant roles botany and natural history have played in colonialism, imperialism, and globalization. Initiatives to foster more socially just and environmentally sustainable relations with plants will be investigated.In fall, weekly workshops will help students improve their ability to write thesis-driven essays defended with evidence from the assigned texts. In winter, students will write a major research paper on a plant of their choosing, applying what they've learned about plant biology and economic botany to their own case study. 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.This program serves both advanced and less experienced students who are looking for an opportunity to expand their understanding of plants and challenge themselves. This two-quarter program allows students to learn introductory and advanced plant science material in an interdisciplinary format. Students will learn about plant anatomy, morphology, and systematics. Lectures based on textbook readings supplement the laboratory work. The learning community will explore how present form and function informs us about the evolution of plants such as mosses, ferns, conifers, and flowering plants. Students will get hands-on experience studying plants under microscopes and in the field. Students will also learn how to maintain a detailed and illustrated nature journal to develop basic plant identification skills of common species. | Frederica Bowcutt | Mon Tue Wed Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
Marja Eloheimo
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Program | FR–SRFreshmen–Senior | 12 | 12 | Weekend | F 15 Fall | W 16Winter | S 16Spring | Working as a project team, this program has a mission. Students will continue to tend and refine habitat and theme areas in the Longhouse Ethnobotanical Garden, including the Sister Garden (patterned after a medicinal garden we created on the Skokomish Indian Reservation) as well as create valuable educational resources that contribute to the Evergreen community, local K-12 schools, local First Nations, and a growing global collective of ethnobotanical gardens that promote environmental and cultural diversity and sustainability. Our work will also contribute to the new Indigenous Arts Campus. During , we will become acquainted with the garden and its plants, habitats, history, and existing educational materials. We will begin to engage in seasonal garden care and development, learning concepts and skills related to botany, ecology, Indigenous studies, and sustainable medicine. We will also establish goals related to further developing educational materials and activities, including a Web presence. Students will have the opportunity to select and begin specific independent and group projects that include learning knowledge and skills pertinent to their completion. During , we will focus on the garden's "story" through continued project work at a more independent level. Students will work intensively on skill development, research, and project planning and implementation. We will also be active during the winter transplant season and will prepare procurement and planting plans for the spring season. During , we will add plants to and care for the garden, wrapping up all of the work we have begun. We will establish opportunities to share the garden and our newly created educational materials, effectively enabling the garden to "branch out." This program requires commitment to a meaningful real-world project and strongly encourages yearlong participation. It also cultivates community within the program by nurturing each member's contributions and growth, and acknowledges the broader contexts of sustainability and global transformation. | Marja Eloheimo | Sat Sun | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | ||
Miranda Mellis, Peter Bohmer and Elizabeth Williamson
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day and Evening | F 15 Fall | How can monsters and witches, figured so closely in relation to animals both in being endangered and dangerous, help us think about climate change, the sixth great extinction we are currently undergoing, transition, transformation, and adaptation? How might these – monsters, witches, and climate change – be tied to social movements, political economy, and social change?This intensive literature, creative writing, and political economy program will take up the above questions and others. Students in this program will learn to read, think, and discourse analytically and will develop creative and critical writing and research skills through the study of contemporary and historical relationships between climate change, inequality, and capitalism. We’ll learn about the changes in the global political economy from the Middle Ages to the present and its implications for daily life. Pivotal concepts will be introduced to analyze the past, the present and possible futures through literary and economic lenses. Shakespeare's whose anti-hero, Caliban, has become a symbol of resistance to colonization – will form a core text. The program title is taken from Silvia Federici's study an illuminating analysis of the movements and peoples who had to be suppressed in order to build the foundations of modern capitalism. Using these two texts as our focal points, students will be introduced to key concepts in Marxist, feminist, economic, and post-colonial theory as well as experimental approaches to contemporary storytelling, including feminist and post-colonial appropriations. Students will be invited to re-think the political-economic underpinnings of inherited conceptions of space and knowledge. We'll also consider the dominant role that storms, droughts, shipwrecks, and other disasters have played in canonical and contemporary art, and participate, along with a consortium of other programs in sciences and humanities, in shared curriculum focused on climate change. | Miranda Mellis Peter Bohmer Elizabeth Williamson | Mon Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Stephen Buxbaum and Lester Krupp
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Program | SO–SRSophomore–Senior | 8 | 08 | Weekend | F 15 Fall | W 16Winter | S 16Spring | The communities of Grays Harbor will be our learning laboratory for our investigation into what makes communities work. We will use a multidisciplinary approach in the examination of how these communities evolved and the role that local schools and educational institutions played as the region grew and developed.This year-long program will help students develop the skills needed to assess their communities, capture their observations, and articulate them in a useful form. Students will work to improve critical thinking, research methods, analytical reading and writing, and understanding across differences of socio-economic class, race and ethnicity. This program will support students pursuing advanced degrees or careers in the field of education, government and non-profit service organizations.Students will work in teams as they learn research skills, participate in field activities, and keep a record of their progress through a variety of assignments, such as mapping, journaling, oral histories, and data analysis. One of the primary objectives of this program will be to give back to the communities we are studying by adding to historical internet archives and creating photo journals, stories, poems and published articles.Our contextual focus will be the formation of communities in the “Harbor” – generally speaking the geographic region that is connected to the communities of Aberdeen, Cosmopolis and Hoquiam. Special emphasis will be given to the evolution of the region’s public school system and to current educational issues from policy to classroom practice.Our examination of the history of the region will seek out answers to how past events inform the current issues in education and community development policy that the Grays Harbor region is facing now and in the future. Students will learn how to work with primary source material and conduct research as a means of learning skills that are transferable to a broad range of social science disciplines. | Stephen Buxbaum Lester Krupp | Sat | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | ||
Gail Tremblay
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Program | SO–SRSophomore–Senior | 16 | 16 | Day | F 15 Fall | This program will examine the work of Indigenous artists in North America who have helped define the Contemporary Native American Art Movement since the 1960s and will trace the movement’s evolution through 2015. Beginning with an examination of works by seminal artists like Alan Houser, Oscar Howe, Fritz Scholder, and Helen Hardin, who transformed American Indian art, students will explore the way that these artists and the Indigenous artists who came after them became an innovative force that redefined the place of American Indian/First Nations artists in the global art world. We will analyze the way these various generations of artists have created movements in the Americas that have challenged anthropological and colonial paradigms that define aesthetically exquisite objects made by Indigenous peoples as artifacts to be studied in an ethnographic context rather than as works of fine art. We will look at the way the art/craft divide in European and American settler art discourse has affected the way Indigenous art has been defined. Through detailed analyses, students will critically reflect on not only the aesthetic principles inherent in Indigenous artwork, but also on the historical and cultural contexts which inform the artists of the Contemporary Native American Art Movement. Finally, students will learn how to look at, interpret, understand, and write about the works of contemporary Indigenous artists in the United States and Canada. | Gail Tremblay | Mon Tue Thu | Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Lester Krupp
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Course | FR–JRFreshmen–Junior | 4 | 04 | Evening | S 16Spring | What do you hope to gain from being in college? What will it take for you to succeed here? This 4-credit class is an opportunity for beginning and returning students to think deeply about their education, to develop skills that contribute to college success, and to chart a path toward career goals and life-long learning. We will begin by investigating the history and function of the Liberal Arts in society, with special attention given to the Five Foci of an Evergreen Education (Interdisciplinary Study, Collaborative Learning, Learning Across Significant Differences, Personal Engagement, and Linking Theory with Practice). In the process of our investigation, students will work to strengthen their academic reading, writing, note-taking, speaking, and critical reasoning skills. Students will identify areas of particular academic interest and need, and they’ll develop strategies to meet those learning goals in the future. | Lester Krupp | Wed Thu | Freshmen FR Sophomore SO Junior JR | Spring | Spring | ||||
Lori Blewett
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Course | FR–JRFreshmen–Junior | 4 | 04 | Evening | W 16Winter | For new and returning students, this class is designed to help develop the knowledge, skills and confidence to be successful in your college experience. There are many kinds of academic learning and many ways of knowing. Students will have to make sense of lectures, discussions, literature, and research, all of which involve different approaches to learning. This course is designed to help you discover a pathway toward reading, writing and discussing critical issues relevant to your complex worlds. Students will examine how to increase their understanding and knowledge in relation to Evergreen's Five Foci (Interdisciplinary Study, Collaborative Learning, Learning Across Significant Differences, Personal Engagement, and Linking Theory with Practical Applications) as well as charting a course for a liberal arts degree that links career goals with lifelong learning. | Lori Blewett | Tue | Freshmen FR Sophomore SO Junior JR | Winter | Winter | ||||
Lester Krupp
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Course | FR–JRFreshmen–Junior | 4 | 04 | Evening | F 15 Fall | Lester Krupp | Thu | Freshmen FR Sophomore SO Junior JR | Fall | Fall | |||||
Nancy Parkes
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Program | SO–SRSophomore–Senior | 8 | 08 | Evening | S 16Spring | Creative Writing Workshop is designed for students interested in gaining or building on a foundation in fiction or creative non-fiction writing. 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. Through our reading and critique work, we will build “tool kits” of literary writing and reading techniques. Students will produce one memoir-based piece; a short story, novel chapter, or journalistic piece; and a “student choice” writing block (two major pieces—both drafted and extensively revised). We will concentrate on the artistic and process of draft, and the craft of revision. Students should also expect to spend time outside class critiquing peer work. While the focus of the program is creative writing, this class will help students to learn storytelling techniques useful in non-profit, business, and other professional settings.Texts and Assigned Writing:Writing Fiction: The Practical Guide from New York’s Acclaimed Writing School (Gotham Writer’s Workshop)Gotham Writer’s Workshop Fiction Gallery: Exceptional StoriesSelf Editing For Fiction Writers , Browne and KingNovel selected by individual student writing groupsProvided online: Custom collection of short stories and poems | Nancy Parkes | Mon Mon Mon Wed Wed Wed | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Sandra Yannone
Signature Required:
Spring
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Course | FR–SRFreshmen–Senior | 2 | 02 | Day | S 16Spring | 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 | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
Suzanne Simons
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Program | SO–SRSophomore–Senior | 8 | 08 | Weekend | S 16Spring | Science and poetry are equally informative guides to knowledge and enlightenment, their fusion a natural consequence of the quest to make the unknown known, argue authors Erin Colfax and Nancy Gorrell in In this program, we will explore literary patterns and pedagogical practices for connecting poetry and science. For our framework, we will use the four elements of air, fire, water, and earth. Central questions include what is the relationship between poetry and science? How can poetry heighten understanding of and interest in science, and vice versa? How can scientific and mathematical concepts be applied to writing poetry? In what ways do poetry and science bring form to chaos, helping us make sense of our lives and the world? How can science poetry be woven into K-12 curricula? Our exploration of poetry will include writing in formal patterns, such as haiku, couplets, tercets, ballad stanza, villanelle and sestina. We will compare these forms to free verse through our own writing and collections of science poetry. Activities may include community poetry/spoken word events, exploring Evergreen's Natural History Collection, birding field trip, and participating at Evergreen's Science Carnival by teaching science poetry workshops to K-12 students.Credits will be awarded in poetry and science education. | Suzanne Simons | Sat | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Stacey Davis and Leonard Schwartz
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Program | FR ONLYFreshmen Only | 16 | 16 | Day | F 15 Fall | W 16Winter | What does it mean to read? How does reading shape one’s identity, and how does identity shape how one reads, and what one finds in those books? In this two-quarter program, we will examine the intertwined developments of poetry and history, and the implications of those histories for a theory of reading. What is the function of the poem, how is it to be heard or read, and how do its metaphors and syntax shape the very way a people or person might think and feel? What is the traditional role of the historian, and how do historians produce texts that authorize their own truth? How do historical and poetical works, and the various epistemological claims made in their name, interact in the contemporary moment? What is the role of translation in the dissemination of literary texts and shaping of the historical imagination? In the past, reading was deadly serious business. In this program, we’ll explore the relationship between illuminated manuscripts, medieval devotion, and power; how the advent of printed reading rocked Europe and sparked 100 years of war in the 16 century; links between political cartoons, scandalous pamphlets, and the terror of the French Revolution; the ways in which readers in the Romantic age fashioned a notion of themselves and their visions of a good life through their readings; and how the advent of post-structuralism in the 20 century has exploded the way we think of reading today. From Homer and Thucydides forward, there has been a competition between poetry and history over the right way to read and remember. Readings will include Thucydides' , Homer's , Sappho's , Plato's and St. Augustine's We will also consider sections of Dante's Montaigne's and Jean-Jacques Rousseau's as well as, crucially, Marcel Proust's We’ll delve into the cultural history of reading through texts such as Robert Darnton's and Dena Goodman's Contemporary writers and texts to be considered in light of the double imperatives of history and poetry include Marguerite Duras' , Alice Notley's , and Roberto Calasso's . Student activities will focus on reading, writing, and seminar participation. | Stacey Davis Leonard Schwartz | Mon Tue Wed | Freshmen FR | Fall | Fall Winter | |||
Rebecca Chamberlain and Nancy Parkes
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Program | FR–SRFreshmen–Senior | 8 | 08 | Evening and Weekend | F 15 Fall | W 16Winter | The Pacific Northwest is home to pressing environmental issues, including coal and oil exports, loss of habitat, water quality, fisheries, and effects of global warming. The coal industry wants to use Northwest ports for shipping to Asia, which could result in 100 million tons of coal being shipped through the region by rail. A dozen oil pipelines are proposed, and trains carrying oil have derailed in other regions. Will these projects, as opponents contend, endanger both Northwest peoples and the environment? Or as proponents--including many labor unions--argue, would they bring critical jobs to economically dislocated and disadvantaged areas? What entities have the power to decide whether these projects will be built? What methods can be used to get clear information to those who are affected? What are the human health and environmental risks from coal dust, train wrecks, and potential oil spills? How do citizens become engaged? What is the role of indigenous communities? What are the roles of advocates, allies, and supporters--on both sides--and how do these positions grow out of environmental and other histories?In engaging with these issues, we will ask, how do we speak meaningfully about our relationship to the natural world? We will learn how stories and ethnography empower individuals and communities to understand their connection to place. Through a practice of writing, and study of both eco-criticism and natural history literature, we will examine concepts and values around wilderness and the human connection to the natural world. We will consider the traditional division between labor and environmental interests, its roots, and whether these two groups may be able to foster collaborations that address both jobs and environmental protection. Our work will include analysis of disparate views and values, and common ground among environmental groups, tribes, | Rebecca Chamberlain Nancy Parkes | Mon Mon Wed Wed Sat Sun Sun | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
Don Chalmers
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | Su 16 Session I Summer | This course helps students understand and appreciate United States philanthropy, especially non-profit organizations and what they must do to seek and secure outside funding. We'll define and discuss key components of developmental readiness like board development and strategic planning that funders view as important to organizational sustainability. We'll learn how to research funding sources. A primary focus of the course is grant writing, specifically how to prepare a competitive grant application to a corporate, foundation or federal source. The course also shares keys to successful grant administration and other resource development activities. These activities include annual funds, special events, contracting, planned giving, in-kind contributions and more. Join us this summer to learn ways to convert your ideas to realities! | Don Chalmers | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Heather Heying, David Phillips and Bret Weinstein
Signature Required:
Fall
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Program | SO–SRSophomore–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | S 16Spring | Why are there so many species on the planet? Why are there more species nearer the equator than at the poles? This program seeks robust, meaningful explanations for these complex phenomena. In parallel, it approaches human cultural variation in a biotic context, addressing the questions: Where have humans traditionally fit in relation to biological nature, and how has our unparalleled within-species diversity been shaped by nonhuman forces? This program will introduce students to a unique and broadly applicable set of analytical tools, and apply them across a range of settings and scales that would be impossible in a traditional academic context.We will study patterns across space and time, revealing the selective forces that shaped the distribution, form, behavior, and interaction of organisms from all extant branches of the tree of life. From mycorrhizal fungi that live in the roots of trees to bats collecting fruit high in the moonlit canopy, organisms are best understood embedded in the context of the forces that gave rise to them.Though all sciences share a method of inquiry, the theoretical toolkit necessary to understand complex biological systems is different from the more familiar tools of the fundamental sciences, such as chemistry and physics. When an insect extracts nutrients from a leaf by detoxifying compounds built to deter herbivory, both the insect, and the plant whose leaf is consumed, have invested resources in an objective, and their gains and losses can be evaluated in terms similar to those in economics and engineering. We will apply concepts such as sunk costs, zero-sum game, and adaptive landscapes across systems and taxa.We will compare Pacific Northwest rainforest to the Ecuadorian Amazon, witnessing ecology’s most extreme, ubiquitous, and mysterious species-diversity pattern: the latitudinal diversity gradient. We will compare the Amazon at Earth’s most species-rich location—Yasuní—with equatorial montane, cloud forest, and altiplano habitats, revealing dramatic predictable reductions in species diversity that occur at a given latitude, with increases in elevation. And we will compare the high-diversity Amazonian habitat in the humid lowland east to the comparatively low-diversity habitats of the arid Andean rainshadow to the west.In tandem with our study of habitats, we will seek to understand indigenous cultures that have historically inhabited these biomes. We will consider the impact of glaciation and the role it played in initiating the diaspora of New World populations which diversified across the entirety of the Americas before Europeans arrived in the 15th century. Where there is archaeological evidence, we will interpret it in the context of the precolonial world.In fall, we will focus on logical tools, concepts, and language needed to understand evolutionary patterns. We will investigate levels of selection, and grapple with the relationship between genes, cultural memes, and epigenetic markers. We will take several field trips within Washington to experience relevant phenomena (e.g., Hoh rainforest, indigenous fishing on the Klickitat River, the channeled scablands). In winter and spring, we will travel to Ecuador, visit several sites, and spend extended field time investigating patterns across a tropical landscape of unparalleled diversity. | Heather Heying David Phillips Bret Weinstein | Mon Wed Thu | Sophomore SO Junior JR Senior SR | Fall | Fall | ||
Samuel Schrager and Caryn Cline
Signature Required:
Winter
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | W 16Winter | Our inquiry explores the power of storytelling in literature and film to take fresh looks at experience. It is designed for students who are prepared to do a serious writing or media-making project in documentary, fictional or hybrid modes. You will study a series of stellar written and audiovisual texts, examine the methods these artists use to craft compelling narratives, and mine them for inspiration and guidance as you pursue your own original work. The aim is to discover a poetics and a continuum of techniques to feed your creative practices, now and in the future. For advanced students, this program is an ideal context for advanced projects; for intermediate students, a challenging opportunity to develop their craft.Your project can be collaborative or individual; faculty will provide sustained guidance at each stage of its development, and students will support and critique one another’s work. Texts will span documentary and fiction genres, with readings by authors such as Joan Didion, Ralph Ellison, Joseph Mitchell, Octavia Butler, Grace Paley, Junot Diaz, W.G. Sebald and D.F. Wallace, films by directors such as John Akomfrah, Claire Denis, Jean-Luc Godard, Errol Morris, Yasujiro Ozu, Jay Rosenblatt and Wim Wenders, and theory from critics such as Walter Benjamin and David Bordwell. The first weeks of the quarter will include instruction in fieldwork and self-reflection: ways of listening, observing, recalling, and recording to make truthful stories. Artists will come to talk with us about their work and creative process. The program will culminate in presentations of students’ compact, polished, finished pieces of writing or film/video/web-based media. | Samuel Schrager Caryn Cline | Mon Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Dylan Fischer and Erik Thuesen
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Program | JR–SRJunior–Senior | 16 | 16 | Day | S 16Spring | This program is designed to provide a premier hands-on experience in learning how to conduct field science in ecology at the advanced undergraduate level. We will focus on group and individual field research to address patterns in ecological composition, structure, and function in natural environments. Students will participate in field trips to local and remote field sites and will develop multiple independent and group research projects in unique marine and terrestrial ecosystems from the Puget Sound to the east side of the Cascades (in Washington).We will work as a community to develop and implement field projects based on: 1) workshops in rapid observation and field data collection; 2) participation in large multiyear studies in collaboration with other universities and agencies; and 3) student originated short- and long-term studies. Students will focus on field sampling, natural history, and library research to develop workable field-data collection protocols. Students will implement observation- and hypothesis-driven field projects. We will learn to analyze ecological data through a series of intensive workshops on understanding and using statistics in ecology. Students will demonstrate their research and analytical skills through scientific writing and presentation of all group and individual research projects.Specific topics of study will include community and ecosystem ecology, plant physiology, forest ecology, marine ecology, ecological restoration, riparian ecology, fire disturbance effects, bird abundance and monitoring, soundscape ecology, insect-plant interactions, disturbance ecology, and statistics in biology. We will emphasize identification of original field research problems in diverse habitats, experimentation, statistical analysis, and writing in journal format. All students will be expected to gain competency in advanced statistics and scientific writing. | Dylan Fischer Erik Thuesen | Tue Wed Thu Fri | Junior JR Senior SR | Spring | Spring | ||||
Jon Davies
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Course | FR–SRFreshmen–Senior | 4 | 04 | Day | Su 16 Session II Summer | Writing is critical to learning and a vital tool for communication. Improving the teaching of writing can improve student writing. Effective teachers of writing gain insight from their own writing experiences and also that of their peers. English grammar provides many challenges for writers as they move from early drafts to finished pieces of writing. Decades of research suggests that teaching grammar in isolation has little, if any, effect on student writing. In this course we will explore English grammar in the context of our own writing, including issues of style, punctuation, and mechanics. Through the process of addressing grammar in our own writing, we will develop strategies to support student writers in the classroom. Even though this course is especially suited for educators and undergraduate students interested in education, all writers interested in polishing their writing are welcome. | Jon Davies | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Emily Lardner
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Course | FR–SRFreshmen–Senior | 4 | 04 | Weekend | Su 16 Session I Summer | Emily Lardner | Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | |||||
Don Chalmers
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Course | FR–SRFreshmen–Senior | 2 | 02 | Weekend | S 16Spring | 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 | |||
Don Chalmers
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Course | FR–SRFreshmen–Senior | 2 | 02 | Weekend | F 15 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 | |||
Don Chalmers
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Course | FR–SRFreshmen–Senior | 2 | 02 | Weekend | W 16Winter | 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 | |||
Steve Blakeslee
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Program | FR–SRFreshmen–Senior | 4, 8 | 04 08 | Evening | Su 16 Session I Summer | Over the past 30 years, the graphic novel has won numerous readers with its bold topics, innovative forms, and vivid artwork. We will explore the origins, development, and unique workings of these sequential narratives, from the socially conscious woodcut novels of the 1930s (e.g., Lynd Ward’s ) to the global adventures of Hergé’s , to Alan Moore and Dave Gibbons' 1980s game-changer, . Other works will include Scott McCloud's and recent graphic memoirs. Our overall goal is to develop an informed and critical perspective on this powerful medium. Students who register for eight credits will read and research additional graphic works or, with faculty approval, create graphic narratives of their own. | Steve Blakeslee | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Janys Murphy and Lynarra Featherly
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | In this all-level interdisciplinary program in human development and experimental creative writing, we will study the bio- and psychosocial development of the self and explore to what degree our self-conception is structured by internal and external voices. We will employ several modes of theoretical, critical, and creative inquiry and expression, listening for and possibly re-arranging the chorus of voices that constitute the self.How does the “voice” of psychology inform our conception of who we are? How do our relationships with others inform and expand our observational selves? We will consider concepts from attachment theory, interpersonal neuropsychology, infant mental health, as well as humanistic, existential, and feminist theory using a wide range of approaches, from neuroscience to psychoanalytic thought and developmental perspectives. Our readings will include work from Erikson, Siegel, Ainsworth, Bowlby, Adler, Rogers, Horney, Freud, Jung, and Frankl.In our writing and literary work, we will ask how do our own “voices” conceive of who we are? How might we disrupt conventional conceptions of the self? In an attempt to hear ourselves and others speak differently, our (un)creative writing will take up experimental writing procedures, e.g., using source texts as material to manipulate, transform and otherwise “translate” using combinatorial play, re-structuring or de-structuring. Our literary and poetic interlocutors will likely include Kristeva, Barthes, Lacan, Žižek, Charles Bernstein, Lyn Hejinian, M. NourbeSe Philip, Maggie Nelson, Claudia Rankine, and Julie Carr.Throughout the program, we will closely read texts from psychology, literary and critical theory, and experimental and conceptual works of poetry. We will engage these works in seminars, small groups, lectures, and reading sessions. All students will develop qualitative research skills, participate in mindfulness practices, and in writing, performance, and movement workshops. Students will write both academic essays and creative work. In the fall, students will explore the chronology of human development from birth to late childhood. Using the universal language of the child, movement and play, we will work through the transitions of each stage, approaching these through both psychology and literary theory. At the end of fall quarter, students will select a subset of writing produced over the quarter to bring together, rework, and self-publish in individual “chapbooks.” | Janys Murphy Lynarra Featherly | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | |||||
Steven Hendricks
Signature Required:
Winter
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Contract | JR–SRJunior–Senior | 16 | 16 | Day | W 16Winter | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unique combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Students proposing well-conceived projects in bookbinding or artists' books are invited to contact the faculty.Students with a lively sense of self-direction, discipline and intellectual curiosity are strongly encouraged to apply. | Steven Hendricks | Junior JR Senior SR | Winter | Winter | |||||
Lynarra Featherly
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | W 16Winter | In this all-level winter program in experimental creative writing, sound art and psychoanalysis, we will study the sounds and markings of internal thought and affect in the forms we find them in the world, as externally expressed. We will employ several modes of theoretical, critical, and creative inquiry and expression, listening for and bringing forth our internal processes in both creative and critical products. In our work together, we will ask how do the sounds and markings of language and the language of sound shape our creative and critical output. In our writing and sound collage work, we will explore how collecting, shaping and re-shaping found language and sound might bring the surprise of self-recognition, strike a familiar chord. We will ask how working within the constraints of found or overheard material might disrupt our ability to fully articulate who we imagine ourselves to be. In an attempt to produce creative work differently, our creative writing and sound art will take up experimental procedures, e.g., using source texts and sounds as material to manipulate, distort, transform and otherwise “translate” using combinatorial play, re-structuring or de-structuring. Our psychoanalytic, literary, sonic and poetic interlocutors will likely include Kristeva, Lacan, Žižek, Michel Chion, Gertrude Stein, John Cage and Emily Dickinson.Throughout the quarter, we will closely read psychoanalytic texts as well as texts in critical, literary and sound theory. We will engage these works in seminars, small groups, lectures, and reading sessions. Our work in this program will also include a substantial art and writing studio component. Students will spend the quarter working on one sustained creative writing project and one sustained sound art project. To those ends, students will receive ample training in sound technology and guidance in working with source texts and sounds. | Lynarra Featherly | Mon Mon Tue Tue Wed Thu Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Miranda Mellis and Eirik Steinhoff
Signature Required:
Spring
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Program | SO–SRSophomore–Senior | 16 | 16 | Day and Evening | S 16Spring | This advanced critical and creative reading and writing program is designed for students who want to take ten weeks to develop and deepen their theories and practices of literary study in relation to a dynamic constellation of contemporary writing. Some organizing questions for these ten weeks include: What is a text? What can we do with a text? What can a text do with us? How have these questions been asked and answered historically? What new questions should we ask --- and how might we try to answer them now?We hypothesize that critical and creative reading and writing are mutually enabling processes. Our practice as writers will accordingly be sharpened through a practice of careful reading, and we will study an expansive range of genres, texts, styles, and modes --- from slogans and sonnets and sc-fi to novels and epics and law --- the better to enrich our repertoire of ways in the world of words. What key elements do these various forms involve? We will seek to determine this inductively as a means of theorizing our practice. All of which is to say that students can anticipate a challenging quantity of reading and writing. Each week will involve a mix of workshops, seminars, and lectures. Our proceedings will be punctuated by intensive on-campus “residencies” that will allow students to develop and pursue their own specific reading and writing projects. We will participate in the Art Lecture Series and Anthropocene Lecture Series, and are looking forward to class visits and/or guest lectures by four contemporary writers: Donna Haraway, an interdisciplinary scholar of feminist studies and science and technology studies; Dean Spade, a law professor and founder of the Sylvia Rivera Law Project; Rob Halpern, a poet and critic (and Evergreen alum); and Amanda Davidson, who teaches at the Pratt Institute and writes experimental fiction. | Miranda Mellis Eirik Steinhoff | Mon Wed Thu | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Naima Lowe and Julie Russo
Signature Required:
Fall
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Program | SO–SRSophomore–Senior | 16 | 16 | Day and Evening | F 15 Fall | W 16Winter | S 16Spring | What does it mean to make moving images in an age of omnipresent media, information overload, social inequality, and global capitalism? What's the relationship between aesthetic form and power across race, class, gender, and other axes of difference? How can we understand the interplay between popular media and experimental modes? How do we critically engage with the history and traditions of media practices while testing the boundaries of established forms? What responsibilities do media artists and producers have to their subjects and audiences? How can media makers represent or transform the “real” world? Students will engage with these questions as they gain skills in film/video/television history and theory, critical analysis, media production, collaboration, and critique.This full-time, yearlong program links media theory with practice. We will explore a variety of media modes and communication strategies, primarily interrogating representations of the "real” in media texts spanning the continuum between popular entertainment and artistic practice. As creative critics, we will gain fluency in methodologies including: close reading and formal analysis; mapping narrative and genre; unpacking power from feminist, critical race, decolonial, and anti-capitalist perspectives; and cultural, historical, and technological framing of commercial and independent media production. These analytical skills will help us understand strategies that artists have employed to challenge, mobilize, and re-appropriate mainstream media forms. As critical creators, we'll learn foundational production skills and experiment with alternative approaches, including nonfiction, video art, writing for and about media, autobiography, essay films, remix, installations, and performance. In addition to production assignments, program activities will encompass analysis and criticism through screenings, readings, seminars, research, and critical writing. We'll also spend significant time in critique sessions discussing our creative and critical work.In fall, students will explore ways of seeing, listening, and observing in various formats, focusing intensively on 16mm film production and completing both skill-building exercises and short projects. These collaborative exercises and projects will have thematic and technical guidelines consistent with the program curriculum. Our production work will be grounded in the study of concepts and methodologies from media history and theory, including significant critical reading, research, and writing. In hands-on workshops and assignments, we'll analyze images as communication and commodities and investigate how images create and contest meaning in art, politics, and consumer culture.In winter, students will delve deeply into field- and studio-based video/audio production and digital editing, using the CCAM studio and HD video technologies. We'll do this learning in conjunction with studying the social and technological history of television and video. Our production work will be primarily collaborative, though students will conclude the quarter by working on an independent project proposal.In spring, as a culmination of the conceptual, collaboration, and production skills developed in fall and winter, each student will create an independent project. Possible forms include video or film, installation, web-based projects, research projects, and internships. Technical workshops, screenings, research presentations, and critique discussions will support this emerging work. | Naima Lowe Julie Russo | Sophomore SO Junior JR Senior SR | Fall | Fall | |||
Nancy Koppelman and Trevor Speller
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Program | SO–SRSophomore–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | Are you concerned with the dignity of everyday people, skeptical or outright hostile to state power, troubled by hierarchy, compelled to purge corrupting influences, attracted to disciplined bodily habits, worried that society is ever more unethical, committed to influence minds and hearts, and convinced that “everything happens for a reason”? If so, you may be a “New Puritan.” You are warmly invited to take this program and find out. Students in The New Puritans are considering the history and culture of social change efforts in North America from the Puritans forward. Puritanism has changed since the 17 century, but its basic “structures of feeling,” to borrow a phrase from Raymond Williams, are still with us and are the subject of our studies. Winter quarter’s work will have two main threads. The first is our collection of common texts, which provide historical, literary, and theoretical frameworks for grasping a new politics of injustice which emerged in the 19 century and has shaped social change ever since. We will read works by Susan Howe, Alexis deTocqueville, Nathaniel Hawthorne, Henry David Thoreau, W. E. B. DuBois, Joan Kelly, Frederick Jackson Turner, William James, Karl Marx, Michel Foucault, Rebecca Harding Davis, Edith Wharton, and Ta-Nehisi Coates. The second thread of The New Puritans is a major research project. The project will take the form of an analytic/critical/creative paper, which each student will develop with support from the program community. Projects will stem from topics of student interest related to reform movements, social movements, and/or social justice in the United States. Topics could include food justice, racial justice, immigrant rights, religion, trans-national activism, anti-poverty work, feminism, LGBTQ rights, climate change, environmentalism, education, and virtually any other topic of interest. Evergreen’s history, culture, and current social change efforts will be one of our sources for these projects. New students who already have works-in-progress are encouraged to join us. This program is an excellent choice for students who have studied political economy, social movements, and social justice, and who are interested in understanding the roots and character of Anglo-American social change efforts. | Nancy Koppelman Trevor Speller | Mon Wed Thu | Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
Steve Blakeslee
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | W 16Winter | This course will help students to develop clearer and more comprehensive understandings of literary texts, as well as to forge a more rewarding relationship with reading in general. In a supportive group environment, students will explore a range of reading strategies, including textual analysis, background research, response and summary writing, and recitation. Then they will apply these tools to an in-depth study of several works of nineteenth- and twentieth-century literature Our overall goal is to become more resourceful, effective, and insightful readers.Our winter texts will include Charlotte Bronte's , Ray Bradbury's , and Muriel Spark's . | Steve Blakeslee | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | |||||
Steve Blakeslee
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | F 15 Fall | This course will help students to develop clearer and more comprehensive understandings of literary texts, as well as to forge a more rewarding relationship with reading in general. In a supportive group environment, students will explore a range of reading strategies, including textual analysis, background research, response and summary writing, and recitation. Then they will apply these tools to an in-depth study of several works of nineteenth- and twentieth-century literature Our overall goal is to become more resourceful, effective, and insightful readers. | Steve Blakeslee | Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Dylan Fischer and Lalita Calabria
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Program | SO–SRSophomore–Senior | 16 | 16 | Day | W 16Winter | How do plants sense and respond to changes in their external environment? What are the chemical signals produced by plants in response to external stimuli (light, gravity, temperature) and how are these signals amplified within the larger plant community? This program focuses on these questions through the study of individual plants (autecology), the interactions among plants (synecology), and the physiological interactions of plants with their environment (ecophysiology). Students will learn field and laboratory methods for studying plant ecology and plant physiology including vegetation sampling methods, soil analysis and methods for measuring plant growth, photosynthesis and nutrient cycling. Lecture topics will include plant communities; competition and facilitation ecology; plant growth and development; plant hormones; water use; photosynthesis; rooting; and the potential effects of large-scale disturbances, such as climate change, on plant communities. We will apply what we learn about plant physiology to better understand current research in the broader fields of ecosystem and community ecology. Our readings will be divided between current widely used texts in plant physiology and ecology, historical papers of great importance, and current research papers from technical journals. Local day trips, workshops, labs, and a multiple-day field trip will allow us to observe field research on plant physiology, plant restoration, and the plant ecology of diverse environments, as well as conduct student-driven research on plant ecology and physiology.This is also a writing intensive program for technical science writing. Communication skills will be emphasized, particularly reading scientific articles and writing for scientific audiences. | Dylan Fischer Lalita Calabria | Tue Wed Thu Fri | Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Nancy Parkes
Signature Required:
Fall
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Course | FR–SRFreshmen–Senior | 4, 6, 8 | 04 06 08 | Evening | F 15 Fall | Prior Learning from Experience allows people with significant professional and/or community-based experience to kick-start or accelerate a college degree. Students receive significant support from peers and faculty in learning how to assemble a portfolio that shows the “college equivalent learning” they have gained through professional and/or community-based work. Students earn credit through a combination of coursework and faculty evaluation of the completed essay.This separate and economical assessment and award of credit for prior learning speeds time to degree. Students completing a PLE document generally describe the experience as “transformative,” helping them to understand the college level equivalence of their professional and community-based experience, as well as preparing them for future academic and professional work. The program has a prerequisite course, which you will find under “Writing from Life.” You will also find further information, including a video, at . | Nancy Parkes | Tue | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Nancy Parkes
Signature Required:
Spring
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Course | FR–SRFreshmen–Senior | 4, 6, 8 | 04 06 08 | Evening | S 16Spring | Prior Learning from Experience allows people with significant professional and/or community-based experience to kick-start or accelerate a college degree. Students receive significant support from peers and faculty in learning how to assemble a portfolio that shows the “college equivalent learning” they have gained through professional and/or community-based work. Students earn credit through a combination of coursework and faculty evaluation of the completed essay.This separate and economical assessment and award of credit for prior learning speeds time to degree. Students completing a PLE document generally describe the experience as “transformative,” helping them to understand the college level equivalence of their professional and community-based experience, as well as preparing them for future academic and professional work. The program has a prerequisite course, which you will find under “Writing from Life.” You will also find further information, including a video, at . | Nancy Parkes | Tue | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Nancy Parkes
Signature Required:
Winter
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Course | FR–SRFreshmen–Senior | 4, 6, 8 | 04 06 08 | Evening | W 16Winter | Prior Learning from Experience allows people with significant professional and/or community-based experience to kick-start or accelerate a college degree. Students receive significant support from peers and faculty in learning how to assemble a portfolio that shows the “college equivalent learning” they have gained through professional and/or community-based work. Students earn credit through a combination of coursework and faculty evaluation of the completed essay.This separate and economical assessment and award of credit for prior learning speeds time to degree. Students completing a PLE document generally describe the experience as “transformative,” helping them to understand the college level equivalence of their professional and community-based experience, as well as preparing them for future academic and professional work. The program has a prerequisite course, which you will find under “Writing from Life.” You will also find further information, including a video, at . | Nancy Parkes | Tue | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Trevor Speller
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Program | SO–SRSophomore–Senior | 16 | 16 | Day | S 16Spring | With the breakup of the British Empire following World War II, a new set of states emerged into the world, each with particular cultural concerns. Many of those concerns are described in the imaginative genre of the novel. This program will explore the aesthetic and political issues around the novel, from the early 20th century to the present, with a focus on Anglophone writing from current and former commonwealth countries.The intersection of colonialism, nationalism, cultural identity, and the novel will be an important locus of attention. What makes a novel "British," "colonial," or "postcolonial"? What happens when politics and art are married, and what is gained and lost in this relationship? In what ways can writers and their work be representative—or not representative—of a so-called “genuine national tradition”? What constitutes a progressive or moral artwork, and does that have any special value? Our reading list will begin with Joseph Conrad’s , and will go on to consider a number of other novels and writers such as Salman Rushdie, Chinua Achebe, Nadine Gordimer, J.M. Coetzee, V.S. Naipaul, Jean Rhys, Kiran Desai, E.M. Forster, Ben Okri, and/or Zadie Smith. We will read excerpts from other works of fiction, critical views on the postcolonial novel, and contemporary literary theory. Films may be screened in class. By the end of the program, students will have a firm foundation in postcolonial literature, exposure to significant strands of literary theory, and experience with upper-division literary research. Students will be asked to read various texts, prepare presentations, lead class discussions, and produce a critical paper (15+ pages), in addition to minor assignments. The best work in this program will be useful for graduate school applications. | Trevor Speller | Tue Tue Wed Thu Thu | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Steve Blakeslee
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | F 15 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, share, and reflect. 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 | ||||
Elizabeth Williamson
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Program | FR ONLYFreshmen Only | 16 | 16 | Day | S 16Spring | What kinds of writing are possible under conditions of violent coercion and control? Prison writing gives us a glimpse into the human costs of mass incarceration, as well as the enormous power of human creativity, even in the most degrading circumstances. Although prison writing is as old as prison itself, this program will focus on work produced by those incarcerated in the United States in the late 20th and early 21st centuries. Students will read authors such as Assata Shakur, Leonard Peltier, Jimmy Santiago Baca, and Mohamedou Ould Slahi. Lectures will seek to contextualize the work of these authors within the history of mass incarceration. Students will practice honing their close reading skills through reflective and creative writing exercises. Final group projects will focus on alternatives to incarceration and may include a creative component. Students will be expected to engage in thoughtful and occasionally challenging conversations about forms of power and privilege operating in the texts and on our own bodies. Qualified students may earn program credit for participation in the Gateways Academic Mentoring Program. If you are not already an AMP volunteer and would like to apply, please contact and . | Elizabeth Williamson | Freshmen FR | Spring | Spring | |||||
Marianne Bailey
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Program | FR ONLYFreshmen Only | 12, 16 | 12 16 | Day | S 16Spring | In this program, students will conceive, plan, structure and carry through successfully a major independent learning project. We will do this step-by-step, in close collaboration between professor and individual student, and with the support of peers. At Evergreen, this mode of intellectual and creative work is a hallmark of our belief in fostering self-direction, intellectual discipline and stamina, and in pursuing academic projects about which we are passionate. It is no easy feat, however, to master the fine art of writing and proposing, let alone bringing to fruition, a top quality independent learning project. The purpose of this program is first, to coach you through the conception stage, then, to help you to choose your readings and activities and make your schedule, and finally, to guide and support you along the path to completion of the best work of which you are capable. Students will meet every week with their professor individually and as a member of a small work and critique group. We will also meet as a large, program group for presentation of methods of analysis and useful materials, and discussion. Students will report in writing and orally on their progress every week. In the final weeks of the quarter, all students will formally present their completed work to the program. Students enrolling should have a proposal of a project which they want strongly to undertake, including, at least, the kind of work you plan to do and a narrower theme or avenue within that topic, for example: writing poetry based in landscape, studying closely a favorite work of a given writer or philosopher, studying a particular kind of religious or mythic symbolism. Students are strongly encouraged to consult with Dr. Bailey by email (baileym@evergreen.edu) or at the Academic Fair as they develop the proposal. This proposal should be carefully written, typed, and ready to submit on the first day of class. | Marianne Bailey | Freshmen FR | Spring | Spring | |||||
Anne de Marcken (Forbes) and Alejandro de Acosta
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Program | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | In this program, students will interrogate and generate queer narratives by thinking through narrative aspects of queer concepts and theories and discovering what is (or can be) queer in various narrative forms.To take on this work we’ll engage with some foundational texts of queer theory as well as its contemporary articulations, addressing themes of sex and gender, queer and trans subjectivities, race and culture, drugs and technology, visibility and opacity, and many possible political articulations of a queer sort. In addition, a variety of critical, literary, lyrical, and cinematic texts that push and problematize conventions of narrative will serve as foci for inquiry and for inspiration.We’ll combine lectures, seminars, readings, screenings, and workshops to build a foundation in theoretical modes of reading, writing, and discussion as well as to develop technical skills in creative writing and media.Students will place their work in a critical context in order to consider whether queerness and narrative—both the body and the body of work—are “natural”, constructed, or something else entirely. | Anne de Marcken (Forbes) Alejandro de Acosta | Mon Mon Wed Thu Thu | Junior JR Senior SR | Fall | Fall | ||||
Steven Hendricks, Susan Fiksdal, Brian Walter and Toska Olson
Signature Required:
Winter
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | Creative writers, performers, and social scientists all engage with deep inquiries into what it's like to be a person and what it means to live within a society that shapes our lives.In this program, we'll examine the cultural norms that shape our notions of selfhood, the forces that compel individuals to construct their identities and their bodies in certain ways, and the means by which creative activities, including research, can disrupt those norms and the ideologies behind them. We'll do this through specific disciplinary perspectives on the idea of the individual across three disciplines: improvisational performance, sociology, and creative writing. In the fall, major readings will include sociological studies and theoretical texts and a selection of 20 -century literature emphasizing innovative approaches to character. Active research, creative writing, and essay projects will challenge students to develop their own inquiries in relation to program themes. Regular workshops in field-research methods, creative and critical writing, and improvisation will allow students to build new skills, gain confidence with different modes of learning, and explore their own rich questions across disciplines. Beginning in winter, students will develop major projects integrating what they've learned in all three disciplines, including sociological research and creative writing, culminating in the development of collaborative performance pieces in spring quarter. | Steven Hendricks Susan Fiksdal Brian Walter Toska Olson | Mon Tue Thu Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
Steven Hendricks, Brian Walter and Toska Olson
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Program | FR–SOFreshmen–Sophomore | 16 | 16 | Day | S 16Spring | In the film , Roddy Piper puts on a pair of sunglasses that reveal the subliminal messages in all art and advertising and the secret alien invasion behind it all. It's true: having a critical eye can take the joy out of mindless consumption. In this program, you'll develop your critical edge, by means of critical sociological studies of film, literary studies and creative writing as influenced by semiotics, and performance workshops that challenge you to activate your imagination in new ways—not least of all your capacity for spontaneity and collaborative storytelling. Such work will train you to see how filmic images, stories of all kinds, and social systems are assembled in ways that generate meaning and guide our thinking.Whole-program work will include three separate weeks dedicated to watching and discussing films—our own "film festivals." A critical approach to these films will be central to our shared examination and integration of program concepts and themes. Through discussion and writing about these films, you'll learn to deconstruct media messages about American culture with a special focus on gender, sexuality, race, and class. In addition, we will consider the potential for film and other creative activities to promote empowerment and social change.As a complement to our sociological study of film, students will join one of two focus areas (with limited space in each): improv performance or creative writing.In addition, everyone will participate in workshops in writing, improv, and sociology with the goal of collaborating with peers across focus areas in developing integrative projects that explore program themes of social identity, performance, social systems, dramaturgy, creative process, narrative form, representation, liberation, and empowerment. | Steven Hendricks Brian Walter Toska Olson | Tue Wed Thu Fri | Freshmen FR Sophomore SO | Spring | Spring | ||||
Suzanne Simons and Mark Hurst
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Program | FR–SRFreshmen–Senior | 8 | 08 | Weekend | F 15 Fall | W 16Winter | What led to the massive rise in incarceration in America over the last 40 years? “Demonizing” individuals and groups is a classic psychological strategy to motivate one population to discriminate, hate, commit violence toward, and even to annihilate an “out group.” With nearly four decades of failure to fund mental health care and substance abuse treatment, America’s jails and prisons have become the default solution to these and other social ills. Despite evidence that punishment of this kind does not work, incarceration in all its forms are garnering a greater than ever portion of resources.In this 8 credit, two-quarter program, we will examine fundamental psychological research underlying social cognition, stereotypes, prejudice, attitude formation and change, and self-deception and self-justification, as well as the roles and practices of politics, the justice system, and media in “belief transmission” to uncover the foundations of social stratification, covert and overt classism and racism, mandatory minimum sentencing, the privatization of prisons, the uses of solitary confinement, as well as the new threat of hyper-militarized police practices, weapons and tactics. Additionally, we will identify evidence-based practices that look to resolve these issues using a different lens (early education, adequate mental health care and drug treatment, restorative justice, positive psychology, etc.). We will call on leaders and participants from all of these arenas to help us examine the critical questions and potential answers in addressing this growing identification of the U.S. as a “prison nation”.This program is relevant for careers in psychology, media and journalism, government, criminal justice, law enforcement, social services, education, law. Credits will be awarded in psychology and journalism. | Suzanne Simons Mark Hurst | Sat Sun | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
Miranda Mellis and Alejandro de Acosta
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | W 16Winter | This interdisciplinary humanities program engages concepts and new fields of inquiry that emerge at the crossroads of philosophy, anthropology, queer studies, postcolonial studies, and literature. We invite participants to be curious about ideas that are shaped directly as a consequence of crossing disciplinary borders. To speculate is to contemplate, to wager, and to wonder. To begin speculating on everything we’ll think through the figure of inconstancy (frequent and irregular change), as it has been applied to some humans, all humans, and nature or cosmos generally. We’ll use diffraction as a method, aiming to cross and combine disciplines and discourses with courage and care. We’ll study tendencies, dispositions, manifestations and conceptual infrastructures in philosophical discourses and literary texts that turn towards the catastrophic (a downturn, a sudden ending, a radical change), positing new forms (of writing, being, and thinking) that, among other things, aim to decenter the human and posit non-anthropocentric perception.Our index will include readings in Queer Ecology, New Materialism, experimental and anti-colonial literature, and early Soviet utopian scientific, philosophical, and architectural projects. Writing practices will entail a focus on the essay as a capacious, multifarious literary form and will include occasional creative writing experiments. We will cultivate the art of the seminar as critical inquiry, and care will be taken to support participants in developing and deepening reading and writing skills. We will participate in a multi-program, bi-weekly lecture series looking at the anthropocene and climate change from multiple disciplinary perspectives. Readings to include works by Oswald de Andrade, Alexander Bogdanov, Giordano Bruno, Eduardo Viveiros de Castro, Allison Cobb, Claire Colebrook, Michelle Detorie, Thalia Field, Donna Haraway, Robert Kocik, Quentin Meillasoux, Montaigne, Timothy Morton, Lorine Niedecker, Andrey Platonov, Leslie Scalapino, McKenzie Wark, and others. | Miranda Mellis Alejandro de Acosta | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Catalina Ocampo
Signature Required:
Spring
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | S 16Spring | The word “historia” in Spanish means both “story” and “history”: its dual meaning embodies the deeply intertwined relationship between historical events and forms of storytelling in Latin America. While historical forces have shaped how and which stories are told, stories have also changed the way we understand historical events in the region, and often shaped those events as well. In this program, we will explore the complex interrelationship between history and storytelling in greater Latin@ America through the lens of short stories by Latin American and Latin@ writers. We will explore questions such as: How have stories represented, shaped, and intervened in Latin American history? How does history, in turn, shape and affect the way that stories are told in Latin America? What stories are given voice? What stories are silenced? How are different stories told by various communities in Latin America?In order to strengthen students’ linguistic skills and provide greater access to materials from Latin America, all program activities will be conducted entirely in Spanish. Our readings will focus on stories by twentieth- and twenty-first-century authors like Jorge Luis Borges, José María Arguedas, Luisa Valenzuela, Julio Cortázar, Elena Garro, Ana Castillo, and Daniel Alarcón, among many others. While reading these stories, we will analyze the way they represent historical events like the Spanish conquest of the Americas and indigenous resistance, the Mexican Revolution, the Cuban Revolution, dictatorships in the Southern Cone, and Latin@ migration to the United States. We will also explore how these stories reflect on the act of storytelling and the ways in which is carried out, both through writing and through other media like the oral tradition, music, and digital forms. In addition, students will also participate in various forms of storytelling and engage in community work with Latin@ youth from the greater Puget Sound region. Our community work will provide opportunities to exchange stories and engage youth in crafting and telling their own story.The primary learning goals of the program include: strengthening Spanish-language skills in intermediate to advanced speaking, reading, and writing, furthering an understanding of cultural production in Latin America and its interrelationship with historical contexts; and developing skills in literary and artistic interpretation, critical thinking, analytical and creative writing, community-based learning, and cross-cultural communication. Program activities will include lectures, seminar, writing workshops, a weekly focus on grammatical forms, and screening of films or other media; assignments will include grammatical exercises, class presentations, creative writing exercises, analytical papers, and reflections on community work. The program’s objective is to strengthen your Spanish-language skills through immersion in the various modes of storytelling in Latin America and their relationship with historical contexts. | Catalina Ocampo | Tue Tue Wed Fri Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Trevor Speller and Nancy Koppelman
Signature Required:
Fall
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SOS | JR–SRJunior–Senior | 16 | 16 | Day | F 15 Fall | Are you looking to design and write a research project in history or literature? Are you thinking of a capstone project or senior thesis? This SOS is designed for upper-division students who are ready to take on a long, investigative assignment of 25 pages or more. There will be a mix of independent work, individual attention with faculty, and class time.Before you register, you should have a rough idea of the project you want to complete. Students will be expected to participate in weekly lectures and writing labs. You will learn how to structure your research project, form a timeline, design a prospectus, learn to read academic papers, and prepare an annotated bibliography before you draft, revise, and complete your project. | Trevor Speller Nancy Koppelman | Junior JR Senior SR | Fall | Fall | |||||
Gilda Sheppard and Carl Waluconis
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Program | FR–SRFreshmen–Senior | 8, 16 | 08 16 | Day and Evening | Su 16 Summer | This program will explore the role that movement, visual art, theater, 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. Students may attend either day or evening sessions; first, second or full sessions for 8 or 16 credits accordingly. | Gilda Sheppard Carl Waluconis | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Gilda Sheppard and Carl Waluconis
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Program | FR–SRFreshmen–Senior | 8, 16 | 08 16 | Day and Evening | Su 16 Summer | This program will explore the role that movement, visual art, theater, 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. Students may attend either day or evening sessions; first, second or full sessions for 8 or 16 credits accordingly. | Gilda Sheppard Carl Waluconis | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Naima Lowe, Anne de Marcken (Forbes), Shaw Osha (Flores) and Kathleen Eamon
Signature Required:
Fall Winter Spring
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Program | SO–SRSophomore–Senior | V | V | Day, Evening and Weekend | F 15 Fall | W 16Winter | S 16Spring | This is an opportunity for students to work on faculty-driven scholarly and creative projects. By working with faculty in a studio and research “apprentice” model, students will gain hands-on experience in visual arts studio practices, film/media production practices, the creative writing workshop focused on craft, critical research and writing, library and archival research practices, and much more. (creative writing and digital media) uses creative writing and digital media as methods of narrative inquiry into questions of presence and absence, disappearance and emergence, loss, survival, and memory. Her process-based work results in short stories, personal essays, moving image narratives, sometimes web environments, and often hybrids of these forms. Her current areas of inquiry include climate change, the interactions of place and identity, and the experience of survival. She is presently working on a multimedia narrative installation and a feature film. Students working with Anne will have opportunities to work on one or both of these projects. Depending upon project phase at the time of enrollment as well as individual students’ strengths and interests, activities may include research, installation design and construction, text-based work, and/or audio-video post production. (social and political philosophy, aesthetics, philosophy of art) has interests in German idealism (Kant and Hegel), historical materialism (Marx, 20th-century 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 will 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 will 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. Students are generally best equipped for this option if they have taken at least one full year of studies in Media or Visual Arts in a program such as MediaWorks, NonFiction Media, or its equivalent. (visual art) works in painting, photography, drawing, writing, and video. She explores issues of visual representation, affect as a desire, social relationship, and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw will have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work, and concerns in contemporary art making. | Naima Lowe Anne de Marcken (Forbes) Shaw Osha (Flores) Kathleen Eamon | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Anne de Marcken (Forbes)
Signature Required:
Fall Winter Spring
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Research | SO–SRSophomore–Senior | V | V | Day, Evening and Weekend | F 15 Fall | W 16Winter | S 16Spring | This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. uses creative writing and digital media as methods of narrative inquiry into questions of presence and absence, disappearance and emergence, loss, survival, and memory. Her process-based work results in short stories, personal essays, moving image narratives, sometimes web environments, and often hybrids of these forms. Her current areas of inquiry include climate change, the interactions of place and identity, and the experience of survival. She is presently working on a multimedia narrative installation and a feature film. Students working with Anne will have opportunities to work on one or both of these projects. Depending upon project phase at the time of enrollment as well as individual students’ strengths and interests, activities may include research, installation design and construction, text-based work, and/or audio-video post production. | Anne de Marcken (Forbes) | Sophomore SO Junior JR Senior SR | Fall | Fall Winter Spring | |||
Anne de Marcken (Forbes) and Peter Impara
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | S 16Spring | The shapes of coastlines and glaciers, the migratory paths and distribution of species, the length and character of the seasons…climate change is visible in large and subtle shifts, but still it is hard to grasp and hard to communicate. We will spend spring quarter learning to see, interpret and represent our changing world using computer mapping, spatial analysis and presentation, visual storytelling, web development, creative nonfiction, and crowd-sourced narrative. Students will develop critical, creative, scientific and technical skills as they research, analyze and interpret ecological change through readings and seminars, in writing and computer workshops, and by using the landscape itself as a classroom.This program will emphasize creativity and hands-on learning. Students will spend extended time in the field conducting structured observations, practicing site and landscape analysis and collecting the data and images they will use to shape representations of climate change. There will be two all-program, multi-day field trips: one to study the shrinking glaciers of Mt. Rainier and the other to the Olympic Peninsula coast where sea level rise and warming, increased storm action, and acidification are having dramatic effects on the coastal ecosystem. In both places we will consider the geological, ecological, cultural and economic implications of climate change.These two extended all-program field studies will provide opportunities to practice skills and expand ideas gained in workshop and seminar settings and which will inform ongoing independent work leading to a cumulative web-based project employing maps and images to tell the story of climate change. | Anne de Marcken (Forbes) Peter Impara | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
Gerardo Chin-Leo and Ruth Hayes
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | S 16Spring | In order to provide another entry point for students at all levels interested in animation and marine biology, Visualizing Microbial Seascapes (VMS) will explore the same themes as the fall/winter program did. This is a continuation of the fall/winter VMS program. This program examines marine environments and life from the perspectives of science and the visual and media arts, emphasizing animation. Marine life constitutes a majority of the biomass and diversity of life, and marine microorganisms play major, complex roles in global ecological processes. We will focus on these relationships and how human activity affects them. In the past century, humans have severely impacted Earth’s ecosystems, degrading habitats and over-exploiting natural resources. Some have termed this period of human influence the Anthropocene. We will explore ways that science and art can increase understanding of natural phenomena and human impacts on them, contributing effectively to solving environmental problems. We will learn how artists and marine scientists use close observation, analysis, and integrative thinking to communicate important concepts and values. We will experiment with ways to represent the movements, behaviors, and functions of microorganisms, as well as marine environments' larger structures. Artists routinely find inspiration in scientific findings; students will practice such research-based creative strategies to respond to and represent marine phenomena in drawing and animation.Lectures will present concepts and terms unique to animation and marine biology and include creative works about and inspired by the natural world. Labs, workshops, and field trips will offer experience in marine environments and conceptual and technical skills with which to represent them visually. Through readings, writing assignments and seminar discussions, students will learn how scientists and artists can contribute to understanding complex natural phenomena, raising awareness of and mitigating environmental problems. Students will integrate their learning in polished thematic creative works. | Gerardo Chin-Leo Ruth Hayes | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
Anne de Marcken (Forbes)
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Program | JR–SRJunior–Senior | 16 | 16 | Day | W 16Winter | Participants in this program will engage creative writing—their own and that of published authors—as a nexus for critical and creative inquiry, delving into the content and characteristics that mark the work and words of women writing today in very different voices from different perspectives. What are women saying to us—about themselves, about us, about the world? How do fiction, creative nonfiction, and poetry serve as modes of critical engagement? What can we say in these modes that can’t be said any other way? How do we as readers and writers of any gender or sexual identification listen to what is said by women? How can we respond? How do we speak for ourselves and for others?Program participants will "locate" themselves and their work in a cultural and critical context, and will contribute to the discourse of contemporary writers. We will study and practice the elements of narrative and lyrical discourse through workshops, presentations, seminar, critique and through iterative critical and creative writing assignments. There will be an emphasis on formal hybridity, the relationship between critical and creative thought and practice, as well as on development of a sustaining creative writing practice. Participants will experiment with different ways of engaging their work independently and as a community of artists: developing a daily writing practice, building and participating in an online community, and going away together to the Washington coast for a 4-day writing retreat.Participants will develop two significant creative projects throughout the quarter, and will produce a research project on a woman writer of their choice, using primary creative texts, secondary critical texts, and biographical works to conduct a rich and dimensionally complex investigation.Authors currently being considered for the program reading list include Claudia Rankine, Lidia Yuknavich, Maggie Nelson, Lia Purpura, Anne Carson, Casey Plett and others. | Anne de Marcken (Forbes) | Junior JR Senior SR | Winter | Winter | |||||
Nancy Parkes
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Program | FR–SRFreshmen–Senior | 8, 16 | 08 16 | Evening and Weekend | Su 16 Summer | Fiction! Essays! Non-fiction! Creative non-fiction! Academic writing! Journalism! Poetry! Dive into any of these genres in . This craft-intensive program offers 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. We’ll study stories, essays, a novel, and poems that allow us to study writing strategies. Students will be introduced to close, critical reading practices, and, in short, learn to read like writers. Students may enroll for 8 credits either first or second session, or for the full 16-credit session.In addition to intensive writing and study of the craft, you’ll engage in writing-related activities that explore the creative process and the written word, including weekend day retreats to delve deep into your writing process in the peace and tranquility of Evergreen's Organic Farm. 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, workshops, seminar, and guided critique group opportunities. Classroom work emphasizes the critique process, fine tuning, generating work, close reading, and practices of literary study. Readings will include selection on the craft writing along with examples of brilliant prose, essays, and poetry by diverse contemporary authors.The program schedule is designed for students with jobs and those 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.A unique aspect of the program is strategically-timed weekend retreats. We'll have two full-weekend retreats per session during which we'll meet all day Saturday and Sunday for workshops, walks, sharing work, and discussion. We will also use these times for guest speakers and workshops.Some students will choose to engage in a series of local and regional hikes along with sensory exercises to expand the creative process. These techniques will enable you to engage in and maintain a creative space regardless of what your future holds.Other students will develop varied writing-related group activities to fortify their writing experiences with support from the faculty.*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. | Nancy Parkes | Mon Wed Sat Sun | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Emily Lardner
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | S 16Spring | What's the relationship between language and thinking, or between thinking and writing, and what does that relationship mean for us as writers? The purpose of this course is explore the relationship between writing and thinking, language and thought, and to understand how becoming aware of that relationship can help us become more effective writers, better critical thinkers, and stronger analytical readers. Students in this course will tackle the question of writing and thinking head-on, reading about it, writing about it, and reflecting on their own experiences as writers and thinkers. We'll also examine what it means to "reflect" on our experiences--the role reflection plays in learning. | Emily Lardner | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
Peter Bacho
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Program | FR–SRFreshmen–Senior | 4, 8 | 04 08 | Day | Su 16 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. They will write a flash fiction piece, after which they will convert their piece into a treatment - the precursor to a film script. | Peter Bacho | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Nancy Parkes
Signature Required:
Fall
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | F 15 Fall | The Writing from Life class serves two distinct groups of students -- those planning to earn credit through Prior Learning from Experience, and those who want to build their skills in creative writing. Students will have the chance to kick-start, or accelerate, a college career by documenting professional and/or community-based experience. With significant support, they will learn to write essays that show the "college equivalent learning" they have gained through professional and/or volunteer work in community. Writing from Life is the springboard to this highly supportive learning community, where adults work together to ensure one another's success. Students headed toward PLE will receive significant faculty support, both one-on-one, and in class. We will also focus on academic skills that will help students to succeed in Prior Learning and in other academic courses and programs at Evergreen. Students earn four credits for this course, and may take up to 16 further credits in the Prior Learning from Experience Program. The Prior Learning prerequisite requires an easily-obtained faculty signature. Please attend the academic fair for the quarter you would like to attend (contact Admissions), and/or contact Nancy A. Parkes at . You will also find further information, including a video, at . Finally, The Olympian wrote an article about the program, which you can find at A group of up to eight students will concentrate on autobiography, essays, and writing of choice. They will participate with future Prior Learning from Experience students in reading and seminars on texts and essays, as well as writing workshops. Students in this section don't require a faculty signature to register, but must be highly capable of independent work. | Nancy Parkes | Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall | ||||
Nancy Parkes
Signature Required:
Winter
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | W 16Winter | The Writing from Life class serves two distinct groups of students -- those planning to earn credit through Prior Learning from Experience, and those who want to build their skills in creative writing. Students will have the chance to kick-start, or accelerate, a college career by documenting professional and/or community-based experience. With significant support, they will learn to write essays that show the "college equivalent learning" they have gained through professional and/or volunteer work in community. Writing from Life is the springboard to this highly supportive learning community, where adults work together to ensure one another's success. Students headed toward PLE will receive significant faculty support, both one-on-one, and in class. We will also focus on academic skills that will help students to succeed in Prior Learning and in other academic courses and programs at Evergreen. Students earn four credits for this course, and may take up to 16 further credits in the Prior Learning from Experience Program. The Prior Learning prerequisite requires an easily-obtained faculty signature. Please attend the academic fair for the quarter you would like to attend (contact Admissions), and/or contact Nancy A. Parkes at . You will also find further information, including a video, at . Finally, The Olympian wrote an article about the program, which you can find at A group of up to eight students will concentrate on autobiography, essays, and writing of choice. They will participate with future Prior Learning from Experience students in reading and seminars on texts and essays, as well as writing workshops. Students in this section don't require a faculty signature to register, but must be highly capable of independent work. | Nancy Parkes | Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
Nancy Parkes
Signature Required:
Spring
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Course | FR–SRFreshmen–Senior | 4 | 04 | Evening | S 16Spring | The Writing from Life class serves two distinct groups of students -- those planning to earn credit through Prior Learning from Experience, and those who want to build their skills in creative writing. Students will have the chance to kick-start, or accelerate, a college career by documenting professional and/or community-based experience. With significant support, they will learn to write essays that show the "college equivalent learning" they have gained through professional and/or volunteer work in community. Writing from Life is the springboard to this highly supportive learning community, where adults work together to ensure one another's success. Students headed toward PLE will receive significant faculty support, both one-on-one, and in class. We will also focus on academic skills that will help students to succeed in Prior Learning and in other academic courses and programs at Evergreen. Students earn four credits for this course, and may take up to 16 further credits in the Prior Learning from Experience Program. The Prior Learning prerequisite requires an easily-obtained faculty signature. Please attend the academic fair for the quarter you would like to attend (contact Admissions), and/or contact Nancy A. Parkes at . You will also find further information, including a video, at http://www.evergreen.edu/eveningweekend/ple.htm A group of up to eight students will concentrate on autobiography, essays, and writing of choice. They will participate with future Prior Learning from Experience students in reading and seminars on texts and essays, as well as writing workshops. Students in this section must be highly capable of independent work, and should contact the faculty for a signature. | Nancy Parkes | Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
Thomas Foote
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Program | FR–SRFreshmen–Senior | 16 | 16 | Day | F 15 Fall | W 16Winter | Writers have come to realize that the genre of nonfiction writing can be as colorful and gripping as any piece of fiction. The difference is that nonfiction writers are not burdened with inventing characters, dialogue, plot and description because everything they write about actually happened. Creative nonfiction writers assemble the facts and events and array them artistically and stylistically, using the descriptive techniques of the fiction writer. They immerse themselves in a venue, set about gathering their facts while demonstrating scrupulous accuracy, and then write an account of what happened in their own voice. The Greyhound Bus Company advertised, “getting there is half the fun.” In the genre of creative nonfiction, because the reader already knows how the piece ends before it begins. Students will become proficient with the form through intensive fieldwork, research and writing. We will begin by studying field research methodology in preparation for observational studies in the field designed to teach the difference between looking and truly seeing. Students can’t write and describe something they can’t see clearly. Betty Edwards in writes, “drawing is not really very difficult. Seeing is the problem, or, to be more specific, shifting to a particular way of seeing.” Edwards teaches that if you could it, you could draw it. Students in this program will do a lot of looking with the goal of eventually seeing what they’re looking at. Like documentary filmmakers, we will pay particular attention to visual metaphor. Students will conduct field research to learn to pay attention to detail, read and discuss representative examples of the form, and meet weekly in regularly scheduled writing workshop. Following a period of redrafting and corrections, students will present their final piece to the group in the last week of fall quarter. They will submit this polished piece for publication in a magazine or journal. We will read and discuss creative nonfiction pieces written by noted authors. A partial book list includes by John Krakauer, by Sebastian Junger, by John Berendt, and by Barbara Myerhoff. Other readings will be added. In winter quarter, we will continue our study of creative nonfiction and sharpen our sensitivity to literary techniques through reading and discussing representative pieces by noted authors such as Susan Orlean and Mitch Albom. Students will spend much of their time working on their individual major nonfiction narrative. This form allows the use of first-person narration, demands careful attention to detail, and requires the writer to be immersed in a subject area over an extended period of time. Students will immerse themselves in a venue of their choice, subject to approval by the faculty, which will provide the subject matter for their narrative. We will also use the ethnographic field research techniques of analysis and interpretation to add depth to the narrative. Following a period of redrafting and corrections, students will polish the final piece and send it out for publication. | creative writing, creative nonfiction, the humanities, and journalism. | Thomas Foote | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
Sara Huntington
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Program | FR–SRFreshmen–Senior | 4, 8 | 04 08 | Day | Su 16 Summer | Starting with sentences, students will learn how to write and revise clearly and eloquently. Our work will be guided by the idea of audience, the view of writing as a persuasive act, and an understanding of style as the range of choices available in different rhetorical contexts. Whether you’re a field biologist, social scientist, novelist or neophyte, your writing will be enlivened by the principles of storytelling and by practices that create sentences—and paragraphs—with shape and force. Students will attend lectures and participate in workshops, tutorials, and individualized assignments Students registered for 8 credits will earn the additional credit by doing independent writing projects. | Sara Huntington | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
Alexis Wolf
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Course | FR–SRFreshmen–Senior | 4 | 04 | Day and Evening | Su 16 Session II Summer | This course will look at the shifting experience of women during the 18th, 19th & early 20th centuries through the lens of American and British autobiographical, poetic, political and fictional literature. How did women's writing shape gender equality at various points in history? Can early feminist works offer blueprints for personal empowerment today? By reading and discussing the writing of Mary Wollstonecraft, Charlotte Brontë, Margaret Fuller, Virginia Woolf, and others, we will examine how women represented their own lives through creative means in an effort to make their voices heard. Whether subtle or revolutionary, these texts still speak with an urgency that is relevant to the contemporary gender issues influencing our lives. Students will engage with the course themes through a responsive journal, working towards a final creative, interdisciplinary, or scholarly project. | Alexis Wolf | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer |