2015–16 Undergraduate Index A–Z
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|Title||Offering||Standing||Credits||Credits||When||F||W||S||Su||Description||Preparatory||Faculty||Days||Multiple Standings||Start Quarters||Open Quarters|
|Program||SO–SRSophomore–Senior||16||16||Day||F 15 Fall||The Pacific Northwest (PNW) supports one of the world's most diverse assortments of bryophytes and lichens. Bryophytes (mosses, liverworts and hornworts) are the earliest land plants. Lichens, are not plants at all- they are a diverse group of symbiotic organisms composed of a fungal partner with an algae and/or cyanobacteria. Together, bryophytes and lichens occur on nearly every continent and ecosystem in the world and are among the most sensitive indicators of environmental change. In the ecosystems where they occur they work to stabilize soils, reduce water and nutrient run-off and provide habitat and nesting material for invertebrates and vertebrates. Moreover, lichens and mosses represent ~30% of the world’s eukaryotic biological N-fixation and peat-moss alone stores nearly 33% of all global terrestrial carbon.This upper-division science program focuses on bryophytes and lichens- their taxonomy, ecology and biology. Field trips will emphasize life history of these species as well as the sight recognition of major groups and proper collection methods. Lab activities will involve identifying collected specimens to species using dichotomous keys and developing proficiency in techniques for the identification of mosses and lichens, such as thin-layer chromatography and chemical thallus testing for lichens, dissection and slide-making techniques and use of compound and dissecting microscopes. Many of these lab skills can be applied broadly to other taxonomic groups of plants and fungi. Lectures and seminars will focus on readings from bryology and lichen textbooks as well as a variety of essays and scientific papers relating to the evolution, systematics and ecology of these taxa. Students will conduct quarter-long group research projects, which may include herbaria-based taxonomic studies and field-based floristic studies.||Lalita Calabria||Mon Mon Tue Tue Wed Thu||Sophomore SO Junior JR Senior SR||Fall||Fall|
Miranda Mellis, Peter Bohmer and Elizabeth Williamson
|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|
|Course||FR–JRFreshmen–Junior||4||04||Evening||F 15 Fall||Lester Krupp||Thu||Freshmen FR Sophomore SO Junior JR||Fall||Fall|
Stephanie Kozick and Tomoko Hirai Ulmer
|Program||FR–SOFreshmen–Sophomore||12, 16||12 16||Day||F 15 Fall||W 16Winter||This two-quarter Japanese studies program examines various Japanese art forms and how their essence was appropriated in Western culture. The ancient culture of Japan fashioned a multitude of impressions in American minds as the United States developed close economic and political relationships with Japan. This program’s curriculum incorporates Japanese literature, cinema and arts as well as comparative analyses of representations or “appropriations” of Japanese culture produced by non-Japanese writers, filmmakers, and artists. In the fall quarter we will focus on the study of Japanese literature and aesthetics. The literary and artistic works we will examine include: and from the 11 century Heian court, 16 -century tea gardens, 18 -century woodblock prints (which inspired the French Impressionist), and contemporary writers such as Murakami Haruki, Yohsimoto Banana along with artists, Isamu Noguchi and Yayoi Kusama. The films we will examine include works by Kurosawa Akira, Ozu Yasujiro and Miyazaki Hayao. In the winter quarter we will shift our focus to comparative studies, examining cultural assumptions and representations made by Western writers and artists as they appropriated elements of Japanese culture. We will study different images of Japan represented in the writing of Donald Richie and Pico Iyer, films by Doris Dörrie and Sophia Coppolla, and Impressionist art. By doing so, we will contrast perspectives from both Japan and the West, creating a format for observation, discussion and inquiry.Students may enroll for 12 credits and take an additional 4-credit Japanese language class taught by Tomoko Ulmer through Evening and Weekend Studies. Taking a Japanese class along with this program provides valuable insights into Japanese culture because of the remarkably image-oriented nature of the language.||Stephanie Kozick Tomoko Hirai Ulmer||Mon Wed Thu||Freshmen FR Sophomore SO||Fall||Fall Winter|
Jennifer Martinez, Mario Gadea and Lydia McKinstry
Signature Required: Winter Spring
|Program||FR–SRFreshmen–Senior||16||16||Day||F 15 Fall||W 16Winter||S 16Spring||This introductory-level program is designed for students who are prepared to take their first year of college-level science using an interdisciplinary framework. This program offers an integrated study of biology, chemistry, and physics that serves as an introduction to the concepts, theories, and structures which underlie the natural sciences. The goal is to equip students with the conceptual, methodological, and quantitative tools they need to ask and answer questions in a variety of disciplines using the models and tools of chemistry, physics and biology. Students will also gain a strong appreciation of the interconnectedness of physical, biological and chemical systems, and an ability to apply this knowledge to complex problems.Program activities will include lectures and small-group problem-solving workshops, where conceptual and technical skills will be developed. There will be a significant laboratory component: students can expect to spend at least a full day in lab each week, maintain laboratory notebooks, write formal laboratory reports, and give formal presentations of their work. Biology laboratories in this program will include participation in the SEA-PHAGE program coordinated by the Howard Hughes Medical Institute and the use of bioinformatics tools on a bacteriophage genome. We will make extensive use of quantitative applications in all program activities.All laboratory work and approximately one-half of the non-lecture time will be spent working in collaborative problem-solving groups. It will be a rigorous program, requiring a serious commitment of time and effort. Overall, we expect students to end the program in the spring with a solid working knowledge of scientific and quantitative concepts and the ability to reason critically and solve problems.Students completing this program will have covered material equivalent to one year of general biology with laboratory, one year of general chemistry with laboratory, and two quarters of algebra-based physics with laboratory. Successful students will be prepared to pursue upper-division work in chemistry, biology, and environmental science.||Jennifer Martinez Mario Gadea Lydia McKinstry||Mon Mon Tue Tue Wed Wed Thu Thu Thu||Freshmen FR Sophomore SO Junior JR Senior SR||Fall||Fall Winter Spring|
Patricia Krafcik, Michael Buse and Carrie M. Margolin
|Program||FR ONLYFreshmen Only||16||16||Day||F 15 Fall||W 16Winter||What is creativity? Is there a relationship between states of mind and a fertile imagination? What are the psychological mechanisms involved in the larger action of the human imagination, urging us to explore new avenues, to see what others have not seen, to create what no one has yet created? Many of the world's greatest writers, artists, and thinkers have been known to struggle with conditions classified as abnormal by psychologists. We will explore these conditions and their impact on creativity, searching further for any special links between certain kinds of abnormal psychological conditions and the drive to create. We will also study the normal mind and how it functions in both mundane and creative ways.Our interdisciplinary program is not intended to serve as therapy, but rather is a serious study of psychology, literature, the arts, imagination, and the creative impulse. We will approach our questions through various modes of inquiry. Through an in-depth study of abnormal psychology, we will learn to identify and understand a number of conditions. Many of our readings combine art theory with purely scientific psychological case studies by writers such as Sacks and Ramachandran. We will read several selections of imaginative literature by Gogol, Dostoevsky, Poe, Kafka, Plath, Gilman, and other writers describing abnormal psychological conditions. In addition, we will view and study a number of films which reflect incredible creative potential.We will respond to our readings and films by channeling the imagination with a variety of creative projects. In both quarters of our program, students will discuss assigned readings and films in seminars, engage in active writing exercises, and develop projects designed to explore and stimulate creativity. Assignments will include essays, poster projects, and other creative activities. Students will also work in small groups to make two short films, one each quarter, and will film and edit them on home equipment (cell phones, home camcorders, and home computers). Guest speakers will provide additional workshops and lectures in various artistic modalities. We will take field trips to the Tacoma Art Museum and the Museum of Glass, and our work overall will prepare students to undertake a culminating project in winter term. In all our activities, students will have ample opportunities to explore their own creativity and imagination.||Patricia Krafcik Michael Buse Carrie M. Margolin||Tue Tue Wed Wed Thu Thu||Freshmen FR||Fall||Fall Winter|
Ruth Hayes and Gerardo Chin-Leo
|Program||FR–SOFreshmen–Sophomore||16||16||Day||F 15 Fall||W 16Winter||This program will examine 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 scientists 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 the larger structures of marine environments. Artists routinely base their works on scientific findings; students will practice such research-based creative strategies to respond to and represent marine phenomena in their drawings and animation.Students will explore how marine sciences and visual arts inform each other. Lectures will present concepts and terms unique to each discipline 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 in drawing and animation. 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.In fall quarter, we examine ecosystems such as estuaries, intertidal zones, and the deep sea, taking an ecological perspective and emphasizing the role of microorganisms in these habitats. Students will learn drawing and animation skills as they explore how to represent microorganisms and their activities in small- and large-scale environments. In winter, we shift focus to the diversity of marine life and how organisms have adapted to environmental changes. Students will pursue more ambitious approaches to creative representations of marine life, environments, and the challenges they face. A multi-day field trip to the Friday Harbor Marine Labs will provide hands-on experience and inspiration for students' creative projects. Both quarters, we will join with other programs in common activities focused on issues related to the Anthropocene.||Ruth Hayes Gerardo Chin-Leo||Freshmen FR Sophomore SO||Fall||Fall Winter|
|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|