Records Book | 2014-2015 by University of Idaho: Honors Leadership Council

HLC Members Mickinzie Johnson, President Katie Vandenberg, Vice-President Jennifer Downen, Secretary Emily Gehlken, Treasurer Krista Stanley, Historian, Public Relations Officer, Looking Glass Liaison Nicole Carter Alyssa Ertel Karina Eyre Jesse Jutson Lauren Kees Calvin Miller Sam Roberts

UHP Faculty and Staff Alton Campbell, Director Holly LaHann, Honors Program Coordinator, Distinguished Scholarships Coordinator Chris Price, Management Assistant

able of ontents

How to Receive Funding 4 Registered Student Organization Benefits & Services 5 Bylaw Overview 6 Constitution 8 Name and Purpose 9 Membership/ Members 9 Officers 12 Meetings 13 The Looking Glass 14 Amendments 15 Minutes 16 8/26/2014 17 9/7/2014 19 9/15/2014 22 9/22/2014 23 10/27/2014 24 11/10/2014 25 11/17/2014 27 1/14/2015 28 1/19/2015 30 2/23/2015 32 3/9/2015 33 3/30/2015 34 4/6/2015 35 4/20/2015 36

The Looking Glass 38 Fall 2014 39 Spring 2015 82 Courses 116 Fall Desired 117 Spring Desired 118 Events 120 Food Bank 121 Fundraiser Cleanups 122 Blood Drive 123 Harry Potter Night 124 Paint the Palouse 131 Open Mic Night 132 T-Shirts 135 Bonfire 139 Archimedesâ&#x20AC;&#x2122; Ball 140 Jazz Fest 142 Momsâ&#x20AC;&#x2122; Weekend Hike 143 Honors Conference 144 Relay for Life 145 Swim Night 146 Other 148 Honors Mentoring Program 149 Honors Thesis 152

onstitution

inutes

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L lass G

The Looking Glass Description: The Looking Glass is a publication of the University of Idaho Honors program, showcasing both creative and academic work by UI honors students, including poetry, stories, essays, research papers, photos, drawings paintings and more. The spring 2015 edition of the Looking Glass is available at http://issuu.com/honors_lookingglass/docs/spring_2015_looking_glass. Advertising: A call for committee members was sent out over email to all UHP students, with a special email sent out to those members that had been on the committee the previous semester. A call for submissions was sent out over email to all UHP students, posted to the honors program Facebook page, and put up posters in Scholars, McCoy, and the honors program office. **More word of mouth advertising would be helpful in the future. Committee: Krista Stanley, editor‐in‐chief, design editor (stan9468@vandals.uidaho.edu) Alyssa Baugh, content editor (baug7691@vandals.uidaho.edu) Taylor Kowalski, content editor, fiction head editor (kowa1216@vandals.uidaho.edu) Elizabeth Miller, content editor, poetry head editor (mill1029@vandals.uidaho.edu) Allison Simmons, content editor (simm9367@vandals.uidaho.edu) Hailey Smith, content editor (smit1049@vandals.uidaho.edu) Amanda Vu, content editor, nonfiction head editor (vu4449@vandals.uidaho.edu) Linnea Worley, content editor (worl8449@vandals.uidaho.edu) We held weekly meetings on Sundays at 4pm in the honors lounge to go over content and necessary production steps. (A doodle poll was used to determine meeting time.) Submissions: We received 16 submissions from 10 different people. -

8 photos 1 memoir 1 research paper 3 poems 3 graphic illustrations

* This semester, the Looking Glass committee developed a set of twelve specific rules and regulations to serve as guidelines for submission. Production: All submitted work was included in the final publication. Every piece was reviewed by all committee members, using the following guidelines: 1. Proofread content. Check for typos, punctuation mistakes, minor grammatical mistakes, misspellings, etc. These are minor things more in the typo‐type category that we can correct without author permission. 2. Check for any major issues with a piece. If we have any major edits, we will need to return the submission to the author to do the editing. It is their name that will appear on the work. Thus, it is ultimately up to them how they want to present their work. 3. Review content for professional nature. This is a publication of the University of Idaho honors program and anything published in it will reflect on the program. We want to be as open as possible with what we publish, but we need to still be aware of the impact it may have. 4. Anything else? Do you have any other comments or suggestions on the submission? Is there something you really like about it? Something you don't like? It would be great to hear these things too! All design was done by Krista Stanley, using Adobe InDesign software. Publication: The magazine was published online for free using issuu (http://issuu.com/honors_lookingglass) and made available to all honors students through email and the honors program Facebook page. From May 6, 2015 to May 23, 2015, the online version of the Looking Glass received 80 reads and 177 impressions. The average reading time was 2:38 for a total reading time of 3:31:47. In addition, 29 hard copies of the publication were printed through SpinnPrint (http://www.spinnprint.net/) for $132.49. Eight of these copies were for the Honors Program (1 for framing, 3 for the honors lounge, 2 for Scholars, 2 for McCoy). The remaining 21 copies were sold to individuals for $5 each, totaling $105. Therefore, HLC spent $27.49 on the production of the Looking Glass.

The Looking Glass: Rules and Regulations University of Idaho Honors Program Spring 2015 1. All submissions should be submitted via email to Krista Stanley at stan9468@vandals.uidaho.edu. 2. Please include, your name, email, major, expected graduation year, and the title of your piece with your submission. Titles are required for all submissions. 3. All submissions must be original work. 4. No more than three submissions in any category will be accepted. 5. Please submit your most polished work. 6. Please note that submission does not guarantee publication.

Short Stories, Essays, and Research Papers 7. Short stories, essays, and research papers must be no more than 3000 words. 8. Please send submissions as a Microsoft Word document, formatted in an easy to read font. 9. Research papers must include a reference list. Label this â&#x20AC;?Works Cited.â&#x20AC;?

Poetry 10. Poetry must be no more than 50 lines. 11. Please send submissions as a Microsoft Word document, formatted in an easy to read font.

Photography and Artwork 12. Please send submissions as a JPEG or TIF file with a resolution of at least 150 ppi.

Volume 11, Issue 2

An Academic and Creative Publication of the University of Idaho Honors Program

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LOOKING GLASS Spring 2015

A NOTE FROM THE EDITOR

Honors students are talented across all disciplines, in many fun and surprising ways. The University of Idaho Honors Program publishes The Looking Glass every year as a chance to showcase some of that creative and academic talent. I would like to extend a personal thank you to all those who submitted work this year. It wouldnâ&#x20AC;&#x2122;t be possible without you. We are so excited to publish and feature such amazing talent. I would also like to thank our amazing team of editors who donated their time and effort into making this publication what it is today. And, another thanks to the University Honors Program and the Honors Leadership Council for supporting us along the way. I hope you enjoy reading this issue of The Looking Glass as much as we enjoyed creating it. â&#x20AC;&#x201D;Krista Stanley

the

LOOKING GLASS

University of Idaho Honors Leadership Council The Looking Glass P.O. Box 442533 Moscow, ID 83844-2533 uhp-hlc@uidaho.edu

Volume 11, Issue 2 The Looking Glass is a literary publication of the University of Idaho Honors Program, featuring creative and academic works submitted by students. A digital copy of the publication can be found at: http://issuu.com/honors_lookingglass The works published have been reviewed by the Looking Glass editorial staff and printed primarily in their original, unedited form. The viewpoints expressed are those of the individual authors and do not necessarily reflect those of The Looking Glass, its editors or the University of Idaho Honors Program Every effort has been to reduce errors in this publication. However, the Looking Glass will not be held responsible for any errors that do exist, from human negligence or otherwise. Any questions or concerns should be directed to the University of Idaho Honors Leadership Council.

An Academic and Creative Publication of the University of Idaho Honors Program

the

LOOKING GLASS TABLE OF CONTENTS

Editor-in-Chief: Krista Stanley Nonction Head Editor: Amanda Vu Fiction Head Editor: Taylor Kowalski Poetry Head Editor: Elizabeth Miller Content Editors: Alyssa Baugh, Taylor Kowalski, Elizabeth Miller, Allison Simmons, Hailey Smith, Amanda Vu, Linnea Worley Design Editor: Krista Stanley Cover Art: “Dressed for Dinner” by Autumn Pratt

Strings by Nicole Moeckli My House of the Rising Sun by Lindsie Kiebert The Quiet by Elizabeth Miller Sissinghurst in Summer by Alyssa Hudson Summertime Fawn by Jennifer Hunt The Mango Tree by Zachary Lien Wind Elemental by Nicole Moeckli Piazza Del Popolo Obelisk by Alyssa Hudson The 71 Billion Dollar Gap by Christopher Goes The Walk to School by Ben Bridges Outside Living by Alyssa Hudson What a Gardener Knows by Linnea Worley I See an Elephant by Ben Bridges Creature Concept by Nicole Moeckli Spring Break by Ben Bridges About the Honors Program

4 5 7 8 10 11 12 14 16 18 20 22 23 24 25 26

Spring 2015 | 3

STRINGS

nicole moeckli

MY HOUSE OF THE RISING SUN

lyndsie kiebert

At nine years old it occurred to me that it might be strange that my family gathered around a piano at the end of every social gathering, and it wasn’t until twelve that I realized it was even stranger that we passed around handmade lyric booklets with a list of contents ranging from “American Pie” to “Big Rock Candy Mountain” to “The Weight.” I was fourteen before I realized my cousin Jensen wasn’t really my cousin at all, and when I was eighteen I asked him how long it took him to realize the same about me. “See, it was different for me, because I thought you were my sister,” he said. “I mean, I knew you didn’t live with us and that was weird because most of my friends lived with their sisters, so I asked my mom. And when she said I only loved you like a sister, and you weren’t really my sister… Yeah that was a weird day.” We were sitting with my sister Leslie in folding chairs on the dimly lit lawn, barely twenty feet from the porch where Jensen had pilfered a can of Pabst Blue Ribbon just minutes before. The three of us passed it back and forth, the warm, putrid fizz in our mouths making us feel just the slightest bit rebellious. The porch light cast shadows across the grass – tables full of empty potluck dishes, a child’s toy lawnmower tipped onto its side, folding chairs in haphazard circles – all remnants of another successful August party at Jonny and Connie’s mountain home. Jonny and Connie were not my grandparents, but this I didn’t realize until about 3rd grade. Muffled but still audible was the jubilant party continuing inside, away from the mosquitos, the summer’s nighttime chill, and us teenagers with our pathetically defiant beer. We could hear laughter intermingled with conversation, our younger not-so-cousins thundering up and down the basement stairs, and Jensen’s father shouting in his happy way, encouraging someone to drink or dance or join him behind Connie as she sat poised at her piano, flipping through pages and pages of possible tunes, her unfailingly neat silver hair flowing down her strong back. Suddenly there would be a collective hush, and even from out in the yard we knew what was about to happen. I thought back to a photo of all of us “cousins” – my sisters and I, Jensen, his little brother Mathis, Uncle JP’s kids Collin and Riley, and several others – squished against one another on the rich wooden piano bench, some of us falling off while others climbed toward the keys to avoid the impending rug burns of a tumble onto the floor. I still remember how powerful the keys sounded to my small ears back then; how mysterious it was that when I touched the keys they made nothing but arbitrary sounds, but when Connie touched them they made pure magic. Now, the three of us too big to even consider sharing the bench, we remained silent, holding our breath in anticipation of what song Connie had chosen. The notes did a familiar rise and fall, and through the summer air came the voices of our massive patchwork of family singing, “Celia, you're breaking my heart; you're shaking my confidence

Spring 2015 | 5

daily.” It wasn’t until age fifteen that I knew it was originally a Simon and Garfunkel song. I’d always requested it because of a memory of my dad saying it was his favorite. I sipped the Pabst slowly, remembering all over again why I hated the bitter liquid, and passed it to Leslie. “I wonder if our kids will get to come to Jonny and Connie’s and sing,” Jensen pondered while glancing toward the house. I could see my mom through the large windows, rocking back and forth while clapping and throwing her head back at the beginning of every new verse. “I don’t know. What do you say Les? Do you think you and Jensen’s kids will get to come to Jonny and Connie’s parties?” I raised an eyebrow, always so proud of instances when I could tease Leslie and Jensen about the crush they had on one another. When I was six I officiated their wedding, unaware of both the fact that I was not an authorized justice of the peace and also that cousins don’t traditionally marry each other. Nevertheless, the two four-year-olds kissed and I never let them forget it. “Ha. You’re hilarious,” Leslie said while taking a blind swing at my shoulder. She then leaned back and absentmindedly played with her hair in contemplation. “I hope my kids get to come here. I couldn’t imagine growing up any other way.” We let her sentence rest between us, like the warm beer and the muffled singing voices. It wasn’t long before “Cecilia” was over and there was applause, complete with hooting and hollering from makeshift aunts and improvised uncles. It wasn’t our lack for blood relatives that had resulted in this web of a family. I knew in some convoluted way that Jonny was my grandfather’s cousin and therefore his kids’ kids were my cousins, and somewhere along the line Jensen’s great grandmother married Jonny’s uncle or something, but none of that mattered. Leslie was right. I couldn’t imagine growing up any other way. “Hey you hooligans!” my sort-of Aunt Julie shouted gleefully from the porch. Jensen stealthily set the mostly full beer can behind his feet, out of view. As rebellious as we felt, three-quarters of the beverage still remained. A secret, shared beer was more enjoyable in theory than in practice. We all turned to Julie, and she said, “It’s time for the last song!” We abandoned our lawn chairs and rushed toward the porch, clamoring up the sturdy wooden stairs and into the crowded living room. There was an unspoken code that everyone had to sing the last song, and the last song never changed. It was “House of the Rising Sun” by the Animals, but again, I’d always seen the original artist as Connie with the accompaniment of the most familiar singing voices in my life. As an 8th grader I told a friend about my family’s song. “Isn’t that song about a whore house?” she’d scoffed. I’d

then spent the day running through the lyrics in my head, completely baffled at the thought. My family loves that song, I thought. How have I been singing a song about prostitutes since I was four? I didn’t let it bother me for long. The words had never really been words anyway – they were notes and hand gestures, beautiful piano riffs and gleeful shouts between stanzas. At eighteen years old, the opening notes held the same weight they had back when we could all fit side-by-side on the bench. Back when I had the power to join Jensen and Leslie in holy matrimony. Back when I learned the lyrics without consciously memorizing them. At eighteen I felt the notes rise and fall within me, and I sang the opening lines with a new conviction. “There is a house in New Orleans, they call the rising sun…” It’s the same every time. Rather than “it’s been the ruin of many a poor boy”, Jensen’s grandmother always makes a point to say “girl.” I usually join her in doing so. When we sing it on New Year’s Eve it’s always at midnight. I have a mental slideshow of my parents kissing as the clock strikes twelve, an embrace with a consistent soundtrack. Connie sways with the music, glancing at the notes only briefly, each one of them flowing from her heart to her fingers. Jonny always stands behind her, his arms raised as if conducting a large choir, which I guess he is. I never questioned why this became our song. It seemed as obvious as the August mosquitos, or the fact that I’d never like the taste of Pabst Blue Ribbon. The House of the Rising Sun was our song. It was far from conventional, but so was our family. My dad walked up and tickled my ribs as the song came to a close. I grabbed his prodding hand and wrapped his arm around my shoulders, then hugged him sideways. “Dad, isn’t that song about a whore house?” I inquired. “Huh, yeah I guess,” he said with a smile. “Why?” “It’s just funny I guess,” I responded. My dad started bidding everyone goodbye with handshakes and hugs. I walked onto the back porch and sat down next to Jensen on the steps. They led to Connie’s prized garden, complete with a granite fountain crafted by Jensen’s grandpa and a small vineyard in the form of an arching tunnel. It was beneath those grape vines that I’d told Jensen to kiss his bride twelve years before. Rows upon rows of tomatoes and dahlias sat luscious and proud. I could barely make them out in the dark but I had every bud and stem vaguely engrained in my mind. “How are we related again?” I asked, taking my eyes off the moonlit silhouette of the dark mountains to see Jensen smiling in his goofy way with his mouth slightly open and his eyes closed in slits. “You’re my sister,” he said.

“when I was six I ofciated their wedding”

6|The Looking Glass

THE QUIET

elizabeth miller In the end it wasn’t fire. Like the kind that burned a shirtwaist factory in New York City in 191l, skin and cloth turning to ash beside a law library. It wasn’t ice either. Like the piece that gouged a new deck into Titanic and the sea wind howled frost into blood soaked veins. It wasn’t even the sun exploding, obliterating its tiny rock attendants in a fit of rage that accomplished nothing. It was the soft, quiet shift in the fabric of the black that humans called the sky. It knocked the stars sideways and tilted gravity, leaving life with no north star and no sun either, so that the universe withered away in light that was not gone but was not enough.

Spring 2015 | 7

SISSINGHURST IN SUMMER alyssa hudson

SUMMER TIME FAWN

jennifer hunt

THE MANGO TREE

zachary lien

At the edge of the cliff, over The green, you can find me, A humble, young branch growing in The old apricot tree.

Alone and unbegot, I bear A storm, without support; While fellow branches of the tree Wish death upon my sort.

There is a sense of excitement In the life of a shoot, Awaiting the day you are grown And able to bear fruit.

I turn from anguish, to the tree; My final sliver tears. My final image of my home Are their forsaking stares.

At night, every branch dreams of My perfect apricot. They want me to produce, like them, And become what I ought.

Falling past the sharp-edged cliff, with Nothing to intervene, I cut through the air and collide With unfamiliar green.

And ‘tis this fateful morn that I Feel a suspicious weight. I breathe, but I fear that moving Would merely desecrate.

Covered by darkness, I awake To a faint, dismal sight. My mango, which caused all of this, Did not survive the fight.

I conquer paralysis to Eventually see, Not an apricot, but rather, A mango stems from me.

I lay as a broken young branch Left only to lament. For nothing came of the mango, That only brought torment.

Lost in shock and anxiety And utter confusion, I spray all curses I can at The mango’s intrusion.

But, somehow, beyond my pieces Scattered across the earth, I see hope in the form of a seed That will one day give birth.

And, soon, the other branches wake To hear my cries of shame. I cry because I know I will Bear both burden and blame.

Speechless, I find happiness in The future that I see. Animals resting, birds nesting, In an old mango tree.

I hear their rumors and their fears; I accept, and I know. ‘Tis not the nature of nature To let difference grow.

‘Tis not the nature of nature To let difference grow, But, sometimes, good things are made from The pain we undergo.

And in their panic, they decide, With no need to discuss,

For bearing evil fruit, young branch, You are now dead to us. And so, they devise their plan to Stop me, before I spread. They will simply not protect me, From storms that are ahead.

Spring 2015 | 11

WIND ELEMENTAL

nicole moeckli

PIAZZA DEL POPOLO OBELISK

alyssa hudson

THE 71 BILLION DOLLAR GAP

christopher goes

WHY WE SHOULD BE TAXING RELIGIOUS INSTITUTIONS

Day after day, we hear about massive budget cuts, deficits, and a general lack of money in the federal, state, and local budgets. Look at our federal government, with the current deficit of $601 billion as of this year, according to the Congressional Budget Office. Look at Florida, with its $1.75 billion cuts to education, according to the Palm Beach Post. Where is the missing money, and how could we fix these major issues without imposing more taxes on an already stressed economy? The answers, unfortunately, are found in the tax-exempt religious institutions across the country. In this paper, I hope to show not only how much money is lost on religious institutions through tax breaks and subsidies, but also argue for these measures to be repealed to be fair for all Americans, religious or not.

16|The Looking Glass

THE TAX-EXEMPTION: WHY IS IT THIS WAY? According to U.S Tax Code 501(c), organizations in section (c) are tax exempt, including those listed in the following excerpt: “...operated exclusively for religious, charitable, scientific...purposes....no part of the net earnings of which insures to the benefit of any private shareholder or individual, no substantial part of the activities of which is carrying on propaganda, or otherwise attempting, to influence legislation...intervene in (including the publishing or distributing of statements), any political campaign on behalf of (or in opposition to) any candidate for public office.” This statement, along with other provisions in the U.S. Tax Code, establishes the means for religious institutions to be exempt from ALL taxes simply by virtue of being a religious organization, provided the activity of this institution does not involve personal benefit, propaganda campaigns, or influencing legislation or political campaigns. Religious institutions include churches, faith-groups, religionrelated organizations such as the Secular Student Alliance, and other such groups. As we will see, these institutions don’t always have the taxpayer’s best interests in mind. ABUSE OF THE EXEMPTION In their comprehensive article in Free Inquiry, Cragun, Yeager, and Vega provide a theoretical, but certainly possible, example of how tax exemptions can be abused. “In our discussions while investigating the subsidies to religion, we realized that religions would be the ideal way to launder money if you were engaged in an illegal enterprise. Hypothetically, the leader of a drug cartel could have one of his lieutenants start a church and file for tax-exempt status. Once granted, money from the sale of drugs could then be donated to the religion, which could use the funds to build extravagant buildings (including a “parsonage”), host extravagant “services,” (a.k.a. parties) for members of the religion, and pay extravagant salaries to its ministers

(including the leader of the cartel). Drug money could be laundered through the church’s bank accounts with little risk of being caught by authorities. If drug cartels and the Mafia aren’t already doing this, we’d be surprised” (41-42 ). This should sound like a outrageous theoretical argument by academics. Unfortunately, this type of abuse is already happening. Religious institutions, unlike charities, do not need to provide proof of services to receive tax-exempt status. Just being a religion is enough for the Internal Revenue Service (IRS), who do not want to violate First Amendment rights to free exercise of religion. One example of this are “mail-order ministries”. In an article on the matter of these “mail-order ministries”, Bruce Casino lays out what is happening: Recently, numerous taxpayers have attempted to avoid all, or a substantial portion, of their federal taxes by establishing a mail-order church or ministry. Such ministries typically are formed by an individual or group of individuals who subsequently assign all or a substantial portion of their assets and income to the organization. Members take a “vow of poverty” but retain control of all church funds and property. The church’s revenue is used to pay members’ living expenses, including food, automobiles and housing, while the income assigned to the church is claimed as a charitable deduction on members’ federal income tax returns. The church building is usually the residence of the minister, the congregation is usually his or her family, and religious activities are few, if any. The minister often purchases credentials and a church charter through the mails from a tax-exempt organization. Thus, the common appellation for these organizations-- “mail-order ministries.”(113). This is a systemic problem, as his article goes on to show, resulting in numerous tax fraud cases and a loss of tax revenue for the IRS.

heart’s content, regardless of the fact that they are receiving taxpayer’s money, albeit indirectly. According to Doerr and Menendez, certain private schools used textbook material that is not only blatantly false, but swayed to a very specific religious viewpoint. The textbooks used by these schools are bigoted, spew hatred of other religions, and present a very skewed world view to young children. While their argument was whether taxpayer dollars should support this bigotry through a voucher system, the same argument can be applied to schools run by religious institutions (165-167). Taxpayer money should not support, even indirectly, institutions that often teach bigotry and pseudoscience in schools open only to a select few. The other facet of this problem is the massive amount of tax dollars sequestered away in this stateside “tax haven.” According to Cragun, Yeager, and Vera, it is estimated that $35.3 billion is lost in federal income tax revenue, $6.1 billion in state income tax, and a staggering $26.2 billion in state property taxes (44). This is a huge amount of money being lost not only at both the state and federal level, especially at a time when both state and federal governments are suffering cuts. Additionally, $1.2 billion is lost to parsonage, or tax breaks for “self-employed” ministers (44). This parsonage break is the most interesting, as it allows ministers to take a large cut out of their income taxes for “living arrangements.” This is usually small, but can range up to the tens of thousands of dollars for a single individual minister. Finally, there is the $2.2 billion received by religious institutions through the “Faith-Based Initiatives Subsidy.” (44) This is a Bush-era federal grant, providing direct government resources to religious institutions and community organizations with the intent of helping the community. With religious institutions, this may not be the case. Mariellen Jewers brings up a good point as well: “...it is vital to consider whether any multi-billion dollar operation, religious or otherwise, should enjoy sweeping tax exemptions on their assets. What exactly does the tax exemption promote if an organization already has more than enough money to run its activities from individual contributions?” In all honesty, why do religious institutions that have multiple streams of income need large tax breaks? All it leads to, in the opinion of Cragun, is a form of “life support” for dying religions, keeping them afloat far past the time they would’ve closed down (44). Why should taxpayer dollars be used to keep afloat a private organization that, quite honestly, does not benefit the majority of those who pay for it in the slightest?

“Religious institutions, unlike charities, do not need proof of services to receive tax-exempt status.”

$71 BILLION: WHY THE EXEMPTIONS SHOULD BE REMOVED There are two main reasons the exemptions should be removed: (1) We do not know what the money is supporting; and (2) It will free up a huge amount of money to help revive sagging state and federal budgets. While religious institutions are required to keep records, the length and detail of those records is not established by the IRS. Additionally, the institutions are allowed free reign as organizations to discriminate against people to their

Spring 2015 | 17

CONCLUSION

WORKS CITED “26 USC 501 – Exemption from Tax on Corporations, Certain Trusts, etc...” 23 Apr 2013. <http://www.law.cornell.edu/ uscode/text/26/501>. Casino, Bruce. “I Know It When I See It: Mail-Order Ministry Tax Fraud and the Problem of a Constitutionality acceptable Definition of Religion.”American Criminal Law Review. 25. (1987-1988): 113. Web. 25 Apr 2013. <http://heinonline.org/ HOL/Page?handle=hein.journals/amcrimlr25&div=10&g_ sent=1&collection=journals>. Cragun, Ryan, Stephanie Yeager, and Desmond Vega. “Research Report: How Secular Humanists (and Everyone Else) Subsidize Religion in the United States.” Free Inquiry. 32.4 (2012): 3946. Web. 24 Apr. 2013. <http://www.secularhumanism.org/fi/ vol_32/4/cragun_32_4.pdf>. Delisle, Elizabeth. "Monthly Budget Review." Congressional Budget Office, 5 Apr 2013. Web. 23 Apr 2013. <https://www. cbo.gov/publication/44061/>. Doerr, Edd, and Albert J. Menendez. “Should Tax Dollars Subsidize Bigotry?” Phi Delta Kappan. 74.2 (1992): 165-67. Print. <http://www.jstor.org/stable/20404820?seq=2>. Jewers, Mariellen. "Tax Exempt Religious Organizations: Why U.S. Churches Should No Longer Be Tax Exempt." policymic. 21918 (2013): n. page. Web. 25 Apr. 2013. <http:// www.policymic.com/articles/21918/tax-exempt-religiousorganizations-why-u-s churches-should-no-longer-be-taxexempt>. Kam, Dara. “Gov Rick Scott’s Proposed Education Budget: 1.75 Billion in Cuts.” Palm Beach Post (2011): n. page. Web. 23 Apr. 2013.

ben bridges

THE WALK TO SCHOOL

As a nation, we have many problems ahead of us, budget concerns being chief among them. By not taxing religious institutions, we are losing a large amount of tax money to a figurative Money Pit. If we wish to keep our place as a world superpower, we must eliminate these wastes, and focus our monetary efforts on fixing this nation’s major problems.

OUTSIDE LIVING

alyssa hudson

20|The Looking Glass

WHAT A GARDENER KNOWS

linnea worley

22|The Looking Glass

My fingers, they prick on the thorns, bleeding while I dig through the blossoms, I search for the roots in scattered soil. The sweltering heat emitting from the sun opens flowers: their scent attracts bees. I swat them away, my hands protected by gloves. They’re supposed to protect me, the gloves, from the rose bushes, the common thistle, and their thorns that break the skin on my delicate hands. Painful, like a bee sting, and I’d cease enjoying the blossoms. Instead I’d cursed this garden, my mother and her son, for breaking my concentration, sitting in the soil. As I sit, my capris soiling, and stare at my hands, I wish my discarded gloves worked. But such is the way under the sun, when you bring beauty to the world, with the hawthorn standing to the side, its wilting blossoms bearing bitter fruit, tempting children with what it will never be. All this labor and someday it will be the garden of my dreams. It started from soil, the ground bare, until it blossomed into lush vegetation so bright it can’t be gloved and even when the thorns break through they’re burned by the sun. When people see, they’ll bring their daughters, their sons, and they will smile. It will make me be someone important, and my heart will have no thorns. I give everything I am to this soil, as I did with my hands gloved, the bleeding hearts and the irises blossoming. Spring and summer, my garden blossoms, until the time comes for the sun to retreat behind the clouds, slipping on a glove. Back to the hive they retreat, the bees, while the once soft soil freezes with the first frost, icicles like thorns. For when the sun vanishes and summer’s grip loosens, fall will be the dominant force, dead foliage gloving the soil, and blossoms of spring will drop, turning into thorns.

I SEE AN ELEPHANT

ben bridges

Spring 2015 | 23

CREATURE CONCEPT

nicole moeckli

24|The Looking Glass

SPRING BREAK

ben bridges

ABOUT THE HONORS PROGRAM

The University of Idaho Honors Program (UHP) offers a range of enriching course study and activities. Active since 1983, events such as concerts, plays, films, leadership retreats, service trips during Spring Break, and â&#x20AC;&#x153;Fireside Chatsâ&#x20AC;? with professors have been well loved by students. These, on top of honors exclusive seminars and lectures, are great ways to meet like-minded students across both colleges and majors. Want more information? See the UHP website at http://www.uidaho. edu/honors.

26|The Looking Glass

Krista Stanley

vice-president

Emily Gehlken treasurer

historian, public relations ofcer

Nicole Carter

honors program director Dr. Alton Campbell received his Ph.D. in Wood and Paper Science from North Carolina State University, his M.A. in Chemistry from Duke University, and his B.S. in Science Education from the University of North Carolina, Chapel Hill. He is a tenured, full professor and has been serving at the university of Idaho since 1993. Dr. Campbell was the Honors Program Associate Director from 2008 until January 2014, at which point he was named Director. As Director, Dr. Campbell endeavors tirelessly to engage and support students at every chance he can: through leadership development, club activities, service programs, living groups, undergraduate research, study abroad programs, national student exchange, and advising for undergraduates and graduate students. His efforts earned him an ASUI Outstanding Faculty Award, an ASUI Service Award, an ASUI Outstanding Organization Adviser Award, a Residence Hall Faculty Involvement Award, and over 30 UI Alumni Awards for Excellence as the most inspiring faculty mentor selected individually by the top 40 graduating students each year.

ALLISON ELIZABETH ALYSSA SIMMONS MILLER BAUGH

Katie Vandenberg

Alyssa Ertel Karina Eyre Jesse Jutson Lauren Kees Calvin Miller Sam Roberts

HAILEY SMITH

secretary

chemistry, philosophy

KRISTA STANLEY

Jennifer Downen

president

physics, microbiology

AMANDA VU

Mickinzie Johnson

meet the editors

LINNEA WORLEY

honors leadership council (hlc)

R is among the most menacing of sounds. That’s why they call it murder and not mukduk. —Dwight Schrute, The Office

english, psychology There are few things better in life than coffee and a good book.

psychology, applied music performance Where words fail, music speaks. —Hans Christian Andersen

I believe that unarmed truth and unconditional love will have the final word. —Martin Luther King Jr.

advertising, mathematics The trick is to be neither creative nor analytical, but to be both. Look at creativity analytically and analysis creatively.

chemical engineering, chemistry Even if you know how something’s gonna end, that doesn’t mean you can’t enjoy the ride. —How I Met Your Mother

international studies 林喜欢写小说，吃蛋糕. Lin likes writing novels and eating cake.

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Calvin Miller- Freshman in 2014-2015 Archimedes’ Ball Guide BEFORE ANYTHING ELSE: ***SECURE THE LOCATION DURING THE LAST FEW WEEKS OF THE PRIOR ACADEMIC YEAR BY DISCUSSING AMONGST HLC*** Upon First Discussion: 

Decide to have at least two people taking this on. One person alone is very difficult

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Decide a theme, price, and date

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BE PREPARED TO PUT EFFORT INTO THIS

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Decide the staff to watch the door

A Month or More Away: 

Begin creation of advertisements- I suggest having flyers as well as social media connections; the Public Relations Officer is a good resource for advertising

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Begin creation of the tickets

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Talk around about the type of music; it should fit the theme and the current popular genres

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Advertise by word of mouth

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Be certain that the locale has a sound system; if not, get one

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Make sure the locale has tables and chairs, sufficient to sustain the predicted number of attendees plus some extra tables for food

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Check in with HLC and Director of Honors Program

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Decide dates for personal ticket selling via tables; dole out the hours for it among HLC; tickets should also be available for purchase in other ways (i.e. selling from Honors Office, selling from dorm rooms of those in charge if applicable, etc.)

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Assign hours for cleaning up the dance, too

Within a Month: *Keep in mind that this is often when the semester begins to get busy, so it is important to remain organized and timely* 

Tickets should begin selling

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Advertisements should begin going out

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Predict number of attendees and plan food accordingly; food will not actually be purchased until the latest possible date (food also includes the necessary containers)

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Get the music mix together; be sure the locale will be able to accommodate

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Attain decorations for the theme

The Week of the Ball: 

Attain appropriate amount of refreshments/snacks

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Last-minute ticket sales; this is usually where the tickets sell the most (other than at the door)

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Tie up loose ends because there are going to be some

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BREATHE

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Enjoy the ball

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Clean up after the ball

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Jazz Fest

Website: http://www.uidaho.edu/jazzfest Date of Event: Always late February, Thursday through Sunday (volunteered on Saturday) Contact: Jazz Fest Office (Pitman Center) Cost: None Advertising: Weekly email, Facebook page, Alton email, word of mouth Attendance: About 20 Honors students Volunteers/Supplies: Site Manager, Stage Manager, other volunteers throughout the day; other supplies provided Notes: 窶心ign up for a specific Honors site around November so there is time to advertise 窶殖etter to have a Site Manager who has volunteered at Jazz Fest before 窶新olunteers and site manager might want to consider attending a few of the volunteer training sessions that take place in early February 窶色or each 4 hours worked, each volunteer gets a free concert ticket

Mom’s Weekend Family Hike‐Lauren Kees Where: Kamiak Butte When: Saturday of Mom’s Weekend, 1‐3pm (Spring 2015) What: Meet in front of the tower at 12:30 to carpool over to Kamiak Butte (if you need a ride or are willing to give a ride). All family welcome. Distribute water bottles and granola bars before hike. Hike up loop to summit and back down (about 2.5 miles). After hike, distribute ice cream bars and water bottles and the rest of the granola bars at the picnic shelter. Cost: $54.00 for water bottles, cooler, granola bars, and ice cream Attendance: 55 people (estimated 50 to 60 people) Supplies: 2 water bottle cases

3 boxes of granola bars

6 boxes of ice cream sandwiches

Ice

Foam coolers

What went well: Time was perfect, good weather, everyone found a ride, most of the food was eaten, people enjoyed the activity, everyone was welcome to come. Ice cream stayed cold, granola bars wrappers were thrown away in the park trash cans, everyone was very neat and respectful. What I would change: Not very many people took granola bars and water bottles before the hike, so either don’t bring granola bars at all, or wait until the end of the hike to serve them. Kamiak butte was a bit of a hike, a few people complained about the length, but most people were fine. Maybe try to find a hike that is a little bit shorter next time.

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Honors Conference

Website (changes each year): http://www.unr.edu/honors/wrhc‐2015 Date of Event: April 9‐12, 2015 Contact: Use website Costs (per person): Airfare: $323 (from Pullman) Hotel: about $350 (3 nights, stayed in designated conference hotel) Registration fee: $160 Food: each person paid their own food; conference provided a few meals Advertising: HLC members only; can take as many as wanted (as long as there is funding) Attendance: 4 students, 1 adviser (Alton) Volunteers/Supplies: Presentation (if presenting), notebooks for taking notes; no volunteers Notes: ‐Need to submit abstract (if presenting) by December/January ‐Need to pay registration fees by early March ‐Need to book flights as early as possible; make sure everyone is on same flight ‐Great experience, but maybe do Nationals next year rather than Regionals ‐Book a day ahead so there is adequate time to travel and explore the area ‐Look up things to do and places to eat before attending *See notes from other meetings and Facebook group for more information

Relay For Life

Website: relayforlife.org Date of Event: Late April Contact: None (use website) Cost: $10 per person Advertising: Weekly email, Facebook, Alton email, posters, word of mouth; volunteers sign up online so they get reminders as well Attendance: About 25 people signed up online, others signed up at the door Volunteers/Supplies: Team Captain, volunteers throughout the night, table, chairs, fundraiser, money bag Notes: ‐Sign up a team around December/January in order to advertise ‐Nice to have a fundraiser on site so you can donate money to Relay For Life at the end of the night ‐Bring food, movies, games, coffee, etc. since the event runs all night (possibly do 2‐4 hour shifts for HLC members)

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Honors Swim Night 2015 Event Date: Friday, May 1st, 2015 from 9 pm – 11 pm Attendance: Approximately 30-40 students HLC Member Responsible: Alyssa Ertel and Krista Stanley Contacts: Dan Lawson, Aquatic Manager of the Swim Center, dlawson@uidaho.edu Budget: N/A Total Cost: ~ $60 plus cost of facilities (~$100) Reflection:  Every 40 minutes we had an activity, so at 8:20 we had a wet t-shirt race and a hot wheels relay, where they were divided up into teams and each team member got a prize if they won  At ~9:20 we had a few competitions for Best Cannonball, Best Bellyflop, and Coolest move and the winner of each of these categories got a $5 Dutch bros gift card  We bought a lot of prizes for the relays and things from the dollar store, everything from squirt guns to pool toys to footballs to candy. We only bought 4 bags of candy and those went first, so I would definitely recommend purchasing a lot more candy!  Most expensive part of this was the facilities rental and the tee shirts, but the tee shirts will be ready for next year so that won’t be an issue!  The timing was just about perfect, I think 2 hours is just enough time to have some fun without being too long, and the time of night made it easy for a lot of students to come but still have a Friday night  Most of the time, people need very little direction to have fun! Have a few relays but not too many, they will probably take care of most of the fun themselves!  Music was played over the lifeguard’s computer in the main office, we just played a general Pandora station and it was fine!  Borrowed a table from the front entrance of the Swim Center, which was very difficult but not impossible to get into the pool area, and it was a great place to have a “Prize Table”  If possible in the future, it would be cool to have an actual volleyball net, because that was definitely a lot of fun for students  At the end of the night, we gave out Dum Dums to everyone and everyone who hadn’t gotten a prize was able to choose one  EXTREMELY low maintenance event, Krista and I went shopping on the Friday of the event for about an hour and then put it on! Very little set up, just organizing a date ahead of time and advertising in the emails was enough!

University Support Services 875 Perimeter Dr. M.S. 2281 Moscow, ID 83844-2281 Fax: (208) 885-9054 E-Mail: events@uidaho.edu

INVOICE

Honors Leadership Council

CUSTOMER Requestor: Lawson, Dan

Event Start:

2015-05-01

Event End:

2015-05-01

Phone:

Invoice Date: Event Reference:

Mon, Jun 08 2015 2015-AAJHCR

Fax:

Scheduler:

Lawson, Dan

Organization: Honors Program (Primary Organization)

Phone:

Email: dlawson@uidaho.edu

Pricing Date: Event State:

Jan 20 2015 Tentative

Billable Items Quantity

List Price Adjustment(s) Reason

Taxable Amt

Total Tax

Total

Rsrv_415637 Recreation UISC_POOL Labor, Lifeguard (per hour) - USS Labor, Bldg Attendant (per hour) - USS

$0.00 $85.00

$0.00

did not keep mem gym open for event

$0.00 $85.00

$0.00 $0.00 $85.00

$0.00

$0.00 $85.00

Subtotal

Grand Total

File Name: USS_InvoicePerEvent.xsl

Report Printed on Jun 08 2015 at 1:52 P.M.

$85.00

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Honors Thesis Requirements and Guidelines University Honors Program

Overview The honors thesis provides an opportunity for University Honors Program (UHP) students to have a substantial, challenging capstone experience that encourages them to work diligently and creatively in collaboration with a faculty mentor over an extended period of time and to culminate with a written paper and presentation. Thesis projects challenge students to draw on knowledge and abilities that they have developed throughout the course of their education and to apply them to an in‐depth investigation of a chosen topic. Students develop their research, critical thinking, writing, and oral presentation skills through the thesis process; which in turn prepares students for their professional career as well as for graduate school. The Honors Thesis distinction and the project title are included on the transcript. Projects may take a wide variety of forms and culminate in a creative work, a performance or exhibit, an original scientific manuscript or report, etc. Publication and presentation in discipline‐specific outlets is strongly encouraged. Regardless of the discipline(s), topic(s), or nature of the project, all honors theses must include the following elements:  Each thesis project must include original, independent research or creative scholarship. 

Each project must result in some kind of written paper with interpretation and analysis, even when the main focus of the project is in a technical, creative, or performance‐based discipline. The final paper should be consistent with the standards of the discipline and appropriate in length to the scope of the project.

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Each project must be supervised and evaluated by a UI faculty member who will serve as the student's mentor.

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Each project must begin with a thesis proposal and must conclude with a thesis presentation.

Professional Expectations The honors thesis (proposal, research/creative activity, final paper, and presentation) must meet the professional standards of the discipline and the expectations for advanced undergraduate effort. As an example, an honors thesis might encompass four credits of honors‐level coursework equivalent to approximately 180 total hours of advanced undergraduate effort. The length of the written paper will vary and depend on the discipline and the project. The honors thesis proposal must be reviewed by a faculty mentor and 2 additional faculty; and the final paper and presentation must be evaluated by a majority of a 3‐person, faculty thesis committee as “meeting or exceeding professional expectations in the discipline.” Students are encouraged to present their research and creative scholarship in public venues such as symposia, conferences, expos, forums, and the UI Research Expo, typically held in mid‐April. The student must communicate with his or her mentor regularly to ensure that the project is meeting expectations and proceeding according to

schedule. If problems or concerns arise, the student and/or the faculty mentor should consult immediately with the UHP Director. Selecting and Working With a Thesis Adviser It is the responsibility of the student to seek out an appropriately qualified faculty mentor and obtain their consent to serve in that role. The mentor and project should be identified at least three semesters prior to graduation. Students should be aware that service in the faculty mentor role is entirely voluntary. Bearing in mind the voluntary nature of this commitment, student researchers should always be prompt, courteous, and respectful of their faculty mentor’s time. Throughout the project, students should be prepared to carry out independent research, keep appointments, meet deadlines, and present well‐written and carefully edited documents to their faculty mentor. Students should develop a schedule and a system of communication with the faculty mentor during the project period that will allow for an appropriate balance of mentor guidance and student independence. In many cases, regular weekly or biweekly meetings are optimal to keep the project on track. In turn, the thesis adviser will mentor the student in developing a proposal, conducting the research or creative activity, and providing feedback on the writing and presentation. In addition, the faculty mentor will guide the student in registering for the appropriate number of departmental or honors thesis credits to be undertaken each semester. For example, one student might sign up for 4 credits of honors thesis during their last semester on campus. Another student might sign up for 1 credit of honors thesis (proposal preparation) spring semester junior year, 2 credits (research) fall semester senior year, and 1 credit (writing and presentation) spring semester senior year. Or, another student who is modifying a completed departmental capstone research project, might sign up for 1‐2 honors thesis credits to complete any remaining pieces required to adapt it to meet Honors Thesis requirements. Choosing and Developing a Thesis Topic The honors thesis requires thoughtful and sustained collaboration between the student researcher and a faculty mentor. Students should explore possible research topics that reflect their interests and preparation, pick an interesting topic, and identify the knowledge, experience, and skills needed to complete the project. The faculty mentor may advise enrolling in an appropriate research methods course before embarking upon the project. The student must work to define and focus the research or creative project, including developing a good proposal and a clear and reasonable timetable to assure that the project can be completed within the time frame allotted. Students are encouraged to work closely with their mentor to develop a strong proposal. The student must consult with the faculty mentor to determine if the project requires approval from a University review committee. Projects involving research on human subjects must receive approval from the UI Institutional Review Board (IRB). Similarly, if the research will involve vertebrate animals, infectious agents, hazardous chemicals, radioactive materials, recombinant DNA, and/or patents and copyrights, the student will need to submit his/her research protocol to the appropriate University review committee for approval. In some cases, the faculty mentor may already have obtained approval for the research or creative project.

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If the thesis project requires funding, options should be discussed with the adviser or the direction or scope of work may need to be adjusted. The UHP does not have funding to support honors thesis projects. For possible research funding, the student should work with the faculty mentor to explore a funding source and to develop a budget proposal, showing estimated research expenses for books, materials, equipment, and student travel. For undergraduate research conducted at locations outside the Moscow area, the faculty mentor may need to help identify the resources that will be available at the location of the research, including specific individuals who can guide the student. Thesis Steps and Timeline The required steps to complete the thesis and suggested timeline with due dates are outlined below. Please note that timelines and the number of course credits can vary from student to student and also from project to project. Student Responsibilities Thesis Initiation (typically completed during junior year)  Select a faculty member who is willing to mentor the thesis project.  Research potential topics, discuss topic options with the mentor, and select a thesis topic. Proposal Development  Develop a thesis proposal with a detailed calendar including goals and target completion dates, submit it to the faculty mentor for review and feedback, and receive verbal approval to proceed.  Submit the proposal to two additional faculty members who have agreed to review and provide written and/or oral feedback. Then, in collaboration with the mentor, decide how to incorporate their feedback and provide a written response to each reviewer.  Submit a paper copy and an electronic copy of the proposal along with the Honors Thesis Proposal Approval Form (see p. 8 of this document) to the UHP Director (honors@uidaho.edu). The preferred timetable for submission is typically during the junior year, but no later than October 1 for spring graduation and no later than April 1 for fall graduation. Paper and Presentation  Conduct work on the thesis project or creative activity  Develop a draft thesis, by the agreed upon due date, and submit it to the faculty mentor for review and feedback  Make revisions and then get oral approval from the mentor to proceed with scheduling the presentation.  Schedule the thesis presentation during the Honors Program Research Forum to be held the second week of November or the first week of April each semester. The presentations are open to all students and invited guests.  Present the thesis in the biannual Honors Program Research and Creative Activity Forum to include a committee composed of the mentor and two members of the Honors Program Committee (coordinated by the Honors Program). If preferred, two faculty members approved by the faculty mentor may serve as committee members in lieu of members of the Honors Program Committee. The presentation will be approximately 30 minutes with 3 printed copies of the thesis available for review by the committee and the attendees. At the end of the presentation, the committee (led by the faculty mentor) will excuse the attendees and discuss

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the thesis. The majority of the committee must approve the thesis as “meeting or exceeding professional expectations.” If the student fails to meet thesis expectations, then the faculty mentor and thesis committee will define what additional effort is needed, which could include substantial editing of the thesis and possibly a second presentation. Submit a paper copy and an electronic copy of the thesis along with the Honors Thesis Approval Form (see p. 9 of this document) to the UHP Director at honors@uidaho.edu. Final papers must follow the Formatting Guidelines for the Honors Thesis (see p. 10 of this document). The submission deadline is the last Friday prior to exam week in the semester of your graduation from the UI. Approved electronic theses will be archived in a searchable data base within the UI Library.

Outline for Honors Thesis Proposal and Final Paper The headings and organizational outline for the Thesis Proposal and for the Final Thesis Manuscript may vary according to discipline, but must meet the expectations of the faculty mentor and follow the Formatting Guidelines for the UHP Honors Thesis. The outlines below are only examples. Thesis Proposal Outline  Title page  Abstract  Brief background on the project  Research objectives, questions and hypotheses (as appropriate) or description of the original research component or creative scholarship of your project  Research, data analysis methodology, and relevance to society, if pertinent  A detailed calendar with goals and target completion dates  Literature/references Final Thesis Outline  Title page  Abstract  Acknowledgements (optional)  Introduction and background  Objectives/questions/hypotheses  Materials and Methods  Results  Conclusion  References Alternative Approaches to Completing an Honors Thesis Many UHP students typically complete a required senior capstone course/project, departmental thesis, Research Experience for Undergraduates (REU), or another type of research or creative activity over a summer or several semesters. With approval by a faculty mentor and the UHP Director, capstone projects and other research or creative experiences may be modified and used in partial fulfillment of the honors thesis requirement. Students must still complete all of the required components for an honors thesis and make a presentation at the Honors Program Research Forum. As a first step, the

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student should discuss their ideas to adapt a capstone project, REU, departmental research, departmental thesis, or other experience with a faculty mentor. Then, the student should submit an Honors Thesis Proposal Approval Form to the UHP Director, outlining the proposed project, describing their role in the project as a researcher, writer, and presenter, and with signature approval by the faculty mentor. The UHP Director may meet with the student and mentor to discuss the modified thesis. Example 1 is for a student who completed a formal 8‐10 week summer Research Experience for Undergraduates (REU) experience which entailed writing a proposal, conducting research, writing a final report, and presenting a final poster. The student would meet with their thesis mentor to discuss how the REU experience might be adapted to meet the honors thesis requirements. The faculty adviser would then approve the adaptation confirming that parts of the REU experience met the expectations of the Honors thesis. If there were missing components, the student might sign up for 1‐2 credits of honors thesis research and possibly re‐ write the paper to meet Honors thesis requirements and then present it at the Honors Program Research Forum and receive committee approval. Example 2 is for a student who completed a senior engineering group capstone project which entailed designing a research project, conducting research, writing a culminating group paper, and making a group presentation. The student would meet with their faculty mentor to discuss how the capstone experience might be adapted to meet the honors thesis requirements. The faculty adviser would then need to approve the adaptation confirming that parts of the engineering capstone experience met the expectations of the honors thesis. If there were missing components, the student might sign up for 1‐3 credits of honors thesis research, complete additional independent research or literature work, re‐write the paper to meet honors thesis requirements, and then present it at an Honors Program Research Forum and receive committee approval. The Role of the Faculty Mentor Every senior thesis/project requires thoughtful and sustained collaboration between the student and a faculty mentor. It is the responsibility of the student to seek out an appropriately qualified faculty mentor and obtain their written consent to serve in that role. We strongly encourage faculty members to mentor no more than two undergraduate research or creative projects per semester, to ensure that individual students receive sufficient guidance and supervision for their research. The essential responsibilities of the faculty mentor are outlined below. Eligibility All tenured and tenure‐track UI faculty members are eligible to serve as faculty mentors for honors theses. Non‐tenure‐track faculty and affiliate faculty may become mentors with the approval of their department chair. Faculty members at other institutions and individuals who are not faculty members but who hold appropriate academic credentials and have special knowledge or expertise appropriate to the proposed project may become faculty mentors with the approval of an appropriate department chair and UHP Director prior to developing the proposal.

Responsibilities of the Faculty Adviser/Mentor: Thesis Initiation  Help the student explore possible topics that reflect the student’s interests and preparation.  Help the student define and focus the project and develop a schedule to assure that the project is completed within the time frame allotted.  Identify the knowledge, experience, and skills the student needs to complete the project. The faculty mentor may advise the student to enroll in an appropriate research methods course before embarking upon the project.  Help the student determine if his/her project will require approval from a University review committee. Any projects involving research on human subjects must receive approval from the UI Institutional Review Board (IRB). Similarly, if the research will involve vertebrate animals, infectious agents, hazardous chemicals, radioactive materials, recombinant DNA, and/or patents and copyrights, the student will need to submit his/her research protocol to the appropriate University review committee for approval. In some cases, the faculty mentor may already have obtained approval for the research project.  If the student is conducting research away from UI‐Moscow, discuss and identify the resources that will be available at the location of the research, including specific individuals to whom the student can turn for guidance.  Develop a time frame and a method of communication with the student during the project period that will allow for an appropriate balance of mentor guidance and student independence. Weekly or every other week meetings or check‐ins could help the student stay on schedule.  Communicate with the UHP Director if you note problems with the student’s work or fear an inability to complete the thesis in the scheduled time frame.  Mentor the student through the thesis project.  Guide the student in registering for the appropriate number of departmental or honors thesis credits to be undertaken each semester.  Encourage the student to stay on schedule and to be accountable.  Maintain standards expected for an honors student (an advanced undergraduate, but not a graduate student) in your discipline. Research Proposal  Discuss the features of an excellent proposal, to include guidance on content, quality, format, and length of the final paper.  If the thesis requires funding, discuss options for finding funding or redefine the direction or scope of work. Unfortunately, the UHP does not have funding to support honors theses.  Review and provide timely feedback on the student’s proposal. Approve the proposal prior to review by two additional faculty members. Then, assist the student in considering the additional feedback from the two faculty and how to respond to their comments. Keep in mind that the proposal should be understandable to faculty from widely ranging fields.  Approve and sign the Honors Thesis Proposal Approval Form to be submitted to the UHP Director. Final Paper and Presentation  Mentor the student in the research, creative activity and writing phases.  Review and provide feedback on the student’s final paper.

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Give oral approval to proceed with scheduling the presentation during the biannual Honors Program Research and Creative Activity Forum Coordinate the thesis presentation with the thesis committee, composed of the mentor and two members of the Honors Program Committee (coordinated by the Honors Program). If preferred, two faculty members approved by the faculty mentor may serve as committee members in lieu of members of the Honors Program Committee. The presentation will be approximately 30 minutes with 3 printed copies of the thesis available for review by attendees. At the end of the presentation, the committee (led by the faculty mentor) will excuse the attendees and discuss the thesis. The majority of the committee must approve the thesis as “meeting or exceeding professional expectations.” If the student fails to meet thesis expectations, then the faculty mentor and thesis committee should define what additional effort is needed, which could include substantial editing of the thesis and possibly a second presentation. Complete pertinent segments of the Honors Thesis Approval Form. Assist the student in identifying possible and appropriate publication outlets and presentation forums. The College of Science Student Research Expo held in October and the UI Research Expo held in mid‐April are excellent options for presentations and posters. Assist the student with any final edits prior to submission to the UHP Director. The paper must follow the formatting and submission guidelines for the UHP Honors Thesis (see p.10 of this document).

Parts of this document were adapted with permission from the Davidson Honors College, “Senior Honors Research Project,” University of Montana, Missoula, Montana and from the Department of Ecology and Conservation Biology, “Senior Thesis Syllabus and Survival Guide,” University of Idaho, Moscow, Idaho.

Honors Thesis Proposal Approval Form Must be completed before beginning Honors Thesis Submission deadlines: No later than October 1 or April 1 for spring or fall graduation

Student Name: __________________________

UI email: _____________________

Attach a copy of your Honors Thesis Proposal which must meet the expectations described in the “Requirements and Guidelines for the Honors Thesis.” Honors Thesis Title: Faculty Mentor name: ___________________________ Faculty Department: ___________________ Faculty Mentor Signature (indicating willingness to mentor the student and approval of the proposal): ______________________________ Date: ___________

Tenure Track: Non‐tenure track: Non‐UI faculty: A department chair’s approval and signature is required for non‐tenure track or non‐UI faculty: Department Chair Signature (if needed): ________________________ Date: __________

Names of faculty who reviewed the proposal (signature not required): Attach a summary copy of all faculty review comments and how those comments were addressed.

Faculty 1: _____________________________ Faculty 2: _____________________________

Faculty Mentor: Briefly specify anticipated thesis outcomes, length and format of written paper, and any other specific requirements that should be documented for completion of the Honors Thesis. Faculty Mentor: Please indicate the department, course number(s), and anticipated number of credits that will be required to complete the Honors Thesis. After approval by the Honors Program Director, the department may open the specified course(s) with the HON designation. Example courses could be departmental undergraduate “research,” “directed study,” “special topics” etc. UHP Director’s Signature: _________________________________________ Date: _______________

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Honors Thesis Approval Form To be submitted after completing Honors Thesis Project and Presentation Student Name: __________________________

UI email: _____________________

Attach a copy of your Honors Thesis which must meet the written and formatting expectations described in the “Requirements and Guidelines for the Honors Thesis.” In addition, send an electronic copy to honors@uidaho.edu. Honors Thesis Title and Date of Presentation: Faculty evaluation based on the Honors Thesis presentation and a brief review of the written paper shared at the presentation: 

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Faculty Name: _______________________ Signature: ________________________ Date: ________ ______ Meets professional expectations in the discipline ______ Exceeds professional expectations in the discipline (Thesis with Distinction) ______ Does not meet professional expectations in the discipline Faculty Name: _______________________ Signature: ________________________ Date: ________ ______ Meets professional expectations in the discipline ______ Exceeds professional expectations in the discipline (Thesis with Distinction) ______ Does not meet professional expectations in the discipline

Faculty mentor evaluation based on the project or creative activity, written paper, and presentation.  Mentor Name: _______________________ Signature: _________________________ Date: _______ ______ Meets professional expectations in the discipline ______ Exceeds professional expectations in the discipline (Thesis with Distinction) ______ Does not meet professional expectations in the discipline General comments by the faculty mentor on the Honors Thesis and presentation. UHP Director’s signature of approval: ________________________________ Date: _______________

Honors Thesis Formatting and Submission Guidelines All Honors Thesis submissions must include a title page and an abstract in the format described below. The UHP recommends Times New Roman, Calibri, or Arial font, 12‐point. You may wish to use section headings or chapter titles to structure the content of your paper. You should include a bibliography or list of works cited at the end of your paper, using the citation style that is appropriate for your discipline. You may also wish to include acknowledgements and a table of contents, especially for longer papers. Consult with your faculty mentor relative to the appropriate format for your Honors Thesis. First page:

TITLE [ALL CAPS AND DOUBLE SPACED] By

FULL LEGAL NAME [ALL CAPS, INCLUDING FIRST, MIDDLE, AND LAST NAME]

Undergraduate Honors Thesis University Honors Program University of Idaho Moscow, ID Official Graduation Date (Example: May 2015, August 2015 or December 2015) Approved by: Faculty Mentor Name Faculty Mentor Department

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Second page: ABSTRACT Last Name, First Name, Degree, Major, Graduation Month and Year [Example: Sample, Sally, B.A., Anthropology, May 2014] Faculty Mentor: Faculty Mentor Name [Example: John R. Lloyd] Title [using caps] [Abstract – Single spaced, one page, 0.5 inch paragraph indent, no more than 350 words. Third page: Title [using caps] Body of honor thesis. Indent the first line of each paragraph by 0.5 inches. Use 1.5 line spacing throughout the main body of the document. Do not add extra spaces between paragraphs. Adapted with permission from the Davidson Honors College, University of Montana, Missoula Montana.

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