Courses

pseudoparkbox2

Fall/Winter 2017-2018 Course Offerings

Degree Requirements

MA and PhD students are required to take:

  • Theatre & Performance Studies Colloquium (Non-credit, THST 5052)
  • An approved Research Methodology course of at least 3.0 credits;
  • An approved Canadian Theatre course of at least 3.0 credits;
  • A Theatre & Performance Studies (THST) course of at least 3.0 credits that is aligned with the program's subfields.

In addition, MA students are required to complete a professional placement for course credit (THST 5051 3.0)

Fall 2017 Courses

Theatre & Performance Studies Colloquium

Course Code: THST 5052 (3.0)
Day/Time: Wednesday 10:00-11:30
Instructor: Magdalena Kazubowski-Houston

  • THST 5052 3.0 Theatre & Performance Studies Colloquium
    This course discusses research approaches, pedagogical strategies, and various aspects of professional development within theatre and performance studies.  This course is required for and only open to Theatre & Performance Studies MA students and first year PhD students.

Performance and Culture

Course Code: THST 5020 (3.0)
Day/Time: Thursday 14:30 - 17:30
Instructor: Marlis Schweitzer

  • THST 5020 3.0 Performance and Culture
    This course examines the current range of contemporary scholarship that employs performance as a tool for analyzing cultural processes.  Inherently interdisciplinary in scope, the seminar engages with recent performance studies scholarship and its intersections with critical race theory, historiography, cultural studies, museum studies, technology studies, and popular culture.

Solo Performance Creation: Devising for Solo Performance in any Medium

Course Code: THEA 5075 (3.0)
Day/Time: Monday 18:00, Friday 14:30
Instructor: Erika Batdorf

  • THEA 5075 3.0 Solo Performance Creation: Devising for Solo Performance in any Medium
    Through sourcing exercises, presentations of student-created material, and feedback, students develop material for solo performance in any medium.  The class focuses on creating rather than production.  Prerequisites: Some studio training required (dance, digital media, acting).  Submission of a resume (portfolio/video if available), interest statement, and permission of course director required.

Research Methods

Course Code: THST 5200 (3.0)
Day/Time: Thursday 13:00 - 16:00
Instructor: TBA

  • THST 5200 3.0 Research Methods (Cross-listing of DANC 5200)
    This course introduces fundamental methodological and theoretical tools used by scholars in coming to terms with the complexity of the dancing body. In closely examining these tools, students are exposed to the vast terrain and interdisciplinary nature of dance studies. Although the course’s center of gravity lies in dance scholarship, key texts from the fields of cultural anthropology, performance studies, history, critical theory, ethnomusicology, and cultural studies are carefully considered. These texts situate dance in relation to social and cultural identity; gender and sexuality; the local and the global; and colonialism and postcoloniality. Understanding dance from multiple perspectives promotes openness towards other methods and theoretical orientation

Performance Ethnography

Course Code: THST 6329 (3.0)
Day/Time: Monday 11:30 - 2:30
Instructor: Magdalena Kazubowski-Houston

THST 6329 3.0 Performance Ethnography

  • An overview of the field of performance ethnography from interdisciplinary perspectives bridging performance studies, anthropology, cultural studies, sociology and communication studies. Main approaches to performance ethnography will be examined, including performance as ethnographic representation, performance as collaborative ethnographic research methodology, and pedagogical applications of performance ethnography. The seminar involves the study of performance ethnography texts, performances, and practical exercises.

Suffrage and Sexuality on the Stage

Course Code: THST 6990 (3.0)
Day/Time: Tuesday 19:00 - 22:00
Instructor: Kym Bird

THST 6990 3.0 Suffrage and Sexuality on the Stage

  • This course reads the performances and biographical contexts of turn-of-the-twentieth century women playwrights in as they intersect with suffrage, sexuality and the cultural legacies of colonialism and imperialism on stages in Britain, the United States and Canada.

Theatre & Performance Studies Professional Placement

Course Code: THST 5051 (3.0)
Day/Time: N/A
Instructor: N/A

  • THST 5051 3.0 Theatre Studies Professional Placement
    This course is designed to give graduate students applied, professionally–oriented work experience in a field related to one of the program’s fields of specialization and/or the student’s research areas. Note: THST 5051 is REQUIRED for MA students, but PhD students may opt to take this as an elective.

Independent Study

Course Code: THST 6500A (3.0)
Day/Time: Application Only
Instructor: Apply to desired supervisor

  • THST 6500 3.0 Independent Studies
    This course is an opportunity for advanced research and in–depth reading in areas related to students’ research interests. Requests for an Independent Study course must be accompanied with an Independent Study Proposal (With the permission of the Graduate Program Director) Independent Studies Application.

Winter 2018 Courses

Theatre & Performance Studies Colloquium

Course Code: THST 5052 (3.0)
Day/Time: Monday 10:00-11:30
Instructor: Magdalena Kazubowski-Houston

  • THST 5052 Theatre & Performance Studies Colloquium
    This course discusses research approaches, pedagogical strategies, and various aspects of professional development within theatre and performance studies.  This course is required for and only open to Theatre & Performance Studies MA students and first year PhD students.

Solo Performance Production: Staging and Production for Solo Performance in any Medium

Course Code: THEA 5076 (3.0)
Day/Time: Monday 18:00-Friday 14:30
Instructor: Erika Batdorf

  • THEA 5076 3.0 Solo Performance in Production: Staging and Production for Solo Performance in any Medium
    Production of a solo performance in any medium.  The student is mentored while creating a "mood-board", a detailed budget, building/working with a support team, and producing previously devised or created material, with documentation.  Prerequisites: Some studio training required (dance, digital media, acting, sculpture.)  Submission of material ready for production/performance and permission of course director (can be developed in THEA 5075 3.0).

Cultural Production Workshop: Performance-Based Practice

Course Code: THST 6348 (3.0)
Day/Time: Thursday 14:30 - 17:30
Instructor: Honor Ford-Smith

  • THST 6348 3.0 Cultural Production Workshop: Performance-Based Practice
    This workshop combines critical cultural theory and environmental studies with the practice of cultural production.  Through analysis of the field of performance and the creative production of testimony, autobiography in performance, students critically explore and develop their own approach to producing such performances.  The primary learning experience of the workshop involves the production of a performance or testimonial narrative applying analytical tools, technical skills and creativity.

Sustainable Design in Performance

Course Code: THST 5111 (3.0)
Day/Time: Monday 11:30-14:30
Instructor: Ian Garrett

  • THST 5111 3.0 Sustainable Design in Performance (Cross-listing of THEA 5111)
    Sustainable Design in Performance prepares students to tackle issues of sustainability in theatrical and related artistic practice.  Students will build their literacy in contemporary sustainable thinking, environmental/climate issues, emerging models of creation, pedagogy, and community stakeholder engagement through a combination of research, modelling and field work as strategic change agents in professional settings.

Performance Art: Politics and Aesthetics

Course Code: THST 6320 (3.0)
Day/Time: Monday 11:30-14:30
Instructor: Laura Levin

  • THST 6320 3.0 Performance Art: Politics and Aesthetics
    This course examines the challenges posed by performance art to traditional aesthetics and sociopolitical realities. Interdisciplinary by definition, performance art troubles conventional notions of canonicity and genre, and blurs boundaries between art and the everyday. Over the course of the term, we will explore a range of practices that fall under the rubric of “performance,” including happenings, installations, solo shows, video art, photographic portraiture, site-specific interventions, and relational performances.

Post-Apartheid Drama: Theatricalizing the Truth and Reconciliation Commission

Course Code: THST 6546 (3.0)
Day/Time: Tuesday 14:30 - 17:30
Instructor: Marcia Blumberg

  • THST 6546 3.0 Post-Apartheid Drama: Theatricalizing the Truth and Reconcilation Commission
    This course examines the Truth and Reconciliation Commission, a foundational body for the new democratic South Africa. The hearings, which ran from 1996 – 1998, constituted a national drama that was performed in towns and villages throughout the country.

Shakespeare's Political Theory

Course Code: THST 6220 (3.0)
Day/Time: Monday 11:30 - 14:30
Instructor: Elizabeth Pentland

  • THST 6220 3.0 Shakespeare's Political Theory
    This course explores Shakespeare’s engagement with the political issues and theories of his time. Plays like Richard 2, Henry 5, Hamlet, and The Tempest are read in dialogue with works by More, Machiavelli, La Boetie, Montaigne, Las Casas and others.

The Interactive Stage: Explorations in Electronically Mediated Performances

Course Code: THEA 5221 (3.0)
Day/Time: Friday 13:00 - 16:00
Instructor: TBA

  • THEA 5221 3.0 The Interactive Stage: Explorations in Electronically Mediated Performances (Cross listed with DANC 5221)
    This course explores the creation of interactive stage environments for live performance. Students investigate various strategies whereby on-stage 'events' (physical, vocal, physiological, etc.) manipulate audio, video and/or lighting events. Students are introduced to dedicated interactive and show control software, and become adept at programming interactive environments. Prerequisite: Fine Arts Fine Arts Cultural Studies 2936 3.0 or Dance 3220 3.0 or Dance 4220 3.0 or equivalent or permission of the instructor

Independent Study

Course Code: THST 6500A (3.0)
Day/Time: Application Only
Instructor: Apply to desired supervisor

  • THST 6500 3.0 Independent Studies
    This course is an opportunity for advanced research and in–depth reading in areas related to students’ research interests. Requests for an Independent Study course must be accompanied with an Independent Study Proposal (With the permission of the Graduate Program Director) Independent Studies Application.

Summer 2017 Courses (Current)

Summer Institute (Imaging the Arts)

Course Code: THEA 5900 (3.0)
Day/Time: TBC
Instructor: Marlis Schweitzer

  • THEA 5900 3.0 Summer Institute (Imaging the Arts)
    Led by UK-based creative researchers Dani Phillipson and Helen Gilbert, in conjunction with Indigenous artist Tamara Podemski, this year’s summer institute workshop will focus on techniques for developing performative storytelling inspired by historical research and supported by new media/ digital technology. In recognition of Canada’s 150th anniversary, the workshop will explore local histories and cultural memories of WW1 and WW2 and creatively speculate on how our participation in these international conflicts might inform our present and future as a multicultural nation with particular connections to different parts of the world. We will draw on archival and ethnographic accounts of Canadian troops, especially Indigenous soldiers and others from marginalized communities, as well as documents detailing the lived experiences of men, women, and children who served on the “home front” in a variety of capacities. Students from different disciplinary backgrounds will develop a devised performance inspired by historical research, integrating live performance with digital elements.

The Emotions in Theory

Course Code: EN 6579 (3.0)
Day/Time: Friday: 11:30am to 2:30pm
Instructor: Darren Gobert

  • EN 6579 3.0 The Emotions in Theory
    The Syllabus for this course will be partially plays and performances, partially emotion and affect theory.

Theatre & Performance Studies Professional Placement

Course Code: THST 5051 (3.0)
Day/Time: N/A
Instructor: N/A

  • THST 5051 3.0 Theatre Studies Professional Placement
    This course is designed to give graduate students applied, professionally–oriented work experience in a field related to one of the program’s fields of specialization and/or the student’s research areas. Note: THST 5051 is REQUIRED for MA students, but PhD students may opt to take this as an elective.

Independent Study

Course Code: THST 6500 (3.0)
Day/Time: Application Only
Instructor: Apply to desired supervisor

  • THST 6500 3.0 Independent Studies
    Requests for an Independent Study course must be accompanied with an Independent Study Proposal (With the permission of the Graduate Program Director) Independent Studies Application.

Schedule is subject to change. For classroom locations and catalogue numbers, please click here.  Summer 2018 courses will not be available for enrollment until March 2018.

Courses that can be used to fulfill the Research Methodology requirement:

THST 5020 3.0 Performance and Culture

  • This course examines the current range of contemporary scholarship that employs performance as a tool for analyzing cultural processes.  Inherently interdisciplinary in scope, the seminar engages with recent performance studies scholarship and its intersections with critical race theory, historiography, cultural studies, museum studies, technology studies, and popular culture.

THST 5200 3.0 Research Methods (Cross-listing DANC 5200 3.0)

  • This course introduces fundamental methodological and theoretical tools used by scholars in coming to terms with the complexity of the dancing body. In closely examining these tools, students are exposed to the vast terrain and interdisciplinary nature of dance studies. Although the course’s center of gravity lies in dance scholarship, key texts from the fields of cultural anthropology, performance studies, history, critical theory, ethno musicology, and cultural studies are carefully considered. These texts situate dance in relation to social and cultural identity; gender and sexuality; the local and the global; and colonialism and post coloniality. Understanding dance from multiple perspectives promotes openness towards other methods and theoretical orientations.

THST 6320 3.0 Performance Art: Politics and Aesthetics

  • This course examines the challenges posed by performance art to traditional aesthetics and sociopolitical realities. Interdisciplinary by definition, performance art troubles conventional notions of canonicity and genre, and blurs boundaries between art and the everyday. Over the course of the term, we will explore a range of practices that fall under the rubric of “performance,” including happenings, installations, solo shows, video art, photographic portraiture, site-specific interventions, and relational performances.

THST 6329 3.0 Performance Ethnography

  • An overview of the field of performance ethnography from interdisciplinary perspectives bridging performance studies, anthropology, cultural studies, sociology and communication studies. Main approaches to performance ethnography will be examined, including performance as ethnographic representation, performance as collaborative ethnographic research methodology, and pedagogical applications of performance ethnography. The seminar involves the study of performance ethnography texts, performances, and practical exercises.

Courses that can be used to fulfill the Canadian Theatre requirement:

THST 5020 3.0 Performance and Culture

  • This course examines the current range of contemporary scholarship that employs performance as a tool for analyzing cultural processes.  Inherently interdisciplinary in scope, the seminar engages with recent performance studies scholarship and its intersections with critical race theory, historiography, cultural studies, museum studies, technology studies, and popular culture.

THST 6320 3.0 Performance Art: Politics and Aesthetics

  • This course examines the challenges posed by performance art to traditional aesthetics and sociopolitical realities. Interdisciplinary by definition, performance art troubles conventional notions of canonicity and genre, and blurs boundaries between art and the everyday. Over the course of the term, we will explore a range of practices that fall under the rubric of “performance,” including happenings, installations, solo shows, video art, photographic portraiture, site-specific interventions, and relational performances.

THST 6990 3.0 Suffrage and Sexuality on the Stage

  • This course reads the performances and biographical contexts of turn-of-the-twentieth century women playwrights in as they intersect with suffrage, sexuality and the cultural legacies of colonialism and imperialism on stages in Britain, the United States and Canada.

Courses that can be used to fulfill the sub-fields requirement:

THST 5020 3.0 Performance and Culture

This course examines the current range of contemporary scholarship that employs performance as a tool for analyzing cultural processes.  Inherently interdisciplinary in scope, the seminar engages with recent performance studies scholarship and its intersections with critical race theory, historiography, cultural studies, museum studies, technology studies, and popular culture.

THST 5111 3.0 Sustainable Design in Performance

  • Sustainable Design in Performance prepares students to tackle issues of sustainability in theatrical and related artistic practice.  Students will build their literacy in contemporary sustainable thinking, environmental/climate issues, emerging models of creation, pedagogy, and community stakeholder engagement through a combination of research, modelling and field work as strategic change agents in professional settings.

THST 5200 3.0 Research Methods (Cross-listing of DANC 5200 3.0)

  • This course introduces fundamental methodological and theoretical tools used by scholars in coming to terms with the complexity of the dancing body.  In closely examining these tools, students are exposed to the vast terrain and interdisciplinary nature of dance studies.  Although the course's centre of gravity lies in dance scholarship, key texts from the fields of cultural anthropology, performance studies, history, critical theory, ethnomusicology, and cultural studies are carefully considered.

THST 6220 3.0 Shakespeare's Political Theory

  • This course explores Shakespeare’s engagement with the political issues and theories of his time. Plays like Richard 2, Henry 5, Hamlet, and The Tempest are read in dialogue with works by More, Machiavelli, La Boetie, Montaigne, Las Casas and others.

THST 6320 3.0 Performance Art: Politics and Aesthetics

  • This course examines the challenges posed by performance art to traditional aesthetics and sociopolitical realities. Interdisciplinary by definition, performance art troubles conventional notions of canonicity and genre, and blurs boundaries between art and the everyday. Over the course of the term, we will explore a range of practices that fall under the rubric of “performance,” including happenings, installations, solo shows, video art, photographic portraiture, site-specific interventions, and relational performances.

THST 6329 3.0 Performance Ethnography

  • An overview of the field of performance ethnography from interdisciplinary perspectives bridging performance studies, anthropology, cultural studies, sociology and communication studies. Main approaches to performance ethnography will be examined, including performance as ethnographic representation, performance as collaborative ethnographic research methodology, and pedagogical applications of performance ethnography. The seminar involves the study of performance ethnography texts, performances, and practical exercises.

THST 6348 6.0 Cultural Production Workshop (Cross-listing of ENVS 6348)

  • This workshop combines critical cultural theory and environmental studies with the practice of cultural production.Through analysis of the field of performance and the creative production of testimony, autobiography in performance, students critically explore and develop their own approach to producing such performances. The primary learning experience of the workshop involves the production of a performance or testimonial narrative applying analytical tools, technical skills and creativity.

THST 6545 3.0 Post-Apartheid Drama: Theatricalizing the Truth and Reconciliation Commission

  • This course examines the Truth and Reconciliation Commission, a foundational body for the new democratic South Africa. The hearings, which ran from 1996 – 1998, constituted a national drama that was performed in towns and villages throughout the country.

THST 6990 3.0 Suffrage and Sexuality on the Stage

  • This course reads the performances and biographical contexts of turn-of-the-twentieth century women playwrights in as they intersect with suffrage, sexuality and the cultural legacies of colonialism and imperialism on stages in Britain, the United States and Canada.

THEA 5221 3.0 The Interactive Stage: Explorations in Electronically Mediated Performances (Cross listed with DANC 5221)

  • This course explores the creation of interactive stage environments for live performance. Students investigate various strategies whereby on-stage 'events' (physical, vocal, physiological, etc.) manipulate audio, video and/or lighting events. Students are introduced to dedicated interactive and show control software, and become adept at programming interactive environments. Prerequisite: Fine Arts Fine Arts Cultural Studies 2936 3.0 or Dance 3220 3.0 or Dance 4220 3.0 or equivalent or permission of the instructor

THEA 5900 3.0 Summer Institute

  • This course is intended to provide graduate students with unique opportunities to study with a range of visiting artists/scholars in applied research areas.

*Please note: Though many of these courses fulfill more than one course requirement, you may not use one course to satisfy two requirements - you must take one course per requirement.

 

Cognate Courses

The Cognate Course listing highlights courses that are regularly offered by outside departments and which may be of interest to students in the Theatre & Performance Studies MA/PhD program. These courses may be taken to fulfill elective coursework requirements. Students are expected to choose courses that are applicable to their research projects and areas of specialization in Theatre & Performance Studies. To enroll in these courses, you must receive permission from the department that is offering the course, and the Graduate Program in Theatre & Performance Studies. Please complete the Letter of Permission form and submit to the graduate program office.

NOTE: This isn’t an exhaustive list of all possible cognate courses being offered, and we strongly encourage our students take advantage of courses in both the School of Arts, Media, Performance, and Design, and throughout the university, in order to develop as interdisciplinary thinkers.  Students may also request permission to take graduate level courses not listed here, provided that they are related to the student’s research interests. The courses website provides detailed information on all courses offered in a given term.  For course descriptions, you can search here.

ANTH 5010 3.0 Theory in Social Anthropology

  • Particular emphasis is placed on the major theorists of this century and on contemporary theoretical frameworks and models for analysis. The course includes critical study of recent major theoretical works in social anthropology.

ANTH 5235 3.0 Anthropological Approaches to Nationalism and Ethnicity: the Politics of Identity

  • This course focuses on the critical analysis of nationalism and ethnicity - terms that have generated a great deal of discussion and debate both in academic circles and in everyday contexts.  How are forms of identification, belonging and/or exclusion manifested both within and beyond legal definitions of nationality and citizenship?  What are the impacts of the use of terms such as foreigner, citizen, refugee, im/migrant, diaspora on social and political subjectivities.

ARTH 5170 3.0 Museum and Gallery

  • Seminar survey of the history of museums will precede the study of cataloguing methods (accession catalogue, exhibition catalogue, catalogue raisonné and of the basic procedures of art works preservation. The ethical and legal implications of the art trade will be discussed. A demonstration of mounting an exhibition will be performed. Scientific methods of research in dating and attribution of works of art will be studied.

ARTH 5175 3.0 Curatorial Practice

  • This course integrates both theoretical and practical aspects of curatorial practice.  Curatorial engagements from an array of theoretical perspectives and methodologies such as cultural analysis, collaboration, institutional critique, performative interventions and networked interactivity are investigated.  Current debates concerning how exhibitions function as forms of research and knowledge production, as well as their ideological and social conditions are also examined.

ARTM 6300 3.0 Cultural Policy

  • This course examines Canadian arts and cultural policy, its historical development, and the formulation and execution of municipal, provincial and federal policies, with a particular focus on current issues and strategies for the future in the arts and cultural industries.  The course has a research focus.  Where appropriate, comparative analysis will examine other policy models with reference to the UK, the United States, Europe, and Asia.

ARTM 6301 3.0 Issues in Arts and Cultural Management

  • This course will explore the dynamics of different perspectives on the human and economic resources involved in the production, distribution, and support of the arts and cultural products in Canada. The central question of this course concerns the management issues that arise from these dynamics. This is a prerequisite course for the MBA Program in Arts and Media Administration. It is intended to service those students who have a real interest in managing in the arts and cultural sector. However, for those students who wish to discover the sector and to test their interest, this is also a useful course.

ARTM 6340 3.0 Managing the Broadcast and Digital Worlds

  • This course identifies and examines central issues in the management of public and private television enterprises in Canada, and online programming undertakings.  Students will analyze the current environment and scenarios for the future of Canadian broadcasting; they will also investigate how broadcasters, programmers, and producers are managing content and revenue on both traditional and digital platforms and in new partnerships.  Note: This course requires an application and permission from the instructor.

ARTM 6350 3.0 The Business of Creativity in the Cultural Sector

  • Negotiation and management of creative rights processes and people are core to the strategic competence of arts and media organizations and their relationship with audiences. Technological developments are changing the way that these organizations approach their business. This course examines this complex evolving business through such topics as: perspectives on creativity; power, conflict and politics relating to managing unions, free-lance talent and celebrities; decision-making for market-risk; financing models, and the impact of the competitive and regulatory environment on management in the cultural sector. This course will be particularly valuable for those interested in the cultural industries including film, music, publishing, broadcasting and the performing arts. Recommended Pre-requisite: ARTM 6301

ARTM 6360 3.0 Business Solutions for Digital Media

  • The rapidly changing global digital media economy is creating new business models for the Arts, Media, and Entertainment sector.  This course examines how such models draw on management, creative, and policy resources in radically different ways.  Students will acquire knowledge and insights to manage digital media's needs for creativity, entrepreneurship, measurement, financial structures, and monetization, in large and small organizations.

DANC 5300 3.0 Methods and Materials for Movement Observation

  • Various frameworks for the study and description and documentation of human movement may be offered, e.g., Laban Movement Analysis or Motif Writing.  Lecture-discussion, movement work, readings, field study, and individualized projects are included.

DANC 6200 3.0 Advanced Dissertation Writing Seminar

  • This seminar provides a framework within which PhD candidates meet together to explore the methodologies and approaches to scholarly writing that are relevant to their research areas.

DANC 6300 3.0 Topics in Dance History & Histography

  • This course surveys the wide range of theories, methods, and issues that have animated historical research on dance and movement practices.

DANC 6400 3.0 Issues in Dance Ethnography and Cultural Studies

  • This course surveys a wide range of theoretical approaches to the study of dance from ethnographic and cultural studies perspectives.  Included are the study of dance as a system of communication, dance as part of social structure, dance as ethnicity and dance as sacred art.

EN 6215. 3.0 Shakespeare: The Histories

  • This course studies one of the most popular dramatic genres of the English Renaissance: the history play.  It explores Shakespeare's two English tetralogies and the Roman plays, and investigates the meaning of history and its uses in early modern England. This course is held on Glendon Campus.

EN 6562 3.0 PLAY

  • In his Critique of Judgment, Kant asserts that "play" is "purposiveness without purpose."  In this course we consider this and other apparent paradoxes of "play" as we examine the concept in modern and contemporary performance.

EN 6961 3.0 Demon Theory: Indigenous Critical Theory

  • This course introduces graduate students to scholarly conversations currently underway in Indigenous Critical Theory.  We seek to understand the major debates around tropes central to the scholarship on North American Literature and Film: Memory, Survivance, and Sovereignty, as well as the criticism of those tropes.

EN 6424 3.0 Victorian Sexualities

  • This course examines Victorian representations of sexual pleasure and anxiety in a range of theoretical, historical, scientific, and literary texts.

EN 6988 3.0 Girlhood

  • Many scholars contend that girlhood is a modern invention.  However, girls appear in many early modern texts.  This course examines early modern conceptions of girlhood, looking at literary as well as historical figures, and seeking to locate a space for girls within current feminist theory.

GFWS 6112 3.0 Queer Affect Theory: Public Feelings and Queer/Feminist Cultural Production

  • This course analyzes queer and feminist cultural production through the framework of affect theory and vice versa.  This course focuses on recent work in the visual and performing arts, women's studies, cultural studies, sexuality studies, critical disability studies and critical race theory in order to consider how scholars and artists take up affect, feeling and emotion through activist cultural production.

GFWS 6123 3.0 Critical Sexuality

  • This course is designed to introduce graduate students to the critical study of gender and sexuality.  This course is intended to enable students to identify conflicts and areas of contestation within the field of gender and sexuality studies by using a variety of feminist theoretical and methodological critiques.

HIST 6080 6.0 History of Social Sciences, Health, and Environments

  • The course explores several key areas, both thematically and historiographically, in the development of modern science and technology since the Renaissance, with a particular focus upon the nineteenth and twentieth centuries. The emphasis of the course will be upon social history of science and technology.

VISA 5610 3.0 Theoretical Issues in Contemporary Art

  • This course examines recent theoretical interventions in the formulation of critical practice in the field of the visual arts. Working from the premise that ‘art’ and theory are social constructions and therefore, are historically specific practices, this course addresses the intersection between theory and practice at particular moments in time, taking into consideration the implicit and explicit references of artists, critics, historians, and contemporary cultural theorists.

 

Photo above: The Pseudopark, a shoebox theatre installation by MA alumnus Tania Senewiratne (General Manager of Obsidian Theatre) responding to gentrification in Regent Park. Created as part of the 2016 Summer Institute on Imaging Urban Geographies. Photo by Tania Senewiratne