Welcome to the Graduate Course Clearinghouse, hosted by the School of Graduate Studies.
This site is designed to provide Graduate Programs with a centralized location to advertise courses across the university to graduate students from other programs with cognate interests.
Before attempting to register for courses, interested students should:
Contact the GPD of their home program to ensure that the course they are interested in will be recognized in their own program. Students should note that grading for these courses will be assigned according to the discipline norm;
Make sure that the additional course will not result in additional tuition charges; and
Read carefully the notices posted by different programs to make sure they are eligible for said courses.
Please be advised that the School of Graduate Studies does not handle registration for these courses. Students will need to contact the Graduate Program Assistant, Graduate Program Director, or the individual professor responsible for the course in question, depending on the directives that accompany the course.
What constitutes “the field” for artists working today? And how has the notion of the field, as a site of research, representation and cultural contact, been critically reimagined in recent years? Finally, how might work in the field facilitate extended progress around environmental protection? This studio once again focuses on water/s as inspiration for composition, creation and education and takes fieldwork--that is, immersive off-campus experiences--as a central methodology. We will meet with artists, ethnographers and scientists working on environmental literacy. This year, we bridge the arts, ethnography and environmental science to extend our creative practices and our understanding of the science underpinning water as life source.
ARTE 660/850R Selected Topics in Art Education (3 credits)
Creating the “Peace Trail” Audio Guide in the Montreal Museum of Fine Arts
Exploring both theory and practice, this course will take students through the process of creating the Peace Trail, a collaborative audiowalk/soundscape for the Montreal Museum of Fine Arts’ new Pavilion of Peace. Students will work together to create an audio interpretation of the theme of peace in the art museum, in a course that explores the public pedagogies of the audio walk as an aesthetic and educational practice. Drawing on the expertise of Concordia’s Centre for Oral History and Digital Storytelling and the Museum’s Educart web-based resource, student will learn creative, conceptual, technical and practical skills as they create a one-of-a-kind artwork as a contribution to the new Pavilion and its visitors.
ARTE 660/850Q Selected Topics in Art Education (3 credits)
Portrayals of Teacher’s Lives: Investigating Education through Pop Culture
This course surveys how the experiences of teachers are represented in pop culture through a wide range of stories told in film, television and music. These narrative depictions offer diverse approaches to investigate life writing about education, and include historical, documentary, biographical, romantic, critical, tragic, comic, and ironic perspectives. Informed by current theoretical perspectives of narrative inquiry and cultural studies, and visual and textual methods of analysis, this course interrogates teacher cloaks and clichés in order to reveal how these narratives contribute to the construction of attitudes and views about teachers and teaching in society. This course will inform the practice of teacher education, as well as offer alternative understandings about the identity construction of teachers, and pop culture as public pedagogy.
ARTE 680 Research I: Foundations for Inquiry (3 credits)
A seminar course in which students are introduced to the basic concepts, terminology and contexts of inquiry in art education. Students learn about the practice of systematic inquiry, including: identifying and articulating a topic or question; situating the inquiry within a theoretical framework relating the inquiry to art education practices; and selecting appropriate inquiry procedures. Each student develops a proposal for a small-scale project related to his/her particular art education interests.
We would like to list the following MA and PhD offerings. We have no prerequisites per se. To succeed, however, students will need a background in the humanities.
Interested students should contact the professor in the first instance. The professor will check on class space and give their permission for enrollment to both the student and our Department Assistant, Dina Vescio. Once the student has permission to join the class, Dina will "code them" so that they can register themselves through SIS. Courses are opened first to program students.
ARTH 611 - Industrialization and the Built Environment: The Right to the City
This course will introduce students to the distinctive industrial urbanism of Montreal's South-West. Our focus will be the vernacular architecture and cultural landscapes of Pointe-St-Charles, traditionally a working-class neighbourhood. Students will discover the domestic architecture and industrial morphology of "the Point," as well as encounter the spatial expression of class-based power dynamics, which include the complete erasure of all trace of Mohawk inhabitation. Other forms of erasure are currently taking place as well as the neighbourhood transforms through gentrification and adaptive re-use of the district's many factories and the formerly industrial Lachine Canal.
This course is part of a multi-year experiment in cross-disciplinary pedagogy and hands-on learning, called "The Right to the City." This seminar, "Industrialization and the Built Environment," has been scheduled to overlap with two other courses: Dr Edward Little's "The Neighbourhood Theatre" (Theatre Department), and Dr Kathleen Vaughan's "Studio Inquiry" (Art Education). All students will share off-site learning spaces in the Point, and will work together towards a collective event at the end of term that will include all students' research and creative outcomes. Students in all courses will connect regularly during the term and discover different methods relevant to the study of working-class history and material culture. Overall, the course is a unique opportunity to consider the city as a collaborator in the production of knowledge, and to work with residents and oral history archives as vital resources for understanding the importance of place in a time of dramatic change.
Please note that the majority of our classes will take place in Pointe-St-Charles; travel to and from the neighbourhood should be expected week to week. The journey to our off-site classroom is approximately 25 minutes from the Art History Department on public transit.
Instructor: Dr. Cynthia Hammond
ARTH 612 - Contextualizing North American Sculpture: Topics in History, Theory and Practice: Destructive Tendencies
This seminar considers art practices and critical writing that approach contemporary sculpture from the perspective of destruction. The notion of “destructive tendencies” encompasses a range of concepts that have direct relevance for art: iconoclasm, l’informe, entropy, deconstruction, censorship, waste, repair; readings will consist of art historical and theoretical texts related to these questions. We will also consider a wide range of North American and international art practices: for example, Robert Smithson’s embrace of entropy; Cornelia Parker’s exploded objects, Danh Vo’s dismantled Statue of Liberty, Walid Raad’s response to the traumatic destruction of war, Kader Attia’s “repair” project, Tricia Middleton’s romantic ruination, Thomas Hirschhorn’s accumulations of waste matter, Geoffrey Farmer’s furniture-burning artwork, Aganetha Dyck’s bee-sculptures that are both destructive and regenerative, etc.
Instructor: Dr. Johanne Sloan
ARTH 615 - Issues in Postcolonial Theory in Art and Art History: Postcolonial and Indigenous Theories and Methodologies for Art History in North America
This course will examine postcolonial and Indigenous art theories and methods for the study of art history in a North American context. In this course students will be introduced to the key texts, authors, concepts and themes at the intersection of Indigenous and postcolonial theory and criticism, such as race, ethnicity, Indigeneity, diaspora, identity, gender, authenticity, hybridity, culture, critical museology, tradition, sovereignty, self-determination, resistance and resilience. We will trace the history and development of these art theories and methodologies as rooted in postcolonial thought and specific Indigenous cultural worldviews, teachings, and knowledges, focusing on the mid-twentieth century to the present. In this class students will cultivate an understanding of colonization relative to the Western art world, the critique of colonial power structures, the aftermath of colonialism on global Indigenous and non-Western peoples, and the ongoing processes of decolonization and (often hidden) neo or settler colonialism in the present. In this course, students will examine key texts that enhance our understanding of postcolonial and Indigenous theory and criticism in the contexts of public scholarship, art, artists, exhibits and institutions.
Instructor: Dr. Heather Igloliorte
ARTH 639 - The Cold War
This graduate seminar will use the Cold War as a historical framework to study the complex webs of relations between architecture, art, design, religion and mass politics in the second half of the twentieth century. Our goal will to be assess the various ways visual and material culture (broadly conceived) have played an instrumental role in shaping everyday life and politics on both sides of the so-called "Iron Curtain". Our focus will be on Western Europe and North America, while keeping in mind the global balance of powers and the various transnational exchanges that occurred throughout the postwar era. The polycentric and thematic structure of the seminar, therefore, hopes to challenge the Manichean dichotomies enshrined in Cold War historiography (East vs West; communism vs capitalism; collectivism vs individualism; etc). The weekly readings will feature a wide array of primary and secondary sources. Specific themes and areas of study will include:
The legacies of Fascism, technocratic rule and the postwar European reconstruction (Marshall Plan and Molotov plans)
Imperialism and "soft power"; revolution and decolonization
Modernism and the various debates surrounding "abstraction", "realism" and "political commitment"
Counter-culture and the collaborative strategies of the neo-avant-gardes and protest movements
Mass media, consumption and spectacle culture (in both capitalist and socialist States)
Domesticity and nuclear anxieties (suburban housing, fall out shelters, bunkers, etc.)
Diplomacy and the architecture of nationhood: World Fairs, travelling exhibitions, embassies
Christianity’s artistic and political responses to World War II and the Cold War (the Second Vatican Council, the rise of evangelical Christianity, etc.)
Instructor: Dr. Nicola Pezolet
ARTH 640 - Issues in North American Photographic History
Selected issues pertaining to the production of or writing about photography in North America.
Re. Producing History. Building and Narrating a Canadian Mnemosyne Atlas, circa 2017
Mechanical reproduction has changed society’s relationship to its cultural heritage. Nothing new in that thought – Marxist theorist Walter Benjamin encapsulated it nicely in his analysis of the ‘aura’ and American photographer Sherrie Levine exploited it in her copies of canonical photographs. In those two examples, and many others, we see the push-pull of photo-mechanical reproduction as a tool for democratization of knowledge and an instrument to recast inspiration in a new, highly marketable form. Photo-mechanical reproduction has also served other programmes: French cultural impresario André Malraux’s “museum without walls” – a Cold-War world-making concept, par excellence – and before that, Aby Warburg’sMnemosyne Atlas (1924-1929 – unfinished). Coming forward in time, countless artists and curators have mounted impressive installations of image and argument by delving into the archives.
2017 has been identified as a year in which Canadians should celebrate by reflecting soberly and constructively on the nation’s identity to this point. Visual art will certainly be invited to the national party where it will be met by a generation attuned to diversity and struggle, and interested in displaying and debating that work. This seminar will participate in that process by creating a Canadian Mnemosyne Atlas. An iterative process will be led by the members of the seminar, but open to anyone who wishes to add and/or comment on the construction as it develops in the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art. Photographic media will be the core of this project and we will discuss what translation to photography does to the subject-object – is it tamed or unleashed? Comparative analysis will help us answer that question. Our Canadian Mnemosyne Atlas will also invite other media: drawings, maps, graphs, cartoons, clippings, and words (poems, screeds, and expletives). And what shall we do with this collage as it develops? A viable approach is offered by Cornell University’s “Mnemosyne: Meanderings through Aby Warburg’s Atlas.” On this website, participants have created pathways. The model is good, even though our themes will be different. As you consider enrolling in this seminar, please visit http://warburg.library.cornell.edu/. These scholars are dealing with a historical object – interpretation is its activation. We will be dealing with an object-in-the-making, blazing pathways and interpreting as we go. A final paper will present a participant’s pathway, offering readers an engaged perspective on the CanadianMnemosyne Atlas as a whole.
Instructor: Dr. Martha Langford
ARTH 648 - Curatorial Strategies for Craft
Craft is shaped by its perception as accessible, often preoccupied with skill, labour, the ordinary, the everyday, the repetitive, the functional, the decorative, the mundane, among others. This graduate seminar will explore the problematic of exhibiting such objects and practices within museums or other institutional frameworks.
Using recent examples of craft exhibitions, we will examine issues relevant to contemporary museum practice, curatorial issues of exhibition and display and the relation between collecting practice and the history of art. A series of case studies will inform the weekly seminar discussions, such as the Museum of Arts and Design’s 2011 shows Global Africa Project and Crafting Modernism (2011), as well as the 2016 In Time (the Rhythm of the Workshop); the Victoria and Albert Museum’s Out of the Ordinary: Spectacular Craft (2008) and Disobedient Objects (2014-15); the British touring show Radical Craft: Alternative Ways of Making (2016); the Textile Museum of Canada’s She Will Always Be Younger Than Us (2009) and Home Economics (2016); Super String (curated by Anthea Black for Stride Gallery, Calgary, 2006); On the Table: 100 years of Functional Ceramics in Canada (Gardiner Museum, 2007); and Gestures of Resistance (Museum of Contemporary Craft, Portland, 2011).
Students will be expected to engage with this material through readings, discussions, exhibition visits, primary and archival research. As the final project for this seminar, it is anticipated that students will address the material from the course by developing a substantive exhibition concept for select craft practices and/or objects, including a detailed written curatorial strategy for the display of craft grounded in their seminar learning.
Instructor: Dr. Elaine Paterson
ARTH 804 - Writings on Art: Readings in Continental Aesthetics
Writing about art often assumes familiarity with a broad range of philosophers, but art history students have comparatively few opportunities to encounter such texts first hand. This reading-based course will explore a broad spectrum of writings by major figures in continental aesthetics, from Kant to Rancière. The aim is to develop a familiarity with philosophers who have been particularly influential on understandings of art and experience. Following the lead of Clive Cazeaux in theContinental Aesthetics Reader, the class engages less with questions about the nature of art and beauty than with issues about the relations between ‘subjective experience and the condition of belonging to the world’ (Cazeaux, xvi). Student presentations will contribute to the development of an introductory context for each reading.
By participating in this course, you will have the opportunity to:
Gain a broad-ranging frame of reference for the philosophical underpinnings of art writing.
Encounter philosophical texts first-hand, rather than through secondary explanations.
Develop techniques of close reading.
Gain experience positioning your own voice in relation to theory.
Please note that the language of instruction for this seminar is English but that students are welcome to contribute to discussion in either language.
Prerequisite: ETEC 641, or CHST 605 or permission of instructor.
This course builds students' capacity to conduct quantitative research in education at the doctoral level. It covers all topics related to experimental and quasi-experimental design and the application of univariate statistics to educational research problems. In doing so, the course addresses the basic theory underlying quantitative approaches, selection of an initial research question, the types of questions best suited to quantitative methods, managing and analyzing quantitative data, external and internal validity, reliability and objectivity. This course also provides opportunities to analyze quantitative data.
Note: Students who have received credit for EDUC 802 may not take this course for credit.
This course builds students’ capacity to conduct qualitative research in education at the doctoral level. It covers various types of qualitative research, such as ethnography, case studies, content analysis, and naturalistic observation. In doing so, the course addresses the basic theory and philosophy underlying qualitative approaches, selection of an initial research question, the types of questions best suited to qualitative methods, managing qualitative data, qualitative data analysis, and assuring the credibility and trustworthiness of qualitative data.
Note: Students who have received credit for EDUC 802 may not take this course for credit.
EDUC 808 - Reporting Research (3 credits)
Next offered: Winter 2017
This course prepares students to report their research to various stakeholders of educational research, including funding agencies, other researchers, journal editors, policy makers, and the public. Students prepare various research-related documents, and provide peer reviews of one anothers’ work.
Note: Students who have received credit for EDUC 800 may not take this course for credit.
ESTU 6xx - Sociology of education: Pop-culture & Media
ESTU 615 - Introduction to Research Methods
This course is an introduction to social science research methods with a focus on educational research. As much as possible the classes will be run similar to workshops with in-class group discussion, activities and fieldwork. Introducing students to a range of methods for social science research and provides the basic skills for planning and undertaking research for substantial research paper or thesis projects. Topics include: developing a research question; performing a literature review; designing a feasible research project; selecting an appropriate methodology; data collection and data analysis methods; research design and proposal development; & ethical human subjects research protocol.
Methods covered include: interviewing, focus groups, case studies, participant observation, content analysis, action research, observation data collection and well‐grounded theory building.
ESTU 644 - School and Society
This course is concerned with the family, the educational system, the economy and the polity, and with the relations between them. The main concern is with social institutions and the socialization process with which they are involved. Particular emphasis will be placed on the social class differentials in the conditions of socialization and educational opportunity, and on social class differentials in educational achievement.
Note: All of these courses may be of interest to students in cognate programs across the humanities and possibly the social sciences. All courses are available at the discretion of the instructor. We require preparation in film, media or another cognate area.
FMST 610 A /2 (Thursdays, 13;15-17:15; FB-250)
Topics in Québécois Cinema: Confessionality
Instructor: Tom Waugh
This seminar is on the historiography, theory and criticism of a specific genre in Québec cinema across its historical span, namely the first-person, autobiographical, self-portrait or diary film—in short, what we are calling the confessional film. It is a commonplace in Quebec film history and criticism that Xavier Dolan’s J’ai tué ma mère (I Killed My Mother, 2009) launched a new era in Québec cinema. Yet this film, directed, written and performed by the teenage wunderkind in an autobiographical mode, belonged to a decades-old tradition of Québécois filmmakers speaking in the first person. The first thrust of this genre during the Quiet Revolution in the 1960s and 70s coincided and engaged with the international historical phenomenon known as the Sexual Revolution. However confessional cinema also has addressed issues of ethno-culture, kinship, gender, language, ability and other matrices of identity. We shall explore this genre through textual analysis of representative films belonging to a range of modes, in their historico-cultural context and in the light of theoretical debates about identity and confession sparked by Michel Foucault and others. The seminar is based on the traditional Concordia pedagogical format of weekly screenings anchored in critical and theoretical readings, plus active online and in-class discussions. Though some documentaries and fiction in English are represented, our emphasis is of course on films in French, and detailed synopses and translations are provided in the rare instances where subtitled versions are not available. Weekly readings will be processed in Moodle forums, and each student will present a brief exposé on a syllabus film in class. The projected outcome of the seminar for each registrant will be a publishable research paper on a subject of her/his choice pertaining to the seminar corpus and approved by the instructor.
FMST 620 AA /4 (Tuesdays, 18:00-22:00; FB-250)
Topics in Non-European Cinemas: Global Indigenous Cinema and Media
Instructor: Ezra Winton
This graduate seminar explores Indigenous cinema across a broad geographic and diverse cultural and formal spectrum. With an emphasis on Canada, Australia/New Zealand and Latin America, we will encounter and critically assess the cinematic expression of Indigenous filmmakers working in animation, fiction and documentary from disparate regions and histories. Keeping in mind the historical, political, economic, artistic, social, and screening contexts of Indigenous cinema, this course will examine both differentiating factors and common threads across this rich, robust and politically-charged body of work. As we encounter in-class screenings, engage in discussion, read related literature and give presentations, students should become familiar with Indigenous cinema from diverse and distinct origins, as well as the attendant key concepts of this seminar: fourth cinema, decolonization, sovereignty and self-representation, politics of refusal and remote avant-garde.
FMST 625 AA /4 (Wednesdays, 18:00-22:00; FB-250)
Topics in Film History: “Chaplin: Comedy and Global Response”
Instructor: Maria Corrigan
This course examines Charlie Chaplin’s role in the formation of cinema, as well as the astounding array of responses his comedy has elicited from artists, scholars, and politicians across the globe. We will see how the iconic figure of the Tramp is developed, reflected, and fractured into a multiplicity of roles in the different cultural contexts that embrace him. The course will begin with an examination of Chaplin in the silent era: we will watch his films from the 1910s in order to catch and analyze his growing universal appeal. Then, we will trace Chaplin’s reappearances in artistic movements across the world, from avant-garde circles in the 1920s, to philosophical discussions of the nature of cinema, to the coming of sound, and, finally, to the politics behind the “universality” of Chaplin’s appeal. It was no simple feat that Chaplin—a British immigrant from a vaudeville background—came to be thought of simultaneously as a pure symbol of America and of cinema itself. At the same time, the overall goal of any class focused on Chaplin is to laugh and to question why we laugh.
FMST 630 A /4 (Tuesdays, 13:15-17:15; FB-250)
Topics in Film Theory: Classical Film Theory
Instructor: Martin Lefebvre
This seminar focuses on some of the major figures of what is now referred to as "Classical Film Theory". The course is addressed to students interested in the history of film theory and the development of ideas about film from the silent period to the 1960s. The course centers on the writings of 5 important figures of Classical Film Theory: Hugo Münsterberg, Sergei M. Eisenstein, Rudolf Arnheim, André Bazin and Siegfried Kracauer. Students are asked to read the works of these theorists, which are discussed in class. Lectures situate the different theories in their intellectual and philosophical context. Films and film excerpts are screened so as to contextualize and/or exemplify the work of each of the theorists considered.
FMST 635 A /4 (Wednesdays, 13:15-17:15; H-333)
Topics in Aesthetic/Cultural Theory: Piracy: Culture and Politics
Instructor: Joshua Neves
This course examines multiple genealogies of the pirate and piracy as an ineluctable underside of capitalist modernity. It will focus on issues related to media piracy and intellectual property—from print culture to cinema and the Internet—and engage the broader social, economic, and political functions of piracy beyond media practices (mimicry, counterfeit, fakes, etc.). In its thrust, the course will move from discussions of primitive accumulation and the advent of copyright to contemporary discourses of free culture (rip/mix/burn), information feudalism, biopiracy, and pirate modernities. We will examine a range of key concepts, including: property, (il)legality, creativity and innovation, technology, governance and democracy, and the common. In addition to high-tech and Western contexts, the course will trace how the piratical shapes the production of legitimacy (and thus zones marked by illegitimacy and underdevelopment) across the Global South.
FMST 640/840: Women and Film: Women's Cinema 2.0
Instructor: Rosanna Maule
Digital platforms are important sources for the production and the promotion of films by women filmmakers, the consolidation of networks among women in the film industry, and the promotion of feminist and gender-specific discourse on film in the public sphere. This seminar offers a critical overview of women¹s cinema since the digital turn at a time when gender equity is too easily taken for granted and corporate media are consolidating dominant and conservative ideologies.
The focus is on a vast range of social actors that adopt digital platforms as alternative circuits and channels to promote and circulate films directed by women, advance gender issues, and advocate feminist discourse and women¹s equal treatment and representation in film. Case studies include professional figures, companies, and organizations within the film industry, film scholars and critics, film spectators or fans, feminist activists and associations, and film festivals.
The purpose of the course is to interrogate the status of women¹s cinema within a culture and a public sphere saturated with digital and social media. In underlining the social and cultural benefits of the digital economy for women within the context of global corporate media, the seminar also stresses the power relations embedded in Web-based activities and services.
FMST 665 AA /2 (Mondays, 18:00 – 22:00; FB-250)
Topics in Film Studies: Cinema Behind Bars
Instructor: Kay Dickinson
Prison populations continue to rise steeply; most dramatically, in the United States numbers of increased by 700% since the 1970s. Incarceration is not only an ever more widespread human experience, but also represents a crucial and troubled nexus between juridical, biopolitical, economic and human rights concerns. In this course we explore the long history of films set in and made within prisons; aimed at investigating the social implications and context of these films. The class looks at whether knowledge of the penal system helps in better understanding “prison films”. Political and theoretical writings on prisons and written by imprisoned persons help the class engage with a wide range of movies from around the world.
FMST 665 A /2 (Wednesdays 13:15-17:15; FB-250)
Topics in Film Studies: Curating with Communities: Negotiating Aesthetics and Politics in Film Programming
Instructor: Ezra Winton
This graduate seminar explores and analyzes the theoretical and practical implications of cinematic curatorial work that engages directly with communities. Keeping in mind the relationship between the values and goals of curators (and their attendant institutions) and those of interpretative and stakeholder communities, we explore curatorial practices and strategies across three distinct fields: film festivals, alternative film events and educational film initiatives. We use case studies of institutions, organizations, programs and films to interrogate the crucial role curators and programmers play as intermediaries between disparate groups and as cultural agents who not only give shape to culture but who forge communities around particular films and/or programming strategies. From members of diasporic constituencies to anarchist squatters to silent film fans, curating and community intersect as fascinating historical, political, social and cultural objects of study. Through course readings, student presentations and in-class screenings and discussions, we investigate this understudied aspect of film theory and practice.
FMST 801 A / 4 (Tuesday, 8:45-12:45; FB 250)
Seminar: Film and Moving Images History: Old Left/New Left
Instructor: Tom Waugh
This seminar centers on a comparative exploration of the cultural, aesthetic and political dimensions of two historical waves of “progressive”/activist/left documentary work in Europe and North America associated respectively with the period of what we might call the Old Left (1917-1960) and the New Left (1965-1980). This seminar is screening-intensive, and connects the two corpuses with appropriate bodies of theoretical and critical writing as well as historical contexts.
A selected case study is at the centre of each corpus, representing two areas of the instructor’s expertise: the oeuvre of the Dutch-French documentarist Joris Ivens (the subject of Waugh’s 2016 book); and the “Challenge for Change/Société nouvelle” program of the National Film Board of Canada, 1967-1980 (which will allow students to research work produced in the city they are studying in). These two case studies allow an in-depth textual and contextual study of specific corpuses by using samples of contemporaneous work, especially in students’ research projects. For example, there will be consideration respectively of the American collective producers “Frontier Films” (1937-42) and “Newreel” (1968+), or French makers from Renoir to Marker (both Ivens collaborators).
FMST 804 A /2 (Wednesday, 13:15-17:15; H333)
Seminar: Film and Moving Images Cultural Theory: Global TV
Instructor: Joshua Neves
This course examines the emergence and transformation of television from wireless to the web. It focuses on TV as a set of cultural, economic, and political practices, paying close attention to the distinct conditions of emergence in different national and regional contexts. The course introduces canonical works in Anglophone TV studies as well as a wide range of transnational scholarship analyzing television networks and industries, audiences and consumption, genre and formats, race and sexuality, labor and piracy, transmedia and convergence, among other issues. It also explores problems posed by digital technologies and the rise of the Internet as a mass medium—signaling both alternative TV policies and protocols, and key areas for new research.
FMST 806 A /2 (Thursdays, 13:15-17:15; H-333)
PROSEMINAR II: Media Matters: Material Cultures of the Moving Image
Instructor: Marc Steinberg
Exiting the linguistic turn, we have now moved fully into the materialistic turn. Material culture studies, thing theory and materialisms of different varieties have gained momentum over the past two decades. In studies of consumer cultures there has been a return to questions of the object and material culture; in philosophy and critical theory, debates around Thing theory, Object-Oriented Ontology and the vibrancy of matter renewed engagement with materiality; work in Science and Technology Studies has prompted in a similar reconsideration of the relation of humans to the things around them (within actor network theory, the study of standards, formats, etc); in materialist feminisms and ecocritical work there has been a similar turn to thinking bodies and their environments. Questions around materiality are increasingly front and center in film and media studies as well, informing everything from the material cultures of films, to toys and tie-ins in franchise culture, to material objects in museum displays, to infrastructure studies as a subset of media studies, to the focus on trash and the byproducts of visual culture (landfills of E.T. game cartridges, data waste, etc). This focus on the material also offers a vantage point from which to think the global, as flows of matter point to different – and sometimes unexpected – geographies of the moving image.
This course asks students to grapple with how various perspectives on materiality impact the both the methodologies and the objects of study of the moving image, with an eye to asking students to rethink their own research projects from a materialist perspective.
FMST 807 A /4 (Thursdays, 13:15-17:15; H-333)
PROSEMINAR II: Academic Labour
Instructor: Kay Dickinson
This seminar situates higher education within broader global trends in cognitive labour, the marketization of knowledge, competition and product differentiation, and policy decisions around public provision. It scrutinizes dimensions of academic work such as teaching, grant writing and conference presentation with an eye not simply to developing the requisite skills for entering these domains, but also for critiquing these particular formations. As such, it engages with the literature on questions of “immaterial” and casualized labour, the outsourcing and offshoring of academic work, free education models, and radical pedagogy.
Advanced Seminar in Special Topics in Interdisciplinary Studies: Performance Studies
Instructor: Emer O'Toole
Performance Studies is a radical field. Some consider it an “anti-discipline.” Arising in the ‘70s at the intersection of theatre and anthropology, it had a double impetus: first – to do battle with the dominion of the Western canon and give due scholarly consideration to the art forms and cultural practices of Othered cultures; second – to use performance as a lens through which to understand human activities outside the realm of art, including religious rituals, political events, play, language, day-to-day interactions and even things we might intuitively suppose are the opposite of performance – our genders, sexualities, ethnicities or nationalities. Performance Studies has an inherent politics – dissident, queer, anti-hegemonic – encouraging us to think beyond fixities and hierarchies. This graduate course is for any student who wants to break down barriers between academic disciplines; tug at the boundaries of what education is for; and interrogate what kinds of knowledge are valued versus what kinds are valuable. Over the semester we’ll engage with the theories of seminal thinkers including Jacques Derrida, JL Austin, Judith Butler, Diana Taylor, Rustom Bharucha, Richard Schechner, Ngũgĩ wa Thiong'o, and Shannon Jackson. We’ll also work from our own embodied knowledges and experiences, becoming attuned to how we perform our identities, and where we learned our scripts.
MATH 624/2 AA - Topics in Mathematics Education. Teaching calculus in college
Offered: Fall 2016
This course is an overview and critical analysis of theories and technologies of mathematics teaching. Applications of the theories to studying and/or developing teaching situations or tools for specific mathematical topics are examined.
Instructor: Dr. Georgeana Bobos. Day: TBA. Time: 18:00-20:15, Room LB-921-4
MATH 639/4 AA - Topics in Technology in Mathematics Education. Visualization as an instructional tool.
Offered: Winter 2017
This course involves the elaboration, experimentation and critical analysis of individual projects of integration of ICT in mathematics education.
Instructor: Dr. Fred Szabo. Day: Thursdays. Time: 18:00-20:15, Room LB-921-4.
MATH 648/2 AA - Topics in the History of Mathematics. A survey of the history of mathematics from Antiquity to the 20th century.
Offered: Fall 2016
Topics are chosen from the area of the History of Mathematics.
Instructor: Dr. John Harnad. Day: Tuesdays. Time: 18:00-20:15, Room LB-921-4.
Note: Priority will be given to students in the Political Science PhD and MPPPA programs. Interested students must obtain permission to enroll from the professor.
POLI 621/POLI 811 - Political Leadership and Decision Making
Offered: Winter 2017
This course considers the ways political actors attempt policy and institutional changes through an examination of leadership skills and decision making styles. It considers the philosophical treatments by Plato and Machiavelli and the relationship between morality and leadership by analyzing modern leadership within a constrained constitutional context. Note: This course is appropriate for students in the Faculy of Arts and Science.
POLI 623/POLI 814 - Ethics, Morality, and Justice
Offered: Winter 2017
This course focuses on the essential political concepts of ethics, justice and morality which underlie and motivate almost all political activity. The course explores both ancient and contemporary perspectives on the meaning of these concepts and examines the problems and theoretical challenges that arise when a definitive notion of justice is used to assess or generate public policy.
POLI 634/POLI 815 - Policy Analysis and Program Evaluation
Offered: Winter 2017
This course focuses upon methods of assessing consequences of public policies. The main purpose of the course is to allow students to survey evaluation research in political science and to present research designs that will enable them to make plausible assumptions about the outcome of governmental programs in the absence of experimental control.
POLI 681/POLI 815 - State & Society in Latin America
Offered: Winter 2017
Topics vary from year to year. Note: This course is appropriate for students with interest in Latin America. Ability to write social science/humanities paper.
POLI 683/POLI 815 - Democratic Governance, Public Policy & Research Methodology
This course provides a unique opportunity for students to take a selection of the Workshops on Social Science Research (WSSR) offered by the Department of Political Science for credit.
The WSSR are intensive short learning experiences designed to enhance your knowledge and skills in the areas of democratic governance and public policy. These workshops are led by highly reputable and insightful guest lecturers from well-known academic institutions and/or well-qualified and distinguished backgrounds. For this course, you must select, register in, and attend six workshops, as well as complete all the requirements listed in this outline below.
Prerequisites: Graduate students from all faculties are welcome to take the WSSR for credit. Be sure to consult with your Graduate Program Director (GPD) in order to confirm that you are eligible to receive credit toward your degree. Please email confirmation of eligibility from your GPD to email@example.com once you have completed and submitted your "Permission Request" form (see below). See a list of Concordia GPDs and GPAs.
To apply for permission to register for this course, students need to complete the Permission Request Form on the website.
To earn credit for this course, students will select, register in, and attend six days-worth of workshops (9:00am-4:30pm). The listing of workshops can be found on the website.