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Cross-Listed Courses

Cross-Listed Courses 2017-18

The following courses may be of interest to CDTPS students. Please note that enrolment may be limited as students enrolled in these departments have enrolment priority.

Centre for Comparative Literature
enrol on ROSI/ACORN

COL5016HF Art and Politics: Bertolt Brecht, Robert Lepage, Robert Wilson
Prof. Pia Kleber
Fall, Wednesday, 10-12
Isabel Bader Theatre, 3rd floor, Linda Hutcheon Seminar Room (BT319)

Bertolt Brecht played a specific role in the paradigm shift of the art which began at the end of the 19th century. He advanced this change by trying to connect art to its social and political functions and structure with the positive acceptance of the industrial revolution and by trying to transform it with the help of the new technological media.
The goals of this course are:
1. to introduce students to Brecht’s theory and demonstrate how he connected art and politics.
2. to study productions directed byBertolt Brecht, Robert Wilson and Robert Lepage and to see if they follow in Brecht’s footsteps or if they deviate from his concepts.
3. The following productions will be analyzed:
Mother Courage, written and directed by Bertolt Brecht
The Good Person of Szechwan, by Bertolt Brecht, directed by Benno Besson
The Threepenny Opera by Bertolt Brecht, directed by Robert Wilson
The Busker’s Opera by John Gay and Robert Lepage, directed by Robert Lepage

JFC5025HF Feminism and Postmodernism: Theory and Practice
Prof. Barbara Havercroft
Fall, Monday, 1-3
Isabel Bader Theatre, 3rd floor, Linda Hutcheon Seminar Room (BT319)

This course will examine the complex and controversial relationship between feminism and postmodernism, as this encounter is staged in both theoretical and fictional writings. While many of the «canonical» theoretical texts on postmodernism were penned by male scholars (Lyotard, Baudrillard, Vattimo, Hassan, Scarpetta, etc.), who largely ignored questions of feminism, gender, and women’s artistic practices, feminist critics (Jardine, Butler, Suleiman, Nicholson, Yeatman, and others) soon intervened in the debate. As these latter theoreticians demonstrated, many of the notions characterizing postmodern theories and literary texts were in fact concerns common to feminist thought : the crisis of patriarchal master narratives and the ensuing emphasis on localized, small narratives; the criticism of binary, hierarchical oppositions (center/margin, life /art, culture /nature, mind/body, masculine/feminine); the endeavour to privilege the heterogeneous, the plural, and the hybrid; and the problematization of the subject, of representation, and of language. Doubtful as to whether disseminated subjects are capable of agency and effective political action, other feminist scholars (di Stefano, Hartsock) still question the possibilities of constructive intersections between feminism and postmodernism. Drawing on the principal feminist theories in the postmodern debate, we will study the contentious theoretical issues outlined above, before turning to an analysis of an international corpus of postmodern literary narratives written by women, which construct « strategic subjectivities » (Kaplan) and « forms of common action » (Mouffe), combining ethical perspectives and aesthetic experimentation. Our close readings of these texts will pay careful attention to textual devices typical of postmodern texts (see Hutcheon), such as the extensive use of intertextuality, the recycling and rewriting of mythological, religious, and historical figures and events, the questioning of major binary oppositions underpinning Western thought, genre hybridity, the representation of the author in the text, and so on.

Department of English
enrol on ROSI/ACORN, send course add form to tanuja.persaud@utoronto.ca

ENG5313HS Poets & Playwrights: Eliot, Stein, Auden
Prof. Larry Switzky
Spring, Thursday, 11-1
Jackman Humanities Building, 170 St. George Street Room JHB 616

Poet and playwright mark two poles in the modernist imagination: the artist and the craftsman, the lyricist and the rhetorician, the votary of beauty and the lackey of commerce. This seminar asks why T. S. Eliot, Gertrude Stein, and W. H. Auden, three titans of twentieth-century poetry who are often thought of as “anti-theatrical” in their refusal of mass culture and the conflation of art and entertainment, turned to both hieratic and popular forms of drama. Rather than reading their plays, libretti, and dramatic verse as supplements to their poetry, we will consider their writing for performance as a major contribution to—and, in many cases, rebellion against—developments in modern theatre as well as a continuation of their formal and political concerns by other means. In 1921, T. S. Eliot looked back at Elizabethan drama with apparent envy: “To have, given into one’s hands, a crude form, capable of indefinite refinement, and to be the person to see the possibilities—Shakespeare was very fortunate.” But in the “crude forms” of modern verse drama, music hall, and the revival of religious pageants, Eliot saw his own possibilities for indefinite refinement—much as Stein harvested nineteenth-century spectacular theatre and baroque tragedy and Auden took up cabaret, the social problem play, and opera.

Faculty of Information
enrol on ROSI/ACORN

INF2308HS Digital Archives for Minoritized Materials: Ethics & Praxis
Prof. T.L. Cowan
Spring, Wednesday, 1-4
Location TBA

This course will introduce students to the emerging field of digital research ethics, including ethical protocols for the online publication of non-digital materials in a scholarly archive or other collection and for the use and collecting of born-digital materials in our research. In particular, the course will model intersectional decolonizing, queer, transgender, feminist and anti-racist justice frameworks and methods that prioritize accountability to the communities whose materials are being collected and/or published as a significant component of scholarly rigor. For scholars and information professionals committed to a justice-oriented digital research ethics is of prominent concern today in the intersecting fields of information studies, digital humanities and digital media studies.

Knowledge Media Design Institute
email admin.kmdi@utoronto.ca for enrolment assistance

KMD1001H Theory and Methods in Knowledge Media Design
Prof. Olivier St-Cyr
Fall, Monday, 5-8 or Winter, Tuesday, 1-4
Location TBA

Knowledge media are systems incorporating computer and communications technology that enhance human thinking, creativity, communication, collaboration, and learning. This course explores the research methods that are used in innovative and human-centered design. It demonstrates the use of those research methods in knowledge media design in areas such as communication, collaboration, and learning. The course will provide a foundation for other KMD courses and includes topics in requirements analysis, user research, and human-centered design. The course will also discuss issues in relation to knowledge media design, including social implications of knowledge media; examples and applications of knowledge media; and examples of design thinking.

KMD2001H Human-centred Design
Prof. Vicky McArthur
Winter, Thursday, 1-4
Location TBA

The purpose of this course is to provide students with both theoretical foundations and practical experience in developing information systems that are driven by the needs and active participation of users. It will prepare students for collaborating with users in a variety of settings to develop their own systems. In contrast to conventional rationalistic approaches to information systems development (ISD), in this course information systems will be regarded as fundamentally social processes that can be supported by information technologies. System design will therefore be treated not primarily as an engineering problem requiring the application of formalized methodologies and abstract modeling techniques by technical experts. Rather, systems design will be viewed as an on-going, multi-faceted process involving the balancing of conflicting social and technical opportunities and constraints requiring experience within the actual use context.

KMD2004H Knowledge Media, Culture & Society

In this course students will learn how are social media practices reshaping landscapes of education and public engagement and offers an overview of two areas of media, knowledge design, and technologies: (a) media education and media literacy, (b) philosophies of technology. The seminar engages scholarly debates surrounding the exponential rise of access to information and communication technologies, rethinking pedagogy and curricula–across disciplines–to accommodate radically changing practices of knowledge design, and what modes of media education and literacy are best suited to information saturation. Students will be familiarized with: key theorists of media and technology (ranging from McLuhan to Baudrillard, and DeBord to Innis); the changing practices of media in education. Students will then be given an opportunity to integrate their knowledge through a collaborative KMD group project focused on technology and education cross-disciplinary contexts to articulate design strategies suited to an era of digital culture.

Faculty of Music
enrolment available on August 9 on ROSI/ACORN 

MUS1042HS Seminar: The Ballets Russes
Prof. Sarah Gutsche-Miller
Spring, Tuesday, 9-12
Edward Johnson music building, room 109

Long central to European culture, ballet has in the last two decades become a vibrant and expanding area of academic research. This seminar will focus on what is arguably the most influential ballet company of all times, Diaghilev’s Ballets Russes. Between 1909 and 1929, Diaghilev brought together many of the era’s greatest modern artists — among them composers Stravinsky, Poulenc, Debussy, Ravel, Satie, de Falla, Prokofiev, and Strauss; choreographers Fokine, Nijinsky, Nijinska, and Balanchine; and artists and writers Bakst, Picasso, Matisse, Goncharova, and Cocteau — to produce such ground-breaking ballets as Jeux, Daphnis et Chloé, Firebird, and The Rite of Spring. Drawing on the vast multi-disciplinary literature about the Ballets Russes and their world, we will examine seminal works, their reception, and their relationship to French culture and cultural politics. Topics will include music, choreography, and staging, as well as nationalism, exoticism, gender/sexuality, and cultural hierarchies, whether in the works themselves, in Ballets Russes historiography, or in past and present-day performance practices.

Ontario Institute for Studies in Education
email course add form to ruth.rogers@utoronto.ca

CTL1048HF Qualitative Methodology: Challenges and Innovations [RM]
Prof. Kathleen Gallagher
Fall, Tuesday 1-4
Room TBA

Working within a broad discussion of methodology and the problems of theory and praxis particular to a ‘global’, postmodern, and neoliberal era, this course invites students to work through methodological dilemmas, choices and experiments within the context of their own research projects and in conversation with a variety of qualitative methodologists. Readings will propose critical, creative, and collaborative solutions to a range of contemporary qualitative methodology concerns in the field of education today. In particular, the problematics of gender and race, the impact of neoliberal politics on workers and learners, the tensions of local and global, the competing epistemologies of art and science, structural and post-structural, the ethical relations between researchers and research participants, the challenges of ‘representation’, the struggles over claims to truth are some of the subjects to be addressed in the discussion of research design and methodology.
Exclusion: CTL1799H Qualitative Methodology: Challenges and Innovations

CTL1064HS Applied Theatre and Performance in Sites of Learning
Prof. Kathleen Gallagher
Spring, Tuesday 1-4
Room TBA

This course will examine the research of, and different approaches to, applied and socially engaged theatre. Practitioners engaged in forms of applied theatre, such as drama in education, theatre for development, Verbatim theatre, participatory theatre etc. often believe creating and witnessing theatrical events can make a difference to the way people interact with one another and with the world at large. The ‘social turn’ in theatre is understood politically, artistically, and educationally to be in the service of social change, although there is certainly no single nor consistent ideological position that supports the expansive use of theatre in classrooms and communities. Theatre has been consistently used in formal and informal educational settings as a way to galvanize participation and make learning more relational, or more a student/participant-centred rather than teacher/facilitator- centred proposition. In addition to exploring the educational value of applied theatre in a range of contexts and through a variety of interventions and intentions, the course will also contemplate the ethics and poetics of representation in performance and in research.
Exclusion: CTL1799H Applied Theatre and Performance in Sites of Learning

Department of Slavic Languages and Literatures
enrol on ROSI/ACORN

SLA1610HS  V. Havel
Prof. Veronika Ambros
Fall, Thursday, 2-4
Room TBA

Václav Havel is one of the most complex figures on the European political and theatrical stage. His multifaceted oeuvre includes essays, plays and speeches. This class will explore the complexity of his oeuvre and his development as a writer, public figure, and eventually also politician in the context of recent political, literary and cultural history. Readings in English, for specialists in Czech.

SLA1320HF Postcommunism – Postcolonialism – Postdependency
Prof. Lukasz Wodzynski
Fall, Wednesday, 11-1
AH 404

TBA

SLA1238HS Chekhov
Prof. Kate Holland
Spring, Tuesday, 11-2
Room TBA

An exploration of Chekhov’s prose by means of stylistic, structural, and thematic analysis of major stories from all periods of his literacy career.  Brief attention may also be given to his non-fictional works, including his letters, to his relationships with other Russian writers and writing, and to Chekhov criticism in Russia and elsewhere. Readings in English.

Women & Gender Studies Institute
email instructor (cc grad.womenstudies@utoronto.ca) for permission to enrol, email course add form to grad.womenstudies@utoronto.ca

WGS1009HF Gender and Cypberpolitics
Prof. Victoria Tahmasebi-Birgani
Fall, Wednesday, 10-12

This course focuses on theories of feminist cyber-activism and examines the relevance of gender, race, class and sexuality to understanding cyberpolitics.  We question how women transform digital sites into feminist spaces and how online networking serves to complicate, diversify and refedine feminist activities.

WGS1023HF Studies in Aesthetic Expression and Radical Hope
Prof. Dina Georgis
Fall,  Thursday, 10-12

This course treats aesthetic imagination and and creativity as the processes by which we give value to human experience and make knowledge. Students will study the relationship between aesthetic expression and radical hope/futures. Readings will be drawn from the fields of cultural theory, affect studies, and psychoanalysis. Students will also examine and reflect on expressive texts.

WGS1025HS Indigenous Aesthetics: Hip Hop, Media an Futurities
Prof. Karyn Recollet
Spring, Thursday, 10-12

Explores the complexities of decolonization in relationship to social change. Engages various articulations of Indigenous lands and lives through film, performance, gesture and other activations. Examines tensions around issues of appropriation, accountability in narratives and knowledge production.

WGS1028HS Queer of Colour Critique
Prof. R. Cassandra Lord
Spring, Wednesday, 1-3
This course tracks the deployment and emergence of “queer of colour critique” and its interconnections with women of colour feminisms. We will examine theoretical texts, cultural production and forms of activism by queer scholars of colour who attend to questions of race, class, sexuality and gender as intersecting social practices.

 


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