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Cultural Studies students who would like to take graduate courses in other departments will require permission from the instructor. Step 1.

Elective Course Options | Cultural Studies

Often, professors will options forts courses willing to take a CS student into their course if there is room, and if the student has the appropriate background. Step 2.

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Write to the instructor, by email, with a description of your goals and background, and ask if they will accept you into their course. Please note that the answer may not be certain yet, and may depend on enrollment numbers, but establishing options forts courses relationship is the first step. Step 3.

Once completed, you will need to sign the form yourself and arrange for it to be signed by 1 the course instructor and 2 your supervisor. This can often be done by fax or email. Fall Since early April, however, experiments with, and debates about, these technologies have both spread and intensified as they have been used to replace experiences visiting the museum, for example that they were often intended to enhance.

  • The pandemic has further underscored the need for governments and institutions to be better prepared for a crisis in all its forms.
  • Military History - BA (Hons) - Undergraduate courses - University of Kent
  • This listing is based on the current curriculum and may change year to year in response to new curriculum developments and innovation.

This course examines the profound effects of digital culture on contemporary art and contextualizes them within a longer history of experimentation going back to the midth century.

We will examine analog precursors mail art, fluxus, early telecommunications art, video art, zinesthe digital revolution net art, social media, post-internet art, digital curatorial tools, AI, VR, and digital humanitiesand emerging debates about art and digital culture options forts courses times of social distancing. Barbara Reeves Date and Time will be confirmed in July; the Department website may have more information. The goal of this course is to familiarize graduate students with the wide range of materials available for studying the Roman army.

The Roman army constitutes one of the most documented groups from the ancient world. Forts, inscriptions, and military paraphernalia have been found in all parts of the former Roman Empire. A rich collection of ancient literary texts relating to Roman military practices has also survived. By studying this material, students will learn not just about the Roman army, but about the range of materials available for studying the ancient world in general.

Programmes taught in english |

Please contact Dr. Winter Listening Otherwise considers the particular ways in which listening takes place in different settings the concert hall, gallery, and urban and domestic spacesand is influenced not only by cultural and gendered norms, but also by values of the institutions we are part of and the nation states we live within.

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Oral history is both an art and a research methodology. In recording and representing the spoken expression of real people, it translates from one medium to another, and one context to many other contexts. Ethically, it is extremely complex. Oral historians often seek to amplify marginalized voices. Artistically, too, oral history offers many challenges. But while transcription and editing are often associated with loss of authenticity, the choices required also allow for enriching transformation.

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This course is a hybrid of practical and critical work and may be of interest to students in History and Cultural Studies as well as English.

Assigned readings will include excerpts and entire works of oral history TBA, but e. The course will also offer training in some basics of oral history interviewing. This course will serve as a options forts courses and provocative introduction to anglophone African and Caribbean cultural expression.

Where appropriate, and for purposes of comparison, we will discuss African-American and diasporic Afro-Caribbean cultural production. We will read poetry, fiction, plays, essays; sample lyrics and music; appreciate cinema, art and photography; encounter new media and other forms of the virtual ; and revel in comedy and performance.

The works we will explore contend with ecology and economy; language, culture and society; body, sexuality, psyche, and spirit. While colonialism has no doubt left violence and suffering in its wake, our "authors" exude joy, cheek, danger, and sex appeal. Every effort will be made to introduce both canonical and emergent cultural producers in a range of genres and modes.

Multi-media and crossdisciplinary approaches to assignments will be encouraged. The proposed remote, asynchronous teaching in the Fall will result in a range of inventive forms of assigned participation, group discussion forums, and short, focused writing tasks designed to trace a discernible learning curve and promote an exponential ease and familiarity with postcolonial thought, anti-colonial resistance, and tactics of decolonization.

This options forts courses will be concerned with contemporary Canadian and Indigenous texts that take environmental issues as their major topic. It intends to acknowledge the historical, cultural, and social specificities that affect environmental writing in this country within the global context.

We will consider a variety of modes and genres, including the novel, Indigenous ways of storytelling, creative nonfiction, ecopoetry, and ecodrama to explore questions of environmental poetics and social justice.

Our discussion will be informed by various ecocritical approaches including ecofeminism, ecocriticism and urban environments, environmental justice, and the intersection between environmental humanities and Indigenous studies.

Augustine, Florida. This tension crosses boundaries, remaking the threshold. Working through this impetus for art in perilous times, this course will also ask what the task of studying such art means. What are the social urgencies of making and examining such art?

Military History BA (Hons) summary information

This course forwards moving image options forts courses that imagine new possibilities for perilous times internet earnings myth reality fly in the face of living as if everything is just fine.

Instructor: Emily Pelstring Mondaysin person, Isabel This course is designed for students with active creative practices. The course will facilitate structured peer feedback opportunities for students as they complete a self-directed project in the medium of their choice. Each student will be expected to take a single project from concept to completion during the semester.

While students will be self-directed in the technical production of their projects, they will be accountable to the class for an introduction to their creative practice and background, a clear presentation of their production plan, well-prepared in-progress updates, a polished final presentation, and high-quality final documentation. Traditional studio-critique models will be consciously interrogated; students will be asked to reflect on the purpose and benefits of critique, and strive to develop a common language in order options forts courses communicate as creative peers with diverse practices and approaches.

If none of those are available, students who wish to take this course are advised to attend an extra-curricular workshop in media production basics before taking the class. This course explores the following core questions.

What is the role of a curator? How do we best understand curatorial methodologies for the display of objects, experiences and information, options forts courses fully exercise their potential in different contexts?

And, how do curators negotiate the aesthetic, social, political, physical and economic factors that shape and communicate creative cultural content? The aim of the seminar is to provide an in-depth understanding of curating today from a range options forts courses diverse perspectives. In examining curatorial practices and the material and virtual spaces they activate, students will develop critical visual literacy, as well as the advanced writing, analytical and presentation skills necessary for participation in current how to make bitcoin in a week and public-facing animation of artistic production.

Instructor: Sunny Kerr Tuesdays Agnes Etherington Art Centre Room This production-oriented graduate course explores the development of exhibitions, programs, screenings and collections, with emphasis on drawing out and cultivating options forts courses relationship to context.

Students will develop advanced understanding of curatorial methods, applied standards and innovative experimentation through projects fusing autonomous creative research, articulation and collaboration. The course offers a modular framework to support and enable students to encounter and experience practical strategies for the successful realization of artistic programs in visual and media arts, an approach applicable to both contemporary and historical works.

The course objective is to provide hands-on experience within an institutional context, while engaging in critical issues of curatorial practice under the instruction of a professional curator. This course considers the ways in which curators develop, manage and engage with artists, audiences, collections, pragmatic mobilization of resources, aesthetic integrity and expressive potentials, while responding to diverse institutional and non-institutional contexts and histories, as well as geo-political and social conditions.

What are the drivers that inform and shape the work of curators today?

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  • MA History ( entry) | The University of Manchester
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Through what strategies of curatorial practice can the context of presentation be mobilized? Course materials connect multiple academic disciplines and local-global perspectives. Students examine anti-oppressive politics of knowledge production and the uses of knowledge in processes of social change.

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Required of GNDS graduate students. Throughout the course, students will be encouraged, through critical inquiry and reflexive practice, to question whose knowledge is recognized or excludedand under what conditions is knowledge produced, legitimized, communicated, and acted upon.

Oxford University Press. Spring Instructor: Laura Jean Cameron This course actively explores the histories, practises and cultural meanings of fieldwork. Geographical fieldwork is options forts courses along with conceptions of the 'field' in allied disciplines such as ecology and anthropology.

Constructions of the 'field' are addressed in terms of empire, nationalism, 'nature', pedagogy, translocalism, the lab-field border, performativity and in relation to its role as a gendered, ethical, racialized, imaginative, biopoliticized, sensory and affective space of knowledge and activity.

Fieldwork has long had a key role in the making of knowledge in both social and natural sciences. Recent work in geography, sociology and the history of science has begun to explore diverse cultures of the field, raising a range of questions about the nature of field knowledge.

Where is the field and for whom?

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The course focuses on case studies and currents pertinent to the study of field cultures within North America and elsewhere. The primary objective is to provide opportunities for in-depth discussion and activities to help understand and reassess the motives, practises and status of fieldwork. Weekly seminars will involve excursions, discussion of the course readings, films, field exercises as well as presentations integrating course themes and reflections upon the students' past and future fieldwork activities.

The readings, including relevant journal articles and book chapters, will be made available. This course options forts courses beyond the euphemistic and often politically expedient use of the term to explore the meaning of Indigeneity, the emerging scholarship in Indigenous Theory, and current processes of indigenization.

Students will explore legal and cultural applications of indigenous identity through a variety of contemporary readings and classroom discussions. While this course will explore Aboriginal identity in Canada as part of the study, the focus is much broader; examining global indigenous realities as well as an expanding theoretical options forts courses.

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When true men diverged from ancestral man-apes the brain added one cubic inch - about a teaspoonful - every hundred thousand years. Physical growth was then supplanted by an increasingly prominent cultural evolution. And it is terrifically dangerous, and it is now approaching a point of crisis overall. Options forts courses course only scratches the surface of Indigenous Theory.

Many impressive achievements were made throughout Africa through the s. The Great Recession and growing scientific evidence of climate crisis, however, have since engendered deep reservations about the productivist and anthropocentric assumptions of economic growth. This course will evaluate the impacts and implications of the overlapping crises of capitalism, climate and public health upon core tenets of the African renaissance vision.

It begins with a critical overview of the history of underdevelopment under colonial and neo-colonial conditions, including through unequal relations in the production of knowledge about Africa. The major research essay will involve a case study of urban redevelopment in light of these global challenges. The first half of the course will focus on key moments in the history of global environmental governance from the Stockholm Conference in to the signing of the Paris Agreement in Students will explore how various actors e.

Fall Term. This course explores familial and intimate relations of power created in options forts courses by empires from the late nineteenth century to the present.

The readings are thematic and interdisciplinary, drawn from transnational contexts, primarily in the Americas. Topics include colonial knowledge formation, child welfare and adoption, militarism, tourism, visual cultures, decolonization and sexual politics. This seminar will introduce students to post-colonial theories through the examination of case options forts courses from Quebec.

We will explore the issues of colonialism, hegemony, decolonization and post-colonialism by examining how they can help understand certain aspects of Quebec's history. We will also see how Quebec options forts courses sometimes used these theories to support their ideas, either rightly or wrongly.

In doing so, we will touch upon the themes of the colonial state, identities, the family, gender, the Catholic Church, mining tokens options forts courses ethnicities in the 19th and 20th centuries.

Weekly discussions will be based on mandatory readings. Winter Term. This course will options forts courses at how artifacts can inform and enrich historical inquiry. Because historians have traditionally and primarily relied on texts, they have often overlooked artifacts, therefore ignoring the methodological frameworks found in archaeology, anthropology, art history, folklore, etc.

Consequently, they have missed out on large portions of the lived experience in the options forts courses. This course introduces students to the key ideas and methods associated with postcolonial theory, and how it has reshaped our understanding of colonial, imperial, and global histories.

In this seminar, a combined graduate and fourth-year undergraduate course, we will options forts courses how Foucault revolutionized the study of history, including the fields of madness and medicine, prison and punishment, sexuality and the self.

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Our aim will be to examine how historians have adapted, elaborated, and critiqued Foucault, notably in the areas of gender, race, and colonialism. Through a range of topics including food, cancer, toxins, reproduction, biometrics, and pain, we will attend to both the vitality and multiplicity of bodies and their subjection within enduring structures of power.

Our objectives are as follows: 1 to consider how bodies are most effectively historicized and conceptualized; 2 to learn key concepts in body studies e. Instructor: Dolleen Manning Wednesday pmpm This course engages graduate students in the philosophy, politics and aesthetics of worldmaking, running in its entirety in virtual world platform i. Second Life.

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Drawing on decolonial thought, Indigenous knowledge, Anishinaabe ontology cosmologySci-fi, XR arts such as virtual realityand continental philosophy. Responding to current global crises, as well as a pervading fatigue and sense of disillusionment with liberal narratives of progress and the failed projects of 20th century utopianism, students will work collaboratively to design imaginary alternative worlds and engage in immersive storytelling that is options forts courses to course readings and contemporary issues in such spheres as settler colonialism, Indigenous resurgence, mnidoo-worlding, other-than-human interrelationality, Indigenous and black futurity, as well as critical race, disability justice, and queer critiques.

Study at one of the UK's leading History departments, offering unparalleled choice. Learn through pioneering teaching informed by the latest, cutting-edge research.

There will be opportunities for cross-dialogue and co-learning with Cinema and Media Arts graduate students in a related course held at York University, who will be sharing our virtual space. The course involves lectures, seminar discussions, presentations, and research or research creation.

Please contact the cs. This course will provide students with a broad introduction to the sociology of religion by looking at issues like lived religion, secularization, modernity, public religion, options forts courses similar topics. Due to the extraordinary situation brought on by COVID, this course will be conducted remotely: all lectures will be recorded and posted on OnQ along with PowerPoint slides.

Students are not required to be on campus for any part of the course but are expected to keep up to date with readings, participate in online discussions facilitated through OnQ, and submit written assignments to the professor on time.

The seminar explores the strategies and processes of writing about culture and religion through the methodology of ethnography. This course will be a blend of synchronized via online platform for discussions and a-synchronized lectures and tasks, such as completing ethnographic work and transcribing interviews but the entire course will be delivered remotely and online. Date and Time will be confirmed in July; the Department website may have more information.

Course description to follow.