collège universitaire glendon college conseil de la faculté / faculty

COLLÈGE UNIVERSITAIRE GLENDON COLLEGE
CONSEIL DE LA FACULTÉ / FACULTY COUNCIL
Faculty Council meeting on Friday, September
25, 2015in the Senate Chamber at 1:30 p.m.
Séance du conseil de la faculté le vendredi 25
septembre 2015 dans la salle du sénat à 13 h 30.
AGENDA
ORDRE DU JOUR
1.
Chair's Remarks
1. Remarques du président
2.
Minutes of the previous meeting
2. Procès-verbal de la séance précédente

Friday, April 24, 2015 p. 1-4

Vendredi 24 avril 2015
3.
Business arising from the minutes
3. Affaires dérivant du procès-verbal
4.
Inquiries and Communications
 Rhonda Lenton (Vice-President Academic
& Provost) and Gary Brewer (VicePresident Finance & Administration)
 Course Evaluation Steering Committee
4. Communications et questions diverses
 Rhonda Lenton et Gary Brewer
5.
Principal’s Remarks
5. Remarques du principal
6.
Reports from Standing Committees
 Curriculum Committee
 Gender and Women’s Studies - p. 5-11
6. Rapports des comités permanents
 Comité des programmes
 Études des femmes et de genre
 Policy, Planning and Nominating
Committee
• Council and Standing Committees Slate of candidates – p. 12
 Comité sur l’évaluation des cours
 Comité de direction, planification et
mises en candidature
• Le Conseil et les comités permanents –
la liste des candidats
7.
Other Business
7. Affaires nouvelles
8.
Adjournment
8. Levée de la séance
Our WEB page: http://www.glendon.yorku.ca/facultycouncil/
COLLÈGE UNIVERSITAIRE GLENDON COLLEGE
CONSEIL DE LA FACULTÉ / FACULTY COUNCIL
Minutes of the Faculty Council meeting held on
Friday, April 24, 2015 at 1:30 p.m. in the Senate
Chamber, York Hall, Glendon. This meeting of
Council was attended by the following members:
P. Bourdin
C. Campbell
S. Clamageran
C. Clark-Kazak
A. Clifford (président)
C. Coates
A. Dawson
G. Ewen
R. Furgiuele
F. Garon
E. Gutterman
Procès-verbal de la séance du Conseil de la faculté,
tenue le vendredi 24 avril 2015 à 13 h 30 dans la salle
du sénat, pavillon York, Glendon. Les membres
suivants étaient présents :
D. Ipperciel
L. Jackson
M. Jurdjevic
I. Kovács
N-G. Martineau
G. McGillivray
G. Moyal
A. Nenashev
D. Olin
I. Roberge
M. Roy
D. Savard
B. Singer
G. Young
J. David
M. Felian
S. Fernando
D. Zaboli
E. Mahant
A. Pyée
1. Chair’s Remarks
1.
Remarques du président
The meeting began at 1:42 p.m.
La séance commence à 13 h 42.
The Chair welcomed all members to this last
regular meeting of Council and asked for the
approval of the meeting dates for 2015-2016.
Le président souhaite la bienvenue à tous les
membres à cette dernière séance régulière du
Conseil et leur demande d’approuver les
dates des réunions pour 2015-2016.
The following dates (Friday, 1:30 p.m.) were
approved:
Les dates suivantes (vendredi à 13h30) sont
approuvées :
September 25, October 23, November 20,
December 11, 2015 and January 29, February
26, April 1 and 29, 2016.
25 septembre, 23 octobre, 20 novembre, 11
décembre 2015 et 29 janvier, 26 février, 1er
et 29 avril 2016.
The Chair then reminded members of the call for
nominations for the position of Vice-Chair of
Council as well as the one remaining vacant seat
on CASTL and on PPNC.
Le président rappelle ensuite aux membres la
demande de mises en candidature pour le
poste de vice-président du Conseil ainsi que
pour le poste encore vacant au CNAP et au
CDPN.
2. Minutes of the previous meeting

2.
Procès-verbal de la séance précédente
 20 mars 2015
March 20, 2015
The minutes were approved.
Le procès-verbal est approuvé.
1
3. Matters arising from the minutes
3.
There were no matters arising.
Questions dérivant du procès-verbal
Il n’y en a aucune.
4.
4. Inquiries and Communications
Communications et questions diverses
I. Kovács asked for some feedback about the
SHARP information session which took place on
Wednesday, April 21, 2015.
I. Kovács sollicite les réactions à propos de la
séssion d’information « SHARP » qui a eu
lieu le mercredi 21 avril 2015.
In response to the above, the Principal noted that
it was his understanding that the powerpoint
presentation will be posted on York’s website by
the initiators of the session. He also pointed out
that it might be appropriate that the various
Departments here at Glendon start engaging
themselves in some kind of discussions around
the issue.
En réponse, le principal note qu’il a cru
comprendre que la présentation powerpoint
sera publiée sur le site web de York par les
initiateurs de la session. Il souligne également
qu’il serait approprié que les divers
départements ici à Glendon commencent à
s’engager dans une sorte de discussions sur la
question.
5. Principal’s Remarks
5.
Remarques du principal
The Principal informed Council of the following
forthcoming Faculty hirings:
Le Principal informe le Conseil des
prochaines embauches des professeurs
suivants :
 CLA contract renewals : S. Challal
(Mathematics), M. Cherciov (Centre de
formation linguistique pour les Études en
français) and G. Houle (Drama Studies)
 TS Faculty : 3 new hirings for 2015-2016 in
progress: Biology, Psychology and
International Studies
 One new hiring in Philosophy to replace D.
Olin
 New TS Hirings for new Programs: Biology,
Psychology, 3 in Communications and 3 in
Business
 Renouvellements de contrats CLA : S.
Challal (Mathématiques), M. Cherciov
(Centre de formation linguistique pour les
Études en français) et G. Houle (Études
d’art dramatique)
 Postes menant à la permanence : 3
nouvelles embauches en cours pour
l’année 2015-2016 : Biologie,
Psychologie et Études internationales
 Une nouvelle embauche en Philosophie
pour remplacer D. Olin
 Nouvelles embauches pour les nouveaux
programmes : Biologie, Psychologie, 3 en
Communications et 3 en Commerce
Glendon’s budget, with commitment to balance
it within the next three year has been submitted
to the Provost and approved.
Le budget de Glendon, avec un engagement
d’équilibre au cours des trois prochaines
années a été présenté au prévôt et a été
approuvé.
2
In order to help students with their “French”,
effective September 2015, a “French speaking
house” in the residence will be set up. It will be
“French only zone”.
Afin d’aider les étudiants avec leur français,
une Maison de langue française dans la
résidence sera mise en place à partir de
septembre 2015. Ce sera « une zone
entièrement en français ».
Discussions are also underway for partnership
with the “Université de Lyon” and CELSA
(Communication and Journalism school in Paris).
This will give students the opportunity to, for
example, start their first three years at Glendon
and complete their program in France.
Des discussions sont également en cours pour
un parteneriat avec l’Université de Lyon et
CELSA (École de communication et de
journalisme à Paris). Cela donnera aux
étudiants la possibilité, par exemple, de
commencer leurs trois premières années à
Glendon et de compléter leur programme en
France.
The Principal also reported that the Ad Hoc
Committee which had been struck to review
issues surrounding French as a second language
has made much progress and some changes will
be implemented in the new academic year.
Le principal note aussi que le comité ad hoc
qui avait été mis sur pied pour examiner les
questions se rapportant au français langue
seconde a progressé et certains changements
seront mis en œuvre dans la nouvelle année
académique.
The Principal concluded his remarks by
informing Council of his upcoming visit to
Mount Allison University in order to try
identifying ways to improve Glendon students’
satisfaction at the national level.
Le principal termine ses remarques en
informant le Conseil de sa prochaine visite à
l’Université Mount Allison pour tenter
d’identifier les moyens d’améliorer la
satisfaction des étudiants de Glendon au
niveau national.
The Principal then addressed questions regarding
Glendon’s name change.
Le principal répond ensuite aux questions
concernant le changement de nom de
Glendon.
6. Reports from Standing Committees
6.
(a) CASTL
Rapports des comités permanents
(a) CNAP
A. Dawson presented the following
submission and it was approved:
A. Dawson présente la soumission
suivante et elle est approuvée :
 Philosophy - Changes to the Certificate
in Law and Social Thought
 Philosophie – changements au
Certificat en droit et pensée sociale
(b) Comité des programmes d’études
(b) Curriculum Committee
M. Jurdjevic présente les soumissions du
département des études
pluridisciplinaires et de philosophie et
elles sont toutes approuvées.
M. Jurdjevic presented the Curriculum
submissions from Multidisciplinary
Studies and Philosophy and they were all
approved.
3
(c) Policy, Planning and Nominating
Committee
(c) CDPN
G. Young noted that the position of ViceChair of Council was still open. He also
reminded members of the remaining vacant
seats for the 2015-2016 Standing
Committees, and urged members to
volunteer.
G. Young note que le poste de viceprésident du Conseil est encore
disponible. Il rappelle aussi aux
membres les sièges vacants au sein des
comités pour 2015-2016 et les
encourage à se porter volontaires.
For Glendon Senators, the 3 positions have
now been filled by Aimé Avolonto,
Geoffrey Ewen and Marcia Macaulay.
Pour les sénateurs de Glendon, les trois
postes sont maintenant comblés par
Aimé Avolonto, Geoffrey Ewen et
Marcia Macaulay.
Nomination for vacant positions on
Standing Committees will remain open
until filled.
Les mises en candidature resteront ouvertes
pour les sièges encore vacants au sein des
comités.
7.
7. New Business
Affaires nouvelles
Il n’y en a aucune.
There was none.
8.
8. Adjournment
Levée de la séance
La séance est levée à 14 h 25.
The meeting was adjourned at 2:25pm.
4
GLENDON — CURRICULUM COMMITTEE
NEW COURSE PROPOSAL
Date of submission: (dd/mm/yy)
Department or Program: (e.g. History)
Course number: (e.g. GL/HIST 2XXX 6.00)
Course title: (The official name of the course as it will appear in the
Undergraduate Calendar & on the Repository)
Short course title:
08/09/2015
Gender and Women’s Studies Program
GL/GWST 4521 6.00
Feeling Queerly About Feminist Art
(Appears on any document where space is limited - e.g.
transcripts and lecture schedules — max 40 characters)
Feeling Queerly About Feminist Art
Language of instruction:
English
Academic term: (e.g. FALL 2012)
Fall 2016
Calendar description (40 words): The course description should be carefully written to convey what the course is about. For editorial
consistency, and in consideration of the various uses of the Calendars, verbs should be in the present tense (i.e., "This course analyzes the
nature and extent of...," rather than "This course will analyze...")
This course investigates contemporary feminist and queer art through key theoretical writing and site visits.
Readings, fieldtrips and visiting artists provide a platform for the analysis of objects, movements and
practices. Representational tactics and politics are approached intersectionally through axes of gender,
sexuality, ethnicity, nation and ability to achieve a deeper understanding of the cultural implications of and
on politicized art.
Cross-listings:
GL/
AP/
Prerequisites:
GL GWST 1501 9.00 or 1502
6.00 and GWST 3555 6.00 or
3556 6.00; or SXST 1600 9.00
or 1601 6.00 and SXST 2600
6.00; or permission of the
instructor.
AP/ GWST 1501 9.00 or 1502 6.00 and GWST 3555 6.00 or
3556 6.00; or SXST 1600 9.00 or 1601 6.00 and SXST 2600
6.00; or permission of the instructor.
Corequisites:
GL/
Integrated course:
Course Credit Exclusions:
GL/
AP/ES/FA/HH/SC/
Is this course required for the major/minor in the program, and/or in other programs?
GS/
YES X NO
The course fits into the following specific category regarding program requirements (e.g. for major/minor):
YES
X NO
Course specific category:
Brief course outline: Indicate how the course design supports students in achieving the learning objectives; the evaluation scheme; and, if
course is integrated, indicate additional requirements for graduate students.
See attached
Is this a General Education course? (If yes, please attach rationale):
YES
x NO
Department/Program approval for the course:
Department/Program
Name
Gender and Women’s Studies
Jacinthe Michaud
Signature
Date
08/09/2015
Department/Program approval for Cross-listings/Course Credit Exclusions:
Faculty & Department/Program
Name
Attached with submission:
X
X
Signature
Department Overview (Compulsory)
Library Statement (Compulsory)
5
Date
Rationale:
In compliance with the fourth-year level learning objectives identified in the Multi-Year Learning Objectives
for Gender and Women’s Studies courses by the School of Gender, Sexuality and Women’s Studies, this
course will fulfill degree-level expectations of the program and the degree by growing breadth and depth of
knowledge, developing an understanding of the interdisciplinary nature of feminist methodologies and
scholarship, developing critical reading, reasoning, research, writing, listening and oral communication skills
through assignments and fostering an environment whereby students are able to assess their own places and
priorities as citizens in the contemporary world.
Specifically students will gain knowledge about the theoretical field of critical cultural studies as well as
experiential learning from experiences and exposure to the practice of art making, administration, exhibition
and dissemination from a variety of professional levels and activist strategies. They will develop literacy skills
to analyze, critique and appreciate a variety of modes of politicized art production. The modes through which
these skills are taught are written and creative assignments as well as class discussions and presentations. This
specific engagement with visual art and the skills that they will hone from these experiences are what they
could not gain by taking courses that are already offered.
This new course contributes to the School of Gender, Sexuality and Women’s Studies’ overall curricular plan
in that it provides a fourth-year course that specifically investigates art, culture and cultural studies. Our
program is currently building this stream for our undergraduate students. We began with a first- and then
second-year course in gender and popular culture, complemented by several courses at the third-year level but
we have not had a fourth-year course that is meant to retain students who are interested in this study stream
into their fourth year. Further, our program is also invested in creatively incorporating experiential learning
into blended courses that can take place both inside the university classroom and outside in various
communities. There is a need in our program to retain students beyond the third year and our program seeks to
remedy this, in part, by offering courses that are popular and highly relevant at the 4000 level.
This course is a complement to GWST 2511 6.00/Sex, Gender and Popular Culture, which introduces students
to the humanities/cultural studies stream of our program and to the field of feminist and queer art. An
objective of this stream is to build literacy in reading cultural texts through feminist and queer theory.
There is a 3-credit course titled Gender, Sexuality and Ethnicity (FA/VISA 3001X 3.00) offered by the
Department of Visual Art and Art History in the Faculty of Art, Media, Performance and Design. In the
expanded course description for this course, identity politics is identified as the main focus of the content.
While identity politics will be addressed in this newly proposed course, it is not the central focus. FA/VISA
3001X is directed towards students engaged in studio practice and there is only one cross-over reading (by bell
hooks, an author prominent in most Gender and Women’s Studies/Sexuality Studies courses). The expected
enrolment in the course is 25.
Expanded Course Description
This course analyzes the study and practice of contemporary feminist and/or queer art. Key theoretical,
historical and methodological writing, alongside guest artist talks, site visits to museums, galleries, artist
studios and other sites of cultural production provide a platform to analyze interdisciplinary art objects and
practices via performance, video, photography, social media, sculpture and other less easily categorized
forms of art. Readings specifically focus on practice based research methods and queer/feminist art history
and theory with specific attention to both “the affective turn” in theory and “the descriptive turn” in practice.
Students read written and cultural text to understand the politics of cultural production such as the limits and
potential of self-representational tactics and the influence of queer and/or feminist art on and by popular
6 DIY culture, identity politics, public(s) and private(s),
culture through topics such as manifestos, direct action,
the costs of (in)visibility, the politics of curation and collecting, and the push/pull of institutionalization and
politicized art. The course is intersectional as it reads for the ways that representational tactics are used by
(and against) artists through axes of personhood including gender, sexuality, ethnicity, nation, ability and
more. This approach allows for a complex analysis of the institutional and structural issues related to racism,
homophobia, colonialism, transphobia, ableism and sexism that inform access, validation and voice for artists
and arts communities. Site visits are key to the experiential learning component of this course and help
provide a deeper understanding of how to read (and write about) politicized art and the conditions under which
it is produced and consumed.
Learning Outcomes
Students completing the course will be able to:
1.
a)
Demonstrate the breadth and depth of their knowledge by:
Explaining key theoretical and/or methodological issues and debates in scholarship about queer and feminist
art.
b)
Analyzing the historical, social, cultural, political, and economic contexts and implications of feminist
and queer cultural production.
c)
Analyzing how gender race, class, sexuality, ability, time and place operate in relation to queer/feminist art
production and consumption.
Demonstrating their ability to critically assess their own assumptions and beliefs in relation to gender race,
class, sexuality, ability through writing and class discussions.
Exploring the links between classroom discussions and contemporary culture, politics and social issues.
d)
e)
2.
a)
b)
3.
a)
b)
c)
d)
e)
f)
g)
h)
i)
j)
k)
4.
a)
b)
c)
d)
e)
Demonstrate their in-depth understanding of the interdisciplinary nature of feminist methodologies and
scholarship by:
Applying interdisciplinary feminist and/or queer analyses from affect theory, literary theory, art history, queer
theory, post colonial theory, critical disability theory and cultural studies to interpret a range of issues related to
feminist/queer art.
Explaining and applying some of the concepts that feminists and queer scholars draw upon both within and
across the disciplines (e.g. representation, discourse, social construction, intersectionality, racialization,
normativity, embodiment, power, gender as a category of analysis, the body, agency, knowledge production,
etc.).
Demonstrate critical reading, reasoning, research, writing, listening and oral communication skills by:
Analyzing in-depth a range of texts from written to audio to visual.
Critically analyzing and comparing the main argument (s) in academic articles, creative writing,
sculpture/installation, video, performance, painting and so on.
Critically assessing how such texts address issues of gender, race, class, sexuality, ability and the operations of
power.
Assessing the appropriateness of the research, methods and reasoning employed in specific texts.
Conducting independent research through the effective use of the library, the internet and a variety of
cultural sites and research tools.
Being able to define areas of inquiry and methods of research in the preparation of well-written essays
or rigorous creative projects.
Conceptualizing theoretical problems, forming arguments, assessing evidence and communicating critically,
creatively, and theoretically through essay writing, seminar discussions, presentations and creative projects.
Taking responsibility for spelling, grammar and other methods of execution.
Consistently applying the citation style required by the instructor and always acknowledging the source of
information, ideas and words other than your own.
Collaborating with other students in class discussion, presentations and reflections on course material.
Listening respectfully to others.
Assess their own places and priorities as citizens in the contemporary world by:
Exploring contemporary issues regarding gender, sexuality, classs, race, ability in relation to art.
Critically analyzing the ways feminist scholarship has expanded and changed in response to the need to
analyze and transform oppression based on gender, class, race, sexuality, ability and global location.
Exploring the range of feminist production, practices, goals and strategies in and outside universities.
Recognizing the limits of their own position.
Demonstrating their critical political consciousness.7
Course Design
The course is designed to give students a sense of confidence in their knowledge of feminist/queer art
practices by grounding their knowledge in recognized academic texts as well as experiential learning. The
design of the course is such that students will increase their exposure to creative communities in the GTA by
visiting various sites of cultural production and consumption both on their own and in organized class field
trips and tours. In order to achieve this familiarity and exposure the assignments are designed to ensure that
students are both reading essays and books but also reading cultural text and experiencing learning in the field.
To this end, four field trips will take students into local arts communities via specific tours of museums,
galleries, artist-run cultural spaces and artists’ studios. Second, they will experience artist talks in the
classroom by four practicing and self-identified feminist and/or queer artists. Third, their Participant Account
assignments (2 per term) are designed so that they can participate in feminist and/or queer art cultures of their
choosing and specific interest in and around the GTA as well as on line. Frequent announcements will be
circulated to the class on Moodle and in the classroom to ensure there is an expanded knowledge of potential
sites of investigation.
The experiential learning component of the course is executed through a pedagogical approach that affords
students the opportunity to apply theory to a concrete experience in a manner that advances the learning
outcomes of the course. They will have multiple opportunities to experience queer and feminist art. The
balance between classroom, the “field” and independent research in this regard is meant to increase contact
between the students and art practitioners, administrators and other cultural workers. These learning
experiences occur within classroom and also within the community and serve as a means by which students
can reflect upon their learning, and potentially acquire a deeper understanding and therefore confidence in the
subject of critical cultural engagement.
Instruction/Course Format
Frequency of offering: Every 1-2 years
Number of sections anticipated: 1
Evaluation
Presentation of an individual artist or collective in class
Participation evaluated by leading class presentation responses and
ongoing participation in class discussions
Reading Logs - 1 per term
10%
Participant Accounts of art/cultural events - 2 per term
20%
Winter exam
20%
Short Presentation to class of final essay or creative assignment
Final Assignment (15% evaluation of creative project and 10%
evaluation of
8-10 page accompanying artist statement OR 25% evaluation of 12-15
page research paper)
Total
5%
10%
10%
25%
100%
Other Resources:
Room assignment for this course must include a computer, video projection and separate audio speakers.
8
GLENDON - CURRICULUM COMMITTEE
CHANGES TO EXISTING COURSE
Date of submission:
(dd/mm/yy)
08/09/2015
Department or Program:
Gender and Women’s Studies
Check change(s)
Current
Proposed (specify only the changes)
x
GL/GWST 3563 3.00
Bad Mothers in Literature
GL/GWST 3563 6.00
(e.g. French Studies)
Course number
Course title
Short Course title
Prerequisite(s)
AP/GWST 2513 6.00 or AP/GWST/WMST
3508 6.00 or permission of the course
director.
Corequisite(s)
x
GL Cross-listing(s)
GL/AP/GWST 3563 3.00
GL/AP/GWST 3563 6.00
Non-GL Cross-listing(s)
AP/ES/FA/HH/SC/
AP/ES/FA/HH/SC/
Course credit
exclusion(s)
GL/AP/ES/FA/HH/SC/
GL/AP/ES/FA/HH/SC/
Integrated course
GS/
GS/
Gen. Education status
Re-activate course
De-activate course
x
Language of instruction
Course specific
category
Course description
(40 words max.) Verbs
should be in the present tense
(i.e., "This course analyzes
the nature and extent of...,"
rather than "This course will
analyze...")
Evaluation, bibliography
(see attached)
Reading literature across a wide range of
genres -memoir, drama, slave narrative,
speculative fiction-- and from classical to
contemporary times the course examines
various motifs of monstrous maternity,
such as abortion, infertility, infanticide,
and considers how such imagery both
reflects and reproduces a larger cultural
unease about women's powers of
reproduction as well as women's own
ambivalence about /in motherhood.
Is this course required for the major/minor in the program, and/or in other programs?
YES
X NO
Brief course outline: Please indicate minor changes to the actual course outline in bold letters or use a separate sheet for more
substantial modifications. The brief course outline should include the following elements : (1) Indicate how the course design supports
students in achieving the learning objectives; (2) the evaluation scheme; (3) and, if the course is integrated, indicate additional requirements
for graduate students.
See attached
Department/Program approval for the course:
Department/Program
Name
Gender and Women’s Studies
Jacinthe Michaud
Signature
Date
08/09/2015
Department/ Program approval for Cross-listings/Course Credit Exclusions:
Faculty & Department/Program
Name
Attached with submission:
x
Signature
Department Overview (Compulsory)
9
Date
Department Overview
The course was highly successful when taught in the half–year format, receiving a perfect score of 5 from all students in
the course. However, all students commented in their evaluations that it should be a full year course to examine more
fully the assigned texts and to include other readings so that the topic may be explored more fully across history and
various genres. Also, the School of Gender, Sexuality and Women’s Studies needs more Humanities-based courses at
the upper year level. Finally, in the full year format it will attract more students from the 150 who enrol in my second year
course, GWST 2513 6.0/Mothering and Motherhood.
Brief course outline:
Expanded Course Description
Contemporary normative ideologies and imagery of motherhood convey maternity as innate to femininity: women, by
virtue of their biology, naturally become mothers, naturally know how to mother, and are naturally content and fulfilled in
their maternal role. We assume likewise that mothers love their children unconditionally. However, as we will ask in this
course: if maternity is natural and maternal love is unconditional, how do we account for the many images of terrible and
horrifying mothers found in literature throughout the centuries? Reading literature across a wide range of genres -drama, memoir, slave narrative, gothic/speculative fiction and novels and from classical to contemporary times, students
will examine various tropes and motifs of monstrous maternity to consider the relationship of this fictional imagery to the
idealized mother of normative ideologies and the lived realities of actual mothers. More specifically, the course will
examine how fictional images of monstrous maternity both reflect and reproduce a larger cultural unease about
women’s powers of reproduction as well as women’s own ambivalence about and in motherhood. Exploring various
tabooed maternal topics in literature -- from infertility/sterility abortion, maternal abandonment/ambivalence/addiction,
infanticide, and wet-nursing, students will encounter the hidden underside of motherhood, what maternal theorist
Adrienne Rich has termed “the heart of maternal darkness” and writer Barbara Almond calls “the monster within” in order
to better understand how the monstrous mother both sustains and disturbs the larger patriarchal culture that has created
her.
Learning Objectives
The purpose of this course is to assist students to critically analyze and engage with representations of mothers and
reproduction in literature across a wide range of literary genres and in various historical periods and to examine such
portrayals in their specific historical and cultural context. In particular, students will be able to identify how and why such
fictional imagery of monstrous maternity reflects and reproduces cultural assumptions and concerns about reproduction
and women’s own lived experiences of mothering. At the end of the course, students will have a broad understanding of
how culture and literature interface to sustain patriarchal motherhood and its control of women and their powers of
reproduction as well as allow for mothers to speak against and beyond such patriarchal control.
10
Existing Calendar Copy (Change From):
Proposed Calendar Copy (Change To):
Evaluation
Weekly journal entries on Course Readings,
(2-3 pages each)
Class Seminar
Attendance and Participation
Final essay
Evaluation
Weekly journal entries on Course Readings,
(2-3 pages each)
Class Seminar
Attendance and Participation
1st Term Essay
Final essay
50%
10%
10%
30%
40%
10%
10%
10%
30%
Bibliography
Bibliography
REQUIRED READING
Aeschylus, The Orestian Trilogy.
Jovita Bydlowska, Drunk Mom, 2013.
Lissa Cowan, Milk Fever, 2013.
Eurpides, Medea.
Harriet Jacobs, Incidents in the Life of a Slave Girl,
1861.
Hillary Jordon, When She Awoke, 2011.
Toni Morrison, Beloved, 1987.
Jane Rogers, The Testament of Jessie Lamb, 2011.
Mary Shelly, Frankenstein, 1823.
Lionel Shriver, We Need to Talk about Kevin,
2003.
Robin Silbergleid, Texas Girl, 2014.
REQUIRED READING
Aeschylus, The Orestian Trilogy.
Margaret Atwood, The Hand Maid’s Tale
Jovita Bydlowska, Drunk Mom, 2013.
Lissa Cowan, Milk Fever, 2013.
Charlotte Perkins Gilman, The Yellow Wallpaper
Eurpides, Medea.
Charlotte Perkins Gilman, The Yellow
Wallpaper
National Hawthorne, The Scarlet Letter
Harriet Jacobs, Incidents in the Life of a Slave Girl,
1861.
Hillary Jordon, When She Awoke, 2011.
Doris Lessing, The Fifth Child
Toni Morrison, Beloved, 1987.
Jane Rogers, The Testament of Jessie Lamb, 2011.
Mary Shelly, Frankenstein, 1823.
Lionel Shriver, We Need to Talk about Kevin,
2003.
Robin Silbergleid, Texas Girl, 2014.
RECOMMENED READING
Almond, Barbara. The Monster Within: The
Hidden Side of Motherhood. Berekely:
University of California Press, 2010.
Podnieks, Elizabeth and Andrea O'Reilly. Textual
Mothers/Maternal Texts: Motherhood in
Contempoary Women's Literatures.
Waterloo: Wilfrid Laurier Press, 2010.
RECOMMENED READING
Almond, Barbara. The Monster Within: The
Hidden Side of Motherhood. Berekely: University
of California Press, 2010.
Rich, Adrienne. Of Woman Born: Motherhood as
Institution and Experience. New York:
Norton Publishers, 1986.
Podnieks, Elizabeth and Andrea O'Reilly. Textual
Mothers/Maternal Texts: Motherhood in
Contempoary Women's Literatures. Waterloo:
Wilfrid Laurier Press, 2010.
Rich, Adrienne. Of Woman Born: Motherhood as
Institution and Experience. New York: Norton
Publishers, 1986.
11
COLLÈGE UNIVERSITAIRE GLENDON COLLEGE
CONSEIL DE LA FACULTÉ / FACULTY COUNCIL
Terms beginning July 1, 2015 - Mandats débutant le 1er juillet 2015
Updated: 18/09/2015
Openings/
ouvertures
Vice-Chair / vice-président
Policy, Planning and Nominating /
Direction, planification et mises en
candidature
Contract Faculty
1
1
1 year / an
3 years / ans
6
1 year / an
Nominees
Scott Cawfield
Julie McDonough Dolmaya
Véronique Tomaszewski
Michael Palamarek
1 year / an
Senior Scholars
Staff
Term/
Mandat
2
1 year / an
Michael Ah Choon
Lesley Bartlett
Student Caucus on Faculty Council:
Dorna Zaboli (Chair), Evelyn Ascencio, Anthony Brum, Jenny David, Juan Garrido, Aleksandar Golijanin,
Bryan Hansraj, Lindsey Hutchens, Myron Khan, Emily Leahy, Haman Mamdouhi, Sarah Mossop, Matt
Turner, Ines Van Deuren, Sara Vladusic
Students on Committees:
CASTL: Brando Boileau, Jenny David, Sara Vladusic, Dorna Zaboli
Curriculum: Bryan Hansraj, Emily Leahy, Matt Turner, Sara Vladusic
Petitions: Bryan Hansraj, Haman Mamdouhi
Policy, Planning and Nominating Committee: Evelyn Ascencio, Anthony Brum, Lindsey Hutchens, Inês
Van Deuren, Dorna Zaboli
Tenure, Promotion and Research: Jenny David, Dorna Zaboli
For members on Standing Committees – http://www.glendon.yorku.ca/facultycouncil/wpcontent/uploads/sites/109/Committees2015-2016.pdf
For Glendon Senators – http://www.glendon.yorku.ca/facultycouncil/links-glendon-college-academicplans/glendon-senators-2014-2015/
12