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WOME 3111

Special Topics

0.5 credits · Undergraduate

Spring 2022

Topics

  • Project / Art piece 10%
  • Example ideas
  • Create a visual art piece
  • create a sculpture or painting
  • create a photography project
  • small scale museum installation
  • create an activist project and stage it
  • create a short comic strip
  • Lakehead University
  • write a short scene for a musical
  • write a short act for a play
  • create a short film
  • write a short
  • story
  • choreograph a dance and perform it / tape it
  • create a performance piece
  • perform it/tape it. The options are limitless
  • written component to the project
  • Written Component for Creative Project (3-4 pages) 30%
  • the ways in which their creative project fits in the themes of the course. Each student
  • themes
  • Reminders
  • Put your Name on your paper/project
  • Include a Paper/Project Title
  • Double-spaced

Readings

  • Required: - Rachel Adams, Benjamin Reiss, and David Serlin – “Disability”
  • Required: - Tobin Siebers – “Introducing Disability Aesthetics”
  • Required: - A.J. Withers – “Constructing Difference, Controlling Deviance: The Eugenic Model”
  • Required: - Surviving Eugenics
  • Required: - Disability History Video Exhibit Timeline (2015)
  • Required: Key Topics: Eugenics, Mind/Body, Normalcy, Disability in Art History, Medical Model of
  • Required: Disability, Social Model of Disability, Feminist Approaches to Disability
  • Required: W3/May 16: Extraordinary Bodies: Disability, Race, and Gender
  • Required: - Robert Bogdan – “Race, Showmen, and the Freak Show”
  • Required: - Nadja Durbach – “Monstrosity, Masculinity, and Medicine: Re-Examining ‘the Elephant Man’”
  • Required: - Anna Kérchy and Andrea Zittlau - Introduction to Exploring the Cultural History of Continental European Freak Shows and ‘Enfreakment’
  • Required: - The Greatest Showman (2017)
  • Required: - The Elephant Man (1980)
  • Required: - Freaks (1932)
  • Required: [*Content Warning* These films depict outdated cinematic depictions of persons with disabilities]
  • Required: Key Topics: Disability in the Entertainment Industry, Nineteenth Century ‘Freak-’shows, Extraordinary Bodies, Disability Intersections with Race, Gender, and Age, Constructing ‘Monstrosity,’ Mermaids, Anatomy Museums
  • Required: W4/May 23: Disability in Contemporary Visual Culture
  • Required: - Harry Benshoff and Sean Griffin – “Cinematic Images of (Dis)Ability”
  • Required: - Rosemarie Garland-Thomson – “Disability and Representation”
  • Required: - John Hendrickson – “The Tension at the Heart of CODA”
  • Required: - Catherine Shoard – “Peter Dinklage Criticizes Disney for ‘Backwards’ Remake of Snow White and the Seven Dwarfs”
  • Required: - Cinemability (2013)
  • Required: - CODA (2021)
  • Required: - Disability in Film
  • Required: - Zuzanna Filipiuk – “Representation of Disability in Film and Sociopolitical Implications”
  • Required: Lakehead University 7
  • Required: Key Topics: Disability and Popular Culture, Disability in Cinema, Advertisement and Counter
  • Required: Culture, Underrepresentation of Actors with Disabilities, Disability Awareness
  • Required: W5/May 30: ‘Crip’ Art, Sexuality, and Activism
  • Required: - Victoria Ann Lewis – “Crip”
  • Required: - Robert McRuer – “Crip/Queer Horizons: Disability and Dispossession”
  • Required: - Jenna Reid – “Cripping the Arts: It’s About Time”
  • Required: - Crip Camp (2020)
  • Required: - Bedding Andrew (2014)
  • Required: - A Brief History of the Disability Rights Movement
  • Required: - Robert McRuer on Crip Theory
  • Required: Key Topics: ‘Crip’ Theory, Queer Theory, Desire, Representations of Disability and Sexuality, Disability Activist Movements
  • Required: W6/Jun 6: In/Visibility: Chronic Pain, Illness, and Cognitive Disability
  • Required: - Licia Carlson – “Feminist Approaches to Cognitive Disability”
  • Required: - Eli Clare – “Violence of Cure”
  • Required: - Sander L. Gilman – “Seeing the AIDS Patient”
  • Required: - Sandy Sufian and Licia Carlson – “Thoughts of Precarity, Disablement, and Risk during
  • Required: - Sara Hendren – “All Technology is Assistive”
  • Required: - Alison Kafer – “Crip Kin, Manifesting”
  • Required: - Sunaura Taylor – “Animals, Ableism, Activism”
  • Required: - Miscellaneous videos Wangechi Mutu
  • Required: - Miscellaneous Lisa Bufano performances
  • Required: Lakehead University 8
  • Required: - Examined Life – Sunaura Taylor and Judith Butler
  • Required: - Animal and Disability Liberation – with Sunaura Taylor
  • Required: Key Topics: Posthumanism, Assistive Technologies, Art and Artists, Human-Animal Studies, Animal Disability, Performance Art
Fall 2021

Topics

  • W2|: History of the Museum
  • Alice Procter – “Introduction,” The Whole Picture: The Colonial Story of the Art in our
  • Museums
  • Edward Alexander and Mary Alexander – “The Art Museum”
  • Anthropology Museum”
  • Art/Video Clips
  • Why do we have Museums?
  • The Myth of Race, Debunked in 3 Minutes
  • Victorian Pseudosciences: Brain Personality Maps
  • Crania Americana: History of Scientific Racism
  • The Problem With Museums
  • The Order of Things: Natural History Museums
  • Anthony Anemone – “The Monsters of Peter the Great: The Culture of the St. Petersburg
  • Lakehead University
  • Kunstkamera in the Eighteenth Century”
  • Natural History Museums
  • Heterosexuality”
  • MOTHA – “Speculative Futures and Histories: A Talk by Chris E. Vargas”
  • Museum of Trans Hirstory and Art
  • Are there Homosexual Animals?
  • Are there Transgender Animals?
  • W4|: Controversial Museums / Museum Controversies
  • Brett Bailey’s Exhibit B and Nineteenth-Century Ethnographic Displays”
  • Vicky Van Bockhaven – “Decolonising the Royal Museum for Central Africa in Belgium’s
  • Second Museum Age”

Readings

  • Required: Email Note: Ø
  • Required: Lakehead University 3
  • MOTHA – “Speculative Futures and Histories: A Talk by Chris E. Vargas”
  • Rachel Herrick – Museum for Obeast Conservation Studies (2013)
  • Zero Patience, miscellaneous clips (1993)
Sources