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Chronicles the evolution of Concordia University to commemorate its fiftieth anniversary. Concordia University at 50: A Collective History celebrates the fiftieth anniversary of the merging of Loyola College and Sir George Williams University in Montreal in August 1974. Distinct from traditional institutional histories, this volume approaches Concordia University's history from the ground up by sharing a plurality of voices from across the university over time. Fifty contributions from faculty, staff, students, and alumni present stories of a vibrant community and its activities in a multilayered collection of professional and personal reflections, essays, and oral histories conducted with participants and observers of key events. Providing insights into the early political pressures that inspired Concordia's formation, the growing pains of its merger among its four faculties, as well as the development of new programs such as dance, theological studies, and études françaises, this book is a testament to an urban university formed by its many constituents and by the multilingual city and the complex province that is its home. Enriched with copious and colorful archival documents, photographs, and public artworks that grace these urban campuses, Concordia University at 50 highlights the great range of activities, causes, innovations, and debates that emerge from educational institutions and extend well beyond the classroom.

A collection of the work and writing of celebrated Cuban designer Clara Porset. Cuban-born, Mexico-based designer Clara Porset is renowned for her mid-century modern furniture and interior design and for her collaborations with architects such as Luis Barragán and Mario Pani. She was also an accomplished critic and writer. Living Design collects Porset's essays, reviews, and lectures to highlight her role as an influential thinker, educator, and practitioner. This volume insightfully contextualizes the politics that shaped Porset's design principles, charts the influence of the Bauhaus and Black Mountain College on her work, and reveals the period's fusion of local adaptations and modernist principles that made Mexico a major center of modernist design. At a time when many practitioners believed that design could only be modernized by replacing hand craftsmanship with mechanization, Porset valued both approaches for their distinctive qualities and urged others to do the same. Through her writings, she encouraged efforts to catalyze local design communities during a period of rapid technological and social change. With essays by historian Randal Sheppard and design curator and scholar Ana Elena Mallet, an introduction by volume editors Zoë Ryan and Valentina Sarmiento Cruz, and explanatory notes on the people and publishing forums in Porset's circle, Living Design makes available works never before published in English, and with only limited circulation in the Spanish language, in order to recover an important and neglected voice in global modernism.

First-hand experiences from gender and sexuality studies classrooms that add depth to a topic often distorted by the media. The contemporary post-secondary classroom has become a flashpoint in public debate on gender and sexuality, with controversy over gender-inclusive policies, "trigger warnings," and "cancel culture" that have been misrepresented by opportunistic and divisive voices within and outside of the education sector. However, gender and sexuality studies scholars have long engaged in these debates over pedagogy. Closer study of gender and sexuality classroom practices reveals constructive and transformative ways of learning that grapple with power, conflict, discomfort, and safety in the classroom. Reading the Room collects candid discussions of classroom experiences from instructors and students throughout Canada to guide educators on often-fraught issues relating to gender, sexuality, race, class, disability, and decolonization. Working from a place of coalition building, this volume is a frank, insightful, and pragmatic invitation to share different pedagogical practices with educators in a range of academic disciplines. Contributors to this volume discuss an array of topics including asymmetrical power relations between students and teachers, how students and professors learn from each other, how to negotiate conflict in a classroom, and how to be self-reflective about methods of teaching and learning. They also consider debates around trigger warnings and students' expectations, discuss methods for curriculum selection and pedagogical practices, reflect on what it is like to embody the subjects that they teach, and show how university equity, diversity, and inclusion work is often offloaded to overburdened racialized students and precariously employed staff. A thoughtful and generous work, Reading the Room shows how teachers and students can navigate the difficulty and discomfort of contentious topics and learn more from each other.

Motivated by a goal to understand the labour conditions of workers in the videogame industry and their participatory power to create decent work, Not All Fun and Games is a critical examination of a global entertainment juggernaut with revenues that top film, television, and music production combined. Jobs in the industry are heralded as the vanguard of the new economy, governments offer lucrative tax credits to lure game studios to their regions, and game developers often express commitment and passion for their work. Yet, the industry is also known for its toxic workplaces.To understand these disparities and gain insight into twenty-first century labour conditions, Marie-Josée Legault and Johanna Weststar have carried out a comprehensive mixed-methods study of the North American industry over the past fifteen years. They combine detailed survey data from thousands of game developers with over one hundred qualitative interviews to systematically reveal labour issues such as precarity, lack of workforce diversity, unpredictable schedules, unpaid overtime, low unionization rates, worker burnout, and significant pay inequality.Updating the theoretical concept of citizenship at work, the authors connect these labour issues to a fundamental lack of voice and representation in the workplace. They determine that videogame workers and others in contemporary project-based work environments lack agency in regulating their work and lack fundamental protections. Not All Fun and Games comprehensively documents conditions in the North American industry and highlights ways to counter workers¿ lack of voice and representation in their workplaces to better create healthy, equitable, and inclusive workplaces.

An artist, curator, critic, and teacher, Ian Carr-Harris has been a central figure in Torontös art scene since the 1970s. By collecting his impressive output of essays, critical experiments, and reviews into a single volume, Tracings documents the growth of conceptual art and postmodernism in Canadian art, as well as the expansion of mediums and spaces, while providing insights into methods of representation and the role of criticism in contemporary art.In clear and intelligent prose, Carr-Harris offers detailed studies of individual artists and exhibitions as well as theoretically informed reflections on broader cultural concerns. Whether writing about the complexities involved in the construction and transmission of knowledge, meaning, and historical narrative, or discussing the material matters of government cultural funding, patronage, and artist-run centres, or describing his own process and artworks, these pieces reveal a literary love of language and a nuanced and investigative mind at work. Throughout his writing, he considers themes of identity, cultural nationalism, postcolonialism, institutionalism, the act of viewing, and relations of power.An introduction by Dan Adler situates Carr-Harris¿s work within the context of his contemporaries, collaborators, and cultural environment, pointing out the mutually reinforcing qualities and relationships between his art and his writing. Covering decades of critical thought and engagement, Tracings confirms why Ian Carr-Harris has indelibly written himself into Canadian art.

Legal archives offer extraordinary opportunities for understanding intimacies across time and space. Family and Justice in the Archives presents a series of fascinating historical essays that unpack stories of familial, domestic, and sexual intimacy from the records left behind by legal processes, providing rich new insights about family, gender, race, sex, culture, identity, and daily life.Contributors examine the written traces left by public proceedings that occurred in legally sanctioned spaces of social regulation, from notaries¿ offices to criminal and civil courtrooms to legislatures. Focusing on the past two centuries and spanning five continents, the essays explore a wide range of topics including marriage, citizenship, inheritance, indentured servitude, infanticide, juvenile justice, parental abuse, bigamy, and sex work. Mindful of the ethical questions that arise when scrutinizing the details of people¿s most vulnerable moments, these authors also demonstrate how individuals navigated and sometimes challenged legal prescriptions and processes in order to address systemic imbalances of power. Family and Justice in the Archives reveals the wealth of detail that emerges from a close reading of documents generated by legal processes in the past, offering valuable new perspectives on the complex personal lives of so-called ordinary people in former times.

Originally published in 1987 during the panic around HIV/AIDS, The Regulation of Desire was the first book-length study of sexual regulation in what is currently called Canada. Drawing on his long experience in anti-capitalist groups, the gay liberation movement, anti-racist and anti-police organizing and AIDS activism, Gary Kinsman's investigation of the social forces that produce both sexual regulations and resistance and enforce queer, trans and Two-Spirit oppression laid the groundwork for subsequent studies of queer sexuality in "Canada" and beyond. It quickly became an essential work of scholarship and an expanded second edition appeared in 1996. Tracing a history from the beginning of colonization into the twenty-first century, Kinsman's historical-materialist approach attends to the specificities of race, class, and gender to show how desires, pleasures, and sexualities have been organized and regulated by state relations-in the service of patriarchal, capitalist, and imperialist relations. At the same time, Kinsman documents the emergence of Indigenous, gay, lesbian, and trans resistance, and the formation of queer and trans movements and communities. This third, expanded and updated edition of The Regulation of Desire includes new chapters on the rise of neoliberal queerness and the mainstreaming of white-defined homosexuality since the late 1990s, along with a new introduction by the author examining how the COVID-19 pandemic, the housing and poverty crisis, and the necessity of Indigenous liberation and police/prison abolition intersect with and transform the politics of queer liberation. This new edition also features a foreword by OmiSoore Dryden and afterword by Tom Hooper, plus updates to the text addressing topics such as the limitations of legal reform and same-sex marriage, and the emergence of transgender activism and abolitionist perspectives, moving far beyond limited rights approaches.Not only an important landmark in the field of sexuality and gender studies, The Regulation of Desire is also an engaged work of activism. In it, Kinsman illuminates the centrality of sexual politics in the struggle for social transformation, pointing towards an erotic, love-filled future without sexual, gender, and racial oppression or class exploitation.

Artist and educator Lionel LeMoine FitzGerald (1890-1956) was the only member of the Group of Seven based in Western Canada. Some Magnetic Force is the first collection to gather the surviving writings by the Winnipeg artist. Spanning from 1930 to 1954, the texts gathered here begin during the mature period of his artistic development at age forty and conclude with personal reflections late in life on the nature of art and his career.Michael Parke-Taylor has uncovered and chronologically organized FitzGerald's letters, diary, lectures, and reports to show how FitzGerald understood the development of his practice, communicated the philosophy of art to his art students, confronted challenges in his career, as well as revealing his spiritual aspirations, views about the natural world, and his private desires. These writings also elucidate the material and reputational realities of artistic production in places beyond the period's dominant Canadian art centres of Toronto, Montreal, and Ottawa.With an introduction and notes that contextualize FitzGerald's biography and social circles, and including illustrations of his work, Some Magnetic Force provides remarkable insights into the influences, interests, and innovations of the Group of Seven's prairie artist.

This book is a reprint of a digest that appeared biannually in Oxford, England, during the years between 1943 and 1952. It contains numerous essays by various scholars, including C. S. Lewis, R. E. Havard, D. M. MacKinnon, Stella Aldwinckle, Austin Farrer, G. E. M. Anscombe, and many others, as well as summaries of other essays and both replies and discussions of these talks. This book is a record and summary of many of the meetings of the Socratic Club during that decade.