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Graduate Student Supervision
Doctoral Student Supervision (Jan 2008 - Nov 2019)
In this case study of the organization and film and video archive known as Vídeo nas Aldeias (Video in the Villages or VNA), founded in 1986 by Vincent Carelli, I develop an argument for VNA as a critical filmic archive worthy of study and safeguarding. Crucially, I examine VNA as a producer of knowledge through an interdisciplinary framework. Its collection comprises over ninety films on and by Indigenous peoples, representing over forty Indigenous nations across Brazil. As a practicing media artist and filmmaker, I apply an interdisciplinary framework to develop philosophical arguments and film analyses to conceptualizing VNA’s archive as a pluriversal and anti-colonial technology of knowledge. Over-arching concepts of visual sovereignty, as elaborated by Native American scholars Michelle H. Raheja (Seneca) and Jolene Rickard (Tuscarora Nation), as well as concepts by Laura R. Graham to include representational sovereignty, as theoretical frameworks with which to examine individual films and the archive as a whole, guide my analysis. I use Amalia Córdoba and Juan Salazar’s discussion of “imperfect media” to root my analysis in Latin American theory. I argue that the films are constituent of cosmopolitical processes that can be framed within onto-epistemic oriented cinema; I appraise how the films and the archive have repercussions on and off screen. A key objective of this dissertation is to broaden the field of film studies to include Indigenous cinema, not as an addendum to film studies, but as integral to film history and film culture. I conclude by examining how VNA, by means of its creation of a growing, alternative filmic corpus, is working to invigorate futures for Indigenous peoples and for cinema studies.
The 1970s and 1980s were decades of turmoil as political violence spread through different parts of Latin America in the context of the Cold War. Exiles from the Southern Cone made their way to the Canadian west coast, followed soon by Central American refugees. During this time, the emergent Pan-Latin American diaspora and local alternative media activists produce the radio program América Latina al Día [Latin America Today] or ALAD as a tool with which to create a sonorous space for discourse and praxis. Since its creation, the radio show has been bilingual, run by volunteers and has been on air for more than forty years from the Vancouver Radio Cooperative studios. This dissertation examines closely why and how different waves of Latin American exiles arriving in Vancouver in the last third of the 20th Century made use of bilingual radio. Through an oral narrative approach, this case study maps the radio experience as an everyday practice in the life of 10 former ALAD radio collective members during the 1980s. The author also weaves her own experience(s) as media activist, radio producer and exile. The study’s interdisciplinary focus provides rich insights in four broad themes that emerged from the oral interviews: 1) radio as a social and connective medium and its impact on the lives of the participants, 2) radio seen as a new kind of Latin American public plaza, 3) the emotional and physical challenges brought into the lives of the interviewees due to their participation in the radio collective, and 4) the process of producing ALAD as a practice in motion. This case study sheds light into the ways exiles recreate communication media to maintain a link with their home countries, while rebuilding their political identity and re-creating trans diasporic communities. ALAD is a unique example of a communication practice in motion (Rodriguez, 2001) and constitutes an exercise of cultural agency, not only for exiles and migrants from Latin America, but also for local activists who share the utopian conviction that alternative media can be a tool for social transformation.
This study establishes how three Colombian writers, Margarita García Robayo (1980), PowerPaola (1977), and Andrés Felipe Solano (1977), express their personal and literary experience through life writing. The autofiction Lo que no aprendí (2014), the autobiographical graphic narration Virus Tropical (2011), and the literary diary Corea: apuntes desde la cuerda floja (2016), are different types of life-writing which fill the mobile stage created by the “biographical space” (Leonor Arfuch). Even tough it is possible to see these life-writing texts like primary or simple discursive genres (Mijail Bajtin), from the perspective of this study these works by García Robayo, Solano and PowerPaola are read as secondary (complex, as Bajtin mentioned) texts. This research points out how these works occur in a more elaborated condition of communication, rework diverse primary discourses and transform themselves into secondary texts. These writings, therefore, pass from simple situations of everyday life to become artistic events.The first-person narrator, character who is witness and participant of every single experience, weaves the life writings analyzed here. Nevertheless, this singular perspective does not mean that these writings have a solipsistic intention. This study reflects how these works are linked to the Colombian context and culture, indicates the way that the authors critique and think over Colombian society and their vision about what to expect in the future for the South American country facing the twenty-first century.Finally, these life-writings develop not only the identity of the subject, but also weave the “author’s fiction” (Julio Premat) inside their narratives. This investigation determines how Margarita García Robayo, PowerPaola, and Andrés Felipe Solano create their own image as authors inside their works. The purpose is to identify why these Colombian writers build their image in a particular way and determine tools for researchers in the creative writing process.
Master's Student Supervision (2010 - 2018)
The recent Colombian comics and graphic novels Benkoz renace by Jean Paul Zapata, Los guerreros de Pachamama by Tairon Ernesto Cutiva Amaya, and Mohán: el mito by Inu Waters address themes of violence (especially forced displacement) and ecological destruction related to the Colombian armed conflict. These works are part of a recent surge in comic book production that Suárez and Uribe-Jongbloed have pointed out. With an ecocritical approach, the first chapter examines the relationship between physical and symbolic violence and ecological destruction in these works related to the Colombian armed conflict which continues after more than 52 years despite the recent peace treaty with the FARC guerrilla (Fuerzas Armadas Revolucionarias de Colombia – Colombian Revolutionary Armed Forces). While paramilitary groups, guerillas, and economic interests are represented as victimizers of “nature” (or the non-human world) and minorities (campesinos, Afro-Colombians, and indigenous people), in Los guerreros de Pachamama, “nature” is personified and seeks revenge against these victimizing forces. The second chapter explores the use of mythical elements in the narratives with respect to history, emphasizing how they highlight the repetition of violence and ecological destruction in different historical periods while also recognizing their decolonial potential. Finally, with theoretical reference to Val Plumwood and Arturo Escobar, the last chapter explores “hybrid characters” that combine human and non-human aspects in these narratives that work to present the latter as subjects and agents. I argue that these characters break with the Western dualism between humanity and nature, encouraging new ways of understanding humanity’s relationship with the planet. I conclude that the works examined in this thesis portray the violence of the Colombian armed conflict in a way that recognizes its effects not only on human beings but also on the non-human world. Through mythical elements, it is viewed as a repetition and an intensification of the patterns of the past. Hybrid characters contribute to an understanding of humanity and nature not as separate and hierarchically organized categories but as interdependent worlds that are both endowed with agency.
The primary objective of this project is to problematize the literary genres used by the Salvadorian author Manlio Argueta (El Salvador, 1935) in two of his texts. The primary texts used are Un día en la vida (1980) and Cuzcatlán donde bate la mar del sur (1986). In both these works the historical, social, political and cultural experiences of El Salvador are novelized through the voice of testimony. Through a review of the testimonial theory and an analysis of the text we observe that these life narratives experience a hybridization of genres, because through an aesthetic and poetic language the author merges both a literary genre the novel and a genre with a social commitment the testimonio. Through this fusion the author is not only able to expose his own life experience but he is also able to give voice to the voiceless, and create a more impactful narrative.
This thesis investigates Junot Díaz’s portrayal of the Dominican diaspora in The Brief Wondrous Life of Oscar Wao (2007) to propose that Junot Díaz’s understanding of belonging approaches Giorgio Agamben’s concept of community as a being together of individuals in an inessential solidarity. The novel presents the marginalized Others of the Dominican diaspora as individuals whose longing for a sense of community problematizes the notion of bounded physical and temporal loci. The characters are never only of one nation or one culture, neither can they be identified as representing a singular race, class, religion, gender, or sexuality. Rather, they occupy multiple realities across contingent temporal registers so that errancy, mutability, and ambivalence characterize their transcultural experience of the quotidian. This being in flux opens liminal spaces from which they can grasp potentiality to refigure the past and interrupt the performance of the present for cultural renovation. Through the lens of Oswald de Andrade’s cultural anthropophagy and postcolonial theorists such as Homi Bhabha, Édouard Glissant and Antonio Benítez-Rojo, this thesis discusses the ways in which Díaz’s text engages readers to re-examine normative paradigms of belonging to imagine sustainable commonalities that do not evince an essence.
The primary object of analysis of this thesis is the novel Mala onda (1991) by the Chilean writer Alberto Fuguet (Chile, 1964). The hypothesis specifically states that this text can be interpreted as a tool that facilitates defamiliarization (in the terms proposed by Viktor Shlovsky in his essay Art as Technique, published in 1916) on readers who are part of contemporary consumer society. Both in terms of content (strongly on this point, because this is where the summit defamiliarization in the novel moment occurs: the moment when the main character runs away abruptly from home) as in a formal level (form acts as a adjuvant to fulfill the potential of defamiliarization that the novel has), Mala onda is presented as a text that can generate the alleged breach of perception that has fallen into the habitual. In other words, an effect of strangeness upon the one who lives accustomed to the consumer society, who does not stop to reflect on it. Thus, both in terms of content and formal level, Mala onda ends up setting a narrative formula -form and content conjugated to produce defamiliarization- that could be interpreted as an artistic tool that facilitates the defamiliarization or estrangement on the reader, who is imbued within the current consumer society. El objeto primario de análisis de esta tesis es la novela Mala Onda (1991) del escritorchileno Alberto Fuguet (Chile, 1964). La hipótesis, concretamente, plantea que este textopuede interpretarse como una herramienta que facilita la desfamiliarización (en los términosque propone Viktor Shlovsky en su ensayo Art as Technique, publicado en 1916) en loslectores que son parte de la sociedad de consumo contemporánea. Tanto a nivel de contenido(enfáticamente en este punto, pues es aquí donde se produce el momento cumbre de la desfamiliarización en la novela: el momento en el que el personaje central huyeabruptamente de su hogar), como a nivel formal (la forma actúa como un coadyuvante detodo el potencial de desfamiliarización que tiene la novela), Mala onda se presenta como untexto que puede generar el pretendido rompimiento de la percepción que ha caído en lahabitualidad, es decir, producir un efecto de extrañeza en aquel que vive habituado a lasociedad de consumo, que no se detiene a reflexionar en ella. Así, pues, tanto a nivel decontenido como a nivel formal Mala onda termina por configurar una fórmula narrativa –contenido y forma conjugados para, finalmente, desfamiliarizar– que puede considerarse unaherramienta artística que facilita la desfamiliarización o el extrañamiento en el lector que estáimbuido dentro de la sociedad de consumo actual.