In-Person if the course requires attendance at a specific location and time for some or all course activities. These courses will have section codes starting in 0 or 4.
Online – Asynchronous if the course has no requirement for attendance at a specific time or location for any activities or exams. These courses will have the section code starting with 61.
Online – Synchronous if online attendance is expected at a specific time for some or all course activities, and attendance at a specific location is not expected for any activities or exams. These courses will have the section code starting with 62.
Hybrid if the course requires attendance at a specific location and time, however 33-66% of the course is delivered online. If online attendance is expected at a specific time, it will be in place of the in person attendance. These courses will have the section code starting with 31.
Some courses may offer more than one delivery method please ensure that you have the correct section code when registering via ACORN. You will not be permitted to switch delivery method after the last date to add a course for the given semester.
Please Note:
If you are unable to register, through ACORN, for a course listed on this site, please contact the registrar of the college who owns the course. This can be identified by the first two letters of the course code.
For Summer courses, unless otherwise stated in the ‘Enrolment Notes’ of the course listing, the last date to add a course, withdraw from a course (drop without academic penalty) and to obtain a 100% refund (minus the minimum charge) is one calendar day per week of the published meeting schedule (start and end date) of the course as follows: One-week Summer course – 1 calendar day from the first day of class for the course; Two-week Summer course – 2 calendar days from the first day of class for the course, etc. up to a maximum of 12 calendar days for a 12 week course. This is applicable to all delivery modalities.
This course explores world religions through music, one of the most universal features of human life. It will focus on the various traditions and phenomena of religious music in comparative perspective, and examine the way in which music reflects the religious tenets and has been used as a means of interacting with the divine. Covering seven of the major religions.
This course explores world religions through music, one of the most universal features of human life. It will focus on the various traditions and phenomena of religious music in comparative perspective, and examine the way in which music reflects the religious tenets and has been used as a means of interacting with the divine. Covering seven of the major religions.
This course explores world religions through music, one of the most universal features of human life. It will focus on the various traditions and phenomena of religious music in comparative perspective, and examine the way in which music reflects the religious tenets and has been used as a means of interacting with the divine. Covering seven of the major religions.
Humans are story-telling animals. We find our identity, our memory, our vision and our meaning through the narratives of our lives. While the church has been a foundational story telling institution in our lives, it has clearly been eclipsed in the last half century by various forms of mass media, and most notably through cinema. In this course we will use the Toronto International Film Festival as our classroom. Engaging in a two way dialogue between film and Christian theology, students will develop a biblically theological understanding of contemporary film. We will explore the prophetic, pastoral, liturgical and theological contribution that contemporary cinema can make to Christian reflection and praxis in a late modern socio-historical context.
In this course, students will examine a series of films exploring their theological themes, presuppositions and rhetoric. Students will learn to interpret film theologically and also learn how to engage film criticism and film production theory. Combining these methodological approaches, students will discover how theological reflection and film culture intersect to offer ways in which we can evaluate film as a prophetic medium.
Humans are story-telling animals. We find our identity, our memory, our vision and our meaning through the narratives of our lives. While the church has been a foundational story telling institution in our lives, it has clearly been eclipsed in the last half century by various forms of mass media, and most notably through cinema. In this course we will use the Toronto International Film Festival as our classroom. Engaging in a two way dialogue between film and Christian theology, students will develop a biblically theological understanding of contemporary film. We will explore the prophetic, pastoral, liturgical and theological contribution that contemporary cinema can make to Christian reflection and praxis in a late modern socio-historical context.
Sherry Coman is co-teaching this course with Brian Walsh.
In this course, students will examine a series of films exploring their theological themes, presuppositions and rhetoric.Ø Students will learn to interpret film theologically and also learn how to engage film criticism and film production theory. Combining these methodological approaches, students will discover how theological reflection and film culture intersect to offer ways in which we can evaluate film as a prophetic medium.
In this course, students will reflect on a series of films both theologically and with a view to social justice. Students will learn how to engage film criticism and film production theory. Combining these methodological approaches, students will discover how theological reflection and film culture intersect to offer ways in which we can evaluate film as a prophetic medium. At least one unit will focus on using film in a parish setting.
Humans are story-telling animals. We find our identity, our memory, our vision and our meaning through the narratives of our lives. While the church has been a foundational story telling institution in our lives, it has clearly been eclipsed in the last half century by various forms of mass media, and most notably through cinema. In this course we will use the Toronto International Film Festival as our classroom. Engaging in a two way dialogue between film and Christian theology, students will develop a biblically theological understanding of contemporary film. We will explore the prophetic, pastoral, liturgical and theological contribution that contemporary cinema can make to Christian reflection and praxis in a late modern socio-historical context. The text for this course will be: Roy Anker, Catching Light: Looking for God in the Movies ( Eerdmans, 2004)
Sherry Coman is co-teaching this course with Brian Walsh.
In this course, students will examine a series of films exploring their theological themes, presuppositions and rhetoric. Students will learn to interpret film theologically and also learn how to engage film criticism and film production theory. Combining these methodological approaches, students will discover how theological reflection and film culture intersect to offer ways in which we can evaluate film as a prophetic medium.
Although contemporary Canadian society is both technologically sophisticated and pluralistically tolerant, it is also unjust. In this course, we are going to identify some of the major injustices in our present culture, examine how they came to be, whether Canadian law combats or perpetuates these injustices, and how we might rectify them. We will focus on three main areas: the environment, refugees and aboriginal people. That is the objective pole of the course; but there is also a subjective pole. Students will be asked to consider not only social injustices but also their own identities as individuals, neighbours, citizens and Christians. And so this course aims not only at acquiring new knowledge, but also at self-transformation. To this end, we will examine the dominant narratives concerning the environment, refugees and aboriginal people; we will then test the accuracy of these narratives against reality; and finally, we will see how our changed perception affects both our responses to these injustices and our own self-understanding.
Although contemporary Canadian society is both technologically sophisticated and pluralistically tolerant, it is also unjust. In this course, we are going to identify some of the major injustices in our present culture, examine how they came to be, whether Canadian law combats or perpetuates these injustices, and how we might rectify them. We will focus on three main areas: the environment, refugees and aboriginal people. That is the objective pole of the course; but there is also a subjective pole. Students will be asked to consider not only social injustices but also their own identities as individuals, neighbours, citizens and Christians. And so this course aims not only at acquiring new knowledge, but also at self-transformation. To this end, we will examine the dominant narratives concerning the environment, refugees and aboriginal people; we will then test the accuracy of these narratives against reality; and finally, we will see how our changed perception affects both our responses to these injustices and our own self-understanding.