Medical Curriculum Change at Queen's-affiliated Medical Colleges: 1881 – 1910

This study explores the curriculum at Queen’s-affiliated medical colleges, specifically The Royal College of Physicians and Surgeons, Kingston, the Kingston Women’s Medical College, and Queen’s Medical College, from 1881 to 1910, using the textbooks prescribed by these institutions as primary sources. The central question encompasses what factors primarily motivated the curriculum at Queen’s-affiliated medical colleges to change. Within the historiographical scholarship on Queen’s College, this question has not yet been addressed and, to my knowledge, this is the first medical education history to specifically address textbooks as part of a medical school curriculum. During this period, these institutions experienced reorganizational shifts, such as the reunification of Queen’s Medical College with The Royal College of Physicians and Surgeons, Kingston, as well as the introduction and subsequent exclusion of female students. Within this context, this study examines how the forces of scientific innovation and co-education impacted the curriculum during the period under study, as measured by textbook change, specifically in the courses of obstetrics and gynaecology, the theory and practice of medicine, and surgery. To what degree was curriculum in these courses responsive to scientific inventions and discoveries, changing therapeutic practices, and possible gender biases? From 1881 to 1910, innovations such as x-ray and anaesthesia became commonplace within medical practice. Some technologies gained acceptance in the curriculum, while others fell out of favour. This study tracks these scientific discoveries through the textbooks used at Queen’s-affiliated medical colleges in order to demonstrate how the evolving nature of medicine was represented in the curriculum. To address how gender influenced the curriculum, textbooks from the Kingston Women’s Medical College and The Royal College of Physicians and Surgeons, Kingston, were compared. For two out of the three examined courses, it was found that sections of textbooks discussing various topics at the Kingston Women’s Medical College contained significantly more detail than their corresponding sections within The Royal College’s textbooks. It was speculated that the instructors preferred to teach their female students through textbooks, rather than lectures.

Need To Be Adored

Faced with a diagnosis of multiple sclerosis, I began with the objective of discovering methods for creating art that were still accessible to me. Along the way, I encountered others who had travelled this road before me. Their experiences led me to examine, not only my art, but also my political orientations, my love obligations and my transitioning self. In my varied art pieces, I conjure something from diverse sources and different worldviews, including contemporary feminist performance art and disability cultural theory. My thesis is a project. I make things: puppets, videos and performances, which included the exhibition, Need to be Adored (2014), staged in the digital media lab of the Isabel Bader Centre for the Performing Arts in Kingston, Ontario, Canada. The exhibition introduced thirteen of my puppets and a thirty-two-minute looped video. Following the exhibition, I put the puppets away and spent two years reading. Finally, taking my inspiration from Carolyn Ellis’s The Autoethnographic I (Ellis 2004), I turned my processes into words. I wrote out my experiences. I created an alternative text of my identity from an able-bodied cis-identified woman into a disabled trans-feminist artist academic. The writing required an uncomfortably intimate examination of my life. Nothing less than complete honesty would allow me to understand my new location. The resulting text is a lyrical and sometimes whimsical flow of consciousness that invites the reader to imagine what it might be like to engage in such a candid review of everything one holds close to one’s heart. Contained within are all my identities. In this text I let some out. This is a story of unsettling. I am working on my art practices, creating a cast of characters from cloth. Puppets. El becomes the exulted main character of a fictional accounting. She uncovers her queer roots and begins to see that she is at the centre of a very strange geography. Her desire to make film is revealed as she re-remembers her childhood through a disability lens.

L'évolution des voix/voies de femmes dans leurs écrits sur l'Église aux XVIIe et XVIIIe siècles

Feminist movements have allowed many female authors to become decisive and influential figures in literary history by studying their experiences, voices and forms of resistance. This thesis, however, focuses specifically on religious women, those seeking divine comfort outside the confines of institutional laws, or those who, out of protest, are caught in the middle. Founded on historical and feminist perspectives, this study examines the heterodox resistance of six French women living within or outside of Church boundaries during the 17th and 18th centuries: two eras that are particularly significant for women’s progress and modernity. This work strives to demonstrate how these women, doubly subjected to Church discourse and that of society, managed to live out their vocation (female and Christian) and make social, cultural and religious statements that contributed to changing the place of women in society. It aims to grasp the similarities and differences between the actions and ideas of women belonging to both the religious and secular spheres. Regardless of the century, the space and their background, women resist to masculine, patriarchal, ecclesial, political and social mediation and institutions. In locating examples of how they oppose the practices, rules and constraints that are imposed upon them, as well as of their exclusion from the socio-political space, this thesis also seeks to identify epistemological changes that mark the transition from the 17th to the 18th century. This thesis firstly outlines the necessary feminist theory upon which the project is based before identifying the evolution of women’s positions within the socio-ideological and political framework in which they lived. The questions of confession and spiritual direction are of particular interest since they serve as prime examples of masculine mediation and its issues and consequences – most notably the control of the female body and mind. The illustration of bodily metamorphoses bear testament to ideological changes, cultural awareness and female subjectivity, just as the scriptural inscriptions of unorthodox ideas and writing. The female body, both object and subject of the quest for individual and collective liberties, attests, in this way, to the movement towards Enlightenment values of freedom and justice.