Courses 2019-2020

IVP210H1S
Holography for 3D Visualization 
Professor Emanuel Istrate
Lecture: T 10-12    Practical: T 4-7; R 9-12

This course teaches both the art and the science of holography to students with a very broad set of backgrounds. There are no  prerequisites and no prior knowledge in any area is expected. However, students are expected to spend effort on both the scientific and artistic aspects of holography. In order to make holograms, students will have to produce maquettes or other physical models, as well as digital 3D graphics. Students need to explore on their own methods for producing some of these models.

This course falls within the high-impact practice course category.

Students should choose one of two Practicum Sections, either on Tuesdays from 4 to 7 pm or on Thursdays from 9 am to noon. These times will be used for 4 teaching sessions in the holography lab (12 hours in total), and an additional 2 or 3 classroom sessions discussing the artistic aspects of the holography projects that students need to complete.

Admission is by application.  Deadline: August 7, 2019.

Beyond this date, further applications will be considered based on availability until the start of the course.

Application: https://www.surveymonkey.com/r/IVP210H1Sca1920

Exclusion: JOP210H1 
Distribution Requirement Status: This is a Science course 
Breadth Requirement: The Physical and Mathematical Universes (5)


VIC209H1F
How Stories Work
Professor Adam Sol
W 10-12

Stories give shape and substance to the things we believe in. They can also justify and uphold unfair hierarchies and power structures. How do creative thinkers confront this dual legacy, building on but also critiquing our “collective received wisdom”?

This course will examine a set of texts from the arts, sciences, religion, and other story-telling traditions, ancient and modern. We’ll investigate some narrative tropes that travel across disciplines and cultures, and we’ll think specifically about how some contemporary artists and thinkers open up lines of resistance and complication to the Master Narratives we have inherited. 


Distribution Requirement Status: Humanities
Breadth Requirement: Creative and Cultural Representations (1)


VIC235H1F

Innovation in Society
Professor Rie Kijima
T 2-4

This course investigates the history and contemporaneity of innovation as a response to social, scientific, and environmental challenges. Students will acquire key frameworks for understanding the workings of innovation, the place of creativity, and the social impacts of new and disrupted organizations. Through historicizing key moments of innovation (from the Gutenberg printing press to today’s healthcare discoveries) and considering related issues (including intellectual property and sustainability) students will develop approaches to understanding the past, present, and future of creative disruption.

Exclusion: MUN101H1, MUN102H1
Distribution Requirement Status: Social Science
Breadth Requirement: Society and its Institutions (3)


VIC271H1S
Reading the Wild
Professor John Bemrose
W 2-4

In the context of our deepening environmental crisis, VIC271 Reading the Wild will focus on oral and written literature, classic poetry and philosophy from around the world. These texts reflect a variety of attitudes to nature humans have held in different eras and cultures. We will read traditional aboriginal tales, The Bacchae of Euripides, the classic Chinese poets, Tu Fu and Wang Wei, Dogen’s Mountains and Waters Sutra, the English Romantics, and such modern writers as D.H. Lawrence, Ted Hughes and Margaret Atwood. How have our approaches to nature—and our corresponding self-definition as humans—changed over the centuries? What insights have we lost, what gained, as we reap the benefits of modernity?  How can humanity’s past experiences help us rethink our relationship with the natural world, and with ourselves?

Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)


VIC273H1S
The Body: An Exercise
Professor Bruce Meyer
T 6-8

This course will sketch the vital role or the drama of the human body, aspects of its performance, comedy, tragedy and death, through selected parts of history, in life and as reflected in "art".


Distribution Requirements: Humanities
Breadth Requirements: Creative and Cultural Representations (1)


VIC275H1F
Creative Writing: Short Fiction
Professor John Bemrose
W 2-4

Alice Munro’s winning of the Nobel Prize has helped elevate the short story to a new level of regard. Not simply a poor cousin of the novel, the short story is an exquisitely demanding form in its own right, combining the compression of poetry with the psychological range usually associated with much longer works. 

In this seminar, capped at twenty students, you will study a variety of classic short stories, with the aim of writing stories of your own. We will focus on such authors as Chekhov, Lawrence, Hemingway, Gordimer, Gallant, Munro and Atwood, as well as on more recent stars such as George Saunders and Lorrie Moore. Each class will feature the discussion of a story by one of these writers, as well as an informal lecture on technical issues such as structure, the life of sentences, character, the handling of time and, of course, the unique demands of the short story form. 

As well as taking part in classroom writing exercises that compliment the lectures, you will be asked to submit two shorter stories of 1000 to 1500 words during the term. Your main project, due at the last class, will be a longer story of 3500 to 4500 words.  During the writing of this final story, you will have the option of consulting with the instructor, in a way that mirrors the relationship of professional writers with their editors. There will be no final exam. 

Admission is by application.  Deadline: July 1, 2019.

Application: https://www.surveymonkey.com/r/VIC275H1Fca2019-20

Prerequisite: Application Required. 
Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)


VIC275H1S
Creative Writing: Short Fiction
Professor TBD
T 2-4

This seminar course for aspiring writers will take reading short stories as the departure for writing them.  Through considering stories by some of the world’s most compelling contemporary voices, including Jhumpa Lahiri, Daniyal Mueenuddin and Junot Diaz, we will examine the craft and practice of short story writing.  Each seminar will begin with looking at a particular technical issue such as characterization, plot or voice, with reference to a specific assigned story.  The remainder of each class will be devoted to workshopping drafts of two students’ short stories with everyone in the class offering constructive critical feedback for the further development of the writer’s work. 

 The final version of the workshopped story as well as a number of take-home shorter writing exercises will constitute a significant percentage of the student’s grade.  Please note that this course requires students to both read and write something every week in the spirit of developing a regular writing practice.

Admission is by application.  Deadline: August 1, 2019.

Application: https://www.surveymonkey.com/r/ca201920

Prerequisite: Application Required. 
Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)


VIC279H1F
Creative Non-Fiction
Professor Bruce Meyer
M 6-8

This course examines the forms, style, aims, and ethics of non-fictional forms such as documentary writing, journalism, and life-writing. It combines the study of examples from contemporary media with exercises in writing non-fictional prose.

Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)


VIC280H1F
Creative Writing: Poetry
Professor Al Moritz
R 6-8

This course will allow poets to build poetry writing skills through reading, discussion and, primarily, practice. On each class day, we’ll workshop our own poetry: participating poets will discuss each others work. From time to time we’ll also discuss model poems, and issues in poetry writing, from the assigned books and from handouts. 

Admission is by application.  Deadline: July 1, 2019.

Application: 

Application: https://www.surveymonkey.com/r/VIC280H1Fca201920

Prerequisite: Application required. 
Exclusion: VIC350Y1
Distribution Requirement Status: This is a Humanities course 
Breadth Requirement: Creative and Cultural Representations (1)


VIC281H1F
Popular Music, Technology, and the Human
Professor Ken McLeod
R 1-3

This course explores ways in which popular music, sound and sound technologies have influenced our understanding of the recent human condition. Drawing on a variety of theoretical perspectives, we consider the musical uses of technology as both a material culture and a set of distinctly innovative practices that can create powerful transformations of consciousness, meaning and value.


Distribution Requirement Status: Humanities
Breadth Requirement: Creative and Cultural Representations (1)

VIC335H1S

Ethical Enterprise and Critical Reflection
Professor Robert Gibbs
T 3-6

The course explores what change we hope to produce through a wide range of new enterprises. The main goal is to develop critical perspectives on enterprises in the widest sense, including start-up companies, non-profits, arts institutions, community outreach organizations, and social activism. What would make these changes ethical? When we evaluate the endeavours, how can we compare economic benefits, social disruption, questions of exclusion and diversity, sustainability in several senses, and the processes of change themselves? Where are the limits of social responsibility in entrepreneurial creativity?


Distribution Requirement Status: Social Science
Breadth Requirement: Society and its Institutions (3)


VIC350Y1Y
Creative Writing
Professor David Gilmour
T 11-1

Reading a lot may be helpful for a young writer but it’s not a replacement for the real thing, for the act of writing. So we will not load you down with a ton of reading – I think that's a waste of the limited time we have together. But I will demand instead a rigorous output of prose. (And check to see it's done.) Regardless of what literary era you find yourself in, the trick to good writing is a good story. Pretty sentences strung together (see cut) won’t cut it. Eventually the reader will smell a rat. A story must compel you to ask: "And then what happened?" We are going to write stories of a realistic nature, stories that don't necessarily have to have happened, but must be able to have happened.  (Please note:If you are a lover of fantasy or sci-fi or magic realism,this class is not for you.) 

We are going to write and cut and rewrite and cut and rewrite some more: (see cut) 1500 words a week, week in,week out: 35,000 words at year's end -- until the act of writing becomes an automatic reflex. (see cut)  Remember this please: good writing involves the darkening of hundreds and hundreds of not-so-good pages...but then, magic.  This is a serious course; tourists not invited. If in doubt about just how serious, try and talk to someone who has taken either of my courses before. Finally, this course will teach young writers a lifetime skill: how to talk to other writers about their work.

All students are invited to submit a 500 word audition piece for this course. 

But please, no science fiction or fantasy writing. This is not the right course for those genres. In addition, students are encouraged, if possible, to talk to former students of this course.

Admission is by application.  Deadline: August 15, 2019. 

Beyond this date, further applications will be considered based on availability until the start of the course.

Application: https://www.surveymonkey.com/r/VIC350Y1ca201920

Prerequisite: Application Required. Preference given to fourth and third-year students.
Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)


VIC372H1F
Reviewing, Reception, and Reading Communities
Professor Heather Murray
W 10-12

What is taste? How is it developed, cultivated, policed? In our increasingly decentralized cultural landscape, how do we measure the impact of public opinions on art and how we encounter it? Can a sharply-written review on Amazon, or a meme on Twitter, be as influential as a Canada Reads debate or an essay in The New York Times? This course will consider reception as an active, creative, and often collaborative activity. We’ll start with some foundational texts by philosophers like David Hume and Pierre Bourdieu, and work our way to the present to examine the contexts, challenges, and implications of reviewing, reception, and micro-communities in a variety of artistic media, from poetry to pop music.

Prerequisite: Completion of 6.0 FCEs
Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)


VIC373H1S
Materialities of Music
Professor Ellen Lockhart
W 1-3

Music is often understood as the most ephemeral and transcendent of the fine arts, even if that means overlooking the physical realities of music's production and dissemination. We will examine these materialities here, from paper and technologies of print, through to instruments for making and studying sound, and architectural spaces for its market circulation; we will see how music and its instruments provided the raw material for the emergence of a nineteenth-century science of acoustics.

Prerequisite: Completion of 6.0 FCEs
Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)


VIC435H1S
Capstone Seminar: Community-Engaged Research
Professor Jonathan Hamilton-Diabo 
W 10-12

This course provides students with an experiential learning opportunity in community-engaged research combined with critical reflection and academic discussion within a seminar setting. Through a placement in social enterprise organizations, students develop research-based approaches to support their organization in assessing needs, impact, and resources. Alongside this hands-on experience, interdisciplinary seminar discussions will help students understand how research methodologies, standards, and protocols are deployed in community settings. Not eligible for CR/NCR.

Application page: https://www.surveymonkey.com/r/435h1s201920


Prerequisite: 15.0 FCE in any subject. 
Application required. 
Exclusion: NEW497Y1/​ NEW498H1 
 Distribution Requirements: Social ScienceBreadth Requirements:Society and its Institutions (3)


VIC479Y1Y
The Novel: A Master Class
Professor David Gilmour
M 4-6

Welcome to the 50,000-word club. Not for tourists. Writing, certainly at the level of a professional novelist, is not a hobby. It’s a calling. A distinguished New York editor, when asked how he picks a novel for publication, responded, “I read the first sentence. If I like it, I read the second. If I like the second…” You know where it goes from here. So that’s where we start, where all literature starts: with a story.

We're also going to discuss and deeply consider this essential question:  How should I work? How you work is as important as having a good story: Do you do it in the morning, in the evening? For two hours or, like Balzac, for twelve. Until you discover how to work, you won’t.

Other concerns: Many young writers misunderstand the role of dialogue: they think it’s a sort of time-out, a place to ease-up. It’s not. Good dialogue pushes a story forward as fast and with more muscle than prose. And then there’s the issue of "finishing things." Bars all over the world are full of ex-patriots who never "quite finished" their novel and it's haunted them ever since. You must finish what you start, even if it's terrible. You can't rewrite something until you know how it ends.

In this class, students are expected to finish a first draft manuscript of at least 50,000 words by April (2,000 words a week, every week, no excuses, attendance compulsory, punctuality non-negotiable). To appreciate the gravity of how we do things in a Master Class, try and talk to someone who has already taken it. As I said, it’s not a course for tourists. Finally, this course will teach young writers a lifetime skill: how to talk to other writers about their work.

All students are invited to submit a 500 word audition piece for this course.

But please, no science fiction or fantasy writing. This is not the right course for those genres. Deadline: August 15, 2019.

Beyond this date, further applications will be considered based on availability until the start of the course.

Application: https://www.surveymonkey.com/r/vic479Y1ca2019-20

Prerequisite: Application required. 
Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)


VIC480H1S
Poetry: A Master Class
Professor Al Moritz
R 6-8

A workshop course in writing poetry. Designed for those with a serious ambition to be writers as evinced in work they are already doing. Does not offer instruction for beginning writers. Pre-supposes perfect and sophisticated written language skills.

Admission is by application.  Deadline: August 1, 2019. 

Beyond this date, further applications will be considered based on availability until the start of the course.

Application: https://www.surveymonkey.com/r/vic480h1s201920

Prerequisite: Application required.
Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)

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