Courses 2018-2019

IVP210H1S
Holography for 3D Visualization
Professor Emanuel Istrate
Lecture: T 9-11    Practical: T 4-7; R 9-12

This course teaches both the art and the science of holography to students from 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. The work requires producing maquettes or other physical models, as well as producing digital 3D graphics. Both of these are necessary for the production of holograms, and students need to explore on their own methods for producing 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 1, 2018. 

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

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

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, from scientific theories and sacred texts to literary tales and philosophical propositions. They perpetuate ideals and identities, and sustain institutions and communities. This course will take up a set of texts from the arts, sciences, religions and several other storytelling traditions, ancient and modern, considering their claims to authority and making connections between them.


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



VIC270H1F
Listening: A Critical History
Professor Sherry Lee
R 10-12

Surveying scenarios for public and private musical listening, from historical contexts to the present, this course explores critical questions about how we listen, including the relationship between musical genres and listening situations, the definition of music vs. noise, the influence of spectatorship, and the impact of changing technologies. Students discuss the changing aesthetics and ideologies of musical listening, considering ways in which listening shapes our understanding of the social and our awareness of communities.

Breadth Requirement: Creative and Cultural Representations (1)



VIC271H1S
Reading the Wild
Professor John Bemrose
W 2-4

In light of the environmental crisis, this seminar surveys a wide range of oral and written literature in order to discover how our approach to nature has changed over the centuries, what gains and losses have attended modernity, and what older cultures can teach us as we seek to preserve threatened ecosystems.

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




VIC273H1S
The Body: An Exercise
Professor Bruce Meyer
M 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

This course is for aspiring fiction writers who wish to deepen their craft. Each seminar will feature a lecture on technical issues such as plot and characterization, as well as an analysis of a short story by a classic writer. Students will write their own stories, with editorial input from the instructor.

Admission is by application.  Deadline: July 1, 2018.

Application: https://www.surveymonkey.com/r/TG8FDWP

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


VIC275H1S
Creative Writing: Short Fiction
Professor Camilla Gibb
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, 2018.

Application: https://www.surveymonkey.com/r/TZ9YZ38

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, 2018.

Application: https://www.surveymonkey.com/r/MYYYV3F

Prerequisite: Application required. Deadline to apply is June 1st, 2018.
Exclusion: VIC350Y1
Distribution Requirement Status: This is a Humanities course
Breadth Requirement: Creative and Cultural Representations (1)



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. 

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: July 1, 2018. 

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

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

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)


VIC372H1S
Reviewing, Reception, and Reading Communities
Professor Adam Sol
W 10-12

While readers and audiences often are considered to be cultural "consumers," this course will consider reception as an active, creative, and often collaborative activity, by examining formal and informal practices of reviewing and response that may include fan/fanfic cultures, book clubs, community and nation-wide reading programs, and award competitions. Such contexts of reception will be considered along with their social, economic, and ethical implications.

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



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.

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: July 1, 2018. 

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

Application: https://www.surveymonkey.com/r/XS7F2HH

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, 2018. 

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

Application: https://www.surveymonkey.com/r/XRQKPZ2

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

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