History of Art Graduate Department of Art

Courses

    • (FAH1001H)Methods – Graduate Department of Art Faculty (Other)

      A close reading of the major texts related to the theory and practice of art history and its related disciplines. Required for all incoming PhD students, unless students receive permission for previous course from the Director of Graduate Studies.

    • (FAH1125H)Medieval Pilgrimage Art and Architecture – J. Caskey (Medieval)

      This seminar critiques current theories of pilgrimage and investigates selected early Christian, Western medieval, Byzantine, and Islamic destinations. Readings (both primary and secondary sources) and discussions address such features as urbanism, architectural plans, sculptural programs, tombs and shrines, relics and reliquaries, badges and souvenirs. Student presentations/papers will attempt to reconstruct the realia of a specific pilgrimage site. Reading knowledge of at least one foreign language is recommended.

    • (FAH1175H)Early Islamic Architecture – H. Mostafa (Medieval/Architecture)

      A critical examination of seminal early Islamic sites, including the Mosque of the Prophet in Madina, the Great Mosque of Damascus, the Dome of the Rock in Jerusalem, select Umayyad desert palaces, Abbasid Baghdad and Samarra, and the palace of Madinat al-Zahra and Great Mosque in Cordoba. Themes discussed include cultural encounters with late antiquity, the ancient near east and Europe, the impact of nascent Islamic institutions, questions of patronage and the role of ceremonial.

    • (FAH1221H)Inside the Painter’s Studio – P. Sohm (Early Modern)

      Painters at work in Italy, France, and Germany, 1550–1700. The aim of this seminar is to understand studios as places for painting, teaching, selling, and modeling, and hence painters as craftsman, teacher and team boss, negotiator, and salesroom manager. Research topics include: the physical location and environment of painters’ studios; painting as a corporeal act; painting as a performance for studio visitors; self-representation of painters at work; bodily traces in paintings (fingerprints and finger painting); visual and literary evidence of production. An eclectic array of approaches and sources will be used: material culture, anthropology, scientific conservation, social and economic history, and literary analysis. Source material will include biographies, letters, diaries, account books, inventories, testaments, lawsuits, technical manuals, and (naturally) prints, drawings, and paintings. Reading knowledge of Italian, German, or French is required.

    • (FAH1411H)Art and Analogy – M. Cheetham (Modern/Contemporary)

      Analogy and metaphor are central to the way humans think and make sense of the world, whether in culture (the pattern is common in literature, music, and architecture), politics, or science (Rutherford’s foundational analogy between the atom and solar system, for example). People think analogically because it is a potent shorthand that makes a connection, a comparison. It places its terms in useful but also restrictive ways. Art and Analogy investigates a fundamental range of questions in art history and the practice of artmaking: in what ways are art objects, the processes of their making, and their reception analogues? How is art related to the world: as a mirror, a material segment, a copy? Perhaps digital technologies have altered the nature of art itself by challenging the ancient pattern by which the arts are compared and ranked (“Ut Pictura Poesis,” for example). We will also examine how the narratives that make up art history are extensively based on analogical thinking, including the pattern that sees artist X as the artist Y of country Z (“Tom Thomson was the van Gogh of Canada,” for example). Are such analogies helpful? In what ways can they be misleading? Can we validly analogize across cultures and temporalities, as when Liu Haisu was dubbed the “Cézanne of China”? While analogizing is ubiquitous and forms a link between art history, the visual arts, and both scientific and humanistic cultural norms generally, we will seek to understand the roots and implications of analogical thinking in visual art and writing about art from c. 1700 to the contemporary period.

    • (FAH1488H)The Nature of Landscape – K. Jain (Modern/Contemporary)

      What is a “landscape”? To address this question, as this seminar does, is to think about the way the category emerged as part of European ideas about something called “nature” and its relationship to human subjectivity. Here landscape became a way of seeing as a way of knowing: in particular as a way of understanding land as property and as a resource, as well as a reflection of human emotions and a way of engaging questions of existence. In order to “provincialize” these ways of seeing/understanding—that is, to identify how they emerged within a very particular set of historical, geographical, cultural, political, and economic contexts that nonetheless came to claim universality—we will compare Western landscape painting traditions with visual forms from other traditions that might be seen as akin to landscapes. These include Chinese and Islamic traditions, as well as Indigenous art from Canada and elsewhere; seminar participants are also encouraged to bring their own specific interests to the table through readings on other topics. Understanding the genealogies of “landscape” through scholarship in art history, anthropology, history, and geography will equip us for a more globally oriented and critical approach to those strands of modern and contemporary art concerned with the “environment” and our existence in the geological age recently dubbed the Anthropocene.

    • (FAH1756H)Acoustic Space – J. Clarke (Modern/Architecture)

      This course examines how sound has been creatively manipulated to articulate spatial relationships in modern architecture, sound art, soundscape compositions, and film soundtracks. The term “acoustic space” was popularized by Marshall McLuhan in the 1950s and 60s, but had earlier roots in psychology, architectural acoustics, and media theory. Under the conceptual framework of acoustic space, theorists and artists across various cultural fields have posed questions such as: How do individuals locate themselves in the world through listening? How can the physical environment be transformed through creative acoustic interventions? How might new and potentially far-flung communities be convened through sound? With the theme of acoustic space as a starting point, the course surveys a range of historical methods associated with the emerging discipline of sound studies and the diversity of ways in which the spatial behaviour of sound has been subject to artistic representation and transformation.

    • (FAH 1801H)Portraiture in Canada, 1750–1870: Painting into Photography – D. Reid (Modern/Contemporary)

      This seminar will examine the evolution of portraiture in Canada from the final decade of the French Regime to the accomplishment of Confederation, offering possibilities of investigating technical, social, and stylistic developments within a new area of study in the Department of History of Art/Graduate Department of Art that links with our recently established specialization in the history of photography. This was a period of remarkable growth in the incidence of portraiture in Canada, in part due to the heightened apparatus of local governance, but mainly as a consequence of increased immigration and the dramatic rise of a newly wealthy middle class in the wake of growing trade and the onset of the industrial revolution. Portraiture was purveyed initially in the form of oil paintings and watercolours, then proliferated in a range of more popular idioms, including miniatures and silhouettes, culminating finally in daguerreotypes, and contact and projection printed photographs, often elaborately hand-coloured in the later period, better to compete with still-popular oil and watercolour paintings. The seminar will also situate Canadian studies within a broader understanding that encompasses British and European influences and the cross-border traffic of itinerants operating within the Atlantic, St. Lawrence, and Great Lakes regions.

    • (FAH1936H)The Retro-Modern and the Time of the Contemporary – E. Harney (Modern/Contemporary)

      This course addresses the interplay of discursive and artistic returns to the modern, particularly by post-colonial and indigenous artists tasked with imagining a historically grounded space within the global contemporary art world. The perceived or real failures of the modernist project in the former third world and the waning of its post-war developmentalist/internationalist guise have opened a space for what I am calling “retro-modernism” to operate. In the hands of critics, it retains the spectre of primitivism, as an elemental part of modernity’s fictions—continuing a search for analogous (but ultimately derivative) modernist forms outside of the Euro-American story. It makes both a spectacle and fetish of non-Western modernity as an anachronism—a project cut unnaturally short by circumstance and painstakingly held apart from the tangible political and ethical effects of the loss of empire at mid-century. In the hands of artists, the playfulness and levity of the “retro” belies the seriousness of its aim. Rather than simply a recap of postmodernist appropriation and pastiche or a trendy practice of archival mining, retro-modernism may be a tool with which to make claims not just to modernity’s pasts (its ambitions, its certainties and fears, its genres) but also modernity’s (or what Okwui Enwezor might call “aftermodernity”’s) futures (its possibilities for regeneration, reflection, and revolution). We will thus examine the critical purchase of re-surfacing the modern and debates on modernity’s character as a continuing project of decoloniality. Readings will include Marx, Williams, Belting, Derrida, Demos, Harootunian, Enwezor, Boym, and Moxey.

    • (FAH2029H)The Art of Perception – S.J. Kim (Ancient)

      The seminar is designed as an exploration of the science, philosophy, and historical meaning of visual perception, as it pertains to art history. On one level, the course investigates theories of vision and perception throughout history (with a particular focus on Ancient Greece, but covering a large span of history in a survey-like style) and how these thoughts might enter both artistic treatises at the time and the current art historical discourse. On another level, using the concept of visual perception as a disciplinary bridge, the course will attempt to explore the nexus between psychology, neuroscience, philosophy, and art history, tapping into the most recent scholarship of the last decade, which has started to explore such relationships. The readings will be drawn from a very diverse array of sources both primary and secondary, including Plato, Aristotle, and other Greek philosophers; Early Modern optical treatises; Merleau-Ponty’s phenomenological treatments of perception on embodiment; secondary literature by art historians, philosophers and media theorists, such as Jonathan Crary and David Freedberg, Arthur Danto, Noël Carroll, Stephen Davies and W. Seeley.

    • (FAH2037H)Empathy, Embodiment and Emotion in Ancient Art – B. Ewald (Ancient)

      The course, entitled “‘In the flesh’: Empathy, Embodiment and Emotion in Ancient Art’” explores different facets of its topic. Using a representative selection of works in a variety of media (mainly sculpture and painting) we will examine how ancient art both depicted and elicited affects, “emotions,” and bodily responses. No matter if we are looking at a Hellenistic symplegma (“entanglement”), a sarcophagus depicting the killing of the Niobids, a painting showing the violent death of Pentheus, or the decapitation of enemies of the Roman order – ancient art wanted to be experienced “in the flesh.” To this we can add scenes that—self-referentially and recursively—evoke the bodily experience of interacting with the object they decorate. But how exactly, and why, do ancient works of art seek to evoke bodily responses? How do the viewer responses they imply relate to the emotional protocols that can be reconstructed from a variety of ancient sources? (For example, in ancient theories of emotions, and in stark contrast to modern conceptions, viewers are supposed to feel “pity” in response to viewing the suffering of others only under certain circumstances). How does the emotional economy of ancient art, from the late archaic to the Roman periods, reflect a shifting corporeal habitus and changing concepts of personhood and subjectivity? Can the recent sub-discipline of “neuro-art history” provide a productive perspective, and has it made good on its claim of unravelling the “neural bases of empathy and emotion”? And if so, where does that leave us? Can the bodily responses they register really be “automatic” and universal, and how do their more reasonable practitioners account for the significant historical modulations in the responses to images? Readings will include some “classics” from the fields of Aesthetics and Phenomenology, but also more recent work produced in disciplines as diverse as Neuro-Art History and Classics.

    • (FAH3000H)Life of Christiane Pflug – AGO Guest G. Uhlyarik with E. Legge (Modern/Contemporary)

      This seminar will focus on the art and life of Christiane Pflug (1936–72). Born in Berlin, and subsequently living in Paris and Tunisia before immigrating to Toronto, Pflug’s paintings embody both a northern European sensibility and the dramatic changes taking place in post-1960s Canadian society and culture. Her subject matter was drawn from her experiences and immediate surroundings and expressed in highly controlled compositions: the view out her window, her kitchen, her daughters and their dolls, her caged birds. “I work in an enclosed and very private world,” she once said. A series of guest lectures broadly inspired by themes central to Pflug’s work will frame the research. Students will work directly with the artist’s works and archives held at the Art Gallery of Ontario.

    • (FAH1001H)Methods – Graduate Department of Art Faculty: J. Bear, M. Cheetham, E. Harney, S.J. Kim, C. Knappett, E. Legge, and J. Ricco (Other)

      A close reading of the major texts related to the theory and practice of art history and its related disciplines. Required for all incoming PhD students, unless students receive permission for previous course from the Director of Graduate Studies.

    • (FAH1118H)The Medieval Treasury – J. Caskey (Medieval)

      This course examines medieval church treasuries, their contents and architectural settings, and the ways they have been conceptualized from the Middle Ages to the present. It highlights the diversity of treasury contents, from liturgical chalices to legal documents, who contributed to the shape of such collections and why, and how the collections were documented. Major themes in present-day art history create the conceptual underpinnings of the course, including materiality, collecting and display, mobility, and patronage. The course will provide opportunities for students to work with objects in local museums and to develop research projects in the Digital Humanities. Recommended: Reading knowledge of French, German, Italian, and Latin helpful.

    • (FAH1119H)Global Medieval Art in China – J. Purtle (Medieval/Asian)

      Part of the U of T Getty Connecting Art Histories project, this course examines the arts of medieval China—especially those of the port cities of Guangzhou and Quanzhou—from a multicultural perspective. This course considers how the idea of “medieval art” might be understood with respect to the production of art in China, how such art raises questions about the geography and periodization of native and non-native art forms in China, and how non-native art forms that flourished in China connect to their originating sites and move along the networks of their transmission. While in the past decade art history has embraced the idea of globalization, this seminar seeks to probe the making of medieval Chinese art in postglobal context by introducing the methodological tools of postglobal art history, a new approach to the discipline emerging from developing art histories (i.e., from non-Western nations in which art history has developed as a discipline only since the late 20th century).

    • (FAH1205H)Early Modern Intermediality – E. Levy (Early Modern)

      With the material turn, art historians have been engaged in imaginative explorations of the uses and meanings of materials in early modern art and visual culture. This course focuses on crossings from one medium to another (intermediality or intermateriality) whether through conscious imitation (material mimesis) or translation. We will look at explicit statements of medium-specificity in treatises; the situating of drawing as the unifying art; border crossings in the well-known art theoretical debate of the 16th century, the paragone; anxiety about deception (terracotta that feigns stone, stucco that imitates gold). A principal preoccupation will be with the intermedial effects of the introduction of printed images. For while intermediality is as old as art itself, there is an intensification with the introduction of print, when all media became graphic, only to be remedialized again. The chronological span is 15th–18th centuries and the geographic reach is global, with a particular focus on Europe and Latin America (where print was translated into painting and architecture often and in unexpected ways). We will spend time on signal works of intermediality (Roger van der Weyden, Rubens, Gianlorenzo Bernini) as well as many anonymous works, especially in the Americas (16th–18th centuries). This course is historiographically-oriented, tracking the reception of these historical artefacts alongside the modern call for truth-to-materials and the post-war call for medium-specificity in abstract art. A goal of the course is to develop a lexicon of terms specific to intermediality (pictorialization, linearization, resurfacing, flattening, modelling, etc.).

    • (FAH1221H)Inside the Painter’s Studio – P. Sohm (Early Modern)

      Painters at work in Italy, France, and Germany, 1550–1700. The aim of this seminar is to understand studios as places for painting, teaching, selling, and modeling, and hence painters as craftsman, teacher and team boss, negotiator, and salesroom manager. Research topics include: the physical location and environment of painters’ studios; painting as a corporeal act; painting as a performance for studio visitors; self-representation of painters at work; bodily traces in paintings (fingerprints and finger painting); visual and literary evidence of production. An eclectic array of approaches and sources will be used: material culture, anthropology, scientific conservation, social and economic history, and literary analysis. Source material will include biographies, letters, diaries, account books, inventories, testaments, lawsuits, technical manuals, and (naturally) prints, drawings, and paintings. Reading knowledge of Italian, German, or French is required.

    • (FAH1231H)Northern Renaissance Sculpture – E.M. Kavaler (Early Modern)

      This course examines varieties of sculpture in Northern Europe during the sixteenth century with particular emphasis on the Netherlands. The course questions the near-exclusive focus on painting as the quintessential artistic medium of the Northern Renaissance. Our meetings will address the problematic nature of sculpture as the subject of an alternate discourse in art history and will touch on its material presence as an agent in modulating and conveying various social concepts and power relationships. Sculpture was many things in the early modern period—and not all of these centered on the portrayal of the human body. People we now recognize as sculptors belonged to different guilds, fashioning objects as different as monumental tombs of stone, capacious wooden choir stalls, and miniature boxwood prayer beads. The borderline between sculpture and architecture was a porous one. Equally problematic was the division between sculpture and painting; renowned painters designed sculpture and competed in the communication of sacred stories with carvers of narrative reliefs. Sculpture was an essential medium for the expression of power relations. Tombs of the high nobility framed and controlled the communal space of churches and chapels. Towering sacrament houses offered magnificent stages for the Eucharist—the material focus of the central drama of the church. Mantelpieces in town halls asserted the complex relationship between competing groups within the city. Carved altarpieces found visual formulas for metaphysical notions of sacred space and time. And smaller works like bronze statuettes became treasured objects in Renaissance collections.
      The course will begin by examining the works of Tilman Riemenschneider and the great limewood sculptors of southern Germany. It will then turn to lesser known but influential sculptors in the Netherlands. Sessions will be devoted to the study of large sculptured altarpieces and small carved prayer-beads containing miraculous, microscopic religious scenes. Among the issues addressed will be varied notions of antiquity and their representation in the arts, the social, spatial, and liturgical functions of church furnishings, the plastic portrayal of the human form and notions of embodiment, the materiality of Renaissance sculpture, and competing definitions of ornament. The course will include trips to the Art Gallery of Ontario and the Royal Ontario Museum to see major works of Renaissance sculpture in these collections.

    • (FAH1411H)Art and Analogy – M. Cheetham (Modern/Contemporary)

      Analogy and metaphor are central to the way humans think and make sense of the world, whether in culture (the pattern is common in literature, music, and architecture), politics, or science (Rutherford’s foundational analogy between the atom and solar system, for example). People think analogically because it is a potent shorthand that makes a connection, a comparison. It places its terms in useful but also restrictive ways. Art and Analogy investigates a fundamental range of questions in art history and the practice of artmaking: in what ways are art objects, the processes of their making, and their reception analogues? How is art related to the world: as a mirror, a material segment, a copy? Perhaps digital technologies have altered the nature of art itself by challenging the ancient pattern by which the arts are compared and ranked (“Ut Pictura Poesis,” for example). We will also examine how the narratives that make up art history are extensively based on analogical thinking, including the pattern that sees artist X as the artist Y of country Z (“Tom Thomson was the van Gogh of Canada,” for example). Are such analogies helpful? In what ways can they be misleading? Can we validly analogize across cultures and temporalities, as when Liu Haisu was dubbed the “Cézanne of China”? While analogizing is ubiquitous and forms a link between art history, the visual arts, and both scientific and humanistic cultural norms generally, we will seek to understand the roots and implications of analogical thinking in visual art and writing about art from c. 1700 to the contemporary period.

    • (FAH1458H)Viewing History: The Visual Experience of the Past, 1750–1900 – J. Bear (Modern/Contemporary)

      This graduate seminar will explore the transformation in how historical knowledge was represented and experienced visually during the long Nineteenth Century. This will be accomplished by a focused study of the relationships among European history paintings, three-dimensional historical artifacts, simulacral recreations of physically and temporally distant environments, and the rapidly evolving modes of historical writing. The new level of intimacy between audience and history was not simply expressed in contemporary historiographical tendencies; rather, these became laboratories for various models for understanding the relationship between a seeker of historical knowledge and her object. Drawing upon a wide range of disciplines in the humanities and social sciences, this course will examine the evidentiary crossroads at which the visual representation of the past found itself in this critical period in modern culture. It is hoped that this course will be useful to students interested in the origins of modern visual culture, the history of the display of works of art, visual simulations and recreations, and the relationship of evidence to the historical enterprise.

    • (FAH1464H)The Recalcitrant Icon – K. Jain (Thematic/Geo-Zone)

      The idea that modernity is of necessity secular is increasingly coming into tension with the myriad forms of contemporary religiosity that surround us today, including iconic images, both secular and sacred. This seminar attends to how this tension plays itself out in art history, with a view to revising our disciplinary presuppositions in a way that allows us to address this important aspect of contemporary image-making, both in the West and elsewhere. In order to examine the fate of religiosity and the icon in our thinking about images, we will juxtapose the sublimation of religion into the aesthetic in the powerful and far-reaching early formulations of Romanticism and Hegel with more recent reconsiderations of the modes of efficacy of images, iconoclasm/iconoclash, and the nexus between religion and media. Examples will be taken not only from Christianity and Judaism but also from other religious traditions such as Islam and Hinduism. Readings, mostly from art history, philosophy, and anthropology, will be chosen from the work of GWF Hegel, Jean-Marie Schaeffer, Hans Belting, Walter Benjamin, David Freedberg, Charles Taylor, Dario Gamboni, Bruno Latour, Marie-Jose Mondzain, Barry Flood, Alfred Gell, Christopher Pinney, Boris Groys, David Morgan, Hent de Vries, Jean-Luc Nancy, Samuel Weber, James Elkins, and others.

    • (FAH1476H)Surrealism and Art – E. Legge (Modern/Contemporary)

      This course deals with Surrealism from its inception in 1924, through the work of the principal surrealist artists in various media, including the production of objects that break down the conventional distinctions amongst media (photography, sculpture, and painting), and between the categories of art, utensils, and detritus. Surrealist art is tied up with texts—poetic, automatist, philosophical, and political—informed by psychoanalysis and anthropology. We will consider key works by Lautréamont, Aragon, Breton, Bataille, Caillois, Leiris, Lacan, and Kojève, as well as the writings of the artists themselves.

    • (FAH1755H)Architecture and the Project of Industrial Modernity – J. Clarke (Modern/Architecture)

      European architects since the Enlightenment have felt compelled to respond to the advance of industry in articulating their discipline’s purpose and ambitions. This course will examine a series of instances in which designers have not merely engaged with new building technologies, methods, and programs, but have elevated industrial modernity to become an object of critical architectural reflection. In reading these case studies carefully, the seminar will explore a range of historiographic frameworks through which the industrialization of architecture has been conceived. Anchored in the “long nineteenth century,” the course emphasizes the interrelation of two major tendencies: the appropriation of new construction technologies and the design of spaces for modern forms of mass production and mass consumption. Other themes include the rise of the engineering profession; nationalism and empire; and transformations in the everyday experience of space.

    • (FAH1801H)Portraiture in Canada, 1750–1870: Painting into Photography – D. Reid (Modern/Contemporary)

      This seminar will examine the evolution of portraiture in Canada from the final decade of the French Regime to the accomplishment of Confederation, offering possibilities of investigating technical, social, and stylistic developments within a new area of study in the Department of History of Art/Graduate Department of Art that links with our recently established specialization in the history of photography. This was a period of remarkable growth in the incidence of portraiture in Canada, in part due to the heightened apparatus of local governance, but mainly as a consequence of increased immigration and the dramatic rise of a newly wealthy middle class in the wake of growing trade and the onset of the industrial revolution. Portraiture was purveyed initially in the form of oil paintings and watercolours, then proliferated in a range of more popular idioms, including miniatures and silhouettes, culminating finally in daguerreotypes, and contact and projection printed photographs, often elaborately hand-coloured in the later period, better to compete with still-popular oil and watercolour paintings. The seminar will also situate Canadian studies within a broader understanding that encompasses British and European influences and the cross-border traffic of itinerants operating within the Atlantic, St. Lawrence, and Great Lakes regions.

    • (FAH1940H)Photography and Humour – L. Kaplan (Modern/Contemporary)

      What are the ways in which photography as a visual and narrative medium induces laughter and provides amusement? This course explores this question by focusing on major photographic genres throughout the history of the medium and by examining major photographic humourists in particular. The course is particularly concerned with the analysis of key images (both old and new) that mock conventional assumptions made about the nature and function of photography in terms of its claims to truth, identity, and reference. The course also includes readings of major philosophers and cultural theorists on the subject of humour and applies them to thinking about photography.

    • (FAH1951H)Contemporary Chinese Art and its Discontents – Y. Gu (Modern/Asian)

      This seminar offers a survey of contemporary Chinese art with an emphasis on the contested conditions of art production, display, and interpretation. Organized as a series of case studies, this seminar will encourage students to situate contemporary Chinese art within the critical debates on glocalisation, neoliberal world order, and postsocialist condition. Special attention will be given to the positions and interventions of writers from the disciplines of philosophy, anthropology, and sociology together with the leading authors of contemporary Chinese art such as Wu Hung, Ackbar Abbas, Karen Smith, Minglu Gao, and Hanru Hou.

    • (FAH2018H)Art in the Aegean Bronze Age: Contemporary Perspectives – C. Knappett (Ancient)

      Many art historians refer to the finest objects of the Aegean Bronze Age (c. 3000–1000 BCE) as “art.” Yet most anthropological archaeologists working on this same material resist this term. While there is an interesting debate to be had on the status of this ancient material culture, it has rarely been explicitly framed. This course reviews this state of affairs and explores new approaches to the artefacts/artworks of the Bronze Age Aegean, focusing on notions of practice, gesture, performance, and skill, and drawing on novel ideas emerging in the broader field of material culture studies. The objective is to reveal the various functions and meanings of ancient visual and material culture in this prehistoric east Mediterranean setting.

    • (FAH2028H)Art and the Philosophy of Time – S.J. Kim (Ancient)

      A truly interdisciplinary course by design, on the relationship between Time and Art. Using Concepts of Time as a disciplinary bridge between Philosophy, Aesthetics, and Art History, the course will examine some of the major philosophical thoughts on Time throughout history and explore different ways in which Time and temporality enter into art historical or philosophical discussions on works of art. We will approach each subtopic of Time and its relationship to Art, from both philosophical and art historical perspectives, offering productive avenues for interdisciplinary investigations. Some of these topics include: Time in Ancient Philosophy and Art, Visual Narrative and the Philosophy of Narrative, Renaissance Anachronism, Phenomenology of Time and Art, Time and Modernity, Retrieval and Restoration of the Past, and On Writing History. Close readings of philosophical texts will include excerpts from Plato, Aristotle, Augustine, Freud, Heidegger, Bergson, Merleau-Ponty, and Benjamin; we will also be analyzing works of art and their relationship to Time from major periods of Art History, with a focus on Ancient Greece, and touching upon Renaissance, Modern and Contemporary. Students will be encouraged to work on artworks from local museums, notably the ROM.

    • (FAH2034H)Topics in Roman Imperial Art: Monuments and Metanarratives – B. Ewald (Ancient)

      A seminar on Roman Imperial Art and the metanarratives and conceptual frameworks that have shaped its study over the past 120 years. Topics include: the problem of style/form and the transformation of Roman art during the first four centuries of our era; Roman “classicism”; “propaganda” and the function of “state monuments” and “official” art; the figure of the “viewer” in archaeological scholarship; spolia and “damnatio memoriae”; historical commemoration. Monuments under discussion will include the Ara Pacis, Triumphal Arches, Columns of Trajan, and Marcus Aurelius, Roman “Historical Reliefs.”

    • (FAH3013H)Topics in Italian Renaissance Art History – A. Nova, Director, Kunsthistorisches Institut in Florenz, Max-Planck-Institut, Bernard Herman Distinguished Visiting Scholar (Early Modern)

      This year's series of Bernard Herman Lectures in Art History concerns major topics in Italian Renaissance art history. The lectures topics range from sensitive reflections on Leonardo’s art through the writings of a major twentieth-century scholar, John Shearman, to focused studies of Vasari’s Lives (1550 and 1568 edition). Students will be assigned readings on the various topics of each lecture and will be exposed to close readings of works of art as well as to broad methodological reassessments on the history of Italian Renaissance art.

    • (FAH1001H)Methods – Graduate Department of Art Faculty: J. Bear, M. Cheetham, E. Harney, S.J. Kim, C. Knappett, E. Legge, and G. Periti (Other)

      A close reading of the major texts related to the theory and practice of art history and its related disciplines. Required for all incoming PhD students, unless students receive permission for previous course from the Director of Graduate Studies.

    • (FAH1114H)Multicultural Arts of Medieval Sicily – J. Caskey (Medieval)

      This course examines Sicily from the early Christian period to c. 1400, an era when cultural and religious diversity shaped the patronage, production, and reception of works of art and architecture. It probes works associated with Byzantine, Islamic, and northern European occupations, and investigates the ways in which artistic hybridity is manifest in works of art and interpreted in scholarship. A range of media, from large-scale building projects to manuscripts, textiles, liturgical arts, and excavated artefacts, is examined, including works representative of Jewish, Christian, and Islamic communities. Readings include foundational and recent studies of specific contexts and works of art, along with theoretical writings on imperialism, postcolonialism, portability, and Mediterranean studies. Medieval texts also figure prominently. Participants in this seminar will be eligible to apply for competitively-awarded places on a fieldtrip to Sicily fully funded by the Getty Connecting Art Histories Initiative. This fieldtrip will also include student members of a seminar of the same title taught at the Guangzhou Academy of Fine Arts (taught by Dr. Linda Safran, PIMS and Getty Connecting Art Histories Visiting Professor, Guangzhou Academy of Fine Art). On the Getty Connecting Art Histories Initiative, and its funded cooperation between the U of T and the Guangzhou Academy of Fine Arts, please see: http://www.getty.edu/foundation/initiatives/current/cah/cah_grantsawarded.html; http://globalpostglobalmedievalart.blogspot.ca. Strongly recommended: Reading proficiency in at least one of the following: German, Italian, and French; Latin, Greek, and Arabic helpful.

    • (FAH1121H)The Twelfth-Century Renaissance? – A. Cohen (Medieval)

      Few periods in the Middle Ages have attracted as much attention as the twelfth century. The Crusades, increasing urbanism, the growth of universities, the impact of the revival of Aristotle’s writings, and religious reforms like the Cistercian movement—all mark the twelfth century as a pivotal moment in European history. Scholars have sought to characterize this remarkable period as “The Twelfth-Century Renaissance.” Art historians, too, traditionally highlight this moment by identifying a transition from Romanesque to Gothic. This seminar will investigate different aspects of this fertile period and explore the degree to which it and its artistic production were exceptional; historiographic traditions that inform our current understanding of the twelfth century and its place in the broader paradigms of art and history may also be examined.

    • (FAH1202H)Correggio and the Problem of Italian Renaissance Art – G. Periti (Early Modern)

      Two major exhibitions, symposia and several new publications have recently re-considered the art of the Italian painter Correggio (1489–1534), but its understanding remains problematic within the current paradigms of Renaissance art. Correggio’s art has generated oppositional responses in the scholarship, ranging from its characterization as “proto-baroque,” to its being considered a putative embodiment of “Renaissance classicism,” and to its supposed exemplary status as a “post-classical” artist. One of the central questions underlying the seminar is: what is the place of Correggio’s art in current Renaissance art history? The works of Correggio and responses to them will be examined, therefore, not just in and of themselves, but as paradigmatic of the interpretative impasse that characterizes Renaissance art history as it is currently practiced. The seminar will consider Correggio’s most ambitious works—his altarpieces, dome decorations and erotic images—and reconstruct their referential structures and meanings. But the examination of this still undervalued protagonist of Renaissance art will serve as a springboard for reflecting upon larger problems in the field: the ontological status of Renaissance art history, its methods and approaches, and the present-day “crisis” of interpretation. Students will give brief presentations of readings and case studies throughout the course, and will write a final research paper.

    • (FAH1221H)Inside the Painter’s Studio – P. Sohm (Early Modern)

      Painters at work in Italy, France, and Germany, 1550–1700. The aim of this seminar is to understand studios as places for painting, teaching, selling, and modeling, and hence painters as craftsman, teacher and team boss, negotiator, and salesroom manager. Research topics include: the physical location and environment of painters’ studios; painting as a corporeal act; painting as a performance for studio visitors; self-representation of painters at work; bodily traces in paintings (fingerprints and finger painting); visual and literary evidence of production. An eclectic array of approaches and sources will be used: material culture, anthropology, scientific conservation, social and economic history, and literary analysis. Source material will include biographies, letters, diaries, account books, inventories, testaments, lawsuits, technical manuals, and (naturally) prints, drawings and paintings. Reading knowledge of Italian, German, or French is required.

    • (FAH1249H)Margaret of Austria and the Renaissance in the Netherlands: Hieronymus Bosch, Jan Gossaert, Albrecht Dürer et al. – E.M. Kavaler (Early Modern)

      Margaret of Austria, the daughter of Emperor Maximilian and regent of the Netherlands, is renowned as one of the most highly educated and sophisticated female patrons of the arts during the Renaissance. Having lost two husbands to early death, she defied her father’s wishes to remarry and became one of Europe’s most competent governors. From her court at Mechelen, she was at the center of the remarkable artistic revival at the beginning of the sixteenth century. Margaret and her nobles were the leading patrons of Hieronymus Bosch, while she, herself, collected important paintings by Jan van Eyck, Jan Gossaert, and many others. Her commissions for tapestries helped nurture the preeminent workshops of Brussels during these years. And her church with its tombs at Brou remains one of the outstanding dynastic structures of the European nobility. Margaret’s sights were truly international. Raised in France, and resident for a time in Spain and Savoy, she welcomed numerous foreign artists to her court, meeting with both Albrecht Dürer and Lucas Cranach during their visits to the Low Countries. The course will focus partly on Margaret of Austria’s wide-ranging engagement with the arts at her court and partly on the art industry of nascent Antwerp. There will be considerable discussion of the unique paintings by Hieronymus Bosch. There will be further lectures on the development of urban culture, on the rise of Antwerp as a center and market for the arts, on the mythological pictures of Jan Gossaert, on the genesis of landscape painting and secular imagery of common experience, on the cult of antiquity, on Netherlandish carved altarpieces, on the early printing industry and the production of woodcuts and engravings. Other media such as tapestry, illuminated manuscripts, and stained glass will also be considered. Particular attention will be paid to gender studies, socio-economic and anthropological perspectives, and the history of collecting. We will examine, as well, historical notions of the Renaissance and their applicability to Northern Europe and the Netherlands. Readings will include essays by Hans Belting, Erwin Panofsky, Keith Moxey, Joseph Koerner, and Paul Vandenbroeck. Students will deliver brief reports on the readings, a major oral presentation, and a term paper. Recommended languages in order of importance: German, French, Dutch.

    • (FAH1299H)Heinrich Wölfflin's Principles of Art History (1915) @ 100: A Worldwide Reception History – E. Levy and a consortium of 12 colleagues from around the world (Early Modern/Modern)

      Organized conjunction with the 100th anniversary of the Swiss art historian Heinrich Wölfflin’s Kunstgeschichtliche Grundbegriffe [1915] (Principles of Art History), perhaps the most widely read work of art history ever written, this seminar explores the worldwide reception of this foundational and controversial work of formalism. Written during World War I, the Principles has and continues to attract a worldwide readership, from Beijing to Buenos Aires, in and outside the academy, drawing people into art history and influencing the terms in which they understand it. Received positively and negatively, as in turn a colonialist work, anti-colonial and post-colonial, as at once one of art history’s unacknowledged operating system and its scapegoat, the Principles are art history’s crucible and its pandora’s box. This seminar will conduct a close reading of the text and its crucial intertexts, and, in the second part of the seminar, the research workshop, we will investigate how this text reaches into many corners of art history, visual culture, as well as into neighboring disciplines, how it has been confronted by and stimulated theoretical renewal in the discipline (up to and including the neural turn in art history). The 2015 Wölfflin seminar will be conducted concurrently with graduate seminars on this topic given by art history professors at 10 different universities around the world. You and the other graduate students in Tokyo, Delhi, Sao Paulo, and elsewhere will be reading a similar curriculum and “meeting” online for group discussions about seminar topics and your research topics. The seminar reading materials will be supplemented by digital content (videos of master classes, interviews and discussions with important scholars, and so on) and a digital space where you can meet co-participants from the consortium. The seminar culminates in a virtual international conference at which research from graduate students in the consortium will be presented. This seminar and the book at the center of it supports research into a very wide range of topics in the history of art and architecture, photography, decorative arts, and visual culture not just in Western art but in Asian and Colonial Latin American art. Consortium of Universities: University of Toronto (Canada); University of Zurich (Switzerland); University of Fribourg (Switzerland); University of Munich (Germany); Ghent University (Belgium); Sorbonne, Paris (France); University of Queensland (Australia); Jawaharlal Nehru University (India); Federal University of Sao Paulo (Brazil); Johns Hopkins University (US); Central Academy of Art, Beijing (China).

    • (FAH1410H)Artwriting, Past and Present – M. Cheetham (Modern/Contemporary)

      In general, this course examines aspects of “Artwriting” c. 1750 to the present. Special attention is paid to the relationships between text and object, to the institutional contexts of artwriting, and to its current concerns and practice. In 2016, we will focus on artwriting in the realms of ecoart, climate disruption, and the putative “turn” to an eco-art history. How do (and should) art historians, theorists, artists, and writers from other fields write in an era of anthropogenic climate change?

    • (FAH1471H)The Aesthetics of Democracy – K. Jain (Modern/Non-Western)

      This seminar asks whether and how democracies in a range of historical and geographic contexts have been predicated on, or have produced, certain forms of representativeness/representation, where “form” is understood in its broadest aesthetic sense (including, but not restricted to, “art”). Of particular interest here is what happens to these representational imperatives in situations of cultural plurality (colonialism, postcoloniality, war/occupation, multiculturalism, diaspora, cosmopolitanism). Our point of departure is the formulation of the link between aesthetics and politics in the work of Jacques Rancière: this is the primary focus of the first half of the seminar. We will also touch on Ernesto Laclau’s work on populism, as well as on the aesthetic regimes of neoliberalism. While I have assigned some tentative readings for the second half based on relating the ideas from the first half to specific media or aesthetic forms from a diverse set of contexts, the seminar will ideally take its direction from the seminar participants: we could choose to workshop the ideas from the first half in relation to participants’ areas of interest, or we could delve deeper into issues raised in the first half.

    • (FAH1500H)Augmented Reality Art – L. Kaplan (Modern/Contemporary)

      This course investigates augmented reality (AR) as an emerging new media art practice. Whether using head-attached, spatial displays, or hand-held devices as their mode of interface, AR art projects and maps virtual space onto real space setting up interactive environments and embodied spaces that rely on locative media. The course will provide us an opportunity to read leading theorists and art historians who are thinking about the meaning and significance of AR art and its larger implications for the study of digital culture including Christine Ross, Lev Manovich, and Greg Ulmer. Topics will include the relation of AR art to site-specific installation; media activism and the virtual public sphere; the use of AR in the construction of counterfactual history; its relation to geo-spatial studies and critical cartography; and museum manifestations using augmented reality. The course will review a number of key contemporary case studies by AR artists.

    • (FAH1801H)Portraiture in Canada, 1750–1870: Painting into Photography – D. Reid (Modern/Contemporary)

      This seminar will examine the evolution of portraiture in Canada from the final decade of the French Regime to the accomplishment of Confederation, offering possibilities of investigating technical, social, and stylistic developments within a new area of study in the Department of History of Art/Graduate Department of Art that links with our recently established specialization in the history of photography. This was a period of remarkable growth in the incidence of portraiture in Canada, in part due to the heightened apparatus of local governance, but mainly as a consequence of increased immigration and the dramatic rise of a newly wealthy middle class in the wake of growing trade and the onset of the industrial revolution. Portraiture was purveyed initially in the form of oil paintings and watercolours, then proliferated in a range of more popular idioms, including miniatures and silhouettes, culminating finally in daguerreotypes, and contact and projection printed photographs, often elaborately hand-coloured in the later period, better to compete with still-popular oil and watercolour paintings. The seminar will also situate Canadian studies within a broader understanding that encompasses British and European influences and the cross-border traffic of itinerants operating within the Atlantic, St. Lawrence, and Great Lakes regions.

    • (FAH1934H)Cosmopolitan/Comparative Modernisms – E. Harney (Modern/Contemporary)

      The critical tools acquired from postcolonial and postmodernist discourses—coupled with the growing interest in and studies of the global contemporary art market—have enabled critics, scholars, and curators to broaden historical understandings of the modern. This seminar will address Said’s discussions of the “voyages in” of exiles in interwar and postwar modern Europe, Stuart Hall’s subtle readings of the visual cultures and identities in postwar Britain, and Kobena Mercer’s ongoing projects on the overlapping, imbricated nature of modernist practices, alongside new thinking on cosmopolitanisms by Kristeva, Benhabib, and Clifford. These important approaches in the EuroAmerican sphere run parallel to ever-deepening studies of locally-situated, often nationally focused but globally-conscious artistic scenes around the world (often misnamed alternative modernities), including work by Geeta Kapur and Partha Mitter on India, Okwui Enwezor and Chika Okeke on parts of the African continent, and Gerardo Mosquera and Guy Brett on sites in Latin America. This course broadens an ever deepening interest in the global implications of the modern, in a department that features a growing number of scholars with interest and expertise in global modern and contemporary visual cultures and art histories. It will enable graduate students to gain greater insight into current debates on contemporary uses of cosmopolitanism in light of historical models and understandings of the modern.

    • (FAH2021H)Roman Painting – B. Ewald (Ancient)

      A seminar on the rich and varied, mostly mythological imagery that once decorated Roman houses and villas. The focus will be on the role of mythological wall painting in the emergence of new forms of subjectivity in the late Republican and early Imperial periods. Notions of “fantasy,” “embodiment,” and “selfhood” will play an important role. Roman painting is perhaps the most attractive body of material of ancient art in terms of aesthetic value, and also the one that is most compatible with common art historical methodologies, from socio-historical and contextual approaches to psychoanalytical reception theories. The seminar will address a range of iconological issues, in particular the appropriation of Greek myth in its new contexts, the relation of mythological images with the iconographic tradition, gender, sexuality, and the body, as well as the problem of “programs” in wall painting. Most of the examples under discussion come from Rome and the Cities of Vesuvius, but the chronological and geographical framework of the seminar will extend beyond that.

    • (FAH2027H)Women and Gender in Ancient Greece – S.J. Kim (Ancient)

      The graduate seminar is a comprehensive exploration of women, both their myth and their reality, in the ancient Greek world, through extant visual and literary representations. The course is organized both by typological subject matter (divine figures, heroines, amazons, courtesans, etc.) and by theme (festivals, drama, religious participation, daily life, marriage), and offers theoretical and methodological insight throughout the course. The students will also read key texts from modern gender theory along with relevant primary and secondary literature on women and gender in ancient Greece.

    • (FAH3000H)Making Pictures in Medieval China – Y. Wang, Guangzhou Academy of Fine Arts, China, Getty Connecting Art Histories Visiting Professor at the University of Toronto (Medieval/Asian)

      This seminar examines the art industry of China’s Middle Period, roughly from the early 3rd century when the Han empire (206 BCE–220 CE) collapsed to the mid-14th century when the Mongol Yuan dynasty (1276–1368) ended. This period witnessed several key events in Chinese art history—the coming of age of sculpture, the florescence of both mural and scroll painting, and the development of a distinctive “medieval” mode of art criticism, among others. The course highlights materiality in art making, investigating materials, methods, and processes of sculpture and painting on the one hand, and on the other, exploring the significance of materials, facture, as well as pictorial intelligence during these medieval centuries, when the making of artworks constituted the intersecting point of artistic style, religious beliefs, transregional commerce, and politics. In tandem with an in-depth reading of early scroll paintings and their critiques, the course pays particular attention to mural painting and sculpture of varied materials/formats that were created for Buddhist chapels and underground tombs. Students are expected to give short presentations on course readings and to write a final research paper. Readings include classic and recent studies on key issues in medieval Chinese art history, together with theoretical works on “iconology of material,” formalism, and “global” art history. Reading proficiency in at least one of the following languages: Chinese, German, Japanese. Participants in this seminar will be eligible to apply for competitively awarded places on a field trip to the Dunhuang caves fully funded by the Getty Connecting Art Histories Initiative. This field trip will also include student members of a seminar of the same title taught at the Guangzhou Academy of Fine Arts (taught by Profs. Li Qingquan and Zou Qingquan). On the Getty Connecting Art Histories Initiative, and its funded cooperation between the U of T and the Guangzhou Academy of Fine Arts, please see: http://www.getty.edu/foundation/initiatives/current/cah/cah_grantsawarded.html; http://globalpostglobalmedievalart.blogspot.ca.

    • (FAH1001H)Methods – J. Purtle (Other)

      A close reading of the major texts related to the theory and practice of art history and its related disciplines. Required for all incoming PhD students, unless students receive permission for previous course from the Director of Graduate Studies.

    • (FAH1204H)The Cassinese Art of Reform in Renaissance Italy – G. Periti (Early Modern)

      The course investigates the dense intersections of art and monasticism in early modern Italy. We will examine works in different media and sizes at key junctures of the history of art and religious reform in Renaissance Europe.

    • (FAH1221H)Inside the Painter’s Studio – P. Sohm (Early Modern)

      Painters at work in Italy, France, and Germany, 1550–1700. The aim of this seminar is to understand studios as places for painting, teaching, selling, and modeling, and hence painters as craftsman, teacher and team boss, negotiator, and salesroom manager. Research topics include: the physical location and environment of painters’ studios; painting as a corporeal act; painting as a performance for studio visitors; self-representation of painters at work; bodily traces in paintings (fingerprints and finger painting); visual and literary evidence of production. An eclectic array of approaches and sources will be used: material culture, anthropology, scientific conservation, social and economic history, and literary analysis. Source material will include biographies, letters, diaries, account books, inventories, testaments, lawsuits, technical manuals, and (naturally) prints, drawings and paintings. Reading knowledge of Italian, German, or French is required.

    • (FAH1229H)Architecture of the Global Renaissance – C. Anderson (Early Modern)

      Renaissance architecture is no longer understood as simply an Italian or even a European phenomenon. This course looks at the architectural interactions between regions as the result of trade, war, pilgrimage, and diplomacy. Students will study architectural exchange between Europe and South Asia, the eastern Mediterranean, and Africa in order to understand how the conditions of a global economy shaped the development of architecture in the early modern era.

    • (FAH1231H)Northern Renaissance Sculpture – E.M. Kavaler (Early Modern)

      This course examines varieties of sculpture in Northern Europe during the sixteenth century with particular emphasis on the Netherlands. The course questions the near-exclusive focus on painting as the quintessential artistic medium of the Northern Renaissance. Our meetings will address the problematic nature of sculpture as the subject of an alternate discourse in art history and will touch on its material presence as an agent in modulating and conveying various social concepts and power relationships. Sculpture was many things in the early modern period—and not all of these centered on the portrayal of the human body. People we now recognize as sculptors belonged to different guilds, fashioning objects as different as monumental tombs of stone, capacious wooden choir stalls, and miniature boxwood prayer beads. The borderline between sculpture and architecture was a porous one. Equally problematic was the division between sculpture and painting; renowned painters designed sculpture and competed in the communication of sacred stories with carvers of narrative reliefs. Sculpture was an essential medium for the expression of power relations. Tombs of the high nobility framed and controlled the communal space of churches and chapels. Towering sacrament houses offered magnificent stages for the Eucharist—the material focus of the central drama of the church. Mantelpieces in town halls asserted the complex relationship between competing groups within the city. Carved altarpieces found visual formulas for metaphysical notions of sacred space and time. And smaller works like bronze statuettes became treasured objects in Renaissance collections. The course will begin by examining the works of Tilman Riemenschneider and the great limewood sculptors of southern Germany. It will then turn to lesser known but influential sculptors in the Netherlands. Sessions will be devoted to the study of large sculptured altarpieces and small carved prayer-beads containing miraculous, microscopic religious scenes. Among the issues addressed will be varied notions of antiquity and their representation in the arts, the social, spatial, and liturgical functions of church furnishings, the plastic portrayal of the human form and notions of embodiment, the materiality of Renaissance sculpture, and competing definitions of ornament. The course will include trips to the Art Gallery of Ontario and the Royal Ontario Museum to see major works of Renaissance sculpture in these collections.

    • (FAH1245H)Pieter Bruegel and Netherlandish Painting of the Sixteenth Century – E.M. Kavaler (Early Modern)

      This course looks at the innovative work of Pieter Bruegel in the context of the artistic, literary, economic, religious, and political culture of the Low Countries in the sixteenth century. Particular attention will be paid to Bruegel’s secular pictures and the current notion of a “vernacular’ style.” We will examine Bruegel’s narrative techniques and their relation to the approaches of other artists and media in the Netherlands. Classes will begin with discussion of assigned articles that survey recent approaches to Bruegel’s art and to his culture. Participants are expected to prepare critical assessments of all readings, to give a number of presentations in class, and to write a term paper. Language Requirements: German and Dutch are a benefit; all assigned readings are in English.

    • (FAH1462H)Photography and Scientific Representation in the 19th Century – J. Bear (Modern/Contemporary)

      This course investigates the dynamic relationship between photography and the natural, physical, and human sciences in the 19th Century. We will be concerned with a number of pressing questions: How did photography compete and collaborate with other modes of scientific representation for the mantle of authority? How did scientific photography enter into the canon of the history of photography, and at what cost? What role did the medium play in the rise of scientific professions, and in science education? How did photography complicate or clarify the categories of scientific realism and anti-realism? Ultimately, we explore varied strategies of the production of scientific knowledge by photographic means, and the cultural and social implications of these activities.

    • (FAH1482H)The Time of Art History – K. Jain (Modern/Contemporary)

      This thematic, method-oriented seminar surveys the recent rethinking of the temporality of art history, partly occasioned by what is often (problematically) called art history’s “global turn.” How do we think art history beyond a linear progression of styles and periods (Kubler, Focillon, Moxey)? What is the time of the image: is it anachronic/anachronistic (Didi-Huberman, Nagel and Wood)? What does it mean to be modern, to be contemporary, and for whom; does it make sense to speak of multiple modernities and heterogeneous temporalities (Latour, Smith, Kapur, Mercer, Harootunian, Wu Hung, Enwezor)? In addressing such questions, the course appropriately attempts to draw on scholarship across a wide range of locations and periods; participating students are invited to bring to the table any contexts of specific interest.

    • (FAH1800H)James Wilson Morrice – D. Reid (Modern/Contemporary)

      James Wilson Morrice (1865–1924) is the Canadian artist most closely associated with issues of early modernism. Born in Montreal, he was educated there and in Toronto (Law, University of Toronto, 1882–89), but found his true vocation only when his family allowed him to travel to London, then Paris, to study art. While he remained resident in Paris the rest of his life, he returned to Canada annually until 1916, and was regularly represented in Canadian exhibitions throughout his career. A quiet retiring personality, Morrice nonetheless achieved a certain critical acclaim in Paris before the First World War, and numbered many prominent painters and writers among his friends, primarily within the large Anglo-American community in the period of the Nineties through the turn-of-the-century, but in Fauve circles after 1905 when he became associated with the Salon d'Automne. Each participant in the seminar will be expected to investigate Morrice's relationship to one of his artist friends such as the Americans Maurice Prendergast and Robert Henri, or the Frenchmen Albert Marquet and Henri Matisse, or with an evident mentor such as Whistler or Manet. The intention is to demonstrate how the study of a Canadian figure can be enlarged significantly through the use of the often extensive and methodologically varied literature available on French, American, and British subjects. Topics are chosen and developed through round-table discussions in the early weeks of the seminar, and are presented to the group in penultimate form. The written paper, submitted at end of term, counts for the entire grade.

    • (FAH1921H)GeoAesthetics – M. Cheetham (Modern/Contemporary)

      Many notable contemporary artists take the earth and our human and technological relationship to it as their subject matter (for example, Ana Mendieta, Richard Long, Andy Goldsworthy, James Turrell, Olafur Eliasson, Edward Burtynsky, Roni Horn, and Mark Dion). Art historians, human geographers, environmentalists, and cultural critics have written copiously on the many aspects of recent arts of the land. We will investigate three central yet too often mutually isolated areas: art history as it understands landscape depiction and land or earth art, what Gilles Deleuze and Felix Guattari call “geophilosophy” and related theories of Nature and the Earth, and the practice and reflections of artists as they interact with and challenge the discourses of art history and aesthetics in these areas. Constantly before us will be questions of the relationships (and disconnects) between historical reflection on and representations of the earth and contemporary artistic production.

    • (FAH1935H)Contemporary Art Practices and the Modernist Archive – E. Harney (Modern/Contemporary)

      While the allure and mechanisms of the archive have held the attention of modernist scholars for well over a decade, the interest in mining its contents has shifted with the ascendance of the global contemporary—With its presentist and universalist claims, at once disavowing the need for modernist genealogies and simultaneously re-orchestrating them to explain current “global art currents,” theories of the global contemporary seem to require a “backward glance” in the work of artists hailing from beyond the received boundaries of the modern. This seminar will address the history of thought surrounding the modernist archive, particularly in light of its presence in the work of many artists from postcolonial and post-trauma sites. It will ask how conversations about imperial nostalgia, postcolonial melancholy and other forms of memory work play out in the works of these artists and how they inform critical re-imaginings of both the materiality and representational politics of the archive. Readings will include Agamben, Buchloh, Derrida, Demos, Enwezor, Foster, Huyssen, and Mbembe.

    • (FAH1951H)Contemporary Chinese Art and its Discontents – Y. Gu (Modern/Asian)

      This seminar offers a survey of contemporary Chinese art with an emphasis on the contested conditions of art production, display, and interpretation. Organized as a series of case studies, this seminar will encourage students to situate contemporary Chinese art within the critical debates on glocalisation, neoliberal world order, and postsocialist condition. Special attention will be given to the positions and interventions of writers from the disciplines of philosophy, anthropology, and sociology together with the leading authors of contemporary Chinese art such as Wu Hung, Ackbar Abbas, Karen Smith, Minglu Gao, and Hanru Hou.

    • (FAH2023H)Mind and Materiality: Views from Art History and Archaeology – C. Knappett (Ancient)

      This course aims to put the growing interest in neuroaesthetics, neuroarthistory, and neuroarchaeology in perspective, through a broader review and exploration of cognitive approaches in art history and archaeology. In particular, we will examine the active role of materiality in cognitive processes. The recent book How Things Shape the Mind: A Theory of Material Engagement, by Lambros Malafouris, serves as the core reading for the course.

    • (FAH2026H)Myth into Art: Myth and Visual Narrative in Antiquity – B. Ewald (Ancient)

      The course will introduce students to essential techniques of visual and cultural analysis through an engagement with mythological imagery in a variety of media and from a variety of cultures and periods, with a focus on Greek and Roman antiquity. It raises questions such as: Wherein lay the specific value and function of myth, and of mythological imagery, at any given time? What was the relation between the order of myth and the order of the societies that engendered it, or between myth and everyday life? How do visual narratives differ from oral and textual narratives, and what is a “visual narrative” anyway? How do mythological “programs” work, and what is “programmatic” about them? How does myth relate to notions of history on the one hand, and to notions of fiction and fantasy on the other? How is myth appropriated, transformed, re-patterned, and re-organized in the course of its adaptation in the visual arts, and what were its limits? How did myth relate to ancient subjectivities? Students are invited to adapt a comparative approach wherever possible, contrasting the uses of myth at different times and in different cultures. The focus will be on Greco-Roman art, but we will include material from later (medieval to modern) periods. The seminar will also include one or several visits to the Royal Ontario Museum.

    • (FAH2035H)Visual Narrative and Time in Ancient Greek and Roman Art – S.J. Kim (Ancient)

      There are numerous ways in which a picture is worth a thousand words. This course investigates the complex relationship between narrative and image, and the ensuing notions of temporality in spatially based pictorial media. The focus on ancient Greek and Roman visual culture—from Greek vase painting to Roman historical reliefs—provides a rich ground for exploring different narratological methodologies, which the students will learn throughout the course. The readings, thus, will be partly drawn from a wide range of theoretical sources in narrative studies, from Aristotle’s Poetics to Roland Barthes, as well as more recent approaches to visual narratology in contemporary film studies. The course will also address broader philosophical issues regarding notions of time and art, going beyond the domain of narratology proper, and consider the ways in which artworks can acquire temporality, both in and out of their proper socio-historical contexts.

    • (FAH3000H)Early Mass Visual Culture in the United States – M. Leja, History of Art, University of Pennsylvania, sponsored by Centre for the Study of the United States/Graduate Department of Art (Modern/Contemporary)

      In the history of picture production, as opposed to the narrower history of fine arts, the United States in the 19th century was a site of internationally significant developments. It became a principal locus for advances in the instrumentalization of images for marketing, political persuasion, and the circulation of information. At first slow by European standards to develop a pictorial press, a lithography trade, and a corps of skilled draughtsmen, printmakers, and designers, the US was, by the end of the century, a world leader in the mass production of pictures and in the expansion of commercial, political, and aesthetic uses for them. Although the growth of mass visual culture was an international phenomenon, the unconstrained capitalism and rapid territorial and demographic expansion of the US made it ground zero. This crucial chapter in the commodification of images is largely unwritten, yet it is foundational for the international image-culture of the 21st century. This seminar will examine some important events in the early history of the development of mass picture production in the U. S., focusing on the period 1830 to 1860. This is the formative period, when the infrastructure, labor force, and audiences took shape. At this time various forms of mass production made non-autographic pictures, formerly rare and remarkable, commonplace elements in daily life and social relations. Numerous factors contributed to this change: artists motivated to experiment with ways of attracting (and shaping) a broad audience; a growing population with an appetite for pictures and some disposable income; new image technologies permitting high-volume reproduction, such as wood engraving, lithography, chromolithography, steel engraving, and, starting in the 1850s, photography; industrialized printing facilities; efficient shipping and distribution networks; apparatuses for publicity and promotion; and new public institutions designed to support these developments, such as Art Unions, Mechanics’ Institutes, popular museums, etc. Since much of this history remains to be reconstructed, opportunities for original research will be ample, and class assignments will regularly involve research in primary sources. The seminar will aim to identify influential figures, watershed works, and formative events in the early history of American mass visual culture; develop ways of discussing and discriminating among early mass cultural materials; and test some of the influential theories of mass culture developed by Walter Benjamin, Theodor Adorno, Stuart Hall, Clement Greenberg, and others.

    • (FAH3013H)Problems in Song Dynasty Painting and Calligraphy – A. Murck, Bernard Herman Distinguished Visiting Scholar (Medieval/Asian)

      This course will explore approaches to art in China’s Song dynasty (960–1272) through examination of selected paintings and calligraphy. During the Song dynasty a new kind of painting developed that built on established religious, narrative, and panegyric pictures. Practiced largely by the educated elite (including the emerging scholar-official class, Buddhist monks, and imperial clan members), it drew heavily on metaphor and textual references and was an extension of the literary culture of the time. Readings will include seminal historical texts as well as contemporary scholarship. Chinese reading ability is desirable but not required. Grades will be based on class participation including discussion of assigned readings, short oral reports, and one longer oral report with PowerPoint on a topic chosen in consultation with the instructor.

    • (COL5109H)Jean-Luc Nancy: Retreating the Aesthetic – J.P. Ricco (Modern/Contemporary)

      The seminar is devoted to the study of the work of French philosopher Jean-Luc Nancy, and specifically the ontological priority that he gives to aesthetic praxis in his thinking of the politics and ethics of subjectivity, community, the senses, bodies, globalization, and technique. Attention will also be paid to such topics as: representation/presentation, the image, the portrait, and spectacle. On a weekly basis we will engage in close readings of such books by Nancy as The Muses, The Ground of the Image, and Being Singular Plural, along with the work of other philosophers and theorists who serve as his major points of reference (Hegel, Kant, Freud, Heidegger, Bataille, Blanchot, Derrida).

    • (FAH1001H)Methods in Art History – J. Bear (Other)

      An examination and discussion of major texts and issues related to the theory and practice of art history. Required of all PhD students. (With the written permission of the DGS, students may satisfy this requirement with an equivalent course from another institution. In this case, they may substitute another graduate seminar for FAH 1001H in their program).

    • (FAH1123H)Art of the Medieval Book – A. Cohen (Medieval)

      This seminar investigates a wide range of questions related to the use and function of imagery in medieval books. What are the origins of medieval book illustration in the transition from roll to codex; what kinds of books were typically illustrated—and how; who conceived of the complex pictorial programs found in medieval manuscripts, and how did these programs function? Issues of patronage, audience and reception are central to this seminar, which focuses on specific case studies of manuscripts from throughout Europe dating from the late antique period until the advent of printing.

    • (FAH1125H)Medieval Pilgrimage Art and Architecture – J. Caskey (Medieval)

      This seminar critiques current theories of pilgrimage and investigates selected early Christian, Western medieval, Byzantine, and Islamic destinations. Readings (both primary and secondary sources) and discussions address such features as urbanism, architectural plans, sculptural programs, tombs and shrines, relics and reliquaries, badges, and souvenirs. Student presentations/papers will attempt to reconstruct the realia of a specific pilgrimage site. Reading knowledge of at least one foreign language is recommended.

    • (FAH1203H)Art and Monasticism in Renaissance Italy – G. Periti (Early Modern)

      The seminar will explore some of the most crucial artistic innovations of the Italian Renaissance and their symbiotic relation to monasticism. Engaged with the pursuit of learning and religious reform issues, Renaissance monks became major agents of the cultural and spiritual changes that affected Italian society during a stressful period of foreign invasions, political turmoil and religious angst. Monks’ investments in art were extraordinary and in multiple art media, involving key experimental artists of Renaissance art history, including Mantegna, Raphael, and Correggio. Histories of Italian Renaissance art have, however, downplayed their role to a minimum, presenting the innovative artworks for their monastic spaces as mere local enterprises. To rethink a corpus of works as interconnected contributions to the development of a renewed monastic art, this seminar discusses works in different art media that actively participated in the definition of the modern Renaissance art. Reading level of Italian is expected.

    • (FAH1221H)Inside the Painter’s Studio – P. Sohm (Early Modern)

      Painters at work in Italy, France, and Germany, 1550–1700. The aim of this seminar is to understand studios as places for painting, teaching, selling, and modeling, and hence painters as craftsman, teacher and team boss, negotiator, and salesroom manager. Research topics include: the physical location and environment of painters’ studios; painting as a corporeal act; painting as a performance for studio visitors; self-representation of painters at work; bodily traces in paintings (fingerprints and finger painting); visual and literary evidence of production. An eclectic array of approaches and sources will be used: material culture, anthropology, scientific conservation, social, and economic history, and literary analysis. Source material will include biographies, letters, diaries, account books, inventories, testaments, lawsuits, technical manuals, and (naturally) prints, drawings and paintings. Reading knowledge of Italian, German, or French is required.

    • (FAH1231H)Northern Renaissance Sculpture – E.M. Kavaler (Early Modern)

      This course questions the near-exclusive focus on painting as the quintessential artistic medium of the Renaissance in Northern Europe and the paradigms it has generated. As a spatial and tactile medium, sculpture raises its own set of problems and issues. Sculpture was many things in the early modern period—and not all of these centered on the portrayal of the human body. People we now recognize as sculptors belonged to different guilds, fashioning objects as different as monumental tombs of stone and capacious wooden choir stalls. The borderline between sculpture and architecture was a porous one. Equally problematic was the division between sculpture and painting; renowned painters designed sculpture and competed in the communication of sacred stories with carvers of narrative reliefs. The course examines sculpture’s agency in modulating power relations, in directing devotional practice, in forming visual narratives, in realizing notions of antiquity, and as a collectable object. The course will include visits to both the Art Gallery of Ontario and the Royal Ontario Museum to examine major works of sculpture in these local collections.

    • (FAH1801H)Portraiture in Canada, 1750–1870: Painting into Photography – D. Reid (Modern/Contemporary)

      This seminar will examine the evolution of portraiture in Canada from the final decade of the French Regime to the accomplishment of Confederation, offering possibilities of investigating technical, social, and stylistic developments within a new area of study in the Department of History of Art/Graduate Department of Art that links with our recently established specialization in the history of photography. This was a period of remarkable growth in the incidence of portraiture in Canada, in part due to the heightened apparatus of local governance, but mainly as a consequence of increased immigration and the dramatic rise of a newly wealthy middle class in the wake of growing trade and the onset of the industrial revolution. Portraiture was purveyed initially in the form of oil paintings and watercolours, then proliferated in a range of more popular idioms, including miniatures and silhouettes, culminating finally in daguerreotypes, and contact and projection printed photographs, often elaborately hand-coloured in the later period, better to compete with still-popular oil and watercolour paintings. The seminar will also situate Canadian studies within a broader understanding that encompasses British and European influences and the cross-border traffic of itinerants operating within the Atlantic, St. Lawrence, and Great Lakes regions.

    • (FAH1930H (cross-listed from Visual Studies VIS1010H))Contemporary Art Since 1960 – S. Schelle (Modern/Contemporary)

      This course focuses defining moments in the development of contemporary art after 1960, both in Canada and internationally. Examining critical events, turning points, practices, and artwork, the course includes such topics as the relationship between contemporary art and its markets, institutions, the development of media, and new post-colonial and global contexts for the visual arts. Course is offered as a series of seminars, with assigned readings, research paper and presentations by students.

    • (FAH1931H (cross-listed from Visual Studies VIS1020H))Contemporary Art: Theory and Criticism – S. Lloyd (Modern/Contemporary)

      This course engages major developments in contemporary theory and criticism as pertinent to the history of contemporary art. The course attends closely to the relationship between art practice and its interpretation. Major focus on critical writing, close reading of work, and the development of pertinent frameworks for the explanation and interpretation of contemporary art and artistic practice. Course is offered as a series of seminars, with assigned readings, research papers and presentations by students.

    • (FAH1932H (cross-listed from Visual Studies VIS1101H))Paradigmatic Exhibitions: History, Theory, Criticism – TBA (Modern/Contemporary)

      This course will trace the history of paradigmatic exhibitions with particular emphasis on the emergence of temporary exhibitions (rather than permanent displays) and their historical contexts. Using Canadian and international case studies, the course examines the assumptions, theoretical considerations, and critical undertakings that underwrite the making of exhibitions since the enlightenment with particular focus on the contemporary period.

    • (FAH1956H)Can Art History Speak Chinese? – Y. Gu (Modern/Asian)

      Art history’s growing assimilation of regions and cultures outside of Europe and North America has led to a rethinking of the very premise of the discipline itself. As well phrased by James Elkins, “can art history become a discipline that keeps a recognizable shape wherever it is practiced? Are its methods, concepts and purposes suitable for art outside of Europe and North America? ... if not, are there alternatives that are compatible with existing modes of art history?” This course encourages students to explore the contested uses of art history in light of the recent studies of Chinese art. Primary attention will be given to the applicability of art historical concepts and methods to non-Western art, which bears the great potential for advancing our understanding of Chinese art yet at the same time the risk of obscuring alternative historiography and epistemology.

    • (FAH2022H)Rhetoric of Space – S.J. Kim (Ancient)

      Since G.E. Lessing’s categorization of poetry and painting as the “arts of time” and the “arts of space,” the concept of space has occupied a special ontological position vis-à-vis the visual arts. Theoretical frameworks hinging upon the concept of space, however, went through a variety of transformations since Panofsky’s appropriation of “space” as a necessary condition for what was to be called the formalist art historical tradition. Taking David Summer’s Real Spaces (2003) as a starting point of our inquiry, this interdisciplinary seminar surveys critical scholarship in various fields of art history and archaeology, as well as those from neighboring disciplines in the humanities and social sciences, on “space” as a unifying concept. Concomitant concepts that will be examined briefly include: virtuality, perception, memory, time, materiality, social and gendered spaces, and world art history. Having surveyed critical methods across disciplines, using space as a categorical concept, the students will have a chance to develop their own critical research projects in the area of their choosing.

    • (FAH3011H)Roman Painting – C. Katsougiannopoulou (Ancient)

      Roman painting is perhaps the most attractive body of material of ancient art in terms of aesthetic value, and also the one that is most compatible with current art historical methodologies, from socio-historical and contextual approaches to psychoanalytical reception theories. The focus of the seminar will be on the role of mythological wall painting in the emergence of new forms of subjectivity in the late Republican and early Imperial periods. Notions of “fantasy,” “embodiment,” and “selfhood” will be explored. The seminar will address a range of iconological issues, in particular the appropriation of Greek myth in its new contexts, the relation of mythological images with the iconographic tradition, gender, sexuality and the body, as well as the problem of “programs” in wall painting. Most of the examples under discussion come from Rome and the cities on the Bay of Naples, but the chronological and geographical framework of the seminar will extend beyond that looking back at the Greek predecessors as well as to Roman painting of the second to fourth century AD.

    • (COL5100H)The Late Barthes: The Neutral, Mourning, and Photography – J.P. Ricco (Modern/Contemporary)

      This seminar examines some of the principal themes in the work of Roland Barthes over what were to be the last three years of his life. Enabled by the recent publication and translation of his lecture courses at the College de France (The Neutral; The Preparation of the Novel), and the mourning diary that he kept in the wake of his mother's death, the course seeks to understand the central importance of the notion of the neutral, the experience of mourning, the evidence of photography, and the notations of homosexual erotics in Barthes' writing and teaching from his Inaugural Lecture at the College on January 7, 1977 to his seminal book on photography, Camera Lucida. Other texts that we will discuss include: Roland Barthes by Roland Barthes; Incidents; as well critical works by Maurice Blanchot, Jacques Derrida, D.A. Miller, Diana Knight, Eduardo Cadava, Geoffrey Batchen, and others.

    • (FAH1001H)Methods – J. Purtle (Other)

      An examination and discussion of major texts and issues related to the theory and practice of art history. Required of all PhD students. (With the written permission of the DGS, students may satisfy this requirement with an equivalent course from another institution. In this case, they may substitute another graduate seminar for FAH 1001H in their program).

    • (FAH1126H)Exceptional Cities of the Middle Ages – J. Caskey (Medieval)

      A focused investigation of one or more medieval cities that stand out because of their importance as historical and cultural centers. Issues of urban planning, civic identity, and patronage complement in-depth study of local architecture and art. Some of these cities were important throughout the Middle Ages; others offer insights into critical moments in medieval art, architecture, and society. Among the cities that may be considered in any given semester are: Jerusalem, Rome, Constantinople, Paris, Aachen, Cordoba, Cairo, London, and Naples.

    • (FAH1127H)Early Medieval Art – A. Cohen (Medieval)

      Early medieval art has long been viewed in the shadow of Romanesque and Gothic art and architecture, although the seven hundred years between c. 400 and 1100 produced a wealth of material culture that provides critical insights for understanding the formation of Europe. The seminar will focus in a given semester on one of the following four subdivisions with this period: Merovingian and Migratory, Carolingian, Ottonian, or Insular and Anglo-Saxon. The art and architecture in all of these periods are understood in light of their relationship to the classical past, the development of political and ecclesiastical structures, the importance of the cult of saints, and the rise of monasticism. The focus in 2012 will be on monastic art and architecture.

    • (FAH1129H)Medieval Ages Approaches – J. Wollesen (Medieval)

      The course examines the role and history of the “Middle Ages” from its Renaissance roots to the invention and establishment of Medieval Art as part of the academic discipline of the history of art. Further on, it focuses on the European and North American modern approaches in the field and attempts to evaluate its present state, value and function within the academic curriculum.

    • (FAH1202H)Correggio and the Problem of Italian Renaissance Art – G. Periti (Early Modern)

      Two major exhibitions, symposia, and several new publications have recently re-considered the art of the Italian painter Correggio (1489–1534), but its understanding remains problematic within the current paradigms of Renaissance art. Correggio’s art has generated oppositional responses in the scholarship, ranging from its characterization as “proto-baroque,” to its being considered a putative embodiment of “Renaissance classicism,” and to its supposed exemplary status as a “post-classical” artist. One of the central questions underlying the seminar is: what is the place of Correggio’s art in current Renaissance art history? The works of Correggio and responses to them will be examined, therefore, not just in and of themselves, but as paradigmatic of the interpretative impasse that characterizes Renaissance art history as it is currently practiced. The seminar will consider Correggio’s most ambitious works—his altarpieces, dome decorations and erotic images—and reconstruct their referential structures and meanings. The examination of such an undervalued protagonist of Italian Renaissance art as Correggio serves as a springboard for reflecting upon larger problems in the field: the ontological status of Renaissance art history, its methods and approaches, and the present-day “crisis” of interpretation. Reading knowledge of Italian, German and/or French is recommended.

    • (FAH1221H)Inside the Painter’s Studio – P. Sohm (Early Modern)

      Painters at work in Italy, France, and Germany, 1550–1700. The aim of this seminar is to understand studios as places for painting, teaching, selling, and modeling, and hence painters as craftsman, teacher and team boss, negotiator, and salesroom manager. Research topics include: the physical location and environment of painters’ studios; painting as a corporeal act; painting as a performance for studio visitors; self-representation of painters at work; bodily traces in paintings (fingerprints and finger painting); visual and literary evidence of production. An eclectic array of approaches and sources will be used: material culture, anthropology, scientific conservation, social and economic history, and literary analysis. Source material will include biographies, letters, diaries, account books, inventories, testaments, lawsuits, technical manuals, and (naturally) prints, drawings and paintings. Reading knowledge of Italian, German, or French is required.

    • (FAH1249H)Margaret of Austria and the Renaissance in the Netherlands: Hieronymus Bosch, Jan Gossaert, Albrecht Dürer et al. – E.M. Kavaler (Early Modern)

      Margaret of Austria, the daughter of Emperor Maximilian and regent of the Netherlands, is renowned as one of the most highly educated and sophisticated female patrons of the arts during the Renaissance. Having lost two husbands to early death, she defied her father’s wishes to remarry and became one of Europe’s most competent governors. From her court at Mechelen, she was at the center of the remarkable artistic revival at the beginning of the sixteenth century. Margaret and her nobles were the leading patrons of Hieronymus Bosch, while she, herself, collected important paintings by Jan van Eyck, Jan Gossaert, and many others. Her commissions for tapestries helped nurture the preeminent workshops of Brussels during these years. And her church with its tombs at Brou remains one of the outstanding dynastic structures of the European nobility. Margaret’s sights were truly international. Raised in France, and resident for a time in Spain and Savoy, she welcomed numerous foreign artists to her court, meeting with both Albrecht Dürer and Lucas Cranach during their visits to the Low Countries. The course will focus partly on Margaret of Austria’s wide-ranging engagement with the arts at her court and partly on the art industry of nascent Antwerp. There will be considerable discussion of the unique paintings by Hieronymus Bosch. There will be further lectures on the development of urban culture, on the rise of Antwerp as a center and market for the arts, on the mythological pictures of Jan Gossaert, on the genesis of landscape painting and secular imagery of common experience, on the cult of antiquity, on Netherlandish carved altarpieces, on the early printing industry and the production of woodcuts and engravings. Other media such as tapestry, illuminated manuscripts, and stained glass will also be considered. Particular attention will be paid to gender studies, socio-economic and anthropological perspectives, and the history of collecting. We will examine, as well, historical notions of the Renaissance and their applicability to Northern Europe and the Netherlands. Students will deliver brief reports on the readings, a major oral presentation, and a term paper. Recommended languages in order of importance: German, French, Dutch.

    • (FAH1288H)Material Bernini: Terracotta, Ink, Bronze and Stone – E. Levy (Early Modern)

      This seminar is occasioned by “Bernini’s Models in Clay” a once-in-a-lifetime exhibition of virtually the entire corpus of Bernini’s works in terracotta (50 works, alongside 30 drawings, and some marble and
      bronze statues) organized by the Metropolitan Museum of Art (opens October 2012). Bernini’s terracotta sculptures, a fragmentary record of preparatory works by a sculptor who denied any direct relation between sketches of any kinds and final works, occupy an uncomfortable place in what should be a relatively straightforward narrative of ideation, preparation, and execution. This seminar takes a critical look at this “preparatory” work. We will also use the terracottas to take a fresh look at Bernini’s work in all media (clay, ink, stone, bronze) from the perspective of its materiality, seeking to take a new cut through the considerably large but in some sense remarkably anti-materialist literature on Bernini as an artist of fleeting motion, religious (and material) transcendence, (ephemeral) theatricality and (dematerializing) illusionism. In addition to reading the Metropolitan Museum’s exhibition catalogue and the major interventions in the Bernini literature we will be reading a selection of studies outside of the Bernini and baroque literature. In addition to a final paper students will re-write an entry in the exhibition catalogue. An international conference (“Material Bernini: Clay, Ink, Stone”), which will bring major figures in the field of Baroque sculpture and Bernini studies to Toronto at the end of the semester, is also being planned in conjunction with the seminar. A trip to New York City to view the exhibition (likely October 25–28, 2012) will be part of the class and depending on the success of my fundraising efforts, a certain amount of the costs will be borne by participants. Because we will be negotiating group rates and reserving travel well before the fall semester it is important to know how many people will be taking the seminar. So please do get in touch if you are interested. Reading knowledge of German and Italian is recommended but not required.

    • (FAH1410H)Artwriting, Past and Present – M. Cheetham (Modern/Contemporary)

      This course provides a historical and thematic examination of “Artwriting” in its many forms from c. 1750 to the present. Special attention will be paid to the relationships between text and object, to the institutional contexts of artwriting, and to its current concerns. In 2012, we will focus on the theme “Landscape and Language,” examining the many imbrications of the textual and visual in the Western landscape tradition since the 18th century and in its more recent incarnations in land and environmental art. We will begin with the theoretical matrices of landscape as a genre in the 18th and 19th centuries, examining the discourses of the sublime and picturesque in their own rights and as they were materialized in the visual arts and landscape architecture. Issues of colonization and empire will figure in these discussions. We will also consider John Ruskin’s highly influential writings on Turner’s work. In the 20th century, we will focus on conceptual art’s double relationships with language and landscape, looking especially art the practices of the group and periodical called Art & Language. Artwriting was central to many artists in the 1960s and 1970s; we will consider to what extent this writing was integral to Land art. We will discuss allied practices in contemporary art’s responses to “nature.”

    • (FAH1456H)Theories of Photographic Manipulation: Prehistories to Pictorialism – J. Bear (Modern/Contemporary)

      This seminar is an elective for students studying the history and theory of photography, but also for those with interests in some emerging and particularly interdisciplinary areas of the study of modern art. This course will be taught concurrently with a major exhibition on this theme taking place at the Metropolitan Museum of Art, to which an optional trip for members of the seminar is tentatively planned. The “neutrality” of photography has been challenged almost from its very first introduction, and indeed, even from within its many and occasionally persuasive prehistories. This course will serve as an investigation into the many dimensions—technological, aesthetic, and epistemic—of photographic manipulation during the first seventy-five years of the medium’s history. Among the issues to be examined in detail are the numerous models, motives, and motifs implicated in the alteration of photographic representations, drawn from fields as apparently divergent as painting, microscopy, the Victorian novel, human physiology, and political propaganda. An organising principle of our study will be to inquire how manipulation was achieved and how it was signalled to or concealed from its viewers. Ultimately, we will attempt to analyse the interests competing with neutrality or objectivity in whose service these manipulations were mobilised, and to explore the diverse sources of photography’s variable, but undeniable, authority.

    • (FAH1481H)Automotive Affects – K. Jain (Modern/Contemporary)

      Our contemporary “global” condition is often characterized by tropes that draw on an earlier modernist excitement about the automobile—circulation, flows, smoothness, speed, connectivity, superhighways—as well as its downsides: risk, insecurity, pollution, blockages, car bombs, kitsch (girlie calendars, billboards, Las Vegas). Drawing on approaches from “new materialism,” anthropology, critical geography, architectural theory, and cinema studies as well as art history and critical theory, this seminar attempts to rethink these affects of automotive modernism in relation to spaces, times, and assemblages that aren’t easily subsumed within modernist narratives of modernity.

    • (FAH1486H)Bloomsbury and Vorticism – A. Syme (Modern/Contemporary)

      This course examines two early twentieth-century British modernist movements and their key artists and writers (including Vanessa Bell, Jacob Epstein, Roger Fry, Wyndham Lewis, Ezra Pound, and Virginia Woolf, among others). Topics include the groups’ complex politics, contributions to aesthetic theory, exploration of text/image relations, response to World War One, and sexual politics.

    • (FAH1800H)James Wilson Morrice – D. Reid (Modern/Contemporary)

      James Wilson Morrice (1865–1924) is the Canadian artist most closely associated with issues of early modernism. Born in Montreal, he was educated there and in Toronto (Law, University of Toronto, 1882–89), but found his true vocation only when his family allowed him to travel to London, then Paris, to study art. While he remained resident in Paris the rest of his life, he returned to Canada annually until 1916, and was regularly represented in Canadian exhibitions throughout his career. A quiet retiring personality, Morrice nonetheless achieved a certain critical acclaim in Paris before the First World War, and numbered many prominent painters and writers among his friends, primarily within the large Anglo-American community in the period of the Nineties through the turn-of-the-century, but in Fauve circles after 1905 when he became associated with the Salon d'Automne. Each participant in the seminar will be expected to investigate Morrice's relationship to one of his artist friends such as the Americans Maurice Prendergast and Robert Henri, or the Frenchmen Albert Marquet and Henri Matisse, or with an evident mentor such as Whistler or Manet. The intention is to demonstrate how the study of a Canadian figure can be enlarged significantly through the use of the often extensive and methodologically varied literature available on French, American, and British subjects. Topics are chosen and developed through round-table discussions in the early weeks of the seminar, and are presented to the group in penultimate form. The written paper, submitted at end of term, counts for the entire grade.

    • (FAH1930H (cross-listed from Visual Studies VIS1010H))Contemporary Art since 1960 – S. Schelle (Modern/Contemporary)

      This course focuses defining moments in the development of contemporary art after 1960, both in Canada and internationally. Examining critical events, turning points, practices, and artwork, the course includes such topics as the relationship between contemporary art and its markets, institutions, the development of media, and new post-colonial and global contexts for the visual arts. Course is offered as a series of seminars, with assigned readings, research paper and presentations by students.

    • (FAH1931H (cross-listed from Visual Studies VIS1020H))Contemporary Art: Theory and Criticism – S. Lloyd (Modern/Contemporary)

      This course engages major developments in contemporary theory and criticism as pertinent to the history of contemporary art. The course attends closely to the relationship between art practice and its interpretation. Major focus on critical writing, close reading of work, and the development of pertinent frameworks for the explanation and interpretation of contemporary art and artistic practice. Course is offered as a series of seminars, with assigned readings, research papers and presentations by students.

    • (FAH1932H (cross-listed from Visual Studies VIS1101H))Paradigmatic Exhibitions: History, Theory, Criticism – B. Fischer (Modern/Contemporary)

      This course will trace the history of paradigmatic exhibitions with particular emphasis on the emergence of temporary exhibitions (rather than permanent displays) and their historical contexts. Using Canadian and international case studies, the course examines the assumptions, theoretical considerations, and critical undertakings that underwrite the making of exhibitions since the enlightenment with particular focus on the contemporary period.

    • (FAH1934H)Cosmopolitan/Comparative Modernisms – E. Harney (Modern/Contemporary)

      The critical tools acquired from postcolonial and postmodernist discourses—coupled with the growing interest in and studies of the global contemporary art market—have enabled critics, scholars, and curators to broaden historical understandings of the modern. This seminar will address Said’s discussions of the “voyages in” of exiles in interwar and postwar modern Europe, Stuart Hall’s subtle readings of the visual cultures and identities in postwar Britain, and Kobena Mercer’s ongoing projects on the overlapping, imbricated nature of modernist practices, alongside new thinking on cosmopolitanisms by Kristeva, Benhabib, and Clifford. These important approaches in the EuroAmerican sphere run parallel to ever-deepening studies of locally-situated, often nationally focused but globally-conscious artistic scenes around the world (often misnamed alternative modernities), including work by Geeta Kapur and Partha Mitter on India, Okwui Enwezor and Chika Okeke on parts of the African continent, and Gerardo Mosquera and Guy Brett on sites in Latin America. This course broadens an ever deepening interest in the global implications of the modern, in a department that features a growing number of scholars with interest and expertise in global modern and contemporary visual cultures and art histories. It will enable graduate students to gain greater insight into current debates on contemporary uses of cosmopolitanism in light of historical models and understandings of the modern.

    • (FAH1951H)Contemporary Chinese Art and its Discontents – Y. Gu (Modern/Asian)

      This seminar offers a survey of contemporary Chinese art with an emphasis on the contested conditions of art production, display, and interpretation. Organized as a series of case studies, this seminar will encourage students to situate contemporary Chinese art within the critical debates on glocalisation, neoliberal world order, and postsocialist condition. Special attention will be given to the positions and interventions of writers from the disciplines of philosophy, anthropology, and sociology together with the leading authors of contemporary Chinese art such as Wu Hung, Ackbar Abbas, Karen Smith, Minglu Gao, and Hanru Hou.

    • (FAH2017H)Art and Archaeology of the Everyday – C. Knappett (Ancient)

      In studying material culture the spotlight tracks towards the extraordinary; yet most artefacts are ordinary, banal, and hence frequently overlooked. This seminar asks how we might retrain our analytical gaze upon the objects of the everyday, the aim being a fuller understanding of human interactions within the material world. It tackles the category of “the everyday” from a range of disciplinary perspectives: among them art historical, anthropological, and archaeological. We will consider a range of topics, including: the relationship between the everyday and the extraordinary; the multimodal human engagement with artefacts and images; the definition of “objects” vs “things”; the agency of material entities in relation to social practices; artifact biographies; the modes of meaningfulness in everyday material culture; spatio-temporal dimensions of the everyday; the power of artifact assemblages; and cognitive perspectives on material culture. Case studies are drawn principally, but not exclusively, from Aegean prehistory.

    • (FAH2034H)Topics in Roman Imperial Art: Monuments and Metanarratives – B. Ewald (Ancient)

      A seminar on Roman Imperial Art and the metanarratives and conceptual frameworks that have shaped its study over the past 120 years. Topics include: the problem of style/form and the transformation of Roman art during the first four centuries of our era; Roman “classicism”; “propaganda” and the function of “state monuments” and “official” art; the figure of the “viewer” in archaeological scholarship; spolia and “damnatio memoriae”; historical commemoration. Monuments under discussion will include the Ara Pacis, Triumphal Arches, Columns of Trajan, and Marcus Aurelius, Roman “Historical Reliefs.”

    • (FAH1125H)Medieval Pilgrimage Art and Architecture – J. Caskey (Medieval)

      This seminar critiques current theories of pilgrimage and investigates selected early Christian, Western medieval, Byzantine, and Islamic destinations. Readings (both primary and secondary sources) and discussions address such features as urbanism, architectural plans, sculptural programs, tombs and shrines, relics and reliquaries, badges, and souvenirs. Student presentations/papers will attempt to reconstruct the realia of a specific pilgrimage site. Reading knowledge of at least one foreign language is recommended.

    • (FAH1127H)Early Medieval Art – A. Cohen (Medieval)

      Early medieval art has long been viewed in the shadow of Romanesque and Gothic art and architecture, although the seven hundred years between c. 400 and 1100 produced a wealth of material culture that provides critical insights for understanding the formation of Europe. The seminar will focus in a given semester on one of the following four subdivisions with this period: Merovingian and Migratory, Carolingian, Ottonian, or Insular and Anglo-Saxon. The art and architecture in all of these periods are understood in light of their relationship to the classical past, the development of political and ecclesiastical structures, the importance of the cult of saints, and the rise of monasticism.

    • (FAH1134H)Communal Painting and Propaganda in Italy during the 13th and 14th Centuries – J. Wollesen (Medieval)

      This course examines various communal paintings in Italy of the outgoing thirteenth and the fourteenth century in Florence. (Giotto/Palazzo della Signoria), Perugia (G. Pisano et al./Fontana Maggiore. Palazzo dei Priori), Rome (Cola di Rienzo/S. Angelo in Pescheria), Siena (Lorenzetti/Palazzo Comunale), and in Padua (Giotto/Palazzo della Ragione). Emphasis is on the interdisciplinary historical context, i.e. the changing self-understanding of the communes as independent city republics and the integration of hitherto new pictorial means, wall painting as a public medium, historia and allegory as to depict the growing emancipation of these city states within a time of radical changes. In short, the focus is on perception and explication in painting and the mentality of the time. A good source is Hans Belting and Dieter Blume (editors), Malerei und Stadtkultur in der Dantezeit. Die Argumentation der Bilder (Munich: Hirmer Verlag, 1989). Languages recommended: Italian, German.

    • (FAH1201H)Art, Space, and Ritual in Renaissance Convents – G. Periti (Early Modern)

      This seminar will explore the architecture and works in different art media made for monastic spaces and associated ritualistic activities, as well with the luminal status of the religious female self. We will examine the fascinating images that were produces and which constitute productive episodes of visual tension that transformed the regulated usage of the spaces they ornamented. The aims of the seminar are multiple: to provide students with knowledge of Renaissance conventual art from its rise to its directional shift during the Tridentine religious reform; to consider the methods and contexts through which conventual art has been approached in recent decades.

    • (FAH1226H)Architecture and Alchemy before Modernism – C. Anderson (Early Modern)

      A study of the intersection of architecture and science. Topics will include natural magic, theories of vision, matter and materials, technology, machines, and divination primarily in the buildings and architectural theory of late medieval, Renaissance, and Baroque Europe.

    • (FAH1299H)Heinrich Wölfflin’s Principles of Art History (1915) @ 100: A Worldwide Reception History – E. Levy (Early Modern)

      In anticipation of the 100th anniversary of the Swiss art historian Heinrich Wölfflin’s Kunstgeschichtliche Grundbegriffe [1915] (Principles of Art History), perhaps the most widely read work of art history, this seminar will explore the worldwide reception of this foundational and controversial work of formalism. Written during World War I, this book has had a worldwide readership, from Beijing to Buenos Aires, in and outside the academy, drawing people into art history and influencing the terms in which they understand it. Just as important as the positive reception, however, was the positioning by the “New Art History” of the Grundbefriffe as a scapegoat, as symptomatic of where the field had gone wrong. This seminar will see that a certain kind of history of art history in the past 100 years can be written through the reception of this text. This seminar will endeavour, in particular, to generate new research on the Canadian reception of Wölfflin’s Principles, through the University of Toronto’s medievalist Peter Brieger (a pupil of Wölfflin) and through other channels of primary research.

    • (FAH1458H)Viewing History: The Visual Experience of the Past, 1750–1900 – J. Bear (Modern/Contemporary)

      This graduate seminar will explore the transformation in how historical knowledge was represented and experienced visually during the long Nineteenth Century. This will be accomplished by a focused study of the relationships among European history paintings, three-dimensional historical artifacts, simulacral recreations of distant environments, and the testimonies of surviving witnesses. The new level of intimacy between audience and history not only expressed contemporary historiographical tendencies, but became a laboratory for various models for understanding of the relationship between a seeker of historical knowledge and her object. Drawing upon a wide range of disciplines in the humanities and social sciences, this course will examine the evidentiary crossroads at which the visual representation of the past found itself in this critical period in modern culture.

    • (FAH1801H)Portraiture in Canda, 1750–1870: Painting into Photography – D. Reid (Modern/Contemporary)

      This seminar will examine the evolution of portraiture in Canada from the final decade of the French Regime to the accomplishment of Confederation, offering possibilities of investigating technical, social, and stylistic developments within a new area of study in the Department of History of Art/Graduate Department of Art that links with our recently established specialization in the history of photography. This was a period of remarkable growth in the incidence of portraiture in Canada, in part due to the heightened apparatus of local governance, but mainly as a consequence of increased immigration and the dramatic rise of a newly wealthy middle class in the wake of growing trade and the onset of the industrial revolution. Portraiture was purveyed initially in the form of oil paintings and watercolours, then proliferated in a range of more popular idioms, including miniatures and silhouettes, culminating finally in daguerreotypes, and contact and projection printed photographs, often elaborately hand-coloured in the later period, better to compete with still-popular oil and watercolour paintings. The seminar will also situate Canadian studies within a broader understanding that encompasses British and European influences and the cross-border traffic of itinerants operating within the Atlantic, St. Lawrence, and Great Lakes regions.

    • (FAH1870H)Recent Canadian Art in the International Perspective: Ecological Art in Canada since the 1960s – M. Cheetham (Modern/Contemporary)

      In 2011–12, we will investigate the intersections of four definitive frames in the discipline of art history, using Canadian art and artists in their interactions with international practices as case studies. As the title of this course suggests, we habitually use national groupings to organize our field. More particularly, we employ genres such as landscape, land art, and public art to contour our thinking. Since Montesquieu and Winckelmann in the 18th century, we have also relied on what Thomas Da Costa Kaufmann calls the “geography of art,” defined as “the effect of the environment, cultural and natural, on what humans have created.” Finally, when we speak of the “contemporary” as a temporal category, we tend to assume that it is a global, not national, phenomenon. Our case studies will embrace land and environmental art in Canada since the 1960s. Looking at theoretical materials, international art, and the work of Joyce Wieland, Michael Snow, Paterson Ewen, N.E. Thing Co., Stan Douglas, Isabelle Hayeur, Edward Burtynsky, Roy Arden, Fastwürms, Jeff Wall, and others, we will ask if there is a “Canadian” contribution in this genre. While we will range broadly, there will be opportunities for research on nearby works of art and archives held in Toronto.

    • (FAH1920H)From Primitivism to Globalism: Theories of Otherness in Modern and Contemporary Arts – E. Harney (Modern/Contemporary)

      In this seminar we will examine the potency of ideas of “Otherness” in the development of modern and contemporary arts in the last century and the thorny process of interpreting works of art by contemporary non-Western artists in relation to this larger history. Beginning with an analysis of the political and philosophical genealogy of “primitivism” with all of its attendant notions of exoticism, eroticism, and primordialism, the course will then trace the shifting critical theories employed by art historians, critics, visual anthropologists, feminists, and cultural studies scholars alike to frame the politics of representation that underlie our understanding of the contemporary productions of transnational artists.

    • (FAH1930H (cross-listed from Visual Studies VIS1010H))Contemporary Art Since 1960 – S. Schelle (Modern/Contemporary)

      This course engages major developments in contemporary theory and criticism as pertinent to the history of contemporary art. The course attends closely to the relationship between art practice and its interpretation. Major focus on critical writing, close reading of work, and the development of pertinent frameworks for the explanation and interpretation of contemporary art and artistic practice. Course is offered as a series of seminars, with assigned readings, research papers and presentations by students.

    • (FAH1931H (cross-listed from Visual Studies VIS1020H))Contemporary Art: Theory and Criticism – L. Steele (Modern/Contemporary)

      This course engages major developments in contemporary theory and criticism as pertinent to the history of contemporary art. The course attends closely to the relationship between art practice and its interpretation. Major focus on critical writing, close reading of work, and the development of pertinent frameworks for the explanation and interpretation of contemporary art and artistic practice. Course is offered as a series of seminars, with assigned readings, research papers and presentations by students.

    • (FAH1932H (cross-listed from Visual Studies VIS1101H))Paradigmatic Exhibitions: History, Theory, Criticism – B. Fischer (Modern/Contemporary)

      This course will trace the history of paradigmatic exhibitions with particular emphasis on the emergence of temporary exhibitions (rather than permanent displays) and their historical contexts. Using Canadian and international case studies, the course examines the assumptions, theoretical considerations, and critical undertakings that underwrite the making of exhibitions since the enlightenment with particular focus on the contemporary period.

    • (FAH2018H)Art and the Aegean Bronze Age: Contemporary Perspectives – C. Knappett (Ancient)

      Many art historians refer to the finest objects of the Aegean Bronze Age (c. 3000–1000 BCE) as “art.” Yet most anthropological archaeologists working on this same material resist this term. While there is an interesting debate to be had on the status of this ancient material culture, it has rarely been explicitly framed. This course reviews this state of affairs and explores new approaches to the artefacts/artworks of the Bronze Age Aegean, focusing on notions of practice, gesture, and skill, and drawing on novel ideas emerging in the broader field of material culture studies. The objective is to reveal the various functions and meanings of ancient visual and material culture in this prehistoric east Mediterranean setting. Graduate students in Art History benefit from a wide range of perspectives on the status of art in different cultures, ancient and contemporary. This course provides access to material from a prehistoric context that has to be accessed in unique ways, specifically without recourse to written documents. It therefore provides particular challenges to students in their ideas concerning the constitution of the history of art. Furthermore, the course will supply new angles from material culture studies that show intriguing overlaps with visual culture approaches.

    • (FAH2034H)Topics in Roman Imperial Art: Monuments and Metanarratives – B. Ewald (Ancient)

      A seminar on Roman Imperial Art and the metanarratives and conceptual frameworks that have shaped its study over the past 120 years. Topics include: the problem of style/form and the transformation of Roman art during the first four centuries of our era; Roman “classicism”; “propaganda” and the function of “state monuments” and “official” art; the figure of the “viewer” in archaeological scholarship; spolia and “damnatio memoriae”; historical commemoration. Monuments under discussion will include the Ara Pacis, Triumphal Arches, Columns of Trajan, and Marcus Aurelius, Roman “Historical Reliefs.”

    • (JLF1492H)Retreating the Aesthetic – J.P. Ricco (Modern/Contemporary)

      The seminar is devoted to the study of the work of French philosopher Jean-Luc Nancy, and specifically the ontological priority that he gives to aesthetic praxis in his thinking of the politics and ethics of subjectivity, community, the senses, bodies, globalization, and technique. Attention will also be paid to such topics as: representation/presentation, the image, the portrait, and spectacle. On a weekly basis we will engage in close readings of such books by Nancy as The Muses, The Ground of the Image, and Being Singular Plural, along with the work of other philosophers and theorists who serve as his major points of reference (Hegel, Kant, Freud, Heidegger, Bataille, Blanchot, Derrida). Jean-Luc Nancy’s work on art, aesthetics, and sense has achieved widespread significance in contemporary philosophical, art historical, and theoretical discussions and debates on the relations between art, politics, and ethics. This course will enable students to critically analyse and assess Nancy’s place within twentieth-century philosophy, including his reading of the works of Martin Heidegger, his alliances with Jacques Derrida and Philippe Lacoue-Labarthe, and comparative analysis that might be undertaken with the work of such contemporaries as Jacques Ranciere and Giorgio Agamben and their respective thinking on politics and aesthetics, sense and community. Earlier versions of this course have been in the Graduate Department of Art.

  • Only one full-course equivalent with these prefixes are permitted in any one degree program. To enrol in this course, please contact the Graduate Assistant, Gaby Sparks for details.

    • (FAH 3011H)Readings in Ancient Art

    • (FAH 3012H)Readings in Medieval Art

    • (FAH 3013H)Readings in Early Modern Art

    • (FAH 3014H)Readings in Modern/Contemporary Art

  • Please visit the participating degree programs’ pages for course listing and timetable.

  • Only one full-course equivalent of courses outside the department are permitted in any one degree program. To enrol in courses outside the department, please obtain approval from the course instructor and forward the email with the approval and the SGS Add/Drop Course(s) form to the Graduate Assistant, Gaby Sparks.

    • (FSL6000H)Reading French Course for Graduate Students

      Open to Masters and PhD graduate students who need to fulfill their graduate language requirement. On a case by case basis, students with prior language qualifications can access the exam-only option (still with course registration) after prior screening by the home department in support of the exam-only option. A grade of Credit/NonCredit (70% is the minimum grade for CR) will be entered on their transcripts. Students are not permitted to audit this course. This course is designed to develop students' reading skills particularly as they pertain to research interests. Some remedial grammar, but the primary emphasis is on comprehension of a wide variety of texts in French. Please visit the Department of French for more information.

    • (GER6000H)Reading German for Graduate Students

      In this course German reading knowledge is taught following the grammar-translation method designed for graduate students from the Humanities. It is an intensive course that covers German grammar with focus on acquiring essential structures of the German language to develop translation skills. The course is conducted in English, and consequently participants do not learn how to speak or write in German, but rather the course focuses exclusively on reading and translating German. Prior knowledge of German not mandatory. By the end of the course, students should be able to handle a broad variety of texts in single modern Standard German. Please visit the Department of Germanic Languages and Literatures for more information.

    • Undergraduate Language Courses

      Graduate students may enrol in any undergraduate language course at no additional cost. A grade of Credit/NonCredit (70% is the minimum grade for CR) will be entered on their transcripts. Please consult the undergraduate timetable for course listing and description.

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