Volcanic eruptions are one of the most dangerous and volatile geological hazard. In the 20th Century, almost 100,000 people are believed to have been killed in volcanic eruptions, with another 4.7 million directly affected by them, but, at the end of the 20th century, over 500 million people lived within the hazard zone of a volcano worldwide; cities such as Tokyo, Mexico City, Naples and Seattle are besieged by the threat of nearby volcanoes. Volcanoes also provide fertile soils, near-unlimited geothermal power generation potential and are an intricate part of the Earth system. This course aims to study the mechanism through which volcanoes form on Earth and other rocky planets, the circumstances that trigger eruptions, the processes which cause eruptions to change and evolve, and their impact on our society.

This course will focus on the evolving history of organisms and their ecosystems on Earth, including aspects of geochemistry and taphonomy. This course will investigate the interactions between Earth and Life over the past 3.5 billion years, emphasizing how the paleontological record is used to understand the complex nature of our evolving Earth.

The goals of this course are to discuss the geologic record of climate change and present an overview of the methods used to reconstruct the earth's climate history and the techniques used to determine the timing of environmental changes. Topics to be addressed will include paleoclimatic reconstruction, climate and climatic variation, dating methods, and climate proxies. In addition, periods of past climate change will be highlighted with particular emphasis on climate change during the recent past. This will be put into perspective with modern day and future global change.

This course will provide students with a first-hand field exposure to geologic outcrops in North America, where knowledge gained during classroom instruction throughout their studies can be applied to textbook examples of a variety of real-world geologic features. The course is structured around one major field trip during one of the Summer terms, where student-led work on rock outcrops is performed (including presentations while in the field) and the preparation of field reports after the trip. There is a nonrefundable course fee associated with this course beyond tuition, which covers accomodation and travel. Students must register on ROSI, on a first-come first-serve and non-refundable deposit basis. The deposit must be received by the Department within one week from the first day of enrollment or the student will be dropped automatically from the course. Information about the course will be released during the Winter term on the CPS Field Trip webpage.

Arrangements for these independent research projects must be made with an Earth Science Faculty member prior to registration. This course requires the student to submit a completed application to the CPS Undergraduate Assistant. Registration in the course is required. The application form can be downloaded from www.utm.utoronto.ca/cps/undergraduate/ resources/independent-studies-application-form. Copies of the completed report must be submitted one week prior to the end of term classes. Students may take both ERS471H5 and ERS472H5 in the same term. A component of the mark will be based on an oral presentation made at the end of the course.

Arrangements for these independent research projects must be made with an Earth Science Faculty member prior to registration. This course requires the student to submit a completed application to the CPS Undergraduate Assistant. Registration in the course is required. The application form can be downloaded from www.utm.utoronto.ca/cps/undergraduate/ resources/independent-studies-application-form. Copies of the completed report must be submitted one week prior to the end of term classes. Students may take both ERS471H5 and ERS472H5 in the same term. A component of the mark will be based on an oral presentation made at the end of the course.

This course provides a richly rewarding opportunity for a fourth or higher year students to work on the research project of a professor in Earth Science in return for 499Y5 course credit. Students enrolled have an opportunity to become involved in original research, enhance their research skills and share in the excitement and discovery of acquiring new knowledge. Participating faculty members post their project description for the following summer and fall/winter session on the ROP website in mid-February and students are invited to apply at that time. See Experiential and International Opportunities for more details.

An overview of the art and architecture of the past and present, as well as an introduction to the discipline of art history and its methodologies. Emphasis on representative monuments and key approaches to interpretation.

This course offers a survey of the arts of antiquity. Emphasis is placed on major works of sculpture, painting, and architecture. Decorative arts are also treated.

An overview of major monuments and themes in the art and architecture of Western Europe and the Mediterranean World from the third until the eleventh century.

An overview of major monuments and themes in the art and architecture of Western Europe and the Mediterranean World from the eleventh through the fifteenth century.

A selective survey of the major art centres, types of artistic production, personalities, and trends in Italy and the North, from the early fifteenth century to the mid-sixteenth. The creation and diffusion of art are addressed through an understanding of historical techniques (media), cultural determinants such as patronage, and significant works of art.

This survey course will introduce students to the advanced technological and innovative material contributions of Indigenous cultural knowledge towards the reshaping of Canadian Culture, Identity and Art today; beginning with the Mississaugas of the New Credit First Nations. Specificity of place, nation, geographical territory, the intervention of colonial government policy, and social movements will be reviewed as they relate to the creation and collection of Indigenous art and established art markets. Object and image making, new technologies, performance art, ceremony, land, hunting, activism, social engagement, and community arts will be covered, as will fashion, dance, song, and storytelling.

An introduction to art and society in Europe, ca. 1600 to ca. 1800 CE. Tensions between the Catholic Church and Protestantism; the rise of powerful, competing courts; the growth of increasingly complex urban centres; and the entry of the "wider public" into the art market all create new roles for representation in Europe. Developments in painting, prints, sculpture, architecture, urban planning, and festivals are considered.

This course surveys art and architecture of the Islamic worlds, beginning with the emergence of Islam in the seventh century. It examines works of art ranging from the monumental (palaces, mosques, shrines) to the portable (textiles, jewelry, books), spanning the Islamic world from Spain to Central and East Asia. A range of materials and artistic techniques will be considered, as will several religious and secular contexts and different patterns in patronage and workshop production.

How did Muslims live in the pre-modern world, and, how did they interact with their surrounding environment? This course introduces examples of homes, palaces, and gardens dating from the 8th to the 18th centuries. The course includes examples from the Arab world, Turkey, Iran, and South Asia.

An introduction to the art of the major world religions (examples will mostly be taken from Christianity, Hinduism, and Islam but may also extend to Judaism, Buddhism, and religions of indigenous peoples), examining debates within these traditions around the status of the image as well as the relationship of religious images with the secular notion of 'art.'

Surveys major developments in European art and architecture from the late eighteenth through the end of the nineteenth century, including Neoclassicism, Romanticism, Orientalism, Realism, the Pre-Raphaelite Brotherhood, Impressionism, Post-Impressionism, and Symbolism. Artistic responses to political change, urbanisation, capitalism, colonialism, the Academy, and the Salon will be explored as well as changing constructions of gender, race, class, and national identities through visual media.

Surveys principal developments in modern art and architecture from the late 19th century through 1945. Topics covered include key movements, such as Fauvism, Expressionism, Cubism, Futurism, Constructivism, Suprematism, de Stijl, Dada, and Surrealism, and key concepts, such as the avant-garde, abstraction, the readymade, the unconscious, and the primitive. Readings include manifestos and other writings by artists as well as art historical texts.

Examines many divergent international art movements and controversies in painting, sculpture, video, installation art, performance, and other new forms, from 1945 to the present.

An examination of a topic in modern art and or architecture. Topics vary from year to year; the content in any given year depends upon the instructor.

Examines the history of photography in Euro-American visual culture and explores how this medium of mass communication has transformed our perceptions and conceptions of art, society, and culture over the past two centuries. Reviews key imagemakers and areas of production concluding with the impact of digital imaging.

This course examines the history of art produced in Canada, from the pre-contact period to today. Diverse visual traditions and their intersections will be studied, as will the changing roles of art in Canadian society.

An examination of a topic in art history. Topics vary from year to year; the content in any given year depends upon the instructor.

This course provides a richly rewarding opportunity for students in their second year to work on the research project of a professor in return for 299Y course credit.Students enrolled have an opportunity to become involved in original research, learn research methods, and share in the excitement and discovery of acquiring new knowledge.Participating faculty members post their project descriptions for the following summer and fall/winter sessions in early February and students are invited to apply in early March. See Experiential and International Opportunities for more details.

This course investigates the theoretical and philosophical bases and practical realities of digitizing the visual arts in the context of scholarly research, collection development, publishing, information studies and education in the global environment. Students will examine the historical development and impact of digitization on image collecting as well as current practices and issues facing professionals. A practical, hands-on approach will be an essential part of the course.

This course will introduce students to the major critical texts, theories, and debates circulating in the burgeoning international field of contemporary curatorial studies. The course will include lectures, case studies, practice-related assignments, encounters with artists and art professionals, and student presentations that are intended to raise issues and engage debate about contemporary exhibition practices and account for theoretical perspectives and historical context. One objective of this course is to trouble preconceptions of the role of the curator in order to observe the complexity of curatorial models across and beyond art institutions. The class will address the implications of shifting cultural, social, and political contexts for artistic and curatorial practice and their sites.

This course investigates the history, theory, and practice of photomontage from its roots in combination printing in the mid-19th century to its key role in the modernist "isms of art"
in Europe and North America including Dada, Surrealism, Constructivism, and the Bauhaus to the rise of digital photomontage in the current Photoshop era. It explores a range of practices and applications of photomontage in avant-garde art, commercial advertising, mass media, humorous satire, propaganda, and political activism.

From the haunted images of William Mumler in the 1860’s to contemporary manifestations of digital ghost hunting, the search for elusive and invisible spirits by means of the camera lens has been an ongoing preoccupation in the history of photography for over 150 years. Starting with the emergence of phantasmagoric visual entertainments (ca. 1800), this course reviews this rich and fascinating history in Europe and North America but also with a few non-Western cultural examples (e.g., Japan, Philippines) focusing on key case studies in spirit photographic practice. The course considers various reasons why people have wanted to believe in the veracity of these phenomena (e.g., followers of the religious movement of Spiritualism) as well as why others have wanted to debunk spirit photography as a hoax or fraud (e.g., Harry Houdini and P.T. Barnum). Exploring theories derived from deconstruction and psychoanalysis, we seek to understand the philosophical and psychological significance of spirit photography introducing constructs such as hauntology, spectrality, the uncanny, and the work of mourning. The course also reviews how contemporary artists (e.g., Oursler, Beloff) have incorporated motifs and themes related to spirit photography in their works.

Examines art and architecture during the emergence of Christianity in the West until ca. 600, focusing primarily on Italy. Assesses the connections between polytheistic, imperial Roman art and new Christian traditions in a variety of media, including mosaics, metalwork, wall painting, and sculpture. Also considers the role of primary texts in the interpretation of Early Christian art.