Faculty of Arts and Science

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Since the first classics, chemistry, philosophy and physics classes were taught at King’s College — U of T’s precursor — in 1843, the Faculty of Arts & Science has evolved into one of the most comprehensive and diverse academic divisions in North America and established itself as the heart of one of the world’s leading universities. Home to the majority of undergraduates on the St. George campus, Arts & Science offers an unparalleled breadth of programs leading to bachelor’s degrees in arts, science and commerce.

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    11-63-Karu 046 nursing daughter at Mahopa
    (1963) Lee, Richard
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    19th century Paris: Shifting Norms and Ironic Storytelling in Maupassant’s “Bel-ami”
    (2015-03-10) Visoi, Marie-Anne
    Published in 1885, Maupassant’s “Bel-ami” is a novel in which the reader is constantly drawn by the visual appeal of the colourful descriptions. The sensorial quality of Maupassant’s prose leads us to visualize each scene and to observe the characters’ manners and behavior as the narrative moves rapidly along in a series of brief descriptions of scenes punctuated by the protagonist’s internal speech. Short paragraphs, lively and picturesque sentences exert an unmistakable influence on our reading. Although the novel can be read as the story about the advance of a mediocre man to social and political prominence, this paper will show that Maupassant uses a dual-voiced discourse and juxtaposes a recognizable 19th century Paris and his protagonist’s sexual exploits in order to call our attention to the duplicity of the Parisian society during Belle-époque. In spite of his carefully assumed impartiality, we shall see that Maupassant’s style is marked by ironical comments where apparently insignificant remarks reveal their implications as the narrative unfolds.
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    2006 MAT1638HS Fluid Dynamics Course Notes
    (2011-03-01T16:39:57Z) James, Colliander
    These are hand-written notes from a graduate course in fluid dynamics taught by J. Colliander in Winter 2006.
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    2006 PDE Course Lecture Notes
    (2011-01-11T15:38:57Z) James, Colliander
    These are hand-written lecture notes for the second semester of a year long graduate course in partial differential equations. The course number was MAT1061HS.
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    #201| At Land's End: The Emergence Of Capitalist Relations On An Indigenous Frontier w/ Tania Li
    (Last Born in the Wilderness, 2019-07-22) Farnsworth, Patrick
    In this episode, I speak with Tania Li, Ph.D — Professor of Anthropology at the University of Toronto and the author of ‘Land’s End: Capitalist Relations on an Indigenous Frontier.’ In our era of globalized neoliberal capitalism, we tend to examine the emergence of capitalist economic and social relations among indigenous communities primarily as a result of overbearing external pressures, e.g. governments, nonprofit organizations, and multinational corporations (often in tandem). It is important, however, to recognize that while this is often the case, this view does not include the ways capitalism can emerge and take hold in far more subtle ways. As documented in ‘Land’s End,’ from 1990 to 2009 Tania conducted annual ethnographic research in the Lauje highlands of Sulawesi Indonesia, and bore witness to the indigenous population’s rapid adoption of the tree crop cocoa for cultivation, transitioning away from the more communally managed production of food crops, as had been done traditionally in these communities for generations. As Tania explains in this episode, the seemingly banal transformation the highlanders of this region experienced —transitioning from the communal production of food crops to the more privatized production of cocoa — not only produced capitalist relations among the Lauje, but did so with very minimal to non-existent pressures from outside institutions. How did this happen? What can we learn about nature of capitalism and its emergence from Tania’s profound ethnographic study, and how can we apply this knowledge to more adequately respond to the material conditions that produce these results? Tania and I discuss these questions and much more in this episode. Tania Li, Ph.D is Professor of Anthropology at the University of Toronto and the author of several books, including ‘The Will to Improve,’ ‘Powers of Exclusion,’ and ‘Land’s End: Capitalist Relations on an Indigenous Frontier.’ Her current writing project is an ethnography, exploring the forms of social, political, cultural and economic life that emerge in Indonesia’s oil palm plantation zone.
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    3 Herero women in front of house
    (1963) Lee, Richard B.
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    35+1 challenges in materials science being tackled by PIs under 35(ish) in 2023
    (Elsevier, 2023-08) Allen, Monica; Bediako, Kwabena; Bowman, William J.; Calabrese, Michelle; Caretta, Lucas; Cersonsky, Rose K.; Chen, Wen; Correa, Santiago; Davidson, Rachel; Dresselhaus-Marais, Leora; Eisler, Carissa N.; Furst, Ariel; Ge, Ting; Hook, Andrew; Hsu, Yi-Ting; Jia, Chunjing; Lu, Jianfeng; Lunghi, Alessandro; Messina, Marco S.; Moreno-Hernandez, Ivan A.; Nichols, Eva; Rao, Reshma; Seifrid, Martin; Shulenberger, Katherine Emily; Simonov, Alexandr N.; Su, Xiao; Swearer, Dayne F.; Tang, Evelyn; Taylor, Mercedes K.; Tran, Helen; Trindade, Gustavo F.; Truby, Ryan; Utzat, Hendrik; Yang, Ying; Yee, Daryl W.; Zhao, Shenlong; Cranford, Steve
    Here we highlight 35 (+1) global researchers approximately under the age of 35. The annual cohort was self-generated by initial seed invitations sent by the editorial team, with each contributor inviting the next in a self-selecting unrestricted (nominally supervised) manner. The final collection is an inspiring look at the challenges the current generation of materials researchers are tackling, demonstrating the interdisciplinarity of materials science.
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    “A Brief History of Archival Advocacy for Philippine Cinema"
    (National Film Archives of the Philippines, 2013) Lim, Bliss Cua
    In what follows, I sketch a capsule history of the archival advocacy that strove to respond to the impending loss of the Philippines’ imperiled national cinema. The capsule history I present here will be non-linear and interpretive. My goal is not chronology so much as an attempt to grapple with where we are now and how we got here. Walter Benjamin cautions that in writing history, we have to honestly recognize those moments when the past’s horizon of expectations have not been fulfi lled by the present. To take stock of the past’s “unfulfilled future” is part of the task of remembering. What were the dreams and expectations of fi lm archivists of the past, and have our present-day archival efforts fulfilled these? I hope this capsule the history of Philippine audiovisual archiving helps us to better understand the long-term context of how we come to the conversations we’ll be having today. Archives don’t just preserve history: archives have a history too, and in the Philippines, various attempts to preserve our audiovisual past have been marked by vicissitude: changing presidential administrations and our fickle political culture. Decades of state negligence, as we all know, imperiled the precious little that is left of Philippine fi lm history. That is the daunting task the NFAP faces: the task of turning away from a Philippine media culture marked by negligence and ephemerality towards a culture of sustainable preservation.
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    “A Pan-Asian Cinema of Allusion: Going Home and Dumplings"
    (Wiley Blackwell, 2015) Lim, Bliss Cua
    The notion of “pan‐Asian cinema” crystallized in the aftermath of the 1997 Asian financial crisis and the downturn experienced by the film industries of Hong Kong, China, Taiwan, and Japan. Its inception thus coincides with a broader tendency towards “market‐led” regionalization in Northeast and Southeast Asia, which saw an increasingly “integrative market for culture.” This essay grapples with an apparent contradiction: Going Home (dir. Peter Ho-Sun Chan, 2002) and Dumplings (dir. Fruit Chan, 2004), both of which originated as episodes in the anthology franchise Three and Three...Extremes, fly in the face of pan-Asian cinema's tendency to de-emphasize cultural specificity in the hopes of luring regional and global audiences. Whereas most pan‐Asian films deracinate, deliberately minimizing cultural and historical specificity in order to maximize broad market appeal, Going Home and Dumplings, both early examples of Applause Pictures’ pan-Asian filmmaking, foreground cultural and historical embeddedness through their allusions. The two horror films deploy a bifurcated mode of address: first, in an inclusive gesture, films like Dumplings and Going Home attempt to consolidate regional viewership and speak to translocal audiences through their play with genre. Simultaneously, both films offer a second, more exclusive layer of perceptual pleasures to select “insider” audiences in possession of relevant cultural competencies and reading protocols. In contrast to the deracinative quality of most pan‐Asian filmmaking, Going Home and Dumplings are so culturally specific that key elements – traditional Chinese medicine, Maoist and post‐Maoist Chinese history, and Cantonese/ Mandarin bilingualism – are likely to be at least partially opaque or illegible to audiences who are not cultural insiders.