HADVC 215 SYLLABUS

Course Objectives
During the term, students will:

1. Acquire a basic familiarity with various mediums, formats, and genres of visual arts in global China now;

2. Develop a nuanced understanding of the sometimes tortured relationship between politics and art;

3. Practice skills of visual analysis (both in speaking and writing);

4. Learn how to interpret works of art, design, and visual culture as complex artefacts of the imagination and of social, political, religious, and economic life;

5. Practice the art of raising a good question.

6. Bring knowledge/art/history of China to the masses (i.e., to our campus community here at the UA).

WEEK ONE: OVERVIEW OF COURSE. What revolution?

September 4
Objectives this week: To have a clear understanding of the structure of the course and the course requirements, to introduce you to the conceptual arc of the course, and to introduce you to art historical practices.

By Sept 4: Read through the syllabus, take a look at the assignments, the guidelines for respectful behaviour, and if eClass is new to you, take a look at the eClass 101 PDF. If you are a first-year student, and this is your very first term at university, you are required to read through UA grad student Karin Anger's "Things I wish I had known as a first-year student" ppt slides. We all will read Frank Möller, "Introduction: The Gravity of Art," in Art and Politics (Oxford: Oxford Handbooks, 2015), pp. 2-4 in PDF. NB: If you have not taken HADVC 100 or other HADVC courses, please also read De-nin Lee and Deborah Hutton's "Introduction" in The History of Art: A Global View (New York: Thames & Hudson, 2021). People who have taken HADVC 100 might like to review it, but it's optional reading for you.

By Sept 6: Take the first quiz #1 by Friday at midnight MDT (ungraded, just for practice)

Key words
art
art history
politics
high order images
low order images
popular culture
art as critical
discourse
context
Sinophone

Study images for Sept 6
Qiu Zhijie 邱志杰, Map of the Theatre of the World. 世界剧场地图. 2017. Ink on paper mounted on silk; 240 x 720 cm. Guggenheim.
Wang Jin, A Chinese Dream. 1997-present. PVC with embroidered fishing thread; dimensions vary. 王晋《中国之梦》

WEEK 2. COMMUNIST KITSCH

September 9, 11
Objectives this week: to introduce you to the study of communist party propaganda and socialist-realist architecture

By Sept 9: Read 2 texts: 1) Wu Hung, Remaking Beijing (Chicago: University of Chicago Press, 2005), read from last paragraph on p. 171 to p. 177; Milan Kundera, The Unbearable Lightness of Being on communist kitsch pp. 248-61.

By Sept 11: Read 1 text: Ellen Johnston Laing, "The Political and Artistic Significance of the Chairman Mao Memorial Hall," in The Winking Owl (Berkeley: University of California Press, 1988), chapter 9 pp. 90-96.

By Sept 13: Take quiz #2 (this time it will be graded, as will all other quizzes)

Key terms/ideas
socialist realism
censorship
kitsch
avant garde
propaganda
anthropomorphic
power

Study images for Sept 9
Dong Xiwen (b.. 1914 Shaoxing),The Founding of the Nation. 董希文《开国大典》
Sun Zixi (b.1929  Longbow, Shandong) ,Standing in front of Tiananmen (1964) 孙滋溪《天安门前》
The Great Leap Forward 大跃进 (1958-61)
Cultural Revolution (1966-76) posters 文化大革命海报与宣传画

Study images for Sept 11
The Square, see http://tsquare.tv/tour/
Zhao Bandi 趙半狄, Bandi 2008. 2005. Performance.

WEEK 3. INFRARED

September 16, 18
Objectives this week: To introduce you to experimental art in an era of socio-economic transformation and "reform"

By Sept 16: Read 1 text: 1) Gao Minglu,Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art(Cambridge, MA: MIT Press, 2011), please read pp. 65-77 in Part One, Chapter 2. through the U of A Library website.

By Sept 18: Read 1 text: Gao MInglu, Total Modernity, pp. 147-166 in Part Two, Chapter 4. through the U of A Library website.

By Sept 20: Take quiz #3

Key terms/ideas this week  
modernity, modern, modernization
Xiamen Dada 厦门达达
experimental art
culture

Study images for Sept 16:
Scar Art 伤痕美术 (Cheng Conglin, Gao Xiaohua)
Rustic Realism 乡土写实主义 (Luo Zhongli)
The Stars 星星
April Fifth Society 四五摄影
Wang Keping 王克平 (b. 1949 Beijing)
Huang Yong Ping 黄永砯 (1954-2019)

Study images for Sept 18:
1989 No U-Turn exhibition artists (invited or not) Wu Shanzhuan, Xiao Lu and Tang Song
"Gate of Heavenly Peace" 天安门 documentary clips: for Chinese with Chinese subtitles click here; for English language version, click here.

WEEK 4. PERFORMING THE RADICAL BODY

Objectives this week: To introduce you to art activism through re-presentations of Mao's face and body and through artist's body performance.

September 23, 25

By Sept 23: Read 1 text: Francesa dal Lago, "Personal Mao: Reshaping an Icon in Contemporary Chinese Art,"Art Journal 58, No. 2. (Summer, 1999): 46-59. 

By Sept 25: Read 1 text: Richard Vine, New China New Art (New York: Prestel, 2011), pp. 76-87. 

By Sept 27: Take quiz #4

Study images for Sept 23
Li Shan 李山,Rouge Series
Wang Guangyi 王广义Art Asia Pacific video:http://vimeo.com/38326258 Chairman Mao AO, the triptych (around 4:50 in the video)
Yu Youhan 余友涵,Chairman Mao Talking with Peasants of Shaoshan
Wang Xingwei 王兴伟, PathTowards the East. Also called The Oriental Way: The Road to Anyuan, 1995. Oil on canvas.
Zhang Hongtu 张宏图, Material Mao http://www.momao.com/GO TO GALLERY 1, then to MATERIAL MAO (MeshMao, Quaker Oats, Ping Pong Mao)
Gao Brothers 高氏兄弟, 2009 underground exhibition

Study images for Sept 25
Zhang Huan 张洹
Ma Liuming 马六明 (b. 1969 Huangshi, Hubei Province), Fen-Ma Liuming 芬-马六明 performances
Liu Bolin 刘勃麟

Key terms/ideas this week  
pop
political pop
Mao hot 毛热
body
face, visage
gaze
gender
sex
gender binaries 

WEEK 5. ART FOR THE PEOPLE

Objectives this week: To introduce you to participatory art for the people.

September 30, October 2

By Sept 30: Read 1 text：The Tate, "Encountering Lee Mingwei's Our Labyrinth"

By Oct 2:  Timothy Shea, "Where There Are No Art Circles: The Long March Project and New Geographies of Contemporary Chinese Art," Yishu: Journal of Contemporary Chinese Art no. 16 (2017): 77-83.

On Oct 2: Assignment #1 due at 5 pm. See Assignment PDF under the Week 1 tab.

By Oct 4: Take quiz #5  

Study images for Sept 30
Lee Mingwei 李明维 (b. 1964 Taiwan) see artist's website
Song Dong 宋冬 (b. 1966 Beijing), The Wisdom of the Poor (2005-06) and other work
Yin Xiuzhen 尹秀珍(b. 1963 Beijing), Commune (2008), see also video
Maleonn 马良 (b. 1972 Shanghai), Maleonn's Studio Mobile (2012)
Jin Aowen 金翱文 (b. 1978 Luoyang), The Ritual (2016)
Beijing Commune 北京公社 (Polit-Sheer-Form Office)

Study images for Oct 2
The Long March Project 长征项目
Xiē 楔: Hao Jingban (b. 1985), Shen Xin, Yunyu Ayo Shih, Qu Chang
Feng Fo: Extra 冯火：号外 (Guangzhou, 2019)
Cao Fei 曹斐 (b. 1978 Guangzhou), Whose Utopia? (2006) 6-minute excerpt, filmed in a Siemens factory in south China
Liu Yujia 刘雨佳 (b. 1981 Sichuan Province), The Silence of Hands (2021)

Key terms/ideas this week  
principle of generosity
participatory
audience
viewer
beholder

WEEK 6. THE CITY

Objectives this week: to explore the city as a concept and a historical construct. 

October 7, 9

By Oct 7: Read Lisa Claypool's essay in the China Urban catalogue.

On Oct 7: You will find out who your commune members are today, and the last 20 minutes of the class will be devoted to the Long March Project. By the end of the session, you will have selected a leader who will be the point person, the commune leader, who will be in communication with Lisa and the GTA about your commune activities. Please pass along that person’s email contact information to the GTA. 

On Oct 9: We will meet in Zoomland to go on a fieldtrip to Beijing. You are welcome to come to FAB 2-20 to sit, but Lisa will not be there for an in-person class.

By Oct 11: Take quiz #6

Key terms
urban
megalopolis
hutong 胡同 alley neighbourhood
chai 拆 demolition
ghost towns
shanzhai 山寨 "knock-off" architecture 

Study images for Oct 7 
Yin Xiuzhen 尹秀珍
Song Dong 宋冬
Qiu Zhijie 邱志杰

Study images for Oct 9
Be sure to note the names of the artists we encounter in the museum. Remind Lisa if she forgets to spell them out for you.

WEEK 7. ECOART CHINA

Objectives this week: To think about the ways that pictures make the more-than-human world when that world is in crisis.

October 14 Thanksgiving Holiday, October 16

By Oct 16: Read 1 text: Joshua Goldstein, "The Sixth Element," ecoArt China catalogue (Edmonton: Art & Design, 2021), download the catalogue from the exhibition website and read pp 32-39.

By Oct 18: Take quiz #7

Key terms
five elemental phases (water, wood, fire, earth, metal)
built environment
ecoart
art ecologies

Study images for Oct 16
Yao Lu (b. 1967), see artworks in ecoArt China exhibition
Cai Guoqiang 蔡国强, Cuyahoga River Lightning, Gunpowder on canvas (2018)
Yong Fei Guan 关泳霏 (b. Guangdong), Su Jiao Shi 塑胶狮 at the former site of the Harbin Gate in Edmonton. 2017.
Michael Cherney 秋麦
Bingyi 冰逸 (b. 1975)
Zhao Liang 赵良

WEEK 8. THE FEMINIST GAP

Objectives this week: To gain an understanding of artists working within the "feminist gap;" to meet the members of each commune with whom you will be working on the LongMarch@UA pop-up exhibition (to take place on March 27).

October 21, 23

By Oct 21: Read 2 texts: 1) Lisa Claypool, section of draft article; 2) OPTIONAL Angela Xiao Wu, "The Making of Made-In-China Feminism," Sixth Tone blog. 3 ) OPTIONAL Read passages fromecoArt China on Bovey Lee (one written by a UA undergrad like you!) and explore as you wish.

By Oct 23: 1) Patricia Eichenbaum Karetzky, "Time and Love: Cai Jin's New Works," Yishu 12, no. 6 (November-December 2013): 45-59.

By Oct 25: Take Quiz #8

Study images for Oct 21
_ao_ao_ing ensemble, Weavergirl Project (2019-2022)
Bovey Lee (b. Hong Kong), paper cuts and see artist's website
Yin Xiuzhen (b. 1963 Beijing.)
we likely will look at a few of the artists listed on Oct 23

Study Images for Oct 23

Cai Jin 蔡锦 (b. 1965 Tunxi, Anhui)
Cui Xiuwen 崔岫闻 (b. 1970 Harbin)
Ming Wong (b. 1971 Singapore)
Lin Tianmiao 林天苗 (b. 1961) 
Wang Zi 王子(b. 1983 Beijing)
Xing Danwen 邢丹文 (b. 1967 Xi'an)
Xiyadie 西亚蝶 (b. 1963)
Li Shuang 李爽 (b. 1990 Wuyi Mountains), projects
Luo Wei 罗苇 (b. 1989 Guangzhou）
Cao Fei, exhibition of her avatar from RMB CIty at the Museum in Progress (2022)
Sun Wai Kin,Tate Shot
Yu Hong, Romance of Spring. 2008.

Terms
feminism
C-fem
the feminist gap
feminist art
surreal vs real

WEEK 9. CALLIGRAPHY

Objectives this week: To introduce you to calligraphy practice for cultural innovation.
October 28, 30

By Oct 28: Read 2 texts: 1) Britta Erickson, "The Art of Xu Bing," available online; 2) "the crisis of calligraphy and the new way of tea: an interview with wenda gu" -- by melissa chu, September 4th, 2002 in new york, available online, click here

On Oct 28: We will practice calligraphy during lecture. If you have a brush, please bring it. If you do not, you will be able to borrow one from Lisa (though you'll have to share, as I don't have enough for each one of you). Please also bring some newsprint to put under the xuanzhi 宣纸mulberry bark paper I will give to you.

On Oct 30: Work on LONG MARCH pop-ups with your groups and the GTA. You have two goals: 1) By Wednesday midnight please email your top 3 proposed pop-up locations on campus to Lisa and the GTA. claylisa@ualberta.ca. On Thursday Lisa will circulate a tentative list of sites to you all. In some cases we will need to seek permission for space use, so the final list will be confirmed with you in Week 10. 2) Please clear your theme with Lisa by the end of the class session today.

By Nov 1: Take quiz #9.

Study images for Oct 28:
Xu Bing 徐冰(b. 1961 Chongqing), Book from the Ground. Square Word Calligraphy, Book from the Sky. Explore the artist's website
Gu Wenda 谷文达, United Nations project
SEE ALSO (these projects will not be addressed in lecture, but are very cool):
Jin Xi 金夕, Breakdown, Mistake, Discontinuity [a reset of how language represents] (2021)
Ruan Yuelai 阮悦来, Gong Guangshun, Cache Forest (2022)

WEEK 10. GLOBALIZING CHINA

Objectives this week: To understand the geopolitics of the binary "China and the West," and how we live in a post-Western world.

November 4, 6

By Nov 4: Read 2 texts: 1) Jonathan Hay, "Adventures in the China Sphere and Transnationalism: The Chinese Artist Outside China," in China without Borders: An Exhibition of Chinese Contemporary Art, ed. Melissa Walt Thompson (London: Goedhuis Contemporary, 2001),please read pp. 22-25, up to the sub-section that begins "The transnational as its own subject;" 2) OPTIONAL Asa Chen Zhang, "The Intimate Language of Camera: An Interview with Visual Artist Amiko Lee,"Michigan Quarterly(2022)

By Nov 6: Read Ai Weiwei, One Thousand Years of Joys and Sorrows: A Memoir, tr. Allan Barr (New York: Crown Books, 2021), Chapter 17 "River Crab Feast," pp. 278-293. 

By Nov 8: Take quiz #10

Key terms/ideas this week
Chinaspace/China Sphere
transnationalism
post-Western
postglobal

Study images for Nov 4
Amiko Li 李文嘉 (b. 1993 Shanghai) and Dong Longyue 董龙跃 Northampton, Massachusetts (Smith College)
Xing Yilu 邢艺露 Edmonton and Calgary (University of Alberta)
Zhang Jingyu Edmonton (University of Alberta)
Kongkee 江记 Hong Kong
Kev Liang Edmonton
Howie Tsui (Tsui Ho Yan 徐浩恩) Vancouver
Kenneth Tam Houston, Texas (Rice University)
Wu Tsang 曾吴 "The Looks" scroll down to Twitter feed (2018 MacArthur Award) New York City (Queens)

Study images for Nov 6
Ai Weiwei 艾未未 (b. 1957 China) and Anish Kapoor (b. 1954, U.K., India), "The Walk" London, September 2015.
Ai Weiwei, Straight, 2013 venice biennale
Ai Weiwei, Sunflower Seeds, 2010
Ai Weiwei, Circa Art Project, London, 2021
Ai Weiwei. Fairytale. Documenta 2007.

WEEK 11. READING WEEK

WEEK 12. THE LONG MARCH @ THE UA

Objectives this week: To create participatory and learning experiences about visual art in China for the UA community through the LONG MARCH @ the UA

November 18, 20

By Nov 18: Third and final in-class workshop in preparation for our pop-up exhibition on Wednesday.

By Nov 20: THE LONG MARCH. Please plan to be at your pop-up location 5 minutes before class begins. Your pop-up should be staffed by 3 people at all times. Please also try to visit other pop-ups in person. James, the GTA, and Lisa will be making videos of the various pop-ups to post to Vimeo for viewing by Monday. This will allow people who aren't able to make it around the entire path to see what you created. OPTIONAL: Create a 2 to 3-minute DIY video about your pop-up and send it to Lisa by Friday, Nov 22, by midnight. If the file is too big to upload to eClass, send it via Google Drive or the free wetransfer.com. The video project is entirely optional and just for fun, and it will not be graded. It gives you a chance to show viewers how you set up the display and if you want to feature everyone in the group, here's your opportunity!

WEEK 13 VIRTUAL NEARNESS 

Objectives this week: To finish up the Long March project, including Feng Mengbo’s video game epic “Long March”

November 25, 27

By Nov 25: Read Lisa’s interview with Feng Mengbo

By Nov 27:  Review of the LONG MARCH on Vimeo!  (No reading assignments, class will not meet). Upload 3 reviews of the filmed pop-ups (choose 3) to Vimeo and submit in a Word document to eClass for 9% participation grade. 2-4 sentences per review. The review is going to be graded on its thoughtful content and specificity. In other words, “Great job!” is nice to hear, and hopefully it will be a comment that applies to any and all of the pop-ups. I want you to be specific. What did you learn from the pop-up? How does the pop-up relate to the goals of the Long March? Due 5 pm MST. See the Assignment PDF under the Week 1 tab for more information.

1) Take your time to view and submit comments on three pop-up projects (due on Nov 27 by 5 pm MST).  

2) Fill in the Google self-evaluation form by midnight. 

By Nov 30: Take quiz #11 on Monday’s lecture (final quiz this term)

WEEK 14. THE REVOLUTION ENDS

Objective: prepare you for the final examination. This course has been dedicated to exploring political and artistic revolution and how the two intersect, and how we as historians can write as activists. In preparation for the take-home final exam (3 essays that you will have 4 days to write), we will review some of the skills and knowledge you have learned about experimental art in China during the past months
December 2, 4.

By Dec 2: Review! No reading assignments.

By Dec 4:  Review! No reading assignments.

WEEK 14. EXAM RELEASE
Objective: To answer any lingering questions about the final examination.
December 9

Dec 9: The final exam will be released to you on December 9 at 2:00 pm MST. Lisa will hold an open Zoom office hour to answer questions you may have about the final exam instructions and format from 2:20-3:20. This is not a review session. You can drop in if you have questions.

Course Requirements

Each week you will be provided with texts, images, key terms, and sometimes with videos linked to that week’s material. You are responsible for: (1) reading texts carefully; (2) looking at the assigned study images of art, design, and visual culture; (3) being able to define the key terms in your own words; (4) watching the assigned videos. For all materials: take notes on key points and highlight any questions that you may have. Lisa will provide you with ppt slides before each lecture to facilitate note-taking. The lectures will not be recorded.

By the end of the day Friday, each week, you are also responsible for (5) taking that week’s eClass quizzes. Note: while end of day Friday is the due date, to give flexibility in the context of post-COVID stresses, if you need more time, contact Lisa. The final possible deadline is Sunday night at midnight, and there will be no penalty for submitting Saturday or Sunday if needed.

NB: The first assignment and comments on the Long March videos will be accepted up till five calendar days after the due date but will be marked down for lateness. There is no extension on the second assignment. There is no extension on the final take-home examination.

Grade Breakdown

36% FINAL EXAM

20% ASSIGNMENT #1: VISUAL ANALYSIS

25% ASSIGNMENT #2 LONG MARCH PROJECT

9% PARTICIPATION GRADE: COMMENTS ON LONG MARCH VIDEOS

10% WEEKLY QUIZZES (10 GRADED QUIZZES, 1% EACH)

Academic Life

Appropriate conduct: See the “Guidelines for Respectful Academic Engagement” document.

Mental health: We are all living, teaching, and learning in unprecedented times. University experience can be stressful under the best of conditions. Health and Wellness Support is there for you. Please do not hesitate to reach out to them, as needed. Getting the support you need is a smart and courageous thing to do -- for yourself and for those who care about you. See UNIVERSITY RESOURCES tab at bottom of eClass for a list of places (linked) where you can seek support.

Technical Assistance

If you need technical assistance at any time during the course or to report a problem with eClass you can contact your GTA or contact eclass@ualberta.ca

Important Note: This syllabus, along with course assignments and due dates, are subject to change. It is the student’s responsibility to check eClass for corrections or updates to the syllabus. Any changes will be clearly noted in a course announcement or through email.

Important dates

September 3: First day of classes
September 16: Last day to add/drop Fall Term courses 
September 27: Last day for payment of Fall Term fees 
October 3: Fall Term Refund Deadline
December 3: Last day for withdrawal from Fall Term courses 
December 9: Last day of classes

COURSE POLICIES

This course counts towards the Certificate in International Learning (CIL).

Grading

Effective September 1, 2003, the University of Alberta uses a letter grading system with a four-point scale of numerical equivalents for calculating grade point averages. To view guidelines concerning this system please seewww.grades.ualberta.ca The scale used in this course as a guideline in determining letter grades is available as a PDF under the Week 1 tab.

Academic Integrity 

It is critical for all of us who are involved in academic and intellectual endeavour to abide by standards of academic integrity. This means that students must inform themselves of what academic honesty and integrity entails, and how it is defined at the University of Alberta.Click here for the statement about plagiarism that is available at the University's Centre for Writers (and how to avoid plagiarising). The definition of plagiarism is posted in the "Code of Student Behavior" below.

University of Alberta Code of Student Behavior

Inappropriate Academic Behaviour(from section 30.3.2 of the Code of Student Behaviour)
30.3.2(1)       Plagiarism  
No Student shall submit the words, ideas, images or data of another person as the Student?s own in any academic writing, essay, thesis, project, assignment, presentation or poster in a course or program of study.
30.3.2(2)       Cheating
30.3.2(2) a  No Student shall in the course of an examination or other similar activity, obtain or attempt to obtain information from another Student or other unauthorized source, give or attempt to give information to another Student, or use, attempt to use or possess for the purposes of use any unauthorized material.
30.3.2(2) b No Student shall represent or attempt to represent him or herself as another or have or attempt to have himself or herself represented by another in the taking of an examination, preparation of a paper or other similar activity. See also misrepresentation in 30.3.6 (4).
30.3.2(2)c   No student shall represent another's substantial editorial or compositional assistance on an assignment as the Student's own work. 
30.3.2(2) d No Student shall submit in any course or program of study, without the written approval of the course Instructor, all or a substantial portion of any academic writing, essay, thesis, research report, project, assignment, presentation or poster for which credit has previously been obtained by the Student or which has been or is being submitted by the Student in another course or program of study in the University or elsewhere.
30.3.2(2) e  No Student shall submit in any course or program of study any academic writing, essay, thesis, report, project, assignment, presentation or poster containing a statement of fact known by the Student to be false or a reference to a source the Student knows to contain fabricated claims (unless acknowledged by the Student), or a fabricated reference to a source.       
30.3.2(3)  Misuse of Confidential Materials
No Student shall procure, distribute, or receive any confidential academic material such as pending examinations, laboratory results or the contents thereof from any source without prior and express consent of the Instructor.
30.3.2(4)  Research and Scholarship Misconduct
30.3.2(4) a No Student shall violate the University of Alberta Research and Scholarship Integrity Policy, as set out in the Research and Scholarship Integrity Policy in UAPPOL or any other University regulation concerning academic matters. (CLRC 24 MAY 2012)        
30.3.2(4) b Where a Student is charged with the academic offence of research and scholarship misconduct, the special requirements for communication and documentation imposed by Research and Scholarship Integrity Policy in UAPPOL shall constitute part of the procedures outlined below.(CLRC 24 MAY 2012)       

Per Section 23.4:

"The University of Alberta is committed to the highest standards of academic integrity and honesty. Students are expected to be familiar with these standards regarding academic honesty and to uphold the policies of the University in this respect. Students are particularly urged to familiarize themselves with the provisions of the Code of Student Behaviour (online at www.ualberta.ca/secretariat/appeals.htm) and avoid any behaviour which could potentially result in suspicions of cheating, plagiarism, misrepresentation of facts and/or participation in an offence. Academic dishonesty is a serious offence and can result in suspension or expulsion from the University". (GFC 29 SEP 2003)

Audio or video recording of lectures, labs, seminars or any other teaching environment by students is allowed only with the prior written consent of the instructor or as a part of an approved accommodation plan. Recorded material is to be used solely for personal study, and is not to be used or distributed for any other purpose without prior written consent from the instructor. 

Per Section 22.1.3: Reregistration in Courses

(1)

Students may not repeat any University course passed or courses for which they have received transfer credit except for reasons deemed sufficient, and verified in writing, by the Dean (or designate) of the Faculty in which they are enrolled.

(2)

Students may not reregister for credit or audit more than once in any failed University course, except for reasons deemed sufficient by the Dean (or designate) of the Faculty in which they are enrolled.

(3)

Students may not reregister for credit or audit more than once in any University course in which they have received a final grade of W, except for reasons deemed sufficient by the Dean (or designate) of the Faculty in which they are enrolled.

(4)

In cases where a student contravenes regulations 1, 2, or 3 above, the Dean (or designate) may withhold credit or indicate the course as extra to the degree, on the course registration that contravenes the regulation.

(5)

Students may not register for audit more than once in any University course in which they have received a final grade of AU (Audit) or AW (Audit Withdrawal) except for reasons deemed sufficient by the Dean (or designate) of the Faculty in which they are enrolled.

(6)

Students may repeat a Fall Term course in the Winter Term if it is offered in the Winter Term as long as the student complies with regulations 1, 2, and 3 above.

(7)

An undergraduate student who, because of unsatisfactory academic performance, is either required to withdraw, and/or required to repeat a year, and/or put on probation, will retain credit for courses in which grades of D or higher have been attained during the period for which the student’s performance was evaluated as unsatisfactory.

University of Alberta Sexual Violence Policy

The Sexual Violence Policy was approved by GFC in June 2017. It plays a vital role in ensuring a safe and respectful learning and working environment. As defined in the policy, sexual violence is any sexual act or act of a sexual nature, or act targeting sexuality, whether physical or psychological, committed without consent. Sexual violence is a complex and serious problem in society and on university campuses. Sexual violence can affect individuals of all gender identities, gender expressions, and sexual orientations, as well as those from all ages, abilities, racial, cultural and economic backgrounds. Through this policy, the University of Alberta recognizes its responsibility to reduce sexual violence in the University community. The university aims to do so by fostering a culture of consent and support through education, training and policy. The University recognizes the possible effects of trauma on those who have experienced sexual violence and supports the efforts of individuals to seek support and recover. To read the policy in more detail, please visit: University of Alberta Sexual Violence Policy

The Sexual Violence Policy was approved by GFC in June 2017. It plays a vital role in ensuring a safe and respectful learning and working environment. As defined in the policy, sexual violence is any sexual act or act of a sexual nature, or act targeting sexuality, whether physical or psychological, committed without consent. Sexual violence is a complex and serious problem in society and on university campuses. Sexual violence can affect individuals of all gender identities, gender expressions, and sexual orientations, as well as those from all ages, abilities, racial, cultural and economic backgrounds. Through this policy, the University of Alberta recognizes its responsibility to reduce sexual violence in the University community. The university aims to do so by fostering a culture of consent and support through education, training and policy. The University recognizes the possible effects of trauma on those who have experienced sexual violence and supports the efforts of individuals to seek support and recover.

The University of Alberta acknowledges that we are located on Treaty 6 territory, and respects the histories, languages, and cultures of the First Nations, Métis, Inuit, and all First Peoples of Canada, whose presence continues to enrich our vibrant community.