Peqod :: Classes - Columbia University Catalog of Classes

Being young can often mean being (or feeling) powerless, particularly within the large
institutions that structure youth’s lives. Couple this with experiences of marginalization due to
race, class, gender, or other social identities, and young people may experience profound
constraints in their choices or pathways. At the same time, youth – both individually and in
groups – often develop strategies to resist these sources of literal and figurative confinement to
seek out dignity, joy, and justice. Using sociological and ethnographic texts as our foundation,
this course will explore the way experiences of confinement and constraint show up in the lives
of young people, particularly as they move through educational institutions – and how youth
work to resist those forms of subordination.

In the first half of the semester, we will focus on policing and prisons and examine the ways
schools play a role in funneling youth into different forms of confinement. In the second half of
the semester, we will investigate college and college preparatory contexts in an effort to
understand the ways they may constrain opportunities by creating or foreclosing particular
pathways for students’ futures. Throughout the semester, we will emphasize the role of socially
constructed identity categories – race, gender, class, in particular, as well as the category of
youth itself – in these processes of confinement and constraint. We will also highlight youth and
community practices of resistance against these social and institutional forces. Along the way,
we will consider (and practice) the affordances and limitations of ethnography as a mode of
social research for studying confinement, constraint, and practices of resistance in educational
contexts.

LEARNING OBJECTIVES
Through this course, students will:

● Use a range of sociological, ethnographic, and multimodal texts to analyze youth’s
experiences of confinement, constraint, and resistance (expansively defined) and the
ways they play out in different institutional, educational, and social contexts.
● Explore the methodological approach of ethnography – its affordances, challenges, and
some of the major dilemmas in the field – and practice it by conducting a series of
scaffolded ethnographic projects.
● Write for multiple purposes, including exploratory and dialogic writing shared with peers

Department: Education @Barnard
W 10:10 a.m.-noon
Instructor: Nora M Gross
Info
4 points

Details

EDUC BC3033

The Ancient Art of Emotions

Department: Classical Studies
TR 5:40 p.m.-6:55 p.m.
Instructor: Giulia Bertoni
Info
4 points

Details

CLST UN3035

INTERMEDIATE MICROECONOMICS

INTERMEDTE MICROECONOMC T

Department: Economics @Barnard
TR 1:10 p.m.-2:25 p.m.
Instructor: Lalith Munasinghe
CULPA: 33 Info
4 points

Details

ECON BC3035

THE AESTHETIC EXPERIENCE

What is an aesthetic experience and what does it tell us about art or about ourselves? An aesthetic experience might be best initially defined as a subjective and often profound encounter with an object, artwork, or phenomenon that elicits a heightened sense of beauty, appreciation, or emotional response. It involves a deep engagement with the sensory, emotional, and intellectual aspects of the object of appreciation. Aesthetic experiences typically involve a sense of pleasure, contemplation, or emotional resonance, and they often transcend practical or utilitarian considerations. These experiences can encompass a wide range of phenomena, literature, natural landscapes, and even everyday objects when perceived with a heightened sense of awareness and appreciation. Aesthetic experiences are highly personal and can vary from person to person based on individual preferences, cultural backgrounds, and emotional responses.

For me, an aesthetic experience is both mysterious and confounding—I’m impacted physically as much as it might mentally or emotionally. In the throes of an aesthetic experience, I might feel the small hairs on my arms or on the back of my neck stand up. I might feel nearly ill from a racing heart or my stomach turning. I might feel energized by new thoughts prompted by the experience or feel my heart swell in appreciation and awe. I might also feel a deep sense of recognition—one that connects me to the art object and its maker in a way that transcends time and place. But why do I feel this? Where does this feeling come from? What is really happening?? In this class, we’ll study this question on two levels:

1. A ‘theoretical’ level. Theorists, critics, and philosophers have long tried to understand what it means to have an aesthetic experience. Plato likened this experience to madness, Kant to the sublime; Tolstoy argued the aesthetic experience was a form of communication only accessible through engagement in art. Historians place aesthetic experience within the context of time and culture. We’ll study and discuss theories that have tried to define this mysterious phenomenon.

2. A ‘practical’ level. We’ll also read the work of writers who have puzzled through this question of the aesthetic experience by writing about their connection to a work or body of work by another artist. Often this involves a search to understand the self via the work of another artist.

Books: Required books available at

Department: Writing
W 10:10 a.m.-noon
Instructor: Chloe Jones
Info
3 points

Details

WRIT UN3036