FICTION WRITING

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. 

Section 1 (taught by Weike Wang):
 
Flash Fiction Workshop. 
This course is an intensive writing workshop focused on the art of flash fiction—stories told in under 1,500 words. The workshop will emphasize experimentation, encouraging students to push the boundaries of traditional storytelling by playing with form, language, and perspective. Readings will include works originally written in English as well as those in translation, offering a broad view of global approaches to flash fiction. Discussions will cover the mechanics of storytelling on a compressed scale, including structure, character development, point of view, dialogue, and style. Authors will include Cheever, Couto, Hempel, Davis, and Wang, and through these readings, students will explore the structural possibilities of the short form, the role of voice, and the ways in which brevity can intensify narrative impact. The class will examine how compression, omission, and implication create resonance in fiction.Each student will write and workshop three original short pieces, receiving detailed feedback from peers and the instructor. The goal is to develop a keen sense of how the economy of language can create depth and complexity in fiction.

Section 2 (taught by Idra Novey):
 
Old Wolves and New Grandmothers. 
Once upon a time there was a fiction workshop and each student in the workshop conjured a new role for the animal in their grandmother’s bed. In this workshop, we’ll experiment with how the tone and iconic figures of fairy tales may provide a way into a new work of fiction, though not necessarily a way out. We’ll talk about myriad ways to subvert the expected meaning of the wolf and the wicked in our own time, and what new subtexts may be lurking in the shared stories we reconsider at different points in our lives. “You shift time and location to see what holds true, and why or why not,” novelist Helen Oyeyemi says of the allure of fairy tales as a place of departure for a new work of fiction. We’ll discuss work from writers drawn to subvert and repurpose fairy tales, including Helen Oyeyemi, Barbara Comyns, and Cristina Rivera Garza.

• Department: English @Barnard
• W 2:10 p.m.-4 p.m.
• Instructor: Weike Wang
  CULPA: 1 Info
• 3 points

ADVANCED POETRY WRITING

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. 

Muriel Rukeyser remarked that “American poetry​ has been part of a culture in conflict.” Indeed, culture worldwide is in​ conflict. This course will explore “the necessity of poetry” from a phrase by​ Adrienne Rich. It is organized to ensure the development of new work and​ further study of poetic practice for committed student writers. We will​ examine mostly contemporary poetry using specific poetry collections from​ poets as varied as John Keene, Rosa Alcalá, Megan Fernandes, Harryette​ Mullen, Ilya Kaminsky and Emily Lee Luan as well as ancestors: Rich, June​ Jordan, Gertrude Stein. In the classroom, student poems and ideas about​ poetics are shared, questioned, and critiqued. These selected readings​ explore different strands of poetics that will inform the in-class and​ assigned prompts allowing student writers to expand their interrogation of​ the genre and its many forms. You will read, listen, write, and make your​ own voice seen and heard.

• Department: English @Barnard
• T 11 a.m.-12:50 p.m.
• Instructor: Patricia S Jones
  Info
• 3 points

VOICES & VISIONS OF CHILDHOOD

Childhood, in some sense, is a universally shared area of expertise: everyone alive was once a kid. At the same time, childhood remains a profound mystery. There’s so much we don’t remember! And the experiences we do retain—did we really understand them, then or now? Even the most ordinary moments of early life can acquire extraordinary significance: they are the touchstones and talismans that we use to make sense of the world, and our place within it. But why? And how?

As we read and write about childhood in this class, we will be asking questions fundamental to the art of fiction: where does a story begin? How is a character formed? Youth, like literature, is filled with symbols. Kids, like writers, are imaginative, metaphorical thinkers, prone to both flights of fancy and glimpses of the truth. The stories of our youth often follow a predictable, prescribed narrative—we are, after all, rarely the authors of our own upbringing—and yet there are a few phases of life with as many plot twists, climactic and often traumatic events that shape who we are. In this way, our line of inquiry in this course will be at once literary and personal. We will be reading and writing about a subject that is nothing short of profound: the origins of life.

• Department: Writing
• T 10:10 a.m.-noon
• Instructor: Clare Sestanovich
  Info
• 3 points

SCREENWRITING FUNDAMENTALS

SCREENWRITING FUNDMENTALS

Prerequisites: FILM BC3201 or equivalent. Enrollment limited to 12 students. Priority is given to Film Studies majors/concentrations in order of class seniority. Corequisites: (Since this is a Film course, it does not count as a writing course for English majors with a Writing Concentration.)

This course is ideal for writers of their FIRST, SECOND AND THIRD screenplays. The first several weeks will focus on STORY: What it is, what it isn’t, how to recognize the difference. How to find your own individual stories that nobody else in the universe can tell.

From there we will make the transition to the highly individualized techniques, the strengths and limitations, the dynamics of telling a SCREEN STORY; what to leave in, what to leave out. As Michelangelo puts it—starting with a block of marble and chipping away everything that isn’t David.  Through studies of existing screenplays and films in coordination with and hands-on writing exercises which we will share in class, we will develop our skills in all aspects of screenwriting; building fascinating characters, dialogue, story construction (The BIG PICTURE) and scene construction (The Small Picture)

Perfection is not the goal; but rather it is to be able to say truly at the end of each day’s writing, “I did the best I could with what I had at the time. (Phillip Roth quoting heavyweight champion Joe Louis)

• Department: Film @Barnard
• W 12:10 p.m.-3 p.m.
• Instructor: Peter Nickowitz
  Info
• 3 points

CITY,LANDSCAPE, & ECOLOGY

City, Landscape, Ecology 
is a thematically driven course that centers on issues and polemics related to landscape, land settlement and ecology over the past two centuries. The class looks at changing attitudes to the natural world from the eighteenth century to the present, tracing important historical shifts in the consideration of nature across the ecological sciences, conservation practices, landscape design, and environmental activism, law and policy. Lectures focus on the critical role that artists and architects have played, and are to play, in making visible the sources of environmental degradation and in developing new means of mitigating anthropogenic ecological change.

City, Landscape, Ecology 
is divided into three parts. Part I explores important episodes in the history of 
landscape
: picturesque garden theory, notions of “wilderness” as epitomized in national and state parks in the United States, Modern and Postmodern garden practices, and place of landscape in the work of artists from the 1960s to the present. The purpose here is to better understand the role that territorial organization plays in the construction of social practices, human subjectivities, and technologies of power. Lectures in this part are shaped around a dialectical pair of historical episodes–– for example, the picturesque garden is paired with the enclosure of the commons, and American national parks are discussed in relation to the systematic removal of native peoples.

We then turn to 
ecology
 and related issues of climate, urbanization and sustainability in Part II. Here we will look at the rise of ecological thinking in the 1960s; approaches to the environment that were based on the systems-thinking approach of the era. In the session “Capitalism, Race and Population Growth” we examine the history of the “crisis” of scarcity from Thomas Robert Malthus, to Paul R. Ehrlich (
The Population Bomb
, 1968) to today and look at questions of environmental racism, violence and equity. 

The course concludes with Part III on 
Environmental Repair
. At this important juncture in the course, we will ask what is to be done today. We’ll examine the work of contemporary theorists, architects, landscape architects, policy makers and environmentalists who have channeled some of the lessons

• Department: Architecture @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Ralph Ghoche
  CULPA: 1 h-index: 2 Info
• 3 points

PUBLIC SPEAKING

Open only to undergraduates. 


This course will introduce you to principles of effective public speaking and debate, and provide practical opportunities to use these principles in structured speaking situations. You will craft and deliver speeches, engage in debates and panel discussions, analyze historical and contemporary speakers, and reflect on your own speeches and those of your classmates. You will explore and practice different rhetorical strategies with an emphasis on information, persuasion and argumentation. For each speaking assignment, you will go through the speech-making process, from audience analysis, purpose and organization, to considerations of style and delivery. The key criteria in this course are content, organization, and adaptation to the audience and purpose. While this is primarily a performance course, you will be expected to participate extensively as a listener and critic, as well as a speaker.

• Department: English @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Daniela Kempf
  Info
• 3 points

Figure Painting: Alternative Source Mate

This class is designed to introduce you not only to the subject of painting the human figure and its expressive potential, but also to focus on the art and craft of Painting. We will be painting the figure from secondary source material that can include photos, other artworks, clay models etc. The focus will be on figurative narration. We will be learning to see color, and use paint in response to that. Painting is a way to account for, express and communicate what you have seen with your eyes, mind or in your imagination. You will be introduced to different approaches to the craft of painting, and will by the end of the semester be more free and confident in interpreting your inner and outer vision. We will also be looking at paintings made in different times and places and discuss how and why they look the way they do. You will also be designing and carrying out your own independent project to be completed by the final critique.

• Department: Visual Arts
• R 10 a.m.-4 p.m.
• Instructor: Daphne Arthur
  Info
• 3 points

HOW TO BUILD A PERSON

Prerequisites: No prerequisites. Departmental approval NOT required. Character is something that good fiction supposedly cannot do without. But what is a character, and what constitutes a supposedly good or believable one? Should characters be like people we know, and if so, how exactly do we create written versions of people? This class will examine characters in all sorts of writing, historical and contemporary, with an eye toward understanding just how characters are created in fiction, and how they come to seem real to us. Well read stories and novels; we may also look at essays and biographical writing to analyze where the traces of personhood reside. Well also explore the way in which these same techniques of writing allow us to personify entities that lack traditional personhood, such as animals, computers, and other nonhuman characters. Does personhood precede narrative, or is it something we bestow on others by allowing them to tell their story or by telling a story of our own creation on their behalf? Weekly critical and creative exercises will intersect with and expand on the readings and discussions.

• Department: Writing
• W 2:10 p.m.-4 p.m.
• Instructor: Mina Seckin
  Info
• 3 points

RHETORICAL CHOICES: PUBLIC SPEAKING

RHETORICAL CHOICES:PBLC S

Enrollment restricted to Barnard students. Application process and instructor permission required:
https://speaking.barnard.edu/become-speaking-fellow
. Speaking involves a series of rhetorical choices regarding vocal presentation, argument construction, and physical affect that, whether made consciously or by default, project information about the identity of the speaker. In this course students will relate theory to practice: to learn principles of public speaking and speech criticism for the purpose of applying these principles as peer tutors in the Speaking Fellow Program.
Note: This course now counts as an elective for the English major.

• Department: English @Barnard
• TR 11:40 a.m.-12:55 p.m.
• 4 points

UTOPIAN LITERATURE

Oscar Wilde wrote that "a map of the world that does not include Utopia is not even worth
glancing at." Ernst Bloch argued that in order to see our own world clearly "we need the most
powerful telescope, that of polished utopian consciousness." For Wislawa Szymborska, Utopia was an island whose highlights included "The Tree of Understanding" and "the spring called Now I Get It." Latin American thinkers grappled with the concept, too, and Venezuelan novelist Arturo Uslar Pietri suggested that it was Columbus's voyages to the Americas that produced plausible space on the map for Utopia's appearance. At once political, aesthetic, and educational, Utopia began its lexical and political life in literature and has remained a feature in Transatlantic Western discourse from the age of colonial empires to our present-day debates on human rights and economic inequality.

In this course we will read and analyze the concept of Utopia from Columbus and Thomas More to the advent of modem socialism with special attention to the themes of economic inequality, gender emancipation, and the limits of cosmopolitan sensibility. We will also take care to look at essays and manifestoes as well as utopian novels, and to include Latin America, Europe, and the U.S. Readings by Tommaso Campanella, Margaret Cavendish, Madame de Stael, Friedrich Engels, Juan Bautista Alberdi, Edward Bellamy, Charlotte Perkins Gilman, and Magda Portal.

• Department: Comparative Literature and Society @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Ronald D Briggs
  CULPA: 4 Info
• 3 points

Gender and Political Theory

As a branch of political theory, feminist political theory has developed new ideals, concepts, and justifications for how social norms and political institutions should be reconstructed. This course introduces students to diverse feminist perspectives in political theory and helps them understand how these perspectives have contributed to and transformed the field. The course is structured around two broad themes:

(1) The feminist critique of (male) philosophy, which examines feminist arguments that the foundational normative arguments of modern and contemporary political theories are gendered and, therefore, have excluded the experiences and perspectives of women and other gendered subjects.

(2) Diversity among women, which explores intersectional, post-colonial, and poststructuralist views on the definition of women and women’s agency. It critically examines the meaning of women’s freedom in two ways: (a) whether we can develop a satisfactory definition of women, and (b) whether we can establish a universal definition of freedom.

By exploring these themes, the course aims to encourage students to develop their own views on how political theory should address normative and practical problems of gender

• Department: Political Science
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Yujin Choi
  Info
• 3 points

APOCALYPSES NOW

• Department: Writing
• W 4:10 p.m.-6 p.m.
• Instructor: Molly L McGhee
  Info
• 3 points

STRUCTURAL DESIGN PROJECTS

Design of steel members in accordance with AISC 360: moment redistribution in beams; plastic analysis; bearing plates; beam-columns: exact and approximate second-order analysis; design by the Effective Length method and the Direct Analysis method. Design of concrete members in accordance with ACI 318: bar anchorage and development length, bar splices, design for shear, short columns, slender columns. AISC/ASCE NSSBC design project: design of a steel bridge in accordance with National Student Steel Bridge Competition rules; computer simulation and design by using SAP2000.

• Department: Civil Engineering and Engineering Mechanics
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Tom T Panayotidi
  CULPA: 3 Info
• 3 points

ZORA NEALE HURSTON & BLACK PERFORMANCE

ZORA NEALE HURSTON & BLK

This course begins with focused attention on select plays of Zora Neale Hurston and her critical writing on performance, then takes ZNH’s aesthetics, politics, and provocations as a lens to study Black performance, broadly defined.  We will consider the contexts in which Hurston pursued a career as playwright and theatremaker, and the influences that found their way into her plays including spiritual narratives and voodoo.  We will turn our attention to key writers of the Harlem Renaissance to learn where ZNH first made her mark, and the milieu to which she ultimately turned her back.  Each week’s reading/viewing will include primary sources (ZNH’s plays and dramaturgical statements) as well as scholarly criticism of those works or genre.  The final weeks of the course will take up Black performance in the realms of dance and song from the early 20th century, and finish with more recent plays and visual art.  In addition to short weekly response papers, students will complete a long-form research paper that may, if they choose, include a creative element.

• Department: Theatre @Barnard
• R 2:10 p.m.-4 p.m.
• Instructor: Alice A Reagan
  CULPA: 1 Wikipedia Info
• 4 points

History of Western Music: Middle Ages to

HIST-WEST MUS: MID AGE-BA

Topics in western music from Antiquity through Bach and Handel, focusing on the development of musical style and thought, and analysis of selected works. Pre-req: Music Theory II or permission of instructor.

• Department: Music
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Russell J O'Rourke
  Info
• 3 points

PROJECT MGMT FOR CONSTRUCTION

Introduction to Project Management for design and construction processes. Elements of planning, estimating, scheduling, bidding, and contractual relationships. Computer scheduling and cost control. Critical path method. Design and construction activities. Field supervision.

• Department: Civil Engineering and Engineering Mechanics
• W 1:10 p.m.-3:40 p.m.
• Instructor: Julius Chang
  Info
• 3 points

THE AMERICAN COWBOY AND THE ICONOGRAPHY

AMER COWBOY/ICONOG OF WES

This entertaining and edifying lecture-not-unmixed-with conversation course will
consider the icon of the American cowboy, with its signature embrace of
masculinity, stoicism, elegiac music, and identification with nature. We will read
Cormac McCarthy’s dazzling Border Trilogy and other works that emerge from
this icon, watch a curated series of cowboy movies, and write critical essays.

• Department: English @Barnard
• M 2:10 p.m.-4 p.m.
• Instructor: Victor Zarour Zarzar
  Info
• 4 points

THIRD-YEAR CONVERSATION FR I

Prerequisites: completion of the language requirement in French or the equivalent. Conversation on contemporary French subjects based on readings in current popular French periodicals.

• Department: French
• TR 11:40 a.m.-12:55 p.m.
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Laurence Marie
  CULPA: 3 Info
• 2 points

THE ECSTASY OF INFLUENCE

Ecstasy of Influence

What does it mean to be original? How do we differentiate plagiarism from pastiche, appropriation from homage? And how do we build on pre-existing traditions while simultaneously creating work that reflects our own unique experiences of the world?

In a 2007 essay for
Harper
’
s
magazine, Jonathan Lethem countered critic Harold Bloom’s theory of “the anxiety of influence” by proposing, instead, an “ecstasy of influence”; Lethem suggested that writers embrace rather than reject the unavoidable imprints of their literary forbearers. Beginning with Lethem’s essay—which, itself, is composed entirely of borrowed (or “sampled”) text—this class will consider the nature of literary influence, and its role in the development of voice.

Each week, students will read from pairings of older stories and novel excerpts with contemporary work that falls within the same artistic lineage. In doing so, we’ll track the movement of stylistic, structural, and thematic approaches to fiction across time, and think about the different ways that stories and novels can converse with one another. We will also consider the influence of other artistic mediums—music, visual art, film and television—on various texts. Students will then write their own original short pieces modeled after the readings. Just as musicians cover songs, we will “cover” texts,  adding our own interpretive imprints.

• Department: Writing
• T 12:10 p.m.-2 p.m.
• Instructor: Adam Z Wilson
  Info
• 3 points

UNHEARD VOICES: AFRICAN WOMEN

UNHEARD VOICES-AFRCN WM'S LIT

How does one talk of women in Africa without thinking of Africa as a mythic unity? We will consider the political, racial, social and other contexts in which African women write and are written about in the context of their located lives in Africa and in the African Diaspora.

• Department: Africana Studies (AFSB)
• T 2:10 p.m.-4 p.m.
• Instructor: Yvette Christianse
  Wikipedia Info
• 4 points

DATA STRUCTURES IN JAVA

Data types and structures: arrays, stacks, singly and doubly linked lists, queues, trees, sets, and graphs. Programming techniques for processing such structures: sorting and searching, hashing, garbage collection. Storage management. Rudiments of the analysis of algorithms. Taught in Java. Note: Due to significant overlap, students may receive credit for only one of the following three courses: COMS W3134, COMS W3136, COMS W3137.

• Department: Computer Science
• MW 4:10 p.m.-5:25 p.m.
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Brian Borowski
  Info
• 3 points

CREATIVE NON-FICTION

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.

In this section of creative nonfiction, we will explore the essay. We will consider the essay in the original and most open-ended sense of the term—coming from French, essai, meaning “attempt." This type of essay is also known as a personal essay.  

The personal essay is a paradoxical form. It makes rules and then breaks them. It announces itself and then slips out the backdoor. It is a mischief-maker and the successful essayist remembers that, remembers to stay playful.  And that's what our workshop will be about. As we attempt to write and share our stories, let’s ask one another: “what’s the fun of this story?” Let’s urge each other to see how can that fun remain, adhere, and grow through the drafting process.
 
Most of all, let's use the essay to explore our relationship to writing overall. Phillip Lopate writes that the essay “sets up a relationship with the reader, a dialogue—a friendship.” Seeing the sentence as a set of relationships, one tied to our human relations, we will write and revise with the hope of fostering an enduring relationship with the page.

Writers should expect to workshop at least twice, working toward a final portfolio of 15-20 double-spaced pages. We will read as we write including essays by James Baldwin, Jo Ann Beard, Margo Jefferson, Maxine Hong Kingston, and Phillip Lopate.

• Department: English @Barnard
• W 12:10 p.m.-2 p.m.
• Instructor: Liana Finck
  CULPA: 3 Info
• 3 points

ESSENTIAL DATA STRUCTURES

A second programming course intended for nonmajors with at least one semester of introductory programming experience. Basic elements of programming in C and C++, arraybased data structures, heaps, linked lists, C programming in UNIX environment, object-oriented programming in C++, trees, graphs, generic programming, hash tables. Due to significant overlap, students may only receive credit for either COMS W3134, W3136, or W3137.

• Department: Computer Science
• TR 5:40 p.m.-6:55 p.m.
• Instructor: Timothy K Paine
  CULPA: 4 Info
• 4 points

BALLET V

This course is for the intermediate advanced dancer. Material presented will focus on healthy anatomical alignment in barre work, extended combinations in the center, fostering personal artistic expression, and integrating improvisation in combinations with the ballet vocabulary. Clarification, analysis and repetition are fundamental elements for a sound technique of any dancer and are the foundation of this course. Center work will include attention to shaping adagio work, multiple turns in the large poses, batterie, and extended grand allegro. You may be assigned the construction and presentation of exercises, which will be explained in detail further into the semester.

• Department: Dance @Barnard
• MW 4:10 p.m.-5:25 p.m.
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Cynthia Anderson
  Info
• Instructor: Nicole D Robertson
  Info
• 2 points

INTRODUCTION VOCAL REPERTOIRE

This course is designed for developing singers. Group vocalizing, learning of songs and individual workshop performances are aimed at improving the students technical skill and the elements necessary to create a meaningful musical and dramatic experience. Attention to text, subtext, emotional and psychological aspects of a piece and the performers relationship to the audience are included in the work. Repertoire is predominantly in English and comes from both classical and popular traditions Individual coaching sessions are available with the class accompanist and help strengthen the students confidence and skill. The class culminates with an in-class performance.

• Department: Music @Barnard
• TR 1:10 p.m.-2:55 p.m.
• Instructor: Jean-Paul Bjorlin
  Info
• 3 points

BALLET VI

This course is for the intermediate advanced dancer. Material presented will focus on healthy anatomical alignment in barre work, extended combinations in the center, fostering personal artistic expression, and integrating improvisation in combinations with the ballet vocabulary. Clarification, analysis and repetition are fundamental elements for a sound technique of any dancer and are the foundation of this course. Center work will include attention to shaping adagio work, multiple turns in the large poses, batterie, and extended grand allegro. You may be assigned the construction and presentation of exercises, which will be explained in detail further into the semester. You will be assigned a grading exercise at the end of the shopping period and will get written observations from me

• Department: Dance @Barnard
• TR 8:40 a.m.-9:55 a.m.
• F 9 a.m.-10:50 a.m.
• Instructor: Antonio Carmena
  Info
• Instructor: Ashley Tuttle
  CULPA: 1 Info
• 2 points

VOCAL REPERTOIRE, TECHNIQUE

VOCAL REPERTOIRE TECHNIQUE

Vocal exercises and exploration of wide-ranging repertoires, styles, and languages of the Western European song tradition. The rich variety of English, French, Italian and German poetry and music from the Baroque period through the Twentieth Century allows the student to experience both the music and the cultural environment of each of these styles. Attention is given both to meaning oftext and musical interpretation. Individual coaching sessions are available with the class accompanist and help strengthen the students confidence and skill. The class culminates with an in-class performance.

• Department: Music @Barnard
• F 10 a.m.-1 p.m.
• Instructor: Coralie Gallet
  Info
• 3 points

PERFORMING WOMEN

Prerequisites: Enrollment limited to 16 students. This course examines the category of "woman" as it is mobilized in performance, considering both a variety of contemporary performances chosen from a wide range of genres and a diversity of critical/theoretical perspectives. Course fulfills lecture/seminar "studies" requirement for Theatre/Drama and Theatre Arts major.

• Department: Theatre @Barnard
• W 12:10 p.m.-2 p.m.
• Instructor: Shayoni Mitra
  CULPA: 5 Info
• 4 points

SOIL MECHANICS

Index properties and classification; compaction; permeability and seepage; effective stress and stress distribution; shear strength of soil; consolidation; slope stability.

• Department: Civil Engineering and Engineering Mechanics
• T 10 a.m.-1 p.m.
• Instructor: Hoe I Ling
  h-index: 45 Info
• 4 points

CLASSIC VARIATIONS

Variations
 class is a course for the intermediate to advanced dancer.  As in all other ballet classes, there will be a focus on correct physical alignment, proper technique and musicality.  The added challenges in this course will be the pointe shoe technique, creative choreographic choices, and musical phrasing. The class will include variations based on works ranging from Petipa to Balanchine to today’s choreographers.  Dancers will explore personalizing already known works, pushing the boundaries of the pointe shoe, examining how choreography has evolved and developing the stamina required to execute a full variation. Learning material rapidly while paying attention to the stylistic demands of each choreographer’s works and being able to shift from one stylistic choice to another is simply expected.

• Department: Dance @Barnard
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Ashley Tuttle
  CULPA: 1 Info
• 2 points

SCIENCE IN THE CITY FIELDWORK LAB

SCIENCE IN CITY FIELDWORK

• Department: Education @Barnard
• W 2:10 p.m.-6 p.m.
• R 2:10 p.m.-6 p.m.
• M 2:10 p.m.-6 p.m.
• Instructor: Althea B Hoard
  Info
• 0 points

CRITICAL HISTORIES OF DRAMA, THEATRE, AN

CRIT HIST DRAMA, THTR & P

This course undertakes a

dialectical approach to reading and thinking about the history of dramatic theatre, interrogating the ways writing inflects, and is inflected by, the material dynamics of performance. Course undertakes careful study of the practices of performance, and of the sociocultural, economic, political, and aesthetic conditions animating representative performance in “classical” theatres globally; course will also emphasize development of important critical concepts for the analysis of drama, theatre, and performance. Topics include the sociology of theatre, the impact of print on conceptions of performance, representing gender and race, the politics of intercultural performance, and the dynamics of court performance. Writing: 2-3 papers; Reading: 1-2 plays, critical and historical reading per week; final examination. Fulfills one (of two) lecture requirements for Theatre/Drama and Theatre Arts majors.

• Department: Theatre @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: William B Worthen
  CULPA: 10 Info
• 4 points

Queer/Trans Holocaust History

The Holocaust is one of the most researched horrors of the Modern past. Yet, the study of queer and trans Holocaust histories is relatively new. This upper-level course covers the key analytics that the Holocaust has generated within the historical discipline, but from the position of queer and trans scholarship. It attends to the varying and uneven experiences of queer and trans people under Nazism, but equally fronts new methods and conclusions about the Holocaust, state and individual violence, social hygiene practices, the role of sex within society, identity formations, and the relationship of the present to the past.

• Department: Women's and Gender Studies
• M 12:10 p.m.-2 p.m.
• Instructor: Zavier Nunn
  Info
• 4 points

THEATRE TRAD GLOBAL CONTEXT

Prerequisites: Enrollment limited to 50 students.

Provides a broad introduction to several traditions of nonwestern drama and theatrical practice, often placing recent and contemporary writing in relation to established conventions.  Taking up plays and performance traditions from Asia, South Asia, and various African traditions, it may also consider the relation between elite and popular culture (adaptations of Shakespeare, for example), and between drama, theatre, and film. Course fulfills lecture/seminar "studies" requirement for Theatre/Drama and Theatre Arts major.

• Department: Theatre @Barnard
• TR 12:10 p.m.-1:25 p.m.
• Instructor: Shayoni Mitra
  CULPA: 5 Info
• 3 points

ARTS&HUMANITIES IN CITY FIELDWORK LAB

ARTS&HUMANITIES IN CITY L

• Department: Education @Barnard
• M 2:10 p.m.-6 p.m.
• W 2:10 p.m.-6 p.m.
• Instructor: Drew Chambers
  Info
• 0 points

THE CANTERBURY TALES

Chaucer as inheritor of late-antique and medieval conventions and founder of early modern literature and the fiction of character.  Selections from related medieval texts.

• Department: English @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Christopher C Baswell
  CULPA: 8 Info
• 3 points

DESIGN PROJECT

E3156: a design problem in materials science or metallurgical engineering selected jointly by the student and a professor in the department. The project requires research by the student, directed reading, and regular conferences with the professor in charge. E3157: completion of the research, directed reading, and conferences, culminating in a written report and an oral presentation to the department.

• Department: Applied Physics and Applied Mathematics
• Instructor: Simon Billinge
  CULPA: 3 h-index: 75 Info
• 3 points

POLITICAL PSYCHOLOGY

Prerequisites: PSYC BC1001 BC1001, at least one psychology lab, and permission of the instructor. This seminar will explore what psychology can tell us about politics. The focus will be on citizens as active consumers of political information. Topics include ideology and partisanship, attitude formation and change, motivated reasoning, metacognition, persuasion, rationality, intergroup processes, conflict, distrust and conspiracism.

• Department: Psychology @Barnard
• R 10:10 a.m.-noon
• Instructor: Robert Brotherton
  CULPA: 1 Info
• 4 points

MODERN ASIAN PERFORMANCE

This course studies contemporary Asian performance with a focus on modernity, covering most nations on the Asian continent. We will examine a variety of performance, ranging from dance to revolutionary theatre, from postdramatic staging to translated as well as made-in-Asia musicals. Theoretical questions under discussion include modernity, national/ethnic/gender identity, art and ideology, the Sinophone, global Asias, among others.  Fulfills lecture/seminar requirement in Theatre/Drama and Theatre Arts major and minor programs.

• Department: Theatre @Barnard
• W 2:10 p.m.-4 p.m.
• Instructor: Yizhou Huang
  Info
• 4 points

ADVANCED PROGRAMMING

C programming language and Unix systems programming. Also covers Git, Make, TCP/IP networking basics, C++ fundamentals.

• Department: Computer Science
• TR 4:10 p.m.-5:25 p.m.
• F 12:10 p.m.-2 p.m.
• Instructor: Jae W Lee
  CULPA: 42 Info
• 4 points

Parallel Optimization for Robotics

Parallel Optimization Rob

Many stages of state-of-the-art robotics pipelines rely on the solutions of underlying optimization algorithms. Unfortunately, many of these approaches rely on simplifications and conservative approximations in order to reduce their computational complexity and support online operation. At the same time, parallelism has been used to significantly increase the throughput of computationally expensive algorithms across the field of computer science. And, with the widespread adoption of parallel computing platforms such as GPUs, it is natural to consider whether these architectures can benefit robotics researchers interested in solving computationally constrained problems online. This course will provide students with an introduction to both parallel programming on CPUs and GPUs as well as optimization algorithms for robotics applications. It will then dive into the intersection of those fields through case studies of recent state-of-the-art research and culminate in a team-based final project.

• Department: Computer Science @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Brian K Plancher
  Info
• 3 points

THE ENGLISH COLLOQUIUM

Prerequisites: Enrollment limited to Barnard English majors. In the Renaissance colloquium we will examine English and European imaginative and intellectual life from the sixteenth to mid-seventeenth centuries. Defined by humanism, the Protestant Reformation, and revolution, this was a period of ideological struggle on many levels. Long-held ways of ordering the world came under increasing strain-and sometimes ruptured irreparably. Writers discussed and debated the aims of human knowledge, retooled old literary forms for new purposes, scrambled to take account of an expanded awareness of the globe, and probed the tension between belief and doubt. Throughout this process, they experimented with new literary styles to express their rapidly changing worldviews. This is an intensive course in which we will take multiple approaches to a variety of authors that may include Petrarch, Erasmus, Machiavelli, Castiglione, More, Rabelais, Luther, Calvin, Montaigne, Spenser, Bacon, Marlowe, Shakespeare, Milton, and Behn, among others.

• Department: English @Barnard
• R 9 a.m.-10:50 a.m.
• W 2:10 p.m.-4 p.m.
• R 4:10 p.m.-6 p.m.
• T 4:10 p.m.-6 p.m.
• Instructor: Ross T Hamilton
  CULPA: 25 Info
• Instructor: Rachel Eisendrath
  CULPA: 6 Info
• Instructor: Atefeh Akbari Shahmirzadi
  Info
• Instructor: Eugene A Petracca
  Info
• 4 points

Fanon s Psychology of the Oppressed

Frantz Fanon’s ideas have been influential for decades among theorists, practitioners, and activists alike.  This seminar is focused on understanding Fanon’s particular perspective on the psychology of the oppressed and its relevance for examining the experience of past and present racialized inequality and its effects in society. The course is divided into four sections, which build cumulatively.

I). An introductory section introduces Fanon’s central ideas (e.g., dialecticism, existentialism, post-colonialism) in their intellectual and socio-historical context (e.g., the Algerian revolution, African decolonization, South African Apartheid, the US civil rights and women’s rights movements).

II). A second section locates Fanon in psychological theory and therapeutic theory and practice.  The cultural and political (Eurocentric?) roots of psychological theory and practice are examined as are notions of oppression causing psychological and physical violence as well as psychopathology / psychological disorder.

III). A third section examines Fanon and others psychological approaches to identity with particular attention to the presumed “inferiority complex” of oppressed peoples, nationalist and other reconstructions of identity in opposition to oppression, sociological psychological conceptualizations of stigma, and Dubois’s influential ideas regarding double consciousness.

IV). A fourth and final section focuses on resistance and rebellion.  The focus here is on the psycho-moral implications of (violent, peaceful, non-disruptive) action against oppression with reference to the distinct perspectives of Fanon in comparison to influential figures like Gandhi and M.L.K Jr.  These issues are linked to a post-Fanon approach to the psychology of the oppressed called Liberation Psychology.

• Department: Africana Studies (AFSB)
• W 2:10 p.m.-4 p.m.
• Instructor: Ghina Abi-Ghannam
  Info
• 4 points

THE BODY AND SOCIETY

As an introduction to the field of medical anthropology, this seminar addresses themes of health, affliction, and healing across sociocultural domains.  Concerns include critiques of biomedical, epidemiological and other models of disease and suffering; the entwinement of religion and healing; technocratic interventions in healthcare; and the sociomoral underpinnings of human life, death, and survival.  A 1000 level course in Anthropology is recommended as a prerequisite, although not required.  Enrollment limited to 30. 4 units

• Department: Anthropology @Barnard
• F 11 a.m.-12:50 p.m.
• Instructor: Gina A Jae
  CULPA: 1 Info
• 4 points

FLUID MECHANICS

Fluid statics. Fundamental principles and concepts of flow analysis. Differential and finite control volume approach to flow analysis. Dimensional analysis. Application of flow analysis: flow in pipes, external flow, flow in open channels.

• Department: Civil Engineering and Engineering Mechanics
• R 1:10 p.m.-3:40 p.m.
• Instructor: Marco Giometto
  h-index: 9 Info
• 4 points

DONNE, THE METAPHYSICALS, AND HIS LEGACY

JOHN DONNE & THE METAPHYS

John Donne is the most famous “Metaphysical Poet” of the 17th century.  The term “metaphysical” to refer to his poetry was first used by Samuel Johnson in the 18th century. It was popularized in the 20th century by T. S. Eliot, who lamented what he called a “dissociation of sensibility” that set in during the 17th century, whereas (Eliot said) “a thought to Donne was an experience,” as if mind was not simply a separate thing from embodied experience. Donne’s poetry has long been admired, indeed loved, embraced by later readers, writers, and artists—not just in England and America but in different parts of the world. He has left a rich legacy, and what Judith Scherer Herz calls his “voiceprint” on diverse later writers. In my experience, students always want to spend more time on Donne. In this course, we will do that, reading his poetry with attention but also his prose
Devotions Upon Emergent Occasions
, written in 1623 during the plague when he came close to dying. The
Devotions
found a new life during the AIDs crisis, and then again during our Covid pandemic. The line from the
Devotions
that begins “No man is an island” has been part of our culture for a century, though many have no idea where it comes from. In this course, we will engage in “attentive,” patient reading of his texts, entering in them, trying to figuring them out, much as Donne sought to figure out lived experience in richly metaphorical writing.

Though Donne is at the center of the course, we will also read a selection of poems by other 17th-century Metaphysical poets—George Herbert, Henry Vaughan, Katherine Philips, Andrew Marvell—and Sir Thomas Browne’s prose
Hydriotaphia: Or Urn Burial
, occasioned by the excavation of ancient burial urns discovered in Norwich. Browne tries to figure out the identity of these urns, then moves to a fascinating survey of the burial practices of different cultures over a long period of time, and then concludes with a profound meditation on memory, legacy, and our desire for immortality, perpetuating our earthly connections. Donne left an impression on so many writers such as Yeats, Dylan Thomas, and Seamus Heaney; Emily Dickinson, Elizabeth Bishop, and Adrienne Rich; Djuna Barnes (her novel
Nightwood
, a lesbian classic), Robert Lowell and Anthony Hecht, the Bengali Rabinadrath Tagore; Joseph Brodsky, Yehudah Amichai and Leonard Cohen; Linda

• Department: English @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Achsah Guibbory
  CULPA: 17 Info
• 3 points

SHAKESPEARE I

A critical and historical introduction to Shakespeares comedies, histories, tragedies, and romances. Please note that you do not need to take ENGL BC3163: Shakespeare I and ENGL BC3164: Shakespeare II in sequence; you may take them in any order.

• Department: English @Barnard
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Rachel Eisendrath
  CULPA: 6 Info
• 3 points

Trees of Knowledge: Ecocriticism and Wor

ECOCRITICISM & WORLD LIT

This survey of modern and contemporary world literature deals explicitly with environmental issues as a main theme. The course is supposed to serve as an introduction to the new field of “ecocriticism” in the Humanities and to a wide range of literary responses to current ecological concerns and transformations of natural habitat. All texts are available in English, though students will have the opportunity to read them in the original if they desire to do so.

• Department: Comparative Literature and Society @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Erk Grimm
  CULPA: 10 Info
• 3 points

City & Country in the Comparative 19th-c

CITY&COUNTRY IN 19TH C. N

This seminar explores the relationship of the nineteenth-century realist novel to urban experience and rural identity. If most novels are, in Raymond Williams’s phrase, “knowable communities,” how do fictions of the city and imaginings of the country represent individual identity as it is shaped by physical, built environments? In this light, we will consider questions of youth and experience, time and space, work and leisure, men and women, landscape and portraiture, privacy and public life, national culture and cosmopolitanism, local custom and globalism. In class, we will juxtapose close readings of novels with analyses of other cultural forms (translations, paintings, operas, popular entertainment, maps) so that we come away with a broader sense of nineteenth-century pan-media culture and its international afterlives as well as a working knowledge of one of its most meaningful manifestations: the novel. French novelists Honoré de Balzac and Gustave Flaubert, English novelists Charles Dickens and George Eliot, the Russian novelist Leo Tolstoy and the Chinese novelist Lao She (Shu Qingchun, 舒慶春) will provide case studies. Such long novels benefit from nuanced and intensive seminar discussion in which all voices are critical.

• Department: Comparative Literature and Society @Barnard
• W 2:10 p.m.-4 p.m.
• Instructor: Monica F Cohen
  CULPA: 8 Info
• 4 points

THE SOCIAL SELF

Review of the classic and contemporary empirical research pertaining to the self, with an emphasis on the self as a socially-based construct. Focus on the social basis of identity, self-concept, and self-regulation.

• Department: Psychology @Barnard
• R 12:10 p.m.-2 p.m.
• Instructor: Isabelle Portelinha
  Info
• 4 points

MILTON

How and why might we read Milton now? And how do his writings and thinking intersect with issues in our present moment? We will read his influential epic
Paradise Lost
after reading selections of Milton's earlier poetry and prose (attack against censorship, defenses of divorce, individual conscience, toleration, complicated issues of political and religious liberty). He wrote about these matters as he was involved in the English Civil war, an advocate of liberty (we will consider what kind, for whom?) and revolution, which Americans would embrace as inspiration and to justify the American Revolution. We will critically read Milton’s literary and political texts within the contexts of religious, political, and cultural history of early modern England and Europe but also colonial and revolutionary America—asking difficult questions, and with a sense of how Milton’s writing connects to present issues of our time.

• Department: English @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Achsah Guibbory
  CULPA: 17 Info
• 3 points

VICTORIAN AGE IN LITERATURE

“We have become a novel-reading people,” wrote Anthony Trollope in 1870. “Novels are in the hands of us all; from the Prime Minister down to the last-appointed scullery maid.” This course will consider why the novel was so important to Victorian culture and society. What made the Victorian novel such a fertile form for grappling with the unprecedented cultural changes of the nineteenth century? To address this question, we will explore how Victorian novels both responded to, and participated in, major social and cultural shifts of the period, including industrialism and urbanization; colonialism and empire; the changing status of women, sexuality, and marriage; the emergence of Darwinism; class conflict and social reform; and the expansion of education and literacy. This course will also consider more broadly what novels are for, and what the Victorians thought they were for. Do novels represent the world as it really is, or do they imagine it as it ought to be? What kinds of solutions to social and political problems can novels offer? Can novels ethically improve (or corrupt) their readers? We will consider these issues in the context of realism, Victorian literature’s trademark genre, but we’ll also explore an array of other genres, such as the industrial novel, the Bildungsroman, the sensation novel, detective fiction, and gothic fiction. Authors include Jane Austen, Charles Dickens, Charlotte Brontë, George Eliot, Wilkie Collins, and others.

• Department: English @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Jayne Hildebrand
  CULPA: 3 Info
• 3 points

AMERICAN LITERATURE TO 1800

This course surveys American literature written before 1800. While we will devote some attention to the literary traditions that preceded British colonization, most of our readings will be of texts written in English between 1620 and 1800. These texts--histories, autobiographies, poems, plays, and novels--illuminate the complexity of this period of American culture. They tell stories of pilgrimage, colonization, and genocide; private piety and public life; manuscript and print publication; the growth of national identity (political, cultural, and literary); Puritanism, Quakerism, and Deism; race and gender; slavery and the beginnings of a movement towards its abolition. We will consider, as we read, the ways that these stories overlap and interconnect, and the ways that they shape texts of different periods and genres.

• Department: English @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Lisa Gordis
  CULPA: 15 Info
• 3 points

AMERICAN LITERATURE SINCE 1945

In the wake of World War II, the so-called American Century rises out of the ashes of fascism, haunted by the specter of bombs blurring the boundary between victory and defeat. An ideological civil war ensues, punctuated by literary resistance to grand narratives and their discontents. Authors include Ellison, O’Connor, Ginsberg, Bishop, Pynchon, Robinson, Merrill, Morrison, Didion, and Wallace.

• Department: English @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Maura L Spiegel
  CULPA: 40 Info
• 3 points

THE MODERN NOVEL

This course will pay close attention to the novel form through the transition from nineteenth-century realism to modernist innovations in narrative voice and perspective, representation of consciousness, etc. Important social and historical contexts include World War I, urbanization, sexuality and the family, empire and colonialism. Authors may include Gustave Flaubert, Henry James, E. M. Forster, Ford Madox Ford, Joseph Conrad, Virginia Woolf, James Joyce..

• Department: English @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Mary E Cregan
  CULPA: 12 Info
• 3 points

INT'L HUMAN RIGHTS LAW

This course will introduce students to the international law of human rights, and give a basic orientation to fundamental issues and controversies. The course has two principal focal points: first, the nuts and bolts of how international law functions in the field of human rights, and second, the value and limitations of legal approaches to a variety of human rights issues. Throughout the course, both theoretical and practical questions will be addressed, including who bears legal duties and who can assert legal claims, how these duties might be enforced, and accountability and remedy for violations. Attention will be given to how international law is made, what sorts of assumptions underlie various legal mechanisms, and how the law works in a variety of contexts.

• Department: Institute for Study of Human Rights
• T 6:10 p.m.-8 p.m.
• Instructor: Belinda Cooper
  CULPA: 1 Info
• 3 points

CRITICAL WRITING

Open to all students.This course teaches clear writing and provides exposure to a range of interpretative strategies.  Frequent short papers. Required of all English majors before the end of the junior year. Sophomores are encouraged to take it in the spring semester even before officially declaring their major. Transfer students should plan to take it in the fall semester.

• Department: English @Barnard
• TR 11:40 a.m.-12:55 p.m.
• TR 2:40 p.m.-3:55 p.m.
• MW 5:40 p.m.-6:55 p.m.
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Kristi-Lynn Cassaro
  Info
• Instructor: Monica F Cohen
  CULPA: 8 Info
• Instructor: Eugene A Petracca
  Info
• Instructor: Jayne Hildebrand
  CULPA: 3 Info
• 4 points

MODERNISM

A deeply ambivalent, transatlantic movement, Modernism grapples with revolutionary forces that defy traditional structures: the 19th-century Darwinian inversion to the old idea of order, the advent of psychoanalysis, the crisis of world war, and the anxiety and exuberance of shifting gender paradigms. The ensuing cultural upheaval dis-orders not only the content but also the literary forms of Modernism, giving rise to abstraction, fragmented narrative structures, stream-of-consciousness prose and the extreme erudition T.S. Eliot “shored against the ruins” of so-called civilization in “The Waste Land.”  Special attention will be devoted to how seminal manifestos, most notably "Tradition and the Individual Talent" and 
A Room of One's Own,
 frame the movement's embattled aesthetics.  Works by Djuna Barnes, T.S. Eliot, William Faulkner,  Ernest Hemingway, James Joyce, D.H. Lawrence, Muriel Rukeyser, Jean Toomer, Gertrude Stein, Wallace Stevens, William Carlos Williams, Virginia Woolf, and W.B. Yeats.

• Department: English @Barnard
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Kristi-Lynn Cassaro
  Info
• 3 points

Queer and Trans Histories of Europe sinc

Queer & Trans Histories

This seminar challenges students to consider “queer” and “trans” as categories of both experience and analysis in the historical record. We will first take on the theoretical framing of terms such as “queer” and “trans” and question their meaning and usefulness in a historical context. We will consider how we, as historians, can access the past so often rendered invisible in the archives. The course will also seek to understand dominant narratives of gender and sexuality in various periods and contexts in Europe, and then explore what it looked like when individuals and communities acted in ways that did not align with contemporary expectations.

• Department: History @Barnard
• M 2:10 p.m.-4 p.m.
• Instructor: Dale Booth
  Info
• 4 points

THEORY

An exploration of alternative theoretical approaches to the study of religion as well as other areas of humanistic inquiry. The methods considered include: sociology, anthropology, philosophy, hermeneutics, psychoanalysis, structuralism, genealogy, and deconstruction. (Previous title: Juniors Colloquium)

• Department: Religion
• R 12:10 p.m.-2 p.m.
• Instructor: Courtney Bender
  CULPA: 10 Info
• 4 points

Feminist Ethnography

This course offers an overview of classic and contemporary examples of feminist ethnography. Over

the course of the semester, we will trace the development of, and debates around, feminist

ethnography from the 1970s to the contemporary period, highlighting the key questions and

dominant paradigms of the field. We will examine how feminist approaches shape the questions we

ask, how we present our research and the ethics of research. We will explore how to incorporate

collaborative and activist methods and analysis in our scholarly projects, asking: How can feminist

ethnography intensify efforts towards social justice in the current political and economic climate?

How do feminist ethnographers link their findings to broader publics through activism, advocacy, and

public policy?

• Department: American Studies @Barnard
• T 2:10 p.m.-4 p.m.
• Instructor: Lisa Jahn
  Info
• 4 points

MECHANICS:FUND & APPLICATIONS

Basic non-Euclidean coordinate systems, Newtonian Mechanics, oscillations, Greens functions, Newtonian graviation, Lagrangian mechanics, central force motion, two-body collisions, noninertial reference frames, rigid body dynamics. Applications, including GPS and feedback control systems, are emphasized throughout.

• Department: Applied Physics and Applied Mathematics
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Elizabeth Paul
  Info
• 3 points

TRANSPORT/CHEM RATE PHENOMENA

Fluid statics. Basics of flow analysis. Dimensional analysis. Pipe flow. Fluid dynamics, heat and mass transfer. Effects of velocity, temperature, and concentration gradients 130 ENGINEERING 2021–2022 and material properties on fluid flow, heat and mass transfer. Applications to environmental engineering problems.

• Department: Earth and Environmental Engineering
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Yin Yip Ngai
  h-index: 26 Info
• 3 points

FILM PRODUCTION

Prerequisites: FILM BC3201 or equivalent. Sophomore standing. Priority is given to Film Studies majors/concentrations in order of class seniority. If you are accepted into this course, attending the first day of class is mandatory. If you do not show up, you may be dropped.

This workshop introduces the student to all the cinematic tools necessary to produce their own short narrative work.  Using what the student has learned in film studies, we'll break down shot syntax, mise-en-scene and editing strategies. We'll include scheduling, budgeting, casting, working with actors and expressive camera work in our process as we build toward a final video project.

• Department: Film @Barnard
• T 4:10 p.m.-7 p.m.
• R 4:10 p.m.-7 p.m.
• Instructor: Julia L Thompson
  Info
• Instructor: Daniel F Pfeffer
  Info
• 3 points

INTRODUCTION TO PUBLIC HEALTH

An introduction to and overview of public health. Through a series of sessions with leading public health experts, this course views the multifaceted nature of public health through a prismic lens addressing key concepts, approaches, and issues of historical and contemporary import: What is public health and how has public health evolved over time? What are the core methods of public health? What are the approaches to understanding and addressing both infectious and chronic, non-communicable diseases? What role do micro- and macro-level determinants (i.e. biology and social context) play in public health? What are the global trends in population health? How does the individual life course bear on population health? How do systems, policy, and population health mutually shape each other? How are public health programs designed and evaluated? What are the limits of public health?

• Department: Columbia College
• MW 4:10 p.m.-5:25 p.m.
• 3 points

DIRECTING I

Prerequisites: Permission of instructor given at first class meeting. Exploration of the evolution of the director's role in Europe and the US, including the study of important figures. Emphasis on text analysis, and varied schools of acting in relation to directing practice. Students gain a foundation in composing stage pictures and using stage movement to tell a story. All students will direct at least one fully-realized scene.

• Department: Theatre @Barnard
• TR 10:10 a.m.-noon
• Instructor: Jessi Hill
  Info
• 3 points

ADVANCED ARCHITECTURAL DESIGN I

ADV ARCHITECTURAL DESIGN

Prerequisites: ARCH UN2101 and ARCH UN2103. Advanced Architectural Design I explores the role of architecture and design in relationship to climate, community, and the environment through a series of design projects requiring drawings and models. Field trips, lectures, and discussions are organized in relation to studio exercises. A portfolio of design work from the prerequisite courses ARCH UN2101 and ARCH UN2103 will be reviewed the first week of classes.

• Department: Architecture @Barnard
• MW 9 a.m.-11:50 a.m.
• 4.5 points

CIRCUIT ANALYSIS

A course on analysis of linear and nonlinear circuits and their applications. Formulation of circuit equations. Network theorems. Transient response of first and second order circuits. Sinusoidal steady state-analysis. Frequency response of linear circuits. Poles and zeros. Bode plots. Two-port networks.

• Department: Electrical Engineering
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Yannis P Tsividis
  CULPA: 4 Wikipedia Info
• 3.5 points

INTRO FILM & MEDIA STUDIES

Prerequisites: Open to first-year students.

We derive much of our information about the world from visual media. Social networks, television, cinema: all shape our aesthetic sensibilities and our political visions. Yet we often lack a basic understanding of what could be called “visual literacy.” This introductory course gives students the critical tools to analyze how film and other visual media
really
work – in order to appreciate their artistic and social achievements, as well as to guard against their insidious manipulative devices.

In the first part of the semester, we focus on
film analysis
through a detailed study of the different production phases of filmmaking – from screenwriting and mise-en-scène to editing and film scoring. We pay special attention to the way in which certain stylistic and narrative choices have particular ideological effects. The second part of the course looks at
film history

through a comprehensive, chronological overview of its main movements and periods, including the coming of sound in Hollywood cinema, post-war Italian Neorealism, the emergence of world
auteurs
, New Waves of the 1960s and 1970s, etc. Students will use the hermeneutical tools learnt in film analysis to intellectually engage with some masterworks of film history. In the third and final part of the semester, we study the major debates of
film theory
from perspectives such as auteurism, formalism, psychoanalysis, Marxism, feminism, postcolonial and queer studies, etc.   

Required screenings include
Nanook of the North
(Flaherty, 1922),
Sunrise
(Murnau, 1927),
Man with a Movie Camera
(Vertov, 1929),
Casablanca
(Curtiz, 1942),
Bicycle Thieves
(De Sica, 1948),
Rashomon
(Kurosawa, 1950),
Breathless
(Godard, 1960),
Belle de Jour
(Buñuel, 1967),
The Hour of the Furnaces
(Solanas, 1968),
Seven Beauties
(Wertmüller, 1974),
Blue Velvet
(Lynch, 1986),
Paris Is Burning
(Livingstone, 1990), and
Children of Men
(Cuarón, 2006).

• Department: Film @Barnard
• F 2:10 p.m.-5:30 p.m.
• Instructor: Jason R Lariviere
  Info
• 3 points

SENIOR NONFICTION WORKSHOP

Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student. Please visit 
https://arts.columbia.edu/writing/undergraduate
 for information about registration procedures.

• Department: Writing
• M 12:10 p.m.-2 p.m.
• Instructor: Vanessa A Martir
  Info
• 4 points

RELIGION IN EARLY AMERICA

This course examines religion in North America from the 1500s through the early 1800s with a focus on colonial projects, race and slavery, and gender. We begin with comparing Spanish and French Catholic and English Protestant colonies, missionary efforts, and systems of enslavement as well as how religion factored into Native Americans and African people’s survival and resistance. The second part of the class turns to the 1700s and the emergence of religious revivals and evangelicalism alongside increasing religious variety in the British colonies of North America. Finally, we examine the early United States (1790s-1850s) and ask how disestablishment, imperial ambitions, new religious movement, and debates over the “slavery question” transformed the religious landscape. While focused on religious history (and primarily different Christian traditions), the category of “religion” itself and theoretical frameworks for studying religion are also integral to the class.

• Department: Religion @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Gale L Kenny
  CULPA: 5 Info
• 4 points

ADVANCED DIRECTING

Prerequisites: Open to students who have taken at least one course in directing. Required for students approved for Directing thesis, but open to all qualified students. Permission of instructor given at first class meeting. This course requires students to draw on all previous theatre training, synthesizing scholarship and research toward dynamic fully-realized scene work. Emphasis is on the director-actor relationship; students will direct at least three fully-realized scenes, typically drawn from Shakespeare, Chekhov, or other playwrights. Students may have the opportunity to make devised work, and will collaborate with students in the Advanced Acting class. Required for, but not limited to, students undertaking a senior thesis in directing.

• Department: Theatre @Barnard
• F 10:10 a.m.-1 p.m.
• Instructor: Alice A Reagan
  CULPA: 1 Wikipedia Info
• 4 points

DISCRETE MATHEMATICS

Logic and formal proofs, sequences and summation, mathematical induction, binomial coefficients, elements of finite probability, recurrence relations, equivalence relations and partial orderings, and topics in graph theory (including isomorphism, traversability, planarity, and colorings).

• Department: Computer Science
• MW 4:10 p.m.-5:25 p.m.
• Instructor: Tony B Dear
  CULPA: 17 Info
• 4 points

Power, Politics & Society

POWER, POLITICS & SOCIETY

Power, Politics, and Society
 introduces students to the field of political sociology, a subfield within sociology that is deeply engaged in the study of power in formal and diffuse forms. Using sociological theories and current events from the US and around the world, this course is designed to help students analyze their social worlds, and understand the significance of the old adage, “everything is political.”

• Department: Sociology @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Randa B Serhan
  CULPA: 2 Info
• 4 points

WORLD LITERATURE REVISITED

As a discipline, World Literature dates back to the early 19 th century and Goethe’s concept of weltliteratur. Yet, despite the fact that Goethe was well-versed in the literature of the “Orient” and emphasized their centrality in weltliteratur, the languages that he spoke of and underlined within the formation of this literature were mostly German and Romance languages. Institutionally speaking, not much has changed over the past couple of centuries. More often than not, studying the literature of locations such as the Middle East, Africa, and East and Southeast Asia takes place in Area Studies departments, and offerings of these areas’ literatures even in Comparative Literature departments are few and far in between.

This course looks at a sample of texts that might be studied within the rubric of World Literature in an English department. We will examine foundational genres in English literary studies, such as epic and lyric poetry and free verse, dramatic literature, and the novel, and study variations of these genres in other literary traditions. Given that we’re reading many of the texts in translation, the issue of translating literary texts into English is a central component of our discussion. Specifically, we will think about the role that translation plays in the production and politics of World Literature and how the issue of translation differentiates between the disciplines of Comparative Literature and World Literature. We will also study adaptations of and artistic responses to canonical works. Some questions we will tackle include: What/where/whom constitutes the world in World Literature? Traditionally, why have some types of writing and inscription been privileged over others when determining the category of literature? How do we read similarities and differences in the texts while placing them in their particular contexts and histories?

• Department: English @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Atefeh Akbari Shahmirzadi
  Info
• 3 points

WHAT'S YOUR STORY ANYWAY? - TRAUMA RESIS

CREATIVE WRITING ON TRAUM

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.
 
In this class we will explore the process of healing from trauma through the art of storytelling. We will ground ourselves in the writing of Latina authors whose work demonstrates the resistance from erasure in the United States. The goal of the class is to understand the connection between trauma and healing, through storytelling and creative writing. Moreover, we will develop three pieces of creative non-fiction that will encompass this relationship over the three different lenses of place, person and personal experience.

• Department: English @Barnard
• R 10:10 a.m.-noon
• Instructor: Maria D Hinojosa
  Info
• 3 points

DRAMATURGY

Prerequisites: Permission of instructor, given at first class meeting; enrollment limited to 12. This course teaches the research skills and practices a production dramaturg develops as part of the conceptual work of theatrical production. Course is focused on a series of activities: analyzing dramatic text, comparing different versions of script, conducting archival and cultural research, and presenting it to the production team. Fulfills as a "studio" or "praxis" course toward the Theatre/Drama and Theatre Arts major.  Does not fulfill a "seminar or lecture" requirement. Required for students undertaking a senior thesis in directing prior to the thesis year.

• Department: Theatre @Barnard
• T 12:10 p.m.-2 p.m.
• Instructor: Shannon M Sindelar
  Info
• 4 points

ADVANCED ARCHITECTURAL RESEARCH AND DESI

ADV ARCH RESEARCH & DESIG

Application required: A design portfolio and application is required for this course. The class list will be announced before classes start. Advanced Architectural Research and Design is an opportunity for students to consider international locations and address contemporary global concerns, incorporating critical questions, research methods, and design strategies that are characteristic of an architect’s operations at this scale.

• Department: Architecture @Barnard
• MW 9 a.m.-11:50 a.m.
• Instructor: Ignacio Gonzalez Galan
  Info
• 4.5 points

INTERMEDIATE MICROECONOMICS

Prerequisites: ECON UN1105 and MATH UN1101 and (MATH UN1201 or MATH UN1207) The determination of the relative prices of goods and factors of production and the allocation of resources.

• Department: Economics
• MW 1:10 p.m.-2:25 p.m.
• TR 1:10 p.m.-2:25 p.m.
• TR 6:10 p.m.-7:25 p.m.
• Instructor: Susan M Elmes
  CULPA: 44 Info
• Instructor: Caterina Musatti
  CULPA: 2 Info
• Instructor: Qi Ge
  Info
• 4 points

TOPICS IN ANCIENT DRAMA

This course is designed as an accompaniment to the Greek or Latin
play that is put on by the Barnard and Columbia Ancient Drama Group each year, though
it is open to any student interested in the aesthetics and politics of theater and drama.
Course focus and some content will rotate year to year, calibrated to serve the play or
plays chosen by the student director. We will read these and other relevant other plays or
similarly adjacent texts, as well as scholarly literature on topics centered around the body
in performance, including ancient theaters and stage space, costumes and masks,
deportment and gestures, proxemics, and so on. We will also explore aspects of ancient
drama and theatricality that relate to translation and reception, as well as inflections of
gender and status. Other topics may include the mythic background (e.g., in epic and/or
lyric), politics of aesthetics in ancient Athens, and gender-genre dynamics.
Each component will extend over three or four classes and consider the ancient
plays through readings of primary texts (in translation) and conceptual / contextual
backgrounds. There will be an additional class hour for those who wish to read the play
in the original language (signed up for as a 1-point directed reading).

• Department: Classics @Barnard
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Nancy Worman
  CULPA: 23 Wikipedia Info
• 0-3 points

INTER MICROECONOMICS-DISC

INTER MICROECONOMICS - DISC

Required Discussion section for ECON UN3211 intermediate Economics.

• Department: Economics
• 0 points

INTERMEDIATE MACROECONOMICS

Prerequisites: (MATH UN1101 or MATH UN1207) and ECON UN1105 or the equivalent. Corequisites: MATH UN1201 This course covers the determination of output, employment, inflation and interest rates. Topics include economic growth, business cycles, monetary and fiscal policy, consumption and savings and national income accounting.

• Department: Economics
• MW 1:10 p.m.-2:25 p.m.
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Emilien Gouin-Bonenfant
  Info
• 4 points