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
.

Spring 2026: Drawing Cartoons and Comics

In this class, New Yorker cartoonist and graphic novelist Liana Finck will teach you the basics of making single-panel cartoons, writing and drawing comics, and generally expressing yourself in a mixture of words and pictures. You will learn to diagram your problems, craft jokes, and tell stories visually. You’ll get an overview of useful materials, programs and machines, and how to use all these things with a light enough touch that you can still focus on your art. You will get comfortable with processes for generating ideas and editing your work. We will read some graphic novels, look at lots of cartoons, and dip a toe into the history of colloquial visual storytelling. You will finish the semester with a large body of small-scale work, one serious longer piece, and a better understanding of your voice and what you have to say. My hope is that you’ll leave the class confident in your ability to work visually, and with a regular practice if you want one.

• Department: English @Barnard
• T 5:40 p.m.-7:30 p.m.
• Instructor: Nina Sharma
  CULPA: 5 Info
• 3 points

Medieval to Contemporary Painting Techni

Medieval to Contemporary Painting Techniques explores the fundamental properties of paint materials by studying the paint-making techniques used by old masters of the late Medieval and Renaissance periods up through the contemporary era. Through hands-on work and experimentation, including preparing paint materials themselves, students will gain experience making and working with egg tempera, oil paint, and synthetic materials such as acrylics. They will develop a stronger understanding of how these materials function and how their uses fit into historical traditions and cultural contexts.

Students will participate in weekly material and technique-building workshops. They will be given select open-ended assignments for which they can choose a particular approach to explore. Students will learn how to handle traditional and contemporary materials in compliance with high material safety standards.

• Department: Visual Arts
• R 10 a.m.-4 p.m.
• Instructor: Naomi Safran-Hon
  Info
• 3 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.
• MW 8:40 a.m.-9:55 a.m.
• TR 8:40 a.m.-9:55 a.m.
• Instructor: Cynthia Anderson
  Info
• Instructor: Unity Phelan
  Info
• Instructor: Marjorie Folkman
  CULPA: 2 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.-2:25 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 4:10 p.m.-5:25 p.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

Advanced R in Biology

This course serves as a continuation of BIOL2500 R for Scientists. The course will meet weekly. Students will explore a range of methods and resources used by contemporary computational biologists. These include advanced statistical modeling approaches, manipulating genomic and spatial data, and working in R outside of the RStudio environment (including git, bash, Shiny and high-performance computing). Students will have opportunities to explore diverse biological and statistical R packages in the context of homework assignments, and will analyze a dataset of their own choosing for a semester project.

• Department: Biological Sciences @Barnard
• F 10:10 a.m.-1 p.m.
• Instructor: Vincent D Fitzpatrick
  Info
• 3 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

Black Women s Histories in the United

Black Women's Histories

In this course you will be examining paper tracings and other sources related to the lived experiences of Black women. You will be required to review and interrogate materials on triggering subjects; some of these items include violent descriptions, images, and acts. In order to join in our collective engagement with the history of Black women, within the context of the U.S., you will critically analyze items that have not been sanitized for popular consumption. Thus, we will not be “erasing history” in this course by avoiding the deployment of white supremacy and its vast, related violence(s) against Black women’s bodies and lives, as well as the various manifestations of resistance of Black women throughout the history of the United States.

• Department: Africana Studies (AFSB)
• W 12:10 p.m.-2 p.m.
• Instructor: Celia E Naylor
  CULPA: 2 Info
• 4 points

Jews in the Christian Imagination

Jews in Christian Imagina

Since the beginning of the movement that would become Christianity, Jews have occupied a unique – and uniquely fraught – position in the Christian imagination. Why did so few of the very Jews to whom Jesus preached accept him as their messiah? Why, as the Church grew in wealth and influence, did Jews continue to live in Christian communities, and what was their proper place in Christian society? In our course, we will read early and medieval Christian narratives about Jews that are, in many ways, an attempt to answer these questions – dark imaginative visions of Jews as child-killers, cannibals, and devil worshippers. We will use narrative, psychological, and literary theory as tools to analyze these tales and to make sense of their complicated and continuing legacy.

• Department: English @Barnard
• W 2:10 p.m.-4 p.m.
• Instructor: Wendy C Schor-Haim
  CULPA: 11 Info
• 4 points

INTRODUCTION TO NARRATIVE MEDICINE

INTRO TO NARRATIVE MEDICI

Narrative competence is a crucial dimension of health-care delivery; this includes the capacity to attend and respond to stories of illness and the narrative skills to
reflect critically on the scene of care and its contexts.

Narrative Medicine explores and builds the clinical applications of literary knowledge. The objectives of this foundations course include furthering close reading skills and exploring theories of self-telling and relationality. At the center of this project is the medical encounter. To help clinicians fulfill their "receiving" duties more effectively, we will turn to narrative theory, autobiography theory, psychoanalytic theory, trauma scholarship and witnessing literature. Classwork integrates didactic and experiential methodologies to develop a heightenedawareness of self and others, and to build a practical set of narrative competencies.

Readings will include works by Toni Morrison, W.G. Sebald, Lucy Grealy, Kazuo Ishiguro, Alison Bechdel, Maggie Nelson, Judith Butler, Arthur Frank, Paul Ricoeur, Jonathan Shay and Jens Brockmeier.

• Department: English @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Maura L Spiegel
  CULPA: 40 Info
• 3 points

CHOREOGRAPHING THE AMERICAN MUSICAL

CHOREOG THE AMERICAN MUSI

This course examines the history and development of American musical theater dance beginning in 1866 with The Black Crook and traces the genre’s evolution through a variety of theatrical venues including: spectacle, vaudeville, and revues. A primary focus of the course is the period known as “The Golden Age” of the American musical (1943-1964). During this period a talented group of American choreographers, emerged from newly formed ballet and modern dance companies. They brought their talents to the commercial theater and discovered a new venue for dance expression. How they reconstructed the use of dance in musicals and exposed commercial audiences to cultural trends and social commentary through the language of dance is a focus of the course. In addition, the craft and methodology of musical theater dance creation will be analyzed. Late twentieth century into the new millennium is considered in relation to shifting choreographic trends and the ongoing evolution of the genre.

• Department: Theatre @Barnard
• MW 4:10 p.m.-5:25 p.m.
• 3 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

LIVING WITH ANIMALS: ANTHROPOLOGICAL PER

This course examines how humans and animals shape each other’s lives, using the tools and perspectives of anthropology. We’ll explore the astounding diversity of human-animal relationships in time and space, tracing the ways animals have made their impact on human societies (and vice-versa). Using contemporary ethnographic, historical, and archaeological examples from a variety of geographical regions and chronological periods, this class will consider how humans and animals live and work together, and the ways in which humans have found animals “good to think with”.  In this course, we will also discuss how knowledge about human-animal relationships in the past might change contemporary and future approaches to living with animals. Through the reading and thinking that this course requires, you will explore what an anthropological perspective on living with animals looks like and how thinking about animals might change anthropology.

• Department: Anthropology
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Hannah Chazin
  Info
• 4 points

SHAKESPEARE S SONNETS: AN EXPERIMENT I

SHAKESPEARE'S SONNETS

This class is:


An introduction to Shakespeare’s Sonnets, and a chance to read through them all, slowly and carefully

An introduction to the way that Shakespeare’s mind worked, and to what he did with words

An introduction to the sonnet as a form, up to the present moment

A chance to explore how and why we read, and the difference that the pace of our reading makes

An opportunity to practice paying a particular kind of extended attention, and to explore what it does to our minds and our memories when we spend time with a body of poems over a series of weeks

• Department: English @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Faculty
  h-index: 37 Info
• 3 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
• 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

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
• T 12:10 p.m.-2 p.m.
• W 5:40 p.m.-7:30 p.m.
• T 4:10 p.m.-6 p.m.
• F 10:10 a.m.-noon
• Instructor: Atefeh Akbari Shahmirzadi
  Info
• Instructor: Eugene A Petracca
  Info
• Instructor: Rachel Eisendrath
  CULPA: 6 Info
• Instructor: Faculty
  h-index: 37 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 6:10 p.m.-8 p.m.
• Instructor: Colin Leach
  CULPA: 4 h-index: 41 Info
• 4 points

INTRO TO CULTURAL PSYCHOLOGY

Prerequisites: BC1001; and either BC1124/1125, BC1125, BC2141, or permission of the instructor. Prioority given to senior psychology majors. Critically investigates the universalizing perspectives of psychology. Drawing on recent theory and research in cultural psychology, examines cultural approaches to psychological topics such as the self, human development, mental health, and racial identity. Also explores potential interdisciplinary collaborations. The following Columbia University course is considered overlapping and a student cannot receive credit for both the BC course and the equivalent CU course: PSYC UN2650 Intro to Cultural Psychology.

• Department: Psychology @Barnard
• M 11 a.m.-12:50 p.m.
• Instructor: Isabelle Portelinha
  Info
• 4 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
• MW 8:40 a.m.-9:55 a.m.
• Instructor: Peter Platt
  CULPA: 23 Info
• 3 points

Moral Psychology: Ancient Wisdom and Mod

This seminar is designed to introduce you to the psychological foundations of morality, examining how moral judgment and behavior develop across cultures and throughout human history. Drawing from ancient wisdom traditions, contemporary psychology, philosophy, and emerging fields like AI ethics, you will gain a nuanced understanding of moral psychology and its applications.

• Department: Psychology @Barnard
• T 12:10 p.m.-2 p.m.
• Instructor: Angelika Seidel
  Info
• 4 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 10:10 a.m.-11:25 a.m.
• Instructor: Lisa Gordis
  CULPA: 15 Info
• 3 points

AMERICAN LITERATURE 1871-1945

This interdisciplinary course situates late nineteenth- and early twentieth-century American literature within the context of historical and cultural change. Students read works by Whitman, Twain, James, Griggs, Wharton, Faulkner, and Hurston alongside political and cultural materials including Supreme Court decisions, geometric treatises, composite photography and taxidermy.

• Department: English @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Jennie Kassanoff
  CULPA: 20 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
• TR 8:40 a.m.-9:55 a.m.
• Instructor: Victor Zarour Zarzar
  Info
• 3 points

MODRN BRITISH & AMERCAN POETRY

Poetry written in English during the past century, discussed in the context of modernism, postmodernism, literary theory, and changing social and technological developments. Students will participate in shaping the syllabus and leading class discussion. Authors may include Yeats, Williams, Eliot, Moore, Bishop, Rich, Ginsberg, Stevens, O Hara, Plath, Brooks, Jordan, Walcott, Alexie, and many others.

• Department: English @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Michael C Dickman
  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 5:40 p.m.-6:55 p.m.
• MW 4:10 p.m.-5:25 p.m.
• TR 10:10 a.m.-11:25 a.m.
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Eugene A Petracca
  Info
• 4 points

SCIENCE, MEDICINE AND THE BODY

This seminar course explores the relationship between science, medicine, and the body in a historical context. We will look at this relationship from a global perspective, with particular attention to understandings of gender, sexuality, race, and embodiment. To ground ourselves in the historiography, we will begin by studying various methodologies and approaches to histories of science, medicine, and the body. In doing so, we will consider the following questions: What does it mean to do a history of the body? Is there a universal concept of “the body” to study? What gets included in the history of science? What constitutes medicine? And who gets to determine these definitions? We will then move to specific themes and topics, including the categorization of bodies, dissection, public health, the impacts of colonialism, the medical marketplace, patients and practitioners, healing spaces, and disability studies. The course closes be critically examining global health initiatives and the politics and intimacies of healthcare on a global scale.

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

LITERARY THEORY

In this course, we will trace the complex category of
imitation
from its ancient roots to some of its modern theoretical and literary manifestations. Interpreted differently by different thinkers, imitation can refer to the problem of art’s imitation of things in the world (e.g., your portrait looks like you), art’s imitation of other artistic works (e.g., your portrait looks like a Rembrandt), people’s imitation or even mimicry of one another (who does she think she is?). The latter form of imitation raises the most overtly socio-political questions, whether by replicating social power structures in order to “pass” in a potentially hostile environment or by subverting these same structures through mimicking, outwitting, critiquing, or mocking them. At its core, the category of imitation focuses our attention on what is so central to artmaking that it almost eludes our notice: the question of resemblance. Put in its simplest form: What are we doing (philosophically, artistically, socially) when we make one thing resemble another?

• Department: English @Barnard
• W 4:10 p.m.-6 p.m.
• Instructor: Rachel Eisendrath
  CULPA: 6 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
• T 10:10 a.m.-noon
• Instructor: Matthew Engelke
  CULPA: 3 Wikipedia h-index: 25 Info
• 4 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 6:10 p.m.-9 p.m.
• R 5:40 p.m.-8:30 p.m.
• Instructor: Julia L Thompson
  Info
• Instructor: Daniel F Pfeffer
  Info
• 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: Tea Alagic
  Info
• 3 points

OPEN NONFICTION WORKSHOP

Prerequisite: Student must have taken beginning workshop in any undergraduate creative writing concentration. Open workshops are for students who are acquainted with and have experience in at least one beginning workshop in creative writing. In Open Fiction Workshops, particular attention will be paid to the components of fiction: voice, perspective, characterization, and form. Students will be expected to finish several short stories, executing a total artistic vision on a piece of writing. The critical focus of the class will include an examination of endings and formal wholeness, sustaining narrative arcs, compelling a reader's interest for the duration of the text, and generating a sense of urgency and drama in the work. A portfolio of fiction will be written and revised with critical input from the instructor and workshop. Outside readings may be used to supplement and inform the exercises and written projects. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.

• Department: Writing
• R 12:10 p.m.-2 p.m.
• W 6:10 p.m.-8 p.m.
• Instructor: Elizabeth L Greenwood
  CULPA: 3 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: Charles A Zukowski
  CULPA: 5 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

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 11:40 a.m.-12:55 p.m.
• Instructor: Gale L Kenny
  CULPA: 5 Info
• 4 points

Structural Drivers of Health

STRUCTURAL DRIVERS OF HEA

The COVID-19 pandemic has made the underlying health disparities that exist in the United States more apparent. The traditional biomedical model places the responsibility of these disparities on the choices that an individual makes. The model assumes that one’s smoking, eating and exercising habits are based on personal choice. Therefore, the prevalence of morbidities such as high blood pressure, obesity and diabetes is the result of an individual’s poor decisions. This course will explore how the conditions under which individuals live, work, play and pray impact their health outcomes. Collectively these conditions are referred to as the Social Drivers of Health (SDoH) and often they reveal the systemic inequalities that disproportionately affect marginalized communities. This course will also call upon the need for a paradigm shift from the "Social" "Determinants" of Health to the “Structural” "Drivers" of Health. This shift is in recognition that it is the underlying structures (laws, material infrastructure) that impact  and drive health outcomes. The development of the SDoH has challenged health care providers to look beyond the biomedical model that stresses an individual’s behavior as the main predictor of adverse health conditions. Instead the SDoH focuses on an “upstream” approach that examines the underlying systemic and racial inequalities that impact communities of color and their health outcomes.

• Department: Sociology @Barnard
• TR 6:10 p.m.-7:25 p.m.
• Instructor: Maati Momplaisir
  Info
• 3 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.
• 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
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Faculty
  h-index: 37 Info
• 3 points

COLLABORATION:DIRCTNG/DESIGN

Prerequisites: Permission of instructors given at first meeting; enrollment limited to 24. Course focuses on developing both technical and collaborative skills of directors and designers.  Students are assigned to different roles in creative teams working on a series of at least three fully realized and designed scenes. Introduction to various design disciplines and directing practice.

• Department: Theatre @Barnard
• MW 2:10 p.m.-4 p.m.
• Instructor: Kara M Feely
  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
• T 10:10 a.m.-noon
• Instructor: Maria D Hinojosa
  Info
• 3 points

Comparative Biomechanics

BIOMECHANICS

How do you control your limbs to allow you to walk, run, throw, or grasp? How do wings and fins
generate lift and thrust, allowing birds and bees to fly or fish and dolphins to swim? Why do bodies
change shape during development, and why are the bones of large animals so different from those
of small ones?

In this course, we will focus on the intersection of physics and biology to understand how animals
move and interact with their environment. We will apply principles in physics and engineering to
biological materials, morphology, physiology, and neurobiology. To achieve this, we will discuss the
interaction of the nervous, muscular, and skeletal systems that enable animals, including humans, to
walk, run, fly, swim, and eat.

• Department: Biological Sciences @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Jordan Balaban
  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. Recommended 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
• TR 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 2:40 p.m.-3:55 p.m.
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Susan M Elmes
  CULPA: 44 Info
• Instructor: Tam Mai
  Info
• Instructor: Caterina Musatti
  CULPA: 2 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
• MW 6:10 p.m.-7:25 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.
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Xavier Sala-I-Martin
  CULPA: 82 Wikipedia h-index: 80 Info
• Instructor: Irasema Alonso
  CULPA: 12 Info
• 4 points

Religion In Early America- Discussion

RELIGION IN EARLY AMERICA

This course accompanies RELI UN3203: Religion in the Modern US to examine the history of religion in the United States from the Civil War to the present through thematic units focused on the legal structures of religious freedom; race, religion, and nationality; healing, aesthetics, and embodiment; and, finally, religion and politics. Over the course of the semester, students will explore various religious communities as well as the ways social, political, and economic factors have shaped those traditions – and how religious communities have in turn shaped US society, politics, and culture. Students will also be introduced to key themes and debates in the field of American religious studies.

• Department: Religion @Barnard
• F 10:10 a.m.-11 a.m.
• F 12:10 p.m.-1 p.m.
• 0 points

INTER MACROECONOMICS-DISC

Discussion section for ECON UN3213 Intermediate Macro. Student must register for a section.

• Department: Economics
• 0 points

LATINX AND THE ICE/PRISON INDUSTRIAL COM

JOURNALISM: LATINX&ICE/PR

This course encompasses themes of race, ethnicity, mass incarceration, and immigration in the modern United States, with special attention to the stories of Latinx people. We will consider the roles of journalistic writing, documentaries, and personal narratives in shaping public policy and attitudes towards lives behind bars. Guest speakers will also provide personal experiences to help reframe our own narratives and perspectives on these issues. The course’s primary goal is to challenge the process of how stories of race, immigration, and mass incarceration are written, by developing scholarly pieces.

• Department: English @Barnard
• T 12:10 p.m.-2 p.m.
• Instructor: Maria D Hinojosa
  Info
• 4 points

WRITING ABOUT ART

Prerequisites: No prerequisites. Department approval NOT required. 

This course will introduce students to writing about visual art. We will take our models from art history and contemporary art discourse, and students will be prompted to write with and about current art exhibitions and events throughout the city. The modes of art writing we will encounter include: the practice of ekphrasis (poems which describe or derive their inspiration from a work of art); writers such as John Ashbery, Gary Indiana, Eileen Myles, and others who for periods of their life held positions as art critics while composing poetry and works of fiction; writers such as Etel Adnan, Susan Howe, and Renee Gladman who have produced literature and works of art in equal measure. We will also look at artists who have written essays and poetry throughout their careers such as Robert Smithson, Glenn Ligon, Gregg Bordowitz, Moyra Davey, and Hannah Black, and consider both the visual qualities of writing and the ways that visual artists have used writing in their work. Lastly, we will consider what it means to write through a “milieu” of visual artists, such as those associated with the New York School and Moscow Conceptualism. Throughout the course students will produce original works and complete a final writing project that enriches, complicates, and departs from their own interests and preoccupations.

• Department: Writing
• R 10:10 a.m.-noon
• Instructor: Eliza B Callahan
  Info
• 3 points

Religious Histories of New York City

Religious Histories of NY

This class examines different religious histories of New York City from the early 1800s through the 1950s. We will explore how different religious traditions were shaped by the city and its diversity, and how those people and institutions left their imprints on the city we live in today. The first half of the semester focuses on intersecting themes of religion and capitalism, religion and gender and sexuality, and on the social dynamics of the city’s symbolic meanings as place of refuge and liberation (for domestic and foreign migrants) or as a locus of sin in need of moral reform. The second half of the semester turns to case studies of different neighborhoods including Harlem, the Lower East Side, Williamsburg, and Flushing. How did different religious communities conceptualize “the neighborhood” in relation to the larger city, and how did they grapple with diversity and change? Students will also be introduced to archival collections of the East Harlem Protestant Parish and several settlement houses located at the Burke Library at Union Theological Seminary and at Butler Library.

• Department: Religion @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Gale L Kenny
  CULPA: 5 Info
• 4 points

KOREAN POPULAR CINEMA

• Department: East Asian Languages and Cultures
• R 4:10 p.m.-6 p.m.
• Instructor: Theodore Hughes
  CULPA: 6 Info
• 4 points

LAW & SOCIETY

Examines how people use law, how law affects people, and how law develops, using social scientific research. Covers law in everyday life; legal and social change; legal subjects such as citizens and corporations, and the legitimacy of law. Recommended for pre-law and social-science majors. No prerequisites or previous knowledge required.

• Department: Sociology @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Deborah Becher
  CULPA: 8 h-index: 4 Info
• 3 points

SCIENCE AND SENSIBILITY

• Department: Writing
• W 4:10 p.m.-6 p.m.
• Instructor: Meehan J Crist
  Info
• 3 points

RACE, ETHNICITY & SOCIETY

Examines the social construction of race and ethnicity in the United States from colonial period to present. Analyzes how capitalist interests, class differences, gender, immigration, and who “deserves” the full rights and privileges of citizenship, shape boundaries between and within racial and ethnic groups. Also considers how racism affects resource access inequities between racial groups in education, criminal justice, media, and other domains. Explores factors underpinning major social change with an eye toward discerning social conditions necessary to create and sustain just social systems.

• Department: Sociology @Barnard
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Angela Simms
  Info
• 3 points

LOGIC OF COLLECTIVE CHOICE

Much of politics is about combining individual preferences or actions into collective choices. We will make use of two theoretical approaches. Our primary approach will be social choice theory, which studies how we aggregate what individuals want into what the collective ;wants.; The second approach, game theory, covers how we aggregate what individuals want into what the group gets, given that social, economic, and political outcomes usually depend on the interaction of individual choices. The aggregation of preferences or choices is usually governed by some set of institutional rules, formal or informal. Our main themes include the rationality of individual and group preferences, the underpinnings and implications of using majority rule, tradeoffs between aggregation methods, the fairness of group choice, the effects of institutional constraints on choice (e.g. agenda control), and the implications for democratic choice. Most of the course material is highly abstract, but these abstract issues turn up in many real-world problems, from bargaining between the branches of government to campus elections to judicial decisions on multi-member courts to the allocation of relief funds among victims of natural disasters to the scoring of Olympic events. The collective choice problem is one faced by society as a whole and by the smallest group alike.

• Department: Political Science
• Instructor: Jeffrey R Lax
  CULPA: 32 h-index: 22 Info
• 3 points

LITERATURE & EMPIRE (19C LIT)

Explores the aesthetic and formal developments in Russian prose, especially the rise of the monumental 19th-century novel, as one manifestation of a complex array of national and cultural aspirations, humanistic and imperialist ones alike. Works by Pushkin, Lermonotov, Gogol, Turgenev, Tolstoy, Dostoevsky, and Chekhov. Knowledge of Russian not required.

• Department: Slavic Languages
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Liza Knapp
  CULPA: 28 Info
• 3 points

VIRGINIA WOOLF

(Lecture). Six novels and some non-fictional prose: Jacobs Room, Mrs. Dalloway, To the Lighthouse, Orlando, The Waves, Between the Acts; A Room of Ones Own, Three Guineas.

• Department: English and Comparative Literature
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Edward Mendelson
  CULPA: 64 Wikipedia Info
• 3 points

LIFE STORIES

NF SEM - LIFE STORIES

In this seminar, we will target nonfiction that tells stories about lives: profiles, memoirs, and biographies. We will examine how the practice of this kind of nonfiction, and ideas about it, have evolved over the past 150 years. Along the way, we will ask questions about these nonfiction forms: How do reporters, memoirists, biographers, and critics make sense of their subjects? How do they create work as rich as the best novels and short stories? Can criticism explicate the inner life of a human subject? What roles do voice, point-of-view, character, dialogue, and plot—the traditional elements of fiction—play? Along the way, we’ll engage in issues of identity and race, memory and self, real persons and invented characters and we’ll get glimpses of such key publications as
The Atlantic Monthly, The New Yorker, Esquire, Harper’s, and The New York Review of Books.
Some writers we will consider: Frederick Douglass, Louisa May Alcott, Walt Whitman, Henry Adams, Joseph Mitchell, Lillian Ross, James Agee, John Hersey, Edmund Wilson, Gore Vidal, Gay Talese, James Baldwin, Vladimir Nabokov, Janet Malcolm, Robert Caro, Joyce Carol Oates, Toni Morrison, Joan Didion, and Henry Louis Gates Jr. The course regularly welcomes guest speakers.

• Department: Writing
• M 6:10 p.m.-8 p.m.
• Instructor: Mark Rozzo
  Info
• 3 points

ORGANIC CHEMISTRY II-LEC

Prerequisites: CHEM BC3230. Lecture: MWF 10:00-10:50. Extension of concepts from Organic Chemistry I to conjugated systems; chemistry of the carbonyl group; NMR and IR spectroscopy; bioorganic chemistry.

• Department: Chemistry @Barnard
• MWF 1:10 p.m.-2 p.m.
• Instructor: Michael Campbell
  Info
• 3 points

SOCIAL MOVEMENTS

Prerequisites: One introductory course in Sociology suggested. Social movements and the theories social scientists use to explain them, with emphasis on contemporary American activism. Cases include the Southern civil rights movement, Black Lives Matter, contemporary feminist mobilizations, LGBTQ activism, immigrant rights and more recent forms of grassroots politics.

• Department: Sociology @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Andrew S Anastasi
  Info
• 4 points

Undergraduate Composition

Composing for Pierrot Ens

This course provides an immersive experience in music composition, focusing on both practical and theoretical aspects within a given instrumentation. Please refer to the topic for the instrumentation for this semester’s course. This class is open to students with no prior experience in composition. Students of varying music backgrounds are welcome. Permission of the instructor may be required for enrollment. The class will explore a variety of compositional approaches, including traditional, experimental, and interdisciplinary methods. During the semester, students will complete several creative and theoretical exercises ranging from short composition projects to analytical responses to diverse works. Students will also engage in individual and group feedback sessions as well as in-class readings of selected compositional projects by the performers. The final project will be an original work between 5 and 7 minutes, which will be workshopped, rehearsed, performed in a public concert, and recorded by professional musicians towards the end of the term.

• Department: Music
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Zosha Di Castri
  Info
• 3 points

SEEING THE BODY

Seeing the Body: Movement and Physicality in Modern Visual Culture will examine how concepts of
movement, space, and time gained an outsized role in photographic and cinematic experimentation,
typography, interior design and exhibition, contributing a “choreographic voice” to the interwar age.

• Department: Dance @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Marjorie Folkman
  CULPA: 2 Info
• 3 points

Sin, Disease, Subversion and the Experie

Race in Latin America

Course Description This course provides an exploration of how race and racism are produced, reproduced, and resisted from a Latin American perspective. We will examine a conception of race that is often ambiguous, hybrid, and fluid, yet coexists with deeply entrenched forms of racism. We begin by tracing the origins of racial formations to the colonial period, focusing on how race and religion became intertwined. The course then investigates Latin America's role in the medicalization of racialized bodies, particularly in the context of nation-building projects. We will analyze how racism has operated during periods of political violence, authoritarian rule, and transitions to democracy. Given the region's vast heterogeneity, we will critically examine "Latin America" as a category and use representative case studies to explore how race is mediated through signifiers such as education, gender, geography, occupation, dress, language, and religion—while ultimately being inscribed on and through the body. Students will explore Indigenous ontologies and epistemologies, and reflect on how the legacies of colonial and state violence persist but are contested. The first half of this course provides an overview of historical events and theoretical debates around the study of race in Latin America. The second half is dedicated to reading ethnographic work on questions of race. The selected books present cases in Peru, Ecuador, Brazil, Puerto Rico, and of immigrants in the United States.

• Department: Anthropology @Barnard
• M 10:10 a.m.-noon
• Instructor: Paloma Rodrigo Gonzales
  Info
• 4 points

GLOBAL HISTORIES OF THE BOOK

This class will consider the idea and history of “the book” through history and around the world.  Its primary objective is to introduce students to major topics and questions in “book history” while working to 1) resist the discipline’s traditional interest in modern European print culture and 2) situate that interest in global and transhistorical contexts.

Learning about the histories of books and writing in different eras and parts of the world will go hand-in-hand with critical examinations of how and why those histories have been periodized and narrativized the way they have.  Although “book” is a technological category, we will consider how helpful technological narratives and comparisons of book practice and culture are.  We will also engage not only in transhistorical and transnational comparisons of book culture and practice, but also examine the global book as a postcolonial phenomenon, marked by patterns of influence, appropriation and imposition across time and space.

This course will perforce be not comprehensive but instead oriented around case studies: we will be unable to examine every stage of every nation’s book history in detail.  Rather, we will focus on objects and scholarly case studies that illuminate both the history and methods involved, and on productive points of contact.  We will visit libraries and examine books both in person and through virtual simulacra.

What does it mean to tell “global” histories of the book?  For our purposes, it means not assuming that the terms, categories, or periods of modern western book history should be definitive for other times and places.  It also means examining the way that book cultures participated in and were shaped by patterns of exchange, conquest and colonization.  We will explore points of contact across time as well as space.

By the end of the semester, students will be able to speak to the history of the book across several cultures and linguistic traditions, speak comparatively to dimensions of book practice in two cultures, and be able to present the history and comparative dimensions of a chosen object from Columbia’s special collections. Students will also become acquainted with the use of special collections libraries.

• Department: Classics
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Joseph A Howley
  CULPA: 7 Info
• 3 points

AMERICAN TELEVISION DRAMA

Between prestige and streaming, the medium of television has never covered a wider breadth of narratives, voices, and concerns. This course will take a closer look at the format of the American Drama and how it has served as a cultural tool since its inception, reflecting the concerns of the time in one form or another. Through theoretical readings and sociological texts, the course will survey and sharpen our understanding of the power of the medium when placed in conversation with the greater American discourse.

• Department: Film @Barnard
• T 2:40 p.m.-6:10 p.m.
• Instructor: Ben Alexander
  Info
• 3 points

MEDICAL SOCIOLOGY

Examines the ways sociologists have studied the field of medicine and experiences of health and illness. We cannot understand topics of health and illness by only looking at biological phenomena; we must consider a variety of social, political, economic, and cultural forces. Uses sociological perspectives and methods to understand topics such as: unequal patterns in health and illness; how people make sense of and manage illness; the ways doctors and patients interact with each other; changes in the medical profession, health policies and institutions; social movements around health; and how some behaviors but not others become understood as medical problems. Course is geared towards pre-med students as well as those with general interests in medicine, health and society.

• Department: Sociology @Barnard
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Amy Zhou
  Info
• 3 points

JAZZ DANCE III

This class explores Advanced contemporary jazz movement using music from both American and Diasporic pop culture.

• Department: Dance @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Ehizoje J Azeke
  Info
• 2 points

Race, Ethnicity, and Education in the US

RACE ETHNICITY EDUCATION

This course explores the sociology and history of race and racism, ethnicity and ethnocentrism, and unequal access to education in the United States through readings, films, audio, and multimedia. Experiences of students in public and private K-12 schools, colleges and universities, and alternative and informal educational settings will be considered. Movements by students and communities to fight discrimination and injustice, demand equal opportunities and resources, and to realize the promise of education as a means of achieving personal and collective liberation will also be examined. Case studies may include: boarding schools for Indigenous children; Reconstruction-era public schools; the settlement house movement; Freedom Schools of the Civil Rights Movement; the Black Panther Party’s educational initiatives; community-controlled schools; Black, Mexican American, Puerto Rican, and Ethnic Studies programs; urban educational reform, public school closures, and charter schools; the school-to-prison pipeline; standardized testing and advanced placement courses; and more.

• Department: Sociology @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Andrew S Anastasi
  Info
• 3 points

Arts in Action

The course is an introduction to the visual arts and art professions in the context of French and

francophone arts and cultural institutions. Students will experience arts through class discussions of artistic production and a familiarization with art history and art criticism in French, presentations, workshops, discussions with art professionals, guest lectures, and visits to art museums and

galleries. Students who take the class can apply for paid internships in an art institution in the

spring following the class. In these internships, students will use some of the French language

skills they have acquired in class.

• Department: French
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Pascale Crepon
  CULPA: 10 Info
• 3 points

FLAMENCO

The study of contemporary flamenco dance technique with special emphasis on improvisation and performance. Through video and reading assignments and attendance at live performances, students will also develop a context for understanding flamenco art, pedagogy, and culture.

• Department: Dance @Barnard
• F 11 a.m.-12:50 p.m.
• Instructor: Nelida Tirado
  Info
• 2 points

ADAPTATION

In the same way that there can never be a single objective account of an historical event, using one medium to convey a story first told in another is never as straightforward as it might seem. Translating the essence of an existing story to the screen may require making significant changes to the events or characters as they were originally presented. As a screenwriter faced with such an adaptation, you must understand the idiosyncrasies of your craft well enough to recognize what to keep, what to change, and what to leave behind. This course will explore what makes a screen story work, balancing faithfulness and invention.

• Department: Film @Barnard
• R 2:10 p.m.-5:30 p.m.
• Instructor: Danielle T Douge
  Info
• 3 points

AMERICAN POLITICAL BEHAVIOR

This course will focus on the mechanisms that drive political behavior in the United States. “Political behavior” is a broad concept, and can include many areas of engagement with civic life such as voting, donating, organizing, advocating, protesting, and more. As we consider “behavior,” we must therefore also take on its foundations: Public opinion, ideology, and partisanship. We will focus primarily (but not exclusively) on mass politics—beliefs, attitudes, and behaviors of ordinary citizens—rather than on behaviors of activists or elites. We will also explore the connection between behavior and other factors such as race and place.

• Department: Political Science
• Instructor: Yamil R Velez
  CULPA: 1 h-index: 8 Info
• 3 points

What is Fascism?

This course explores fascism through an interdisciplinary, trans-historical lens. Beginning with Germany’s Third Reich, we will examine fascism’s history and foundations in social, political, religious, and scientific developments. We will explore various theories—ranging from psychoanalytic to philosophical—which try to explain the rise and spread of fascism. To help conceptualize fascism, we will analyze its complex relationship with race, ideology, and nationalism, and in particular, its deployment of technology, aesthetics, and propaganda. We will apply our own working definition of fascism to the contemporary moment by analyzing current populist, authoritarian movements around the globe. Taught in English.

• Department: Germanic Languages
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Annie Pfeifer
  CULPA: 2 Info
• 3 points

CONTEMPORARY MEDIA THEORY

Sophomore standing required. Attend first class for instructor permission. Registering for the course only through Student Planning or SSOL will NOT ensure your enrollment. Explores the transformation of sociality, consciousness and geo-politics by and as media technologies during the long 20th century. Students will read influential works of media analysis written during the past century, analyze audio-visual analog and digital media, and explore political theory and media theory written since the rise of the internet. Final projects on contemporary media forms.

• Department: English @Barnard
• R 12:10 p.m.-2 p.m.
• Instructor: Jonathan L Beller
  CULPA: 4 Info
• 4 points