MASTERPIECES OF WESTERN ART
Discussion and analysis of the artistic qualities and significance of selected works of painting, sculpture, and architecture from the Parthenon in Athens to works of the 20th century.
- Department: Core (A&S)
- MW 8:40 a.m.-9:55 a.m.
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Instructor:
Caroline A Smith
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Instructor:
Yann Petit
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Instructor:
Sophia A Merkin
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Instructor:
Kasiet Toktomusheva
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Instructor:
Nicole E Sarto
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Instructor:
Hannah R Pivo
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Instructor:
David J Sledge
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Instructor:
Nicholas S Fitch
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Instructor:
Ashley E Williams
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Instructor:
Ana G Alvarez Guzman
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Instructor:
Xiaohan Du
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Instructor:
Eric Mazariegos
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Instructor:
Nicholas C Morgan
CULPA: 2 Info -
Instructor:
Xiaohan Du
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Instructor:
Margot D Bernstein
CULPA: 5
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Instructor:
Nicholas C Morgan
CULPA: 2 Info -
Instructor:
Sunmin Cha
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Instructor:
Margot D Bernstein
CULPA: 5
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Instructor:
Sait Kutay Sen
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Instructor:
Rebecca M Yuste-Golob
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Instructor:
Leah E Werier
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Instructor:
Page S Knox
CULPA: 14
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Instructor:
Jeiran Jahani
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Instructor:
Leah E Werier
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Instructor:
Steven A Niedbala
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Instructor:
Frederique Baumgartner
CULPA: 3 Info -
Instructor:
Alessandra Di Croce
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Instructor:
Steven A Niedbala
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Instructor:
Lucas T Cohen
CULPA: 2 Info -
Instructor:
Sophia D'Addio
CULPA: 2 Info -
Instructor:
David H Schneller
CULPA: 1 Info -
Instructor:
Lucas T Cohen
CULPA: 2 Info -
Instructor:
Sophia D'Addio
CULPA: 2 Info -
Instructor:
Alessandra Di Croce
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Instructor:
Susan M Sivard
CULPA: 5
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Instructor:
Giulia Bertoni
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Instructor:
Sarah F Cohen
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Instructor:
Kent M Minturn
CULPA: 2
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Instructor:
Nicholas S Fitch
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Instructor:
Leslie Tait
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Instructor:
Martina Mims
CULPA: 5
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- 3 points
INTENSIVE ELEMENTARY ITALIAN
An intensive course that covers two semesters of elementary Italian in one, and prepares students to move into Intermediate Italian. Students will develop their Italian communicative competence through listening, (interactive) speaking, reading and (interactive) writing. The Italian language will be used for real-world purposes and in meaningful contexts to promote intercultural understanding. This course is especially recommended for students who already know another Romance language. May be used toward fulfillment of the language requirement.
- Department: Italian
- TRF 12:10 p.m.-2 p.m.
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Instructor:
Barbara Spinelli
CULPA: 9
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- 6 points
INTENSIVE ELEMENTARY COURSE
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- Department: Classics
- MW 6:10 p.m.-8 p.m.
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Instructor:
Lien Van Geel
CULPA: 1 Info - 4 points
INTENSIVE ELEMENTARY COURSE
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- Department: Auditing
- MW 6:10 p.m.-8 p.m.
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Instructor:
Lien Van Geel
CULPA: 1 Info - 0 points
MASTERPIECES OF WESTERN MUSIC
Analysis and discussion of representative works from the Middle Ages to the present.
- Department: Core (A&S)
- MW 8:40 a.m.-9:55 a.m.
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Instructor:
Julia M Hamilton
CULPA: 2 Info -
Instructor:
Velia Ivanova
CULPA: 4
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Instructor:
Mary Kouyoumdjian
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Instructor:
Julia M Hamilton
CULPA: 2 Info -
Instructor:
Velia Ivanova
CULPA: 4
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Instructor:
Mary Kouyoumdjian
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Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
Thomas T Wetmore
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Instructor:
Joshua Navon
CULPA: 5
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Instructor:
Walter M Frisch
CULPA: 17
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Instructor:
Magdalena Baczewska
CULPA: 4
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Instructor:
Audrey Amsellem
CULPA: 2 h-index: 0 Info -
Instructor:
Marilyn McCoy
CULPA: 7
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Instructor:
Ratidzai S Chikukwa
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Instructor:
Audrey Amsellem
CULPA: 2 h-index: 0 Info -
Instructor:
Artun Cekem
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Instructor:
Nina Fukuoka
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Instructor:
Knar Abrahamyan
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Instructor:
Grant M Woods
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Instructor:
Lauren M Shepherd
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Instructor:
Joshua A Mastel
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Instructor:
Madeleine L Turner
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Instructor:
Peter M Susser
CULPA: 20
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Instructor:
Ralph R Whyte
CULPA: 2 h-index: 0 Info -
Instructor:
Julia Doe
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Instructor:
Russell J O'Rourke
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Instructor:
Madeleine L Turner
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Instructor:
Ashkan Behzadi
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Instructor:
Russell J O'Rourke
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Instructor:
Ryan H Pratt
CULPA: 3 Info -
Instructor:
Ashkan Behzadi
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Instructor:
Manuel Garcia Orozco
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Instructor:
Anna-Louise R Walton
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Instructor:
Gareth J Cordery
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Instructor:
Demetrius Shahmehri
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Instructor:
Alexander K Rothe
CULPA: 8
h-index: 2
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- 3 points
UNRULY BODIES
In this class, we will explore—to quote Roxane Gay—"what it means to live in an unruly body in a world that is always trying to control, discipline, and punish women’s bodies." Thinking and theorizing the ways in which the body figures as a site of power, we will discuss the rules that are imposed upon women’s bodies and the ways in which women’s bodies, in turn, defy those rules. Turning our attention to bodies that are deemed too fat, too sick, too dark, too loose, too queer, and more, we will read and think about bodies that resist: bodies that resist binaries, bodies that resist understanding, and bodies that resist and rebel against the rules imposed upon them. Readings will include literary texts by Ovid, Jhumpa Lahiri, Maxine Hong Kingston, Toni Morrison, Carmen Maria Machado, and Akwaeke Emezi. All required texts will be distributed by the instructor. Note: readings for this class include references to and representations of identity-based violence. We'll talk as a class about how to work through these challenging texts and topics in thoughtful and generative ways.
- Department: First-Year Writing @Barnard
- MW 11:40 a.m.-12:55 p.m.
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Instructor:
Penelope Usher
Info - 3 points
READING THE FUTURE
How do we think about the future? Why do we develop the hopes and fears that we do? How do present conditions and discourses inform, influence, or limit our senses of personal and political possibility? In this section of First-Year Writing, we will explore conceptions of the future in 19th through 21st-century literary fiction. We will begin by close reading 20th-century short stories that evoke hopes and fears for the future on individual, social, and global scales. We will then turn to H.G. Wells’ classic novella
The Time Machine
and place its portrayal of the future in the context of late Victorian science and socioeconomics. Finally, we will consider how contemporary literature reflects and responds to the accelerating climate crisis, and explore fiction’s role in helping us apprehend the potential for radical environmental disruption.
- Department: First-Year Writing @Barnard
- MW 4:10 p.m.-5:25 p.m.
- MW 5:40 p.m.-6:55 p.m.
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Instructor:
Michael Shelichach
Info - 3 points
MUSIC IN NARRATIVE
How and to what ends does literature represent musical form or the feeling of musical encounter? In this course, we will discuss narratives in which music plays a significant role, whether through musical allusion or its sustained thematic presence, or through principles of musical composition and gesture that play in the background, informing a text’s structural flow. We will consider complex resonances between literary narratives and histories of music culture and aesthetics, asking how writers use music to world-build, to characterize, and to situate a text culturally and politically. Throughout the semester, we will pay particular attention to narratives that showcase the musical lives of characters belonging to historically marginalized groups. In doing so, we will question how race, gender, and sexuality intersect with musical histories of aesthetic power. Literary readings may include works by Jane Austen, James Baldwin, Toni Morrison, and James Joyce. Secondary readings in performance studies and musical aesthetics may include selections by Jennifer Lynn Stoever, Judith Butler, Immanuel Kant, Arthur Schopenhauer, Maria Edgeworth, and others.
- Department: First-Year Writing @Barnard
- TR 4:10 p.m.-5:25 p.m.
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Instructor:
Elizabeth Weybright
Info - 3 points
SPECULATING THE PAST
Recent works as diverse as The New York Times’s
Overlooked Project
and Netflix’s
Bridgerton
raise questions about what records we keep, how we narrate history, and the ways in which the previous two determine what stories we can tell. In this class, we will probe the question of the official record by reading literary works that turn to a speculative mode to make sense of history, past and present. As we enter the critical conversation about the historical record, we will explore how authority and value are assigned to different texts and accounts. In so doing, we will also develop our ability to read texts' and documents' own theorizations of truth and fact. Readings may include work by Virginia Woolf, Marlene NourbeSe Philip, Carmen Maria Machado, Adrienne Rich, and N.K. Jemisin alongside critical texts by Saidiya Hartman, Ngũgĩ wa Thiong’o, and others. Course costs will not exceed $15.
- Department: First-Year Writing @Barnard
- MW 6:10 p.m.-7:25 p.m.
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Instructor:
Sarah Schwartz
Info - 3 points
TALKING BACK
Inspired by bell hooks's assertion that “moving from silence to speech is for the oppressed…a gesture of defiance that heals,” we read and write with attention to the power dynamics of speech and silence, of talking and talking back. Our literary and critical texts demand attention to the ways in which power shapes narrative, and narrative shapes power. We will think especially about how the oppressed, the colonized, the exploited, speak to and against erasure; and also how the marginalized create community by talking and talking back. The readings include literary works by Nella Larsen, Jamaica Kincaid, Toni Morrison, and Layli Long Soldier; and critical works by Frantz Fanon, Judith Butler, bell hooks, and others. The only book length work you will need is Toni Morrison’s Jazz (around $15 new).
- Department: First-Year Writing @Barnard
- TR 1:10 p.m.-2:25 p.m.
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Instructor:
Alexandra P Watson
CULPA: 16 Info - 3 points
MAIDS AND GOVERNESSES
The female domestic servant in nineteenth and twentieth-century literature is characterized by contradiction: she is peripheral yet central to the action, invisible yet always in plain sight, disenfranchised yet intimately dangerous. Indeed, her presumed capacity to injure her employers tells us something about the fears of the well-heeled of the period; for example, Freud’s patient Dora wounds him when she decides to terminate treatment with a "fortnight’s notice," as if she were his employed domestic servant. In this course, we will consider the unusual powers and opaque perspectives of women marginalized as specters in the wealthy houses they serve. How might we develop reading and writing strategies that could express the inexpressible: forbidden vectors of desire, criminality, perversity, sadism, and capital circulating through the vantage points of maids and governesses? What do these perspectives divulge about the norms and anxieties underwriting the maintenance of race, gender, and class-based hierarchies?
- Department: First-Year Writing @Barnard
- MW 1:10 p.m.-2:25 p.m.
- MW 4:10 p.m.-5:25 p.m.
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Instructor:
Andrew Ragni
Info - 3 points
ATTENTION!
Attention is the foundation of investigation, action, and intention. It means concentration and deliberation. It can also mean distraction and confusion. Quietly reading a difficult work of literature, puzzling over a math problem, revising a paper for class, or cooking an elaborate meal are forms of attention. So is endlessly scrolling through social media, binge-watching a television series, or strolling aimlessly through the city. Where and how we use our attention is the foundation, the bedrock, of nearly everything we think and do. It is therefore unsurprising that gathering and directing our attention is also an enormous, lucrative industry. In this course we will study the science and philosophy of attention alongside the history of the "attention economy" and evolving techniques and technologies of attention harvesting. We will explore these subjects while reflecting upon and writing about our own habits of paying attention. By paying attention to attention, we will nurture a brighter awareness of the many interests vying for our time, mental engagement, money, our very lives, and of our abilities to scrutinize, critically examine, or resist our entrapment within the modern attention industry.
- Department: First-Year Writing @Barnard
- TR 8:40 a.m.-9:55 a.m.
- TR 10:10 a.m.-11:25 a.m.
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Instructor:
Nathan Gorelick
Info - 3 points
THE ART OF LIVING
What are the best practices for a life well-lived? In what ways can the symbiotic acts of reading and writing support such a life? Furthermore, how can a meaningful engagement with literature help us, if not to find easy answers that we all crave, then to explore these questions in ways that are clarifying, personally and intellectually? In this course we will take a walk through writings from a variety of octaves and disciplines, drawing from the academic, the creative, the therapeutic, the esoteric, and the pop cultural, with blurring between and among such categories. Reading assignments will follow the ebb and flow of our critical conversations, with likely readings--some optional, some required--by Toni Morrison, Thich Nhat Hanh, Tracy K. Smith, Virginia Woolf, Joan Didion, Timothy Aubry, and Morgan Parker, among others. Text books for this course will not exceed $30.
- Department: First-Year Writing @Barnard
- TR 4:10 p.m.-5:25 p.m.
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Instructor:
Safia Jama
Info - 3 points
BALLET I
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- Department: Dance @Barnard
- MW 9 a.m.-10 a.m.
- TR 9 a.m.-10 a.m.
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Instructor:
Kate A Glasner
CULPA: 31
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Instructor:
Vincent McCloskey
CULPA: 2 Info - 0-1 points
BALLET II
- Department: Dance @Barnard
- MW 10:10 a.m.-11:25 a.m.
- TR 2:40 p.m.-3:55 p.m.
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Instructor:
Kate A Glasner
CULPA: 31
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Instructor:
Marjorie Folkman
CULPA: 2 Info - 0-1 points
PRINCIPLES OF ECONOMICS-DISC
Required Discussion section for ECON UN1105 Principles of Economics
- Department: Economics
- 0 points
THE ENCHANTED IMAGINATION
A survey of fantasy works that examines the transformative role of the Imagination in aesthetic and creative experience, challenges accepted boundaries between the imagined and the real, and celebrates Otherness and Magicality in a disenchanted world. Readings will be selected from fairy tales, Shakespeares A Midsummer Nights Dream and The Tempest; Romantic poetry by Blake, Coleridge, Keats, and Dickinson; Romantic art by Friedrich, Waterhouse, and Dore; Mary Shelleys Frankenstein, Lewis Carrolls Alice books, Tennysons Idylls of the King, Tolkiens Lord of the Rings; Magical Realist works by Borges, Garcia Marquez, and Allende; Sondheim - Lapines Into the Woods, Rushdies Haroun and the Sea of Stories.
- Department: First-Year Seminar Program @Barnard
- MW 11:40 a.m.-12:55 p.m.
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Instructor:
John J Pagano
CULPA: 27
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- 3 points