Staging Early Modern London

This lecture course examines the performances through which early modern London (c. 1558-1642) “staged” itself: at the public and private theaters, on the street in civic and royal rituals, and in popular entertainments.   In so doing, we will examine how the capital city’s sense of itself came to be shaped by its various performances – its relationship with the crown, with the country, with strangers and foreigners – and how key sites (the “liberties,” the Royal Exchange, the Guildhall, the Thames, Covent Garden, Hyde Park) came to hold meaning for London audiences. 

We will be reading texts by dramatists including Thomas Dekker, Ben Jonson, Francis Beaumont, Thomas Middleton, and James Shirley, as well as less studied texts.

• Department: Auditing
• MW 8:40 a.m.-9:55 a.m.
• Instructor: Alan Stewart
  CULPA: 14 h-index: 13 Info
• 0 points

Chinese Contemporary Culture & Society T

Chinese Contemporary Film

This course will use films to introduce Chinese contemporary history, culture, and values. As the first part of this course, it focuses primarily on films produced in mainland China. Students will explore a selection of films from the early 1930s to the present, spanning various genres and themes, including internationally renowned Chinese films, independent productions, and mainstream popular works, while also reflecting diverse customs and dialects. Through this exploration, students will develop a foundational understanding of China’s contemporary history, society, and its rich and diverse cultural traditions and values. Each film will be analyzed within its historical context, considering both its aesthetic form and social content. Class meetings incorporate lectures, film screenings, discussions, and student presentations.

• Department: Asian and Middle East @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Danwei Li
  Info
• 3 points

Gender, Sexuality, and Health: Social Sc

Gender and sexuality are fundamental to how we understand ourselves as individuals – but have you thought about them as kinds of social inequality, similar to race, class, or disability? In this course, students will learn about gender and sexuality as elements of social context which are fundamental to our social worlds, as aspects of social organization, as key forms of inequality (heterosexuality/homosexuality, cis/trans or nonbinary, men/women), and as forces that shape health. Developing skills to analyze how gender and sexuality shape health includes mastering some key concepts at the intersection of social science, gender and sexuality studies, and health sciences as well as learning some content about social aspects of a range of health problems.

This course, which has no prerequisites, may be of particular interest to students majoring in sociology, anthropology, or gender and sexuality studies, as well as to students interested in health science careers (note, our engagement with questions about inequality and social structure speak to topics on the MCAT).  A key element of course design is that all graded writing is done *during* class time (of course with appropriate disability accommodations), both with the goal of structuring AI-free writing and helping students manage their workload.

• Department: Sociology
• TR 8:40 a.m.-9:55 a.m.
• Instructor: Jennifer S Hirsch
  Wikipedia Info
• 4 points

THINKING AND DECISION MAKING

Prerequisites: an introductory course in psychology. Models of judgment and decision making in both certain and uncertain or risky situations, illustrating the interplay of top-down (theory-driven) and bottom-up (data-driven) processes in creating knowledge. Focuses on how individuals do and should make decisions, with some extensions to group decision making and social dilemmas.

• Department: Psychology
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Katherine T Fox-Glassman
  CULPA: 6 h-index: 4 Info
• 3 points

JAZZ DANCE II

In This JAZZ ll Level Course,
You will develop a solid understanding within your body that demonstrates advanced  fundamentals, rhythm, technique, connectivity and phrasing necessary to communicate each movement. You will  learn new phrases and dynamic material while continuously applying technical information. We will delve deeper into technique preparing your body to perform more efficiently and effectively at a higher rate while reducing the risk of  injury.

Prerequisites: DNCE BC1247, BC1248 or permission of instructor.

• Department: Dance @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Ehizoje J Azeke
  Info
• 2 points

AFRICAN DANCE I

In West Africa, dance is part of daily life. It is used to mark occasions such a birth, death, harvest, and  marriage. It is also used to unite the community in times of crisis. West African dance is not as much a strict  technique as it is a movement coming from the spirit and the rhythm of the drum and the energy of the  people. While there are certain steps that go with specific rhythms, it leaves space for the individual  interpretation and improvisations which is an important element. Dancing is more about the communication  between dancer and drummer. The movement of West African dance tends to be energetic and big. It is very  expressive, and the energy is outward. 

Some African dance steps are taken directly from daily activities such as planting or hunting. Most, however,  are an expression of joy or release of the spirit. Dancing is done by communicating with a drummer to create  positive energy. It is a way to enjoy oneself and each other. In African dance, the name of the dance is the  same as the name of the rhythm played by the drummer. The individual steps that make up the dance do not  have names. In this course, we are going to be learning various West African dances such as Sikko, Socco,  Kuku, Mandiany, Farakorroba, Sunu, Soli, Lamba, Mandjo, Diambadong, Doundounba, Kaolask,  Thieboudjeune, Niarry---gorong, Ekongkong, Wolossodong, Zaouly, Ngorong, Niakka, Maraka, Djansa and  Lengeng/Kutiro.

• Department: Dance @Barnard
• TR 10 a.m.-10:50 a.m.
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Maguette Camara
  CULPA: 7 Info
• 2 points

AFRICAN DANCE II

Prerequisites: DNCE BC2252 or permission of instructor.

In West Africa, dance is part of daily life. It is used to mark occasions such a birth,  death, harvest, and marriage. It is also used to unite the community in times of  crisis. West African dance is not as much a strict technique as it is a movement  coming from the spirit and the rhythm of the drum and the energy of the people.  While there are certain steps that go with specific rhythms, it leaves space for the  individual interpretation and improvisations which is an important element. Dancing  is more about the communication between dancer and drummer. The movement of  West African dance tends to be energetic and big. It is very expressive, and the  energy is outward. 

Some African dance steps are taken directly from daily activities such as planting or  hunting. Most, however, are an expression of joy or release of the spirit. Dancing is  done by communicating with a drummer to create positive energy. It is a way to  enjoy oneself and each other. 

In African dance, the name of the dance is the same as the name of the rhythm  played by the drummer. The individual steps that make up the dance do not have  names. 

In this course, we are going to be learning various West African dances such as  Sikko, Socco, Kuku, Mandiany, Farakorroba, Sunu, Soli, Lamba, Mandjo,  Diambadong, Doundounba, Kaolask, Thieboudjeune, Niarry-gorong, Ekongkong,  Wolossodong, Zaouly, Ngorong, Niakka, Maraka, Djansa and Lengeng/Kutiro.

• Department: Dance @Barnard
• TR 9 a.m.-9:50 a.m.
• Instructor: Maguette Camara
  CULPA: 7 Info
• 2 points

AFRO-CUBAN DANCE

This course introduces students to the African-based dances of Cuba, including dances for the Orisha, Rumba, and the immensely joyful “Rueda de Casino” style of Salsa. In addition to learning rhythms, songs, and dances, we will have an ongoing, informal discussion about the historical and contemporary significance of Afro-Cuban dance performance, making connections to personal experience through practice and ongoing reflection. We engage Afro-Cuban music and dance as a living and evolving tradition, where culture, artistry, and history are intimately bound.

• Department: Dance @Barnard
• F 3 p.m.-5 p.m.
• Instructor: Rebecca Bliss
  Info
• 2 points

Machine Intelligence

This course will survey historical and modern developments in machine intelligence from fields such as psychology, neuroscience, and computer science, and from approaches such as cybernetics, artificial intelligence, machine learning, robotics, connectionism, neural networks, and deep learning. Emphasis will be placed on the conceptual understanding of topics. The course does not include, nor require a background in, computer programming and statistics. The overall goal is for students to become informed consumers of artificial intelligence applications.

• Department: Psychology
• F 1:10 p.m.-3:40 p.m.
• Instructor: Trenton Jerde
  h-index: 11 Info
• 3 points

Advanced Explorations in AfroCuban Dance

Advanced AfroCuban Dance

An upper-level exploration of Afro-Cuban Dance focused on performance. Building on the foundation of Afro-Cuban Dance: Orisha, Rumba, Salsa, this course is a deeper dive into aesthetic principles, cultural themes, and improvisation as performance in the African dance context. Students explore multiple distinct dances and learn to engage the storytelling and cultural significance of each dance through improvisation with the drums. The course culminates with final, in-class presentations. Open to experienced movers and students who have completed Afro-Cuban Dance: Orisha, Rumba, Salsa. Permission of instructor required.

• Department: Dance @Barnard
• F 1 p.m.-3 p.m.
• Instructor: Rebecca Bliss
  Info
• 2 points

THE GLOBAL ECONOMY

Prerequisites: ECON UN1105 Covers five areas within the general field of international economics: (i) microeconomic issues of why countries trade, how the gains from trade are distributed, and protectionism; (ii) macroeconomic issues such as exchange rates, balance of payments and open economy macroeconomic adjustment, (iii) the role of international institutions (World Bank, IMF, etc); (iv) economic development and (v) economies in transition.

• Department: Economics
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Waseem Noor
  CULPA: 7 Info
• 3 points

HIP HOP DANCE & CULTURE III (ADVANCED)

HIP HOP DANCE & CULTURE 3

Advanced technique and repertory in hip hop. Classes are geared to condition the body for the rigors of hip-hop technique by developing strength, coordination, flexibility, stamina, and rhythmic awareness, while developing an appreciation of choreographic movement and structures. Compositional elements of hip-hop will be introduced and students may compose brief movement sequences. The course meets twice weekly and is held in the dance studio.

• Department: Dance @Barnard
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Bo Park Park
  Info
• 2 points

Social Cognition

This course provides an overview of social cognition, which blends cognitive and social
psychology to understand how people make sense of the social world. Topics may include social
perception, inference, memory, motivation, affect, understanding the self, stereotypes, and
cultural cognition.

• Department: Psychology
• WF 2:40 p.m.-3:55 p.m.
• Instructor: Chujun Lin
  Info
• 3 points

ACCOUNTING & FINANCE FOR ECONOMICS

The purpose of this course is to provide a basic introduction to accounting, including the
foundations of accounting concepts, the underlying mechanics, and the overall perspective required
to become intelligent users of accounting information. The course will focus on the main
financial statements, the nature of accrual measurement, and the information perspective. In addition,
we will explore some accounting methods in detail, such as revenue recognition, assets,
liabilities, and equity.
The overarching perspective is that accounting reports provide information that is useful for
a variety of purposes. In the course, I will also provide insights into how the financial markets
use accounting information to evaluate executives, predict future stock returns, assess firms’
riskiness, and allocate society’s resources to their most productive uses.

• Department: Economics @Barnard
• MW 6:10 p.m.-7:25 p.m.
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Jose Cao-Alvira
  CULPA: 2 Info
• Instructor: Waldo Ojeda
  Info
• 3 points

Evolution

Prerequisites: BIOL BC1500, 1501, 1502, 1503 or equivalent

Theodosius Dobzhansky—an influential evolutionary biologist who spent much of his career at Columbia University—famously wrote, “Nothing in biology makes sense except in the light of evolution.” Evolution underlies all biodiversity, from the COVID-19 virus to redwood trees, from New York rats to our own bodies and minds. This course introduces students to the evolutionary processes at all scales, from molecular evolution and population genetics within single species, to macro patterns of diversification and evolution in deep time as studies through phylogenies and the fossil record. The overarching goal of the course is for students to gain a solid command of the major concepts in evolutionary theory and how they are interweaved with all life around us.

• Department: Biological Sciences @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Rafael Marcondes
  Info
• 3 points

ANIMAL BEHAVIOR

Prerequisites: BIOL BC1500, BIOL BC1501, BIOL BC1502, BIOL BC1503 or equivalent. This introduction to animal behavior takes an integrative approach to understand the physiological and genetic basis of behavior, the ecological context of behavior, and the evolutionary consequences of behavior. This course focuses on the process of scientific research, including current research approaches in animal behavior and practical applications of these findings.

• Department: Biological Sciences @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Alison Pischedda
  CULPA: 3 h-index: 11 Info
• 3 points

EARTH'S ENVIRO SYST: LIFE SYST

Prerequisites: high school algebra. Recommended preparation: high school chemistry and physics.

 Role of life in biogeochemical cycles, relationship of biodiversity and evolution to the physical Earth, vulnerability of ecosystems to environmental change; causes and effects of extinctions through geologic time (dinosaurs and mammoths) and today. Exploration of topics through laboratories, data analysis, and modeling. REQUIRED LAB: EESC UN2310. Students will be expected to choose a lab section during the first week of class from the options listed in the Directory of Classes. Co-meets with EEEB 2002

• Department: Earth and Environmental Sciences
• MW 11:40 a.m.-12:55 p.m.
• 4.5 points

CHALLENGES OF SUSTAINABLE DEV

This course provides an introduction to the field of sustainable development, drawing primarily from social science and policy studies. It offers a critical examination of the concept of sustainable development, showing how factors like economics, population, culture, politics and inequality complicate its goals. Students will learn how different social science disciplines (political science, demography, economics, geography, history, law, and sociology) approach challenges of sustainable development across a variety of topics (fisheries, climate change, air pollution, consumption, energy, conservation, and water management). The course provides students with some of the fundamental concepts, vocabulary, and analytical tools to pursue and think critically about sustainable development. Offered in the Spring.

• Department: Earth Institute
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Lisa Dale
  CULPA: 6 Info
• 3 points

SCULPTURE I

(Formerly R3330) The fundamentals of sculpture are investigated through a series of conceptual and technical projects. Three material processes are introduced, including wood, metal, and paster casting. Issues pertinent to contemporary sculpture are introduced through lectures, group critiques, discussions, and field trips that accompany class assignments. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

• Department: Visual Arts
• F 10 a.m.-4 p.m.
• Instructor: Jon Kessler
  CULPA: 5 Wikipedia Info
• 3 points

Dreaming Empire: Britain & Russia in 19C

Dreaming Empire: Brit&Rus

The course falls neatly into two halves, addressing the British and Russian empires as they were in the 19th century. The purpose of the course is to become familiar with imperial thinking, the thought (pro-empire, anti-empire, and simply permeated by empire, to put it in terms familiar to a contemporary audience) implicit in various literary works of the time. For the most part, the readings assigned are primary texts. These will be heavily supplemented during course meetings: the instructor will bring in various materials that would be obscure if assigned to students outside of class, but with live explanations in-class, will enrich their understanding of the primary readings.

Most readings are literary texts, though students will also read and receive guidance in secondary academic literature about those works. A few philosophical and historical texts from the time under examination will also be assigned.

• Department: Slavic Languages @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: John C Wright
  CULPA: 1 Info
• 3 points

HIST PHIL III:KANT-NIETZSCHE

Prerequisites: None. Exposition and analysis of major texts and figures in European philosophy since Kant. Authors include Kant, Hegel, Schopenhauer, Kierkegaard, and Nietzsche. Required discussion section (PHIL UN2311). Attendance in the first week of classes is mandatory.

• Department: Philosophy @Barnard
• MW 8:40 a.m.-9:55 a.m.
• Instructor: Taylor Carman
  CULPA: 40 Wikipedia h-index: 19 Info
• 4 points

INTERMEDIATE ARMENIAN II

Prerequisites: MDES W1310-W1311 or the equivalent. A continuation of the study of reading, writing and speaking of Armenian. In Intermediate Armenian II, students learn to communicate about a wide range of topics. Such topics include biographical narration, cooking and recipes, health and well-being, holidays and celebrations, travel and geography, etc. At this level, students continue to develop their skills in reading, writing, speaking, and listening while perfecting the grammatical concepts to which they were introduced in the first year. No P/D/F or R credit is allowed for this class.

• Department: Middle Eastern, South Asian and African Studies
• TR 10:10 a.m.-noon
• Instructor: Charry Karamanoukian
  Info
• 4 points

EARTH ENVIR SYST-LIFE SYST-LAB

This three hour lab is required of all students who enroll in EESC UN2300. There are currently five lab sections.

• Department: Earth and Environmental Sciences
• W 4:10 p.m.-7 p.m.
• 0 points

EARTH ENVIR SYST-LIFE SYST-LAB

This three hour lab is required of all students who enroll in EESC UN2300. There are currently five lab sections.

• Department: Earth and Environmental Sciences
• W 4:10 p.m.-7 p.m.
• 0 points

EARTH ENVIR SYST-LIFE SYST-LAB

This three hour lab is required of all students who enroll in EESC UN2300. There are currently five lab sections.

• Department: Earth and Environmental Sciences
• W 4:10 p.m.-7 p.m.
• R 4:10 p.m.-7 p.m.
• 0 points

EARTH ENVIR SYST-LIFE SYST-LAB

This three hour lab is required of all students who enroll in EESC UN2300. There are currently five lab sections.

• Department: Earth and Environmental Sciences
• R 4:10 p.m.-7 p.m.
• 0 points

THE DOCUMENTARY TRADITION

This class offers an introduction to the history of documentary cinema and to the theoretical and philosophical questions opened up by the use of moving images to bear witness, persuade, archive the past, or inspire us to change the future. How are documentaries different than fiction films? What is the role of aesthetics in relation to facts and evidence in different documentary traditions? How do documentaries negotiate appeals to emotions with rational argument? From the origins of cinema to our current “post-truth” digital age, we will look at the history of how cinema has attempted to shape our understanding of reality. FILM W2311

• Department: Film
• R 2 p.m.-5:45 p.m.
• Instructor: Nico Baumbach
  Info
• 3 points

THE DOCUMENTARY TRADITION

This class offers an introduction to the history of documentary cinema and to the theoretical and philosophical questions opened up by the use of moving images to bear witness, persuade, archive the past, or inspire us to change the future. How are documentaries different than fiction films? What is the role of aesthetics in relation to facts and evidence in different documentary traditions? How do documentaries negotiate appeals to emotions with rational argument? From the origins of cinema to our current “post-truth” digital age, we will look at the history of how cinema has attempted to shape our understanding of reality. FILM W2311

• Department: Auditing
• R 2 p.m.-5:45 p.m.
• Instructor: Nico Baumbach
  Info
• 0 points

THE DOCUMENTARY TRADITION-DISC

• Department: Film
• F 9:10 a.m.-10 a.m.
• F 2:10 p.m.-3 p.m.
• 0 points

HISTORY OF PHILOSPHY III REC

HISTORY OF PHIL III - REC

• Department: Philosophy @Barnard
• 0 points

HISTORY OF PHILOSPHY III REC

HISTORY OF PHIL III - REC

• Department: Philosophy @Barnard
• 0 points

TRADITIONS IN POETRY

Prerequisites: No prerequisites. Department approval NOT required. 

“For those, in dark, who find their own way by the light of others’ eyes.” —Lucie Brock-Broido

The avenues of poetic tradition open to today’s poets are more numerous, more invigorating, and perhaps even more baffling than ever before. The routes we chose for our writing lead to destinations of our own making, and we take them at our own risk—necessarily so, as the pursuit of poetry asks each of us to light a pilgrim’s candle and follow it into the moors and lowlands, through wastes and prairies, crossing waters as we go. Go after the marshlights, the will-o-wisps who call to you in a voice you’ve longed for your whole life. These routes have been forged by those who came before you, but for that reason, none of them can hope to keep you on it entirely. You must take your steps away, brick by brick, heading confidently into the hinterland of your own distinct achievement.

 

For the purpose of this class, we will walk these roads together, examining the works of classic and contemporary exemplars of the craft. By companioning poets from a large spread of time, we will be able to more diversely immerse ourselves in what a poetic “tradition” truly means. We will read works by Edmund Spencer, Dante, and Goethe, the Romantics—especially Keats—Dickinson, who is mother to us all, Modernists, and the great sweep of contemporary poetry that is too vast to individuate.

 

While it is the imperative of this class to equip you with the knowledge necessary to advance in the field of poetry, this task shall be done in a Columbian manner. Consider this class an initiation, of sorts, into the vocabulary which distinguishes the writers who work under our flag, each of us bound by this language that must be passed on, and therefore changed, to you who inherit it. As I have learned the words, I have changed them, and I give them now to you so that you may pave your own way into your own ways, inspired with the first breath that brought you here, which may excite and—hopefully—frighten you. You must be troubled. This is essential

• Department: Writing
• T 10:10 a.m.-noon
• Instructor: Ofi Davis
  Info
• 3 points

Northern Renaissance Art

This course will explore extraordinary artworks made by Northern European painters, sculptors, weavers, and printmakers from about 1400 to 1590. Sessions will examine outstanding productions by such figures as Jan van Eyck, Rogier van der Weyden, Hieronymus Bosch, Albrecht Dürer, Hans Baldung Grien, Pieter Bruegel the Elder, Hans Holbein, and Bernard Palissy. The themes we will discuss include the redefinition of the aims and nature of art and the artist, Protestantism and iconophobia, the ascent of the printing press, the dissemination of humanism, familial relations, courtly politics, art and knowledge, technology, the persecution of witches, as well as exploration and the broad-based shift from a European to a global mindset. The course will focus on the patterns of visual culture and how those patterns develop over time. The course is suitable for students from all disciplines and all years.

• Department: Art History and Archaeology
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Susanna C Berger
  Info
• 3 points

Renaissance Architecture

RENAISSANCE ARCHITECTURE

This course examines the history of architecture between roughly 1400 and 1600 from a European perspective outward. Employing a variety of analytical approaches, it addresses issues related to the Renaissance built environment thematically and through a series of specific case studies. Travelling across a geographically diverse array of locales, we will interrogate the cultural, material, urban, social, and political dimensions of architecture (civic, commercial, industrial, domestic, ecclesiastical and otherwise). Additional topics to be discussed include: antiquity and its reinterpretation; local identity, style, and ornament; development of building typologies; patronage and politics; technology and building practice; religious change and advancements in warfare; the creation and migration of architectural knowledge; role of capitalism and colonialism; class and decorum in domestic design; health and the city; the mobility of people and materials; architectural theory, books, and the culture of print; the media of architectural practice; the growth of cities and towns; the creation of urban space and landscape; architectural responses to ecological and environmental factors; and the changing status of the architect.

Students must registere for a required discussion section.

• Department: Art History and Archaeology
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Michael J Waters
  CULPA: 5 h-index: 3 Info
• 4 points

Renaissance Architecture - Discussion Se

Discussion section for AHIS UN2317.

• Department: Art History and Archaeology
• W 12:10 p.m.-1 p.m.
• W 1:10 p.m.-2 p.m.
• R 12:10 p.m.-1 p.m.
• R 1:10 p.m.-2 p.m.
• Instructor: Matthew S Lopez
  Info
• 0 points

MUSIC THEORY I

Elementary analysis and composition in a variety of modal and tonal idioms.

• Department: Music
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Peter M Susser
  CULPA: 20 Info
• 3 points

Breadbasket, Borderland, Battleground: E

Ukraine: Economy, Space,

Adopting a long-term perspective that centers on the dynamic interplay of economy, space, and political power, this course investigates how Ukraine's geography – its richness in natural resources and trade routes; its centrality as a crossroads between sea, settlement, and steppe, and between rival religious, imperial, and national projects; its vastness, which fostered divergent developmental trajectories and deep regional diversity; and its openness, which offered few natural barriers to contact and conquest – have shaped the country’s history from antiquity to the present.

• Department: History
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Andrey A Shlyakhter
  Info
• 4 points

MUSIC THEORY II

Elementary analysis and composition in a variety of tonal idioms.

• Department: Music
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Galen P Degraf
  CULPA: 1 Info
• 3 points

Introduction to Music Cognition

Intro to Music Cognition

The aim of music cognition is to understand the musical mind. This course is an introduction to a variety of key topics in this field, including human development, evolution, neural processing, embodied knowledge, memory and anticipation, cross-cultural perspectives, and emotions. The course explores recent research on these topics, as well as ways in which this research can be applied to music scholarship. Readings are drawn from fields as diverse as music theory, psychology, biology, anthropology, and neuroscience, and include general works in cognitive science, theoretical work focused on specific musical issues, and reports of empirical research.

• Department: Music
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Mariusz Kozak
  CULPA: 4 h-index: 5 Info
• 3 points

Nineteenth Century Britain: Politics, S

This course covers all aspects of British history – political, imperial, economic, social and cultural – during the century of Britain’s greatest global power.  Particular attention will be paid to the emergence of liberalism as a political and economic system and as a means of governing personal and social life.  Students will read materials from the time, as well as scholarly articles, and will learn to work with some of the rich primary materials available on this period.

• Department: History
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Susan Pedersen
  CULPA: 15 Wikipedia Info
• 4 points

MODERN III

Modern III continues training in contemporary/modern technique for the beginning-intermediate  level dancer, emphasizing alignment and musicality while expanding on the dancer’s physical and  intellectual understanding of articulation, phrasing, dynamics, performance and focus. Our class  will incorporate relevant principals from classical modern techniques along with contemporary  aesthetics, improvisation and reflection. Our class aims to create a space that is in support of your  artistic development, aesthetic fluency, and creative explorations as a dancer.

Prerequisites: 
  Intermediate experience in ballet and/or contemporary modern

• Department: Dance @Barnard
• MW 10:10 a.m.-11:25 a.m.
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Caroline Fermin
  Info
• Instructor: Tamisha Guy
  Info
• 2 points

MODERN IV

Modern IV is a contemporary technique class for the intermediate to advanced-intermediate level  dancer, emphasizing alignment and musicality while expanding on the dancer’s physical and  intellectual understanding of articulation, phrasing, dynamics, performance, and focus. Our class  will incorporate relevant principles from classical modern techniques with contemporary  aesthetics, improvisation, and reflection.

• Department: Dance @Barnard
• MW 1:10 p.m.-2:25 p.m.
• F 1 p.m.-2:50 p.m.
• Instructor: Francesca Dominguez
  Info
• Instructor: Jodi Melnick
  CULPA: 3 Info
• 2 points

EVERYDAY COMMUNISM

This lecture course comparatively and transnationally investigates the twentieth-century communism as a modern civilization with global outreach. It looks at the world spread of communism as an ideology, everyday experience, and form of statehood in the Soviet Union, Europe, Asia (Mao’s China), and post-colonial Africa. With the exception of North America and Australia, communist regimes were established on all continents of the world. The course will study this historical process from the October Revolution (1917) to the Chernobyl nuclear disaster (1986), which marked the demise of communist state. The stress is not just on state-building processes or Cold War politics, but primarily on social, gender, cultural and economic policies that shaped lived experiences of communism. We will closely investigate what was particular about communism as civilization: sexuality, materiality, faith, selfhood, cultural identity, collective, or class and property politics. We will explore the ways in which “ordinary people” experienced communism through violence (anti-imperial and anti-fascist warfare; forced industrialization) and as subjects of social policies (gender equality, family programs, employment, urban planning). By close investigation of visual, material and political representations of life under communism, the course demonstrates the variety of human experience outside the “West” and capitalist modernity in an era of  anti-imperial politics, Cold War, and decolonization, as well as current environmental crisis.

• Department: History
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Malgorzata Mazurek
  CULPA: 2 Info
• 4 points

Introduction to Korean Society: Explorin

This introductory lecture course introduces students with little or no prior knowledge of Korea or the
Korean language to Korean society by exploring cultural codes—shared symbols, values, and practices
that shape everyday life—through the lens of media and literature. By engaging with short stories, films,
TV shows, music, and other cultural texts, students will examine how these cultural codes influence
Korean social norms, identities, and global representations.
The course focuses on six key cultural codes—food, language, family structure, religion, economic
development, and the two Koreas—as reflected in Korean literature, film, drama, and YouTube content.
Through these themes, students will gain a foundational yet comprehensive understanding of Korean
society. At the same time, they will strengthen their critical and analytical skills in interpreting culture,
cultivating a deeper awareness of how meaning is constructed and communicated across different media.

• Department: Asian and Middle East @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Hwanhee Kim
  Info
• 3 points

Musicianship: Rhythm

In this course, students at all levels of experience and musical interest will participate in solo and group activities and projects with a focus on musical beat, meter, and rhythm patterns, developing a sense of steady and changing tempo, and an understanding how rhythm contributes to style in music. Rhythmic articulation, nuance, and interpretation will be developed through the impact of agogic, metric, tonal, and dynamic accent. This course combines the standards of conservatory musicianship with standards of critical thinking, here represented as critical listening. The repertoire for Musicianship: Rhythm covers vocal and instrumental music, and is open to classical, pop, jazz, folk, music theatre, computer, and international music styles and genres.

• Department: Music
• MW 12:05 p.m.-12:55 p.m.
• TR 9:05 a.m.-9:55 a.m.
• Instructor: Mary Asti
  Info
• Instructor: Peter M Susser
  CULPA: 20 Info
• 1 points

Musicianship: Melody

In this course, students at all levels of experience and musical interest will participate in solo and group activities and projects with a focus on scales, intervals, melodic contour and phrasing, and how they contribute to style in music. The repertoire for Musicianship: Melody covers vocal and instrumental music, and is open to classical, pop, jazz, folk, music theatre, computer, and international music styles and genres.

• Department: Music
• TR 12:05 p.m.-12:55 p.m.
• Instructor: Peter M Susser
  CULPA: 20 Info
• 1 points

Musicianship: Harmony

In this course, students at all levels of experience and musical interest will examine the phenomenon of simultaneous sound with chords and chord progressions, and experience harmony’s impact on musical structure and style. Harmonic articulation, nuance, and interpretation will be developed through the exploration of agogic, metric, tonal, and dynamic accent. The repertoire for Musicianship: Harmony covers vocal and instrumental music, and is open to classical, pop, jazz, folk, music theatre, computer, and international music styles and genres.

• Department: Music
• MW 3:05 p.m.-3:55 p.m.
• TR 12:05 p.m.-12:55 p.m.
• Instructor: Michael J Rose
  Info
• Instructor: Michael Joviala
  Info
• 1 points

Fascism in European History

FASCISM IN EURO HISTORY

What was Fascism? What kind of appeal did authoritarianism and dictatorship have in interwar Europe? How did the Fascist “New Order” challenge liberal democracies and why did it fail in World War II? What was the common denominator of Fascist movements across Europe, and in particular in Mussolini’s Italy, Salazar’s Portugal, Franco’s Spain, culminating in Nazi Germany?

This class examines the history of Fascism as an ideology, constellation of political movements, and authoritarian regimes that aimed at controlling the modernization of European societies in the interwar period. Thus, the course focuses in particular on the relationship between politics, science and society to investigate how Fascism envisioned the modernity of new technologies, new social norms, and new political norms. The class will also explore Fascism’s imperialist goals, such as the calls for national renewal, the engineering of a new race, and the creation of a new world order.

• Department: History @Barnard
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Angelo Caglioti
  h-index: 2 Info
• 3 points

POLITICS OF TERROR:FRENCH REV

This course examines the political culture of eighteenth-century France, from the final decades of the Bourbon monarchy to the rise of Napoleon Bonaparte. Among our primary aims will be to explore the origins of the Terror and its relationship to the Revolution as a whole. Other topics we will address include the erosion of the kings authority in the years leading up to 1789, the fall of the Bastille, the Constitutions of 1791 and 1793, civil war in the Vendee, the militarization of the Revolution, the dechristianization movement, attempts to establish a new Revolutionary calendar and civil religion, and the sweeping plans for moral regeneration led by Robespierre and his colleagues in 1793-1794.

• Department: History
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Charly J Coleman
  CULPA: 7 Info
• 4 points

ANCIENT NEAR EASTERN LITERATURE

This colloquium is a course on many influential texts of literature from Ancient Near Eastern cultures, including Sumerian, Egyptian, Babylonian, Assyrian, Hittite, Canaanite, and others. The emphasis is on investigating the literary traditions of each culture – the subject matter, form, methods, and symbolism– that distinguish them from one another and from later traditions of the Middle East. The course is not
a “civilization” course, nor is it a history class, although elements of culture and history will be mentioned as necessary. The course is intended to provide a facility with, and an awareness of, the content and context of ancient works of literature in translation from the Ancient Middle East.

Students in this course will gain a familiarity with the major cultures of the Ancient Middle East, the best known and most remarked upon stories, and the legacy of those works on some later traditions. The course is organized thematically in order to facilitate comparison to the materials in similar courses at Barnard and Columbia. The approach will be immediately familiar to students who have previously taken Asian Humanities (AMEC) or Literature-Humanities (Core), but the course does not require any previous experience with literature or the Ancient Near East and is open to everyone.

All assigned readings for the course will be in English. The course meets once a week and sessions are two hours long.

• Department: Asian and Middle East @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Nathanael P Shelley
  CULPA: 6 Info
• 4 points

Nineteenth-Century Art in Europe

19th-Century Art in Europ

How do you represent a revolution? What does it mean to picture the world as it “really” is? Who may be figured as a subject or citizen, and who not? Should art improve society, or critique it? Can it do both? These are some of the many questions that the artists of nineteenth-century Europe grappled with, and that we will explore together in this course. This was an era of rapid and dramatic political, economic, and cultural change, marked by wars at home and colonial expansion abroad; the rise of industrialization and urbanization; and the invention of myriad new technologies, from photography to the railway. The arts played an integral and complex role in all of these developments: they both shaped and were shaped by them. Lectures will address a variety media, from painting and sculpture to the graphic and decorative arts, across a range of geographic contexts, from Paris, London, Berlin, and Madrid to St. Petersburg, Cairo, Haiti, and New Zealand. Artists discussed will include Jacques-Louis David, Francisco Goya, Théodore Géricault, J.M.W. Turner, Adolph Menzel, Ilya Repin, Edouard Manet, Claude Monet, Mary Cassatt, James McNeill Whistler, C. F. Goldie, Victor Horta, and Paul Cézanne.

• Department: Art History and Archaeology
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Meredith Gamer
  CULPA: 1 Info
• 3 points

CONTMP BIO II:CELL BIO,DEV,PHYS

Prerequisites: a course in college chemistry and BIOL UN2005 or BIOL UN2401, or the written permission of either the instructor or the premedical adviser. Cellular biology and development; physiology of cells and organisms. Same lectures as BIOL UN2006, but recitation is optional. For a detailed description of the differences between the two courses, see the course web site or http://www.columbia.edu/cu/biology/ug/advice/faqs/gs.html. SPS, Barnard, and TC students may register for this course, but they must first obtain the written permission of the instructor, by filling out a paper Registration Adjustment Form (Add/Drop form). The form can be downloaded at the URL below, but must be signed by the instructor and returned to the office of the registrar. http://registrar.columbia.edu/sites/default/files/content/reg-adjustment.pdf

• Department: Biological Sciences
• TR 10:10 a.m.-11:25 a.m.
• TR 4:10 p.m.-5:25 p.m.
• 3 points

INTERMEDIATE SANSKRIT II

Reading and grammatical analysis of a literary text, chosen from the dramatic and narrative tradition. No P/D/F or R credit is allowed for this class.

• Department: Middle Eastern, South Asian and African Studies
• TR 10:10 a.m.-noon
• Instructor: Jay Ramesh
  Info
• 4 points

VICTORIAN POETRY

(Lecture). This course examines the works of the major English poets of the period 1830-1900. We will pay special attention to Alfred Tennyson and Robert Browning, and their great poetic innovation, the dramatic monologue. We will also be concentrating on poems by Elizabeth Barrett Browning, Gerard Manley Hopkins, Christina Rossetti, Matthew Arnold, A. E. Housman, and Thomas Hardy.

• Department: English and Comparative Literature
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Erik Gray
  CULPA: 35 Info
• 3 points

VICTORIAN POETRY

(Lecture). This course examines the works of the major English poets of the period 1830-1900. We will pay special attention to Alfred Tennyson and Robert Browning, and their great poetic innovation, the dramatic monologue. We will also be concentrating on poems by Elizabeth Barrett Browning, Gerard Manley Hopkins, Christina Rossetti, Matthew Arnold, A. E. Housman, and Thomas Hardy.

• Department: Auditing
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Erik Gray
  CULPA: 35 Info
• 0 points

THE WOW , THEN AND NOW

THE WOW THEN AND NOW

What “wows” us? How is it related to both a sense of the grand and of the small? Of the sacred and the unthinkably devastating? Of the mundane and the unique? This introductory course looks at this question by means of religion (mysticism), aesthetics (the sublime), the psychedelic, and the poetic in terms of how they condition and enable these experiences, often in joint manner. We begin by navigating through a wide range of medieval mystical texts (poetry and prose) ranging in date from Late Antiquity to the fifteenth centuries and explore how wonder, transport, and awe become articulated, often through the trope of love. The second half of the course expands to situate mystery and enchantment in relation to borderline experiences in contemporary contexts. We will explore what these borderline experiences entail, what kind of meaning they promise, and how they isolate or assimilate individuals, mark people and language, inhabit and alter our embodied selves. In addition, we will see how the legacy of mysticism has permeated later traditions of enchantment and its situatedness in contemporary culture, whether it be in the prevalence of love in pop lyric, rave culture, contemporary psychedelic experiences, the sacrality of nature, the mystification of state power, or even just the role of poetry and art in filling a spiritual role in our present. Throughout our readings, we will confront the question of what mysticism and enchantment mean, what they promise and how either can be accessed, how they might center or de-center the human (affirming or displacing the Anthropocene), how women’s and men’s mystical texts compare, and how “literariness” impacts these experiences. How does poetic form or literary prose shape the nature of borderline experience – mysticism included? What do we make of the insistence on bodily experience and how does it relate to biography? Where do we find the language and tropes of mysticism in contemporary culture (psychedelics, fascist propaganda, philosophical meditation) and to what end?

Mystical texts will include works by St. Paul, St. Augustine, Origen, Beatrice of Nazareth and her hagiographer, Hadewijch of Brabant and William of St. Thierry, Marguerite d'Oignt and Guigo II, Marguerite Porete and Meister Eckhart, Julian of Norwich, Margery Kempe, but also works by Huxley and Bataille; all other texts will, however, be read in modern English translation. No prerequisites necessary. Please note that even while

• Department: English and Comparative Literature
• MW 4:10 p.m.-5:25 p.m.
• Instructor: Patricia Dailey
  CULPA: 8 Info
• 3 points

CHINESE RELIGIOUS TRADITIONS

This course provides a chronological and thematic introduction to Chinese religions from their beginnings until modern times. It examines distinctive concepts, practices and institutions in the religions of China. Emphasis will be placed on the diversity and unity of religious expressions in China, with readings drawn from a wide-range of texts: religious scriptures, philosophical texts, popular literature and modern historical and ethnographic studies. Special attention will be given to those forms of religion common to both “elite” and “folk” culture: cosmology, family and communal rituals, afterlife, morality and mythology. The course also raises more general questions concerning gender, class, political patronage, and differing concepts of religion.

• Department: Religion
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Zhaohua Yang
  Info
• 4 points

Chinese Religious Traditions - Discussio

Chinese Religious Trad -

This course provides a chronological and thematic introduction to Chinese religions from their beginnings until modern times. It examines distinctive concepts, practices and institutions in the religions of China. Emphasis will be placed on the diversity and unity of religious expressions in China, with readings drawn from a wide-range of texts: religious scriptures, philosophical texts, popular literature and modern historical and ethnographic studies. Special attention will be given to those forms of religion common to both “elite” and “folk” culture: cosmology, family and communal rituals, afterlife, morality and mythology. The course also raises more general questions concerning gender, class, political patronage, and differing concepts of religion.

• Department: Religion
• 0 points

Chinese Religious Traditions - Discussio

Chinese Religious Trad -

This course provides a chronological and thematic introduction to Chinese religions from their beginnings until modern times. It examines distinctive concepts, practices and institutions in the religions of China. Emphasis will be placed on the diversity and unity of religious expressions in China, with readings drawn from a wide-range of texts: religious scriptures, philosophical texts, popular literature and modern historical and ethnographic studies. Special attention will be given to those forms of religion common to both “elite” and “folk” culture: cosmology, family and communal rituals, afterlife, morality and mythology. The course also raises more general questions concerning gender, class, political patronage, and differing concepts of religion.

• Department: Religion
• 0 points

Chinese Religious Traditions - Discussio

Chinese Religious Trad -

This course provides a chronological and thematic introduction to Chinese religions from their beginnings until modern times. It examines distinctive concepts, practices and institutions in the religions of China. Emphasis will be placed on the diversity and unity of religious expressions in China, with readings drawn from a wide-range of texts: religious scriptures, philosophical texts, popular literature and modern historical and ethnographic studies. Special attention will be given to those forms of religion common to both “elite” and “folk” culture: cosmology, family and communal rituals, afterlife, morality and mythology. The course also raises more general questions concerning gender, class, political patronage, and differing concepts of religion.

• Department: Religion
• 0 points

Chinese Religious Traditions - Discussio

Chinese Religious Trad -

This course provides a chronological and thematic introduction to Chinese religions from their beginnings until modern times. It examines distinctive concepts, practices and institutions in the religions of China. Emphasis will be placed on the diversity and unity of religious expressions in China, with readings drawn from a wide-range of texts: religious scriptures, philosophical texts, popular literature and modern historical and ethnographic studies. Special attention will be given to those forms of religion common to both “elite” and “folk” culture: cosmology, family and communal rituals, afterlife, morality and mythology. The course also raises more general questions concerning gender, class, political patronage, and differing concepts of religion.

• Department: Religion
• 0 points

1ST YEAR SEM IN CHEMICAL RES

Prerequisites: CHEM UN1403 or CHEM UN1604 or CHEM UN2045 or the instructors permission. A one-hour weekly lecture, discussion, and critical analysis of topics that reflect problems in modern chemistry, with emphasis on current areas of active chemical research.

• Department: Chemistry
• F noon-12:50 p.m.
• Instructor: Vesna Gasperov
  CULPA: 1 h-index: 4 Info
• 1 points

STATISTICS FOR ECONOMICS

Elementary computational methods in statistics. Basic techniques in regression analysis of econometric models. One-hour weekly recitation sessions to complement lectures.

• Department: Economics @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Mulu Gebreyohannes
  Info
• 4 points

SECOND YR CLASSICAL TIBET II

• Department: East Asian Languages and Cultures
• TR 2:10 p.m.-4 p.m.
• Instructor: Sonam Tsering Ngulphu
  Info
• 4 points

Listening to a Mediterranean Geography o

Listening to a Med Geo of

The decade of the 1970s was marked by uprisings on both sides of the Mediterranean, by progressive movements that laid the groundwork for socio-political struggles in the face of evolving global structures of power, and by battles against leftist political movements in which the dominant systems adopted extreme means of police and military violence and repression. Using a broad definition of protest songs, the course focuses on the musicopoetic production of dissent as a site of social and political critique. It examines the link between different forms of protest, change, and socio-political meanings of musicopoetic expressions, and explores how songs articulating protest function in specific contexts and in relation to what should be understood as a geography of protest in the Mediterranean. To this end the course asks: what is a protest song? What kind of political and social action can a song take? How does a song reflect societal concerns?  And what impact have protest songs had in creating change? Organized through a series of case studies, the course looks at popular songs encoded with socio-political meaning that emerged during the 1970s around the shores of the Mediterranean. We will pay close attention to poetic texts, music features and performance styles to examine songs’ capacity to intervene in socio-political struggles of the past, and what these songs can still offer us in the present.

• Department: Music
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Alessandra M Ciucci
  CULPA: 1 Info
• 3 points

LABORATORY IN SCREENWRITING

This lab is limited to declared Film and Media Studies majors.  Exercises in the writing of film scripts.

• Department: Film
• M 6 p.m.-9 p.m.
• R 2 p.m.-5 p.m.
• F 10 a.m.-1 p.m.
• Instructor: Ari H Shapiro
  Info
• Instructor: Anne Ning
  Info
• Instructor: Mengyuan Li
  Info
• 3 points

PRINTMAKING I: INTAGLIO

(Formerly R3401) Enables the student to realize concepts and visual ideas in a printed form. Basic techniques are introduced and utilized: the history and development of the intaglio process; demonstrations and instruction in line etching, relief, and dry point. Individual and group critiques. Portfolio required at end. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

• Department: Visual Arts
• MW 1:30 p.m.-4 p.m.
• Instructor: Jennifer Nuss
  Info
• 3 points

PRACTICUM SCENIC PAINT

May be retaken for full credit. 

Prerequisites: permission of Theatre Department Production Manager, Michael Banta (
mbanta@barnard.edu
). Training and practical props and/or scenic painting work on Departmental mainstage productions.

• Department: Theatre @Barnard
• Instructor: Michael Banta
  Info
• 1 points

PRACTICUM LIGHTS & SOUND

May be retaken for full credit. 

Prerequisites: permission of Theatre Department Production Manager, Michael Banta (
mbanta@barnard.edu
). Training and practical lighting and/or sound work on Departmental mainstage productions.

• Department: Theatre @Barnard
• Instructor: Gregory Winkler
  CULPA: 3 Info
• 1 points

PRACTICUM WARDROBE & RUN CREW

May be retaken for full credit. 

Prerequisites: permission of Theatre Department Costume Shop Manager Kara Feely (kfeely@barnard.edu). Training and practical costume construction and fitting work on Departmental mainstage productions.

• Department: Theatre @Barnard
• Instructor: Kara M Feely
  Info
• 1 points

PRACTICUM STAGE MANAGEMENT

May be retaken for full credit. 

Prerequisites: permission of Theatre Department Production Manager, Michael Banta (
mbanta@barnard.edu
). Training and practical stage management work on Departmental  mainstage productions.

• Department: Theatre @Barnard
• Instructor: Michael Banta
  Info
• 3 points

PRACTICUM DESIGN THESIS FESTIVAL

May be retaken for full credit. 

Prerequisites: permission of the Senior Thesis Festival coordinator. Training and practical work as student designer on the Senior Thesis Festival.

• Department: Theatre @Barnard
• F 2:10 p.m.-5 p.m.
• Instructor: Kara M Feely
  Info
• 3 points

ANTHROPOLOGY OF CLIMATE CHANGE

This course focuses on some of the present, and possible future, socio-ecological conditions of life on planet earth. In particular we will work to understand the historic, economic, political, and socio-cultural forces that created the conditions we call climate change. With this we will take a particular interest in the question of how race, ethnicity, Indigeneity, class, and gender articulate with the material effects of climate change. The course also focuses on how we, as scholars, citizens, and activists can work to alter these current conditions in ways that foster social and ecological justice for all living beings. Although we will ground our scholarship in anthropology, to encourage interdisciplinary and even transdisciplinary thought, weekly readings will be drawn from across scholarly and activist canons. While becoming familiar with scholarly and activist conversations about space and place, risk and vulnerability, and ontology and epistemology, we will work through a series of recent events as case studies to understand causes, effects, affects, and potential solutions.

• Department: Anthropology @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Paige West
  CULPA: 41 h-index: 23 Info
• 3 points

PRACTICUM DESIGN & PRODUCTION ASSISTANT

PRACTICUM DESIGN & PROD A

May be retaken for full credit. 

Prerequisites: permission of the Senior Thesis Festival coordinator. Training and practical design work assisting student designers for the Senior Thesis Festival.

• Department: Theatre @Barnard
• Instructor: Michael Banta
  Info
• 2 points

COGNITIVE NEUROSCIENCE

Prerequisites: PSYC UN1001 or equivalent introductory course in Psychology This course provides an in-depth survey of data and models of a wide variety of human cognitive functions. Drawing on behavioral, neuropsychological, and neuroimaging research, the course explores the neural mechanisms underlying complex cognitive processes, such as perception, memory, and decision making. Importantly, the course examines the logic and assumptions that permit us to interpret brain activity in psychological terms.

• Department: Psychology
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Lila Davachi
  CULPA: 1 h-index: 59 Info
• 3 points

U.S. ERA OF CIVIL WAR & RECON

It is difficult to exaggerate the significance of the American Civil War as an event in the making of the modern United States and, indeed, of the western world.  Indeed the American Civil War and Reconstruction introduced a whole series of dilemmas that are still with us.  What is the legacy of slavery in U.S. history and contemporary life?  What is the proper balance of power between the states and the central government? Who is entitled to citizenship in the United States?   What do freedom and equality mean in concrete terms?

This course surveys the history of the Civil War and Reconstruction in all of its aspects.  It focuses on the causes of the war in the divergent development of northern and southern states; the prosecution of the war and all that it involved, including the process of slave emancipation; and the contentious process of reconstructing the re-united states in the aftermath of Union victory.  The course includes the military history of the conflict, but ranges far beyond it to take the measure of the social and political changes the war unleashed.  It focuses on the Confederacy as well as the Union, on women as well as men, and on enslaved black people as well as free white people.  It takes the measure of large scale historical change while trying to grasp the experience of those human beings who lived through it.

• Department: History
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Stephanie McCurry
  CULPA: 3 Wikipedia Info
• 4 points

U.S. ERA OF CIVIL WAR & RECON-DISCUSSION

• Department: History
• W 4:10 p.m.-5 p.m.
• R 1:10 p.m.-2 p.m.
• W 4:10 p.m.-5 p.m.
• W 5:10 p.m.-6 p.m.
• R 4:10 p.m.-5 p.m.
• Instructor: Jordan Weinstock
  Info
• 0 points

Social Neuroscience

This course will provide a broad overview of the field of social neuroscience. We will consider how social processes are implemented at the neural level, but also how neural mechanisms help give rise to social phenomena and cultural experiences. Many believe that the large expansion of the human brain evolved due to the complex demands of dealing with social others—competing or cooperating with them, deceiving or empathizing with them, understanding or misjudging them. What kind of “social brain” has this evolutionary past left us with? In this course, we will review core principles, theories, and methods guiding social neuroscience, as well as research examining the brain basis of processes such as theory of mind, emotion, stereotyping, social group identity, empathy, judging faces and bodies, morality, decision-making, the impact of culture and development, among others. Overall, this course will introduce students to the field of social neuroscience and its multi-level approach to understanding the brain in its social context.

• Department: Psychology
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Jon B Freeman
  Wikipedia Info
• 3 points

POLITICAL HISTORY OF CONTEMPORARY AFRICA

POLI HIST OF CONTEMP AFRI

This course offers a survey of the political history of contemporary Africa, from independence to the present day, with a focus on the states and societies south of the Sahara. We will use the tools of historians to study African political life: who held political power; how they wielded it and to what ends; and what kinds of opposition they faced. An important sub-theme involves American policy and actions, including those of civil society organizations, vis-à-vis African nation-states.

• Department: History
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Gregory Mann
  CULPA: 15 h-index: 13 Info
• 3 points

POLITICAL HISTORY OF CONTEMPORARY AFRICA

POLITICAL HIST CONTEMP AF

This course offers a survey of the political history of contemporary Africa, from independence to the present day, with a focus on the states and societies south of the Sahara. We will use the tools of historians to study African political life: who held political power; how they wielded it and to what ends; and what kinds of opposition they faced. An important sub-theme involves American policy and actions, including those of civil society organizations, vis-à-vis African nation-states.

• Department: Auditing
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Gregory Mann
  CULPA: 15 h-index: 13 Info
• 0 points

PRINTMAKING I: SILKSCREEN

(Formerly R3413) Printmaking I: Silkscreen introduces silkscreen and other silkscreen techniques. Given the direct quality of the process, the class focuses on the students personal vision through experimentation with this print medium. Individual and group critiques. Portfolio required at end. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

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