This course can be worth 1 to 4 credits (each credit is equivalent to approximately three hours of work per week), and requires a Barnard faculty as a mentor. The course will be taken for a letter grade, regardless of whether the student chooses 1, 2, 3, or 4 credits. The expectations for each of these options are as follows: 1 credit, 3h/week commitment, 5-10 page "Research Report" at the end of the term; 2 credits, 6h/week commitment, 5-10 page "Research Report" at the end of the term; 3 credits, 9h/week commitment, 15-20 page "Research Report" at the end of the term; 4 credits, 12h/week commitment, 15-20 page "Research Report" at the end of the term. "Research Report" is a document submitted to the person grading the student, the instructor of record for the section in which the student has enrolled. If a student is working off-site, then input from the off-site research mentor will inform the grading. The "Research Report" can take a variety of forms: progress reports on data collected, training received, papers read, skills learned, etc.; or organized notes for lab notebooks, lab meetings, etc.; or manuscript-like papers with Intro, Methods, Results, Discussion; or some combination thereof, depending on the maturity of the project. Ultimately, this will take different forms for different students/labs.
This course provides an introduction to the politics of war termination and peace consolidation. The course examines the challenges posed by ending wars and the process by which parties to a conflict arrive at victory, ceasefires, and peace negotiations. It explores how peace is sustained, why peace lasts in some cases and breaks down in others and what can be done to make peace more stable, focusing on the role of international interventions, power-sharing arrangements, reconciliation between adversaries, and reconstruction.
Prerequisites: (PSYC UN1001) Instructor permission required. A seminar for advanced undergraduate students exploring different areas of clinical psychology. This course will provide you with a broad overview of the endeavors of clinical psychology, as well as discussion of its current social context, goals, and limitations.
Prerequisites: (PSYC UN1001) Instructor permission required. A seminar for advanced undergraduate students exploring different areas of clinical psychology. This course will provide you with a broad overview of the endeavors of clinical psychology, as well as discussion of its current social context, goals, and limitations.
Prerequisites: the instructor's permission required; contact emccaski@barnard.edu. An introductory course in neuroscience like PSYC 1001 or PSYC 2450. Analysis of the assessment of physical and psychiatric diseases impacting the central nervous system, with emphasis on the relationship between neuropathology and cognitive and behavioral deficits.
Prerequisites: the instructor's permission. Main objective is to gain a familiarity with and understanding of recording, editing, mixing, and mastering of recorded music and sounds using Pro Tools software. Discusses the history of recorded production, microphone technique, and the idea of using the studio as an instrument for the production and manipulation of sound.
This course analyzes Jewish intellectual history from Spinoza to the present. It tracks the radical transformation that modernity yielded in Jewish thought, both in the development of new, self-consciously modern, iterations of Judaism and Jewishness and in the more elusive but equally foundational changes in "traditional" Judaisms. Questions to be addressed include: the development of the modern concept of "religion" and its effect on the Jews; the origin of the notion of "Judaism" parallel to Christianity, Islam, etc.; the rise of Jewish secularism and of secular Jewish ideologies, especially the Jewish Enlightenment movement (Haskalah), modern Jewish nationalism, and Zionism; the rise of Reform, Modern Orthodox, and Conservative Judaisms; Jewish neo-Romanticism and neo-Kantianism, and American Jewish religious thought.
Prerequisites: None Humans don’t just eat to live. The ways we prepare, eat, and share our food is a complex reflection of our histories, environments, and ideologies. Whether we prefer coffee or tea, cornbread or challah, chicken breast or chicken feet, our tastes are expressive of social ties and social boundaries, and are linked to ideas of family and of foreignness. How did eating become such a profoundly cultural experience? This seminar takes an archaeological approach to two broad issues central to eating: First, what drives human food choices both today and in the past? Second, how have social forces shaped practices of food acquisition, preparation, and consumption (and how, in turn, has food shaped society)? We will explore these questions from various evolutionary, physiological, and cultural viewpoints, highlighted by information from the best archaeological and historic case studies. Topics that will be covered include the nature of the first cooking, beer-brewing and feasting, writing of the early recipes, gender roles and ‘domestic’ life, and how a national cuisine takes shape. Through the course of the semester we will explore food practices from Pleistocene Spain to historic Monticello, with particular emphasis on the earliest cuisines of China, Mesoamerica, and the Mediterranean.
“The aim of all life is death,” Sigmund Freud’s historic words do not appear strange today. Under siege of the perpetual breaking news cycle, the apocalypse is easy to imagine. Will it be an asteroid, a zombie virus or an all out nuclear war? Death Drive 3000 returns to the inanimate. Through a variety of reading, writing and making projects, this seminar studies the implications of our unbound and limitless death drive. Can any viable futures be located under the regimes of such imagination, futures that do not involve disposing of ourselves? From de Sade to Malabou to Clausewitz, topics include: primary nature, partial objects, necrosodomy, dismemberment, omophagia, suicide pacts, plagues, holocausts, total war and other symptoms of our collective end. Not for the faint of heart.
This course provides a comprehensive introduction to the foreign relations of the People’s Republic of China from 1949 to the present. The course looks at the world from China’s point of view and is organized geographically, moving from China’s homeland to its borderlands and continents and sea lanes beyond Asia.
Prerequisites: One philosophy course This course is mainly an introduction to three influential approaches to normative ethics: utilitarianism, deontological views, and virtue ethics. We also consider the ethics of care, and selected topics in meta-ethics.
An introductory course in black-and-white photography, Photography I is a prerequisite for advanced photography classes held in the fall and spring. Students are initially instructed in proper camera use and basic film exposure and development. Then the twice weekly meetings are divided into lab days where students learn and master the fundamental tools and techniques of traditional darkroom work used in 8x10 print production and classroom days where students present their work and through the language of photo criticism gain an understanding of photography as a medium of expression. Admitted students must obtain a manually focusing 35mm camera with adjustable f/stops and shutter speeds. No prior photography experience is required.
This class aims to introduce students to the logic of social scientific inquiry and research design. Although it is a course in political science, our emphasis will be on the science part rather than the political part — we’ll be reading about interesting substantive topics, but only insofar as they can teach us something about ways we can do systematic research. This class will introduce students to a medley of different methods to conduct social scientific research.
This is the required discussion section for
POLS UN3720.
This course examines the contemporary history of struggles for recognition, reform and revolution as articulated around the politics of recognition. The course is genealogical in spirit, beginning with a set of texts that have provided the touchstone for contemporary theory and practices of politics and then moving to more recent engagements with the same.
This course focuses on the tumultuous 1930s, which witnessed the growth of anticolonial movements, the coming to power of totalitarian and fascist regimes, and calls for internationalism and a new world vision. Even as fascism laid down its roots in parts of Europe, the struggle for independence from European colonial rule accelerated in Asia and Africa, and former subjects engaged with ideas and images about the shape of their new nations, in essays, fiction, poetry, and theater. Anti-colonialism also sparked debates about re-visioning gender relations, the place of minorities in the nation, religious difference and secularism, and models of world unity, among other issues. The course aims to consider the intersection of these debates with resistance to 1930s fascism: Did anti-fascist resistance in the metropole draw inspiration from anticolonial struggles? Conversely, did the spectre of fascism and authoritarianism present a cautionary tale to the project of nation-building in former colonies? We will read works from both the metropole and the colonies to track the crisscrossing of ideas, beginning with writers whose works foreshadowed the convulsive events of the 1930s and beyond (H.G. Wells, E.M. Forster, Rabindranath Tagore), then moving on to writers who published some of their greatest work in the 1930s (Virginia Woolf, Aldous Huxley, George Orwell, Mulk Raj Anand, M.K. Gandhi, Raja Rao, C.L.R. James), and concluding with an author who reassessed the events of the 1930s from a later perspective (George Lamming).
Application Instructions:
E-mail Professor Viswanathan (
gv6@columbia.edu
) with the subject heading The Thirties seminar. In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course.
This course will investigate the powerful pull of ancient Rome on the artistic and political culture of early modern England. We will concentrate closely on representations of Rome as they appeared in the commercial theater at the opening of the seventeenth century, reading plays by William Shakespeare and Christopher Marlowe, as well as masques (plays performed at court) by Ben Jonson. We will bolster our reading of this drama with an array of texts that grappled with ancient Rome through civic performance, English history, and politics, and we will explore how these ideas and ideals influenced emergent understandings of racial difference, and justifications of British imperial expansion. How, we will ask, did ancient Rome help the early modern English understand themselves: both, that is, who they were and who they weren’t?
Prerequisites: None formally; instructor may recommend introductory or advanced course in their subfield For joint Faculty-Student research on a deisgnated topic of the instructor's choice. Students will critically engage with scholarly debates, formulate research designs, analyze or interpret data, and learn to summarize and present findings. Apply directly to the instructor. Can be taken once for elective credit toward the major.
Prerequisites: reading knowledge of French is highly encouraged. This course endeavors to understand the development of the peculiar and historically conflictual relationship that exists between France, the nation-states that are its former African colonies, and other contemporary African states. It covers the period from the 19th century colonial expansion through the current ‘memory wars’ in French politics and debates over migration and colonial history in Africa. Historical episodes include French participation in and eventual withdrawal from the Atlantic Slave Trade, emancipation in the French possessions, colonial conquest, African participation in the world wars, the wars of decolonization, and French-African relations in the contexts of immigration and the construction of the European Union. Readings will be drawn extensively from primary accounts by African and French intellectuals, dissidents, and colonial administrators. However, the course offers neither a collective biography of the compelling intellectuals who have emerged from this relationship nor a survey of French-African literary or cultural production nor a course in international relations. Indeed, the course avoids the common emphasis in francophone studies on literary production and the experiences of elites and the common focus of international relations on states and bureaucrats. The focus throughout the course is on the historical development of fields of political possibility and the emphasis is on sub-Saharan Africa. Group(s): B, C Field(s): AFR, MEU
This course deals with the scholarship on gender and sexuality in African history. The central themes of the course will be changes and continuities in gender performance and the politics of gender and sexual difference within African societies, the social, political, and economic processes that have influenced gender and sexual identities, and the connections between gender, sexuality, inequality, and activism at local, national, continental, and global scales.
The course is a survey of canonical texts from the American Literary Canon, with emphasis on how these writers experienced the natural world. Some of them had to deal with extreme cold, others with tropical heat. Some of them encountered abundance, others sparsity and famine. They all encountered new life forms – from marine life to birds, reptiles and animals. They had to cope with frequent earthquakes and hurricanes, and classify newly discovered species of vegetal life. What they saw, however, was read not only through the lenses of natural history, but also theologically and politically. For some, the natural world was rich with signs sent by God for them to interpret, for others it was a political space that they organized according to the a theocratic or plantation logic. The class will therefore also pay special attention to politics, and investigate how the ecological spaces that the colonists encountered shaped their politics and ethics.
From its beginnings, film has been preoccupied with law: in cops and robbers silent films, courtroom drama, police procedural, judge reality show, or all the scenes that fill our media-saturated world. What do films and other audio-visual media tell us about what it’s like to come before the law, or about such substantive issues as what counts as murder, war crimes, torture, sexual abuse? How do films model the techniques that lawyers use to sway the passions of their audiences? How do they model the symbolism of their gestures, icons, images? If films and other audio-visual media rewrite legal events, what is their effect: on law? on legal audiences? How is the experience of being a film spectator both like and unlike the experience of being a legal subject? This course investigates such questions by looking at representations of law in film and other audio-visual media. We will seek to understand, first, how film represents law, and, second,how film attempts to shape law (influencing legal norms, intervening in legal regimes). The seminar’s principal texts will be the films themselves, but we will also read relevant legal cases and film theory in order to deepen our understanding of both legal and film regimes. *Students should email Professor Peters (peters@columbia.edu
) the following: school, year, major, a short description of why you would like to take the class, and previous relevant classes taken.*
The nineteenth century saw the emergence of a modern police force, the birth of detective fiction, the appearance of dastardly criminals in the boulevard theatre, and the rise of tabloid “true crime” journalism. It is also the era that scholars often identify with “modernity” and the emergence of “mass culture.” This course will explore the convergence of these phenomena in England, France, the U.S., and the Australian subcontinent. We will examine accounts and images of nineteenth-century “true” crime, ranging from purportedly true representations to openly fictionalized ones. In addition to reading popular fiction, we will read trial reports, police memoirs, the autobiographies of those who embraced the underworld of crime, and narratives of prison life by those who saw its violence and dehumanization first-hand. We will examine a variety of nineteenth-century genres and visual media, including flip-book photographs, magic lantern shows, the “fantasmagorie,” the diorama and panorama, and early film. Throughout the course, our principal focus will be on primary sources: their relationship to the history they represent; their rhetorical, narrative, and visual choices and meanings; their significance for the history of crime and law. Application instructions: to apply, please email Professor Peters (
peters@columbia.edu
) the following: name, year, school, major, a few sentences on why you want to take the course, and a list of any relevant courses you’ve taken
Prerequisites:
5 semesters of college-level French or the equivalent. This course is taught in French.
Eligibility:
This course is open to undergraduates, graduate students, and visiting students This undergraduate course aims to unveil a lesser known face of Paris linked to its colonial past in order to reread the present social, political and cultural landscape of France's capital city. By visiting hotspots of a forgotten Parisian black history, students will learn about the legacy of a colonial past often unknown and neglected. Sites will include the Latin Quarter which saw the birth of Negritude movement in the 1930s with the encounter of African and Caribbean intellectuals (Cesaire, Senghor, Damas) and the foundation of the editions Presence Africaine with Alioune Diop; Saint Germain des Pres and Pigalle which celebrated jazz music in cabarets; the Museum of the history of immigration in Porte Doree and the Musee des Arts Premiers at the Quai Branly. This itinerant historical approach of Paris will be complemented by an exploration of the contemporary cultural and artistic politics of the Black stage. by Attending theater plays, dance shows, and concerts, and meeting African and Caribbean artists living in Paris (playwrights, directors, actors, choreographers, dancers, musicians), students will enjoy the opportunity to explore Black Parisian culture from an insider's point of view and find out what it means to be a Black artist today in France. To enroll in this course, you must apply to the
Columbia Summer in Paris Program
through the Center for Undergraduate Global Engagement (UGE).
Please note the program dates are different from the Summer Term B dates.
Prerequisites:
None.
Eligibility:
This course is open to undergraduates, graduate students, and visiting students. Based on a comparative and interdisciplinary approach, the city diplomacy course is designed to offer a general introduction to the international role of cities. With its century-old history, city diplomacy represents a relatively recent dynamics in international relations. City diplomacy is generally considered to start in 1913 with the creation, at the Universal Exposition in the Belgian city of Ghent, of the first global city network, the Union Internationale des Villes. Since its beginning, city diplomacy emerged as a field where cities’ values and idealism are implemented through a pragmatic and cooperative approach that progressively expanded its scope. The rise of such practice was driven by the desire to foster reconciliation among former enemies of the Second World War through direct interaction between residents in the framework of twinning agreements. A few years later, city diplomacy accompanied the process of decolonization by creating a solid bond of friendship between cities in former colonizing and colonized countries. In the 90s, city diplomacy widened its scope to include enhancing the city’s positioning in the global economy. Today, city diplomacy is best known for its impact in addressing the main transnational challenges (including climate change, migration, violent extremism, and urbanization) through a methodology featuring horizontal partnerships with cities from all over the world and a vertical, participatory approach engaging and empowering residents and local stakeholders. Through an innovative approach cutting cuts across the boundaries of traditional disciplines (international relations, urban sociology, area studies, history, geography), the course will combine the emerging scholarly literature with a comparative accent linked to the analysis of primary sources from cities and international actors from all regions of the world. As a result, students will learn to connect global and regional macro-dynamics with micro-transformations at the local level, while gaining an in-depth understanding of city diplomacy's core features, management, tangible impact, and evolution. To enroll in this course, you must apply to the
Columbia Summer in Paris Program
through the Center for Undergraduate Global Engagement (UGE).&
What distinctions must be made between US-black American fantasies of Paris and realities for Blacks in Paris? What are the historical linkages between black Americans and Paris? Between black Americans and black French women and men? How is this relationship different from and contingent on the relationship between the “French” and their colonial “others?” How is “blackness” a category into which all non-white racial others are conscripted? (e.g. Arab and Roma communities)? Using an internationalist (specifically transatlantic) approach and covering the 20th and 21st centuries, this course explores these and other questions over the course of the semester through a close consideration of the literature, arts, culture, history and politics emanating from or dealing with Black France. The texts and artifacts examined in this course will consider “race” as both fact and fantasy in the unique, long-historical relationship between the United States, Paris, and the wider French empire.
B. R. Ambedkar is arguably one of Columbia University’s most illustrious alumni, and a democratic thinker and constitutional lawyer who had enormous impact in shaping India, the world’s largest democracy. As is well known, Ambedkar came to Columbia University in July 1913 to start a doctoral program in Political Science. He graduated in 1915 with a Masters degree, and got his doctorate from Columbia in 1927 after having studied with some of the great figures of interwar American thought including Edwin Seligman, James Shotwell, Harvey Robinson, and John Dewey. This course follows the model of the Columbia University and Slavery course and draws extensively on the relevant holdings and resources of Columbia’s RBML, Rare Books and Manuscript Library Burke Library (Union Theological Seminar), and the Schomburg Center for Research in Black Culture among others to explore a set of relatively understudied links between Ambedkar, Columbia University, and the intellectual history of the interwar period. Themes include: the development of the disciplines at Columbia University and their relationship to new paradigms of social scientific study; the role of historical comparison between caste and race in producing new models of scholarship and political solidarity; links between figures such as Ambedkar, Lala Lajpat Rai, W. E. B. Du Bois and others who were shaped by the distinctive public and political culture of New York City, and more. This is a hybrid course which aims to create a finding aid for B. R. Ambedkar that traverses RBML private papers. Students will engage in a number of activities towards that purpose. They will attend multiple instructional sessions at the RBML to train students in using archives; they will make public presentations on their topics, which will be archived in video form; and stuents will produce digital essays on a variety of themes and topics related to the course. Students will work collaboratively in small groups and undertake focused archival research. This seminar inaugurates an on-going, multiyear effort to grapple with globalizing the reach and relevance of B. R. Ambedkar and to share our findings with the Columbia community and beyond. Working independently, students will define and pursue individual research projects. Working together, the class will create digital visualizations of these projects.
Jane Austen relished contemporary verse as did her readers. Studying her perfectly structured novels together with, for example, Alexander Pope’s satiric epistles; Anne Finch’s complex and witty odes; James Thomson’s sublime neo-georgics; Samuel Johnson’s monumental imitations of Juvenal; William Cowper’s rambling loco-descriptive meditations; Samuel Coleridge’s delicate blank-verse ruminations on nature, spirit, and domestic tranquility; George Crabbe’s biting couplets about miserable village life, and many others, shall enrich our appreciation of the atmosphere in which Austen cultivated her sensibility, anticipated the taste and moral tenor of her readers, and exercised artistic control. We will read at least three of her novels —
Sense and Sensibility, Pride and Prejudice, and Persuasion
—alongside the poets she and her readers loved and whose poems they enjoyed hearing recited by characters in her novels. Our poets include the above mentioned, in addition to Robert Lloyd, Anna Laetitia Barbauld, Ann Yearsley, Charlotte Smith, William Wordsworth, among others.
Prerequisites: an introductory programming course. Fundamentals of computer organization and digital logic. Boolean algebra, Karnaugh maps, basic gates and components, flipflops and latches, counters and state machines, basics of combinational and sequential digital design. Assembly language, instruction sets, ALU’s, single-cycle and multi-cycle processor design, introduction to pipelined processors, caches, and virtual memory.
This practical lab focuses on the fundamental aspects of development, planning and preparation for low budget films. While using a short film script as their own case study – students will learn pitching, development, script breakdown, scheduling, budgeting and fundraising. Discussion of legal issues, location scouting, deliverables, marketing, distribution and film festival strategy will allow students to move forward with their own projects after completing the class. Using weekly assignments, in-class presentations and textbook readings to reinforce each class discussion topic, students will complete the class having created a final prep/production binder for their project, which includes the script breakdown, production schedule, line item budget, financing/fundraising plan and film festival strategy for their chosen script.
This course asks how spatial politics intersect with economic inequality and social difference. The course draws on the convergent yet distinct urban trajectories of cities in the global South (Bangalore; Bombay/Mumbai; Lahore; New Delhi; Dhaka) as an enabling location for exploring broader questions of comparative and global urbanism from an explicitly South-South perspective. That is, we ask how distinct yet connected urban forms might force us to alter our approaches to the city; approaches that are largely drawn from modular Euro-American paradigms for understanding urbanization as coeval with modernity, as well as industrialization. We do so in this seminar by focusing on people and practices—subaltern urbanity (and on those whose labor produced the modern city), as well as on spatial orders—the informal or unintended city—to ask the question: “what makes and unmakes a city?” How might questions about built form, industrialization, capital flows, and social life and inhabitation that takes the perspective of “city theory from the Global South” shed new understanding on the history of the city, the extranational frames of colonial modernity, and the ongoing impact of neoliberalism? How can we rethink critical concepts in urban studies (precarity, spatial segregation, subalternity, economies of eviction, urban dispossession) through embedded studies of locality and lifemaking?
This class will focus on John Milton’s 1667 epic poem about the creation of the world and the fall of humanity; Mary Shelley’s 1818 novel about a scientist’s creation of life; and Toni Morrison’s 1997 novel about a small, rural, all-black town in Oklahoma. In addition to the explicit echoes between these books, each work is interested in the relationship between the natural world and human beings; gender difference, relations between the sexes, and the reproduction of human life; and the bases of, and threats to, an ideal society. By reading these three works of art in sequence, we will thus look at how authors engage similar issues in different ways, paying particular attention to the role of of history, nation, genre, politics, literary tradition, and authorial identity. Finally, we will consider the ways in which authors’ revising, refuting, and re-envisioning of “source” texts affects our readings of the “source” texts as much as the new.
Prerequisites: the instructor's permission. (Seminar). As the great imperial powers of Britain, France, and Belgium, among others, ceded self-rule to the colonies they once controlled, formerly colonized subjects engaged in passionate discussion about the shape of their new nations not only in essays and pamphlets but also in fiction, poetry, and theatre. Despite the common goal of independence, the heated debates showed that the postcolonial future was still up for grabs, as the boundary lines between and within nations were once again redrawn. Even such cherished notions as nationalism were disputed, and thinkers like the Nobel laureate Rabindranath Tagore sounded the alarm about the pitfalls of narrow ethnocentric thinking. Their call for a philosophy of internationalism went against the grain of ethnic and racial particularism, which had begun to take on the character of national myth. The conflict of perspectives showed how deep were the divisions among the various groups vying to define the goals of the postcolonial nation, even as they all sought common cause in liberation from colonial rule. Nowhere was this truer than in India. The land that the British rulers viewed as a test case for the implementation of new social philosophies took it upon itself to probe their implications for the future citizenry of a free, democratic republic. We will read works by Indian writers responding to decolonization and, later, globalization as an invitation to rethink the shape of their societies. Beginning as a movement against imperial control, anti-colonialism also generated new discussions about gender relations, secularism and religious difference, the place of minorities in the nation, the effects of partition on national identity, among other issues. With the help of literary works and historical accounts, this course will explore the challenges of imagining a post-imperial society in a globalized era without reproducing the structures and subjectivities of the colonial state. Writers on the syllabus include Rabindranath Tagore, M.K. Gandhi, B.R. Ambedkar, Mulk Raj Anand, Raja Rao, Mahasweta Devi, Bapsi Sidwa, Rohinton Mistry, Amitav Ghosh, and Arundhati Roy. Application Instructions: E-mail Professor Viswanathan (gv6@columbia.edu ) with the subject heading Indian Writing in English seminar. In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course.
Examines the social and cultural place of Chinese religions through time, focusing on Chinese ideas of the relation between humans and spirits, and the expression of those ideas in practice. Problems will include the long-term displacement of ancestors by gods in Chinese history; the varying and changing social functions of rituals, and the different views of the same ritual taken by different participants; the growth of religious
commerce from early modern times on. Topics will be organized roughly chronologically but the emphasis is on broad change rather than historical coverage.
In this seminar, students will create a digital exhibition of ten stone sculptures produced by Inuit artists working within an important artistic tradition interconnected with Indigenous-Settler interaction during the second half of the twentieth century. Initially cultivated to bring Inuit people into the cash economy as part of a broader colonial process of disrupting seasonal migrations and subsistence lifeways, modern Inuit sculpture has developed in ways that increasingly center community leadership and assertions of artistic and cultural sovereignty in the face of environmental, economic, political and aesthetic change. The assignments for this class foreground writings, films, and artworks by Inuit scholars, artists, and community leaders. In preparation of the exhibition, we will and also work closely with the Brooklyn Museum staff to gain an understanding of their collection of Inuit sculpture and the staff roles in caring for it.
Saigon and Hanoi served as competing capitals of the Republic of Vietnam (RVN) in the south and the Democratic Republic of Vietnam (DRV) in the north (1954-1975). They were symbols of warring states, one home to a fledgling republic, the other the seat of communist power. Since the late 19th century, they have also been sites of Vietnam’s most dramatic transformations. As such, they occupy an important place in the historiography of modern Vietnam, not least in ongoing debates over the Indochina wars, Vietnamese nationalism, and regional difference. This course examines Saigon and Hanoi as social, political, and cultural spaces, and as representations of their respective states during the war. We first consider the significance of regionalism in fashioning “new ways of being Vietnamese” and examine how colonial rule reinforced those distinctions. We devote the rest of the semester to reading an array of works on the history of these cities. For the colonial period, we examine colonial urbanism, the lives of the poor, intellectuals and their ideas, as well as currents of political agitation and cultural iconoclasm. For the post-World War II period, we will focus on the distinct political cultures that took shape in the RVN and DRV. Finally, we end by looking at Saigon (now Ho Chi Minh City) and Hanoi in the post-war era, particularly after the Socialist Republic of Vietnam instituted sweeping economic reforms in the 1980s. Each week, we will discuss works social, cultural, and political history of Saigon and Hanoi, all the while keeping in mind their divergent trajectories in the three decades following World War II.
If a student wishes to pursue a research project or a course of study not offered by the department, he or she may apply for an Independent Study. Application: 1. cover sheet with signatures of the professor who will serve as the project sponsor and departmental administrator or director of undergraduate studies; 2. project description in 750 words, including any preliminary work in the field, such as a lecture course(s) or seminar(s); 3. bibliography of primary and secondary works to be read or consulted. Please visit the English and Comparative Literature Department website at http://english.columbia.edu/undergraduate/forms for the cover sheet form or see the administrator in 602 Philosophy Hall for the cover sheet form and to answer any other questions you may have.
If a student wishes to pursue a research project or a course of study not offered by the department, he or she may apply for an Independent Study. Application: 1. cover sheet with signatures of the professor who will serve as the project sponsor and departmental administrator or director of undergraduate studies; 2. project description in 750 words, including any preliminary work in the field, such as a lecture course(s) or seminar(s); 3. bibliography of primary and secondary works to be read or consulted. Please visit the English and Comparative Literature Department website at http://english.columbia.edu/undergraduate/forms for the cover sheet form or see the administrator in 602 Philosophy Hall for the cover sheet form and to answer any other questions you may have.
If a student wishes to pursue a research project or a course of study not offered by the department, he or she may apply for an Independent Study. Application: 1. cover sheet with signatures of the professor who will serve as the project sponsor and departmental administrator or director of undergraduate studies; 2. project description in 750 words, including any preliminary work in the field, such as a lecture course(s) or seminar(s); 3. bibliography of primary and secondary works to be read or consulted. Please visit the English and Comparative Literature Department website at http://english.columbia.edu/undergraduate/forms for the cover sheet form or see the administrator in 602 Philosophy Hall for the cover sheet form and to answer any other questions you may have.
Cross-Atlantic influences from both French ballet and French modern dance as seen on the stages of New York City. The course examines not only French dancers and choreographers, but also French conceptions of the expressive body seen in other urban art forms. We study the New York School of Poetry, Painting, Theatre, Dance and Music; French influences on the repertory of American Ballet Theatre and New York City Ballet; the Paris Opera Ballet; the contributions of American choreographers such as Merce Cunningham and Trisha Brown on French dance; and the theatrical impulse in recent French contemporary dance. We will make use of French critical theory ( Merleau-Ponty, Sartre, de Beauvoir, Barthes, Proust, and the work of recent French feminists) to understand how distinct cultures create differing notions of the expressive body. These texts will also help us to see how individual and social movement patterns are created on the stages and in the streets of metropolitan Paris and New York City. The course will include virtual viewings of selected performances. The course will be conducted in English. No prerequisites.
This course may be repeated for credit, but no more than 6 points of this course may be counted toward the satisfaction of the B.S. degree requirements. Candidates for the B.S. degree may conduct an investigation in applied mathematics or carry out a special project under the supervision of the staff. Credit for the course is contingent upon the submission of an acceptable thesis or final report.
Candidates for the B.S. degree may conduct an investigation of some problem in chemical engineering or applied chemistry or carry out a special project under the supervision of the staff. Credit for the course is contingent upon the submission of an acceptable thesis or final report. No more than 6 points in this course may be counted toward the satisfaction of the B.S. degree requirements.
Prerequisites: The written permission of the faculty member is required. Points: 1-4 The opportunity to conduct an independent research project in nuclear nonproliferation studies is open to all majors. A product and detailed report is presented by the student when the project is completed. Section 1: Emlyn Hughes Section 2: Ivana N. Hughes Section 3: Monica Rouco-Molina
Introduction to concepts and methods of comparative literature in cross-disciplinary and global context. Topics may include: oral, print, and visual culture; epic, novel, and nation; literature of travel, exile, and diaspora; sex and gender transformation; the human/inhuman; writing trauma; urban imaginaries; world literature; medical humanities. Open only to students who have applied for and declared a major in Comparative Literature and Society or Medical Humanities.
Research experience for undergraduate students interested in gaining hands-on practical experience in research. Students work with full-time faculty in their department on a research topic in their discipline.
Research experience for undergraduate students interested in gaining hands-on practical experience in research. Students work with full-time faculty in their department on a research topic in their discipline.
Research experience for undergraduate students interested in gaining hands-on practical experience in research. Students work with full-time faculty in their department on a research topic in their discipline.
Research experience for undergraduate students interested in gaining hands-on practical experience in research. Students work with full-time faculty in their department on a research topic in their discipline.
Research experience for undergraduate students interested in gaining hands-on practical experience in research. Students work with full-time faculty in their department on a research topic in their discipline.
Research experience for undergraduate students interested in gaining hands-on practical experience in research. Students work with full-time faculty in their department on a research topic in their discipline.
Research experience for undergraduate students interested in gaining hands-on practical experience in research. Students work with full-time faculty in their department on a research topic in their discipline.
Research experience for undergraduate students interested in gaining hands-on practical experience in research. Students work with full-time faculty in their department on a research topic in their discipline.
Independent work involving experiments, computer programming, analytical investigation, or engineering design.
Independent work involving experiments, computer programming, analytical investigation, or engineering design.
Independent work involving experiments, computer programming, analytical investigation, or engineering design.