COMIC BOOK METROPOLIS: HOW NEW YORK CITY

This course explores how New York City didn't just host the American comics industry—it shaped what comics looked like, how they were sold, and what stories they told. We'll trace how the city's newspapers, newsstands, subway cars, tenement buildings, and even its crime waves left their mark on the page. We'll move chronologically from the 1890s to today, looking at moments when the city and the comics it produced were tightly linked: early newspaper strips born in the era of “yellow journalism”; the Golden Age publishers clustered in Midtown offices; the censorship battles of the 1950s; underground cartoonists working out of East Village apartments in the ’60s and ’70s; and the rise of graphic novels in bookstores and museums. Along the way, we'll ask: Why did superhero comics look the way they did? How did economic pressures shape page layout? What happens when the same city produces both blockbuster superhero titles and experimental art magazines?

Readings range from early Sunday pages (the Yellow Kid, Winsor McCay) through Will Eisner’s 
A Contract with God
and Frank Miller’s 
Daredevil
 and 
The Dark Knight Returns
, to Art Spiegelman’s 
RAW
 magazine, Ben Katchor’s urban wanderings, Roz Chast’s 
New Yorker
 cartoons, and contemporary mainstream works like 
Hawkeye
’s “Pizza Dog” issue. Famously, Eisner drew on his Bronx childhood to create 
A Contract with God
, while Miller’s work channels the gritty, anxious New York of the late 1970s and early ’80s. But we’ll look at the full range of what the city made possible, from newspaper syndicates to underground comix to today’s independent publishers.

You’ll learn to read comics closely by analyzing how panel grids, gutters, shadows, and perspectives work and by connecting those choices to the real-world conditions in which they were made. Optional Saturday field trips include Newspaper Row/City Hall Park (early press and Sunday pages), an East Village Underground walk (
East Village Other
/
Gothic Blimp Works
sites), and a visit to the Society of Illustrators/MoCCA (exhibition and archives orientation).

Course assignments combine analytical writing, archival engagement, and original digital scholarship. In addition to two short close-reading essays, there is a final project that takes the form of

• Department: English @Barnard
• Instructor: Benjamin M Breyer
  CULPA: 13 Info
• 3 points

COLL: CONSTRUCTING AND DECONSTRUCTING ST

COLL: CONST&DECONSTR STAT

Why do some countries develop well-functioning states capable of providing security and public services to their citizens while others do not? Why do some develop a strong sense of national identity and unity, while others are plagued by ethnic and communal divisions? How do the structure and strength of the state shape the development of national and other identities, and how do those identities in turn shape the state? This course examines these and related questions from historical and comparative perspectives, drawing on cases from different world regions in both the past and the present.

• Department: Political Science @Barnard
• Instructor: Sheri Berman
  CULPA: 19 Wikipedia h-index: None Info
• 4 points

JUNIOR SEMINAR IN URBAN STUDIES

JUNIOR SEMINAR URBAN STUD

Prerequisites: Non-majors admitted by permission of instructor. Students must attend first class. Enrollment limited to 16 students per section. Introduction to the historical process and social consequences of urban growth, from the middle of the nineteenth century to the present.

• Department: Urban Studies @Barnard
• Instructor: Nick R Smith
  h-index: None Info
• Instructor: Mary Rocco
  CULPA: 2 Info
• 4 points

QUEER HARLEM

This course explores representations of queer Harlem in African American literature, sonic culture, and performance. We will consider the history and making of Harlem, key figures of the Harlem Renaissance, and the aesthetic innovations of writers and artists who defied the racial, sexual, and gendered conventions of their time. We will be guided by an intersectional approach to the study of race, gender, and sexuality and the methods of Black queer studies, African American and African diaspora literary studies, as well as sound and performance scholarship. We will ask when, where, and what was/is gay Harlem; how we might excavate its histories; map its borders; and speculate on its material and imagined futures.

• Department: Africana Studies (AFSB)
• Instructor: Maleda Belilgne
  Info
• 4 points

PHILOSOPHY OF SCIENCE

Philosophical problems within science and about the nature of scientific knowledge in the 17th-20th centuries. Sample problems: causation and scientific explanation; induction and real kinds; verification and falsification; models, analogies and simulations; the historical origins of the modern sciences; scientific revolutions; reductionism and supervenience; differences between physics, biology and the social sciences; the nature of life; cultural evolution; human nature; philosophical issues in cosmology.

• Department: Philosophy
• Instructor: David Albert
  CULPA: 32 Wikipedia h-index: 40 Info
• 3 points

TOURISM&NATL ID-CONTEMP SPAIN

This course focuses on tourism in Spain by local and international travelers as a means for the construction and commodification of national identities both for external and internal audiences. Tourism gives the nation a performative quality not only to attract the gaze of visitors/consumers but also to validate its own unity and coherence as political and symbolic entity for its own citizens. Throughout the 18th and 19th centuries, Spain occupied an ambiguous place in the mind of European and American visitors, a sort of an-other within, an Orientalized or anachronistic incursion in the south of Europe. It was the most marginal and exotic destination of the
Grand Tour
where only the most adventurous travelers chose to go, often instead of Greece, a threshold of Africa instead of the origins of Western Civilization.

After losing its American colonies in the 19th century, Spain sought to
replace
its lost economic and political power
with
cultural influence. It aimed to be the
threshold
through which Europe and Latin America engaged with one another. Key figures of Latin American
modernismo
such as Rubén Darío, José Martí or Gutiérrez Nájera traveled to Spain establishing a systematic dialogue between the former colonial power and the rising influence of the United States.

The arrival of consumer society in the 50’s and 60’s and the accessibility of travel and holidays for the middle classes, progressively turned Spaniards themselves into consumers of their own identity. In that context, the performance of the exotic “difference” that still made the nation marketable and attracted international interest and capital was simultaneous with a progressive assimilation of modern ideas and habits that threatened to erase that very same “difference”. At the same time, both conservative and progressive discourses reacted with fear and resentment towards what was perceived as the threat of secularism or the standardizing and capitalist values brought by a touristic industry that became essential for the economic survival of the nation.

Finally a democratic Spain, systematically dissolved the difference between culture and international relationships in an attempt to project the image of a re-imagined national project, putting in the hands of the Ministry of International Affairs a great part of the responsibility for Cultural Politics. At the same time, t

• Department: Latin American and Iberian Cultures
• Instructor: Alberto Medina
  Info
• 3 points

Climate and Global Migrations

This course explores the deep historical roots of climate-related migration. Before the categories of climate and environmental refugees emerged in recent decades, climate variability, environmental disasters, and ecological change have often shaped human mobility. Building on case studies from across the world and a timeline spanning from antiquity to the present, the class will examine the relationship between human migrations, environmental crises, economic transformations, and political conflicts. Since displacement disproportionately affects vulnerable communities that rely on less resilient environments, the class also sheds light on global inequality by looking at the politics of freedom of movement, nativism, and the connection between anti-immigration backlash.

• Department: History @Barnard
• Instructor: Angelo Caglioti
  h-index: 2 Info
• 4 points

Contemporary Turkish Politics

Turkey’s (Türkiye’s) regional identity has always been ambiguous and multifaceted. While Turkey is sometimes located within the Middle East in academic writings, media reporting, and country analyses, at other times, it is listed among the countries of Europe. In fact, Turkish Republic has always been at the margins of Europe. Developments in Turkey had an impact on European societies while the political dynamics in Europe have always affected Turkey. This course not only reviews Turkey’s unique relationship with Europe but also the international and domestic political developments that preceded democratic and authoritarian practices in Turkey by highlighting critical themes such as westernization, liberalism, secularism, the role of the military, gender, minorities, migration, citizenship, electoral authoritarianism and autocratic legalism.

• Department: Political Science
• Instructor: Ayse Kadioglu
  Info
• 3 points

SCREENDANCE:COMPOSITION

Prerequisites: Must have taken a Dance Department Composition course, have some dance training. This experiential, hands-on course requires all students to choreograph, dance, and film. Focusing on single-shot film-making, the duet of the camera and the dance will create an understanding of the interaction between the two, enabling students to create a final short film.

• Department: Dance @Barnard
• Instructor: Gabri Christa
  CULPA: 1 Info
• 3 points

Art in America, 1968-2000: Culture at th

Historians often approach the late 20th century through the lens of politics and economics, tracking the rise of conservatism, neoliberalism, and the dominance of global capitalism following the end of the Cold War. These narratives, however, leave little room for the arts during a time when American culture became a worldwide export and artists around the country produced inventive work that transformed the culture industry. How does our understanding of the late 20th century change when we focus on the arts? What do we learn from artists about those more familiar subjects of politics and economics. This seminar seeks to answer such questions, exploring cities that emerged as artistic hubs around the United States from 1968-2000. We will survey New York, California, the Sun Belt, and Pacific Northwest, examining subjects such as the rise of Wall Street and the art market; the national “culture war” between conservative politicians and artists; changes in the Hollywood studio system; the development of Silicon Valley, the internet, and tech-culture; the cultural hybridity of the Borderlands/la frontera; the utopian, free-market aspirations of Disney; and artistic responses to globalization. A goal of this class is to practice doing cultural history across artistic genres. Rather than focus on a single type of art, this course encompasses a variety of forms and media so that students can learn to make connections between different modes of cultural expression. We will pair these primary sources with works of historical scholarship so that we can contextualize the role of art in society and think about how it changes at the end of the 20th century. There are no prerequisites for this course, which will enrich majors in History and American Studies, as well as Ethnicity and Race Studies, AAADS, Urban Studies, Women’s and Gender Studies, Art History, Film and Media Studies, Drama and Theatre Arts, and Dance.

• Department: History
• Instructor: Juliana A Devaan
  Info
• 4 points

DANCES OF INDIA

A range of dance genres, from the traditional to the innovative, co-exist as representations of Indianness in India, and beyond. Identities onstage and in films, morph as colonial, national, and global contexts change. This course zooms from micro to macro views of twentieth century staged dances as culturally inflected discourse. We review how Indian classical dance aligns with the oldest of performance texts, and with lively discourses (rasa as a performance aesthetic, Orientalism, nationalism, global recirculations) through the ages, not only in India but also in Europe, Britain and America. Throughout the course, we ask:- How is culture embodied? How do historical texts configure dance today? How might they affect our thinking on mind-body, practice-theory, and traditional-contemporary divides? How does bodily patterning influence the ways that we experience our surroundings and vice versa? Can cultural imaginaries instigate action? How is gender is performed? What are dance discourses?

• Department: Dance @Barnard
• Instructor: Uttara Coorlawala
  CULPA: 4 Info
• 3 points

Afro-Indigenous Relations: Coexistence,

This course examines Afro-Indigeneity as an emerging critical field and as a decolonial framework for the historical, cultural, and political analysis of Latin America and the Caribbean. Through the study of literature, history, film, music, and critical theory, the course analyzes the relationships, conflicts, and interdependencies between Afro-descendant and Indigenous peoples from the colonial period to the present.

• Department: Spanish and Latin American Culture
• Instructor: Alex Pereira
  Info
• 3 points

DANCE CRITICISM

This course offers intensive practice in writing on dance and explores a range of
approaches to dance criticism from the 1940s through today. Starting from the premise
that criticism can be an art form in itself, we ask: What are the roles and responsibilities
of a critic? How do our own identities and experiences inform how we see and write?
With the proliferation of dance in digital spaces, what new possibilities arise for dance
criticism? Class meetings include discussion, writing exercises, and peer workshops.
Assignments involve viewing performances outside of class.

• Department: Dance @Barnard
• Instructor: Siobhan F Burke
  CULPA: 2 Info
• 3 points

HISTORY OF SOCIAL DANCING

Why do we dance—in groups, as couples, on our own, and in genres that range from ballroom dance to hip hop? How does the collective experience of dance create and transform community, produce subcultures or diasporas, and facilitate conformity or rebellion? This course approaches such questions by treating both reading and dancing itself as complementary modes of critical inquiry: we will divide our time between reading history, theory, memoirs, literature, and more; and actually learning and doing social dances of the past and present that have provoked upheavals in social orders. We will study dances that range across history while focusing on the twentieth century and present day, spanning topics that include Renaissance choreomanias, French-Caribbean minuets and contradances, the “wicked waltz,” “animal dances” of the ragtime era, lindy hop, salsa, voguing, viral dances of social media, and contemporary clubbing. Through the constant interplay of critical reading and critical dancing, we will query the power dynamics, historical forces, European and African aesthetics, and more, that intersect in social dances across history, and indeed in our own bodies. This introductory course welcomes students from any discipline, and of all abilities.

• Department: Dance @Barnard
• Instructor: Seth S Williams
  CULPA: 1 Info
• 3 points

Global Francophone Cinema

In this course, we will consider French-language cinema as an inherently global phenomenon, which stems both from the transnational nature of the medium itself, and the legacy of the former French empire. From the very beginning, the Lumière brothers sent cameramen and projectionists to faraway locations—from India to Indochina, or from Mexico to Morocco. If early French ethnographic and narrative cinema functioned as a form of soft power, by the mid-20 th -century, filmmakers were on the frontlines of anti-colonial militantism, documenting, for instance, the horrors of the Algerian War. In the wake of decolonization, great African directors tackled the challenges of emergent nations, as well as the complex neocolonial networks that kept them tied to European metropoles. Today, filmmakers from around the world—from Iran to Cambodia—turn to live-action film and animation in French—despite their complicated relationships to both the language and France’s former empire. This course will include units on: ethnography and docufiction; colonial and anticolonial cinema; historical violence and memory; banlieue, beur, and Black identities; and emergent queer filmmakers. Taught in English, with films in French (and other languages) with English subtitles. Required readings will be available in English, with some optional readings in French for French majors and minors. Satisfies the Global Core requirement. Students may receive credit for the French major / minor if they submit their papers in French. Participation in a discussion section is required.

• Department: French
• Instructor: Aubrey A Gabel
  CULPA: 2 Info
• 4 points

Global Francophone Cinema - REC

DISCUSSION SECTION FOR CLFR3587

• Department: French
• Instructor: Brooke N Habit
  Info
• Instructor: Rj McIntyre
  Info
• 0 points

Anti-Apartheid Solidarity Movement

This course examines the struggle against South African apartheid with a particular focus on the global solidarity movement in the 20th century. The class will examine key turning points in the movement, its connection with broader anti-colonial and anti-racist struggles, gendered constructs of apartheid and feminist leadership in the movement, and the circulation of theories of racial capitalism. Students will understand how and why apartheid became a global concern. Students will work on a project using the primary source material available on the African Activist Archive Digital Project at Michigan State University.

• Department: History @Barnard
• Instructor: Premilla Nadasen
  CULPA: 10 Wikipedia Info
• 4 points

SR SEM IN BIOLOGY

Required for all majors who do not select the year-long Senior Thesis Research & Seminar (BIOL BC3593 & BC3594) to fulfill their senior capstone requirement. These seminars allow students to explore the primary literature in the Biological Sciences in greater depth than can be achieved in a lecture course. Attention will be focused on both theoretical and empirical work. Seminar periods are devoted to oral reports and discussion of assigned readings and student reports. Students will write one extensive literature review of a topic related to the central theme of the seminar section. 
Topics vary per semester and include, but are not limited to:
 Plant Development
, 
Animal Development & Evolution,
 Molecular Evolution, Microbiology & Global Change, Genomics, Comparative & Reproductive Endocrinology, and Data Intensive Approaches in Biology.

• Department: Biological Sciences @Barnard
• Instructor: Rafael Marcondes
  Info
• 4 points

GUIDED RESEARCH & SEMINAR

This year-long course is open to junior and senior Biology majors and minors. Students will complete an independent research project in Biology under the guidance of a faculty mentor at Barnard or another local institution. Attendance at the weekly seminar is required. By the end of the year, students will write a scientific paper about their project and give a poster presentation about their research at the Barnard Biology Research Symposium.

Completion of this year-long course fulfills two upper-level laboratory requirements for the Biology major or minor. This course must be taken in sequence, beginning with BIOL BC3591 in the Fall and continuing with BIOL BC3592 in the Spring. Acceptance into this course requires confirmation of the research project by the course instructors. A Barnard internal mentor is required if the research project is not supervised by a Barnard faculty member. This course cannot be taken at the same time as BIOL BC3593-BIOL BC3594.

• Department: Biological Sciences @Barnard
• 4 points

GUIDED RESEARCH & SEMINAR

This year-long course is open to junior and senior Biology majors and minors. Students will complete an independent research project in Biology under the guidance of a faculty mentor at Barnard or another local institution. Attendance at the weekly seminar is required. By the end of the year, students will write a scientific paper about their project and give a poster presentation about their research at the Barnard Biology Research Symposium.

Completion of this year-long course fulfills two upper-level laboratory requirements for the Biology major or minor. This course must be taken in sequence, beginning with BIOL BC3591 in the Fall and continuing with BIOL BC3592 in the Spring. Acceptance into this course requires confirmation of the research project by the course instructors. A Barnard internal mentor is required if the research project is not supervised by a Barnard faculty member. This course cannot be taken at the same time as BIOL BC3593-BIOL BC3594.

• Department: Biological Sciences @Barnard
• 4 points

SENIOR SEMINAR

Research and scholarly writing in chosen topics relating to dance. Methods of investigation are drawn from prominent archival collections and personal interviews, as well as other resources. Papers are formally presented to the Dance Department upon completion.

• Department: Dance @Barnard
• Instructor: Paul A Scolieri
  CULPA: 19 Info
• 4 points

SENIOR SEMINAR

Research and scholarly writing in chosen topics relating to dance. Methods of investigation are drawn from prominent archival collections and personal interviews, as well as other resources. Papers are formally presented to the Dance Department upon completion.

• Department: Dance @Barnard
• Instructor: Paul A Scolieri
  CULPA: 19 Info
• 4 points

NEUROSCIENCE GUIDED RESEARCH

This lab-based course introduces students to advanced methods in cognitive neuroscience, focusing on the application of electroencephalography (EEG) for real-time recording of brain activity. Unlike traditional approaches that study how the brain responds to different external stimuli or task demands, this course centers on spontaneous brain activity that occurs during rest or just before experimental events. Whether or not spontaneous brain activity is just meaningless noise remains an active area of research in cognitive neuroscience. Some researchers believe that spontaneous brain activity may be an important factor shaping our subjective experience of the world. However, the underlying mechanisms remain elusive in part due to the challenges in objectively defining and measuring subjective experience.

In this course, students will address this challenge by developing methods to study the relationship between spontaneous brain activity and subjective experience, with a particular focus on mind-wandering and the sensory phenomena elicited by Ganzflicker and Ganzfeld stimulation. The course culminates in independent research projects where students test their hypotheses by collecting and analyzing behavioral and EEG data. Key questions to address include: can spontaneous fluctuations in brain activity account for why people sometimes zone out while performing a task? Can the same fluctuations explain why people sometimes have different sensory experiences despite constant external stimuli? Do individual variations in spontaneous brain activity help explain why some people are more likely to report such experiences?

Note: The course involves weekly in person meetings as well as asynchronous work on data acquisition, analysis, and primary article readings for approximately 6 additional hours per week (on average).

• Department: Neuroscience & Behavior @Barnard
• Instructor: Kara Pham
  CULPA: 9 Info
• 4 points

SENIOR THESIS RESEARCH & SEMINAR

SR THESIS RESEARCH & SEMI

This year-long course is open to senior Biology majors. Students will complete an independent research project in Biology under the guidance of a faculty mentor at Barnard or another local institution. Attendance at the weekly seminar is required. By the end of the year, students will write a scientific paper about their project and give an oral presentation about their research at the Barnard Biology Research Symposium.

Completion of this year-long course fulfills the senior capstone requirement for the Biology major. This course must be taken in sequence, beginning with BIOL BC3593 in the Fall and continuing with BIOL BC3594 in the Spring. Acceptance into this course requires confirmation of the research project by the course instructors. A Barnard internal mentor is required if the research project is not supervised by a Barnard faculty member. This course cannot be taken at the same time as BIOL BC3591-BIOL BC3592.

• Department: Biological Sciences @Barnard
• 4 points

SENIOR THESIS RESEARCH & SEMINAR

SR THESIS RESEARCH & SEMI

This year-long course is open to senior Biology majors. Students will complete an independent research project in Biology under the guidance of a faculty mentor at Barnard or another local institution. Attendance at the weekly seminar is required. By the end of the year, students will write a scientific paper about their project and give an oral presentation about their research at the Barnard Biology Research Symposium.

Completion of this year-long course fulfills the senior capstone requirement for the Biology major. This course must be taken in sequence, beginning with BIOL BC3593 in the Fall and continuing with BIOL BC3594 in the Spring. Acceptance into this course requires confirmation of the research project by the course instructors. A Barnard internal mentor is required if the research project is not supervised by a Barnard faculty member. This course cannot be taken at the same time as BIOL BC3591-BIOL BC3592.

• Department: Biological Sciences @Barnard
• 4 points

RSRCH/SEM-NEUROSCNCE&BEHAVIOR

Prerequisites: Open to senior Neuroscience and Behavior majors. Permission of the instructor. This is a year-long course. By the end of the spring semester program planning period during junior year, majors should identify the lab they will be working in during their senior year. Discussion and conferences on a research project culminate in a written and oral senior thesis. Each project must be supervised by a scientist working at Barnard or at another local institution. Successful completion of the seminar substitutes for the major examination.

• Department: Neuroscience & Behavior @Barnard
• Instructor: Russell D Romeo
  CULPA: 9 Info
• Instructor: Elizabeth P Bauer
  CULPA: 3 h-index: 21 Info
• Instructor: Alex White
  h-index: 13 Info
• Instructor: Kevin G Bath
  Info
• 4 points

GUIDED RESEARCH

Similar to BIOL BC3591-BIOL BC3592, this is a one-semester course that provides students with degree credit for unpaid research 
without 
a seminar component. You may enroll in BIOL BC3597 for between 1-4 credits per semester. As a rule of thumb, you should be spending approximately 3 hours per week per credit on your research project.

A 
Project Approval Form
 must be submitted to the department each semester that you enroll in this course. Your Barnard research mentor (if your lab is at Barnard) or internal adviser in the Biology Department (if your lab is elsewhere) must approve your planned research 
before
 you enroll in BIOL BC3597. You should sign up for your mentor's section. 

This course does not fulfill any Biology major requirements.  It is open to students beginning in their first year.

• Department: Biological Sciences @Barnard
• Instructor: Rafael Marcondes
  Info
• Instructor: Hilary Callahan
  CULPA: 4 h-index: 17 Info
• Instructor: John Glendinning
  CULPA: 23 h-index: 39 Info
• Instructor: Jordan Balaban
  Info
• Instructor: Jj L Miranda
  CULPA: 3 Info
• Instructor: Alison Pischedda
  CULPA: 3 h-index: 11 Info
• Instructor: Jonathan Snow
  CULPA: 7 h-index: 18 Info
• Instructor: Brian Morton
  CULPA: 21 Info
• Instructor: Jennifer H Mansfield
  CULPA: 2 h-index: 15 Info
• Instructor: Gabrielle Corradino
  Info
• Instructor: Jessica Goldstein
  CULPA: 14 Info
• Instructor: Emlyn J Resetarits
  Info
• Instructor: Rishita Shah
  Info
• 1-4 points

PROBLEMS IN CHEMISTRY

Prerequisites: CHEM BC3328 and permission of instructor. Individual research projects at Barnard or Columbia, culminating in a comprehensive written report.

• Department: Chemistry @Barnard
• Instructor: Christian Rojas
  CULPA: 24 Info
• Instructor: Marisa C Buzzeo
  CULPA: 2 Info
• Instructor: Dina C Merrer
  CULPA: 24 Info
• Instructor: Andrew C Crowther
  CULPA: 1 Info
• Instructor: Michael Campbell
  Info
• Instructor: Rachel Austin
  CULPA: 18 Wikipedia h-index: 28 Info
• Instructor: Christina Vizcarra
  CULPA: 1 Info
• Instructor: Rebecca Donegan
  Info
• Instructor: Meenakshi S Rao
  CULPA: 24 Info
• 2 points

PROBLEMS IN CHEMISTRY

Prerequisites: CHEM BC3328 and permission of instructor. Individual research projects at Barnard or Columbia, culminating in a comprehensive written report.

• Department: Chemistry @Barnard
• 2 points

PROBLEMS IN CHEMISTRY

Prerequisites: CHEM BC3328 and permission of instructor. Individual research projects at Barnard or Columbia, culminating in a comprehensive written report.

• Department: Chemistry @Barnard
• Instructor: Christian Rojas
  CULPA: 24 Info
• Instructor: Marisa C Buzzeo
  CULPA: 2 Info
• Instructor: Dina C Merrer
  CULPA: 24 Info
• Instructor: Andrew C Crowther
  CULPA: 1 Info
• Instructor: Michael Campbell
  Info
• Instructor: Rachel Austin
  CULPA: 18 Wikipedia h-index: 28 Info
• Instructor: Christina Vizcarra
  CULPA: 1 Info
• Instructor: Rebecca Donegan
  Info
• 4 points

PROBLEMS IN CHEMISTRY

Prerequisites: CHEM BC3328 and permission of instructor. Individual research projects at Barnard or Columbia, culminating in a comprehensive written report.

• Department: Chemistry @Barnard
• 4 points

GIRLS' SCHOOLS: THE LITERATURE OF WOMEN

From the finishing school to the convent to the women’s college, spaces of female education have long fascinated writers. More than just academic spaces, these are also unique worlds of friendship and exclusion, desire and alienation, community and social fracture, conformity and transgression. In this course, we will explore how women’s education has been imagined in novels, poetry, and film from the early modern period to the present. Beginning with competing visions of women’s education in early feminist and anti-feminist thought, we’ll go on to explore how imaginative writers from the nineteenth century to the present have envisioned the girls’ school as both a literary and a social space. What kinds of cultural fantasies attach to these spaces, and what narratives and social relationships do they enable? How are differences of class, race, sexuality, and religion negotiated within them? Do girls’ schools offer a world apart from society, or do they recreate and intensify outside social dynamics within their walls? Our exploration will take us across genres and media, including the Bildungsroman, the detective novel, the narrative poem, and the horror film. Readings will include works by Charlotte Brontë, Fleur Jaeggy, Jamaica Kincaid, Mary McCarthy, Dorothy Sayers, Muriel Spark, Alfred Tennyson, Mary Wollstonecraft, and others.

• Department: English @Barnard
• Instructor: Jayne Hildebrand
  CULPA: 3 Info
• 4 points

THE POLITICS OF FOOD

• Department: Women's and Gender Studies
• Instructor: Janet Jakobsen
  CULPA: 6 Wikipedia Info
• 4 points

Introduction to Continuous Control Syste

Intr to Continuous Contro

Introduction to continuous systems with the treatment of classical and state-space formulations. Mathematical concepts, complex variables, integral transforms and their inverses, differential equations, and relevant linear algebra. Classical feedback control, time/frequency domain design, stability analysis, Laplace transform formulation and solutions, block diagram simplification and manipulation, signal flow graphs, modeling physical systems and linearization. state-space formulation and modeling, in parallel with classical single-input single-output formulation, connections between the two formulations. Transient and steady state analysis, methods of stability analysis, such as root locus methods, Nyquist stability criterion, Routh Hurwitz criterion, pole/zero placement, Bode plot analysis, Nichols chart analysis, phase lead and lag compensators, controllability, observability, realization of canonical forms, state estimation in multivariable systems, time-variant systems. Introduction to advanced stability analysis such as Lyapunov stability and simple optimal control formulation.  May not take for credit if already received credit for EEME E4600.

• Department: Mechanical Engineering
• Instructor: Homayoon Beigi
  Info
• 3 points

METAPHYSICS

Corequisites: PHIL V3611 Required Discussion Section (0 points). Systematic treatment of some major topics in metaphysics (e.g. modality, causation, identity through time, particulars and universals). Readings from contemporary authors.

• Department: Philosophy
• Instructor: Achille Varzi
  CULPA: 30 Wikipedia h-index: 40 Info
• 4 points

Religion in Chinese Society

Issues and problems in the understanding of religion in China from late imperial times to the present.

• Department: Anthropology
• Instructor: Myron L Cohen
  CULPA: 6 Info
• 4 points

INDEPENDENT STUDY

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.

• Department: Psychology @Barnard
• Instructor: Robert Brotherton
  CULPA: 1 Info
• Instructor: Colin Leach
  CULPA: 4 h-index: 41 Info
• Instructor: Ken Light
  CULPA: 17 h-index: 15 Info
• Instructor: Koleen McCrink
  CULPA: 6 h-index: 17 Info
• Instructor: Michelle Greene
  Info
• Instructor: Robert E Remez
  CULPA: 26 Wikipedia h-index: 23 Info
• Instructor: Mariel Roberts
  h-index: None Info
• Instructor: Ann Senghas
  CULPA: 17 Info
• Instructor: Katherine Thorson
  CULPA: 4 h-index: 7 Info
• Instructor: Lisa K Son
  CULPA: 25 Info
• Instructor: Kate M Turetsky
  Info
• Instructor: Kathleen M Taylor
  CULPA: 78 Info
• Instructor: Tara Well
  CULPA: 4 Info
• Instructor: Michael Wheaton
  h-index: 31 Info
• Instructor: E'Mett McCaskill
  CULPA: 38 Info
• Instructor: Erica Musser
  Info
• Instructor: Alexandra C Horowitz
  CULPA: 23 Wikipedia Info
• Instructor: Armita Ghobadi
  Info
• Instructor: Anna Shusterman
  Info
• 1-4 points

REHEARSAL&PERFRMNCE IN DANCE

The course can be taken for 1-3 credits. Students are graded and take part in the full production of a dance as performers, choreographers, designers, or stage technicians.

• Department: Dance @Barnard
• 1-3 points

REHEARSAL&PERFRMNCE IN DANCE

The course can be taken for 1-3 credits. Students are graded and take part in the full production of a dance as performers, choreographers, designers, or stage technicians.

• Department: Dance @Barnard
• 1-3 points

REHEARSAL&PERFRMNCE IN DANCE

The course can be taken for 1-3 credits. Students are graded and take part in the full production of a dance as performers, choreographers, designers, or stage technicians.

• Department: Dance @Barnard
• 1-3 points

REHEARSAL&PERFRMNCE IN DANCE

The course can be taken for 1-3 credits. Students are graded and take part in the full production of a dance as performers, choreographers, designers, or stage technicians.

• Department: Dance @Barnard
• Instructor: Vincent McCloskey
  CULPA: 2 Info
• 1-3 points

FOUNDATIONS OF OPTIMIZATION

This first course in optimization focuses on theory and applications of linear optimization, network optimization, and dynamic programming.

• Department: Industrial Engineering and Operations Research
• Instructor: Eric Balkanski
  h-index: 13 Info
• 3 points

THIRD YEAR MOD COLLOQ TIBET I

For those whose knowledge is equivalent to a student who’s completed the Second Year course. The course develops students’ reading comprehension skills through reading selected modern Tibetan literature. Tibetan is used as the medium of instruction and interaction to develop oral fluency and proficiency.

• Department: East Asian Languages and Cultures
• Instructor: Sonam Tsering
  Info
• 4 points

CHILDREN AT RISK

Prerequisites: PSYC UN1010, PSYC UN2280, PSYC UN2620, or PSYC UN2680, and the instructors permission. Considers contemporary risk factors in childrens lives. The immediate and enduring biological and behavioral impact of risk factors.

• Department: Psychology
• 4 points

SENIOR RESEARCH THESIS

Discussions of the student's Independent Research project during the fall and spring terms that culminate in a written and oral senior thesis. Each project must be supervised by a scientist working at Barnard or at another local institution.

• Department: Psychology @Barnard
• Instructor: Lisa K Son
  CULPA: 25 Info
• 1 points

TOPICS IN CLINICAL PSYCHOLOGY

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.

• Department: Psychology
• Instructor: Hannah E Hoch
  CULPA: 27 Info
• Instructor: Irit Felsen
  Info
• 4 points

Why do people hurt themselves?: improvin

Presently, suicidal thoughts and behaviors (STBs) are on the rise, particularly among racially and
ethnically minoritized youth. The seminar is designed to enhance understanding of: (a)
prevalence, (b) etiology, (c) risk factors (d) mechanisms (e.g., phenotypes and biological
markers), (e) prevention and treatment approaches, and (f) ethical considerations

• Department: Psychology
• Instructor: Randy P Auerbach
  h-index: 50 Info
• 4 points

AMERICAN FOREIGN POLICY

This course is concerned with what policy the American government should adopt toward several foreign policy issues in the next decade or so, using materials from contradictory viewpoints. Students will be required to state fairly alternative positions and to use policy analysis (goals, alternatives, consequences, and choice) to reach conclusions.

• Department: Political Science
• Instructor: Elizabeth N Saunders
  Wikipedia Info
• 4 points

AMERICAN FOREIGN POLICY-DISC

Corequisites: POLS UN3631 This is the required discussion section for POLS UN3631.

• Department: Political Science
• 0 points