THE WRITER'S PROCESS

Enrollment limited to Barnard students. Application process and permission of instructor required:
https://writing.barnard.edu/become-writing-fellow
. Exploration of theory and practice in the teaching of writing, designed for students who plan to become Writing Fellows at Barnard. Students will read current theory and consider current research in the writing process and engage in practical applications in the classroom or in tutoring. The Writer’s Process is only open to those who applied to and were accepted into the Writing Fellows Program.
Note: This course now counts as an elective for the English major.

• Department: English @Barnard
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Alexandra P Watson
  CULPA: 16 Info
• Instructor: Pamela Cobrin
  CULPA: 6 Info
• 4 points

LOVE & LITERATURE

LOVE AND LITERATURE

This course offers an in-depth study of love as it has been treated in a variety of French literary texts. These texts will be related to a number of important philosophical and theological approaches to love, particularly in respect of certain ideas concerning ethical love, erotic love, and religious faith as an act of loving God. The first objective of this class is to show how one can relate literature to philosophy and theology; the second is to gain a broad, but thematically focused familiarity with French literature, and with some literary works beyond the French tradition. FREN BC1204: French Intermediate II or the equivalent level is required.

• Department: French @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Brian D O'Keeffe
  CULPA: 28 Info
• 3 points

ADVANCED INDONESIAN I

This course offers students the opportunity to practice advanced structures of Bahasa Indonesia, a major language of Indonesia and South East Asia. This course is offered by videoconferencing from Cornell as part of the Shared Course Initiative.

• Department: Language Resource Center
• TWR 8 a.m.-8:50 a.m.
• 3 points

INTRODUCTION TO LINGUISTICS

An introduction to the study of language from a scientific perspective. The course is divided into three units: language as a system (sounds, morphology, syntax, and semantics), language in context (in space, time, and community), and language of the individual (psycholinguistics, errors, aphasia, neurology of language, and acquisition). Workload: lecture, weekly homework, and final examination.

• Department: Slavic Languages
• TR 1:10 p.m.-2:25 p.m.
• Instructor: John H McWhorter
  CULPA: 26 Wikipedia Info
• 3 points

Literary Sinhala I

This one-semester course introduces the distinctive grammatical forms and vocabulary used in Literary Sinhala. While focused particularly on the development of reading skills, the course also introduces students to Literary Sinhala composition, builds students’ listening comprehension of semi-literary Sinhala forms (such as those used in radio and TV news), and guides students in incorporating elements of the literary register of Sinhala in their spoken production.

• Department: Language Resource Center
• TR 1 p.m.-2:30 p.m.
• 3 points

THIRD YEAR VIETNAMESE I

• Department: East Asian Languages and Cultures
• T 12:10 p.m.-2 p.m.
• Instructor: Chung Nguyen
  CULPA: 1 Info
• 3 points

ADVANCED ZULU I

Prerequisites: ZULU W1201-W1202 or the instructor's permission. This course allows students to practice adanced structures of the Zulu language. Please note this course is offered by videoconference from Yale through the Shared Course Initiative.

• Department: Language Resource Center
• MW 1 p.m.-2:15 p.m.
• Instructor: Nandipa Sipengane
  Info
• 3 points

ACADEMIC WRITING INTENSIVE

Academic Writing Intensive is a small, intensive writing course for Barnard students in their second or third year who would benefit from extra writing support. Students attend a weekly seminar, work closely with the instructor on each writing assignment, and meet with an attached Writing Fellow every other week. Readings and assignments focus on transferable writing, revision, and critical thinking skills students can apply to any discipline. Students from across the disciplines are welcome. This course is only offered P/D/F. To be considered for the course, please send a recent writing sample to 
vcondill@barnard.edu
, ideally from your First-Year Writing or First-Year Seminar course, or any other writing-intensive humanities or social sciences course at Barnard (no lab reports please).

• Department: English @Barnard
• W 11 a.m.-12:50 p.m.
• Instructor: Cecelia B Lie-Spahn
  CULPA: 1 Info
• 4 points

THE ART OF THE ESSAY

NOTE: Students who are on the electronic waiting list or who are interested in the class but are not yet registered MUST attend the first day of class.

Fall 2022 course description: Essay writing above the first-year level. Reading and writing various types of essays to develop one's natural writing voice and craft thoughtful, sophisticated and personal essays. 

Summer 2022 course description: The Art of the Essay is a writing workshop designed to help you contribute meaningfully in public discourse about the issues that matter most to you. You will write three types of essays in this class, all of which will center personal experience as valuable evidence of larger phenomena or patterns. Your essays will build in complexity, as you introduce more types of sources into conversation about your topics as the semester goes on. You will hone your skills of observing, describing, questioning, analyzing, and persuading. You will be challenged to confront complications and to craft nuanced explorations of your topics. We will also regularly read and discuss the work of contemporary published essayists, identifying key writerly moves that you may adapt as you attempt your own essays.  You will have many opportunities throughout the semester to brainstorm ideas, receive feedback from me and your peers, and develop and revise your drafts. At the end of the semester, you will choose a publication to which to submit or pitch one or more of your essays.

• Department: English @Barnard
• T 12:10 p.m.-2 p.m.
• T 2:10 p.m.-4 p.m.
• T 11 a.m.-12:50 p.m.
• Instructor: Wendy C Schor-Haim
  CULPA: 11 Info
• Instructor: Margaret R Ellsberg
  CULPA: 54 Info
• Instructor: Vrinda Condillac
  CULPA: 28 Info
• 3 points

Language, Brain and Mind

The ability to speak distinguishes humans from all other animals, including our closest relatives, the chimpanzees. Why is this so? What makes this possible? This course seeks to answer these questions. We will look at the neurological and psychological foundations of the human faculty of language. How did our brains change to allow language to evolve? Where in our brains are the components of language found? Are our minds specialized for learning language or is it part of our general cognitive abilities to learn? How are words and sentences produced and their meanings recognized? The structure of languages around the world varies greatly; does this have psychological effects for their speakers?

• Department: Slavic Languages
• MW 2:40 p.m.-3:55 p.m.
• Instructor: William Foley
  h-index: 0 Info
• 3 points

Women Writers of Contemporary Middle Eas

WOMEN WRITERS MIDEAST AFR

Since the last decades of the twentieth century there has been a dramatic increase in the number of women writers from the Middle East and North Africa. This advanced course, which will be taught mainly in French, provides a window into this rich and largely neglected branch of world literature. Students will encounter the breadth and creativity of contemporary Middle Eastern and North African women’s literature by reading a range of twentieth- and twenty-first-century novels, short stories, memoirs and poetry available in French or in translation, and by viewing films that are from or about Iran, Lebanon, Algeria, and Egypt. How do Middle Eastern women authors address women’s oppression – both social and physical – and enunciate issues such as the tension between tradition and modernity, sexuality, identity and class from a female perspective? What literary traditions and models do they draw on? How different are those texts written in French for a global audience, as opposed to those written in Persian or Arabic? What are the effects of reading them in translation? Authors will include Marjane Satrapi, Shahrnush Parsipur, Assia Djebar, Maïssa Bey and Nawal El Saadawi.

• Department: French @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Melanie Heydari
  Info
• 3 points

FICTION & PERSONAL NARRATIVE

Writing sample required to apply. Instructions and the application form can be found here: 
https://english.barnard.edu/english/creative-writing-courses
. Short stories and other imaginative and personal writing.

• Department: English @Barnard
• W 12:10 p.m.-2 p.m.
• R 11 a.m.-12:50 p.m.
• Instructor: Jhumpa Lahiri
  Wikipedia Info
• Instructor: Zaina F Arafat
  Info
• 3 points

SOLID STATE DEVICES-MATERIALS

Crystal structure and energy band theory of solids. Carrier concentration and transport in semiconductors. P-n junction and junction transistors. Semiconductor surface and MOS transistors. Optical effects and optoelectronic devices. Fabrication of devices and the effect of process variation and distribution statistics on device and circuit performance.

• Department: Electrical Engineering
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Savannah Eisner
  Info
• 3.5 points

INTRODUCTION TO FICTION WRITING

INTRO TO FICTION WRITING

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.

This class is an introduction to writing fiction, with a focus on the short story. The initial weeks will focus on writing exercises and also deep reading of published short stories, in order to attempt to understand the space we enter when we enter a piece of fiction, what does it mean to move through it, how is it moving. Later, student work will become the main text as the focus shifts into workshop. Stories likely on the syllabus include Herman Melville’s “Bartleby, the Scrivener,” Octavia Butler’s “Speech Sounds,” Mieko Kanai’s “Rabbits,” Carmen Maria Machado’s “The Husband Stitch,” and the flash fiction of Lydia Davis.

• Department: English @Barnard
• R 9 a.m.-10:50 a.m.
• Instructor: Faculty
  h-index: 37 Info
• 3 points

THE AFRICANA COLLOQUIUM

CARIBBEAN WOMEN HERSTORIES

The Africana Studies Department offers special topics courses every year as colloquia. These colloquia provide opportunities for students to explore areas of particular interest within African Diasporic Studies in a seminar environment. Students earn 4 credits for these courses. There are multiple colloquia offered by the department every year. Some of the topics for these colloquia have included Critical Race Theory, Indian Ocean Diaspora, The New Black, Caribbean Women, and Black Shakespeare. As the topics change, students should check with the Chair of the Africana Studies Department if they have any questions about the topics for a particular academic year.

• Department: Africana Studies (AFSB)
• W 4:10 p.m.-6 p.m.
• Instructor: Celia E Naylor
  CULPA: 2 Info
• 4 points

PRINCIPLES OF TRANSPORT PHENOMENA

PRINC TRANSPORT PHENOMENA

A mechanistic and mathematical description of the engineering fundamentals of heat and mass transport and fluid mechanics based on mass, momentum and energy balances from the molecular to the continuum to the industrial device scale. Problems and applications will focus on energy, biological and chemical systems and processes.

• Department: Chemical Engineering
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Christopher M Boyce
  h-index: 17 Info
• 3 points

INTRODUCTION TO POETRY WRITING

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.

Spring 2026:

Section 1, taught by Angel Nafis: Poetry Belongs With Us
 
As legend Lucille Clifton said, “poetry began when somebody walked out of a cave and looked up at the sky with wonder and said, “Ahhh.” That was the first poem.” In this class we will be demystifying the fundamentals of writing poetry by sharpening our most natural sonic and narrative instincts. We will use these instincts to guide our insights as we explore and practice specific craft elements and structural gestures—from the Ode, Elegy, and Sonnet, to Ekphrasis and Erasure. We’ll study the work of contemporary luminaries like Gwendolyn Brooks, Kaveh Akbar, Sharon Olds, Jenny Xie, June Jordan, Ocean Vuong, and more; using their example to inspire us on how best to understand and command the poetic line. Class time will include weekly writing prompts and share-outs. Come prepared to take risks and foster curiosity.

 

Section 2, taught by Miranda Field:
 
This class approaches poetry as a practice energized as much by playful provocation as by engagement with urgent issues of the day. In-class writing and weekly prompts designed to provoke creative ingenuity will keep you writing, ensuring everyone has new poems to workshop regularly. A list of quotes headed “
What is This Thing Called Poetry?
” starts the class off with a discussion intended to open our minds and challenge pre-conceived notions on the topic. This will be followed by other, more focused questions and propositions, providing discussion topics for each class: How do artifice and raw reality intertwine in a poem’s making? In what ways can poems deepen our understanding of ourselves, each other, and the world we share? How do we, as poets, unlock the full potential of our chosen medium, language? What do we mean by “voice” in a poem, and when and how does “voice” emerge? Required readings are central to our work together, and specified titles and volumes must be acquired by the third week of the semester. Supplemental material will be provided as handouts and distributed in class.

• Department: English @Barnard
• T 4:10 p.m.-6 p.m.
• F 12:10 p.m.-2 p.m.
• Instructor: Brionne Janae
  Info
• Instructor: Farnoosh Fathi
  Info
• 3 points

Language and Pop Culture in Contemporary

Language & Pop Culture: F

What are French people
actually
saying to each other? You’ve taken French for 3+ years, have been reading literature, watching films and writing about them in sophisticated analyses. Yet, conversations among native speakers may still elude you. This course is designed to help you bridge that gap, and gain a better understanding of the slang (
argot
) and the pop culture references that contribute to French’s vibrancy. Together we will review a variety of contemporary French popular art forms, from music, film and graphic novels to street art, film, and food culture. We will explore the history of these genres, and the ways in which French identity is continuously (re)-established in its popular culture with and against the influences of decolonization, Americanization and globalization. The course is conducted in French.

• Department: French @Barnard
• MW 4:10 p.m.-5:25 p.m.
• Instructor: Karen Santos da Silva
  CULPA: 4 Info
• 3 points

PLAYWRITING I

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.

What is the difference between a play and a film? No two playwrights will have the same response, but all must address the question. This is a class that revels in that distinction, encouraging students to explore the idiosyncrasy, strangeness, and power of the form. For half the semester, students will be writing in response to prompts that are designed to teach fundamental principles of the form. In addition to writing their own work, every week students will choose two plays from a collection of 150 to read and comment briefly on. During the second half of the semester, students develop a longer work, to be submitted as either a completed one act or a partial draft with notes for a full-length work. Classes are spent reading and discussing students’ work. No previous experience in playwriting is necessary.

• Department: English @Barnard
• M 4:10 p.m.-6 p.m.
• Instructor: Ellen McLaughlin
  CULPA: 4 Info
• 3 points

STORY WRITING

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.
 
A workshop in writing, with emphasis on the short story.

Story Writing I is an advanced workshop in prose writing, with emphasis on the short story. Some experience in the writing of fiction is required. Students will share at least two pieces of their own work with the class over the course of the semester. In addition, each week we will read and analyze a variety of published short stories with an eye for craft and writerly decisions that might be applied to our own work. Exercises and in-depth workshop letters will push students to think more deeply about their own choices and the many layers that make up their work. Conference hours to be arranged.

• Department: English @Barnard
• T 11 a.m.-12:50 p.m.
• Instructor: Nellie G Hermann
  Info
• 3 points

FICTION WRITING

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. 

Section 1 (taught by Sarah Wang in Spring 2026)
 
Narrative Strategies: 
This course will explore the different ways that stories can be told. How a story is written is as important as what a story is about. Is there a turn at the end that changes everything you thought you knew? Is the narrator speaking from inside experience, reportage from the front lines of another world? How can the epistolary form be utilized to effect? Students will workshop their own stories, participate in four in-class generative writing sessions, and read weekly short stories demonstrating various strategies for style, voice, setting, dialogue, form, and point of view. Particular focus will be placed on writing from the margins and writing as an act of bearing witness.

Section 2 (taught by Gina Apostol in Spring 2026):
 
This course will focus particularly on crafting the literary technique of point of view in fiction. Students will craft work with this question in mind: in what ways are art and ethics combined in the crafting of point of view? Students will practice writing from different narration modes: third person limited and omniscient, free indirect discourse, first person, and so on. They will consider the ethics of point of view by reading short stories, among them stories from Borges’s 
Labyrinths
, John Keene’s 
Counternarratives
, and Angela Carter’s 
Saints and Strangers.
 Some theoretical matters will include: postcoloniality in narration; identity in narration; ‘queering’ history; and critical race thought. Students will write three different pieces with the crafting of point of view in mind. Students will workshop each other’s pieces as well as discuss the texts in relation to their practice of the art of fiction.

• Department: English @Barnard
• W 2:10 p.m.-4 p.m.
• F 11 a.m.-12:50 p.m.
• Instructor: Weike Wang
  CULPA: 1 Info
• Instructor: Idra L Novey
  CULPA: 2 Wikipedia Info
• 3 points

ADVANCED POETRY WRITING

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. 

What drives the music of a poem? How does one create rhythm and song? In what ways do chunks of language sort and arrange the perception of our readers? The purpose of this advanced poetry workshop is to closely study syntax, or in the words of Ellen Bryant Voigt, “the order of the words in each human utterance.” To further build upon our technical foundation as writers, we will also engage in other elements of craft, such as deep imagery, grammatical moods, tone, and poetic closure. We will be reading a variety of poets, including Etel Adnan, Rita Dove, Brigit Pegeen Kelly, John Murrillo, Choi Seungja, and Yuki Tanaka. Be prepared to generate new material independently for peer workshops where you will gain valuable feedback and constructive criticism. 

Apart from challenging your poetics on a technical level, I expect you to come to class with a strong desire to create meaning out of your daily lives, your personal or collective histories, and the futures that you are actively imagining. Your openness and willingness to grow as a human, poet, and critical thinker are fundamental to fostering a kind and supportive community in the classroom. Not only will you be writing poems, you will also learn to translate your soul’s language and help others do the same.

• Department: English @Barnard
• T 11 a.m.-12:50 p.m.
• M 10:10 a.m.-noon
• Instructor: Patricia S Jones
  Info
• Instructor: Faculty
  h-index: 37 Info
• 3 points

SCREENWRITING FUNDAMENTALS

SCREENWRITING FUNDMENTALS

Prerequisites: FILM BC3201 or equivalent. Enrollment limited to 12 students. Priority is given to Film Studies majors/concentrations in order of class seniority. Corequisites: (Since this is a Film course, it does not count as a writing course for English majors with a Writing Concentration.)

This course is ideal for writers of their FIRST, SECOND AND THIRD screenplays. The first several weeks will focus on STORY: What it is, what it isn’t, how to recognize the difference. How to find your own individual stories that nobody else in the universe can tell.

From there we will make the transition to the highly individualized techniques, the strengths and limitations, the dynamics of telling a SCREEN STORY; what to leave in, what to leave out. As Michelangelo puts it—starting with a block of marble and chipping away everything that isn’t David.  Through studies of existing screenplays and films in coordination with and hands-on writing exercises which we will share in class, we will develop our skills in all aspects of screenwriting; building fascinating characters, dialogue, story construction (The BIG PICTURE) and scene construction (The Small Picture)

Perfection is not the goal; but rather it is to be able to say truly at the end of each day’s writing, “I did the best I could with what I had at the time. (Phillip Roth quoting heavyweight champion Joe Louis)

• Department: Film @Barnard
• W 2:10 p.m.-5 p.m.
• Instructor: Peter Nickowitz
  Info
• 3 points

CITY,LANDSCAPE, & ECOLOGY

City, Landscape, Ecology 
is a thematically driven course that centers on issues and polemics related to landscape, land settlement and ecology over the past two centuries. The class looks at changing attitudes to the natural world from the eighteenth century to the present, tracing important historical shifts in the consideration of nature across the ecological sciences, conservation practices, landscape design, and environmental activism, law and policy. Lectures focus on the critical role that artists and architects have played, and are to play, in making visible the sources of environmental degradation and in developing new means of mitigating anthropogenic ecological change.

City, Landscape, Ecology 
is divided into three parts. Part I explores important episodes in the history of 
landscape
: picturesque garden theory, notions of “wilderness” as epitomized in national and state parks in the United States, Modern and Postmodern garden practices, and place of landscape in the work of artists from the 1960s to the present. The purpose here is to better understand the role that territorial organization plays in the construction of social practices, human subjectivities, and technologies of power. Lectures in this part are shaped around a dialectical pair of historical episodes–– for example, the picturesque garden is paired with the enclosure of the commons, and American national parks are discussed in relation to the systematic removal of native peoples.

We then turn to 
ecology
 and related issues of climate, urbanization and sustainability in Part II. Here we will look at the rise of ecological thinking in the 1960s; approaches to the environment that were based on the systems-thinking approach of the era. In the session “Capitalism, Race and Population Growth” we examine the history of the “crisis” of scarcity from Thomas Robert Malthus, to Paul R. Ehrlich (
The Population Bomb
, 1968) to today and look at questions of environmental racism, violence and equity. 

The course concludes with Part III on 
Environmental Repair
. At this important juncture in the course, we will ask what is to be done today. We’ll examine the work of contemporary theorists, architects, landscape architects, policy makers and environmentalists who have channeled some of the lessons

• Department: Architecture @Barnard
• MW 4:10 p.m.-5:25 p.m.
• Instructor: Ralph Ghoche
  CULPA: 1 h-index: 2 Info
• 3 points

NEW TESTAMENT INTRODUCTION

• Department: Religion @Barnard
• MW 2:40 p.m.-3:55 p.m.
• 3 points

PUBLIC SPEAKING

Open only to undergraduates. 


This course will introduce you to principles of effective public speaking and debate, and provide practical opportunities to use these principles in structured speaking situations. You will craft and deliver speeches, engage in debates and panel discussions, analyze historical and contemporary speakers, and reflect on your own speeches and those of your classmates. You will explore and practice different rhetorical strategies with an emphasis on information, persuasion and argumentation. For each speaking assignment, you will go through the speech-making process, from audience analysis, purpose and organization, to considerations of style and delivery. The key criteria in this course are content, organization, and adaptation to the audience and purpose. While this is primarily a performance course, you will be expected to participate extensively as a listener and critic, as well as a speaker.

• Department: English @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Daniela Kempf
  Info
• 3 points

DATA VISUALIZATION

Data visualizations are a powerful tool for gaining knowledge, discovering hidden relationships and patterns, communicating messages, and influencing others’ opinions and values. Visualizations help inform our personal decisions (Where will I go to college? Can I afford this housing?), community decisions, and societal decisions (How do we respond to climate change? Pandemics?). But if we cannot communicate our message clearly, a visualization’s usefulness decreases and it can even be detrimental to our goals. In this course, students learn the fundamentals behind using graphs and charts to visually communicate ideas and gain practical experience with creating their own visualizations. We discuss the theory of visual communication, how the brain processes visual information, technical aspects of visualization implementation, ethics of data visualization, and data visualization research. Assignments consist of programming projects in Javascript with the D3 library. The class has a midterm and a final project (no final exam). Prerequisites: COMS W3134 (or equivalent). Experience with programming in Javascript is strongly recommended.

• Department: Computer Science @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Faculty
  h-index: 37 Info
• 3 points

RHETORICAL CHOICES: PUBLIC SPEAKING

RHETORICAL CHOICES:PBLC S

Enrollment restricted to Barnard students. Application process and instructor permission required:
https://speaking.barnard.edu/become-speaking-fellow
. Speaking involves a series of rhetorical choices regarding vocal presentation, argument construction, and physical affect that, whether made consciously or by default, project information about the identity of the speaker. In this course students will relate theory to practice: to learn principles of public speaking and speech criticism for the purpose of applying these principles as peer tutors in the Speaking Fellow Program.
Note: This course now counts as an elective for the English major.

• Department: English @Barnard
• TR 11:40 a.m.-12:55 p.m.
• 4 points

History of Western Music: Middle Ages to

Hist of West Mus: Mid Age

Topics in western music from Antiquity through Bach and Handel, focusing on the development of musical style and thought, and analysis of selected works. Pre-req: Music Theory II or permission of instructor.

• Department: Music
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Susan Boynton
  CULPA: 18 Info
• 3 points

THE AMERICAN COWBOY AND THE ICONOGRAPHY

AMER COWBOY/ICONOG OF WES

This entertaining and edifying lecture-not-unmixed-with conversation course will
consider the icon of the American cowboy, with its signature embrace of
masculinity, stoicism, elegiac music, and identification with nature. We will read
Cormac McCarthy’s dazzling Border Trilogy and other works that emerge from
this icon, watch a curated series of cowboy movies, and write critical essays.

• Department: English @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Margaret R Ellsberg
  CULPA: 54 Info
• 3 points

CREATIVE NON-FICTION

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.

Spring 2026: Drawing Cartoons and Comics

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

• Department: English @Barnard
• T 11 a.m.-12:50 p.m.
• Instructor: Nina Sharma
  CULPA: 5 Info
• 3 points

BALLET V

This course is for the intermediate advanced dancer. Material presented will focus on healthy anatomical alignment in barre work, extended combinations in the center, fostering personal artistic expression, and integrating improvisation in combinations with the ballet vocabulary. Clarification, analysis and repetition are fundamental elements for a sound technique of any dancer and are the foundation of this course. Center work will include attention to shaping adagio work, multiple turns in the large poses, batterie, and extended grand allegro. You may be assigned the construction and presentation of exercises, which will be explained in detail further into the semester.

• Department: Dance @Barnard
• MW 4:10 p.m.-5:25 p.m.
• MW 8:40 a.m.-9:55 a.m.
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Cynthia Anderson
  Info
• Instructor: Unity Phelan
  Info
• Instructor: Marjorie Folkman
  CULPA: 2 Info
• 2 points

INTRODUCTION VOCAL REPERTOIRE

This course is designed for developing singers. Group vocalizing, learning of songs and individual workshop performances are aimed at improving the students technical skill and the elements necessary to create a meaningful musical and dramatic experience. Attention to text, subtext, emotional and psychological aspects of a piece and the performers relationship to the audience are included in the work. Repertoire is predominantly in English and comes from both classical and popular traditions Individual coaching sessions are available with the class accompanist and help strengthen the students confidence and skill. The class culminates with an in-class performance.

• Department: Music @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Jean-Paul Bjorlin
  Info
• 3 points

BALLET VI

This course is for the intermediate advanced dancer. Material presented will focus on healthy anatomical alignment in barre work, extended combinations in the center, fostering personal artistic expression, and integrating improvisation in combinations with the ballet vocabulary. Clarification, analysis and repetition are fundamental elements for a sound technique of any dancer and are the foundation of this course. Center work will include attention to shaping adagio work, multiple turns in the large poses, batterie, and extended grand allegro. You may be assigned the construction and presentation of exercises, which will be explained in detail further into the semester. You will be assigned a grading exercise at the end of the shopping period and will get written observations from me

• Department: Dance @Barnard
• TR 8:40 a.m.-9:55 a.m.
• F 9 a.m.-10:50 a.m.
• Instructor: Antonio Carmena
  Info
• Instructor: Ashley Tuttle
  CULPA: 1 Info
• 2 points

VOCAL REPERTOIRE, TECHNIQUE

VOCAL REPERTOIRE TECHNIQUE

Vocal exercises and exploration of wide-ranging repertoires, styles, and languages of the Western European song tradition. The rich variety of English, French, Italian and German poetry and music from the Baroque period through the Twentieth Century allows the student to experience both the music and the cultural environment of each of these styles. Attention is given both to meaning oftext and musical interpretation. Individual coaching sessions are available with the class accompanist and help strengthen the students confidence and skill. The class culminates with an in-class performance.

• Department: Music @Barnard
• F 10 a.m.-1 p.m.
• Instructor: Coralie Gallet
  Info
• 3 points

PERFORMING WOMEN

Prerequisites: Enrollment limited to 16 students. This course examines the category of "woman" as it is mobilized in performance, considering both a variety of contemporary performances chosen from a wide range of genres and a diversity of critical/theoretical perspectives. Course fulfills lecture/seminar "studies" requirement for Theatre/Drama and Theatre Arts major.

• Department: Theatre @Barnard
• W 12:10 p.m.-2 p.m.
• Instructor: Shayoni Mitra
  CULPA: 5 Info
• 4 points

Advanced R in Biology

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

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

CLASSIC VARIATIONS

Variations
 class is a course for the intermediate to advanced dancer.  As in all other ballet classes, there will be a focus on correct physical alignment, proper technique and musicality.  The added challenges in this course will be the pointe shoe technique, creative choreographic choices, and musical phrasing. The class will include variations based on works ranging from Petipa to Balanchine to today’s choreographers.  Dancers will explore personalizing already known works, pushing the boundaries of the pointe shoe, examining how choreography has evolved and developing the stamina required to execute a full variation. Learning material rapidly while paying attention to the stylistic demands of each choreographer’s works and being able to shift from one stylistic choice to another is simply expected.

• Department: Dance @Barnard
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Ashley Tuttle
  CULPA: 1 Info
• 2 points

Black Women s Histories in the United

Black Women's Histories

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

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

Jews in the Christian Imagination

Jews in Christian Imagina

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

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

INTRODUCTION TO NARRATIVE MEDICINE

INTRO TO NARRATIVE MEDICI

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

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

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

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

CHOREOGRAPHING THE AMERICAN MUSICAL

CHOREOG THE AMERICAN MUSI

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

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

CRITICAL HISTORIES OF DRAMA, THEATRE, AN

CRIT HIST DRAMA, THTR & P

This course undertakes a

dialectical approach to reading and thinking about the history of dramatic theatre, interrogating the ways writing inflects, and is inflected by, the material dynamics of performance. Course undertakes careful study of the practices of performance, and of the sociocultural, economic, political, and aesthetic conditions animating representative performance in “classical” theatres globally; course will also emphasize development of important critical concepts for the analysis of drama, theatre, and performance. Topics include the sociology of theatre, the impact of print on conceptions of performance, representing gender and race, the politics of intercultural performance, and the dynamics of court performance. Writing: 2-3 papers; Reading: 1-2 plays, critical and historical reading per week; final examination. Fulfills one (of two) lecture requirements for Theatre/Drama and Theatre Arts majors.

• Department: Theatre @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: William B Worthen
  CULPA: 10 Info
• 4 points

LIVING WITH ANIMALS: ANTHROPOLOGICAL PER

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

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

SHAKESPEARE S SONNETS: AN EXPERIMENT I

SHAKESPEARE'S SONNETS

This class is:


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

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

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

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

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

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

THEATRE TRAD GLOBAL CONTEXT

Prerequisites: Enrollment limited to 50 students.

Provides a broad introduction to several traditions of nonwestern drama and theatrical practice, often placing recent and contemporary writing in relation to established conventions.  Taking up plays and performance traditions from Asia, South Asia, and various African traditions, it may also consider the relation between elite and popular culture (adaptations of Shakespeare, for example), and between drama, theatre, and film. Course fulfills lecture/seminar "studies" requirement for Theatre/Drama and Theatre Arts major.

• Department: Theatre @Barnard
• TR 12:10 p.m.-12:25 p.m.
• Instructor: Shayoni Mitra
  CULPA: 5 Info
• 4 points

MODERN ASIAN PERFORMANCE

This course studies contemporary Asian performance with a focus on modernity, covering most nations on the Asian continent. We will examine a variety of performance, ranging from dance to revolutionary theatre, from postdramatic staging to translated as well as made-in-Asia musicals. Theoretical questions under discussion include modernity, national/ethnic/gender identity, art and ideology, the Sinophone, global Asias, among others.  Fulfills lecture/seminar requirement in Theatre/Drama and Theatre Arts major and minor programs.

• Department: Theatre @Barnard
• W 2:10 p.m.-4 p.m.
• Instructor: Yizhou Huang
  Info
• 4 points

THE ENGLISH COLLOQUIUM

Prerequisites: Enrollment limited to Barnard English majors. In the Renaissance colloquium we will examine English and European imaginative and intellectual life from the sixteenth to mid-seventeenth centuries. Defined by humanism, the Protestant Reformation, and revolution, this was a period of ideological struggle on many levels. Long-held ways of ordering the world came under increasing strain-and sometimes ruptured irreparably. Writers discussed and debated the aims of human knowledge, retooled old literary forms for new purposes, scrambled to take account of an expanded awareness of the globe, and probed the tension between belief and doubt. Throughout this process, they experimented with new literary styles to express their rapidly changing worldviews. This is an intensive course in which we will take multiple approaches to a variety of authors that may include Petrarch, Erasmus, Machiavelli, Castiglione, More, Rabelais, Luther, Calvin, Montaigne, Spenser, Bacon, Marlowe, Shakespeare, Milton, and Behn, among others.

• Department: English @Barnard
• T 12:10 p.m.-2 p.m.
• W 2:10 p.m.-4 p.m.
• T 4:10 p.m.-6 p.m.
• F 10:10 a.m.-noon
• Instructor: Atefeh Akbari Shahmirzadi
  Info
• Instructor: Eugene A Petracca
  Info
• Instructor: Rachel Eisendrath
  CULPA: 6 Info
• Instructor: Faculty
  h-index: 37 Info
• 4 points

Fanon s Psychology of the Oppressed

Frantz Fanon’s ideas have been influential for decades among theorists, practitioners, and activists alike.  This seminar is focused on understanding Fanon’s particular perspective on the psychology of the oppressed and its relevance for examining the experience of past and present racialized inequality and its effects in society. The course is divided into four sections, which build cumulatively.

I). An introductory section introduces Fanon’s central ideas (e.g., dialecticism, existentialism, post-colonialism) in their intellectual and socio-historical context (e.g., the Algerian revolution, African decolonization, South African Apartheid, the US civil rights and women’s rights movements).

II). A second section locates Fanon in psychological theory and therapeutic theory and practice.  The cultural and political (Eurocentric?) roots of psychological theory and practice are examined as are notions of oppression causing psychological and physical violence as well as psychopathology / psychological disorder.

III). A third section examines Fanon and others psychological approaches to identity with particular attention to the presumed “inferiority complex” of oppressed peoples, nationalist and other reconstructions of identity in opposition to oppression, sociological psychological conceptualizations of stigma, and Dubois’s influential ideas regarding double consciousness.

IV). A fourth and final section focuses on resistance and rebellion.  The focus here is on the psycho-moral implications of (violent, peaceful, non-disruptive) action against oppression with reference to the distinct perspectives of Fanon in comparison to influential figures like Gandhi and M.L.K Jr.  These issues are linked to a post-Fanon approach to the psychology of the oppressed called Liberation Psychology.

• Department: Africana Studies (AFSB)
• W 6:10 p.m.-8 p.m.
• Instructor: Colin Leach
  CULPA: 4 h-index: 41 Info
• 4 points

INTRO TO CULTURAL PSYCHOLOGY

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

• Department: Psychology @Barnard
• M 11 a.m.-12:50 p.m.
• Instructor: Isabelle Portelinha
  Info
• 4 points

SHAKESPEARE I

A critical and historical introduction to Shakespeares comedies, histories, tragedies, and romances. Please note that you do not need to take ENGL BC3163: Shakespeare I and ENGL BC3164: Shakespeare II in sequence; you may take them in any order.

• Department: English @Barnard
• MW 8:40 a.m.-9:55 a.m.
• Instructor: Peter Platt
  CULPA: 23 Info
• 3 points

Moral Psychology: Ancient Wisdom and Mod

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

• Department: Psychology @Barnard
• T 12:10 p.m.-2 p.m.
• Instructor: Angelika Seidel
  Info
• 4 points

AMERICAN LITERATURE TO 1800

This course surveys American literature written before 1800. While we will devote some attention to the literary traditions that preceded British colonization, most of our readings will be of texts written in English between 1620 and 1800. These texts--histories, autobiographies, poems, plays, and novels--illuminate the complexity of this period of American culture. They tell stories of pilgrimage, colonization, and genocide; private piety and public life; manuscript and print publication; the growth of national identity (political, cultural, and literary); Puritanism, Quakerism, and Deism; race and gender; slavery and the beginnings of a movement towards its abolition. We will consider, as we read, the ways that these stories overlap and interconnect, and the ways that they shape texts of different periods and genres.

• Department: English @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Lisa Gordis
  CULPA: 15 Info
• 3 points

AMERICAN LITERATURE 1871-1945

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

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

AMERICAN LITERATURE SINCE 1945

In the wake of World War II, the so-called American Century rises out of the ashes of fascism, haunted by the specter of bombs blurring the boundary between victory and defeat. An ideological civil war ensues, punctuated by literary resistance to grand narratives and their discontents. Authors include Ellison, O’Connor, Ginsberg, Bishop, Pynchon, Robinson, Merrill, Morrison, Didion, and Wallace.

• Department: English @Barnard
• TR 8:40 a.m.-9:55 a.m.
• Instructor: Victor Zarour Zarzar
  Info
• 3 points

MODRN BRITISH & AMERCAN POETRY

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

• Department: English @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Michael C Dickman
  Info
• 3 points

INT'L HUMAN RIGHTS LAW

This course will introduce students to the international law of human rights, and give a basic orientation to fundamental issues and controversies. The course has two principal focal points: first, the nuts and bolts of how international law functions in the field of human rights, and second, the value and limitations of legal approaches to a variety of human rights issues. Throughout the course, both theoretical and practical questions will be addressed, including who bears legal duties and who can assert legal claims, how these duties might be enforced, and accountability and remedy for violations. Attention will be given to how international law is made, what sorts of assumptions underlie various legal mechanisms, and how the law works in a variety of contexts.

• Department: Institute for Study of Human Rights
• T 6:10 p.m.-8 p.m.
• Instructor: Belinda Cooper
  CULPA: 1 Info
• 3 points

CRITICAL WRITING

Open to all students.This course teaches clear writing and provides exposure to a range of interpretative strategies.  Frequent short papers. Required of all English majors before the end of the junior year. Sophomores are encouraged to take it in the spring semester even before officially declaring their major. Transfer students should plan to take it in the fall semester.

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

LITERARY THEORY

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

• Department: English @Barnard
• W 4:10 p.m.-6 p.m.
• Instructor: Rachel Eisendrath
  CULPA: 6 Info
• 4 points

THEORY

An exploration of alternative theoretical approaches to the study of religion as well as other areas of humanistic inquiry. The methods considered include: sociology, anthropology, philosophy, hermeneutics, psychoanalysis, structuralism, genealogy, and deconstruction. (Previous title: Juniors Colloquium)

• Department: Religion
• T 10:10 a.m.-noon
• Instructor: Matthew Engelke
  CULPA: 3 Wikipedia h-index: 25 Info
• 4 points

FILM PRODUCTION

Prerequisites: FILM BC3201 or equivalent. Sophomore standing. Priority is given to Film Studies majors/concentrations in order of class seniority. If you are accepted into this course, attending the first day of class is mandatory. If you do not show up, you may be dropped.

This workshop introduces the student to all the cinematic tools necessary to produce their own short narrative work.  Using what the student has learned in film studies, we'll break down shot syntax, mise-en-scene and editing strategies. We'll include scheduling, budgeting, casting, working with actors and expressive camera work in our process as we build toward a final video project.

• Department: Film @Barnard
• T 6:10 p.m.-9 p.m.
• R 2:10 p.m.-5:30 p.m.
• Instructor: Julia L Thompson
  Info
• Instructor: Daniel F Pfeffer
  Info
• 3 points

DIRECTING I

Prerequisites: Permission of instructor given at first class meeting. Exploration of the evolution of the director's role in Europe and the US, including the study of important figures. Emphasis on text analysis, and varied schools of acting in relation to directing practice. Students gain a foundation in composing stage pictures and using stage movement to tell a story. All students will direct at least one fully-realized scene.

• Department: Theatre @Barnard
• TR 10:10 a.m.-noon
• Instructor: Tea Alagic
  Info
• 3 points

ADVANCED ARCHITECTURAL DESIGN I

ADV ARCHITECTURAL DESIGN

Prerequisites: ARCH UN2101 and ARCH UN2103. Advanced Architectural Design I explores the role of architecture and design in relationship to climate, community, and the environment through a series of design projects requiring drawings and models. Field trips, lectures, and discussions are organized in relation to studio exercises. A portfolio of design work from the prerequisite courses ARCH UN2101 and ARCH UN2103 will be reviewed the first week of classes.

• Department: Architecture @Barnard
• MW 9 a.m.-11:50 a.m.
• 4.5 points

CIRCUIT ANALYSIS

A course on analysis of linear and nonlinear circuits and their applications. Formulation of circuit equations. Network theorems. Transient response of first and second order circuits. Sinusoidal steady state-analysis. Frequency response of linear circuits. Poles and zeros. Bode plots. Two-port networks.

• Department: Electrical Engineering
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Charles A Zukowski
  CULPA: 5 Wikipedia Info
• 3.5 points

INTRO FILM & MEDIA STUDIES

Prerequisites: Open to first-year students.

We derive much of our information about the world from visual media. Social networks, television, cinema: all shape our aesthetic sensibilities and our political visions. Yet we often lack a basic understanding of what could be called “visual literacy.” This introductory course gives students the critical tools to analyze how film and other visual media
really
work – in order to appreciate their artistic and social achievements, as well as to guard against their insidious manipulative devices.

In the first part of the semester, we focus on
film analysis
through a detailed study of the different production phases of filmmaking – from screenwriting and mise-en-scène to editing and film scoring. We pay special attention to the way in which certain stylistic and narrative choices have particular ideological effects. The second part of the course looks at
film history

through a comprehensive, chronological overview of its main movements and periods, including the coming of sound in Hollywood cinema, post-war Italian Neorealism, the emergence of world
auteurs
, New Waves of the 1960s and 1970s, etc. Students will use the hermeneutical tools learnt in film analysis to intellectually engage with some masterworks of film history. In the third and final part of the semester, we study the major debates of
film theory
from perspectives such as auteurism, formalism, psychoanalysis, Marxism, feminism, postcolonial and queer studies, etc.   

Required screenings include
Nanook of the North
(Flaherty, 1922),
Sunrise
(Murnau, 1927),
Man with a Movie Camera
(Vertov, 1929),
Casablanca
(Curtiz, 1942),
Bicycle Thieves
(De Sica, 1948),
Rashomon
(Kurosawa, 1950),
Breathless
(Godard, 1960),
Belle de Jour
(Buñuel, 1967),
The Hour of the Furnaces
(Solanas, 1968),
Seven Beauties
(Wertmüller, 1974),
Blue Velvet
(Lynch, 1986),
Paris Is Burning
(Livingstone, 1990), and
Children of Men
(Cuarón, 2006).

• Department: Film @Barnard
• F 2:10 p.m.-5:30 p.m.
• Instructor: Jason R Lariviere
  Info
• 3 points

RELIGION IN EARLY AMERICA

This course examines religion in North America from the 1500s through the early 1800s with a focus on colonial projects, race and slavery, and gender. We begin with comparing Spanish and French Catholic and English Protestant colonies, missionary efforts, and systems of enslavement as well as how religion factored into Native Americans and African people’s survival and resistance. The second part of the class turns to the 1700s and the emergence of religious revivals and evangelicalism alongside increasing religious variety in the British colonies of North America. Finally, we examine the early United States (1790s-1850s) and ask how disestablishment, imperial ambitions, new religious movement, and debates over the “slavery question” transformed the religious landscape. While focused on religious history (and primarily different Christian traditions), the category of “religion” itself and theoretical frameworks for studying religion are also integral to the class.

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

Structural Drivers of Health

STRUCTURAL DRIVERS OF HEA

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

• Department: Sociology @Barnard
• TR 6:10 p.m.-7:25 p.m.
• Instructor: Maati Momplaisir
  Info
• 3 points

ADVANCED DIRECTING

Prerequisites: Open to students who have taken at least one course in directing. Required for students approved for Directing thesis, but open to all qualified students. Permission of instructor given at first class meeting. This course requires students to draw on all previous theatre training, synthesizing scholarship and research toward dynamic fully-realized scene work. Emphasis is on the director-actor relationship; students will direct at least three fully-realized scenes, typically drawn from Shakespeare, Chekhov, or other playwrights. Students may have the opportunity to make devised work, and will collaborate with students in the Advanced Acting class. Required for, but not limited to, students undertaking a senior thesis in directing.

• Department: Theatre @Barnard
• F 10:10 a.m.-1 p.m.
• Instructor: Alice A Reagan
  CULPA: 1 Wikipedia Info
• 4 points

Power, Politics & Society

POWER, POLITICS & SOCIETY

Power, Politics, and Society
 introduces students to the field of political sociology, a subfield within sociology that is deeply engaged in the study of power in formal and diffuse forms. Using sociological theories and current events from the US and around the world, this course is designed to help students analyze their social worlds, and understand the significance of the old adage, “everything is political.”

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

COLLABORATION:DIRCTNG/DESIGN

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

• Department: Theatre @Barnard
• MW 2:10 p.m.-4 p.m.
• Instructor: Kara M Feely
  Info
• 3 points

WHAT'S YOUR STORY ANYWAY? - TRAUMA RESIS

CREATIVE WRITING ON TRAUM

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.
 
In this class we will explore the process of healing from trauma through the art of storytelling. We will ground ourselves in the writing of Latina authors whose work demonstrates the resistance from erasure in the United States. The goal of the class is to understand the connection between trauma and healing, through storytelling and creative writing. Moreover, we will develop three pieces of creative non-fiction that will encompass this relationship over the three different lenses of place, person and personal experience.

• Department: English @Barnard
• T 10:10 a.m.-noon
• Instructor: Maria D Hinojosa
  Info
• 3 points

Comparative Biomechanics

BIOMECHANICS

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

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

• Department: Biological Sciences @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Jordan Balaban
  Info
• 3 points

DRAMATURGY

Prerequisites: Permission of instructor, given at first class meeting; enrollment limited to 12. This course teaches the research skills and practices a production dramaturg develops as part of the conceptual work of theatrical production. Course is focused on a series of activities: analyzing dramatic text, comparing different versions of script, conducting archival and cultural research, and presenting it to the production team. Fulfills as a "studio" or "praxis" course toward the Theatre/Drama and Theatre Arts major.  Does not fulfill a "seminar or lecture" requirement. Recommended for students undertaking a senior thesis in directing prior to the thesis year.

• Department: Theatre @Barnard
• T 12:10 p.m.-2 p.m.
• Instructor: Shannon M Sindelar
  Info
• 4 points

ADVANCED ARCHITECTURAL RESEARCH AND DESI

ADV ARCH RESEARCH & DESIG

Application required: A design portfolio and application is required for this course. The class list will be announced before classes start. Advanced Architectural Research and Design is an opportunity for students to consider international locations and address contemporary global concerns, incorporating critical questions, research methods, and design strategies that are characteristic of an architect’s operations at this scale.

• Department: Architecture @Barnard
• TR 9 a.m.-11:50 a.m.
• Instructor: Ignacio Gonzalez Galan
  Info
• 4.5 points

TOPICS IN ANCIENT DRAMA

This course is designed as an accompaniment to the Greek or Latin
play that is put on by the Barnard and Columbia Ancient Drama Group each year, though
it is open to any student interested in the aesthetics and politics of theater and drama.
Course focus and some content will rotate year to year, calibrated to serve the play or
plays chosen by the student director. We will read these and other relevant other plays or
similarly adjacent texts, as well as scholarly literature on topics centered around the body
in performance, including ancient theaters and stage space, costumes and masks,
deportment and gestures, proxemics, and so on. We will also explore aspects of ancient
drama and theatricality that relate to translation and reception, as well as inflections of
gender and status. Other topics may include the mythic background (e.g., in epic and/or
lyric), politics of aesthetics in ancient Athens, and gender-genre dynamics.
Each component will extend over three or four classes and consider the ancient
plays through readings of primary texts (in translation) and conceptual / contextual
backgrounds. There will be an additional class hour for those who wish to read the play
in the original language (signed up for as a 1-point directed reading).

• Department: Classics @Barnard
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Nancy Worman
  CULPA: 23 Wikipedia Info
• 0-3 points

Religion In Early America- Discussion

RELIGION IN EARLY AMERICA

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

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

LATINX AND THE ICE/PRISON INDUSTRIAL COM

JOURNALISM: LATINX&ICE/PR

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

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

Religious Histories of New York City

Religious Histories of NY

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

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

LAW & SOCIETY

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

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

RACE, ETHNICITY & SOCIETY

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

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

LITERATURE & EMPIRE (19C LIT)

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

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

ORGANIC CHEMISTRY II-LEC

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

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