FULL-TIME STUDY ABROAD PROGRAM
This is a "dummy" course for CC and SEAS students studying abroad on a Columbia-Approved program (programs not administered by Columbia) for the semester.
- 15.5 points
SUPERVISED STUDIES IN GERMANY (BCGS)
Berlin and its Theaters
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Instructor:
Carmen Mueller
Info - 3 points
SUPERVISED STUDIES IN GERMANY (BCGS)
Cult.&Pol.in Weimar Rep.
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Instructor:
Carmen Mueller
Info - 3 points
SUPERVISED STUDIES IN GERMANY (BCGS)
German Pol., Soc. & Cult.
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Instructor:
Carmen Mueller
Info - 3 points
SUPERVISED STUDIES IN GERMANY (BCGS)
Jewish Berlin 16-21 Ct.
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Instructor:
Carmen Mueller
Info - 3 points
SUPERVISED STUDIES IN GERMANY (BCGS)
Migration & Religion
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Instructor:
Carmen Mueller
Info - 3 points
SUPERVISED STUDY IN GERMANY (BCGS): THE
Berlin and its Theaters
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Instructor:
Carmen Mueller
Info - 3 points
SUPERVISED STUDIES IN GERMANY (BCGS)
German Discourse&Cult. II
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Instructor:
Carmen Mueller
Info - 6 points
SUPERVISED STUDIES IN GERMANY (BCGS)
German B2.1
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Instructor:
Carmen Mueller
Info - 0 points
London as Literature: The Early Modern C
London as Lit: Early Mod.
This undergraduate seminar course examines the ways in which early modern London portrayed itself: at the public amphitheater and private indoor theaters, in civic and royal rituals, and in popular pamphlet literature. Throughout the course, we will be engaging with the spatial realities of early modern London, working with the interactive online
Map of Early Modern London
. We will explore how key sites of the capital (the Royal Exchange, the Guildhall, the Thames, Covent Garden, the theatres) came to hold meaning for Londoners, and in so doing, we will examine how London’s sense of itself came to be shaped its relationship with the crown, with the country, with commerce, with foreigners, and so on. The course covers key events of the sixteenth and seventeenth centuries; texts studied will include plays and other theatrical events, pamphlet literature, and maps, as well as some contemporary scholarly work. Students will be required to produce a final paper that traces the history and some literary representations of a single London site.
The course will include visits to important historical sites in London and Westminster (St Paul’s Cathedral, Covent Garden, Whitehall) as well as the Museum of London, the Museum of London-Docklands, and Guildhall Art Gallery. If possible, the syllabus will be adapted to include one play being staged at London’s Globe Theatre, and one being staged at the Sam Wanamaker Theatre, to give students a sense of two of the main stages of early modern London, the open amphitheater and the indoor playhouse.
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Instructor:
Alan Stewart
CULPA: 14 h-index: 13 Info - 4 points
SUPERVISED STUDY IN GERMANY (BCGS): ANTH
Ethical Issues in Museums
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Instructor:
Carmen Mueller
Info - 4 points
SUPERVISED STUDY IN GERMANY (BCGS): ANTH
Self as Public Archive
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Instructor:
Carmen Mueller
Info - 4 points
SUPERVISED STUDY IN GERMANY (BCGS): ANTH
Care & Anthropology
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Instructor:
Carmen Mueller
Info - 0 points
SUPERVISED STUDY IN LONDON: ENGLISH
POSTCOLONIAL &GLOBAL LIT.
British literature of the Romantic period, from the late eighteenth to the early nineteenth
century, displays a fascination with what is on the margins. This manifests itself most
memorably in the unprecedented focus on socially marginalized figures – the beggars,
madmen, abandoned women, and solitary wanderers who populate the pages of Romantic
poetry and fiction. The author too is often figured as an outsider in this period, someone
whose authority derives specifically from his or her position of marginality, looking in
from the fringes. Geographically, the peripheries of the island of Great Britain (Wales
and especially Scotland) were major sites of literary experimentation in the Romantic era,
while the south coast of England attracted particular interest because of the constant
threat of invasion from France during these years. And of course Romantic writers
famously exploited textual margins: many of the major literary works of the period make
innovative use of footnotes, glosses, and other paratextual apparatus. This course
considers these various aspects of Romantic marginality and the intersections between
them. In addition to the work of more canonical authors (William Wordsworth, Samuel
Taylor Coleridge, Walter Scott, Mary Shelley), we will be reading poems, novels, essays,
and letters by writers, especially women, whose work has historically been marginalized.
- 8 points
SUPERVISED STUDY IN LONDON: ENGLISH
LONDON: WALKING THE CITY
British literature of the Romantic period, from the late eighteenth to the early nineteenth
century, displays a fascination with what is on the margins. This manifests itself most
memorably in the unprecedented focus on socially marginalized figures – the beggars,
madmen, abandoned women, and solitary wanderers who populate the pages of Romantic
poetry and fiction. The author too is often figured as an outsider in this period, someone
whose authority derives specifically from his or her position of marginality, looking in
from the fringes. Geographically, the peripheries of the island of Great Britain (Wales
and especially Scotland) were major sites of literary experimentation in the Romantic era,
while the south coast of England attracted particular interest because of the constant
threat of invasion from France during these years. And of course Romantic writers
famously exploited textual margins: many of the major literary works of the period make
innovative use of footnotes, glosses, and other paratextual apparatus. This course
considers these various aspects of Romantic marginality and the intersections between
them. In addition to the work of more canonical authors (William Wordsworth, Samuel
Taylor Coleridge, Walter Scott, Mary Shelley), we will be reading poems, novels, essays,
and letters by writers, especially women, whose work has historically been marginalized.
- 4 points
SUPERVISED STUDY IN FRANCE: FRENCH
WRITE THINK:GRAPHIC NOVEL
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Instructor:
Samantha Csenge
Info - 3 points
SUPERVISED STUDY IN FRANCE I
UTOP DYSTOP LIT FILM ART
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Instructor:
Andrew Wells
Info - 3 points
SUPERVISED STUDY IN FRANCE I
EQUALITY & DIVERSITY US
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Instructor:
Andrew Wells
Info - 4 points
SUPERVISED STUDY IN FRANCE I
TECH, WAR & POLITICS
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Instructor:
Andrew Wells
Info - 4 points
SUPERVISED STUDY IN FRANCE I
INTL SYSTEM 1815 TO TODAY
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Instructor:
Samantha Csenge
Info - 4 points
SUPERVISED STUDY IN GERMAN UNIV
19th Century Gothic
Enrollment limited to Barnard senior English majors with a concentration in creative writing.
This creative writing workshop represents an opportunity for creative writing concentrators to focus on one large project that will serve as a capstone senior project. As in a typical writing workshop, much of the focus will be on sharing and critiquing student work. Unlike other workshops, in this class students will focus on building out a longer project—such as a more ambitious full-length story for fiction and creative nonfiction writers and a chapbook for poets. This means students will discuss work by writers who may not share their own genre. We will focus on generating new work, developing your writing process, and creating new possibilities and momentum for your piece, as well as trying to create a sense of community among the concentrators. We will also conduct in-class writing exercises in response to short reading assignments and class lectures. Students should be aware of two important notes: (1) This class is limited to senior English majors who have already been approved to be creative writing concentrators; and (2) this course fulfills the requirement for concentrators to finish a senior project, but not the academic senior seminar requirement. This class is about your own writing and that of your classmates. This class will be what you make of it!
- 4 points
SELECTED TOPICS: KYOTO CONSORTIUM FOR J
Jpn Asian Envir. Issues
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Instructor:
Aysun Uyar Makibayashi
Info - 4 points
SELECTED TOPICS: FRANCE
URBAN HISTORY
FRST3994OC History of Contemporary French Cinema (1990-2018).
3 points.
Taught in French.
Prerequisite: 4-5 semesters of French language study or the equivalent.
French cinema is characterized by its artistic richness, its vigor and, above all, its diversity. This film history course will function as a journey in which we explore contemporary French cinema. Our itinerary will take us from the 1990s, those of “young French cinema” and neoclassicism, to the end of the 2010s, those of directors like Julie Delpy and Christophe Honoré. Together, we will develop a panorama in which the works of Cédric Klapisch and Nicole Garcia will intersect, as well as those of Céline Sciamma and Arnaud Desplechin.
The objective of this course will be to introduce students to French cinema, its history and its diversity. We will also have the chance to correlate academic knowledge and practical experience, so as to give the students a significant idea of French film activity. The application process is competitive and will take place onsite in February.
To enroll in this course through the
Columbia Summer in Paris
program, you must apply to the through the Center for Undergraduate Global Engagement (UGE).
Global Learning Scholarships
available.
Tuition
charges apply.
Please note the program dates are different from the Summer Term A & B dates.
-
Instructor:
Jean-Michel Dequeker
Info - 3 points
SELECTED TOPICS: FRANCE
AMERICAN & FRENCH CINEMA
FRST3994OC History of Contemporary French Cinema (1990-2018).
3 points.
Taught in French.
Prerequisite: 4-5 semesters of French language study or the equivalent.
French cinema is characterized by its artistic richness, its vigor and, above all, its diversity. This film history course will function as a journey in which we explore contemporary French cinema. Our itinerary will take us from the 1990s, those of “young French cinema” and neoclassicism, to the end of the 2010s, those of directors like Julie Delpy and Christophe Honoré. Together, we will develop a panorama in which the works of Cédric Klapisch and Nicole Garcia will intersect, as well as those of Céline Sciamma and Arnaud Desplechin.
The objective of this course will be to introduce students to French cinema, its history and its diversity. We will also have the chance to correlate academic knowledge and practical experience, so as to give the students a significant idea of French film activity. The application process is competitive and will take place onsite in February.
To enroll in this course through the
Columbia Summer in Paris
program, you must apply to the through the Center for Undergraduate Global Engagement (UGE).
Global Learning Scholarships
available.
Tuition
charges apply.
Please note the program dates are different from the Summer Term A & B dates.
-
Instructor:
Marc Cerisuelo
Info - 3 points
SUPERVISED RESRCH IN FRANCE I
DR: MARIE-ANTIONETTE
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Instructor:
Samantha Csenge
Info - 4 points
SUPERVISED STUDIES IN GERMANY (BCGS)
German Discourse&Cult.III
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Instructor:
Carmen Mueller
Info - 6 points