THIRD-YEAR RUSSIAN I
Prerequisites: RUSS UN2102 or the equivalent, and the instructor's permission. Recommended for students who wish to improve their active command of Russian. Emphasis on conversation and composition. Reading and discussion of selected texts and videotapes. Lectures. Papers and oral reports required. Conducted entirely in Russian.
- Department: Slavic Languages
- MWF 10:10 a.m.-11:25 a.m.
-
Instructor:
Tatiana Mikhailova
Info - 4 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.
-
Instructor:
Bandara Herath
Info - 3 points
PAINTING II
Prerequisites: (VIAR UN1000) and (VIAR UN2100) (Formerly R3202) Painting II: Extension of VIAR UN2100 This course explores the transition of representational form towards abstraction in the early 20th century (Cubism) with full consideration to recent movements such as geometric abstraction, organic abstraction, gestural abstraction, color field and pattern painting. Students will be encouraged to find dynamic approaches to these classic tropes of 20th and 21st century abstraction.
- Department: Visual Arts
- W 10 a.m.-4 p.m.
-
Instructor:
Esteban Cabeza de Baca
Wikipedia Info - 3 points
SENIOR FICTION WORKSHOP
Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.
- Department: Writing
- R 2:10 p.m.-4 p.m.
-
Instructor:
Heidi S Julavits
CULPA: 1 Wikipedia Info - 4 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
- T 12:10 p.m.-2 p.m.
-
Instructor:
Vrinda Condillac
CULPA: 28
Info
- 4 points
ENERGY,MINERALS,MATERIALS SYST
Overview of energy resources, resource management from extraction and processing to recycling and final disposal of wastes. Resources availability and resource processing in the context of the global natural and anthropogenic material cycles; thermodynamic and chemical conditions including nonequilibrium effects that shape the resource base; extractive technologies and their impact on the environment and the biogeochemical cycles; chemical extraction from mineral ores, and metallurgical processes for extraction of metals. In analogy to metallurgical processing, power generation and the refining of fuels are treated as extraction and refining processes. Large scale of power generation and a discussion of its impact on the global biogeochemical cycles.
- Department: Earth and Environmental Engineering
- TR 11:40 a.m.-12:55 p.m.
-
Instructor:
Raymond Farinato
CULPA: 1 Info - 3 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
- M 12:10 p.m.-2 p.m.
- T 10:10 a.m.-noon
- T 2:10 p.m.-4 p.m.
- W 11 a.m.-12:50 p.m.
-
Instructor:
Margaret R Ellsberg
CULPA: 54 Info -
Instructor:
Vrinda Condillac
CULPA: 28
Info
-
Instructor:
Ross T Hamilton
CULPA: 25
Info
-
Instructor:
Monica F Cohen
CULPA: 8
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
Applied Bayesian Analysis
This is a course in intermediate statistical inference techniques in the context of applied research
questions in data science. Assuming some prior exposure to probability and statistics, this course will
first introduce the student to the principles of Bayesian inference, then apply them in estimation and
prediction in the context of linear and generalized linear models, counting and classification, mixture and
multilevel models, including scientific computation (like MCMC methods). Students will also learn
about the main benefits of using Bayesian vs. frequentist methods, like naturally combining prior
information with the data; posterior probabilities as easier to interpret alternatives to p-values; parameter
estimation “pooling” in hierarchical model and so on.
- Department: Statistics
- TR 2:40 p.m.-3:55 p.m.
-
Instructor:
Dobrin Marchev
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
- R 11 a.m.-12:50 p.m.
-
Instructor:
Zaina F Arafat
Info - 3 points
MECHANICS
Elements of statics; dynamics of a particle and systems of particles.
- Department: Civil Engineering and Engineering Mechanics
- F 11:40 a.m.-2:10 p.m.
-
Instructor:
Addis Kidane
Info - 4 points
EXISTENTIALISM
Prerequisites: Successful completion of Intermediate II French or the equivalent. In-depth survey of the writers who exemplified French existentialism: Albert Camus, Jean-Paul Sartre, and Simone de Beauvoir. The texts have been chosen for the richness with which they address fundamental philosophical questions about the meaning of life, especially questions of death and suffering, freedom and responsibility, legitimate and illegitimate violence. The first objective of this class is to show how existentialist thought combines literature and philosophy; the second objective is to gain a broad, but also deep familiarity with 20th-century French literature and thought. 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
Comical Expression in Multicult Lit/Film
COMIC EXPRSN: GERMAN LIT/
This course is designed for participants who are interested in learning more about the role of humor in 20th/21st-c. literature and film. The survey begins with an introduction to key elements of the comical in literature and film, including slapstick, clowning, mime, or stunts. Discussions revolve around the issue of how or whether humor is universally recognizable or whether it is regionally, historically, and culturally defined. To shed light on this difficult question we will consider both historical and geographical settings. In close studies of popular films and literary texts we will examine the characters’ proclivities and discuss their gender-based perspectives as well as the influence of racial, religious or age-related identities. Our weekly readings—which include excerpts from major novels, selected scenes from films as well as short stories--provide us with rich and instructive examples of how eating habits, choice of food, calendrical events (holiday vs. weekday) may be related to the formation and expression of cultural identity. Romantic comedies reveal not only personal preferences and the joy of eating—they also signal collective taste patterns and indicate what kind of fantasies or constraints have governed the daily or festive dietary practices from the early 20th c. on. While the comical is first and foremost represented in time-honored genres such as comedies or jokes, we will concentrate on the modern tradition in this course. This approach allows us to address the social, political, and cultural issue of multiculturalism and to build bridges between individual text/film and their historical contexts in the German-speaking countries. The emphasis of the course lies on a critical investigation of how cultural identity is related to self-expression and to physical interaction on the page, the stage or the screen. The course is taught in English, all readings are in English, and there are no prerequisites.
Neuroimmunology Seminar
NEUROIMMUNOLOGY SEMINAR
This seminar class will explore the interactions between the nervous and immune systems. Because immunology is not a common undergraduate course, we will start the semester with an overview of immunology foundations: the cells, chemicals, and organs of the immune system, immunological communication and memory, and the innate and adaptive response systems. We will then read scientific journal articles to understand how the immune system modulates development and function of the nervous system, how homeostasis between the brain and the immune system is maintained, and how immunological response to infection and injury can result in neuropathology. We will conclude with an examination of how disseminated tumor cells can breach the blood-brain barrier to seed metastatic brain cancer.
- Department: Neuroscience & Behavior @Barnard
- W 11 a.m.-12:50 p.m.
-
Instructor:
Kara Pham
CULPA: 9
Info
- 4 points
APPLIED STATISTICAL METHODS
Prerequisites: At least one, and preferably both, of STAT UN2103 and UN2104 are strongly recommended. Students without programming experience in R might find STAT UN2102 very helpful. This course is intended to give students practical experience with statistical methods beyond linear regression and categorical data analysis. The focus will be on understanding the uses and limitations of models, not the mathematical foundations for the methods. Topics that may be covered include random and mixed-effects models, classical non-parametric techniques, the statistical theory causality, sample survey design, multi-level models, generalized linear regression, generalized estimating equations and over-dispersion, survival analysis including the Kaplan-Meier estimator, log-rank statistics, and the Cox proportional hazards regression model. Power calculations and proposal and report writing will be discussed.
- Department: Statistics
- MW 2:40 p.m.-3:55 p.m.
-
Instructor:
Benjamin K Goodrich
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
STOCHASTIC SYSTEMS AND APPLICATIONS
Some of the main stochastic models used in engineering and operations research applications: discrete-time Markov chains, Poisson processes, birth and death processes and other continuous Markov chains, renewal reward processes. Applications: queueing, reliability, inventory, and finance. IEOR E3106 must be completed by the fifth term. Only students with special academic circumstances may be allowed to take these courses in alternative semesters with the consultation of CSA and Departmental advisers.
- Department: Industrial Engineering and Operations Research
- MW 11:40 a.m.-12:55 p.m.
-
Instructor:
Kaizheng Wang
CULPA: 1 h-index: 8 Info - 3 points
Clean Object-Oriented Design
A course in designing, documenting, coding, and testing robust computer software, according to object-oriented design patterns and clean coding practices. Taught in Java.Object-oriented design principles include: use cases; CRC; UML; javadoc; patterns (adapter, builder, command, composite, decorator, facade, factory, iterator, lazy evaluation, observer, singleton, strategy, template, visitor); design by contract; loop invariants; interfaces and inheritance hierarchies; anonymous classes and null objects; graphical widgets; events and listeners; Java's Object class; generic types; reflection; timers, threads, and locks.
- Department: Computer Science
- TR 2:40 p.m.-3:55 p.m.
-
Instructor:
Chris Murphy
Info - 3 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
- W 10:10 a.m.-noon
-
Instructor:
Kate Zambreno
Info - 3 points
Undergraduate Mentored Research
Prerequisites: the project mentors permission. This course provides a mechanism for students who undertake research with a faculty member from the Department of Statistics to receive academic credit. Students seeking research opportunities should be proactive and entrepreneurial: identify congenial faculty whose research is appealing, let them know of your interest and your background and skills.
- Department: Statistics
-
Instructor:
Anne Van Delft
CULPA: 2 h-index: 5 Info - 3 points
Nazism in Performance
NAZISM IN PERFORMANCE
Explores the cultivation of national and transnational performances as a significant force of National Socialism, at the same time as challenging the notion of "Nazi Theatre" as monolithic formation. The core of the course inquires into the dialectical analysis of artistic creations in diverse art genres, while working towards an understanding of the social dramaturgy of such events as staging the Führer and the racialized body of the priveleged people. Nazism did not harbor ideologies without benefits for the allied nations. Thus, the dynamic performance of transnationalism among the "brothers in arms" will be included as well, in order to elucidate how works of art crossing into the Third Reich were reimagined, sometimes in ways challenging to the presumed values of the state stage. Permission of instructor given at first class meeting.
- Department: Comparative Literature and Society @Barnard
- W 4:10 p.m.-6 p.m.
-
Instructor:
Hana Worthen
Info - 4 points
The Body and Society in Europe
This seminar course explores topics in the history of the body in Europe, from the medieval period to the 1880s. The course will begin with an introduction to Galen’s humoral theories of the body that informed the diagnosis and treatment of illness in Europe for centuries. We will look at the role of the body in religious practices in the medieval period, and its role as evidence in the witch trials of the early modern period. We will also look to the framing of sexual difference and consider how these parameters have shaped contemporary gender politics and medical practice. We will trace outbreaks of infectious disease – from the bubonic plague, to syphilis, to cholera– and the implications on the social, cultural, political, and economic structures of everyday life. Students will learn about the professionalization of the medical field, the rise of public health institutions, and the ways in which authorities policed social behavior on the grounds of public health. Together, we will examine the intersections of gender, sexuality, race, and class in the understanding and treatment of the body within society. Students will also be challenged to ground their understanding of social and cultural history in a broader history of the body and embodiment. In doing so, students will examine how ideas surrounding the body change over the course of time, and how we, as historians, can account for and assess such changes.
- Department: History @Barnard
- M 2:10 p.m.-4 p.m.
-
Instructor:
Dale Booth
Info - 4 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
TRANSPORT PHENOMENA I
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
.
Section 1 (taught by Brionne Janae):
Updated course description forthcoming
Section 2 (taught by Farnoosh Fathi):
“In the beginner’s mind, possibilities are many, in the expert’s mind, there are few.” — Shunryu Suzuki, Zen Mind, Beginner’s Mind
In this introductory poetry writing workshop, we will cultivate an ardently playful approach to writing, one committed to honoring “beginner’s mind.” Embarrassment, error and amateurism will be embraced as values and fertile grounds (rather than obstructions) for writing.
Together we will explore poetry writing as the pursuit and expression of a liberatory language–the language of our highest attention and freedom– shared between reader and writer.
In addition to workshops, we will alternate between classes centered on formal and thematic studies with others focussed on contemplative practices and the writing process. Formal and revisionary explorations will be guided by the experiments of Bernadette Mayer, Inger Christensen, Dadaists and the Oulipo; by generative varieties of translation as practiced by Mónica de la Torre and Sawako Nagasaku–homophonic and self-translation; the role of inside jokes and an innocent attention to our environment, inspired by Gertrude Stein and Wadih Saadeh.
Drawing on teachings by Corita Kent, art exercises by Kim Beom and Zen Buddhist rituals we will learn contemplative practices that help us create, combine and consider our attention in order to see how receptive, open, beginner’s mind effort, rather than forced determination toward a particular outcome, underpins our deepest work in writing.
- Department: English @Barnard
- T 2:10 p.m.-4 p.m.
- F 12:10 p.m.-2 p.m.
-
Instructor:
Brionne Janae
Info -
Instructor:
Farnoosh Fathi
Info - 3 points
UNCERTAIN/RISK-CIVIL INF SYST
Introduction to basic probability; hazard function; reliability function; stochastic models of natural and technological hazards; extreme value distributions; Monte Carlo simulation techniques; fundamentals of integrated risk assessment and risk management; topics in risk-based insurance; case studies involving civil infrastructure systems, environmental systems, mechanical and aerospace systems, construction management. Not open to undergraduate students.
- Department: Civil Engineering and Engineering Mechanics
- T 4:10 p.m.-6:40 p.m.
-
Instructor:
Ioannis Kougioumtzoglou
h-index: 26 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
THERMO/KINETIC THRY/STAT MECH
An introduction to the basic thermodynamics of systems, including concepts of equilibrium, entropy, thermodynamic functions, and phase changes. Basic kinetic theory and statistical mechanics, including diffusion processes, concept of phase space, classical and quantum statistics, and applications thereof.
- Department: Applied Physics and Applied Mathematics
- TR 4:10 p.m.-5:25 p.m.
-
Instructor:
Michele Simoncelli
Info - 3 points
GANDHI, KING & POLS OF NONVIOLENCE
Since Gandhi’s experiments in mass
satyagraha
over a century ago, nonviolence has become a staple of protest politics across the globe. From the Occupy movements to the Arab Spring to Movement for Black Lives, it might even be entering a new phase of revitalization. At the same time, what exactly nonviolence is and what it can accomplish in politics is very much under debate. This course aims to understand the politics of nonviolence by examining the political ideas and political careers of its most well-known twentieth-century advocates, M.K. Gandhi and Martin Luther King, Jr.
Though still venerated as founding figures of nonviolent protest, Gandhi and King have come to be remembered in ways that can misconstrue how they understood and practiced nonviolent politics. To many, Gandhi is a saintly idealist, who wanted to imbue politics with the spirit of
ahimsa
, truth, and conscience. Likewise, King is taken to be a spokesman for interracial brotherhood and Christian love. While partly true, these images also downplay the political side of their nonviolence – the techniques of organizing and strategies of protest that made their movements successful.
We will examine the evolution of Gandhi’s and King’s political thinking in relation to the movements they led – the Indian independence movement and the civil rights movement in the US. We will consider how the theory and practice of nonviolence evolved and changed as it moved from one context to another. We will be especially focused on understanding the dynamics of nonviolent protest.
- Department: Political Science
- TR 4:10 p.m.-5:25 p.m.
-
Instructor:
Karuna Mantena
CULPA: 3
Info
- 4 points
THE FIRST PERSON
TBA
- Department: Writing
- W 2:10 p.m.-4 p.m.
-
Instructor:
Sophie F Kemp
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
MECHANICS OF SOLIDS
Stress and strain. Mechanical properties of materials. Axial load, bending, shear, and torsion. Stress transformation. Deflection of beams. Buckling of columns. Combined loadings. Thermal stresses.
- Department: Civil Engineering and Engineering Mechanics
- MW 10:10 a.m.-11:25 a.m.
-
Instructor:
Raimondo Betti
CULPA: 4
h-index: 31
Info
- 3 points
GANDHI, KING&NONVIOLENCE-DISC
This is the required discussion section for
POLS UN3112.
- Department: Political Science
- T 1:10 p.m.-2 p.m.
- T 2:10 p.m.-3 p.m.
- T 8:10 a.m.-9 a.m.
- T 9:10 a.m.-10 a.m.
- T 10:10 a.m.-11 a.m.
- W 1:10 p.m.-2 p.m.
- M 12:10 p.m.-1 p.m.
- M 3:10 p.m.-4 p.m.
- M 4:10 p.m.-5 p.m.
- M 5:10 p.m.-6 p.m.
-
Instructor:
Mayaki Saley T Kimba
Info - 0 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
FLASH FICTION
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 Weike Wang):
Flash Fiction Workshop.
This course is an intensive writing workshop focused on the art of flash fiction—stories told in under 1,500 words. The workshop will emphasize experimentation, encouraging students to push the boundaries of traditional storytelling by playing with form, language, and perspective. Readings will include works originally written in English as well as those in translation, offering a broad view of global approaches to flash fiction. Discussions will cover the mechanics of storytelling on a compressed scale, including structure, character development, point of view, dialogue, and style. Authors will include Cheever, Couto, Hempel, Davis, and Wang, and through these readings, students will explore the structural possibilities of the short form, the role of voice, and the ways in which brevity can intensify narrative impact. The class will examine how compression, omission, and implication create resonance in fiction.Each student will write and workshop three original short pieces, receiving detailed feedback from peers and the instructor. The goal is to develop a keen sense of how the economy of language can create depth and complexity in fiction.
Section 2 (taught by Idra Novey):
Old Wolves and New Grandmothers.
Once upon a time there was a fiction workshop and each student in the workshop conjured a new role for the animal in their grandmother’s bed. In this workshop, we’ll experiment with how the tone and iconic figures of fairy tales may provide a way into a new work of fiction, though not necessarily a way out. We’ll talk about myriad ways to subvert the expected meaning of the wolf and the wicked in our own time, and what new subtexts may be lurking in the shared stories we reconsider at different points in our lives. “You shift time and location to see what holds true, and why or why not,” novelist Helen Oyeyemi says of the allure of fairy tales as a place of departure for a new work of fiction. We’ll discuss work from writers drawn to subvert and repurpose fairy tales, including Helen Oyeyemi, Barbara Comyns, and Cristina Rivera Garza.
- Department: English @Barnard
- W 2:10 p.m.-4 p.m.
-
Instructor:
Weike Wang
CULPA: 1 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 Weike Wang):
Flash Fiction Workshop.
This course is an intensive writing workshop focused on the art of flash fiction—stories told in under 1,500 words. The workshop will emphasize experimentation, encouraging students to push the boundaries of traditional storytelling by playing with form, language, and perspective. Readings will include works originally written in English as well as those in translation, offering a broad view of global approaches to flash fiction. Discussions will cover the mechanics of storytelling on a compressed scale, including structure, character development, point of view, dialogue, and style. Authors will include Cheever, Couto, Hempel, Davis, and Wang, and through these readings, students will explore the structural possibilities of the short form, the role of voice, and the ways in which brevity can intensify narrative impact. The class will examine how compression, omission, and implication create resonance in fiction.Each student will write and workshop three original short pieces, receiving detailed feedback from peers and the instructor. The goal is to develop a keen sense of how the economy of language can create depth and complexity in fiction.
Section 2 (taught by Idra Novey):
Old Wolves and New Grandmothers.
Once upon a time there was a fiction workshop and each student in the workshop conjured a new role for the animal in their grandmother’s bed. In this workshop, we’ll experiment with how the tone and iconic figures of fairy tales may provide a way into a new work of fiction, though not necessarily a way out. We’ll talk about myriad ways to subvert the expected meaning of the wolf and the wicked in our own time, and what new subtexts may be lurking in the shared stories we reconsider at different points in our lives. “You shift time and location to see what holds true, and why or why not,” novelist Helen Oyeyemi says of the allure of fairy tales as a place of departure for a new work of fiction. We’ll discuss work from writers drawn to subvert and repurpose fairy tales, including Helen Oyeyemi, Barbara Comyns, and Cristina Rivera Garza.
- Department: English @Barnard
- R 10:10 a.m.-noon
-
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
.
Muriel Rukeyser remarked that “American poetry has been part of a culture in conflict.” Indeed, culture worldwide is in conflict. This course will explore “the necessity of poetry” from a phrase by Adrienne Rich. It is organized to ensure the development of new work and further study of poetic practice for committed student writers. We will examine mostly contemporary poetry using specific poetry collections from poets as varied as John Keene, Rosa Alcalá, Megan Fernandes, Harryette Mullen, Ilya Kaminsky and Emily Lee Luan as well as ancestors: Rich, June Jordan, Gertrude Stein. In the classroom, student poems and ideas about poetics are shared, questioned, and critiqued. These selected readings explore different strands of poetics that will inform the in-class and assigned prompts allowing student writers to expand their interrogation of the genre and its many forms. You will read, listen, write, and make your own voice seen and heard.
- Department: English @Barnard
- T 11:10 a.m.-1 p.m.
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Instructor:
Patricia S Jones
Info - 3 points
VOICES & VISIONS OF CHILDHOOD
Childhood, in some sense, is a universally shared area of expertise: everyone alive was once a kid. At the same time, childhood remains a profound mystery. There’s so much we don’t remember! And the experiences we do retain—did we really understand them, then or now? Even the most ordinary moments of early life can acquire extraordinary significance: they are the touchstones and talismans that we use to make sense of the world, and our place within it. But why? And how?
As we read and write about childhood in this class, we will be asking questions fundamental to the art of fiction: where does a story begin? How is a character formed? Youth, like literature, is filled with symbols. Kids, like writers, are imaginative, metaphorical thinkers, prone to both flights of fancy and glimpses of the truth. The stories of our youth often follow a predictable, prescribed narrative—we are, after all, rarely the authors of our own upbringing—and yet there are a few phases of life with as many plot twists, climactic and often traumatic events that shape who we are. In this way, our line of inquiry in this course will be at once literary and personal. We will be reading and writing about a subject that is nothing short of profound: the origins of life.
- Department: Writing
- T 10:10 a.m.-noon
-
Instructor:
Melissa Oliva-Lozada
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 4:10 p.m.-7 p.m.
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Instructor:
Peter Nickowitz
Info - 3 points
The Politics of Nature
THE POLITICS OF NATURE
Nature and politics have often been counterposed in political thought: politics is understood to be a distinctly human activity, perhaps even the defining human activity, while nature describes the material world as it operates independently from human action; politics concerns the realm of decisions about how things will and ought to be, while nature names that which simply is and cannot be changed. What, then, does it mean to think about the politics of nature? We will begin by examining the ways that political thinkers have understood nature in general before moving into specifically ecological thought and ending with reflections on the central challenge of nature and politics today: climate change. Themes addressed include the role of science in politics, the challenges of politics on a global or planetary scale, the political and moral status of nonhuman nature, and the relationship between nature and economics.
- Department: Political Science @Barnard
- T 11 a.m.-12:50 p.m.
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Instructor:
Alyssa Battistoni
Info - 4 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.
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Instructor:
Daniela Kempf
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
Animal Tales
"We polish an animal mirror to look for ourselves."
-Donna Haraway
In the last several decades, Animal Studies has emerged as a robust interdisciplinary field that once again seeks to engage with “the question of the animal,” as Derrida puts it. In this course, we will look at works of cultural production that explore the myriad relationships between human and nonhuman animals. We will read stories that dissolve the barrier between the domestic and the wild. We will read stories about human-animal hybrids. We will read stories from an animal’s-eye-view, imagining the world as an animal might: as a worm digging through the dirt toward an imagined utopia, as an elephant seeking vengeance against poachers, as a cultivated monkey exhausted by the cruelty of human society.
As the popular post-humanist scholar Donna Haraway puts it: We polish an animal mirror to look at ourselves. What can animals teach us about ourselves, and more importantly, what can animals teach us about how to survive our own nature? In the midst of this sixth extinction, animals are disappearing at a rapid rate due to human activity. Will it still be possible to cohabit peacefully, ecologically, with one another? By imagining the private lives of animals and writing stories from their perspective, can we still intervene and cultivate the necessary cross-species connections that will carry us into a more just and entwined future?
- Department: Writing
- R 12:10 p.m.-2 p.m.
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Instructor:
Anelise I Chen
Info - 3 points
STRUCTURAL DESIGN PROJECTS
Design of steel members in accordance with AISC 360: moment redistribution in beams; plastic analysis; bearing plates; beam-columns: exact and approximate second-order analysis; design by the Effective Length method and the Direct Analysis method. Design of concrete members in accordance with ACI 318: bar anchorage and development length, bar splices, design for shear, short columns, slender columns. AISC/ASCE NSSBC design project: design of a steel bridge in accordance with National Student Steel Bridge Competition rules; computer simulation and design by using SAP2000.
- Department: Civil Engineering and Engineering Mechanics
- MW 10:10 a.m.-11:25 a.m.
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Instructor:
Tom T Panayotidi
CULPA: 3 Info - 3 points
ZORA NEALE HURSTON & BLACK PERFORMANCE
ZORA NEALE HURSTON & BLK
This course begins with focused attention on select plays of Zora Neale Hurston and her critical writing on performance, then takes ZNH’s aesthetics, politics, and provocations as a lens to study Black performance, broadly defined. We will consider the contexts in which Hurston pursued a career as playwright and theatremaker, and the influences that found their way into her plays including spiritual narratives and voodoo. We will turn our attention to key writers of the Harlem Renaissance to learn where ZNH first made her mark, and the milieu to which she ultimately turned her back. Each week’s reading/viewing will include primary sources (ZNH’s plays and dramaturgical statements) as well as scholarly criticism of those works or genre. The final weeks of the course will take up Black performance in the realms of dance and song from the early 20th century, and finish with more recent plays and visual art. In addition to short weekly response papers, students will complete a long-form research paper that may, if they choose, include a creative element.
- Department: Theatre @Barnard
- R 2:10 p.m.-4 p.m.
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Instructor:
Alice A Reagan
CULPA: 1 Wikipedia Info - 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.
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Instructor:
Russell J O'Rourke
Info - 3 points
PROJECT MGMT FOR CONSTRUCTION
Introduction to Project Management for design and construction processes. Elements of planning, estimating, scheduling, bidding, and contractual relationships. Computer scheduling and cost control. Critical path method. Design and construction activities. Field supervision.
- Department: Civil Engineering and Engineering Mechanics
- W 1:10 p.m.-3:40 p.m.
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Instructor:
Julius Chang
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
- MW 2:40 p.m.-3:55 p.m.
-
Instructor:
Margaret R Ellsberg
CULPA: 54 Info - 3 points
THIRD-YEAR CONVERSATION FR I
Prerequisites: completion of the language requirement in French or the equivalent. Conversation on contemporary French subjects based on readings in current popular French periodicals.
- Department: French
- MW 11:40 a.m.-12:55 p.m.
- MW 2:40 p.m.-3:55 p.m.
-
Instructor:
Laurence Marie
CULPA: 3 Info - 2 points
THE ECSTASY OF INFLUENCE
Ecstasy of Influence
What does it mean to be original? How do we differentiate plagiarism from pastiche, appropriation from homage? And how do we build on pre-existing traditions while simultaneously creating work that reflects our own unique experiences of the world?
In a 2007 essay for
Harper
’
s
magazine, Jonathan Lethem countered critic Harold Bloom’s theory of “the anxiety of influence” by proposing, instead, an “ecstasy of influence”; Lethem suggested that writers embrace rather than reject the unavoidable imprints of their literary forbearers. Beginning with Lethem’s essay—which, itself, is composed entirely of borrowed (or “sampled”) text—this class will consider the nature of literary influence, and its role in the development of voice.
Each week, students will read from pairings of older stories and novel excerpts with contemporary work that falls within the same artistic lineage. In doing so, we’ll track the movement of stylistic, structural, and thematic approaches to fiction across time, and think about the different ways that stories and novels can converse with one another. We will also consider the influence of other artistic mediums—music, visual art, film and television—on various texts. Students will then write their own original short pieces modeled after the readings. Just as musicians cover songs, we will “cover” texts, adding our own interpretive imprints.
- Department: Writing
- W 12:10 p.m.-2 p.m.
-
Instructor:
Adam Z Wilson
Info - 3 points
INTERMEDIATE MACRO-DISC/RECIT
Required Discussion/Recitation section for ECON BC3033.
- Department: Economics @Barnard
- 0 points
INTERMEDIATE MACRO-DISC/RECIT
Required Discussion/Recitation section for ECON BC3033.
- Department: Economics @Barnard
- 0 points
DATA STRUCTURES IN JAVA
Data types and structures: arrays, stacks, singly and doubly linked lists, queues, trees, sets, and graphs. Programming techniques for processing such structures: sorting and searching, hashing, garbage collection. Storage management. Rudiments of the analysis of algorithms. Taught in Java. Note: Due to significant overlap, students may receive credit for only one of the following three courses: COMS W3134, COMS W3136, COMS W3137.
- Department: Computer Science
- MW 4:10 p.m.-5:25 p.m.
- MW 5:40 p.m.-6:55 p.m.
-
Instructor:
Brian Borowski
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
.
In this section of creative nonfiction, we will explore the essay. We will consider the essay in the original and most open-ended sense of the term—coming from French, essai, meaning “attempt." This type of essay is also known as a personal essay.
The personal essay is a paradoxical form. It makes rules and then breaks them. It announces itself and then slips out the backdoor. It is a mischief-maker and the successful essayist remembers that, remembers to stay playful. And that's what our workshop will be about. As we attempt to write and share our stories, let’s ask one another: “what’s the fun of this story?” Let’s urge each other to see how can that fun remain, adhere, and grow through the drafting process.
Most of all, let's use the essay to explore our relationship to writing overall. Phillip Lopate writes that the essay “sets up a relationship with the reader, a dialogue—a friendship.” Seeing the sentence as a set of relationships, one tied to our human relations, we will write and revise with the hope of fostering an enduring relationship with the page.
Writers should expect to workshop at least twice, working toward a final portfolio of 15-20 double-spaced pages. We will read as we write including essays by James Baldwin, Jo Ann Beard, Margo Jefferson, Maxine Hong Kingston, and Phillip Lopate.
- Department: English @Barnard
- T 11 a.m.-12:50 p.m.
-
Instructor:
Nina Sharma
CULPA: 5
Info
- 3 points
INTERMEDIATE MICRO THEORY RECITATION
INT MICRO THEORY RECITATI
- Department: Economics @Barnard
- M 5 p.m.-6 p.m.
- M 4 p.m.-5 p.m.
- F noon-1 p.m.
- None None-None
- 0 points
Medieval to Contemporary Painting Techni
Medieval to Contemporary Painting Techniques explores the fundamental properties of paint materials by studying the paint-making techniques used by old masters of the late Medieval and Renaissance periods up through the contemporary era. Through hands-on work and experimentation, including preparing paint materials themselves, students will gain experience making and working with egg tempera, oil paint, and synthetic materials such as acrylics. They will develop a stronger understanding of how these materials function and how their uses fit into historical traditions and cultural contexts.
Students will participate in weekly material and technique-building workshops. They will be given select open-ended assignments for which they can choose a particular approach to explore. Students will learn how to handle traditional and contemporary materials in compliance with high material safety standards.
- Department: Visual Arts
- R 10 a.m.-4 p.m.
-
Instructor:
Naomi Safran-Hon
Info - 3 points
ART OF THE PARAGRAPH
The paragraph is the organizational principal which defines all prose. In this class, we will examine the techniques by which paragraphs are developed, created, and shaped.
Elements of composition will be analyzed in depth. Techniques discussed include: rhythm, cadence, movement (and the illusion of life), sentence and syntax, grammar as poetic intent, the taut relationship of tone and voice, the orchestration of suspense and action, openings and endings, the veneer of authority, tension, subtext, the delivery of information, and the element of surprise.
Oh—and you can expect a heavy emphasis on self-editing.
This is a practical class oriented around craft and technique for students who are serious about developing their sense of control. Each week we will focus on the micro in order to understand the broader act of creation. This is a comprehensive seminar on prose composition for students who truly love language, as such this class is genre-agnostic and is open to poets, fiction writers, and nonfiction writers alike.
- Department: Writing
- W 4:10 p.m.-6 p.m.
-
Instructor:
Molly L McGhee
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.
- TR 4:10 p.m.-5:25 p.m.
-
Instructor:
Cynthia Anderson
Info -
Instructor:
Unity Phelan
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
SOIL MECHANICS
Index properties and classification; compaction; permeability and seepage; effective stress and stress distribution; shear strength of soil; consolidation; slope stability.
- Department: Civil Engineering and Engineering Mechanics
- R 10 a.m.-noon
-
Instructor:
Hoe I Ling
h-index: 45 Info - 4 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
Stories and Storytelling: Attending to N
STORIES & STORYTELLING: N
What is it to attend to narrative? Attending has its etymological roots in Latin,
attendere
, to stretch (one’s mind)
towards
, to get closer, which implies a gap between one’s mind and whatever it is one is attending to.
Attendre
in French means to wait, to expect, another gesture towards space between one’s mind and whatever one is waiting for or expecting. What happens in that space? What is it to attend? Is it to slow down and mind the gap? Or is it to
pay
or
lend
attention, as the phrase appears in multiple languages, as though the space is a debt that we or our minds owe? What does it look like to pay attention to narrative and stories?
This course offers an introduction to forms and functions of narrative with focus on three modes: perception, reflection, and memory. What distinguishes the texts we will study is how they themselves foreground and reflect on how stories are told and so perform the task of teaching us how to analyze them. Topics include the writing of the self; the nature of memory; the experience of time; the relationship between fact, fantasy, and fiction; and the search for truth. While we will cover a range of scripture, poetry, novels, essays, plays, comics, and hybrid literary forms, the demand of you as readers will be the same: lend your close attention to these works and give yourself time to reflect on them.
- Department: Comparative Literature and Society @Barnard
- TR 1:10 p.m.-2:25 p.m.
-
Instructor:
Daniella Gitlin
Info - 3 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
Environmental Humanities in Action
Environ Humanities in Ac
Some of the central questions in the study of environmental humanities focus on human action, its context, and its effects. Thus, one major contribution of the environmental humanities is to study and consider how we conceptualize action, relations (both between humans and environments and among humans), and even the meaning of human being. The environmental humanities places these conceptual questions in the context of value and values, as well as questions of how values are materialized in practice. This course considers all of these questions through the study both theories of action in the context of environmental humanities and research into existing projects that are informed by and can inform the study of environmental humanities.
- Department: Women's, Gender, Sexuality Studies @Barnard
- W 12:10 p.m.-2 p.m.
-
Instructor:
Janet Jakobsen
CULPA: 6
Wikipedia
Info
- 4 points
SCIENCE IN THE CITY FIELDWORK LAB
SCIENCE IN CITY FIELDWORK
- Department: Education @Barnard
- T 2:10 p.m.-6 p.m.
- W 2:10 p.m.-6 p.m.
- R 2:10 p.m.-6 p.m.
-
Instructor:
Althea B Hoard
Info - 0 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
How the Ancients Argued: The Global Rhet
Long before Aristotle’s Rhetoric and far from Athens and Rome, rhetoricians were teaching people how to communicate powerfully in politics, the law, and the street. This course surveys the ancient rhetorics of Egypt, China, the Americas, and the Arab world. We will examine a body of primary texts from 2,300 B.C.E. to 1,500 C.E. that teach people to wield language effectively.
- Department: English and Comparative Literature
- F 2:10 p.m.-4 p.m.
-
Instructor:
Susan Mendelsohn
CULPA: 5
h-index: 3
Info
- 4 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.-1:25 p.m.
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Instructor:
Shayoni Mitra
CULPA: 5
Info
- 4 points
ARTS&HUMANITIES IN CITY FIELDWORK LAB
ARTS&HUMANITIES IN CITY L
- Department: Education @Barnard
- M 2:10 p.m.-6 p.m.
- W 2:10 p.m.-6 p.m.
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Instructor:
Drew W Chambers
Info - 0 points