SEMINAR IN CLINICAL PSYCHOLOGY

PersonalityDisorders

This course offers an in-depth examination of depressive disorders, including major depressive disorder, persistant depressive disorder, post-partum depression, premenstrual dysmorphic disorder, and pediatric depression.   Topics include historical perspectives, current understanding of diagnoses and symptoms, neural changes associated with the disorders, and research on effective treatments.  Emphasis will be placed on the impact of depressive disorders on families and communities, as well as gender and cultural differences in diagnosis, treatment and outcomes.

• Department: Psychology @Barnard
• M 10:10 a.m.-noon
• Instructor: Kathleen M Taylor
  CULPA: 78 Info
• 4 points

INTRO TO FRENCH & FRANCOPHONE HISTORY

INTRO FREN FRANCOPHONE HI

This class provides an introduction to the history of France and of the francophone world since the Middle Ages. It initiates students to the major events and themes that have shaped politics, society, and culture in France and its former colonies, paying special attention to questions of identity and diversity in a national and imperial context. Modules include a combination of lecture and seminar-style discussion of documents (in French).

This course is part of a two-course sequence and is a core requirement the French and Francophone Studies major.

• Department: French
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Thomas Dodman
  CULPA: 2 Info
• 3 points

MACHINE DESIGN

Computer-aided analysis of general loading states and deformation of machine components using singularity functions and energy methods. Theoretical introduction to static failure theories, fracture mechanics, and fatigue failure theories. Introduction to conceptual design and design optimization problems. Design of machine components such as springs, shafts, fasteners, lead screws, rivets, welds. Modeling, analysis, and testing of machine assemblies for prescribed design problems. Problems will be drawn from statics, kinematics, dynamics, solid modeling, stress analysis, and design optimization.

• Department: Mechanical Engineering
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Yevgeniy Yesilevskiy
  h-index: 7 Info
• 3 points

COMPUTERS AND SOCIETY

Broader impact of computers. Social networks and privacy. Employment, intellectual property, and the media. Science and engineering ethics. Suitable for nonmajors.

• Department: Computer Science
• W 4:10 p.m.-6:40 p.m.
• Instructor: Ronald Baecker
  Wikipedia Info
• 3 points

Intro French & Francophone Literature

Intro French Francophone

This class offers a survey of major works of French and francophone literature from the Middle Ages to the present. Emphasis will be placed on formal and stylistic elements of the works read and on developing the critical skills necessary for literary analysis. Works will be placed in their historical context.

• Department: French
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Joanna R Stalnaker
  CULPA: 18 Info
• 3 points

COLLOQUIUM ON HUMAN RIGHTS IN A DIVERSE

COLL:HUMAN RGTS DIVERSE W

Examination of human rights within the context of international migration. The course covers topics such as citizenship, state sovereignty, border control, asylum-seekers, refugees, and undocumented immigrants. (Cross-listed by the Human Rights Program.)

• Department: Political Science @Barnard
• T 11 a.m.-12:50 p.m.
• Instructor: Ayten Gundogdu
  CULPA: 20 h-index: 8 Info
• 4 points

SYMBOLIC LOGIC

SYMBOLIC LOGIC: FORMAL INTRO

Corequisites: PHILV3413 Required Discussion Section (0 points). Advanced introduction to classical sentential and predicate logic. No previous acquaintance with logic is required; nonetheless a willingness to master technicalities and to work at a certain level of abstraction is desirable.

• Department: Philosophy
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Tamar A Lando
  CULPA: 8 Info
• 4 points

INTRODUCTION TO ECONOMETRICS

Prerequisites: (ECON UN3211 or ECON UN3213) and (MATH UN1201 or MATH UN1207) and STAT UN1201 Modern econometric methods; the general linear statistical model and its extensions; simultaneous equations and the identification problem; time series problems; forecasting methods; extensive practice with the analysis of different types of data.

• Department: Economics
• TR 4:10 p.m.-5:25 p.m.
• MW 2:40 p.m.-3:55 p.m.
• TR 5:40 p.m.-6:55 p.m.
• Instructor: Seyhan Erden
  CULPA: 7 Info
• Instructor: Jushan Bai
  CULPA: 6 Wikipedia h-index: 52 Info
• Instructor: Thomas Piskula
  Info
• 4 points

PRINTMAKING:DRAWING INTO PRINT

Prerequisites: VIAR UN2420 or VIAR UN2430 note that VIAR UN2430 was formerly R3420. The objective of the course is to provide students with an interdisciplinary link between drawing, photography and printmaking through an integrated studio project. Students will use drawing, printmaking and collage to create a body of work to be presented in a folio format. In the course, students develop and refine their drawing sensibility, and are encouraged to experiment with various forms of non-traditional printmaking. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

• Department: Visual Arts
• T 10 a.m.-4 p.m.
• Instructor: Tomas Vu Daniel
  CULPA: 4 Info
• 3 points

NINETEENTH-CENTURY CRITICISM

This course examines a diverse selection of social and aesthetic responses to the impacts of modernization and industrialization in nineteenth-century Europe. Using works of art criticism, fiction, poetry, and social critique, the seminar will trace the emergence of new understandings of collective and individual experience and their relation to cultural and historical transformations. Readings are drawn from Friedrich Schiller's Letters On Aesthetic Education, Mary Shelley's The Last Man, Thomas Carlyle's "Signs of the Time," poetry and prose by Charles Baudelaire, John Ruskin's writings on art and political economy, Flora Tristan's travel journals, J.-K. Huysmans's Against Nature, essays of Walter Pater, Nietzsche's Birth of Tragedy and other texts.

• Department: Art History and Archaeology
• M 4:10 p.m.-6 p.m.
• Instructor: Jonathan K Crary
  CULPA: 11 Wikipedia Info
• 4 points

Mechanics of Solids for Mechanical Engin

Introduction to the mechanics of solids with an emphasis on mechanical engineering applications. Stress tensor, principal stresses, maximum shear stress, stress equilibrium, infinitesimal strain tensor, Hooke’s law, boundary conditions. Introduction to the finite element method for stress analysis. Static failure theories, safety factors, fatigue failure.  Assignments include finite element stress analyses using university-provided commercial software.

• Department: Mechanical Engineering
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Kristin Myers
  CULPA: 3 h-index: 25 Info
• 3 points

The Carceral United States

Examination of the development of U.S. carceral systems and logics from the late 18th century through the present.  Through course readings and class discussion, students will explore the changes and continuities in technologies of punishment and captivity over time, interrogating how the purpose and political economy of captivity and policing shifted over time, and analyzing the relationship between carceral institutions and constructions of race, gender, and sexuality.

• Department: History
• M 10:10 a.m.-noon
• Instructor: Sarah Haley
  Info
• 4 points

PRIVACY IN A NETWORKED WORLD

The ubiquity of computers and networks in business, government, recreation, and almost all aspects of daily life has led to a proliferation of online sensitive data: data that, if used improperly, can harm the data subjects. As a result, concern about the use, ownership, control, privacy, and accuracy of these data has become a top priority. This seminar course focuses on both the technical challenges of handling sensitive data, the privacy implications of various technologies, and the policy and legal issues facing data subjects, data owners, and data users.

• Department: Computer Science @Barnard
• T 9 a.m.-10:50 a.m.
• Instructor: Lucy Simko
  Info
• 4 points

ENG DES-CONCPT/DESIGN GENERATN

A preliminary design for an original project is a prerequisite for the capstone design course. Will focus on the steps required for generating a preliminary design concept. Included will be a brainstorming concept generation phase, a literature search, incorporation of multiple constraints, adherence to appropriate engineering codes and standards, and the production of a layout drawing of the proposed capstone design project in a Computer Aided Design (CAD) software package. Note: MECE students only.

• Department: Mechanical Engineering
• MW 1:10 p.m.-3:40 p.m.
• Instructor: Yevgeniy Yesilevskiy
  h-index: 7 Info
• 3 points

PRINTMAKING II: INTAGLIO

Prerequisites: VIAR UN2420 (Formerly R3402) Continues instruction and demonstration of further techniques in intaglio. Encourages students to think visually more in the character of the medium, and personal development is stressed. Individual and group critiques. Portfolio required at end. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

• Department: Visual Arts
• MW 2:30 p.m.-5 p.m.
• Instructor: Jennifer Nuss
  Info
• 3 points

USABLE SECURITY AND PRIVACY

This course explores human factors in computer security and privacy, primarily through in-class activities and discussions, research readings, and a course research project. In this course, we discuss fundamental concepts in the field of Usable Security and Privacy, including why we, as computer scientists, must understand users' security and privacy perceptions, experiences, and contexts in order to design and deploy security and privacy mechanisms. We explore both classical and current-day research, covering topics like usable authentication, developers as a user group, security and privacy advice for the "general population," user perceptions of and reactions to (in)security on the web, and security and privacy for vulnerable users. Throughout our study of research topics, we also cover human-centered research methodology (and the ethical application of these methods), focusing on interviews as a methodology for the final project. Homework assignments include reading, short writing assignments, and data analysis. Students propose and complete a course project, which will be a mini research project on a usable security and privacy topic of their choice.

• Department: Computer Science @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Lucy Simko
  Info
• 3 points

The Making of Global Contemporary Art:

This lecture class introduces the notion of global contemporary art through the history of exhibitions, chiefly biennials and other large-scale endeavors, and principal agents behind them. On the one hand, the course considers exhibitions as a crucial tool of cultural diplomacy, which seek to position and/or reposition cities, regions, and even entire nations or “peoples” on the international scene. Thus, we will explore how the artistic interests vested in exhibition-making intersect with other—political, economic, ideological, and cultural—interests. We will consider those intersections paying special attention to the shifts in political relations and tensions during and after the Cold War, including the moment of decolonization in Africa; the moment commonly understood as “globalization” and associated with the expansion of the neoliberal capitalism after 1989; and, finally, the current moment of the planetary crisis. This expansive view of the “global contemporary art” will allow us to distinguish different impetuses behind internationalism and globalism that not only seek to establish hegemony, artistic or otherwise, but also look for the means to forge transnational dialogues and solidarities. On the other hand, this class seeks to illuminate how certain artistic idioms and approaches developed after World War II achieved primacy that influences artistic production to this day. To this end, we will examine the rise of a “visionary curator” as a theorist and tastemaker. We will also explore how more recent exhibitions have sought to expand the geography of the “canonized” post-WWII art movements and valorize artistic production conceived outside of the so-called “West.”

In addition to weekly brief writing assignments (150–300 words each), both in and outside of class, the students in the course will reconceive the installation of one of MoMA’s permanent collection galleries (1940s-70s or 1970s-present) and produce a podcast that provides the rationale for the reinstallation in form of dialogue.

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

RUSSIAN FOR HERITAGE SPEAKERS

Prerequisites: RUSS V3430 or the instructor's permission. This course is designed to help students who speak Russian at home, but have no or limited reading and writing skills to develop literary skills in Russian. THIS COURSE, TAKEN WITH RUSS V3431, MEET A TWO YEAR FOREIGN LANGUAGE REQUIREMENT. Conducted in Russian.

• Department: Slavic Languages
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Marina Tsylina
  Info
• 3 points

PRINTMAKING II: RELIEF

Prerequisites: VIAR UN2430 (Formerly R3412) Printmaking II: Relief continues instruction and demonstration of further techniques in woodcut. Encourages students to think visually more in the character of the medium, and personal development is stressed. Individual and group critiques. Portfolio required at end. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

• Department: Visual Arts
• MW 9:30 a.m.-noon
• Instructor: Nathan N Catlin
  Info
• 3 points

COLL: LAW AND VIOLENCE

Prerequisites: Admission by application through the Barnard Political Science Department only. Enrollment limited to 16 students. Requires POLS 1011 (Political Theory) or equivalent. This colloquium examines how the law can participate in the justification of various forms of violence, exclusion, and inequality. It focuses on the power of law to determine which subjects get recognized as persons entitled to rights. Possible topics include slavery, migration, gender, sexual orientation, disability, homelessness, and nonhuman animals.

• Department: Political Science @Barnard
• W 11 a.m.-12:50 p.m.
• Instructor: Ayten Gundogdu
  CULPA: 20 h-index: 8 Info
• 4 points

Theatre and Science in the Age of Evolut

Theatre & Science in Age

From Nietzsche’s proclamation of the death of God to the horror of the trenches, the turn of the twentieth century appears as a moment when the status of the human needed total reconsideration. Such philosophical and cultural anxieties make their way on stage provocatively in this period. This course dives deeply into the vast, diverse, and complex theatre cultures of London and New York in the late nineteenth and early twentieth centuries, framing it in light of the period’s deep tensions about the human condition propelled by the publication of The Origin of Species in 1859. We will read theatre textually, materially, and in conversation with scientific discourses of the time, covering a range of social, political, biopolitical, and existentialist questions.

• Department: English and Comparative Literature
• W 12:10 p.m.-2 p.m.
• Instructor: Alice Clapie
  Info
• 4 points

PRINTMAKING II:SILKSCREEN

Prerequisites: VIAR R2440. (Formerly R3414) Printmaking II: Silkscreen continues instruction and demonstration of further techniques in silkscreen. Encourages students to think visually more in the character of the medium, and personal development is stressed. Individual and group critiques. Portfolio required at end. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

• Department: Visual Arts
• R 10 a.m.-4 p.m.
• Instructor: Aristotle Forrester
  Info
• 3 points

Readings in 20th and 21st century Litera

Breaking the Rules

This course will examine key German literary texts in the twentieth and twenty-first centuries.

Texts will be examined in a historical and social perspective, with occasional excursions into
related musical and artistic movements. Texts by Wedekind, Kafka, Thomas Mann, Irmgard
Keun, Bertolt Brecht, Paul Celan, Thomas Bernhard, Ingeborg Bachmann, W. G. Sebald and
Emine Özdamar.

This course will be taught in German.

• Department: Germanic Languages
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Mark M Anderson
  CULPA: 2 Info
• 3 points

VENEZUELA: ROBBERY & NATURE

Prerequisites: Third-year bridge course (W3300), and introductory surveys (W3349, W3350). This course will read Venezuela backwards in films, poems, novels and essays, from the present-tense struggle over the legacy of chavismo to the early days of independence. The constant thread will be the conflict between development and nature with special attention to natural resources and eco-critical approaches.

• Department: Spanish and Latin American Culture
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Ronald D Briggs
  CULPA: 4 Info
• 3 points

Evolution of Intelligence, Animal Commun

Prerequisites: PSYC UN1001, and the instructors permission.

A systematic review of the evolution language covering the theory of evolution, conditioning theory, animal communication, ape language experiments, infant cognition, preverbal antecedents of language and contemporary theories of language.

• Department: Psychology
• T 2:10 p.m.-4 p.m.
• Instructor: Herbert S Terrace
  CULPA: 29 Wikipedia Info
• 3 points

NEIGHBORHOOD & COMMUNITY DVLP

New York City is made up of more than 400 neighborhoods. The concept of neighborhoods in cities has had many meanings and understandings over time. Equally complex is the concept of community used to describe the people attached to or defined by neighborhood. While neighborhood can be interpreted as a spatial, social, political, racial, ethnic, or even, economic unit; community often refers to the group of stakeholders (i.e. residents, workers, investors) whose interests directly align with the conditions of their environment. Community development is “a process where these community members come together to take collective action and generate solutions to common problems” that result from the changing contexts in their neighborhoods. Using a variety of theories and approaches, residents organize themselves or work with community development practitioners on the ground to obtain safe, affordable housing, improve the public realm, build wealth, get heard politically, develop human capital, and connect to metropolitan labor and housing markets. To address the ever-changing contexts of neighborhoods, community development organizations are taking on new roles and adapting (in various cases) to larger forces within the city, region and nation such as disinvestment, reinvestment, increased cultural diversity, an uncertain macroeconomic environment, and changes in federal policy. For more than a century, city-dwellers—and especially New Yorkers—have been tackling these challenges. This course will examine both historic and contemporary community building and development efforts, paying special attention to approaches which were shaped by New York City. This urban center, often described as a “city of neighborhoods,” has long been a seedbed for community-based problem-solving inventions. The course will focus on the theories (why?), tools (how?), and actors (who?) within the field of community development practice and is organized around important sectors (housing, econom

• Department: Urban Studies @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Noah Allison
  Info
• 3 points

Christopher Marlowe

This seminar course will take a deep dive into the complete works of Christopher Marlowe, the short-lived but massively influential playwright and poet of the 1580s and 1590s.  Marlowe is best known for his innovative plays, including
Tamburlaine
(in two parts),
The Jew of Malta
,
Doctor Faustus
, and
Edward II
.   We will examine these alongside the lesser known
The Massacre at Paris
and
Dido Queen of Carthage,
his poetry (including the erotic “epyllion”
Hero and Leander
), his translations from Lucan and Ovid, and the archival traces of his controversial life.  

Admission to the seminar will be by application; preference will be given to English majors in their senior and junior years, but all are welcome to apply.

• Department: English and Comparative Literature
• T 8:10 a.m.-10 a.m.
• Instructor: Alan Stewart
  CULPA: 14 h-index: 13 Info
• 4 points

Pacifism and the Apocalyptic Imagination

This course examines the evolution of pacifist thought in literature from the interwar years to the dawn of the atomic age. It seeks to study the literature of twentieth-century pacifism as a response to expanding technologies of modern warfare. The course asks the following questions, among others: What shape does pacifist thought take in the atomic age, and how does it compare with interwar pacifism? What similarities or differences are discernible? What role do literary representations of modern warfare play in the evolution of pacifist thought? Does pacifism gain persuasive power through these representations, or do they lay bare its limits? How might one understand pacifism’s conceptual relation to nonviolence, anti-war resistance, and anti-militarism?

The course begins with works by pacifist writers in the interwar years: Bertrand Russell,
Why Men Fight
(1917); the correspondence between Einstein and Freud in 1932; Aldous Huxley, “What Are You Going to Do About It?” (1936) and
Eyeless in Gaza
(1936); Virginia Woolf,
Three Guineas
(1938) and “Thoughts on Peace in an Air Raid” (1940); Vera Brittain, “Women and Peace” (1940). The course then considers the evolution of pacifism in the shadow of Hiroshima and Nagasaki, focusing on novels, memoirs, essays, short stories, and films, including the following works: Aldous Huxley,
Ape and Essence
(1948); M. K. Gandhi,
For Pacifists
(1949); Pearl Buck,
Command the Morning
(1959); Alfred Coppel,
Dark December
(1960); Masuji Ibuse,
Black Rain
(1965); Kenzaburo Oe
, Hiroshima Notes
(1965) and
Fire from the Ashes
, ed. (1985); Anand Patwardhan,
War and Peace
(2002, documentary); Howard Zinn (ed.),
The Power of Nonviolence
(2002).

The course encourages students to view selected films probing pacifist and anti-war themes alongside literary and philosophical texts, with a view to grasping the themes’ adaptability across various genres. Students must apply to enrol in the seminar, providing information about year, school, relevant prior coursework, and reasons for wanting to take the course. Students from all disciplines are welcome to apply; prior coursework in literature is strongly recommended.

• Department: English and Comparative Literature
• T 4:10 p.m.-6 p.m.
• Instructor: Gauri Viswanathan
  CULPA: 9 Wikipedia Info
• 4 points

Neurobiology of Working Memory

Working memory is our ability to retain information in mind in the absence of sensory stimuli. In this course we will gain a more thorough understanding of what working memory is and how the brain supports it.

• Department: Psychology
• R 10:10 a.m.-noon
• Instructor: Sarah Demoya
  Info
• 4 points

Music and Cognitive Neuroscience

Music & Cognitive Neurosc

This seminar will provide a broad survey of how principles of cognition are represented
in music and the ways music has been used to study those principles in the psychology
and neuroscience literature.

• Department: Psychology
• T 10:10 a.m.-noon
• Instructor: John N Thorp
  Info
• 3 points

COGNITIVE GRAMMAR OF SPANISH

From a cognitive and operational point of view, this course aims to reflect on the theoretical and, mainly, practical limits of traditional grammar explanations, contributing with a new meaningful, experiential and representational understanding of Spanish as a human mean of communication. Within this framework, some of the most representative aspects of the grammar of Spanish will be studied from a fully practical perspective, favoring the comparison with the grammar of English. In each case, the reflection will lead to turn the traditional rules and their exceptions, into operational laws without exceptions, as well as to highlight the natural logic underlying every single grammar decision in the use of language.

• Department: Latin American and Iberian Cultures
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Jose Placido Ruiz-Campillo
  Info
• 3 points

Field Work & Research Seminar: Toddler C

FLDWRK-RSRCH SEM-BAR TOD CNTR

PSYC BC1129/2129 (with or without lab) as well as permission of the instructor.

The Barnard Toddler Center provides the focus for this seminar and research in applied developmental psychology, an amalgam of developmental, educational, and clinical psychology. The seminar integrates theory and research and for AY 20-21 will use daily recordings of the toddler sessions as the centerpiece for understanding early development. The unique context of Covid19 will be used to understand risks in development, especially for vulnerable children and families. Second term students will also conduct research on parenting during the pandemic.

• Department: Psychology @Barnard
• T 2:10 p.m.-4 p.m.
• Instructor: Tovah Klein
  CULPA: 10 Info
• 4 points

AIDS Is Contemporary

This seminar examines two intertwined propositions. One is the undisputable fact that the global HIV/AIDS pandemic is ongoing and that the disease continues to shape the way artists and activists grapple with public health, national policy, and medical injustice.  The other is my own polemic-in-formation, which is that the eruption of AIDS in the 1980s was
the
threshold event that inaugurated what is now understood to be “the contemporary” within the art world.  Rather than periodize the start of “the contemporary” with the 1989 fall of the Berlin Wall, as has become conventional, we will investigate how the AIDS crisis precipitated a sudden urgency that more decisively marks this transition, in particular around the promiscuous inclusion of non-fine art forms such as demonstration posters, zines, and handmade quilts.  We will read foundational texts on HIV/AIDS organizing and look at interventions with graphic design, wheat-pasting, ashes action protests, body maps, embroidery, performance-based die-ins, voguing, film/video, and photography.

We will consider: the inextricability of queer grief, anger, love, and loss; lesbian care; the trap of visibility; spirituality and death; activist exhaustion; the role played by artists of color within ACT-UP; and dis/affinities across the US, Latin America, and South Africa. Our investigations will be bookended by two critical exhibitions,
Witness: Against Our Vanishing
(Artists Space, 1989) and
Exposé-es
(Palais de Tokyo, 2023). Authors and artists/collectives include: Aziz + Cuchar, Bambanani Women’s Group, Felicano Centurion, Douglas Crimp, Ben Cuevas, Felix Gonzalez-Torres, Darrel Ellis, fierce pussy, Elisabeth Lebovici, José Leonilson, Nicolas Moufarrege, Marlon Riggs, Matthew Wong, and the Visual AIDS archive. We will conclude with feminist, queer, and collaborative artistic work made during the (also ongoing) Covid-19 pandemic.  In small groups, students will lead discussions of our texts and the final project will be a collectively curated virtual exhibition.

• Department: Art History and Archaeology
• T 4:10 p.m.-6 p.m.
• Instructor: Julia Bryan-Wilson
  Wikipedia Info
• 4 points

Contemporary Environmental Issues in Fre

This course explores the intersection of the French language, culture, and environmental issues, using readings, discussions, multimedia resources, and projects to enhance language skills. Students will study and debate topics such as climate change, sustainability, and conservation within the Francophone world, while expanding their vocabulary and improving their ability to analyze and discuss complex issues in French.
Students will apply their knowledge through hands-on assignments and projects, engaging with practical environmental challenges. They will also interact directly with environmental professionals through guest speakers, deepening their understanding of these issues and gaining valuable connections. Additionally, the Department of French is exploring the possibility of offering internships in New York during Spring 2026, related to environmental studies, as an extension of the course.

• Department: French
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Alexandra Borer
  CULPA: 4 Info
• 3 points

POST 9/11 IMMIGRATION POLICIES

Since September 11, 2001, there has been an avalanche of immigration enforcement policies and initiatives proposed or implemented under the guise of national security. This course will analyze the domino effect of the Patriot Act, the Absconder Initiative, Special Registration, the Real I.D. Act, border security including the building of the 700-mile fence along the U.S./Mexico border, Secured Communities Act-that requires the cooperation of state and local authorities in immigration enforcement, the challenge to birthright citizenship, and now the congressional hearings on Islamic radicalization. Have these policies been effective in combating the war on terrorism and promoting national security? Who stands to benefit from these enforcement strategies? Do immigrant communities feel safer in the U.S.? How have states joined the federal bandwagon of immigration enforcement or created solutions to an inflexible, broken immigration system?

• Department: Ethnicity and Race, Center for
• T 10:10 a.m.-noon
• Instructor: Elizabeth Ouyang
  CULPA: 8 Info
• 4 points

BRAZILIAN SOCIETY & CIV (ENG)

Each week, a historical period is studied in connection to a particular theme of ongoing cultural expression. While diverse elements of popular culture are included, fiction is privileged as a source of cultural commentary. Students are expected to assimilate the background information but are also encouraged to develop their own perspective and interest, whether in the social sciences, the humanities (including the fine arts), or other areas.

• Department: Latin American and Iberian Cultures
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Joao Nemi Neto
  CULPA: 1 Info
• 3 points

THE NOVEL OF SLAVERY

In this course, we’ll be studying a subgenre of U.S. literature known as “the novel of slavery,” and we’ll be reading fictions by literary artists who attempted, in their various and distinctive ways, to come to terms with the atrocity of human bondage. In the first half of the course, we’ll read authors who wrote in the period before the legal abolition of slavery in the U.S., and whose works made direct contributions to the abolitionist cause. In the second half of the course, we’ll read authors who wrote in the years after the Civil Rights Movement, and whose works treated slavery as a historical phenomenon. But regardless of whether we’re discussing literature from the nineteenth century or the twentieth in our meetings, we’ll always be studying novels that condemn slavery as a legal, moral, and social institution; and that explore the wounds that slavery left upon individual and collective psyches; and that ask whether and how slavery’s tremendous wrongs could ever be redressed.

• Department: English and Comparative Literature
• R 12:10 p.m.-2 p.m.
• Instructor: Austin Graham
  CULPA: 10 Info
• 3 points

Gene-Environment Interactions & Epigenet

Gene-Env Interaction & Ep

The aim of this course is to examine the biological bases of individual differences in behavior. We will start by examining how individual differences in behavior and health are shaped by gene-environment interactions. We will complement these studies with the endophenotype approach and discuss its role in our contemporary views of complex disorders. We will then introduce behavioral epigenetics studies that are suggested to mediate the effects of gene-environment interactions at different levels of analysis. We will continue by discussing how these topics shape and are shaped by developmental programming. We will end the semester by discussing the major debates around these topics as well as their implications in real life and public policies. By covering these topics, students are expected to gain a better understanding of how our behavior is i) formed and shaped by gene-environment interactions over time, ii) influenced by the underlying physiological and epigenetic mechanisms, and iii) changed by developmental processes. With this information, the students are expected to view individual differences in behavior in a perspective that is highly interdisciplinary and dynamic.

• Department: Psychology
• T 6:10 p.m.-8 p.m.
• Instructor: Elif A Duman
  Info
• 4 points

INDEP BIOLOGICAL RESEARCH

Prerequisites: Concurrent with registering for this course, a student must register with the department and provide a written invitation from a mentor; details of this procedure are available at http://www.columbia.edu/cu/biology/courses/w3500/index.htm. Students must register for recitations UN3510 or consult the instructor. Corequisites: BIOL UN3510 The course involves independent study, faculty-supervised laboratory projects in contemporary biology. Concurrent with registering for this course, a student must register with the department, provide a written invitation from a mentor and submit a research proposal; details of this procedure are available at http://www.columbia.edu/cu/biology/courses/w3500/index.htm. A paper summarizing results of the work is required by the last day of finals for a letter grade; no late papers will be accepted. See the course web site (above) for more details. Students can take anywhere from 2-4 points for this course.

• Department: Biological Sciences
• Instructor: Ron M Prywes
  CULPA: 2 Info
• 2-4 points

SUPERVISED READINGS IN PHYSICS

Prerequisites: the written permission of the faculty member who agrees to act as supervisor, and the director of undergraduate studies permission. Readings in a selected field of physics under the supervision of a faculty member. Written reports and periodic conferences with the instructor.

• Department: Physics
• Instructor: Jeremy R Dodd
  CULPA: 25 Info
• 3 points

Intro to Moving Image: Video, Film & Art

Intro Moving Image:Video,

Intro to Moving Image: Video, Film & Art is an introductory class on the production and editing of digital video. Designed as an intensive hands-on production/post-production workshop, the apprehension of technical and aesthetic skills in shooting, sound and editing will be emphasized. Assignments are developed to allow students to deepen their familiarity with the language of the moving image medium. Over the course of the term, the class will explore the language and syntax of the moving image, including fiction, documentary and experimental approaches. Importance will be placed on the decision making behind the production of a work; why it was conceived of, shot, and edited in a certain way. Class time will be divided between technical workshops, viewing and discussing films and videos by independent producers/artists and discussing and critiquing students projects. Readings will be assigned on technical, aesthetic and theoretical issues. Only one section offered per semester. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

• Department: Visual Arts
• W 10 a.m.-4 p.m.
• Instructor: Sable Smith
  Wikipedia Info
• 3 points

MASS EXTINCTIONS: DEATH AND REBIRTH IN T

MASS EXTINC: DEATH AND RE

Mass Extinctions are caused by catastrophic shifts in the earth's climate, solid earth, and life systems. These major inflection points in the history of life leave lasting impacts and require study across a variety of disciplines. In this course we will use these 'system breakdowns' to take a bird's eye view of the history of life. We'll study what happens when vast magmatic provinces spew gases into a darkened sky and try to pick up the pieces as asteroid impacts desecrate the world around them. Along the way, we'll consider how our own actions have the potential to shape the world around us, and the nature of our relationship with an ever-changing earth system. Over the course of the semester students will practice integrating paleontological data from a variety of sources to study both evolutionary hypotheses and the causes of climate change in deep time. We will incorporate foundational ideas from geochronology and stratigraphy as a group, to place fossils into a broader geologic context. Students from all backgrounds who have taken at least one of the three "Systems" courses or Dinosaurs and the History of Life are welcome.

• Department: Earth and Environmental Sciences
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Bennett Slibeck
  Info
• 3 points

Indians and Empires in North America

Indians & Empires in N Am

In this course you will be asked to re-think American history.   That is, we will approach the history of America as a continental history.  This will require that we think of North America as a New World space, a place that was inhabited and occupied by indigenous peoples, and then remade by the arrival and settlement of Europeans.  You will be asked to imagine a North America that was indigenous and adaptive, as well as colonial and Euro-American.  This approach to the study of North American history is designed to challenge the epistemology and literature of the history of colonization and American expansion, which displaces Native peoples from the central narrative of American history by placing them at the physical margins of colonial and national development.  Instead we will explore the intersection and integration of indigenous and Euro-American national identity and national space in North America and trace their co-evolution from first contact through the early nineteenth century.

• Department: History
• W 10:10 a.m.-noon
• Instructor: Michael Witgen
  Info
• 4 points

Animation

Unlike any other medium, animation provides unmatched suspicion of disbelief. Moreover, one can exercise one's imagination in digital space beyond material and physical limitations. Combining the two provides the permissive space to manifest our wildest reveries: utopias, dystopias, thought experiments, psi-fic scenarios, or dollhouses for amphibians.

In this course, students will receive a general survey on a range of methods in animation production. From the most traditional hand-drawn animation and cel animation to digital animation employing Photoshop, After Effects, and Blender (3D animation). Although this class can be technically involved; software mastery the end goal of the course is using these techniques to produce animations as a means of expression. These are only tools to help students form and realize their creative visions. Designed for both the digitally inclined and those who hate computers, students can try and then choose the method most agreeable to their temperament and ideas. They can also combine and mix different methods, maximizing creative freedom.

The course will introduce projects from animation history (early experimental animation, Disney, Soviet experimental animation, etc.) and contemporary art examples (Pierre Huyghe, Ian Chang, Wong Ping. etc.). However, the aim is to go beyond the Western art canon and expose students to other facets of culture. We will also study examples from popular culture (music videos) and Japanese anime (Hideaki Anno, Satoshi Kon, Masaaki Yuasa, etc.). One of the most essential responsibilities the students will take on is expanding our collective references by bringing in and presenting works that genuinely inspire and interest them.

Animation is an exceptionally permissive medium; it facilitates all of your prior skills and interests. Whether it is drawing, painting, music, poetry, fiction, or using a yoyo, there is a way for it to exist in animation. Students will be asked to keep a sketchbook for the duration of the semester. It will serve a landing pad for ideas and an anchor point to manage the project. The course will cover the entire production process, from idea development, concept design, character design, writing, storyboarding, foley, voice, music, editing, and final publication. Much of the class time will be dedicated to working, punctured by presentations, technical workshops, and critiques. At the end of the semester, students will have completed three shorts (30 seconds-2 minutes) and one fully developed pr

• Department: Visual Arts
• F 10 a.m.-4 p.m.
• Instructor: Yi Fan Jiang
  Info
• 3 points

COLUMBIA 1968

This undergraduate seminar examines the social, political, and cultural transformations of the 1960s through the lens of local history. The course is centered on the student and community protests that took place at Columbia University and in Morningside Heights in 1968. Scholarly and popular histories have underscored the ways 1968 was a watershed moment in the history of the 20th century. Although the protest is one of the touchstone events from the year and the decade, reliable historical treatment is still lacking. This class encourages students to examine and craft histories of the university and the surrounding community in this period. Designed to work in tandem with the “Columbia and Slavery” course, this course is a public-facing seminar designed to empower students to open up a discussion of all the issues connected with the protests, its global, national, and local context, and its aftermath. The course aims to raise questions, elicit curiosity, and encourage students and those interested in Columbia and Morningside Heights history to investigate one of the most important events to take place in the university’s history. The recent 50th anniversary of those events, and the availability of new sources & publications on the protests, have presented opportunities to prompt fresh answers to old questions: What were the factors that led to the protests? How did student and community mobilization shape, and were shaped by, national and international forces? What are the local, national, and international legacies of Columbia 1968? The recent graduate student strike is a very tangible legacy of the protests. This seminar is part of an on-going, multiyear effort to grapple with such questions and to share our findings with the Columbia community and beyond.  Working independently, students will define and pursue individual research projects.  Working together, the class will create digital visualizationsof these projects.

 

Course Objectives:

1.     To explore, document, and contextualize the Columbia/Morningside Heights protests of 1968.

2.     To practice the “historian’s craft” by conducting research, analyzing primary material, and making coherent arguments based on an interrogation of evidence.

3.     To analyze, engage in, and reflect on the relationship between archival research and the produ

• Department: History
• W 10:10 a.m.-noon
• Instructor: Frank Guridy
  CULPA: 2 Wikipedia Info
• 4 points

GENDERED CONTROVERSIES

Love and sex have long been studied as historical constructs influenced by social, political, and economic dimensions. This course aims to expand this discourse by incorporating the often-overlooked lens of technological mediation. Beginning with the premise that romantic love is deeply shaped by the affordances of the technology of the time, a critical awareness of technological mediation in romance –especially of digital technologies, i.e. online dating, social media, or cybersex— allows for a deeper understanding of how social categories such as gender, race, class, ability, or sexuality are technologically-mediated, thereby informing our societal and cultural perceptions of love, dating, and sex. 

 

Sandra Moyano-Ariza is Term Assistant Professor of WGSS and Research Director at BCRW. Her research works at the intersection of pop culture, philosophy, and digital technologies, with interests in the fields of media studies and digital scholarship, contemporary feminist theory, critical race theory, posthumanism, and affect theory.

• Department: Women's, Gender, Sexuality Studies @Barnard
• M 2:10 p.m.-4 p.m.
• Instructor: Sandra Moyano-Ariza
  Info
• 4 points

INDEP BIOLOGICAL RESEARCH - REC

• Department: Biological Sciences
• T 4:10 p.m.-5 p.m.
• T 5:40 p.m.-6:30 p.m.
• W 5:40 p.m.-6:30 p.m.
• Instructor: Ron M Prywes
  CULPA: 2 Info
• 0 points

HIST APPROACHES FEMINIST QUES

Comparative study of gender, race, and sexuality through specific historical, socio-cultural contexts in which these systems of power have operated. With a focus on social contexts of slavery, colonialism, and modern capitalism for the elaboration of sex-gender categories and systems across historical time.

• Department: Women's, Gender, Sexuality Studies @Barnard
• T 12:10 p.m.-2 p.m.
• 4 points

Environmental Humanities in the Global S

ENVIRO HUMANITIES GLOBAL

"This interdisciplinary course studies how individuals and communities in the Global South attempt to make sense of the ‘sense of an ending’ that underlines all warnings about environmental crisis and climate change. Our interdisciplinary course has a doubled foundation out of which our readings and discussions will grow: communal understanding and knowledge about local environments, on one hand, and the relation between such knowledge and the data and information gathered by scientists."

"We therefore begin with a simple question: what is the relation between the Humanities and the work of scientists? Scientists undertake painstaking, necessary research to provide communities and their governments with vital, necessary information. Individuals and communities interpret and translate this information, often affectively. An organization of scientists studying carbon levels across Africa can list the progressive increase in temperatures across Africa over a period of years and calculate anticipated increases. An image based on this data may visualize the projected rise:"

"A glance reveals something dire based on the way we associate red with danger. Our course is oriented towards who lives beneath the surfaces of data and images that ‘draw a picture’ for us. We read for how communities and individuals explain and communicate their relation to the historical and changing environments. In other words, we attend to narration, in different forms—fiction, poetry, song, travelogue—to grasp how experiences are rendered comprehensible. There is a broad ‘where’ as well, and a fluid ‘when.’ ‘Where’ takes us into the portmanteau category of ‘The Global South.’ We bracket the scope of this category to focus upon specific places in the Indian Ocean, sub-Saharan Africa and diasporic African communities. ‘When’ permits us to think of time, the time of the world, the times of change and the times of aftermaths. Go into an archive, open a history book, a sacred text and you will encounter ‘endings.’ We enter British colonial archives to see how signs of  ‘When’ also allows us to face an underlying dread that might be called a ‘sense of an ending’ and to see just how many such ‘endings’ have come to pass. This is how we enter the diasporic histories of environmental change related to colonialism and the enslavement and transportation of whose descendants live in the

• Department: Africana Studies (AFSB)
• T 2:10 p.m.-4 p.m.
• Instructor: Yvette Christianse
  Wikipedia Info
• 4 points

MAGIC & MONSTERS IN YIDD LIT

MAGIC & MONSTERS IN YIDD (ENG)

A Serious Man, the 2009 movie by the Coen Brothers opens with a Yiddish folk tale featuring a dybbuk. Dybbuks, golems, magicians, and monsters haunt not only Yiddish literature but also the contemporary cinema, as illustrated by such recent films as The Unborn and The Possession. Why are we so attracted to dybbuks, spirit possession, magic, and monsters in the twenty-first century? This course will focus on magic, monsters, dybbuks, demons, and golems in Yiddish literature and beyond, including film and popular culture. We will approach the supernatural motif from the perspective of gender, body, and performance studies, and will explore the questions of memory, trauma, and identity. The aim of the course is to encourage students to discuss and critically engage with the various texts and film adaptations listed on the syllabus in an attempt to answer the following questions: In what ways do these works explore, interrogate with, and reflect on human experience? What do they tell us about the powers of good and evil? How relevant are they in the twenty-first century? The course puts emphasis on developing the skills of critical, analytical, and abstract thinking in relation to the discussed works, as well as the ability to express that critical thinking in writing. No knowledge of Yiddish required.

• Department: Germanic Languages
• T 4:10 p.m.-6 p.m.
• Instructor: Agnieszka Legutko
  CULPA: 1 Info
• 3 points

CIVIL RIGHTS &CIVIL LIBERTIES

Prerequisites: POLS W1201 or the equivalent. Not an introductory-level course. Not open to students who have taken the colloquium POLS BC3326. Enrollment limited to 25 students; L-course sign-up through eBear. Barnard syllabus. Explores seminal caselaw to inform contemporary civil rights and civil liberties jurisprudence and policy. Specifically, the readings examine historical and contemporary first amendment values, including freedom of speech and the press, economic liberties, takings law, discrimination based on race, gender, class and sexual preference, affirmative action, the right to privacy, reproductive freedom, the right to die, criminal procedure and adjudication, the rights of the criminally accused post-9/11 and the death penalty. (Cross-listed by the American Studies and Human Rights Programs.)

• Department: Political Science @Barnard
• M 4:10 p.m.-6 p.m.
• Instructor: Paula A Franzese
  CULPA: 11 Wikipedia Info
• 3 points

SENIOR SEMINAR I

The Senior Seminar in Women's Studies offers you the opportunity to develop a capstone research paper by the end of the first semester of your senior year. Senior seminar essays take the form of a 25-page paper based on original research and characterized by an interdisciplinary approach to the study of women, sexuality, and/or gender. You must work with an individual advisor who has expertise in the area of your thesis and who can advise you on the specifics of method and content. Your grade for the semester will be determined by the instructor and the advisor. Students receiving a grade of B+ or higher in Senior Seminar I will be invited to register for Senior Seminar II by the Instructor and the Director of Undergraduate Studies. Senior Seminar II students will complete a senior thesis of 40-60 pages. Please note, the seminar is restricted to Columbia College and GS senior majors.

• Department: Women's and Gender Studies
• T 4:10 p.m.-6 p.m.
• Instructor: Elizabeth Povinelli
  CULPA: 14 Wikipedia Info
• 4 points

War, Gender & Migration

What are the lived experiences and historical contexts of war? How are war and peace gendered and racialized? How do war and conflict impact and complicate belonging and influence the movement of people across borders and boundaries? With these questions in mind, this course examines the dynamics of war and its aftermath through a complex intersectional lens of gender, race, sexuality, class, religion, and nation. We will also consider how war and conflict lead to forced migration. Most regions of the world are currently or have been, immersed in war and conflict. In order to better understand how and why wars are fomented and conflicts occur, we will examine U.S. wars as well as transnational conflicts and perspectives, while considering how the construction of “the enemy” is gendered and racialized. We will utilize readings from various fields of study to examine historical processes of war, conflict, and displacement. We will combine diverse texts and theoretical engagements, lectures, documentary films, discussions, and class-based activities to interrogate war and notions of subjectivity, alterity, and belonging across time, place, and space.

• Department: Ethnicity and Race, Center for
• R 12:10 p.m.-2 p.m.
• Instructor: Bahia Munem
  Info
• 4 points

INTRODUCTION TO LATINX STUDIES

In the US, Latinxs are often treated in quantitative terms—as checkmarks on census forms, or as
data points in demographic surveys. However, Latinxs have always been more than mere numbers:
while some have stayed rooted in traditional homelands, and while others have migrated through
far-flung diasporas, all have drawn on and developed distinctive ways of imagining and inhabiting
the Americas. In this course, we will explore a wide range of these Latinx lifeways. Through readings
in the humanities and social sciences, we will learn how Latinxs have survived amidst and against
settler colonialism and racial capitalism. Meanwhile, through the study of literature and art, we will
see how Latinxs have resisted and/or reinforced these social systems. With our interdisciplinary and
intersectional approach, we will determine why Latinidad has manifested differently in colonial
territories (especially Puerto Rico), regional communities (especially the US–Mexico borderlands),
and transnational diasporas (of Cubans, of Dominicans, and of a variety of Central Americans). At
the same time, we will understand how Latinxs have struggled with shared issues, such as (anti-)
Blackness and (anti-)Indigeneity, gender and sexuality, citizenship and (il)legality, and economic and
environmental (in)justice. During the semester, we will practice Latinx studies both collectively and

individually: to enrich our in-class discussions, each student will complete a reading journal, a five-
page paper, a creative project, and a digital timeline.

• Department: Ethnicity and Race, Center for
• W 12:10 p.m.-2 p.m.
• Instructor: Darius V Echeverria
  CULPA: 1 Info
• 4 points

Senior Seminar I (Barnard)

SENIOR SEMINAR I

Student-designed capstone research projects offer practical lessons about how knowledge is produced, the relationship between knowledge and power, and the application of interdisciplinary feminist methodologies.

• Department: Women's, Gender, Sexuality Studies @Barnard
• R 10:10 a.m.-noon
• R 2:10 p.m.-4 p.m.
• Instructor: Manijeh Moradian
  Info
• Instructor: Alexander Pittman
  CULPA: 10 Info
• 4 points

ADVANCED SENIOR STUDIO I

Prerequisites: Enrollment limited to 15 students. Permission of the instructor. An interpretive study of the theoretical and critical issues in visual art. Projects that are modeled after major movements in contemporary art will be executed in the studio. Each student develops an original body of artwork and participates in group discussions of the assigned readings. For further info visit: 
https://arthistory.barnard.edu/senior-thesis-project-art-history-and-visual-arts-majors

• Department: Art History @Barnard
• M 2:10 p.m.-6 p.m.
• Instructor: Joan Snitzer
  CULPA: 4 Info
• 4 points

JUNIOR SEMINAR IN URBAN STUDIES

JUNIOR SEMINAR URBAN STUD

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

• Department: Urban Studies @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Maricarmen Hernandez
  Info
• Instructor: Angela Simms
  Info
• 4 points

QUEER HARLEM

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

• Department: Africana Studies (AFSB)
• W 4:10 p.m.-6 p.m.
• Instructor: Maleda Belilgne
  Info
• 4 points

Radical Poetics in Seventeenth-Century E

Donne, Herbert, Marvell

This seminar will center on the close reading of some of the most formally complex and intellectually dense lyric poetry written in English - more specifically, the work of the seventeenth-century poets generally deemed exemplary of the English “metaphysical” tradition. We will divide our time more or less equally among three figures: John Donne, the libertine-turned-priest whose poetry spans erotic and devotional extremes; George Herbert, the humble parson whose daring experiments in poetic form can seem uncannily postmodern; and finally Andrew Marvell, whose nickname—“the Chameleon”—gestures both toward the shiftiness of his political affiliations and the radical ambiguity of his poetry. Each week we will undertake the careful analysis of exhilaratingly, exhaustingly difficult poems. Our reading will also include a set of critical or historical supplements, meant to enrich and enliven our understanding of the primary texts under consideration.

• Department: English and Comparative Literature
• W 2:10 p.m.-4 p.m.
• Instructor: Molly Murray
  CULPA: 26 Info
• 4 points

PHILOS PROBLEMS OF CLIMATE CHG

• Department: Philosophy
• MW 4:10 p.m.-5:25 p.m.
• 3 points

Interrogating Authoritarianism in Contem

INTERROG AUTHORITARIANISM

Prerequisites: reading knowledge of Spanish Reading knowledge of Spanish is required. By conceiving authoritarianism as a historically produced–and therefore historically changing–notion, we will travel across the twentieth and twenty-first centuries to examine how phenomena associated with different forms of political domination were understood in their time and how they are understood today. Nation-building processes, class and gender conflicts, cultural politics, and the examination of past and current political and social movements will be the center of our discussion. Several questions will be raised (and hopefully answered) along this journey: How can we understand the specificity of Spanish forms of authoritarianism in the Euro-Atlantic scenario? How can we explain the reappearance of extreme right-wing populisms? How have transnational forces influenced old and new authoritarian dynamics? To address these issues, we will read essays, short stories, graphic novels, as well as theoretical texts that offer varied approaches to history, aesthetics, and politics. The works by writers Juan Marsé, Sara Mesa, Isaac Rosa, Carmen Martín Gaite, film-makers like Edgar Neville, José Luis Sáenz de Heredia, Carlos Saura or philosophers such as Benjamin, Adorno, Schmitt, Villacañas or Rodríguez Palop will be some of the materials from which to study the cultural logics of Spanish authoritarianism in a Global Age.

• Department: Latin American and Iberian Cultures
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Ana M Fernandez Cebrian
  CULPA: 1 Info
• 3 points

SCREENDANCE:COMPOSITION

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

• Department: Dance @Barnard
• TR 11 a.m.-12:50 p.m.
• Instructor: Gabri Christa
  CULPA: 1 Info
• 3 points

DRUGS & POLITICS IN AMERICAS

A major challenge for governments across the Western Hemisphere is the complex relationship between illicit drugs, violence, and politics. We can see this relationship operating at multiple levels, from everyday politics in gang-controlled neighborhoods to the global arenas where governments debate and craft international drug policy. These links also reach back in history to global wars of empire and colonial rule, race relations during and following the collapse of the institution of slavery, and contemporary drug wars being waged across the Western Hemisphere and other parts of the world. Today, the dynamics and consequences of the politics of illicit drugs touch all our lives in different ways, including individual and family struggles with substance abuse, everyday encounters with militarized police, and the strains on democracy and citizenship, among many others. This course will examine some of these dynamics and consequences with a theoretical and empirical focus mainly on Latin America and the United States. Throughout our time together we will connect these pressing issues to broader theories, concepts and empirical findings in political science. The course is divided into several individual modules (denoted below with the headings A – G) under three overarching themes for this semester:

 

1. Politics of Drugs in a Historical Perspective:
The first theme is a broad historical overview of the political origins of illicit drugs and the global drug regime. Some of the main questions we will tackle are: When and why did states label drugs as illicit?  How did domestic and global politics come together to shape the global drug regime and the “war on drugs?” What role did race and gender play in the early social construction of illicit drugs?

 

2. Illicit Drugs, Politics and Governance:
The second theme focuses on contemporary linkages between illicit drugs, violence, and politics. Here we will examine the conditions under which illicit drug markets are either violent or (relatively) peaceful. We will tackle questions like: Do states always seek to dismantle drug markets? What is the relationship between illicit drugs and electoral politics? What role do illicit drugs play in governance by armed non-state actors?  Are states and criminal actors involved in the drug trade always at “war” with each other? 


3. Democracy, Citizenship, and the War on Drugs:
The th

• Department: Political Science @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Eduardo Moncada
  CULPA: 2 h-index: 12 Info
• 4 points

DRUGS & POLITICS IN THE AMERICAS - DISC

DRUGS & POLITICS - DISC

Discussion Section for POLS-UN3565 Drugs and Politics in the Americas

• Department: Political Science @Barnard
• 0 points

DRUGS & POLITICS IN THE AMERICAS - DISC

DRUGS & POLITICS - DISC

Discussion Section for POLS-UN3565 Drugs and Politics in the Americas

• Department: Political Science @Barnard
• 0 points

DRUGS & POLITICS IN THE AMERICAS - DISC

DRUGS & POLITICS - DISC

Discussion Section for POLS-UN3565 Drugs and Politics in the Americas

• Department: Political Science @Barnard
• 0 points

DANCES OF INDIA

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

• Department: Dance @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Uttara Coorlawala
  CULPA: 4 Info
• 3 points

DANCE CRITICISM

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

• Department: Dance @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Siobhan F Burke
  CULPA: 2 Info
• 3 points

PHYSICS AND PHILOSOPHY

PHILOSOPHY & PHYSICS

Philosophical problems at the foundations of quantum theory, especially those having to do with the uncertainty of relations and nature of quantum mechanical indeterminacy. Exploration of a variety of interpretation and hidden variable theory.

• Department: Philosophy
• MW 4:10 p.m.-5:25 p.m.
• Instructor: David Albert
  CULPA: 32 Wikipedia h-index: 40 Info
• 3 points

HISTORY OF SOCIAL DANCING

• Department: Dance @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Seth S Williams
  CULPA: 1 Info
• 3 points

SR SEM IN BIOLOGY

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

• Department: Biological Sciences @Barnard
• M 4:10 p.m.-6 p.m.
• F 12:10 p.m.-2 p.m.
• Instructor: Hilary Callahan
  CULPA: 4 h-index: 17 Info
• Instructor: Elizabeth P Bauer
  CULPA: 3 h-index: 21 Info
• 4 points

GUIDED RESEARCH & SEMINAR

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

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

• Department: Biological Sciences @Barnard
• M 1:10 p.m.-3 p.m.
• 4 points

GUIDED RESEARCH & SEMINAR

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

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

• Department: Biological Sciences @Barnard
• M 1:10 p.m.-3 p.m.
• 4 points

SENIOR SEMINAR

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

• Department: Dance @Barnard
• T 10:10 a.m.-noon
• T 12:10 p.m.-2 p.m.
• Instructor: Paul A Scolieri
  CULPA: 19 Info
• 4 points

NEUROSCIENCE GUIDED RESEARCH

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

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

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

• Department: Neuroscience & Behavior @Barnard
• F 2 p.m.-4 p.m.
• Instructor: Luca Iemi
  Info
• 4 points

SENIOR THESIS RESEARCH & SEMINAR

SR THESIS RESEARCH & SEMI

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

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

• Department: Biological Sciences @Barnard
• M 1:10 p.m.-3 p.m.
• 4 points

RSRCH/SEM-NEUROSCNCE&BEHAVIOR

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

• Department: Neuroscience & Behavior @Barnard
• R 4:10 p.m.-6 p.m.
• Instructor: Peter D Balsam
  CULPA: 25 Info
• Instructor: Elizabeth P Bauer
  CULPA: 3 h-index: 21 Info
• Instructor: Alex White
  h-index: 13 Info
• Instructor: Kevin G Bath
  Info
• 4 points

SENIOR SEMINAR

A research and writing workshop designed to help students plan and execute a major research project, and communicate their ideas in a common scholarly language that crosses disciplinary boundaries. Content is determined by students thesis topics, and includes general sessions on how to formulate a proposal and how to generate a bibliography. Students present the fruits of their research in class discussions, culminating in a full-length seminar presentation and the submission of the written thesis.

• Department: Slavic Languages @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: John C Wright
  CULPA: 1 Info
• 4 points

GUIDED RESEARCH

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

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

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

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