DESIGN PROJECT

E3156: a design problem in materials science or metallurgical engineering selected jointly by the student and a professor in the department. The project requires research by the student, directed reading, and regular conferences with the professor in charge. E3157: completion of the research, directed reading, and conferences, culminating in a written report and an oral presentation to the department.

• Department: Applied Physics and Applied Mathematics
• Instructor: Simon Billinge
  CULPA: 3 h-index: 75 Info
• 3 points

ADVANCED PROGRAMMING

C programming language and Unix systems programming. Also covers Git, Make, TCP/IP networking basics, C++ fundamentals.

• Department: Computer Science
• TR 4:10 p.m.-5:25 p.m.
• F 12:10 p.m.-2 p.m.
• Instructor: Jae W Lee
  CULPA: 42 Info
• 4 points

DANTE AND CHAUCER

Geoffrey Chaucer, “the father of English literature,” was also the first known English reader of Dante – generally regarded as the greatest poet in a modern European language – and the question of how to respond to the legacy of his powerful predecessor left its mark on many of Chaucer’s works. Was “Chaucer,” the self-identified hero of The Canterbury Tales, based on “Dante,” the poet pilgrim who, in the Commedia, claims to have personally visited Hell, Purgatory and Paradise? And if so, as seems likely, what do we make of Chaucer’s rejection of Dante’s “beautiful style,” and his comparative emphasis on irony, incompleteness, and bodily humor? Reading these foundational authors side-by-side sheds unexpected light on each. Could it be that Chaucer was Dante’s canniest reader? In this
seminar we will read generous extracts from Chaucer in the original Middle English, as well as the Commedia of Dante, and additional short texts, in modern English translation.

• Department: English @Barnard
• R 11 a.m.-12:50 p.m.
• Instructor: Eugene A Petracca
  Info
• 4 points

THE ENGLISH COLLOQUIUM

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

• Department: English @Barnard
• T 12:10 p.m.-2 p.m.
• M 2:10 p.m.-4 p.m.
• T 11 a.m.-12:50 p.m.
• Instructor: Ross T Hamilton
  CULPA: 25 Info
• Instructor: Atefeh Akbari Shahmirzadi
  Info
• Instructor: Eugene A Petracca
  Info
• 4 points

Fanon s Psychology of the Oppressed

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

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

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

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

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

• Department: Africana Studies (AFSB)
• W 2:10 p.m.-4 p.m.
• Instructor: Colin Leach
  CULPA: 4 h-index: 41 Info
• 4 points

COMPUTER GRAPHICS

This undergraduate course introduces students to algorithms, data structures and mathematical principles used in computer graphics. Students will gain experience with OpenGL and graphics processing unit (GPU) programming and develop an understanding of the graphics pipeline. The topics covered include shading and illumination, sampling and reconstruction, ray tracing, graphics hardware, geometric and viewing transformations, rendering, modeling curves and surfaces and image-based methods. Near the end of the course, students will be introduced to topics in animation, global illumination and reflectance and modern concepts like neural rendering. Pre-Requisites: COMS W3157 Advanced Programming, Linear Algebra (COMS W3251, APMA E3101, APMA E2101, MATH UN2010, or MATH UN2015), and Calculus I or higher.

Please note: 

Due to significant overlap in content, only one of COMS BC3160 or COMS W4160 may be taken for credit.

• Department: Computer Science @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Corey Toler-Franklin
  Info
• 3 points

FLUID MECHANICS

Fluid statics. Fundamental principles and concepts of flow analysis. Differential and finite control volume approach to flow analysis. Dimensional analysis. Application of flow analysis: flow in pipes, external flow, flow in open channels.

• Department: Civil Engineering and Engineering Mechanics
• R 1:10 p.m.-3:40 p.m.
• Instructor: Marco Giometto
  h-index: 9 Info
• 4 points

SHAKESPEARE I

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

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

Trees of Knowledge: Ecocriticism and Wor

ECOCRITICISM & WORLD LIT

This survey of modern and contemporary world literature deals explicitly with environmental issues as a main theme. The course is supposed to serve as an introduction to the new field of “ecocriticism” in the Humanities and to a wide range of literary responses to current ecological concerns and transformations of natural habitat. All texts are available in English, though students will have the opportunity to read them in the original if they desire to do so.

• Department: Comparative Literature and Society @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Erk Grimm
  CULPA: 10 Info
• 3 points

MILTON

How and why might we read Milton now? And how do his writings and thinking intersect with issues in our present moment? We will read his influential epic
Paradise Lost
after reading selections of Milton's earlier poetry and prose (attack against censorship, defenses of divorce, individual conscience, toleration, complicated issues of political and religious liberty). He wrote about these matters as he was involved in the English Civil war, an advocate of liberty (we will consider what kind, for whom?) and revolution, which Americans would embrace as inspiration and to justify the American Revolution. We will critically read Milton’s literary and political texts within the contexts of religious, political, and cultural history of early modern England and Europe but also colonial and revolutionary America—asking difficult questions, and with a sense of how Milton’s writing connects to present issues of our time.

• Department: English @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Achsah Guibbory
  CULPA: 17 Info
• 3 points

Moral Psychology: Ancient Wisdom and Mod

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

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

THE EIGHTEENTH-CENTURY NOVEL

In the seventeenth century, a new genre appears across Europe: the novel. Why does it appear? What accounts for its increasing popularity across the eighteenth century? What role does it play, in personal psychology as well as society? To puzzle these questions, we will place the development of the novel within the history of art, philosophy and science, as well as psychology and literary theory. Readings may include novels by Mme. de La Fayette, Aphra Behn, Daniel Defoe, Henry Fielding, John Cleland, the Marquis de Sade, William Godwin, and Jane Austen, as well as essays by Benjamin, Adorno, Foucault, Elias, Moretti, and others.

• Department: English @Barnard
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Monica F Cohen
  CULPA: 8 Info
• 3 points

VICTORIAN AGE IN LITERATURE

“We have become a novel-reading people,” wrote Anthony Trollope in 1870. “Novels are in the hands of us all; from the Prime Minister down to the last-appointed scullery maid.” This course will consider why the novel was so important to Victorian culture and society. What made the Victorian novel such a fertile form for grappling with the unprecedented cultural changes of the nineteenth century? To address this question, we will explore how Victorian novels both responded to, and participated in, major social and cultural shifts of the period, including industrialism and urbanization; colonialism and empire; the changing status of women, sexuality, and marriage; the emergence of Darwinism; class conflict and social reform; and the expansion of education and literacy. This course will also consider more broadly what novels are for, and what the Victorians thought they were for. Do novels represent the world as it really is, or do they imagine it as it ought to be? What kinds of solutions to social and political problems can novels offer? Can novels ethically improve (or corrupt) their readers? We will consider these issues in the context of realism, Victorian literature’s trademark genre, but we’ll also explore an array of other genres, such as the industrial novel, the Bildungsroman, the sensation novel, detective fiction, and gothic fiction. Authors include Jane Austen, Charles Dickens, Charlotte Brontë, George Eliot, Wilkie Collins, and others.

• Department: English @Barnard
• TR 8:40 a.m.-9:55 a.m.
• Instructor: Jayne Hildebrand
  CULPA: 3 Info
• 3 points

AMERICAN LITERATURE TO 1800

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

• Department: English @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Lisa Gordis
  CULPA: 15 Info
• 3 points

RELIGIOUS CONVERSION IN HIST

Boundary crossers have always challenged the way societies imagined themselves. This course explores the intersection between personal identity, narrative, and the historical-political, religious, economic, and social aspects of religious conversion. While the course will focus on Western (Christian and Jewish) models in the medieval and early modern periods, we will also look at antiquity, the role of conversion in the spread of Islam, and the complexities of religious conversion through the prism of colonial relations.

• Department: History
• R 2:10 p.m.-4 p.m.
• Instructor: Elisheva Carlebach
  CULPA: 6 Wikipedia Info
• 4 points

AMERICAN LITERATURE SINCE 1945

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

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

MODRN BRITISH & AMERCAN POETRY

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

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

THE MODERN NOVEL

This course will pay close attention to the novel form through the transition from nineteenth-century realism to modernist innovations in narrative voice and perspective, representation of consciousness, etc. Important social and historical contexts include World War I, urbanization, sexuality and the family, empire and colonialism. Authors may include Gustave Flaubert, Henry James, E. M. Forster, Ford Madox Ford, Joseph Conrad, Virginia Woolf, James Joyce..

• Department: English @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Mary E Cregan
  CULPA: 12 Info
• 3 points

COMPOSNG THE SELF-ERLY MOD EUR

This course explores manners of conceiving and being a self in early modern Europe (ca. 1400-1800). Through the analysis of a range of sources, from autobiographical writings to a selection of theological, philosophical, artistic, and literary works, we will approach the concept of personhood as a lens through which to study topics such as the valorization of interiority, humanist scholarly practices, the rising professional status of artists, the spirituality of Christian mysticism, mechanist and sensationalist philosophies of selfhood, and, more generally, the human person’s relationship with material and existential goods. This approach is intended to deepen our understanding of the Renaissance, the Reformation, the Scientific Revolution, the Enlightenment, and other movements around which histories of the early modern period have typically been narrated.

• Department: History
• T 10:10 a.m.-noon
• Instructor: Charly J Coleman
  CULPA: 7 Info
• 4 points

INT'L HUMAN RIGHTS LAW

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

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

CRITICAL WRITING

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

• Department: English @Barnard
• TR 1:10 p.m.-2:25 p.m.
• MW 11:40 a.m.-12:55 p.m.
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Kristi-Lynn Cassaro
  Info
• Instructor: Andrew L Lynn
  CULPA: 17 Info
• Instructor: Eugene A Petracca
  Info
• 4 points

MODERNISM

A deeply ambivalent, transatlantic movement, Modernism grapples with revolutionary forces that defy traditional structures: the 19th-century Darwinian inversion to the old idea of order, the advent of psychoanalysis, the crisis of world war, and the anxiety and exuberance of shifting gender paradigms. The ensuing cultural upheaval dis-orders not only the content but also the literary forms of Modernism, giving rise to abstraction, fragmented narrative structures, stream-of-consciousness prose and the extreme erudition T.S. Eliot “shored against the ruins” of so-called civilization in “The Waste Land.”  Special attention will be devoted to how seminal manifestos, most notably "Tradition and the Individual Talent" and 
A Room of One's Own,
 frame the movement's embattled aesthetics.  Works by Djuna Barnes, T.S. Eliot, William Faulkner,  Ernest Hemingway, James Joyce, D.H. Lawrence, Muriel Rukeyser, Jean Toomer, Gertrude Stein, Wallace Stevens, William Carlos Williams, Virginia Woolf, and W.B. Yeats.

• Department: English @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Kristi-Lynn Cassaro
  Info
• 3 points

THEORY

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

• Department: Religion
• M 12:10 p.m.-2 p.m.
• Instructor: Courtney Bender
  CULPA: 10 Info
• 4 points

Feminist Ethnography

This course offers an overview of classic and contemporary examples of feminist ethnography. Over

the course of the semester, we will trace the development of, and debates around, feminist

ethnography from the 1970s to the contemporary period, highlighting the key questions and

dominant paradigms of the field. We will examine how feminist approaches shape the questions we

ask, how we present our research and the ethics of research. We will explore how to incorporate

collaborative and activist methods and analysis in our scholarly projects, asking: How can feminist

ethnography intensify efforts towards social justice in the current political and economic climate?

How do feminist ethnographers link their findings to broader publics through activism, advocacy, and

public policy?

• Department: American Studies @Barnard
• T 12:10 p.m.-2 p.m.
• Instructor: Lisa Jahn
  Info
• 4 points

MECHANICS:FUND & APPLICATIONS

Basic non-Euclidean coordinate systems, Newtonian Mechanics, oscillations, Greens functions, Newtonian graviation, Lagrangian mechanics, central force motion, two-body collisions, noninertial reference frames, rigid body dynamics. Applications, including GPS and feedback control systems, are emphasized throughout.

• Department: Applied Physics and Applied Mathematics
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Elizabeth Paul
  Info
• 3 points

TRANSPORT/CHEM RATE PHENOMENA

Fluid statics. Basics of flow analysis. Dimensional analysis. Pipe flow. Fluid dynamics, heat and mass transfer. Effects of velocity, temperature, and concentration gradients 130 ENGINEERING 2021–2022 and material properties on fluid flow, heat and mass transfer. Applications to environmental engineering problems.

• Department: Earth and Environmental Engineering
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Yin Yip Ngai
  h-index: 26 Info
• 3 points

FILM PRODUCTION

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

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

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

INTRODUCTION TO PUBLIC HEALTH

An introduction to and overview of public health. Through a series of sessions with leading public health experts, this course views the multifaceted nature of public health through a prismic lens addressing key concepts, approaches, and issues of historical and contemporary import: What is public health and how has public health evolved over time? What are the core methods of public health? What are the approaches to understanding and addressing both infectious and chronic, non-communicable diseases? What role do micro- and macro-level determinants (i.e. biology and social context) play in public health? What are the global trends in population health? How does the individual life course bear on population health? How do systems, policy, and population health mutually shape each other? How are public health programs designed and evaluated? What are the limits of public health?

• Department: Columbia College
• MW 4:10 p.m.-5:25 p.m.
• Instructor: Dana March
  CULPA: 8 Info
• 3 points

DIRECTING I

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

• Department: Theatre @Barnard
• TR 10:10 a.m.-noon
• Instructor: Faculty
  h-index: 37 Info
• 3 points

ADVANCED NONFICTION WORKSHOP

Advanced Nonfiction Workshop is for students with significant narrative and/or critical experience. Students will produce original literary nonfiction for the workshop. This workshop is reserved for accomplished nonfiction writers and maintains the highest level of creative and critical expectations. Among the many forms that creative nonfiction might assume, students may work in the following nonfiction genres: memoir, personal essay, journalism, travel writing, science writing, and/or others. In addition, students may be asked to consider the following: ethical considerations in nonfiction writing, social and cultural awareness, narrative structure, detail and description, point of view, voice, and editing and revision among other aspects of praxis. A portfolio of nonficiton will be written and revised with the critical input of the instructor and the workshop. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.

• Department: Writing
• T 2:10 p.m.-4 p.m.
• Instructor: Lars Horn
  Info
• 3 points

ADVANCED ARCHITECTURAL DESIGN I

ADV ARCHITECTURAL DESIGN

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

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

CIRCUIT ANALYSIS

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

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

INTRO FILM & MEDIA STUDIES

Prerequisites: Open to first-year students.

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

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

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

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

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

Structural Determinants of Health

STRUCTURAL DETERMNTS OF H

The COVID-19 pandemic has made the underlying health disparities that exist in the United States more apparent. The traditional biomedical model places the responsibility of these disparities on the choices that an individual makes. The model assumes that one’s smoking, eating and exercising habits are based on personal choice. Therefore, the prevalence of morbidities such as high blood pressure, obesity and diabetes is the result of an individual’s poor decisions. This course will explore how the conditions under which individuals live, work, play and pray impact their health outcomes. Collectively these conditions are referred to as the Social Determinants of Health (SDoH) and often they reveal the systemic inequalities that disproportionately affect marginalized communities. This course will also call upon the need for a paradigm shift from the “Social” Determinants of Health to the “Structural” Determinants of Health. This shift is in recognition that it is the underlying structures (laws, material infrastructure) that impact health outcomes. The development of the SDoH has challenged health care providers to look beyond the biomedical model that stresses an individual’s behavior as the main predictor of adverse health conditions. Instead the SDoH focuses on an “upstream” approach that examines the underlying systemic and racial inequalities that impact communities of color and their health outcomes. An analysis that focuses upstream reveals that government policies and social structure are at the core of health disparities. Through the lens of New York City and its health systems, this course will cover a wide range of topics related to race and health, including: racial inequalities in housing and homelessness, biases in medical institutions, and the unconscious bias that lead providers to have racialized perception of an individual’s pain tolerance. In addition to exposing these inequalities the course will also provide innovative solutions that seek to mitigate these barriers including: home visiting programs, medical respite programs for homeless patients and food as medicine in health care systems. Students will demonstrate their knowledge through individual writing, and class discussion. The course revolves around important readings, lectures, and podcasts that illustrates how one’s class position and the color of one’s skin can influence the access to healthcare one has as well as their experie

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

ADVANCED DIRECTING

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

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

DISCRETE MATHEMATICS

Logic and formal proofs, sequences and summation, mathematical induction, binomial coefficients, elements of finite probability, recurrence relations, equivalence relations and partial orderings, and topics in graph theory (including isomorphism, traversability, planarity, and colorings).

• Department: Computer Science
• MW 2:40 p.m.-3:55 p.m.
• F 2:10 p.m.-4 p.m.
• Instructor: Tony B Dear
  CULPA: 17 Info
• 4 points

WHAT'S YOUR STORY ANYWAY? - TRAUMA RESIS

CREATIVE WRITING ON TRAUM

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

• Department: English @Barnard
• R 9 a.m.-10:50 a.m.
• Instructor: Maria D Hinojosa
  Info
• 3 points

MILLENNIUM: APOCALYPSE AND UTOPIA

Study of apocalyptic thinking and practice in the western religious tradition, with a focus on American apocalyptic religious movements and their relation to contemporary cultural productions, as well as notions of history and politics.

• Department: Religion @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Elizabeth Castelli
  CULPA: 17 Wikipedia Info
• 3 points

DRAMATURGY

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

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

ADVANCED ARCHITECTURAL RESEARCH AND DESI

ADV ARCH RESEARCH & DESIG

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

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

INTERMEDIATE MICROECONOMICS

Prerequisites: ECON UN1105 and MATH UN1101 and (MATH UN1201 or MATH UN1207) The determination of the relative prices of goods and factors of production and the allocation of resources.

• Department: Economics
• MW 1:10 p.m.-2:25 p.m.
• TR 1:10 p.m.-2:25 p.m.
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Susan M Elmes
  CULPA: 44 Info
• Instructor: Caterina Musatti
  CULPA: 2 Info
• Instructor: Tam Mai
  Info
• 4 points

INTER MICROECONOMICS-DISC

INTER MICROECONOMICS - DISC

Required Discussion section for ECON UN3211 intermediate Economics.

• Department: Economics
• 0 points

INTERMEDIATE MACROECONOMICS

Prerequisites: (MATH UN1101 or MATH UN1207) and ECON UN1105 or the equivalent. Corequisites: MATH UN1201 This course covers the determination of output, employment, inflation and interest rates. Topics include economic growth, business cycles, monetary and fiscal policy, consumption and savings and national income accounting.

• Department: Economics
• MW 1:10 p.m.-2:25 p.m.
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Xavier Sala-I-Martin
  CULPA: 82 Wikipedia h-index: 80 Info
• Instructor: Emilien Gouin-Bonenfant
  Info
• 4 points

INTER MACROECONOMICS-DISC

Discussion section for ECON UN3213 Intermediate Macro. Student must register for a section.

• Department: Economics
• 0 points

LATINX AND THE ICE/PRISON INDUSTRIAL COM

JOURNALISM: LATINX&ICE/PR

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

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

HYBRID NONFICTION FORMS

Prerequisites: No prerequisites. Department approval NOT required. Creative nonfiction is a frustratingly vague term. How do we give it real literary meaning; examine its compositional aims and techniques, its achievements and especially its aspirations? This course will focus on works that we might call visionary - works that combine art forms, genres and styles in striking ways. Works in which image and text combine to create a third interactive language for the reader. Works still termed fiction history or journalism that join fact and fiction to interrogate their uses and implications. Certain memoirs that are deliberately anti-autobiographical, turning from personal narrative to the sounds, sight, impressions and ideas of the writers milieu. Certain essays that join personal reflection to arts and cultural criticism, drawing on research and imagination, the vernacular and the formal, even prose and poetry. The assemblage or collage that, created from notebook entries, lists, quotations, footnotes and indexes achieves its coherence through fragments and associations, found and original texts.

• Department: Writing
• T 12:10 p.m.-2 p.m.
• Instructor: Margo L Jefferson
  CULPA: 1 Info
• 3 points

KOREAN LITERATURE & FILM

This course traces the history of Korean cinema and literature from the 1930s to the early 2000s. Particular attention is given to colonialism, national division, war, gender relations, authoritarianism, urbanization, consumer culture, and diaspora. What kinds of familial, social, economic, and political relations do these films and literary works envision? We will link films and literary texts to their historical context, noting how representations of people, places, and ideas have changed over time—from colonialism, through poverty and malaise in the aftermath of the Korean War, to North Korea’s continuing search for autonomy in the world system and South Korea’s current position as global economic power and maker of the “Korean Wave ”

• Department: East Asian Languages and Cultures
• W 4:10 p.m.-6 p.m.
• Instructor: Theodore Hughes
  CULPA: 6 Info
• 3 points

WRITING ABOUT ART

Prerequisites: No prerequisites. Department approval NOT required. 

This course will introduce students to writing about visual art. We will take our models from art history and contemporary art discourse, and students will be prompted to write with and about current art exhibitions and events throughout the city. The modes of art writing we will encounter include: the practice of ekphrasis (poems which describe or derive their inspiration from a work of art); writers such as John Ashbery, Gary Indiana, Eileen Myles, and others who for periods of their life held positions as art critics while composing poetry and works of fiction; writers such as Etel Adnan, Susan Howe, and Renee Gladman who have produced literature and works of art in equal measure. We will also look at artists who have written essays and poetry throughout their careers such as Robert Smithson, Glenn Ligon, Gregg Bordowitz, Moyra Davey, and Hannah Black, and consider both the visual qualities of writing and the ways that visual artists have used writing in their work. Lastly, we will consider what it means to write through a “milieu” of visual artists, such as those associated with the New York School and Moscow Conceptualism. Throughout the course students will produce original works and complete a final writing project that enriches, complicates, and departs from their own interests and preoccupations.

• Department: Writing
• W 10:10 a.m.-noon
• Instructor: Eliza B Callahan
  Info
• 3 points

SCIENCE AND SENSIBILITY

• Department: Writing
• M 12:10 p.m.-2 p.m.
• Instructor: Meehan J Crist
  Info
• 3 points

RACE, ETHNICITY & SOCIETY

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

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

LITERATURE & EMPIRE (19C LIT)

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

• Department: Slavic Languages @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: John C Wright
  CULPA: 1 Info
• 3 points

Writing the Sixties

NF Sem: Writing the Sixti

In this seminar, we will target nonfiction from the 1960s—the decade that saw an avalanche of new forms, new awareness, new freedoms, and new conflicts, as well as the beginnings of social movements and cultural preoccupations that continue to frame our lives, as writers and as citizens, in the 21st century: civil rights, feminism, environmentalism, LGBTQ rights, pop culture, and the rise of mass media. We will look back more than a half century to examine the development of modern criticism, memoir, reporting, and profile-writing, and the ways they entwine. Along the way, we will ask questions about these classic nonfiction forms: How do reporters, essayists, and critics make sense of the new? How do they create work as rich as the best novels and short stories? Can criticism rise to the level of art? What roles do voice, point-of-view, character, dialogue, and plot—the traditional elements of fiction—play? As we go, we will witness the unfolding of arguably the most transitional decade in American history—with such events as the Kennedy assassination, the Watts Riots, the Human Be In, and the Vietnam War, along with the rise of Pop art, rock ‘n’ roll, and a new era of moviemaking—as it was documented in real time by writers at
The New Yorker
, New Journalists at
Esquire
, and critics at
Partisan Review
and
Harper
’s, among other publications. Some writers we will consider: James Baldwin, Joan Didion, Susan Sontag, Rachel Carson, Dwight Macdonald, Gay Talese, Tom Wolfe, Truman Capote, Pauline Kael, Nik Cohn, Joseph Mitchell, Lillian Ross, Gore Vidal, Norman Mailer, Thomas Pynchon, John Updike, Michael Herr, Martha Gellhorn, John McPhee, and Betty Friedan. We will be joined by guest speakers.

• Department: Writing
• M 6:10 p.m.-8 p.m.
• Instructor: Mark Rozzo
  Info
• 3 points

SOCIOLOGY OF EDUCATION

All of us have spent many years in school and understand that schools impact our lives in important ways. But how exactly does formal schooling shape young people? And how do students make sense of their lives in the context of schools and educational systems more broadly? In this class we will examine education as a central institution in modern society, and we will grapple with an important question: What role does education play in reinforcing or challenging broader patterns of social inequality and mobility? Particular emphasis will be placed on higher education as a critical site in which these processes take shape.

• Department: Sociology @Barnard
• MW 4:10 p.m.-5:25 p.m.
• Instructor: Dominic T Walker
  Info
• 3 points

NONFICTION-ISH

NF SEM - NONFICTION-ISH

This craft seminar aims to uncover daring and unusual approaches to literature informed by nonfiction (and nonfiction-adjacent) practices. In this course we will closely read and analyze a diverse set of works, including Samuel R. Delany’s memoir-polemic of New York street life, Lydia Davis’s very short stories drawn from life, Svetlana Alexievich’s “novel of voices,” Sheila Heti’s alphabetical diaries, Adania Shibli’s double-telling of a crime story, Eliot Weinberger’s ways of looking at translation and Chinese poetry, Sei Shōnagon’s observations from eleventh-century Japan, Christopher Isherwood’s autofiction, Emmanuel Carrère’s “nonfiction novels,” Sigrid Nunez’s memoir “of” Susan Sontag, Saidiya Hartman’s critical fabulations, W. G. Sebald’s essay-fiction, and Rainer Maria Rilke’s semiautobiographical novel in journal entries, alongside shorter pieces and extracts by writers like Eileen Myles, Alejandro Zambra, Maria Stepanova, Ben Mauk, and more. What we learn in this course we will apply to our own work, which will consist of regular ungraded generative writing prompts and two graded creative writing responses. Students will also learn to keep a daily writing journal, from which selections will serve as the midterm and final.

• Department: Writing
• T 2:10 p.m.-4 p.m.
• Instructor: James C Yeh
  Info
• 3 points

Tricksters in World Culture: Mockery, Su

Trickster in World Cultur

Tricksters constitute one of the universal themes or tropes in mythology and folklore of many cultures. Through the discussions of ancient Greek, Native-American, African, Paleo-Asiatic, Scandinavian, African-American, Muslim and Jewish myths and folklore about tricksters, the course will telescope the cultural functions of the comedic transgression as a form of social critique; it will also highlight cynicism, its productive and dangerous aspects. Then we’ll introduce different historical subtypes of tricksters, such as a fool, jester, holy fool, kynik, picaro, con artist, female and queer tricksters, thus  moving through premodern and early modern periods. Each type of the trickster is illustrated by literary examples from different world cultures (European and non-European alike) as well as theoretical works of Mikhail Bakhtin, Michel Foucault, Giorgio Agamben, and Peter Sloterdijk. Finally, the role of the trickster in modernity will be discussed through the case of Soviet tricksters, who had become true superstars manifesting the resistance to repressive political ideology by the means of “cynical reason”.  

The class consists of lectures and group discussions. On Wednesday there will be a lecture for all students; on Monday you will be divided into 3 sections and have separate sessions (all three at the same time in different rooms)  led by Teaching Assistants. YOU HAVE TO REGISTER FOR A DISCUSSIONS SESSION AS A SEPARATE COURSE WITH 0 POINTS. Assignments for group discussions are listed on the syllabus along with others.   This course is a co-requisite of RUSS UN3232.

• Department: Slavic Languages
• M 2:40 p.m.-3:55 p.m.
• Instructor: Mark Lipovetsky
  Wikipedia Info
• 3 points

Tricksters in World Culture: Mockery, Su

Trickster in World Cultur

Tricksters constitute one of the universal themes or tropes in mythology and folklore of many cultures. Through the discussions of ancient Greek, Native-American, African, Paleo-Asiatic, Scandinavian, African-American, Muslim and Jewish myths and folklore about tricksters, the course will telescope the cultural functions of the comedic transgression as a form of social critique; it will also highlight cynicism, its productive and dangerous aspects. Then we’ll introduce different historical subtypes of tricksters, such as a fool, jester, holy fool, kynik, picaro, con artist, female and queer tricksters, thus  moving through premodern and early modern periods. Each type of the trickster is illustrated by literary examples from different world cultures (European and non-European alike) as well as theoretical works of Mikhail Bakhtin, Michel Foucault, Giorgio Agamben, and Peter Sloterdijk. Finally, the role of the trickster in modernity will be discussed through the case of Soviet tricksters, who had become true superstars manifesting the resistance to repressive political ideology by the means of “cynical reason”.  

The class consists of lectures and group discussions. On Wednesday there will be a lecture for all students; on Monday you will be divided into 3 sections and have separate sessions (all three at the same time in different rooms)  led by Teaching Assistants. YOU HAVE TO REGISTER FOR A DISCUSSIONS SESSION AS A SEPARATE COURSE WITH 0 POINTS. Assignments for group discussions are listed on the syllabus along with others.   This course is a co-requisite of RUSS UN3232.

• Department: Auditing
• M 2:40 p.m.-3:55 p.m.
• Instructor: Mark Lipovetsky
  Wikipedia Info
• 0 points

ORGANIC CHEMISTRY II-LEC

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

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

Tricksters in World Culture: Mockery, Su

Tricksters constitute one of the universal themes or tropes in mythology and folklore of many cultures. Through the discussions of ancient Greek, Native-American, African, Paleo-Asiatic, Scandinavian, African-American, Muslim and Jewish myths and folklore about tricksters, the course will telescope the cultural functions of the comedic transgression as a form of social critique; it will also highlight cynicism, its productive and dangerous aspects. Then we’ll introduce different historical subtypes of tricksters, such as a fool, jester, holy fool, kynik, picaro, con artist, female and queer tricksters, thus  moving through premodern and early modern periods. Each type of the trickster is illustrated by literary examples from different world cultures (European and non-European alike) as well as theoretical works of Mikhail Bakhtin, Michel Foucault, Giorgio Agamben, and Peter Sloterdijk. Finally, the role of the trickster in modernity will be discussed through the case of Soviet tricksters, who had become true superstars manifesting the resistance to repressive political ideology by the means of “cynical reason”.  

FORMAT

The class consists of lectures and group discussions. On a typical week, the first class will be a lecture for all students; for the second class of the week, you will be divided into 3 sections and have separate sessions (all three at the same time in different rooms)  led by Teaching Assistants. Assignments for group discussions are listed on the syllabus along with others.
We will not break the class in discussion sections before Week 3.

 
The distribution of students between discussion sections will be announced in class after the beginning of the semester.

• Department: Slavic Languages
• W 2:40 p.m.-3:55 p.m.
• 0 points

Tricksters in World Culture: Mockery, Su

Tricksters constitute one of the universal themes or tropes in mythology and folklore of many cultures. Through the discussions of ancient Greek, Native-American, African, Paleo-Asiatic, Scandinavian, African-American, Muslim and Jewish myths and folklore about tricksters, the course will telescope the cultural functions of the comedic transgression as a form of social critique; it will also highlight cynicism, its productive and dangerous aspects. Then we’ll introduce different historical subtypes of tricksters, such as a fool, jester, holy fool, kynik, picaro, con artist, female and queer tricksters, thus  moving through premodern and early modern periods. Each type of the trickster is illustrated by literary examples from different world cultures (European and non-European alike) as well as theoretical works of Mikhail Bakhtin, Michel Foucault, Giorgio Agamben, and Peter Sloterdijk. Finally, the role of the trickster in modernity will be discussed through the case of Soviet tricksters, who had become true superstars manifesting the resistance to repressive political ideology by the means of “cynical reason”.  

FORMAT

The class consists of lectures and group discussions. On a typical week, the first class will be a lecture for all students; for the second class of the week, you will be divided into 3 sections and have separate sessions (all three at the same time in different rooms)  led by Teaching Assistants. Assignments for group discussions are listed on the syllabus along with others.
We will not break the class in discussion sections before Week 3.

 
The distribution of students between discussion sections will be announced in class after the beginning of the semester.

• Department: Slavic Languages
• W 2:40 p.m.-3:55 p.m.
• 0 points

Tricksters in World Culture: Mockery, Su

Tricksters constitute one of the universal themes or tropes in mythology and folklore of many cultures. Through the discussions of ancient Greek, Native-American, African, Paleo-Asiatic, Scandinavian, African-American, Muslim and Jewish myths and folklore about tricksters, the course will telescope the cultural functions of the comedic transgression as a form of social critique; it will also highlight cynicism, its productive and dangerous aspects. Then we’ll introduce different historical subtypes of tricksters, such as a fool, jester, holy fool, kynik, picaro, con artist, female and queer tricksters, thus  moving through premodern and early modern periods. Each type of the trickster is illustrated by literary examples from different world cultures (European and non-European alike) as well as theoretical works of Mikhail Bakhtin, Michel Foucault, Giorgio Agamben, and Peter Sloterdijk. Finally, the role of the trickster in modernity will be discussed through the case of Soviet tricksters, who had become true superstars manifesting the resistance to repressive political ideology by the means of “cynical reason”.  

FORMAT

The class consists of lectures and group discussions. On a typical week, the first class will be a lecture for all students; for the second class of the week, you will be divided into 3 sections and have separate sessions (all three at the same time in different rooms)  led by Teaching Assistants. Assignments for group discussions are listed on the syllabus along with others.
We will not break the class in discussion sections before Week 3.

 
The distribution of students between discussion sections will be announced in class after the beginning of the semester.

• Department: Slavic Languages
• W 2:40 p.m.-3:55 p.m.
• 0 points

DISRUPTIVE BODIES, DISRUPTIVE TEXTS: TRA

TRANS IMAGININGS

Until the mid-twentieth century, philosophies of embodiment failed to think through the morphology of trans bodies and lives, leaving trans experience, in a sense, “un-worded” in the critical imagination.
Disruptive Bodies, Disruptive Texts: Trans Imaginings
will examine how trans creatives have responded to this silence, rethinking cis-centric theories of embodiment to unearth innovative “vocabulary” for those lives and bodies long erased from archives and linguistic intelligibilities. Indeed, even in its representations of silence and loss for trans experience, the archive demands a certain attention: What is held in the weight of silence? How do such silences, or rather “silencings,” inform trans embodiment? Is transness destined to forever see itself bound up in hauntings, in violence?


The US publishing industry favours trans narratives that operate within traditional memoir or political and activist nonfiction. Yet, transness, in its disruption of supposed bodily norms, powerfully destabilises essayistic conventions. What is trans nonfiction when its written for us and by us? How then do we define trans nonfiction? What is transness at the level of the sentence, the paragraph? What textures, dimensions, or discussions does it bring to nonfiction as form, genre, and critical discourse?
Disruptive Bodies, Disruptive Texts: Trans Imaginings
will explore transness not only as content but as syntax, as form. The course will consider those works of trans creation that remove cis-lenses for approaching, organising, and understanding trans experience and literature. Instead, we will consider how the trans body emerges as rich centre from which to rework ideas of embodiment and essay form. And from that centre we will disrupt.

Each week, students will receive a generative prompt (either to complete in class or after) specific to the themes and concerns of the relevant reading materials. These are opportunities to experiment as the work will not be workshopped or critiqued.

Twice during the semester, students will lead discussions on assigned books, craft essays, and criticism and theory. At the end of the term, students will submit a final portfolio consisting of a project of their own design.

• Department: Writing
• W 12:10 p.m.-2 p.m.
• Instructor: Lars Horn
  Info
• 3 points

SOCIAL MOVEMENTS

Prerequisites: One introductory course in Sociology suggested. Social movements and the theories social scientists use to explain them, with emphasis on contemporary American activism. Cases include the Southern civil rights movement, Black Lives Matter, contemporary feminist mobilizations, LGBTQ activism, immigrant rights and more recent forms of grassroots politics.

• Department: Sociology @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Debra Minkoff
  CULPA: 6 h-index: 17 Info
• 4 points

Undergraduate Composition

Comp for String Quartet

This course provides an immersive experience in music composition, focusing on both practical and theoretical aspects within a given instrumentation. Please refer to the topic for the instrumentation for this semester’s course. This class is open to students with no prior experience in composition. Students of varying music backgrounds are welcome. Permission of the instructor may be required for enrollment. The class will explore a variety of compositional approaches, including traditional, experimental, and interdisciplinary methods. During the semester, students will complete several creative and theoretical exercises ranging from short composition projects to analytical responses to diverse works. Students will also engage in individual and group feedback sessions as well as in-class readings of selected compositional projects by the performers. The final project will be an original work between 5 and 7 minutes, which will be workshopped, rehearsed, performed in a public concert, and recorded by professional musicians towards the end of the term.

• Department: Music
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Suzanne Farrin
  Info
• 3 points

Undergraduate Composition

This course provides an immersive experience in music composition, focusing on both practical and theoretical aspects within a given instrumentation. Please refer to the topic for the instrumentation for this semester’s course. This class is open to students with no prior experience in composition. Students of varying music backgrounds are welcome. Permission of the instructor may be required for enrollment. The class will explore a variety of compositional approaches, including traditional, experimental, and interdisciplinary methods. During the semester, students will complete several creative and theoretical exercises ranging from short composition projects to analytical responses to diverse works. Students will also engage in individual and group feedback sessions as well as in-class readings of selected compositional projects by the performers. The final project will be an original work between 5 and 7 minutes, which will be workshopped, rehearsed, performed in a public concert, and recorded by professional musicians towards the end of the term.

• Department: Auditing
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Suzanne Farrin
  Info
• 0 points

SEEING THE BODY

Seeing the Body: Movement and Physicality in Modern Visual Culture will examine how concepts of
movement, space, and time gained an outsized role in photographic and cinematic experimentation,
typography, interior design and exhibition, contributing a “choreographic voice” to the interwar age.

• Department: Dance @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Marjorie Folkman
  CULPA: 2 Info
• 3 points

CHALL/STRAT IN PRIMATE CONSERV

Prerequisites: EEEB UN1010 or EEEB UN1011 or the instructor's permission. Throughout their range, numerous primate species are on the brink of extinction. This course examines the central issues relating to conservation of wild primates and explores strategies and solutions for preserving these endangered populations. Through the analysis of the ecological and social traits linked to vulnerability and the direct and indirect threats from human activities, students will gain a practical understanding of how to develop successful, sustainable, and practical conservation strategies.

• Department: Ecology, Evolution, and Environmental Biology
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Alba Lucia Morales Jimenez
  Info
• 3 points

FREN LANG,SOC,CULTRE THRU FILM

Prerequisites: FREN UN2102 French socio-political issues and language through the prism of film. Especially designed for non-majors wishing to further develop their French language skills and learn about French culture. Each module includes assignments targeting the four language competencies: reading, writing, speaking and oral comprehension, as well as cultural understanding.

• Department: French
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Heidi Holst-Knudsen
  CULPA: 20 Info
• 3 points

LITERATURE OF LIBERATION BEFORE 1900

LIT OF LIBERATION BEFORE

“We are all bound up together in one great bundle of humanity,” wrote the abolitionist writer Frances Ellen Watkins Harper a few years after the Civil War. This course explores the creative productions, critiques, and political projects of colonized people themselves, specifically focusing on writers in the indigenous, African American, and global anti-imperialist traditions. How did these heterogeneous communities differently diagnose the context of colonialism? What positive horizons of freedom, equality, and democracy did they aspire towards? What do their works tell us about gender, land, and labor? We explore themes of sovereignty against settler colonialism in the work of indigenous writers like Kandiaronk, William Apess, E. Pauline Johnson, Sarah Winnemucca, Zitkala Sa, and Liliuokalani, Queen of Hawaii. Next, we read the African American abolitionist tradition, beginning with Phillis Wheatley and slave narratives (Frederick Douglass, Mary Prince, Harriet Jacobs) followed by works by Harriet Wilson, Ida B. Wells, and Machado de Assis. The final third of the class will focus on works by those encountering imperialism in Egypt, South Asia, Latin America, the Philippines, and China: Al-Jabarti, Dinabandhu Mitra, José Martí, Jose Rizal, Huang Zunxian, and Qiu Jin.

• Department: English @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Ken Chen
  Info
• 3 points

ABSENT MOTHERS, WICKED STEPMOTHERS

ABSENT MOTHERS:FOLK&FAIRY

Why are stepmothers and stepdaughters inevitable enemies in folk and fairy tales? Why are fathers blameless and biological mothers absent (and usually dead)? And how do these narratives, so deeply woven into our own media and language, affect our sense of our own lived reality? In this course, we’ll untangle the complicated web of relationships between mothers, daughters, and stepmothers in folk and fairy tales, from ancient Rome to current cinema. We’ll read analytic psychology, feminist literary theory, cultural history, and other critical perspectives to help us analyze the absent mother, virginal daughter, hapless father, and evil stepmother tropes across time and space, so we can defamiliarize these familiar figures and develop a deeper understanding of how and why they dominate the popular imagination. This is an upper-level course, with priority for juniors and seniors.

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

Environmental Sociology

ENVIRONMENTAL SOCIOLOGY

This course examines the social roots and impacts of environmental contamination and disasters, in order to understand how humans relate to nature in the context of global racial capitalism and the possibilities for creating a more sustainable world. We will also explore how racism is foundational to environmental exploitation and consider why global struggles for racial justice are crucial for protecting both people and the earth, paying particular attention to how environmental health inequalities are linked to race, class, gender, and nation. We will consider key theories, debates, and unresolved questions in the subfield of environmental sociology and discuss future directions for the sociological study of human/environment relations.

• Department: Sociology @Barnard
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Maricarmen Hernandez
  Info
• 3 points

AMERICAN TELEVISION DRAMA

Between prestige and streaming, the medium of television has never covered a wider breadth of narratives, voices, and concerns. This course will take a closer look at the format of the American Drama and how it has served as a cultural tool since its inception, reflecting the concerns of the time in one form or another. Through theoretical readings and sociological texts, the course will survey and sharpen our understanding of the power of the medium when placed in conversation with the greater American discourse.

• Department: Film @Barnard
• T 2:40 p.m.-6:25 p.m.
• Instructor: Ben Alexander
  Info
• 3 points

JAZZ DANCE III

This class explores Advanced contemporary jazz movement using music from both American and Diasporic pop culture.

• Department: Dance @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Ehizoje J Azeke
  Info
• 2 points

THE MARRIAGE PLOT

This upper-level research-oriented seminar will engage with literary expressions of the universally interesting topic of marriage. Tony Tanner in his famous
Adultery in the Novel
characterizes marriage as “the structure which supports all structure.” Contemporary critics have seen marriage as essential to maintaining the “family values” of the bourgeoisie; feminists and Marxists have challenged the economic assumptions of patriarchally-defined marriage. Folklorists have treated marriage as the endpoint of the search for a safe domestic space.

Starting in ancient times with classic fairy tales and the Hebrew Bible, moving on to a famous medieval poem, a medieval memoir, and three nineteenth-century novels, we will encounter cultural expressions which address intimate partnerships with an emphasis on marriage as a defining condition.

• Department: English @Barnard
• W 12:10 p.m.-2 p.m.
• Instructor: Margaret R Ellsberg
  CULPA: 54 Info
• 4 points

Arts in Action

The course is an introduction to the visual arts and art professions in the context of French and

francophone arts and cultural institutions. Students will experience arts through class discussions of artistic production and a familiarization with art history and art criticism in French, presentations, workshops, discussions with art professionals, guest lectures, and visits to art museums and

galleries. Students who take the class can apply for paid internships in an art institution in the

spring following the class. In these internships, students will use some of the French language

skills they have acquired in class.

• Department: French
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Pascale Crepon
  CULPA: 10 Info
• 3 points

Social Closure and Inequality

SOCIAL CLOSURE AND INEQUA

This class will examine the social phenomenon of exclusion. Attempts to understand the social behavior of creating insiders and outsiders is a hallmark in Sociology. How does it happen? What purpose does it serve? Who decides who is in and who is out? While some forms of social closure, like segregation, are more well known, there are numerous mechanisms of social exclusion people and groups employ in the social world. Additionally, forms of exclusion do not always come from the top down as a form of domination, but sometimes from the bottom up, with the goal of resource redistribution. We will study these different forms of exclusion along with the theorized aims these forms of closure seek to achieve to get a more comprehensive picture of how social exclusion is used in the social world.

• Department: Sociology @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Dominic T Walker
  Info
• 3 points

FLAMENCO

The study of contemporary flamenco dance technique with special emphasis on improvisation and performance. Through video and reading assignments and attendance at live performances, students will also develop a context for understanding flamenco art, pedagogy, and culture.

• Department: Dance @Barnard
• F 11 a.m.-12:50 p.m.
• Instructor: Nelida Tirado
  Info
• 2 points

ADAPTATION

In the same way that there can never be a single objective account of an historical event, using one medium to convey a story first told in another is never as straightforward as it might seem. Translating the essence of an existing story to the screen may require making significant changes to the events or characters as they were originally presented. As a screenwriter faced with such an adaptation, you must understand the idiosyncrasies of your craft well enough to recognize what to keep, what to change, and what to leave behind. This course will explore what makes a screen story work, balancing faithfulness and invention.

• Department: Film @Barnard
• R 2:40 p.m.-5:30 p.m.
• Instructor: Danielle T Douge
  Info
• 3 points

VOTING & POLITICAL BEHAVIOR

• Department: Political Science
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Yamil R Velez
  CULPA: 1 h-index: 8 Info
• 3 points

KANT

Explores the connections between theoretical and practical reason in Kants thinking with special attention to the Critique of Pure Reason and the project of transcendental philosophy.

• Department: Philosophy @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Caroline D Bowman
  Info
• 3 points

CONTEMPORARY MEDIA THEORY

Sophomore standing required. Attend first class for instructor permission. Registering for the course only through Student Planning or SSOL will NOT ensure your enrollment. Explores the transformation of sociality, consciousness and geo-politics by and as media technologies during the long 20th century. Students will read influential works of media analysis written during the past century, analyze audio-visual analog and digital media, and explore political theory and media theory written since the rise of the internet. Final projects on contemporary media forms.

• Department: English @Barnard
• R 11 a.m.-12:50 p.m.
• Instructor: Jonathan L Beller
  CULPA: 4 Info
• 4 points

QUANTUM CHEMISTRY

Prerequisites:  2 semesters of calculus-based introductory physics, Calculus II, BC3242 Quantitative Analysis, or permission of instructor. Exact and approximate solutions to the Schrodinger equation. The structure of atoms and molecules. Chemical bonding and spectroscopy. Computer-based molecular modeling.

• Department: Chemistry @Barnard
• R 6:10 p.m.-7 p.m.
• Instructor: Marisa C Buzzeo
  CULPA: 2 Info
• 4 points

Colonial Fascism & Revolutionary Violenc

In this course, we will approach Fanon’s question through our understanding of violence as it was
invented and deployed from the heart of empire into the colonies. What is fascism and how was it
linked to colonialism, if at all? In what ways were they dependent on each other to conceive a
certain world order, particularly between World War I and II? In other words, how did fascist
visions and colonial practices from the imperial core import repressive structures of violence into
the colonies, and then export those methods of control back into the metropole as a perpetual
renewable source of power?
This course examines the Mediterranean as a site of violence and a theater of “fire and blood,” in
which the inextricable and dialogical bond between colonialism and fascism are tied through
mythologies, discourses, institutions, and of course, revolution. In so doing, we interrogate
Tunisian writer Albert Memmi’s critical intervention of “colonial fascism” that shapes the
confrontations between metropole and colony as an intricate network shaping the contours of the
Mediterranean and renewing itself through violence. It also focuses on the rhetoric undergirding
colonial and fascist discourses, and the counterinsurgent and resistance strategies that, in turn,
challenge these hegemonies. By situating this particular Mediterranean narrative within the
broader colonial discourse, the course encourages critical reflection on the enduring legacies of
imperial power that informs the region’s historical trajectories

• Department: Middle Eastern, South Asian and African Studies
• R 2:10 p.m.-4 p.m.
• Instructor: Maryam Siddiqui
  Info
• 3 points

Victorian Relations

Victorian literature, as one of its leading critics writes, is concerned above all with “
relationships
and their representation.”  Relationships between individuals, groups, or nations are of course central to literature from all periods, but they figure with particular prominence in Victorian British writing, for two reasons.  First, the Victorian period follows an era that often fetishized the solitary individual: if Romantic writers frequently focused on figures in isolation, Victorian writers responded by panning out to consider human beings primarily in their social relations.  Second, the later nineteenth century witnessed revolutions in the conceptualization of relations between different classes, races, sexes, and species.  The new ideas were not limited to philosophers or scientists but permeated public discourse to an unprecedented extent.

In this course we will study a representative sampling of Victorian writing about relationships, possibly including such topics as relations between men and women, Britons and others nationalities, humans and animals, or past and present.  In addition we will consider the relation between different literary genres as we compare the way each topic is represented in fiction, poetry, drama, and non-fictional prose.

• Department: English and Comparative Literature
• F 12:10 p.m.-2 p.m.
• Instructor: Erik Gray
  CULPA: 35 Info
• 4 points

Bilingualism

Many of us know a second language. How we use it varies – some use it occasionally, others routinely. Recent research in cognitive neuroscience has shed light on the mechanisms associated with the various types of bilingualism, and has shown that using two languages affects a variety of cognitive abilities, starting in infancy and continuing until an old age. The primary findings of recent research in cognitive neuroscience are reviewed and discussed in this course. Bilingualism also has a political facet – governments decide what languages are used in public institutions and taught in schools. This course also evaluates scientific findings on bilingualism for their potential implications on informing parents, educators, and policy makers.

• Department: Psychology
• T 4:10 p.m.-6 p.m.
• Instructor: Michele Miozzo
  Info
• 4 points

Trans Genres

This seminar focuses on writing and cultural productions that reimagine and intervene in the classification of gender. Students will engage with genre theory, as they read across works of fiction, poetry, memoir, and other forms of trans expressivity. This course poses questions about the contours and limits of classification with regards to gender, literature, and politics.

• Department: Women's and Gender Studies
• R 10:10 a.m.-noon
• Instructor: C. Riley Snorton
  Info
• 4 points

COMPUTER SCIENCE THEORY

Regular languages: deterministic and non-deterministic finite automata, regular expressions. Context-free languages: context-free grammars, push-down automata. Turing machines, the Chomsky hierarchy, and the Church-Turing thesis. Introduction to Complexity Theory and NP-Completeness.

• Department: Computer Science
• TR 8:40 a.m.-9:55 a.m.
• TR 10:10 a.m.-11:25 a.m.
• MW 8:40 a.m.-9:55 a.m.
• Instructor: Toniann Pitassi
  Wikipedia Info
• 3 points

Religion and Revolution in Modern China

Religion & Revolution - C

This course explores the negotiation of religion and revolutionary politics in modern China through literature, art, media, and cultural production. Through the course, students will investigate the meaning of “ religion” and its counterparts, such as secularism and superstition, and its relationship to conceptions of modernity in its colonial and anti-colonial registers. The course will tackle the problems religion posed to revolutionary movements while exploring how religion remained an important part of revolutionary culture in China and beyond. Finally, the class addresses the tensions between the religious and the modern in a post-revolutionary moment. The course requires deep engagement with literary, artistic, and cultural materials, such as novels, poetry and films. The course will also introduce political and theoretical writings, both by thinkers in China and other parts of the world. By treating the transformation of China in the twentieth century as an event of global significance, we will examine the implications of these negotiations for our understanding of revolutionary politics worldwide.

• Department: East Asian Languages and Cultures
• W 4:10 p.m.-6 p.m.
• Instructor: Joanna S Lee-Brown
  Info
• 4 points

LATIN AMER LIT (IN TRANSLATN)

Study of contemporary Latin American narrative; its origins and apotheosis. Readings include Machado de Assis, Borges, Garcia Marquez, Puig, and others.

• Department: Spanish and Latin American Culture
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Alfred Mac Adam
  CULPA: 40 Info
• 3 points