Design of steel members in accordance with AISC 360: moment redistribution in beams; plastic analysis; bearing plates; beam-columns: exact and approximate second-order analysis; design by the Effective Length method and the Direct Analysis method. Design of concrete members in accordance with ACI 318: bar anchorage and development length, bar splices, design for shear, short columns, slender columns. AISC/ASCE NSSBC design project: design of a steel bridge in accordance with National Student Steel Bridge Competition rules; computer simulation and design by using SAP2000.
This course begins with focused attention on select plays of Zora Neale Hurston and her critical writing on performance, then takes ZNH’s aesthetics, politics, and provocations as a lens to study Black performance, broadly defined. We will consider the contexts in which Hurston pursued a career as playwright and theatremaker, and the influences that found their way into her plays including spiritual narratives and voodoo. We will turn our attention to key writers of the Harlem Renaissance to learn where ZNH first made her mark, and the milieu to which she ultimately turned her back. Each week’s reading/viewing will include primary sources (ZNH’s plays and dramaturgical statements) as well as scholarly criticism of those works or genre. The final weeks of the course will take up Black performance in the realms of dance and song from the early 20th century, and finish with more recent plays and visual art. In addition to short weekly response papers, students will complete a long-form research paper that may, if they choose, include a creative element.
Topics in western music from Antiquity through Bach and Handel, focusing on the development of musical style and thought, and analysis of selected works. Pre-req: Music Theory II or permission of instructor.
Introduction to Project Management for design and construction processes. Elements of planning, estimating, scheduling, bidding, and contractual relationships. Computer scheduling and cost control. Critical path method. Design and construction activities. Field supervision.
This entertaining and edifying lecture-not-unmixed-with conversation course will
consider the icon of the American cowboy, with its signature embrace of
masculinity, stoicism, elegiac music, and identification with nature. We will read
Cormac McCarthy’s dazzling Border Trilogy and other works that emerge from
this icon, watch a curated series of cowboy movies, and write critical essays.
Prerequisites: completion of the language requirement in French or the equivalent. Conversation on contemporary French subjects based on readings in current popular French periodicals.
What does it mean to be original? How do we differentiate plagiarism from pastiche, appropriation from homage? And how do we build on pre-existing traditions while simultaneously creating work that reflects our own unique experiences of the world?
In a 2007 essay for
Harper
’
s
magazine, Jonathan Lethem countered critic Harold Bloom’s theory of “the anxiety of influence” by proposing, instead, an “ecstasy of influence”; Lethem suggested that writers embrace rather than reject the unavoidable imprints of their literary forbearers. Beginning with Lethem’s essay—which, itself, is composed entirely of borrowed (or “sampled”) text—this class will consider the nature of literary influence, and its role in the development of voice.
Each week, students will read from pairings of older stories and novel excerpts with contemporary work that falls within the same artistic lineage. In doing so, we’ll track the movement of stylistic, structural, and thematic approaches to fiction across time, and think about the different ways that stories and novels can converse with one another. We will also consider the influence of other artistic mediums—music, visual art, film and television—on various texts. Students will then write their own original short pieces modeled after the readings. Just as musicians cover songs, we will “cover” texts, adding our own interpretive imprints.
Data types and structures: arrays, stacks, singly and doubly linked lists, queues, trees, sets, and graphs. Programming techniques for processing such structures: sorting and searching, hashing, garbage collection. Storage management. Rudiments of the analysis of algorithms. Taught in Java. Note: Due to significant overlap, students may receive credit for only one of the following three courses: COMS W3134, COMS W3136, COMS W3137.
Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.
In this section of creative nonfiction, we will explore the essay. We will consider the essay in the original and most open-ended sense of the term—coming from French, essai, meaning “attempt." This type of essay is also known as a personal essay.
The personal essay is a paradoxical form. It makes rules and then breaks them. It announces itself and then slips out the backdoor. It is a mischief-maker and the successful essayist remembers that, remembers to stay playful. And that's what our workshop will be about. As we attempt to write and share our stories, let’s ask one another: “what’s the fun of this story?” Let’s urge each other to see how can that fun remain, adhere, and grow through the drafting process.
Most of all, let's use the essay to explore our relationship to writing overall. Phillip Lopate writes that the essay “sets up a relationship with the reader, a dialogue—a friendship.” Seeing the sentence as a set of relationships, one tied to our human relations, we will write and revise with the hope of fostering an enduring relationship with the page.
Writers should expect to workshop at least twice, working toward a final portfolio of 15-20 double-spaced pages. We will read as we write including essays by James Baldwin, Jo Ann Beard, Margo Jefferson, Maxine Hong Kingston, and Phillip Lopate.
Discussion section for SOCI UN3235: Social Movements
Medieval to Contemporary Painting Techniques explores the fundamental properties of paint materials by studying the paint-making techniques used by old masters of the late Medieval and Renaissance periods up through the contemporary era. Through hands-on work and experimentation, including preparing paint materials themselves, students will gain experience making and working with egg tempera, oil paint, and synthetic materials such as acrylics. They will develop a stronger understanding of how these materials function and how their uses fit into historical traditions and cultural contexts.
Students will participate in weekly material and technique-building workshops. They will be given select open-ended assignments for which they can choose a particular approach to explore. Students will learn how to handle traditional and contemporary materials in compliance with high material safety standards.
A second programming course intended for nonmajors with at least one semester of introductory programming experience. Basic elements of programming in C and C++, arraybased data structures, heaps, linked lists, C programming in UNIX environment, object-oriented programming in C++, trees, graphs, generic programming, hash tables. Due to significant overlap, students may only receive credit for either COMS W3134, W3136, or W3137.
The paragraph is the organizational principal which defines all prose. In this class, we will examine the techniques by which paragraphs are developed, created, and shaped.
Elements of composition will be analyzed in depth. Techniques discussed include: rhythm, cadence, movement (and the illusion of life), sentence and syntax, grammar as poetic intent, the taut relationship of tone and voice, the orchestration of suspense and action, openings and endings, the veneer of authority, tension, subtext, the delivery of information, and the element of surprise.
Oh—and you can expect a heavy emphasis on self-editing.
This is a practical class oriented around craft and technique for students who are serious about developing their sense of control. Each week we will focus on the micro in order to understand the broader act of creation. This is a comprehensive seminar on prose composition for students who truly love language, as such this class is genre-agnostic and is open to poets, fiction writers, and nonfiction writers alike.
This course is for the intermediate advanced dancer. Material presented will focus on healthy anatomical alignment in barre work, extended combinations in the center, fostering personal artistic expression, and integrating improvisation in combinations with the ballet vocabulary. Clarification, analysis and repetition are fundamental elements for a sound technique of any dancer and are the foundation of this course. Center work will include attention to shaping adagio work, multiple turns in the large poses, batterie, and extended grand allegro. You may be assigned the construction and presentation of exercises, which will be explained in detail further into the semester.
This course is designed for developing singers. Group vocalizing, learning of songs and individual workshop performances are aimed at improving the students technical skill and the elements necessary to create a meaningful musical and dramatic experience. Attention to text, subtext, emotional and psychological aspects of a piece and the performers relationship to the audience are included in the work. Repertoire is predominantly in English and comes from both classical and popular traditions Individual coaching sessions are available with the class accompanist and help strengthen the students confidence and skill. The class culminates with an in-class performance.
This course is for the intermediate advanced dancer. Material presented will focus on healthy anatomical alignment in barre work, extended combinations in the center, fostering personal artistic expression, and integrating improvisation in combinations with the ballet vocabulary. Clarification, analysis and repetition are fundamental elements for a sound technique of any dancer and are the foundation of this course. Center work will include attention to shaping adagio work, multiple turns in the large poses, batterie, and extended grand allegro. You may be assigned the construction and presentation of exercises, which will be explained in detail further into the semester. You will be assigned a grading exercise at the end of the shopping period and will get written observations from me
Vocal exercises and exploration of wide-ranging repertoires, styles, and languages of the Western European song tradition. The rich variety of English, French, Italian and German poetry and music from the Baroque period through the Twentieth Century allows the student to experience both the music and the cultural environment of each of these styles. Attention is given both to meaning oftext and musical interpretation. Individual coaching sessions are available with the class accompanist and help strengthen the students confidence and skill. The class culminates with an in-class performance.
Prerequisites: Enrollment limited to 16 students. This course examines the category of "woman" as it is mobilized in performance, considering both a variety of contemporary performances chosen from a wide range of genres and a diversity of critical/theoretical perspectives. Course fulfills lecture/seminar "studies" requirement for Theatre/Drama and Theatre Arts major.
This course serves as a continuation of BIOL2500 R for Scientists. The course will meet weekly. Students will explore a range of methods and resources used by contemporary computational biologists. These include advanced statistical modeling approaches, manipulating genomic and spatial data, and working in R outside of the RStudio environment (including git, bash, Shiny and high-performance computing). Students will have opportunities to explore diverse biological and statistical R packages in the context of homework assignments, and will analyze a dataset of their own choosing for a semester project.
Index properties and classification; compaction; permeability and seepage; effective stress and stress distribution; shear strength of soil; consolidation; slope stability.
Variations
class is a course for the intermediate to advanced dancer. As in all other ballet classes, there will be a focus on correct physical alignment, proper technique and musicality. The added challenges in this course will be the pointe shoe technique, creative choreographic choices, and musical phrasing. The class will include variations based on works ranging from Petipa to Balanchine to today’s choreographers. Dancers will explore personalizing already known works, pushing the boundaries of the pointe shoe, examining how choreography has evolved and developing the stamina required to execute a full variation. Learning material rapidly while paying attention to the stylistic demands of each choreographer’s works and being able to shift from one stylistic choice to another is simply expected.
What is it to attend to narrative? Attending has its etymological roots in Latin,
attendere
, to stretch (one’s mind)
towards
, to get closer, which implies a gap between one’s mind and whatever it is one is attending to.
Attendre
in French means to wait, to expect, another gesture towards space between one’s mind and whatever one is waiting for or expecting. What happens in that space? What is it to attend? Is it to slow down and mind the gap? Or is it to
pay
or
lend
attention, as the phrase appears in multiple languages, as though the space is a debt that we or our minds owe? What does it look like to pay attention to narrative and stories?
This course offers an introduction to forms and functions of narrative with focus on three modes: perception, reflection, and memory. What distinguishes the texts we will study is how they themselves foreground and reflect on how stories are told and so perform the task of teaching us how to analyze them. Topics include the writing of the self; the nature of memory; the experience of time; the relationship between fact, fantasy, and fiction; and the search for truth. While we will cover a range of scripture, poetry, novels, essays, plays, comics, and hybrid literary forms, the demand of you as readers will be the same: lend your close attention to these works and give yourself time to reflect on them.
In this course you will be examining paper tracings and other sources related to the lived experiences of Black women. You will be required to review and interrogate materials on triggering subjects; some of these items include violent descriptions, images, and acts. In order to join in our collective engagement with the history of Black women, within the context of the U.S., you will critically analyze items that have not been sanitized for popular consumption. Thus, we will not be “erasing history” in this course by avoiding the deployment of white supremacy and its vast, related violence(s) against Black women’s bodies and lives, as well as the various manifestations of resistance of Black women throughout the history of the United States.
Some of the central questions in the study of environmental humanities focus on human action, its context, and its effects. Thus, one major contribution of the environmental humanities is to study and consider how we conceptualize action, relations (both between humans and environments and among humans), and even the meaning of human being. The environmental humanities places these conceptual questions in the context of value and values, as well as questions of how values are materialized in practice. This course considers all of these questions through the study both theories of action in the context of environmental humanities and research into existing projects that are informed by and can inform the study of environmental humanities.
This course undertakes a
dialectical approach to reading and thinking about the history of dramatic theatre, interrogating the ways writing inflects, and is inflected by, the material dynamics of performance. Course undertakes careful study of the practices of performance, and of the sociocultural, economic, political, and aesthetic conditions animating representative performance in “classical” theatres globally; course will also emphasize development of important critical concepts for the analysis of drama, theatre, and performance. Topics include the sociology of theatre, the impact of print on conceptions of performance, representing gender and race, the politics of intercultural performance, and the dynamics of court performance. Writing: 2-3 papers; Reading: 1-2 plays, critical and historical reading per week; final examination. Fulfills one (of two) lecture requirements for Theatre/Drama and Theatre Arts majors.
This course examines how humans and animals shape each other’s lives, using the tools and perspectives of anthropology. We’ll explore the astounding diversity of human-animal relationships in time and space, tracing the ways animals have made their impact on human societies (and vice-versa). Using contemporary ethnographic, historical, and archaeological examples from a variety of geographical regions and chronological periods, this class will consider how humans and animals live and work together, and the ways in which humans have found animals “good to think with”. In this course, we will also discuss how knowledge about human-animal relationships in the past might change contemporary and future approaches to living with animals. Through the reading and thinking that this course requires, you will explore what an anthropological perspective on living with animals looks like and how thinking about animals might change anthropology.
Long before Aristotle’s Rhetoric and far from Athens and Rome, rhetoricians were teaching people how to communicate powerfully in politics, the law, and the street. This course surveys the ancient rhetorics of Egypt, China, the Americas, and the Arab world. We will examine a body of primary texts from 2,300 B.C.E. to 1,500 C.E. that teach people to wield language effectively.
Prerequisites: Enrollment limited to 50 students.
Provides a broad introduction to several traditions of nonwestern drama and theatrical practice, often placing recent and contemporary writing in relation to established conventions. Taking up plays and performance traditions from Asia, South Asia, and various African traditions, it may also consider the relation between elite and popular culture (adaptations of Shakespeare, for example), and between drama, theatre, and film. Course fulfills lecture/seminar "studies" requirement for Theatre/Drama and Theatre Arts major.
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.
C programming language and Unix systems programming. Also covers Git, Make, TCP/IP networking basics, C++ fundamentals.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
“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.
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.
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.
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.
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.
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..
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.
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.
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.
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.
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)
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?
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.
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.
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.
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?
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.
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.
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.
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.
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).
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
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.
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).
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.
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.
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.
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.
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.
This course is designed as an accompaniment to the Greek or Latin
play that is put on by the Barnard and Columbia Ancient Drama Group each year, though
it is open to any student interested in the aesthetics and politics of theater and drama.
Course focus and some content will rotate year to year, calibrated to serve the play or
plays chosen by the student director. We will read these and other relevant other plays or
similarly adjacent texts, as well as scholarly literature on topics centered around the body
in performance, including ancient theaters and stage space, costumes and masks,
deportment and gestures, proxemics, and so on. We will also explore aspects of ancient
drama and theatricality that relate to translation and reception, as well as inflections of
gender and status. Other topics may include the mythic background (e.g., in epic and/or
lyric), politics of aesthetics in ancient Athens, and gender-genre dynamics.
Each component will extend over three or four classes and consider the ancient
plays through readings of primary texts (in translation) and conceptual / contextual
backgrounds. There will be an additional class hour for those who wish to read the play
in the original language (signed up for as a 1-point directed reading).
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.
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.
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.
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 ”
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.
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.
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.
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.
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.
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.
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. This course is a co-requisite of RUSS UN3232.
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.