THE ART OF THE ESSAY

Essay writing above the first-year level. Reading and writing various types of essays to develop one's natural writing voice and craft thoughtful, sophisticated and personal essays.

• Department: English @Barnard
• Instructor: Margaret R Ellsberg
  CULPA: 54 Info
• Instructor: Vrinda Condillac
  CULPA: 28 Info
• Instructor: Shelly Fredman
  CULPA: 3 Info
• 3 points

Comical Expression in Multicult Lit/Film

COMIC EXPRSN: GERMAN LIT/

This course is designed for participants who are interested in learning more about the role of humor in 20th/21st-c. literature and film. The survey begins with an introduction to key elements of the comical in literature and film, including slapstick, clowning, mime, or stunts. Discussions revolve around the issue of how or whether humor is universally recognizable or whether it is regionally, historically, and culturally defined. To shed light on this difficult question we will consider both historical and geographical settings. In close studies of popular films and literary texts we will examine the characters’ proclivities and discuss their gender-based perspectives as well as the influence of racial, religious or age-related identities. Our weekly readings—which include excerpts from major novels, selected scenes from films as well as short stories--provide us with rich and instructive examples of how eating habits, choice of food, calendrical events (holiday vs. weekday) may be related to the formation and expression of cultural identity. Romantic comedies reveal not only personal preferences and the joy of eating—they also signal collective taste patterns and indicate what kind of fantasies or constraints have governed the daily or festive dietary practices from the early 20th c. on. While the comical is first and foremost represented in time-honored genres such as comedies  or jokes, we will concentrate on the modern tradition in this course. This approach allows us to address the social, political, and cultural issue of multiculturalism and to build bridges between individual text/film and their historical contexts in the German-speaking countries. The emphasis of the course lies on a critical investigation of how cultural identity is related to self-expression and to physical interaction on the page, the stage or the screen. The course is taught in English, all readings are in English, and there are no prerequisites.

• Department: German @Barnard
• Instructor: Erk Grimm
  CULPA: 10 Info
• 3 points

FICTION & PERSONAL NARRATIVE

Writing sample required to apply to the course. Please send a writing sample of up to 5 pages of prose (double spaced) to 
awatson@barnard.edu
. 

Spring 2026: Fiction and Personal Narrative: Crafting the Narrative "I"

In this workshop, we will practice taking creative risks, writing fiction and nonfiction. We will examine four key craft areas: voice, characterization, imagery, and arrangement, both in contemporary published writing and in the writing of the people in this class. In small and large group workshops, we will consider each writer’s work with care and attention to the writer’s vision. By discussing each work-in-progress on its own terms, we will help our fellow writers deepen the meaning and impact of their work. Through risk-taking, and building a creative community, we will also grow and deepen our personal relationships to craft. Model readings will be contemporary short stories or personal essays, mostly written in the first person, including work by Kali Fajardo-Anstine, Tony Tulathimutte, K-Ming Chang, Cleyvis Natera, Melissa Febos, Ling Ma, and Deesha Philyaw.

• Department: English @Barnard
• Instructor: Alexandra P Watson
  CULPA: 16 Info
• 3 points

Transatlantic Translation

TRANSATLANTIC TRANSLATION

A workshop in which students from the BC/CU community collaborate with a team of students from the École Normale Supérieure-Lyon on two translation projects. In addition to video-conferenced group sessions, students will work virtually with their translation partner in France, and consult in-person with their Barnard instructor. Prerequisite: completion of at least Intermediate II level of French.

• Department: French @Barnard
• Instructor: Laurie Postlewate
  CULPA: 17 Info
• 3 points

Translating the Animal

TRANSLATING THE ANIMAL

Through readings in language philosophy, translation studies, and critical animal studies,
Translating the Animal
 explores how translation, language, and reason have historically worked together to maintain speciesism, preventing human animals from perceiving their commonalities with, and attunement to, sentient nonhuman beings.

• Department: Comparative Literature and Society @Barnard
• Instructor: Hana Worthen
  Info
• 4 points

INTRODUCTION TO FICTION WRITING

INTRO TO FICTION WRITING

Writing sample required to apply. Instructions and the application form can be found here: 
https://english.barnard.edu/english/creative-writing-courses
.
The most exciting, and the most terrifying, aspect of writing fiction is that there are no rules that cannot, under certain conditions, be broken. Good fiction makes and lives by its own rules. In this course, we will discuss common tenets of fiction writing—regarding character, plot, point-of-view, and more—and also examine cases in which writers break rules for the better. This course involves attentive reading of stories by various authors, discussions of craft, in-class writing, and workshops of student fiction. Readings may include Shirley Hazzard, Elias Khoury, James Wood, Elena Ferrante, Federico Garcia Lorca, and Sylvia Townsend Warner, among others.

• Department: English @Barnard
• Instructor: Cleyvis Natera
  Info
• 3 points

THE AFRICANA COLLOQUIUM

The Africana Studies Department offers special topics courses every year as colloquia. These colloquia provide opportunities for students to explore areas of particular interest within African Diasporic Studies in a seminar environment. Students earn 4 credits for these courses. There are multiple colloquia offered by the department every year. Some of the topics for these colloquia have included Critical Race Theory, Indian Ocean Diaspora, The New Black, Caribbean Women, and Black Shakespeare. As the topics change, students should check with the Chair of the Africana Studies Department if they have any questions about the topics for a particular academic year.

• Department: Africana Studies (AFSB)
• M 2:10 p.m.-4 p.m.
• Instructor: Kim F Hall
  CULPA: 1 Info
• 4 points

INTRODUCTION TO POETRY WRITING

Writing sample and application required to apply. Instructions and the application form can be found under 
Applying to Creative Writing Courses on the English Department website.
.

Varied assignments in poetry designed to explore the resources of language through imitation, allusion, free association, revision, and other techniques. For a more detailed, instructor-specific description,
please see our Course Offerings packet
. If you are a Columbia student, please note that you will need to submit an access request to view the document containing instructor-specific course descriptions. All requests will be approved within 24 business hours.

• Department: English @Barnard
• Instructor: Angel Nafis
  Info
• 3 points

PLAYWRITING II

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. What makes a play alive? Often a playwright is surprised into their strongest work. The practices of experimentation and analysis, curiosity and audacity lead to new possibilities. Students will read and respond to plays, identifying elements and strategies, and each week bring in fragments and scenes written in response to weekly prompts. By the middle of the semester, students will choose the piece that feels the most viable and develop it into what in most cases will be a thirty page play. NOTE: Playwriting I (ENGL BC3113) is NOT a prerequisite, and students need not have written a play before.

• Department: English @Barnard
• Instructor: Kathleen Tolan
  CULPA: 1 Info
• 3 points

MOD ARCHITECTURE IN THE WORLD

Note: Designed for but not limited to sophomores; enrollment beyond 60 is at the discretion of the instructor. Co-requisite: ARCH UN3118. 

How has architecture been “modern”? This course will introduce students to this contentious and contradictory concept emerging across the world during a time in which ideas and tools similar to ours were used for seeing and ordering constructed environments and architectural thinking. It introduces students to the history of modern architecture as an art of building as well as a discursive field, whose historical consciousness played a part in its historical development.

The course is structured chronologically and encourages experiential learning around episodes that informed the development of the built environment and the architecturally “modern.” Students will gain hands-on practice in researching and writing architectural history, theory, and criticism: skills that lie at the basis of conceptual architectural practices. While a one-semester course will not provide a full survey of buildings, events, and people associated with modern architecture, students will develop the critical tools to identify, approach, and comprehend such histories. The following areas of focus anchor the course, and students learn about each by understanding the establishment and institution of structures nourishing and supporting them, which have persisted into the present:

Architecture as made, thought, and taught—enmeshed with power and ideas, social concerns, intellectual and public debates, and diverse forms of cultural production

Makers, thinkers, and organizers of the designed or built environment

Designed constructions as the material ends and means of extraction, refinement, trade, and the labor associated with each

Sites, institutions, media, events, and practices that have come to hold meaning in architectural discourse

Concerns with both the past and the future as a basis for architectural theory

Modernization, modernism, and modernity as drivers for events, their historical narration, and the dissemination of these architectural narratives

The conceptual writing practices of history, theory, and criticism

The course is designed to accommodate multiple styles of learning. Course components include weekly lectures and discussions of assigned readings; re

• Department: Architecture @Barnard
• Instructor: Ralph Ghoche
  CULPA: 1 h-index: 2 Info
• 4 points

FICTION WRITING

Writing sample and application required to apply. Instructions and the application form can be found under 
Applying to Creative Writing Courses on the English Department website.

Assignments designed to examine form and structure in fiction. For a more detailed, instructor-specific description,
please see our Course Offerings packet.
If you are a Columbia student, please note that you will need to submit an access request to view the document containing instructor-specific course descriptions. All requests will be approved within 24 business hours.

• Department: English @Barnard
• Instructor: Sarah Wang
  Info
• Instructor: Gina Apostol
  Info
• 3 points

MODERN ARCHITECTURE IN THE WORLD - DISC

MODERN ARCH IN WORLD - DI

N/A

• Department: Architecture @Barnard
• 0 points

MODERN ARCHITECTURE IN THE WORLD - DISC

MODERN ARCH IN WORLD - DI

N/A

• Department: Architecture @Barnard
• 0 points

MODERN ARCHITECTURE IN THE WORLD - DISC

MODERN ARCH IN WORLD - DI

N/A

• Department: Architecture @Barnard
• 0 points

ADVANCED POETRY WRITING

Writing sample and application required to apply. Instructions and the application form can be found
under Applying to Creative Writing Courses on the English Department website.

Weekly workshops designed to generate and critique new poetry. Readings in traditional and contemporary poetry will be included. For a more detailed, instructor-specific description,
please see our Course Offerings packet.
If you are a Columbia student, please note that you will need to submit an access request to view the document containing instructor-specific course descriptions. All requests will be approved within 24 business hours.

• Department: English @Barnard
• Instructor: Monica Sok
  Info
• 3 points

SCREENWRITING FUNDAMENTALS

SCREENWRITING FUNDMENTALS

Prerequisites: FILM BC3201 or equivalent. Enrollment limited to 12 students. Priority is given to Film Studies majors/concentrations in order of class seniority. Corequisites: (Since this is a Film course, it does not count as a writing course for English majors with a Writing Concentration.)

This course is ideal for writers of their FIRST, SECOND AND THIRD screenplays. The first several weeks will focus on STORY: What it is, what it isn’t, how to recognize the difference. How to find your own individual stories that nobody else in the universe can tell.

From there we will make the transition to the highly individualized techniques, the strengths and limitations, the dynamics of telling a SCREEN STORY; what to leave in, what to leave out. As Michelangelo puts it—starting with a block of marble and chipping away everything that isn’t David.  Through studies of existing screenplays and films in coordination with and hands-on writing exercises which we will share in class, we will develop our skills in all aspects of screenwriting; building fascinating characters, dialogue, story construction (The BIG PICTURE) and scene construction (The Small Picture)

Perfection is not the goal; but rather it is to be able to say truly at the end of each day’s writing, “I did the best I could with what I had at the time. (Phillip Roth quoting heavyweight champion Joe Louis)

• Department: Film @Barnard
• 3 points

PUBLIC SPEAKING

FIRST-YEAR PUBLIC SPEAKNG

Open only to undergraduates. 


This course will introduce you to principles of effective public speaking and debate, and provide practical opportunities to use these principles in structured speaking situations. You will craft and deliver speeches, engage in debates and panel discussions, analyze historical and contemporary speakers, and reflect on your own speeches and those of your classmates. You will explore and practice different rhetorical strategies with an emphasis on information, persuasion and argumentation. For each speaking assignment, you will go through the speech-making process, from audience analysis, purpose and organization, to considerations of style and delivery. The key criteria in this course are content, organization, and adaptation to the audience and purpose. While this is primarily a performance course, you will be expected to participate extensively as a listener and critic, as well as a speaker.

• Department: English @Barnard
• Instructor: Daniela Kempf
  Info
• 3 points

PUBLIC SPEAKING

Open only to undergraduates. 


This course will introduce you to principles of effective public speaking and debate, and provide practical opportunities to use these principles in structured speaking situations. You will craft and deliver speeches, engage in debates and panel discussions, analyze historical and contemporary speakers, and reflect on your own speeches and those of your classmates. You will explore and practice different rhetorical strategies with an emphasis on information, persuasion and argumentation. For each speaking assignment, you will go through the speech-making process, from audience analysis, purpose and organization, to considerations of style and delivery. The key criteria in this course are content, organization, and adaptation to the audience and purpose. While this is primarily a performance course, you will be expected to participate extensively as a listener and critic, as well as a speaker.

• Department: English @Barnard
• Instructor: Daniela Kempf
  Info
• 3 points

ZORA NEALE HURSTON & BLACK PERFORMANCE

ZORA NEALE HURSTON & BLK

This course begins with focused attention on select plays of Zora Neale Hurston and her critical writing on performance, then takes ZNH’s aesthetics, politics, and provocations as a lens to study Black performance, broadly defined.  We will consider the contexts in which Hurston pursued a career as playwright and theatremaker, and the influences that found their way into her plays including spiritual narratives and voodoo.  We will turn our attention to key writers of the Harlem Renaissance to learn where ZNH first made her mark, and the milieu to which she ultimately turned her back.  Each week’s reading/viewing will include primary sources (ZNH’s plays and dramaturgical statements) as well as scholarly criticism of those works or genre.  The final weeks of the course will take up Black performance in the realms of dance and song from the early 20th century, and finish with more recent plays and visual art.  In addition to short weekly response papers, students will complete a long-form research paper that may, if they choose, include a creative element.

• Department: Theatre @Barnard
• R 2:10 p.m.-4 p.m.
• Instructor: Alice A Reagan
  CULPA: 1 Wikipedia Info
• 4 points

GENDERED CONTROVERSIES

This seminar investigates the significance of contemporary and historical issues of social, political, and cultural conflicts conducted through the language of gender. How do such conflicts constitute social relations, and what do they tell us about societies, cultures, and politics? How do we understand gender analysis in relation to intersectionality? How to we read and analyze gender through contested social issues? How do we analyze the ethical discourses employed in such conflicts? How do we best create change in response to such conflicts?

• Department: Women's, Gender, Sexuality Studies @Barnard
• Instructor: Lisa Duggan
  Info
• 4 points

CREATIVE NON-FICTION

Writing sample and application required to apply. Instructions and the application form can be found
under Applying to Creative Writing Courses on the English Department website.

In this course we will explore various genres of creative non-fiction and practice a range of craft techniques, paying special attention to the construction of the writing self and the ethics of writing about real people and events. For a more detailed, instructor-specific description,
please see our Course Offerings packet.
If you are a Columbia student, please note that you will need to submit an access request to view the document containing instructor-specific course descriptions. All requests will be approved within 24 business hours.

• Department: English @Barnard
• Instructor: Liana Finck
  CULPA: 3 Info
• 3 points

SHAKESPEARE IN PERFORMANCE

Shakespeare's plays as theatrical events. Differing performance spaces, acting traditions, directorial frames, theatre practices, performance theories, critical studies, cultural codes, and historical conventions promote differing modes of engagement with drama in performance. We will explore Shakespeare's plays in the context of actual and possible performance from the Renaissance to the twenty-first century.

• Department: English @Barnard
• Instructor: Patricia D Denison
  CULPA: 10 Info
• 4 points

AFFECT AND ACTIVISM

From love to anger to disappointment to hope, political activism mobilizes emotions towards certain ends but also generates new affective states and feelings along the way. This advanced seminar will familiarize students with feminist, anti-racist and queer scholarship on affect, feelings and emotion as intrinsic to politics and as crucial for understanding how political thought and action unfold in contingent and often unexpected ways. Mixing theoretical and cultural texts with case studies, we will look at how affect permeates structures of power and domination, embodiment and identity, and collective activist projects concerned with gender and sexual liberation. Students will have an opportunity to read theories of affect as well as to “read” activist movements
for
affect by working with archival documents (such as zines, manifestos, and movement ephemera) and other primary sources (such as memoir, photography and documentary film).

• Department: Women's, Gender, Sexuality Studies @Barnard
• Instructor: Manijeh Moradian
  Info
• 4 points

BALLET V

This course is for the intermediate advanced dancer. Material presented will focus on healthy anatomical alignment in barre work, extended combinations in the center, fostering personal artistic expression, and integrating improvisation in combinations with the ballet vocabulary. Clarification, analysis and repetition are fundamental elements for a sound technique of any dancer and are the foundation of this course. Center work will include attention to shaping adagio work, multiple turns in the large poses, batterie, and extended grand allegro.

• Department: Dance @Barnard
• MW 8:40 a.m.-9:55 a.m.
• MW 4:10 p.m.-5:25 p.m.
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Unity Phelan
  Info
• Instructor: Cynthia Anderson
  Info
• Instructor: Marjorie Folkman
  CULPA: 2 Info
• 2 points

MODERN AMERICAN DRAMA & PERFORMANCE

MOD AMERCN DRAMA & PERFOR

Modern American Drama and Performance in an era of cultural contestation.  What is united about the United States? How are the important claims of cultural difference related to the intercultural claims of shared community?  Is there a place for historical continuity in the modernist pursuit of change?  How have these issues been addressed in the emergence and development of modern drama and performance in America?  Questions such as these will be addressed in the context of theatrical exploration, performance history, and social change.  Canonical and experimental playwrights include Rachel Crothers, Susan Glaspell, Georgia Douglas Johnson, Eugene O’Neill, Clifford Odets, Thornton Wilder, Tennessee Williams, Arthur Miller, Lorraine Hansberry, Edward Albee, Suzan-Lori Parks, Sarah Ruhl, and Dominique Morisseau.

• Department: English @Barnard
• Instructor: Patricia D Denison
  CULPA: 10 Info
• 4 points

INTRODUCTION VOCAL REPERTOIRE

This course is designed for developing singers. Group vocalizing, learning of songs and individual workshop performances are aimed at improving the students technical skill and the elements necessary to create a meaningful musical and dramatic experience. Attention to text, subtext, emotional and psychological aspects of a piece and the performers relationship to the audience are included in the work. Repertoire is predominantly in English and comes from both classical and popular traditions Individual coaching sessions are available with the class accompanist and help strengthen the students confidence and skill. The class culminates with an in-class performance.

• Department: Music @Barnard
• F 10 a.m.-1 p.m.
• Instructor: Coralie Gallet
  Info
• 3 points

VOCAL REPERTOIRE, TECHNIQUE

VOCAL REPERTOIRE TECHNIQUE

Vocal exercises and exploration of wide-ranging repertoires, styles, and languages of the Western European song tradition. The rich variety of English, French, Italian and German poetry and music from the Baroque period through the Twentieth Century allows the student to experience both the music and the cultural environment of each of these styles. Attention is given both to meaning oftext and musical interpretation. Individual coaching sessions are available with the class accompanist and help strengthen the students confidence and skill. The class culminates with an in-class performance.

• Department: Music @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Jean-Paul Bjorlin
  Info
• 3 points

Advanced R in Biology

This course serves as a continuation of BIOL2500 R for Scientists. The course will meet weekly. Students will explore a range of methods and resources used by contemporary computational biologists. These include advanced statistical modeling approaches, manipulating genomic and spatial data, and working in R outside of the RStudio environment (including git, bash, Shiny and high-performance computing). Students will have opportunities to explore diverse biological and statistical R packages in the context of homework assignments, and will analyze a dataset of their own choosing for a semester project.

• Department: Biological Sciences @Barnard
• Instructor: Vincent D Fitzpatrick
  Info
• 3 points

BALLET VI

This course is for the 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.

• Department: Dance @Barnard
• TR 8:40 a.m.-9:55 a.m.
• F 9 a.m.-10:50 a.m.
• Instructor: Antonio Carmena
  Info
• Instructor: Ashley Tuttle
  CULPA: 1 Info
• 2 points

Tragedy, Theory, Theatre

TRAGEDY, THEORY, THEATRE

This course will overview the dramatic, theatrical, and theoretical work of tragedy, the genre that, according to Northrop Frye, guarantees a realistic perspective on the world we live in. We will read many of the classic critical encounters with tragedy (Aristotle, Nietzsche, Hegel, Frye) alongside more recent theorists of literary and cultural representation. But rather than taking a chronological approach, this course understands “tragedy” as a fluid notion, one used to shape a variety of historical experiences through a range of dramatic, theatrical, and critical encounters. Throughout the semester, we will frequently pair earlier with more recent plays, under the aegis of a network of questions posed by critical or theoretical reading.

• Department: Theatre @Barnard
• T 10:10 a.m.-noon
• Instructor: William B Worthen
  CULPA: 10 Info
• 4 points

TOPICS COMPARATIVE LIT

LITERATURE AND WAR

The objective of this class is to examine a given topic and relate it to a number of literary texts. Students will examine a variety of literary genres and to an equally wide variety of cultural, linguistic, and historical contexts.

• Department: Comparative Literature and Society @Barnard
• Instructor: Daniella Gitlin
  Info
• 3 points

CLASSIC VARIATIONS

Variations
 class is a course for the intermediate to advanced dancer.  As in all other ballet classes, there will be a focus on correct physical alignment, proper technique and musicality.  The added challenges in this course will be the pointe shoe technique, creative choreographic choices, and musical phrasing. The class will include variations based on works ranging from Petipa to Balanchine to today’s choreographers.  Dancers will explore personalizing already known works, pushing the boundaries of the pointe shoe, examining how choreography has evolved and developing the stamina required to execute a full variation. Learning material rapidly while paying attention to the stylistic demands of each choreographer’s works and being able to shift from one stylistic choice to another is simply expected.

• Department: Dance @Barnard
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Ashley Tuttle
  CULPA: 1 Info
• 2 points

Science Writing

Even as students learn to be scientists, there is a need to learn how to write about science, translating the science for a general readership. In this seminar we will develop writing skills by, first, close reading and analysis of science writing (on research about humans, non-human animals, and non-animals) for the non-specialist, as well as some of the original research papers from which the pieces arose. We will simultaneously begin an iterative process of composing pieces of different lengths and different genres, based on recently published science papers. Assignments will include a short news summary, book review, an audio interview, and a final feature print or audio story; some of these assignments will involve multiple drafts or stages. Guest speakers and a recording practices intensive from IMATS will complement the readings and writing assignments. We will focus on concept translation, storytelling, and other elements of narrative craft in this writing-intensive seminar. We will also emphasize proper citation practices. Final projects will be a long-form feature or a podcast.

• Department: Psychology @Barnard
• R 12:10 p.m.-2 p.m.
• Instructor: Alexandra C Horowitz
  CULPA: 23 Wikipedia Info
• 4 points

WORLDMUSE ENSEMBLE

Worldmuse Ensemble delves into compelling music from many genres such as world music, gospel, classical--old and new. We perform without a conductor, increasing awareness and interaction among ourselves and our audience. We collaboratively integrate music, dance, and theatre traditions (masks etc.). For experienced singers, and instrumentalists and dancers who sing.

• Department: Music @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Jean-Paul Bjorlin
  Info
• 3 points

Attention

In this seminar we will examine attention, the critical cognitive process responsible for prioritizing certain information for more efficient processing while filtering out distractions. We will review attention’s effects on early to late-stage vision, how it interacts with other sensory systems, and higher cognitive functions, all while surveying some of the most common ways it’s historically been measured using psychophysical and neuroscientific methods. We will evaluate how attention has been assessed across human development, and in clinical populations, such as individuals with Neurodevelopmental Disorders (NDD), schizophrenia and hemispatial neglect. We will end by discussing the practical implications of our increasingly limited and divided attention when navigating the modern technological landscape, as well as review the potential for improving attention through training.

• Department: Psychology @Barnard
• W 2:10 p.m.-4 p.m.
• Instructor: Mariel Roberts
  h-index: None Info
• 4 points

CRITICAL HISTORIES OF DRAMA, THEATRE, AN

CRIT HIST DRAMA, THTR & P

This course undertakes a dialectical approach to reading and thinking about the history of dramatic theatre, interrogating the ways writing inflects, and is inflected by, the material dynamics of performance in the modern era. Course undertakes careful study of the practices of performance, and of the sociocultural, economic, political, and aesthetic conditions animating representative performances in 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 emerging forms and critical practices of performance analysis. Writing: 2-3 papers; Reading: 1-2 plays, critical and historical reading per week; final examination. Fulfills one (of two) lecture requirements for Theatre/Drama and Theatre Arts majors.

• Department: Theatre @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Yizhou Huang
  Info
• 4 points

THE CANTERBURY TALES

Chaucer as inheritor of late-antique and medieval conventions and founder of early modern literature and the fiction of character.  Selections from related medieval texts.

• Department: English @Barnard
• Instructor: Eugene A Petracca
  Info
• 3 points

TRADITIONAL INDIAN PERFORMNCE

Course provides a perspective on traditional forms of Indian performance from classical theory to contemporary traditional practices. Course covers Sanskrit drama, Kathakali, Ramlila, and Chhau; extensive video of performances and guest practitioners.  Course fulfills lecture/seminar "studies" course requirement for Theatre/Drama and Theatre Arts major.

• Department: Theatre @Barnard
• R 12:10 p.m.-2 p.m.
• Instructor: Shayoni Mitra
  CULPA: 5 Info
• 4 points

POSTCOLONIAL DRAMA:THE CANON & ITS OTHER

This class is a close reading of postcolonial plays, both as they form a recognizable canon, and as counters to it. Through a grounding in postcolonial theory, students will explore how the colonial encounter leaves a lasting impact on language and performance. How do these playwrights tackle questions of authenticity, influence, inspiration and agency? What stories do they adapt, translate or reimagine? Also, we read in equal measure male and female playwrights, attending to the ways in which power and authority are negotiated by them. This class looks both at plays that are seminal to postcolonial writing and also newer ones that unsettle the position of the greats. Do we then understand postcolonialism as a historically bound literary trend or an ongoing process of exploration? Fundamentally we ask, in our efforts to decolonize the theatre, how do we find new ways or reading?  Course fulfills lecture/seminar in drama studies, theatre studies, performance studies requirement for Theatre major.

• Department: Theatre @Barnard
• W 12:10 p.m.-2 p.m.
• Instructor: Shayoni Mitra
  CULPA: 5 Info
• 4 points

ASIAN AMERICAN PERFORMANCE

This course examines Asian American experience through the lens of theatre and performance. These performances are often critical sites where members of the community preserve their cultural legacies and negotiate American racial politics. By discussing representative works by Asian American playwrights, performance artists, and filmmakers, we will cover the following topics: key events in Asian American history; immigration and citizenship; identity and community formation; intersectionality of race, gender, and sexuality; generational differences in Asian American culture; trauma and memory; U.S. imperialism and social justice. This course examines Asian American experience through the lens of theatre and performance. These performances are often critical sites where members of the community preserve their cultural legacies and negotiate American racial politics. By discussing representative works by Asian American playwrights, performance artists, and filmmakers, we will cover the following topics: key events in Asian American history; immigration and citizenship; identity and community formation; intersectionality of race, gender, and sexuality; generational differences in Asian American culture; trauma and memory; U.S. imperialism and social justice.

• Department: Theatre @Barnard
• M 2:10 p.m.-4 p.m.
• Instructor: Yizhou Huang
  Info
• 4 points

THE BODY AND SOCIETY

As an introduction to the field of medical anthropology, this seminar addresses themes of health, affliction, and healing across sociocultural domains.  Concerns include critiques of biomedical, epidemiological and other models of disease and suffering; the entwinement of religion and healing; technocratic interventions in healthcare; and the sociomoral underpinnings of human life, death, and survival.  A 1000 level course in Anthropology is recommended as a prerequisite, although not required.  Enrollment limited to 30. 4 units

• Department: Anthropology @Barnard
• Instructor: Paloma Rodrigo Gonzales
  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
• Instructor: Niall Williams
  Info
• 3 points

THE ENGLISH COLLOQUIUM

Prerequisites: Enrollment limited to Barnard English majors. In the Enlightenment colloquium we will look at English and European imaginative and intellectual life during the late seventeenth and eighteenth centuries. During this period, writers tried in new ways to reconcile the tensions between reason and religion. Categories of thought that underlie our world today were taking shape: secularity, progress, the public and the private, individual rights, religious tolerance. Writers articulated principles of equality in an era of slavery. Literary forms like the novel, which emerges into prominence during this period, express in irreducibly complex ways these and other changes. In this intensive course, we will study from multiple angles a variety of authors that may include Hobbes, Dryden, Locke, Spinoza, Lafayette, Defoe, Swift, Pope, Richardson, Voltaire, Fielding, Johnson, Diderot, Sterne, and Wollstonecraft, among others.

• Department: English @Barnard
• Instructor: Achsah Guibbory
  CULPA: 17 Info
• Instructor: Andrew L Lynn
  CULPA: 17 Info
• Instructor: Jayne Hildebrand
  CULPA: 3 Info
• Instructor: Joseph Moshenka
  Info
• 4 points

SHAKESPEARE II

Prerequisites: Enrollment limited to 60 students. Critical and historical introduction to selected comedies, histories, tragedies, and romances by Shakespeare. 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
• Instructor: Peter Platt
  CULPA: 23 Info
• 3 points

THEORIES OF PERFORMANCE STUDIES

Prerequisites: Enrollment limited to 16 students.

Course surveys the wide range of genres and categories addressed by the practice of modern "performance studies"; it introduces a number of performance practices, as well as relevant interdisciplinary methodologies. Students consider live performances as well as a number of mediated works, learning to think critically and creatively about the relation between text, technology, and the body. Course may fill
either
the Theory requirement,
or
one (of two) required courses in dramatic literature/theatre studies/performance studies for Theatre/Drama and Theatre Arts major, but not both.

• Department: Theatre @Barnard
• T 12:10 p.m.-2 p.m.
• Instructor: Shayoni Mitra
  CULPA: 5 Info
• 4 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
• Instructor: Achsah Guibbory
  CULPA: 17 Info
• 3 points

RENAISSANCE DRAMA:1580-1642

This class offers a general introduction to English drama at the moment when it arose as a major art form. In Renaissance London, astonishingly complex plays emerged that reflected the diverse urban life of the city, as well as the layered and often contradictory inner life of the individual. This poetically rich theater was less concerned with presenting answers, and more with staging questions—about gender, race, religion, literary tradition, love, sex, authority, and class. In this course, we will try to tap into this theater’s cosmopolitan, embodied poetics by reading not only Shakespeare, but also the various other major authors who constituted this literary world: Christopher Marlowe, Ben Jonson, Thomas Dekker, Thomas Middleton, John Webster, the ever-popular Anonymous and others.

• Department: English @Barnard
• Instructor: Peter Platt
  CULPA: 23 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
• Instructor: Jayne Hildebrand
  CULPA: 3 Info
• 3 points

CEPHALOPOD COGNITION

This seminar is designed to introduce you to the methods used to discern and describe the cognitive repertoire of novel, understudied, animals.  The animals which we will specifically examine in the class are octopuses and cuttlefish.  Over the course of the semester you will learn how we define cognitive abilities in humans and examine them in various animal species for modeling and comparison purposes.  Each week you will examine one specific ability in humans, a traditional animal model, and a cephalopod.  In this manner you will come to understand the historical process of understanding animal cognition, the current state of the literature in at least one area of cephalopod cognition and be capable of proposing a novel experiment as a way to extend our knowledge of that area of cephalopod cognition.

• Department: Psychology @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Ken Light
  CULPA: 17 h-index: 15 Info
• 4 points

AMERICAN LITERATURE 1800-1870

Texts from the late Republican period through the Civil War explore a range of intersecting literary, political, philosophical, and theological issues, including the literary implications of American independence, the status of Native Americans, the nature of the self, slavery and abolition, gender and woman's sphere, and the Civil War. Writers include Washington Irving, Ralph Waldo Emerson, Walt Whitman, Henry David Thoreau, Frederick Douglass, Margaret Fuller, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Harriet Beecher Stowe, Harriet Jacobs, and Emily Dickinson.

• Department: English @Barnard
• Instructor: Lisa Gordis
  CULPA: 15 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
• Instructor: Eugene A Petracca
  Info
• 4 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
• Instructor: Eugene A Petracca
  Info
• Instructor: Michael C Dickman
  Info
• Instructor: Joseph Moshenka
  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
• Instructor: Victor Zarour Zarzar
  Info
• 3 points

HARLEM RENAISSANCE LITERATURE

Home to Harlem focuses on the relationship between art, activism and social justice during the Harlem/ New Negro Renaissance. Exploring the cultural contexts and aesthetic debates that animated Harlem in 1920s to 1930s, the course discusses the politics of literary and theatrical production, while exploring the fashioning and performance of New Negro identity through fiction, poetry, essays, and artwork.  Topics considered include: role of Africa/slavery/the south in New Negro expression, patronage, passing, primitivism/popular culture, black dialect as literary language, and the problematics of creating a “racial” art in/for a community comprised of differences in gender, class, sexuality, and geographical origin.

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

INDEPENDENT STUDY

• Department: Music @Barnard
• Instructor: Gail R Archer
  CULPA: 24 Info
• 1-3 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 @Barnard
• Instructor: Timothy Vasko
  CULPA: 3 Info
• 4 points

THE VISUAL AND VERBAL ARTS

Analysis and discussion of the relation of literature to painting, photography, and film. Emphasis on artistic and literary concepts concerning the visual dimension of narrative and poetic texts from Homer to Burroughs. Explores the role of description, illustration, and montage in realist and modern literature.

• Department: Comparative Literature and Society @Barnard
• Instructor: Erk Grimm
  CULPA: 10 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
• Instructor: Julia L Thompson
  Info
• Instructor: Daniel F Pfeffer
  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
• MW 4:10 p.m.-6 p.m.
• Instructor: Tea Alagic
  Info
• 3 points

QUEER THEORY

• Department: Women's and Gender Studies
• M 2:10 p.m.-4 p.m.
• Instructor: Jack Halberstam
  Wikipedia Info
• 4 points

DIRECTING II

Prerequisites: Students required to have taken THTR UN3200 Directing I or THTR UN3203 Collaboration: Directing and Design, or equivalent. Enrollment limited to 14 students. Permission of instructor given at first class meeting. Course focuses on developing an individual directorial style, placing emphasis on visual research, and the use of different staging environments: end-stage, in the round, environmental. Class is structured around scene-work and critique, and each student will direct at least three fully-realized scenes. Material typically drawn from European avant-garde.

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

ADVANCED ARCHITECTURAL DESIGN II

ADV ARCHITECTURAL DESIGN

Prerequisite: ARCH UN3201. Advanced Architectural Design II culminates the required studio sequence in the major. Students are encouraged to consider it as a synthetic studio where they advance concepts, research methodologies and representational skills learned in all previous studios towards a semester-long design project. Field trips, lectures, and discussions are organized in relation to studio exercises.

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

Structural Drivers of Health

STRUCTURAL DRIVERS OF HEA

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 Drivers 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” "Drivers" of Health. This shift is in recognition that it is the underlying structures (laws, material infrastructure) that impact  and drive 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.

• Department: Sociology @Barnard
• Instructor: Domonique M Reed
  Info
• 3 points

RELIGION IN THE MODERN US

RELIGION IN MODERN US

This course examines the history of religion in the United States from the Civil War to the present through thematic units focused on the legal structures of religious freedom; race, religion, and nationality; healing, aesthetics, and embodiment; and, finally, religion and politics. Over the course of the semester, students will explore various religious communities as well as the ways social, political, and economic factors have shaped those traditions – and how religious communities have in turn shaped US society, politics, and culture. Students will also be introduced to key themes and debates in the field of American religious studies.

• Department: Religion @Barnard
• Instructor: Gale L Kenny
  CULPA: 5 Info
• 4 points

PUBLIC OPINION AND AMERICAN D

In this course, we will examine the relationship between government and the governed in the United States. To what extent and under what circumstances do elected officials consider public preferences in making policy? To what extent and under what circumstances might we want them to? What kind of power should the public have in American democracy? Thinking about the second and third, more normative questions leads us to other empirical questions. What shapes public preferences? How well can we measure them? How much do people know and care about politics? How do they evaluate their representatives? What constitutes high quality representation? We will examine these kinds of questions broadly, and also consider how they play out in particular policy areas and historical moments. We will also discuss the dynamics of public opinion across population subgroups (e.g. by race, sex, income, party, urbanity, etc.), and questions surrounding representation at the group level. In addition to engaging scholarly literature on public opinion and representation, students will also learn to access, manage, and analyze data measuring the composition of the public (e.g. the U.S. Census) as well as public views on political candidates, officeholders, institutions, and issues (e.g. survey data). These skills will help to prepare students for research projects in other courses and beyond Barnard. To balance the different aims of the course, our class time will be split between lecture, discussion, and hands-on lessons in a computer lab.

• Department: Political Science @Barnard
• Instructor: Katherine L Krimmel
  CULPA: 6 Info
• 3 points

THE 'GLOBAL' NOVEL

"Yes, globalization can produce homogeneity, but globalization is also a threat to homogeneity." --Kwame Anthony Appiah, "The Case for Contamination," New York Times Magazine, 2006

Thinking through the arguments both in favor of and against globalization, particularly in the realm of cultural productions, in this course we will discuss the "global" novel. To that end, we will read essays from
The Global Novel: Writing the World in the 21st Century
about works such as
Americanah, Snow,
and
The Reluctant Fundamentalist
(along with the novels themselves) to investigate what is meant by "global" and what the criteria for including novels in this categorization are. We will also consider whether there is an erasure of cultural difference and nuance in reading novels using a globalizing perspective in order to render them more approachable for a (primarily) US audience.

In order to think through and challenge this category of the global, we will also read novels that can be roughly categorized as postcolonial. We will thus consider how struggles for independence and the desire to locate one’s identity either within freshly liberated nation-states or in the process of immigrating to former metropoles could give rise to cultural and psychological anxieties. We will also consider the manner in which late-stage capitalism could indeed push toward homogenized senses of self that manifest in a category such as the "global novel" and whether arguments could be made in favor of such homogenization. Ultimately, we will think about the politics of globalization and the desire to include in or exclude from the “global” certain locations, cultural products, or peoples.

• Department: English @Barnard
• Instructor: Atefeh Akbari Shahmirzadi
  Info
• 3 points

MUSIC, RACE & IDENTITY

Analysis of the complex relationship among race, art, organizations, economics, social movements and identity. Emphasis is on shifting conceptions of identity and changing roles of race and racism in the spirituals, gospel music, minstrelsy, rhythm and blues, rocknroll, soul music, Hip Hop and contemporary popular music.

• Department: Sociology @Barnard
• Instructor: Jonathan Rieder
  CULPA: 17 Info
• 3 points

Religious Histories of New York City

Religious Histories of NY

This class examines different religious histories of New York City from the early 1800s through the 1950s. We will explore how different religious traditions were shaped by the city and its diversity, and how those people and institutions left their imprints on the city we live in today. The first half of the semester focuses on intersecting themes of religion and capitalism, religion and gender and sexuality, and on the social dynamics of the city’s symbolic meanings as place of refuge and liberation (for domestic and foreign migrants) or as a locus of sin in need of moral reform. The second half of the semester turns to case studies of different neighborhoods including Harlem, the Lower East Side, Williamsburg, and Flushing. How did different religious communities conceptualize “the neighborhood” in relation to the larger city, and how did they grapple with diversity and change? Students will also be introduced to archival collections of the East Harlem Protestant Parish and several settlement houses located at the Burke Library at Union Theological Seminary and at Butler Library.

• Department: Religion @Barnard
• Instructor: Gale L Kenny
  CULPA: 5 Info
• 4 points

Religion in Modern US- Discussion

RELI IN MOD US- DISC

This course examines the history of religion in the United States from the Civil War to the present through thematic units focused on the legal structures of religious freedom; race, religion, and nationality; healing, aesthetics, and embodiment; and, finally, religion and politics. Over the course of the semester, students will explore various religious communities as well as the ways social, political, and economic factors have shaped those traditions – and how religious communities have in turn shaped US society, politics, and culture. Students will also be introduced to key themes and debates in the field of American religious studies.

• Department: Religion @Barnard
• 0 points

Religion in Modern US- Discussion

RELI IN MOD US- DISC

This course examines the history of religion in the United States from the Civil War to the present through thematic units focused on the legal structures of religious freedom; race, religion, and nationality; healing, aesthetics, and embodiment; and, finally, religion and politics. Over the course of the semester, students will explore various religious communities as well as the ways social, political, and economic factors have shaped those traditions – and how religious communities have in turn shaped US society, politics, and culture. Students will also be introduced to key themes and debates in the field of American religious studies.

• Department: Religion @Barnard
• 0 points

AMERICAN LIVES, AMERICAN STORIES

AMER. LIVES, AMER. STORIE

Writing sample required to apply: https://english.barnard.edu/english/creative-writing-courses

In this class we will discuss the narrative of the "American" story, and how stories of immigrants and minority identities redefine and complicate it. The goal of the class is to investigate how writers frame a sense of identity in relation to the "American ideal". We will explore this theme through three creative non-fiction pieces each focusing on a different perspective of place, person, and personal experience. What are your stories, and what makes them "American"?

• Department: English @Barnard
• Instructor: Maria D Hinojosa
  Info
• 3 points

ORGANIC CHEMISTRY I-LEC

Prerequisites: CHEM BC2001 or equivalent. Credit will not be given for any course below the 3000 level after completing CHEM BC3230 or its equivalent. Corequisites: With lab, counts towards Lab Science requirement. Atomic and molecular structure; stereochemistry of organic molecules; introduction to organic reactions, reaction mechanisms, and synthesis.

• Department: Chemistry @Barnard
• Instructor: Christian Rojas
  CULPA: 24 Info
• 3 points

Descriptive Inorganic Chemistry

DESCRIPTIVE INORG. CHEMIS

Prerequisites: CHEM BC2001.

This course explores the periodic table in ways that deepen appreciation of the chemistry of the elements. It extends tools introduced in general chemistry with a particular focus on the rich and varied chemistry of the transition metal elements. Requiring only general chemistry, this course is open to students with interests in the role that metal ions play in biology, biochemistry, neuroscience and environmental science.

• Department: Chemistry @Barnard
• 3 points

Indigenous Place-Thought

INDIGENOUS PLACE-THOUGHT

This seminar considers what it means to be of a place and to think with and be committed to that place—environmentally, politically, and spiritually. After locating ourselves in our own particular places and place-based commitments, our attention turns to the Indigenous traditions of North America, to accounts of tribal emergence and pre-colonial being, to colonial histories of land dispossession, to ongoing struggles to protect ecological health and land-based sovereignty, to the epistemological and moral systems that have developed over the course of many millennia of living with and for the land, and to the contributions such systems might make to our collective future. The seminar’s title is borrowed from an essay on “Indigenous place-thought” by Mohawk/Anishinaabe scholar Vanessa Watts.

• Department: Anthropology @Barnard
• Instructor: Severin Fowles
  CULPA: 24 Info
• 4 points

Transnationalism, Citizenship, and Belon

TRANSNTNL, CITIZEN, BELON

Transnationalism, Citizenship, and Belonging covers the myriad ways that transnationalism is experienced in both South to North and South to South migrations. Transnationalism and its contenders, globalization and nationalism, will be placed within a broader discussion of belonging based on sociological theories of citizenship, politics of exclusion, and boundary-making.

• Department: Sociology @Barnard
• Instructor: Randa B Serhan
  CULPA: 2 Info
• 3 points

QUANTITATIVE ANALYSIS

Prerequisites: CHEM BC3231, MATH UN1101, and permission of instructor.

Survey of topics appropriate for a student majoring in chemistry or biochemistry, including examinations of uncertainty analysis and data processing, use of basic laboratory equipment, complex equilibria (pH, solubility, etc.), advanced solution chemistry and chemical activity, and the theoretical foundations of modern techniques in electrochemistry, chromatography and analytical experimental techniques.

• Department: Chemistry @Barnard
• Instructor: Angela L Paoletta
  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
• Instructor: Wendy C Schor-Haim
  CULPA: 11 Info
• 4 points

JAZZ DANCE III

In This JAZZ llI Level Course,
You will develop a solid understanding within your body that demonstrates advanced  fundamentals, rhythm, technique, connectivity and phrasing necessary to communicate each movement. You will  learn new phrases and dynamic material while continuously applying technical information. We will delve deeper into  technique preparing your body to perform more efficiently and effectively at a higher rate while reducing the risk of  injury.

Prerequisites: DNCE BC2248 DNCD BC 2249 or permission of instructor.

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

THERMODYNAMICS-KINETICS

Prerequisites: CHEM BC3231, PHYS BC2001, PHYS BC 2002, MATH UN1102 or MATH UN1201. Introduction to the laws of thermodynamics; application primarily to ideal systems. Free energy and equilibrium. Kinetics: rate laws and mechanisms, experimental techniques.

• Department: Chemistry @Barnard
• 3 points

URBAN LATIN/X AMERICA: ETHNOGRAPHIC APPR

URBAN LATINX AMERICA: ETH

This seminar examines the social, economic, and political landscapes of Latin American cities through ethnographic literature. It explores key themes such as migration, urban poverty, marginality, violence, informality, urban segregation, grassroots movements, urban citizenship and neoliberal urban governance. Students will read both classic and contemporary ethnographies to gain an in-depth understanding of how cities are lived and experienced. The course also unsettles the category of Latin America, to introduce a discussion of the “Latinization” of U.S. cities. We will interrogate ethnographic and audiovisual materials (included to complement the readings) from a postcolonial perspective.  We will discuss the politics of knowledge production and representation in ethnographic studies and popular culture, the impact of colonialism in transnational flows of knowledge and labor, as well as the contributions to urban theory from the perspective of cities located in the Global South.

• Department: Urban Studies @Barnard
• W 4:10 p.m.-6 p.m.
• Instructor: Andreina Torres Angarita
  Info
• 4 points

FIRST AMENDMENT VALUES

Prerequisites: POLS W1201 or an equivalent. Not an introductory course. Not open to students who have taken the colloquium POLS BC3302. Examines the first amendment rights of speech, press, religion and assembly. In-depth analysis of landmark Supreme Court rulings provides the basis for exploring theoretical antecedents as well as contemporary applications of such doctrines as freedom of association, libel, symbolic speech, obscenity, hate speech, political speech, commercial speech, freedom of the press and religion. (Cross-listed by the American Studies Program.)

• Department: Political Science @Barnard
• Instructor: Paula A Franzese
  CULPA: 11 Wikipedia Info
• 3 points

WRITING FOR TELEVISION: SHORT FORM

Prerequisite: FILM BC3201 or equivalent. Please note that since this is a Film Studies course, it does not count as a creative writing course for English majors with a creative writing concentration. This course will focus on the primary pillar of television production: the teleplay. Through a number of creative exercises, students will learn the intricacies of the unique screenwriting formats that are the half-hour and hour-long teleplays. Together we will cover the differences between an episode arc and a seasonal one, the requirements of A/B/C story plotting, and how to write an effective show bible. We will survey the existing pantheon of great television writing in order to help students narrow in on their individual sensibilities. By the end of the course, students will have a written original pilot and a mini series bible.

• Department: Film @Barnard
• Instructor: Faculty
  h-index: 37 Info
• 3 points

INTRODUCTION TO CRYPTOGRAPHY

This course is an introduction to modern cryptography, focusing on the complexity-theoretic foundations of secure computation and communication in adversarial environments, precise definitions, and provably secure protocols. Topics include private and public key encryption schemes, digital signatures, authentication, pseudorandom generators and functions, one-way functions, trapdoor functions, number theory and computational hardness, identification and zero knowledge protocols.

• Department: Computer Science @Barnard
• Instructor: Eysa Lee
  Info
• 3 points

Sociology of Disability

SOCIOLOGY OF DISABILITY

Drawing on sociological theory and disability studies scholarship, this course explores how societies construct meanings of disability, normalcy, and difference, and how these constructions influence social institutions, policies, and everyday interactions. Through critical analysis of key institutions—e.g. education, work, and the criminal justice system—students will examine how ableism operates at structural levels while also exploring disability rights movements and forms of resistance and agency. Many of these issues will be examined through an intersectional lens, analyzing how disability intersects with race, gender, class, and other identities to create complex experiences of privilege and marginalization.

• Department: Sociology @Barnard
• Instructor: Nic Rios
  Info
• 3 points

INORGANIC CHEMISTRY

Prerequisites: CHEM BC3231 or Permission of Instructor. Structure, bonding and spectroscopy in inorganic compounds: applications of group theory to chemistry; ligand field theory; vibrational and electronic spectroscopy of transition metal complexes; selected topics from coordination chemistry, organometallics, bioinorganic chemistry, solid state and materials chemistry, mineralogy, and biogeochemistry.

• Department: Chemistry @Barnard
• Instructor: Michael Campbell
  Info
• 3 points

Marine Ecology Lab

This laboratory-intensive course introduces students to the biological and ecological processes that shape marine ecosystems. Even in the heart of New York City, marine ecology can be discovered and studied firsthand through experiments, data analysis and field sampling in the Hudson River and coastal environments. Students will explore marine biodiversity, physiology, and ecological interactions and there is an emphasis on experimental design, microscopy, and quantitative methods. Students will prepare lab reports, engage in group projects, and develop skills in scientific communication. One field excursion outside of New York City will be available for participation, but not required.

• Department: Biological Sciences @Barnard
• R 1:10 p.m.-6 p.m.
• Instructor: Gabrielle Corradino
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• 3 points

Nonhuman Intelligence

What does it mean to be intelligent? Recent years have seen rapid advances in artificial  intelligence technology that enables computers and machines to simulate human learning,  comprehension, problem solving, creativity and autonomy. At the same time, we have  become more aware of other forms of intelligence—some which have been with us all along.  Through a selection of fiction and nonfiction texts and films, students will deepen their  understanding of the multifaceted nature of intelligence and the fascinating, uncanny, and  multiple ways of existing on, off, and in the earth.

• Department: Film @Barnard
• Instructor: Margaret J McLagan
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• 4 points