COMPUTERS AND SOCIETY

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

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

Intro French & Francophone Literature

Intro French Francophone

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

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

COLLOQUIUM ON HUMAN RIGHTS IN A DIVERSE

COLL:HUMAN RGTS DIVERSE W

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

• Department: Political Science @Barnard
• T 12:10 p.m.-2 p.m.
• Instructor: Ayten Gundogdu
  CULPA: 20 h-index: 8 Info
• 4 points

SYMBOLIC LOGIC

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

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

INTRODUCTION TO ECONOMETRICS

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

• Department: Economics
• MW 4:10 p.m.-5:25 p.m.
• TR 8:40 a.m.-9:55 a.m.
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Seyhan Erden
  CULPA: 7 Info
• Instructor: Simon Lee
  h-index: 28 Info
• Instructor: Tamrat Gashaw
  CULPA: 10 Info
• 4 points

PRINTMAKING:DRAWING INTO PRINT

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

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

INTRO TO ECONOMETRICS-DIS

Required discussion section for ECON UN3412: Intro to Econometrics

• Department: Economics
• 0 points

SYMBOLIC LOGIC - REC

Required discussion section for UN3411 Symbolic Logic

• Department: Philosophy
• M 4:10 p.m.-5 p.m.
• W 6:10 p.m.-7 p.m.
• R 9:10 a.m.-10 a.m.
• Instructor: Ye Eun Jeong
  Info
• Instructor: Saikeerthi Rachavelpula
  Info
• Instructor: Helen Zhao
  Info
• 0 points

Mechanics of Solids for Mechanical Engin

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

• Department: Mechanical Engineering
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Gerard H Ateshian
  CULPA: 3 Info
• 3 points

PRIVACY IN A NETWORKED WORLD

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

• Department: Computer Science @Barnard
• W 4:10 p.m.-6 p.m.
• Instructor: Rebecca N Wright
  Wikipedia h-index: 34 Info
• 4 points

ENG DES-CONCPT/DESIGN GENERATN

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

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

PRINTMAKING II: INTAGLIO

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

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

Printmaking on, through, & below the mat

Print on, through, & belo

This course offers to the student who may find an examination of printmaking an asset to their art practice.
The course will cover several printmaking processes like relief, intaglio, silkscreen, and monotype. In addition, we will discuss printmaking concepts such as repetition, matrix, original/translation, reproducibility, and multiple considering the works produced in class.
We will involve a separate in-depth study of each process by alternating studio time, demonstrations, field trips, individual and group critiques.
Through the printmaking processes, students will explore assignments and projects and be encouraged to incorporate them into their own body of work.

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

Epic Narratives of South Asia

This class introduces students to the living epics that form core literary, religious, and cultural traditions within South Asia: the
Ramayana
and the
Mahabharata
. “Epic Epics” will begin by examining the earliest narration of the
Ramayana
(in its modern
Amar Chitra Katha
comic redaction) and then will proceed to investigate how these stories of tragedy, valor, and divinity were and are adapted by different communities as they became an intrinsic part of almost every area of this region. As the heroes (and heroines) of these epics are often linked with the people producing and/or narrating them, the manner in which these epics are articulated reveals the priorities of its authors. Drawing on literature, film, graphic novels, journalism, podcasts, art, and performance, this class will explore the continuous reworking of these epics from their inception to the present day. Special attention will be payed to the controversies surrounding politics, caste, and gender that arise in the texts.

• Department: Middle Eastern, South Asian and African Studies
• T 4:10 p.m.-6 p.m.
• Instructor: Christine H Marrewa Karwoski
  Info
• 3 points

Computational Sound

COMPUTATIONAL SOUND

In this course, we explore the variety of roles that computation can play in the analysis, creation, and performance of music. We start with the fundamentals of sound in the digital domain, covering issues of representation and audio synthesis. We then move through various synthesis techniques including the additive, subtractive, frequency modulation (FM), and amplitude modulation (AM) synthesis. After covering some core DSP techniques, we put these concepts into performative practice by exploring “live coding”. In the space of live coding, we examine various programming language designs to understand how various domain specific languages (DSLs) support live coding. For the third module, we turn our focus to automated composition and analysis, addressing challenges in music information retrieval, generative art, and autonomous improvisation systems. All the while, we continue to develop our fluency in live coding by putting new topics to practice.

• Department: Computer Science @Barnard
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Mark Santolucito
  CULPA: 1 h-index: 8 Info
• 3 points

RUSSIAN FOR HERITAGE SPEAKERS

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

• Department: Slavic Languages
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Alla Smyslova
  CULPA: 20 Info
• 3 points

PRINTMAKING II: RELIEF

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

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

LANGUAGE & REVOLUTION

Prerequisites: Third-year bridge course (W3300), and introductory surveys (W3349, W3350). Kants Enlightenment motto, sapere aude, took on political significance for Spanish American revolutionaries who made their case in prose, pushing against the constraints of the essay. This course traces the genres evolution from the transatlantic debate over political independence to the exuberant declarations of intellectual independence that would follow.

• Department: Spanish and Latin American Culture
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Ronald D Briggs
  CULPA: 4 Info
• 3 points

SHRINKING CITIES

While some cities thrive and struggle to house the global majority, others struggle with the effects of urban shrinkage—population loss, disinvestment  and abandonment. The path to urban decline is paved by social, economic and spatial forces that result in shrinking cities. This class explores how to understand and engage with urban decline. It includes a consideration of sundry efforts to reverse, live with, and rethink urban decline in a variety of locales. The hope is that this exercise will shed light not only on iconic declining places like Detroit, but also on the nature of uneven development and how it is the rule rather than the anomalous exception within capitalist urbanization. Course materials draw on disciplines such as planning, economics, architecture, history and sociology to help understand urban decline and its outcomes from a variety of perspectives. Over the course of the semester, we will investigate larger processes—globalization, deindustrialization and socioeconomic change—to understand how cities and communities responded to the consequences of these forces.  We will engage with the global literature on shrinking cities but will be focused primarily on exploring the dynamics of shrinkage in US cities. To that end, following a wide-reaching examination of nation-wide phenomena, we will study in-depth a sample of cities to understand local and regional variations and responses. How do we treat cities that do not grow? Given the constrained or complete lack of resources in these places, to what extent should some cities be allowed to “die”? What is the impact on the residents that remain in these places?

• Department: Urban Studies @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Claire D Panetta
  Info
• 3 points

Literature in the 18th and 19th Centurie

Lit in the 18th & 19th Ce

Prerequisite OR Corequisite: GERMUN3333 This class will provide an introduction to the rich and varied forms of literary production between 1750 and 1900 by focusing on the culture of Sensibility, the Enlightenment, Storm and Stress, Romanticism, the “Vormärz” and Realism. We will situate major literary innovations of the 18th century in the context of changing reading and theater cultures and focus primarily on Lessing’s innovative domestic tragedy, and on poems and an epistolary novel by Goethe. Then we will discuss the literary production of the 19th century by analyzing changing concepts of art, music and literature during those times of great social and political change. We will study (and translate) poems, and read pamphlets and novellas by Tieck, Kleist, Hölderlin, Novalis, Brentano, Eichendorff, Günderrode, Droste-Hülshoff, Heine, Büchner, Mörike, Keller and Fontane. **This course is taught entirely in German.

• Department: Germanic Languages
• MW 4:10 p.m.-5:25 p.m.
• Instructor: Dorothea von Muecke
  Info
• 3 points

Literature in the 18th and 19th Centurie

Lit in the 18th & 19th Ce

Prerequisite OR Corequisite: GERMUN3333 This class will provide an introduction to the rich and varied forms of literary production between 1750 and 1900 by focusing on the culture of Sensibility, the Enlightenment, Storm and Stress, Romanticism, the “Vormärz” and Realism. We will situate major literary innovations of the 18th century in the context of changing reading and theater cultures and focus primarily on Lessing’s innovative domestic tragedy, and on poems and an epistolary novel by Goethe. Then we will discuss the literary production of the 19th century by analyzing changing concepts of art, music and literature during those times of great social and political change. We will study (and translate) poems, and read pamphlets and novellas by Tieck, Kleist, Hölderlin, Novalis, Brentano, Eichendorff, Günderrode, Droste-Hülshoff, Heine, Büchner, Mörike, Keller and Fontane. **This course is taught entirely in German.

• Department: Auditing
• MW 4:10 p.m.-5:25 p.m.
• Instructor: Dorothea von Muecke
  Info
• 0 points

THE BRAIN AND MEMORY

Prerequisites: (PSYC UN1010) or Equivalent introductory course in neuroscience or cognitive psychology and the instructors permission This seminar will give a comprehensive overview of episodic memory research: what neuroimaging studies, patient studies, and animal models have taught us about how the brain creates, stores, and retrieves memories.

• Department: Psychology
• M 2:10 p.m.-4 p.m.
• Instructor: Mariam Aly
  CULPA: 5 h-index: 15 Info
• 4 points

TAP III

Prerequisites: DNCE BC2447, BC2448, or permission of instructor.

• Department: Dance @Barnard
• MW 4:10 p.m.-5:25 p.m.
• Instructor: Dormeshia Sunbry-Edwards
  Info
• 0-1 points

How to do things with Queer Bodies

Homosexuality, as a term, might be a relatively recent invention in Western culture (1891) but bodies that acted and appeared
queer
(
ly)
existed long before that. This course will focus on acts, and not identities, in tracing the evolution of writing the queer body from antiquity until today. In doing so it will explore a number of multimodal materials – texts, vases, sculptures, paintings, photographs, movies etc. – in an effort to understand the evolution of the ways in which language (written, spoken or visual) registers these bodies in literature and culture. When we bring the dimension of the body into the way we view the past, we find that new questions and new ways of approaching old questions emerge. What did the ancient actually write about the male/female/trans* (homo)sexual body? Did they actually create gender non-binary statues? Can we find biographies of the lives of saints in drag in Byzantium? How did the Victorians change the way in which we read Antiquity? How is the queer body registered in Contemporary Literature and Culture? Can one write the history of homosexuality as a history of bodies? How are queer bodies constructed and erased by scholars? How can we disturb national archives by globalizing the queer canon of bodies through translation? These are some of the questions that we will examine during the semester. The course surveys texts from Homer, Sappho, Aeschylus, Euripides, Plato, Theocritus, Ovid, Dio Chrysostom, Lucian, Walt Whitman, Oscar Wilde, Arthur Symonds, Dinos Christianopoulos, Audre Lorde, Larry Kramer, Tony Kushner etc., the work of artists such as Yiannis Tsarouchis, Robert Mapplethorpe, Dimitris Papaioannou, Cassils, movies such as
120 battements par minute,
and popular TV shows such as
Pose.

• Department: Classics
• T 2:10 p.m.-4 p.m.
• Instructor: Nikolas Kakkoufa
  Info
• 3 points

Evolution of Intelligence, Animal Commun

Prerequisites: PSYC UN1001, and the instructors permission. A systematic review of the evolution language covering the theory of evolution, conditioning theory, animal communication, ape language experiments, infant cognition, preverbal antecedents of language and contemporary theories of language.

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

PERFORMING FREEDOM

DEMOCR & EXCESS CONTEMP SPAIN

• Department: Latin American and Iberian Cultures
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Alberto Medina
  Info
• 3 points

STAGING THE EARLY MOD MEDITERR

BLOOD/LUST: STAGING EARLY MODE

This course examines, in sixteenth and seventeenth century Spain and England (1580-1640), how the two countries staged the conflict between them, and with the Ottoman Empire; that is, how both countries represent national and imperial clashes, and the concepts of being “Spanish,” “English,” or “Turk,” as well as the dynamic and fluid identities of North Africa, often played out on the high seas of the Mediterranean with Islam and the Ottoman Empire. We will consider how the Ottoman Empire depicted itself artistically through miniatures and court poetry. The course will include travel and captivity narratives from Spain, England, and the Ottoman Empire.

• Department: Comparative Literature and Society, Institute for
• R 12:10 p.m.-2 p.m.
• Instructor: Patricia E Grieve
  CULPA: 15 Info
• 4 points

Picturing People: Photography & the Body

Photography & the Body in

How did changing modes of representation reflect and contribute to shifting conceptions of embodiment and identity? This advanced undergraduate seminar explores the complex relationship between photography and the human body in the United States since the introduction of photography in 1839. Moving decade by decade, this course traces the development of photography alongside social and political change that altered how human bodies were understood, represented, inhabited, and controlled. We will examine a variety of photographic genres that figure the body, including personal portraits, ethnographic images, identification images, documentary photography, and fashion photography. Alongside the close examination of photographs, we will read key primary sources, scholarship in art history, and theoretical texts. Two field trips—one to Columbia’s Art Properties and one to the Metropolitan Museum of Art—will give us an opportunity to have our own embodied encounters with historical photographs. Although the course explores the period between 1839 and 1970, we will reflect upon the legacy of historical photographic practices in the years since and in the contemporary world.

• Department: Art History and Archaeology
• M 10:10 a.m.-noon
• Instructor: Katherine O Fein
  Info
• 4 points

Handicraft and Contemporary Art

Handicraft & Contemporary

This seminar examines the resurgence of craft within contemporary art and theory. In a time when much art is outsourced — or fabricated by large stables of assistants — what does it mean when artists return to traditional, and traditionally laborious, methods of handiwork such as knitting, jewelry making, or woodworking? Though our emphasis will be on recent art (including the Black feminist reclamation of quilts, an artist who makes pornographic embroidery, a cross-dressing ceramicist, queer fiber collectives, do-it-yourself Indigenous environmental interventions, and anti-capitalist craftivism), we will also examine important historical precedents. We will read formative theoretical texts regarding questions of process, materiality, skill, bodily effort, domestic labor, and alternative economies of production. Throughout, we will think through how craft is in dialogue with questions of race, nation-building, gendered work, and mass manufacturing. The seminar is centered around student-led discussion of our critical readings.

• Department: Art History and Archaeology
• T 2:10 p.m.-4 p.m.
• Instructor: Julia Bryan-Wilson
  Wikipedia Info
• 4 points

IMMIGRANT NEW YORK

For centuries, New York City has served as a primary gateway city for immigrants to the United States.  In the early twentieth century, according to the 1910 Census, New York City’s population was roughly 40% foreign-born.  The problems these immigrants presented to government officials, doctors, religious leaders, industrialists, the police, and educators in New York City transformed not only the local debate on immigration but the national discussion of “Americanization” as well.  According to the most recent census, approximately 40% of the city's population is foreign-born.  Like their predecessors at the turn of the twentieth century, contemporary immigrants, arriving from the Caribbean, Africa, Central America, Asia, and Europe, have posed serious challenges to the civic, educational, and political institutions of New York City.  How are these foreign-born residents reshaping the city today?  This seminar explores the intersection of immigration, race, culture, and politics in New York City, both from the perspective of history and in relation to contemporary realities as it explores the forces shaping the century-old encounter between immigrants and New York City.

• Department: History
• R 2:10 p.m.-4 p.m.
• Instructor: Jessica H Lee
  Info
• 4 points

Field Work & Research Seminar: Toddler C

FLDWRK-RSRCH SEM-BAR TOD CNTR

PSYC BC1129/2129 (with or without lab) as well as permission of the instructor. The Barnard Toddler Center provides the focus for this seminar and research in applied developmental psychology, an amalgam of developmental, educational, and clinical psychology. The seminar integrates theory and research and for AY 20-21 will use daily recordings of the toddler sessions as the centerpiece for understanding early development. The unique context of Covid19 will be used to understand risks in development, especially for vulnerable children and families. Second term students will also conduct research on parenting during the pandemic.

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

Oral History Methods & Praxis in America

ORAL HISTORY METHODS & PR

This course introduces students to the philosophy, ethics, and practice of oral history with specific emphasis on interview and transcription techniques and the use of oral history in interdisciplinary research and analysis. This course will also include instruction on the archival collection, preservation, description, and digitization of oral history interviews. Course themes include: 

Introduction to Oral History

Foundations of Oral History

Ethical and Legal Considerations (IRB, vulnerable populations, shared authority)

Oral History Best Practices

Oral History and Memory

Interviewing

Transcription and Metadata as Political Acts

Oral History as Primary Sources in Research and Writing

Community Oral History

Oral History as Public History

Oral History and Social Justice

Oral History Online

Oral History and Exhibitions/Programming

• Department: American Studies @Barnard
• M 11 a.m.-12:50 p.m.
• W 4:10 p.m.-6 p.m.
• Instructor: Kimberly Springer
  CULPA: 1 h-index: 13 Info
• 3 points

BLACK LIVES IN PRE-MODERN BRITAIN

This course engages with Black voices writing from, to, about, and against Pre-Modern Britain, from abolitionists to actors to royalty. We explore topics including racial philosophy, the transatlantic slave trade, revolution, abolition, imperialism, and popular culture, from both contemporary and modern sources. Our texts and conversations trace how the lives and experiences of individuals like Ignatius Sancho, Saartje Bartmann, Ira Aldridge, and Alemayehu Tewodros presage those of a modern global black diaspora.

• Department: English and Comparative Literature
• R 2:10 p.m.-4 p.m.
• Instructor: Atesede Makonnen
  Info
• 4 points

POST 9/11 IMMIGRATION POLICIES

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

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

BRAZILIAN SOCIETY & CIV (ENG)

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

• Department: Latin American and Iberian Cultures
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Joao Nemi Neto
  CULPA: 1 Info
• 3 points

MAKING BARNARD HISTORY

Prerequisites: Permission of the instructor. Enrollment limited to 15. Preregistration required. Introduction to historical research through a range of the historical sources and methods available for a comprehensive history of Barnard College. Will include a review of the secondary literature, the compiling and analysis of qualitative and quantitative data through archival research, the conduct of an oral history interview, and the construction of a historical narrative.

• Department: History @Barnard
• T 2:10 p.m.-4 p.m.
• Instructor: Robert A McCaughey
  CULPA: 20 Info
• 4 points

NEUROSCIENCE AND SOCIETY

Prerequisites: Science of Psychology (PSYC 1001) or Mind, Brain, & Behavior (PSYC 1010), or equivalent introductory psychology course. Students who have not taken one of these courses may also be admitted with instructor permission. This course investigates the ways in which research in human neuroscience both reflects and informs societal issues. Topics include how neuroscience research is interpreted and applied in areas such as healthcare, education, law, consumer behavior, and public policy.

• Department: Psychology
• W 6:10 p.m.-8 p.m.
• Instructor: Jenna M Reinen
  Info
• 3 points

INDEP BIOLOGICAL RESEARCH

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

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

THE MOD NOVEL: BALZAC,FLAUBERT

• Department: French
• MW 4:10 p.m.-5:25 p.m.
• Instructor: Elisabeth A Ladenson
  CULPA: 13 Info
• 3 points

SUPERVISED READINGS IN PHYSICS

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

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

COLL:POLIT ECON:CORRPTN/CONTRL

Prerequisites: POLS V1501 or the equivalent. Admission by application through the Barnard department only. Enrollment limited to 16 students. Barnard syllabus. Comparative political economy course which addresses some important questions concerning corruption and its control: the concept, causes, patterns, consequences, and control of corruption. Introduces students to and engages them in several key social science debates on the causes and effects of political corruption.

• Department: Political Science @Barnard
• W 2:10 p.m.-4 p.m.
• Instructor: Xiaobo Lu
  CULPA: 4 Info
• 4 points

BUDDHIST ETHICS

• Department: Religion
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Thomas F Yarnall
  CULPA: 1 Info
• 3 points

Intro to Moving Image: Video, Film & Art

BEGINNING VIDEO

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

• Department: Visual Arts
• W 10 a.m.-4 p.m.
• Instructor: Shelly Silver
  CULPA: 1 Info
• 3 points

The Struggle for Indigenous Sovereignty

Indig Sovereignty in Earl

The United States was founded on Indigenous land and in conversation with Indigenous nations who shared possession to most of the territory claimed by the republic. The expansion of the U.S. beyond the original thirteen states happened in dialogue, and often in open conflict with the Native peoples of North America.  This course will examine the creation and expansion of the American nation-state from the perspective of Indigenous peoples and Indigenous history. Most histories of the Republic equate the founding of the U.S. with the severance of colonial ties to Great Britain and the proceed to characterize America as a post-colonial society. We will study the U.S. as the first New World colonial power, a settler society whose very existence is deeply intertwined with the Indigenous history of North America.

• Department: History
• W 4:10 p.m.-6 p.m.
• Instructor: Michael Witgen
  Info
• 4 points

INDEP BIOLOGICAL RESEARCH - REC

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

CRITICAL ANIMAL STUDIES

"This course collaborates between students and professor, humans and animals, subjects and objects, to investigate the Animal Problem. What are non-human animals? How do we relate to them? How do we account for our animal nature while reconciling our cultural aspirations? What are our primary desires with respect to non-human animals?

• Department: Women's, Gender, Sexuality Studies @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Janet Jakobsen
  CULPA: 6 Wikipedia Info
• 4 points

Surveillance from KGB and NSA to Border

History of Surveillance

An introduction to the history of state and corporate surveillance, opposition to it, and approaches to studying it, from the 1600s until the present. Topics include the creation of the early modern information state, the development of state statistics and policing, imperial forms of surveillance, surveillance in totalitarian regimes from Nazi Germany through the present, growth of electronic surveillance in the cold war especially in war zones, the transfer of military technologies to internal security and border control, surveillance of civil rights and anti-war movements, recent controversies around the NSA and GCQH, and the development of large scale state sanctioned hacking.

• Department: History
• R 12:10 p.m.-2 p.m.
• Instructor: Matthew L Jones
  CULPA: 19 Info
• 4 points

Environmental Humanities in the Global S

ENVIRO HUMANITIES GLOBAL

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

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

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

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

COLUMBIA UNI & SLAVERY

In this course, students will write original, independent papers of around 25 pages, based on research in both primary and secondary sources, on an aspect of the relationship between Columbia College and its colonial predecessor Kings College, with the institution of slavery.

• Department: History
• W 10:10 a.m.-noon
• 4 points

Race Before Race: Premodern Constructio

RACE BEFORE RACE

This course expands the reach of traditional analyses of race and ethnicity by demonstrating the key role of premodernity (Classical, Medieval and Early Modern eras) in developing modes of race thinking that shape the modern world. We will use intersectional approaches and critical race theory to examine both theorizing about race and primary materials that (re)produce race across time and in the present moment.  What does it mean to look at premodernity through the eyes of the African Diaspora?   Our examination of the different types of premodern race thinking will culminate in a collaborative class project in which students will be asked to apply critical race theory inflected approaches to editing an early modern text.

• Department: Africana Studies (AFSB)
• T 4:10 p.m.-6 p.m.
• Instructor: Kim F Hall
  CULPA: 1 Info
• 4 points

CIVIL RIGHTS &CIVIL LIBERTIES

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

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

SENIOR SEMINAR I

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

• Department: Women's and Gender Studies
• M 2:10 p.m.-4 p.m.
• Instructor: Lila Abu-Lughod
  CULPA: 17 Wikipedia h-index: 48 Info
• 4 points

Senior Seminar I (Barnard)

SENIOR SEMINAR I

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

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

Landscapes of American Modernity, 1880-1

US Modernity 1880-1940

This course examines the transformation of rural and urban landscapes in the U.S. in the critical era of industrial consolidation, 1880-1940. We investigate the creation of an infrastructure for agriculture that transformed natural environments; the changing vernacular architecture of domestic and industrial workplaces; the development of central downtowns as sites of office buildings, department stores, and civic centers; the spatial instantiation of the Jim Crow segregationist regime in the North as well as the South; the relation between real estate and finance that fueled the Great Depression; and the development of New Deal policies that underwrote public works—including highways-- and public housing, while also subsidizing home ownership, agribusiness, and segregation (the historical context for debates over the “Green New Deal.”.  Reading assignments combine social history and vernacular architectural studies with primary sources that include urban planning and government documents, personal narratives, and both historical and contemporary photographs, maps, and city plans.

• Department: History
• T 10:10 a.m.-noon
• Instructor: Elizabeth Blackmar
  CULPA: 22 Info
• 4 points

ADVANCED SENIOR STUDIO I

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

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

FEMINIST MEDIA THEORY

The integration of contemporary media and social practices of all types is intensifying. This seminar examines media theory and various media platforms including Language, Photography, Film, Television, Radio, Digital Video, and Computing as treated by feminists, critical race and queer theorists, and other scholars and artists working from the margins. Prerequisite:
Either
one introductory WGSS course
or
Critical Approaches to Social and Cultural Theory
or
Permission of the Instructor.

• Department: Women's, Gender, Sexuality Studies @Barnard
• W 4:10 p.m.-6 p.m.
• Instructor: Jonathan L Beller
  CULPA: 4 Info
• 4 points

AUTOCRACY AND DEMOCRACY

With longstanding democracies in Europe and the US faltering, autocratic regimes in Russia and China consolidating, and hybrid regimes that mix elements of democracy and autocracy on the rise, scholars, policymakers, and citizens are re-evaluating the causes and consequences of different forms of government.  This course is designed to give students the tools to understand these trends in global politics. Among other topics, we will explore: How do democracies and autocracies differ in theory and in practice?  Why are some countries autocratic? Why are some democratic? What are the roots of democratic erosion?  How does economic inequality influence a country’s form of government? Is the current period of institutional foment different past periods of global instability?  This course will help students keep up with rapidly unfolding events, but is designed primarily to help them develop tools for interpreting and understanding the current condition of democracy and autocracy in the world.

• Department: Political Science
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Timothy M Frye
  CULPA: 8 Wikipedia h-index: 31 Info
• 3 points

Who Is Afraid of Contemporary Art? Frenc

Who's Afraid of Contemp.

Modern art was born as an idea at the end of the 19th century, when France was at the center of the arts. Since then, French writers have written about the art of their time and promoted it, as Zola did for the Impressionists, or Apollinaire for the Cubists. Writing about modern art was also a way for writers to reflect on their own approach to poetics, and for philosophers to better understand what “modern times” and “modernity” could mean. But, in the course of the 20th century, writers and the visual arts of their time became less tightly interwoven. Novels, theater plays or essays have become bitter, sarcastic, critical of “contemporary art.” What is it that makes contemporary art a subject of satire or irony, for contemporary writers? This course tracks the relationship between writers, especially in France, and the visual arts of their time. By studying mostly works of imaginative literature, but also critical essays, that deal with “modern art” and “contemporary art”, we will try to understand why writers are fascinated by the visual arts of their time, what art says about the time we live in, whether it is “modern”, “postmodern” or “contemporary”, and how writers use the art of their time to define their own work and their own approach to literature.   We will begin in 19th century in France by considering how Baudelaire coined the word “modernity” in his essays on painting, and by examining novels about painters by Balzac and Zola. We will then turn to the 20th century to see how poets and writers promoted the avant-gardes, how Virginia Woolf depicted a painter to reflect on her own modernism in
To the Lighthouse
, and to study important philosophical texts about the work of art by Heidegger and Walter Benjamin. In the second part of the semester, we move to the United States, the “center of the arts” after World War II. We will study how critics advocated for abstraction and modern art, how this art was met with irony and sarcasm by Tom Wolfe, and we will reflect on an American painter of this time who was not doing abstract art: Edward Hopper. We will visit the exhibition “Edward Hopper’s New York” scheduled at the Whitney Museum. To end, we will come back to France, where the debate around contemporary art has been heated, and read polemical texts as well as Yasmina Reza’s famous play
“Art”
and Michel Houellebecq’s nove

• Department: French
• W 2:10 p.m.-4 p.m.
• Instructor: Benjamin M Olivennes
  CULPA: 2 Info
• 3 points

COLL:NON-STATE GOV CRIME/WAR

Prerequisites: (POLS UN1501) The conventional wisdom is that crime and civil war are linked to disorder. But these are far from disorderly and ungoverned spaces. Unpacking these settings reveals complex forms of non-state governance constructed by a range of actors, including rebel and guerillas, gangs, vigilantes, and protection rackets – sometimes facilitated by the state.

• Department: Political Science @Barnard
• R 2:10 p.m.-4 p.m.
• Instructor: Eduardo Moncada
  CULPA: 2 h-index: 12 Info
• 4 points

JUNIOR SEMINAR IN URBAN STUDIES

JUNIOR SEMINAR URBAN STUD

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

• Department: Urban Studies @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Nick R Smith
  h-index: None Info
• Instructor: Mary Rocco
  CULPA: 2 Info
• Instructor: Deborah Becher
  CULPA: 8 h-index: 4 Info
• 4 points

Dance in Africa

DANCE IN AFRICA

This is a course about dance in the history of Africa. The main learning and teaching objectives are to address issues of representation, creativity, agency, and socio-cultural change by drawing on methodologies used by historians, art historians and anthropologists. The course will allow students to understand some aspects of Africa’s pasts through the study of dance and bodies in motion in the cultural, stylistic, political, and aesthetic contexts in which they emerged. We will learn to appreciate some representations, meanings, and ideas of dance in precolonial Africa. We will reflect on the social meanings of dance in African contexts. The class will think about why and how African dancing bodies have inspired artists during the first half of the 20th century. We will discuss the potential of dance to articulate notions of self and ideas about national identity and ‘African personality’. We will talk about contemporary dancers from Africa.

• Department: Dance @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Cecile Bushidi
  Info
• 3 points

WOMEN & SOCIETY - SEX-TRADE ECONOMY

WOMEN & SOCIETY-SEX-TRADE ECON

Prerequisites
: 5 semesters of college-level French or the equivalent.  This course in taught in French.
Eligibility:
  This course is open to undergraduates, graduate students, and visiting students Based on an interdisciplinary, intersectional, subalternist and post-colonial approach, this course is a general introduction to the history, sociology and anthropology of the economy of the sex-trade in Africa, America, Asia and Europe from the early nineteenth century to today. It aims to clarify: 1) the historiographical situation by questioning and analyzing the French regulatory system and its many avatars in Europe, the United States and in the colonial world, but also questioning the backlash to this system that consisted firstly of the abolitionist (born in England in the second half of the nineteenth century) and then the prohibitionist movements; 2) The relationship between class, “race” and gender in the sex market via issues of human trafficking and sex tourism in Europe, America, Africa and Asia; 3) The socio-economic issue - and its political connections – in the economy of sex with particular attention to individuals (prostitutes versus sex workers), their voices, their legal status, and even their mobilization (rallies and demonstrations, community collectives and trade unions, political and / or literary publications), but also the many heated debates that these demands for recognition and these mobilizations have provoked in places as diverse as France, the Netherlands and India to take only three specific examples in the world covered in the course. To enroll in this course, you must apply to the
Columbia Summer in Paris Program
through the Center for Undergraduate Global Engagement (UGE).
 Tuition charges apply; scholarships available.

Please note the program dates are different from the Summer Term B dates.

• Department: Global Programs
• 3 points

PHILOSOPHY OF SCIENCE

Philosophical problems within science and about the nature of scientific knowledge in the 17th-20th centuries. Sample problems: causation and scientific explanation; induction and real kinds; verification and falsification; models, analogies and simulations; the historical origins of the modern sciences; scientific revolutions; reductionism and supervenience; differences between physics, biology and the social sciences; the nature of life; cultural evolution; human nature; philosophical issues in cosmology.

• Department: Philosophy
• TR 2:40 p.m.-3:55 p.m.
• Instructor: David Albert
  CULPA: 32 Wikipedia h-index: 40 Info
• 3 points

SCREENDANCE:COMPOSITION

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

• Department: Dance @Barnard
• TR 10:10 a.m.-noon
• Instructor: Gabri Christa
  CULPA: 1 Info
• 3 points

PLCS URBAN DEV LATIN AMERICA

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

The Seven Years War (1754-1763), Glob

THE SEVEN YEARS WAR

Prerequisites: History Majors Preferred This research seminar explores the causes, course, and consequences of the Seven Years’ War, arguably the first world war in modern history. Topics include the origins of the conflict in North America and in Europe, the relationship between imperial rivalry in the American colonies and the contest for supremacy in central Europe, the impact of the war on trade and settlement in South Asia, the West Indies, the Philippines, and West Africa, and the legacies of the conflict for British imperial expansion in India, North America, Senegal, and the southern Caribbean. During the second half of the semester, members of the seminar will devote the majority of their time to the research and writing of a substantial paper.

• Department: History
• T 10:10 a.m.-noon
• Instructor: Christopher L Brown
  CULPA: 5 Info
• 4 points

It s All Rotten: A Seminar on Pleasure

This seminar is inspired by a passage from Clarice Lispector’s last novel, Breath of Life: “It’s all rotten. I feel it in the air and in the people frightened and starving huddled in a crowd. But I believe that in the depths of rottenness there exists—green sparkling redeeming and promised-land—in the depths of the dark rottenness there shines clear and captivating the Great Emerald. The Great Pleasure. But why this desire and hunger for pleasure? Because pleasure is the height of the truthfulness of a being. It’s the only struggle against death.” The plan is to study the nature of pleasure and its representations across a series of ancient, medieval, and modern texts, keeping an eye on this insight, namely, that our belief in pleasure is found, not unlike the beauty of a still life whose objects have long decayed, in the midst of our sense of the rottenness of things, their decomposing, fermenting, and sometimes disgusting ephemeral nature. Filling our conceptual picnic basket with some ancient theories of pleasure, we will wander among medieval and Renaissance gardens in order to arrive upon the Romantic and decadent shores of modernity with a fresh sense of pleasure’s truth and taste for its question.

• Department: English and Comparative Literature
• W 4:10 p.m.-6 p.m.
• Instructor: Nicola Mascandiaro
  Info
• 4 points

"""BLACKNESS"" IN FRENCH"

AFRS3567OC​: ‘Blackness’ in French. 3 points.

Instructor: 
Kaiama L. Glover and Maboula Soumahoro
​
Taught in English.

This course is approved as a Global Core at Columbia.
What are the historical linkages between ‘Black’ France and the United States? Between African-Americans and ‘Black’ French women and men? How is this relationship different from and contingent on the relationship between the French and their post(-)colonial ‘Others?’ Taking an internationalist (specifically transatlantic) approach and considering the 20th and 21st centuries, this course explores literature, art, culture, history, and politics emerging from or grappling with ‘Black’ France. The course features guest lectures by Black French intellectuals and cultural actors, guided museum visits and walking tours, and educational dining opportunities with owners of Black French African and Afro-Caribbean restaurants, so to offer students the opportunity to encounter ‘Black’ France in a variety of contexts, and to bring them into conversations about the fact and fantasy of ‘race’ in the complex, long-historical relationship between the United States and the French Republic. "'Blackness' in French is part of a wider 'Black France Consortium cohort that will engage over the course of the five-week session in a broad range of co-curricular activities and programming. To enroll in this course, you must apply to the  
Columbia Summer in Paris
program, through the Center for Undergraduate Global Engagement (UGE).

Global Learning Scholarships
available.
Tuition
charges apply.

• Department: Africana Studies (AFSB)
• W 11 a.m.-12:50 p.m.
• Instructor: Kaiama L Glover
  CULPA: 18 Info
• 4 points

THESSALONIKI DOWN THE AGES

This course will explore the fascinatingly layered and multicultural history of Thessaloniki, the great city of Northern Greece and the Balkans. We will examine texts, archaeological evidence, literature, songs, and movies and in general the materialities of the city. We will examine this material from the 6th century BCE down to the the 21st cent. CE. We will notably think about the problems of history, identity, and cultural interaction in reaction to recent work such as Mark Mazower’s well know Salonica, City of Ghosts 2004.

• Department: Classics
• W 4:10 p.m.-6 p.m.
• Instructor: Paraskevi Martzavou
  CULPA: 2 Info
• 3 points

DANCES OF INDIA

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

• Department: Dance @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Uttara Coorlawala
  CULPA: 4 Info
• 3 points

August Wilson s America

From 1983 until his death in 2005, August Wilson wrote and produced the
American Century Cycle
: ten plays, each set in a different decade of the twentieth century, examining the past and present of Black life in America. Since 2005, and especially with the development of the Black Lives Matter movement, attention on conditions of American Black life—its challenges, joys, struggles, tragedies, triumphs, and journeys—has increased and deepened. We will read the entirety of Wilson’s
Cycle
(plus the autobiographical coda) with the goals, first, of unpacking and understanding his characterizations and critique of Black life and America and, second, of examining how well those characterizations and critiques extend beyond Wilson’s death into our own time.

• Department: English and Comparative Literature
• T 12:10 p.m.-2 p.m.
• Instructor: Patrick Maley
  Info
• 4 points

Left and Right in American History

Left and Right in US Hist

This course examines 20th-century American political movements of the Left and Right. We will cover Socialism and the Ku Klux Klan in the early twentieth century; the Communist Party and right-wing populists of the 1930s; the civil rights movement, black power, and white resistance, 1950s-1960s; the rise of the New Left and the New Right in the 1960s; the Women's liberation movement and the Christian right of the 1970s; and finally, free-market conservatism, neoliberalism, white nationalism and the Trump era. We will explore the organizational, ideological and social history of these political mobilizations. The class explores grass-roots social movements and their relationship to “mainstream” and electoral politics. We will pay special attention to the ways that ideas and mobilizations that are sometimes deemed extreme have in fact helped to shape the broader political spectrum. Throughout the semester, we will reflect on the present political dilemmas of our country in light of the history that we study.

• Department: History
• W 10:10 a.m.-noon
• Instructor: Kimberly K Phillips-Fein
  Info
• 4 points

Approaching Cities and Life in Chinese C

Cities&Life in Chinese Cu

Italo Calvino's imagined Marco Polo cautions against commemorating the lived experience of a city, "Memory's images, once they are fixed in words, are erased." How shall we modern students of the past retrieve the ways in which foreign men and women dwelled in everyday practice? This seminar will take you on a tour of some key topoi — as both physical and literary constructs — throughout Chinese history, availing of a selection of textual, visual, and cinematic materials that shape and are shaped by the palimpsests of changing Chinese urban life.

• Department: East Asian Languages and Cultures
• M 4:10 p.m.-6 p.m.
• Instructor: Yifan Zhang
  Info
• 4 points

EVANGELICALISM

• Department: Religion
• W 10:10 a.m.-noon
• Instructor: Elizabeth F Dolfi
  CULPA: 1 Info
• 3 points

DANCE CRITICISM

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

• Department: Dance @Barnard
• R 2:10 p.m.-4 p.m.
• Instructor: Siobhan F Burke
  CULPA: 2 Info
• 3 points

POOR IN AMERICA: THE EXPERIENCE AND IMPA

This course focuses on the life experiences and impact of poverty in the contemporary United States. We will be exploring the consequences of financial and material deprivation on work, housing, health, parenting, children, as well as the limits and opportunities for inter-generational mobility and how each of these intersect with gender, racial and ethnic identities. We will be learning about the experiences of individual persons as well as how these particular experiences reflect the overarching patterns of social, political and economic trends in the United States. The course will incorporate a diverse set of disciplinary perspectives to shed light on the challenges faced by persons living in poverty. In addition, there will be an emphasis on learning about and critically assessing methodological approaches applied in the literature. No prior knowledge of methods is required and any technical references will be explained in class.

• Department: Africana Studies (AFSB)
• R 2:10 p.m.-4 p.m.
• Instructor: Rose Razaghian
  CULPA: 1 Info
• 4 points

SR SEM IN BIOLOGY

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

• Department: Biological Sciences @Barnard
• F 12:10 p.m.-2 p.m.
• F 10:10 a.m.-noon
• Instructor: Rishita Shah
  Info
• 4 points

GUIDED RESEARCH & SEMINAR

The introductory biology sequence is a pre-requisite for this yearlong course (BIOL BC1500, BIOL BC1501, BIOL BC1502, and BIOL BC1503). An independent research project in Biology under the guidance of a faculty member and suiting the needs of the individual student. A Barnard research mentor (if your lab is at Barnard) or internal adviser in the Biology Department (if your lab is elsewhere) must approve your planned research before you enroll in this year-long course. A  
Project Approval Form
 must be submitted to the department in the fall.  Attendance at a weekly seminar is required. By the end of the year, students enrolled in BIOL BC3591-BIOL BC3592 will write a scientific paper and give a poster presentation of their work at the Barnard Biology Research Symposium.  Completion of this year-long course fulfills two upper-level laboratory requirements for the major. Must be taken in sequence, beginning in the fall.

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

GUIDED RESEARCH & SEMINAR

The introductory biology sequence is a pre-requisite for this yearlong course (BIOL BC1500, BIOL BC1501, BIOL BC1502, and BIOL BC1503). An independent research project in Biology under the guidance of a faculty member and suiting the needs of the individual student. A Barnard research mentor (if your lab is at Barnard) or internal adviser in the Biology Department (if your lab is elsewhere) must approve your planned research before you enroll in this year-long course. A  
Project Approval Form
 must be submitted to the department in the fall.  Attendance at a weekly seminar is required. By the end of the year, students enrolled in BIOL BC3591-BIOL BC3592 will write a scientific paper and give a poster presentation of their work at the Barnard Biology Research Symposium.  Completion of this year-long course fulfills two upper-level laboratory requirements for the major. Must be taken in sequence, beginning in the fall.

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

SENIOR SEMINAR

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

• Department: Dance @Barnard
• R 10 a.m.-11:50 a.m.
• Instructor: Paul A Scolieri
  CULPA: 19 Info
• 4 points

SENIOR THESIS RESEARCH & SEMINAR

SR THESIS RESEARCH & SEMI

Same as BIOL BC3591-BIOL BC3592, including attendance at a weekly seminar. By the end of the year, students enrolled in BIOL BC3593-BIOL BC3594 will write a scientific paper and orally present their work at the Barnard Biology Research Symposium. A Barnard research mentor (if your lab is at Barnard) or internal adviser in the Biology Department (if your lab is elsewhere) must approve your planned research before you enroll in this year-long course. A  
Project Approval Form
 must be submitted to the department in the fall. Completion of this year-long course fulfills the senior capstone requirement for the major; it cannot be taken at the same time as BIOL BC3591-BIOL BC3592. Must be taken in sequence, beginning in the fall.

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

RSRCH/SEM-NEUROSCNCE&BEHAVIOR

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

• Department: Neuroscience & Behavior @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Peter D Balsam
  CULPA: 25 Info
• Instructor: Elizabeth P Bauer
  CULPA: 3 h-index: 21 Info
• Instructor: Russell D Romeo
  CULPA: 9 Info
• 4 points

SENIOR SEMINAR

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

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

GUIDED RESEARCH

Similar to BIOL BC3591-BIOL BC3592, this is a one-semester course that provides students with degree credit for unpaid research 
without 
a seminar component. You may enroll in BIOL BC3597 for between 1-4 credits per semester. As a rule of thumb, you should be spending approximately 3 hours per week per credit on your research project. A 
Project Approval Form
 must be submitted to the department each semester that you enroll in this course. Your Barnard research mentor (if your lab is at Barnard) or internal adviser in the Biology Department (if your lab is elsewhere) must approve your planned research 
before
 you enroll in BIOL BC3597. You should sign up for your mentor's section.  This course does not fulfill any Biology major requirements.  It is open to students beginning in their first year.

• Department: Biological Sciences @Barnard
• Instructor: Elizabeth P Bauer
  CULPA: 3 h-index: 21 Info
• Instructor: Hilary Callahan
  CULPA: 4 h-index: 17 Info
• Instructor: John Glendinning
  CULPA: 23 h-index: 39 Info
• Instructor: Allison Lopatkin
  h-index: 15 Info
• Instructor: Jj L Miranda
  CULPA: 3 Info
• Instructor: Alison Pischedda
  CULPA: 3 h-index: 11 Info
• 1-4 points