SCULPTURE I

(Formerly R3330) The fundamentals of sculpture are investigated through a series of conceptual and technical projects. Three material processes are introduced, including wood, metal, and paster casting. Issues pertinent to contemporary sculpture are introduced through lectures, group critiques, discussions, and field trips that accompany class assignments. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

• Department: Visual Arts
• F 10 a.m.-4 p.m.
• Instructor: Jon Kessler
  CULPA: 5 Wikipedia Info
• 3 points

INTERMEDIATE POETRY WORKSHOP

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Intermediate poetry workshops are for students with some prior instruction in the rudiments of poetry writing and prior poetry workshop experience. Intermediate poetry workshops pose greater challenges to students and maintain higher critical standards than beginning workshops. Students will be instructed in more complex aspects of the craft, including the poetic persona, the prose poem, the collage, open-field composition, and others. They will also be assigned more challenging verse forms such as the villanelle and also non-European verse forms such as the pantoum. They will read extensively, submit brief critical analyses, and put their instruction into regular practice by composing original work that will be critiqued by their peers. By the end of the semester each student will have assembled a substantial portfolio of finished work.

• Department: Writing
• T 12:10 p.m.-2 p.m.
• Instructor: Emily Luan
  Info
• 3 points

CHRISTIANITY

Survey of Christianity from its beginnings through the Reformation. Based on lectures and discussions of readings in primary source translations, this course will cover prominent developments in the history of Christianity. The structure will allow students to rethink commonly held notions about the evolution of modern Christianity with the texture of historical influence.

• Department: Religion
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Elizabeth F Dolfi
  CULPA: 1 Info
• 3 points

EARLY MODERN ARCHITECTURE (1550-1799)

• Department: Art History and Archaeology
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Victoria Sanger
  Info
• 3 points

EARTH ENVIR SYST-LIFE SYST-LAB

This three hour lab is required of all students who enroll in EESC UN2300. There are currently five lab sections.

• Department: Earth and Environmental Sciences
• W 4:10 p.m.-7 p.m.
• 0 points

EARTH ENVIR SYST-LIFE SYST-LAB

This three hour lab is required of all students who enroll in EESC UN2300. There are currently five lab sections.

• Department: Earth and Environmental Sciences
• W 4:10 p.m.-7 p.m.
• 0 points

EARTH ENVIR SYST-LIFE SYST-LAB

This three hour lab is required of all students who enroll in EESC UN2300. There are currently five lab sections.

• Department: Earth and Environmental Sciences
• W 4:10 p.m.-7 p.m.
• R 4:10 p.m.-7 p.m.
• 0 points

EARTH ENVIR SYST-LIFE SYST-LAB

This three hour lab is required of all students who enroll in EESC UN2300. There are currently five lab sections.

• Department: Earth and Environmental Sciences
• R 4:10 p.m.-7 p.m.
• 0 points

EARTH ENVIR SYST-LIFE SYST-LAB

This three hour lab is required of all students who enroll in EESC UN2300. There are currently five lab sections.

• Department: Earth and Environmental Sciences
• R 4:10 p.m.-7 p.m.
• 0 points

THE DOCUMENTARY TRADITION

This class offers an introduction to the history of documentary cinema and to the theoretical and philosophical questions opened up by the use of moving images to bear witness, persuade, archive the past, or inspire us to change the future. How are documentaries different than fiction films? What is the role of aesthetics in relation to facts and evidence in different documentary traditions? How do documentaries negotiate appeals to emotions with rational argument? From the origins of cinema to our current “post-truth” digital age, we will look at the history of how cinema has attempted to shape our understanding of reality. FILM W2311

• Department: Film
• T 2 p.m.-5:45 p.m.
• Instructor: Nico Baumbach
  Info
• 3 points

THE DOCUMENTARY TRADITION-DISC

• Department: Film
• F 1:10 p.m.-2 p.m.
• F 2:10 p.m.-3 p.m.
• F 12:10 p.m.-1 p.m.
• Instructor: Greta Diaz Moreau
  Info
• Instructor: Sara Boutorabi
  Info
• Instructor: Hector Prats I Castro
  Info
• 0 points

TRADITIONS IN POETRY

Prerequisites: No prerequisites. Department approval NOT required. 

“For those, in dark, who find their own way by the light of others’ eyes.” —Lucie Brock-Broido

The avenues of poetic tradition open to today’s poets are more numerous, more invigorating, and perhaps even more baffling than ever before. The routes we chose for our writing lead to destinations of our own making, and we take them at our own risk—necessarily so, as the pursuit of poetry asks each of us to light a pilgrim’s candle and follow it into the moors and lowlands, through wastes and prairies, crossing waters as we go. Go after the marshlights, the will-o-wisps who call to you in a voice you’ve longed for your whole life. These routes have been forged by those who came before you, but for that reason, none of them can hope to keep you on it entirely. You must take your steps away, brick by brick, heading confidently into the hinterland of your own distinct achievement.

 

For the purpose of this class, we will walk these roads together, examining the works of classic and contemporary exemplars of the craft. By companioning poets from a large spread of time, we will be able to more diversely immerse ourselves in what a poetic “tradition” truly means. We will read works by Edmund Spencer, Dante, and Goethe, the Romantics—especially Keats—Dickinson, who is mother to us all, Modernists, and the great sweep of contemporary poetry that is too vast to individuate.

 

While it is the imperative of this class to equip you with the knowledge necessary to advance in the field of poetry, this task shall be done in a Columbian manner. Consider this class an initiation, of sorts, into the vocabulary which distinguishes the writers who work under our flag, each of us bound by this language that must be passed on, and therefore changed, to you who inherit it. As I have learned the words, I have changed them, and I give them now to you so that you may pave your own way into your own ways, inspired with the first breath that brought you here, which may excite and—hopefully—frighten you. You must be troubled. This is essential

• Department: Writing
• M 12:10 p.m.-2 p.m.
• Instructor: Ryan P Cook
  Info
• 3 points

Religion and Nasty Women

Used in 2016 by then presidential candidate, Donald Trump, in reference to his female opponent, Hillary Clinton, the phrase “nasty woman” has become a badge of honor and a rallying cry for women’s empowerment.

The origin of the word “nasty,” attested in the 14th century, indicates highly unpleasant qualities- nauseating or unclean, in a literal or figurative way. It also came to evoke indecency and obscenity- and religious traditions have a long history of such depiction of women.

After introducing some key texts on the otherness and objectification of women (including by Aristotle, Beauvoir, Kristeva, Nussbaum, and Butler), we will examine a number of female characters-  goddesses, prostitutes, and virgins  - in the Mesopotamian, Greek, Jewish, Christian, Buddhist, Hindu, and Islamic corpus  that fit the definition of nasty. We will also analyze some of the underlying tropes of impurity and danger that characterize nastiness involving bodily fluids, sexuality, and knowledge. Spanning theology, literature, movies, and popular culture the course aims to be a survey of religious-based misogyny as well as women’s responses in their pursuit of agency.

• Department: Religion
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Clemence C Boulouque
  CULPA: 4 Info
• 4 points

Religion and Nasty Women - Discussion

Religion and Nasty Women-

Used in 2016 by then presidential candidate, Donald Trump, in reference to his female opponent, Hillary Clinton, the phrase “nasty woman” has become a badge of honor and a rallying cry for women’s empowerment.

The origin of the word “nasty,” attested in the 14th century, indicates highly unpleasant qualities- nauseating or unclean, in a literal or figurative way. It also came to evoke indecency and obscenity- and religious traditions have a long history of such depiction of women.

After introducing some key texts on the otherness and objectification of women (including by Aristotle, Beauvoir, Kristeva, Nussbaum, and Butler), we will examine a number of female characters-  goddesses, prostitutes, and virgins  - in the Mesopotamian, Greek, Jewish, Christian, Buddhist, Hindu, and Islamic corpus  that fit the definition of nasty. We will also analyze some of the underlying tropes of impurity and danger that characterize nastiness involving bodily fluids, sexuality, and knowledge. Spanning theology, literature, movies, and popular culture the course aims to be a survey of religious-based misogyny as well as women’s responses in their pursuit of agency.

• Department: Religion
• R 4:15 p.m.-5:15 p.m.
• M 4 p.m.-5 p.m.
• R 1 p.m.-2 p.m.
• T 4:15 p.m.-5:15 p.m.
• Instructor: Lucilla Ines Martorana
  Info
• Instructor: Erez Degolan
  Info
• Instructor: Emily N Renteria
  Info
• Instructor: Shweta Radhakrishnan
  Info
• 0 points

EAR-TRAINING I

Designed to improve the students basic skills in sight-singing, and rhythmic and melodic dictation with an introduction to four-part harmonic dictation.

• Department: Music
• MW 12:10 p.m.-1 p.m.
• Instructor: Sadie Dawkins
  Info
• 1 points

EAR-TRAINING II

Techniques of sight-singing and dictation of diatonic melodies in simple and compound meter with strong emphasis on harmonic dictation.

• Department: Music
• MW 12:10 p.m.-1 p.m.
• TR 12:10 p.m.-1 p.m.
• Instructor: Ramin Amir Arjomand
  CULPA: 8 Info
• Instructor: Barami Waspe
  Info
• 1 points

MUSIC THEORY I

Elementary analysis and composition in a variety of modal and tonal idioms. A one-hour weekly lab is required, to be scheduled at the beginning of the term.  Course to be taken in conjunction with the Ear-Training sequence, up through Ear-Training IV.

• Department: Music
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Knar Abrahamyan
  Info
• 3 points

MUSIC THEORY II

Elementary analysis and composition in a variety of tonal idioms.  A one-hour weekly lab is required, to be scheduled at the beginning of the term.  Course to be taken in conjunction with the Ear-Training sequence, up through Ear-Training IV.

• Department: Music
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Galen P Degraf
  CULPA: 1 Info
• 3 points

MODERN III

• Department: Dance @Barnard
• MW 1:10 p.m.-2:25 p.m.
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Caitlin Trainor
  CULPA: 11 Info
• Instructor: Tamisha Guy
  Info
• 0-1 points

MODERN IV

• Department: Dance @Barnard
• MW 4:10 p.m.-5:25 p.m.
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Wesley Ensminger
  Info
• Instructor: Lisa Boudreau
  Wikipedia Info
• 0-1 points

SUPERVISED STUDY IN GERMANY (BCGS)

German A2.2 / B1.1

• Department: Global Programs
• 4 points

BERLIN CONSORTIUM FOR GERMAN STUDIES (BC

German Begin.A2+Interm.B1

• Department: Global Programs
• 5 points

Fascism in European History

FASCISM IN EURO HISTORY

What was Fascism? What kind of appeal did authoritarianism and dictatorship have in interwar Europe? How did the Fascist “New Order” challenge liberal democracies and why did it fail in World War II? What was the common denominator of Fascist movements across Europe, and in particular in Mussolini’s Italy, Salazar’s Portugal, Franco’s Spain, culminating in Nazi Germany?

This class examines the history of Fascism as an ideology, constellation of political movements, and authoritarian regimes that aimed at controlling the modernization of European societies in the interwar period. Thus, the course focuses in particular on the relationship between politics, science and society to investigate how Fascism envisioned the modernity of new technologies, new social norms, and new political norms. The class will also explore Fascism’s imperialist goals, such as the calls for national renewal, the engineering of a new race, and the creation of a new world order.

• Department: History @Barnard
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Angelo Caglioti
  h-index: 2 Info
• 3 points

HISTORY OF FOOD IN EUROPE

Prerequisites: Previous course in history strongly recommended. Course enables students to focus on remote past and its relationship to social context and political and economic structures; students will be asked to evaluate evidence drawn from documents of the past, including tracts on diet, health, and food safety, accounts of food riots, first-hand testimonials about diet and food availability. A variety of perspectives will be explored, including those promoted by science, medicine, business, and government.

• Department: History @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Deborah Valenze
  CULPA: 16 Wikipedia Info
• 3 points

INTRO TO AUDIO STORYTELLING

LEC - INTRO TO AUDIO STOR

The medium of audio offers possibilities and challenges all its own: no images, no visual text, only sound. In this class, we will explore principles of the form both by studying and by making. Students can expect to leave with an understanding of the niceties of script writing and basic technical aspects of audio creation, as well as the beginnings of a portfolio of work. The class will encourage movement along a spectrum: you are encouraged to experiment in an unbounded way with audio as an art form, and to progress toward an understanding of how to create refined, public-facing work. 

While this class involves a fair amount of reading, much of what we will study and discuss is audio material. We will consider sound stories from the ground up – from folkloric oral traditions, to raw, naturally captured experimental pieces, to seemingly straightforward radio news segments, to highly polished narrative podcasts. At the same time that we study these works, each student will also complete small audio production exercises of their own; as a final project, students will be expected to create a fully rounded “pilot episode” for a theoretical show, from 7 to 20 minutes in length. 

This is an intro class intended to open exploratory space across fields of interest, but writers in particular stand to benefit. Our lessons will focus most rigorously on the lexical mechanics of scripting: how to “tell” a story. Oral storytellers arguably understand suspense, humor and showmanship in ways only a live performer can. Even if you are a diehard writer of text for readers, you may find, once the class is over, that you have learned techniques that can translate across borders: your readers may benefit. Alternatively, you may discover that audio is the medium for you.

This class is split into two parts: each week, you’ll meet for a lecture; separately, you’ll meet again during the week for a discussion section, where you may be asked to share and workshop your work, to analyze outside audio, and generally go deep in ways you can’t in lecture. The class is intended for beginners to the audio tradition. There are some tech requirements: a recording device (most phones will suffice), workable set of headphones, and computer. You’ll also need to download the free audio editing software Audacity.

• Department: Writing
• W 10:10 a.m.-12:55 p.m.
• Instructor: Mallika Rao
  Info
• 3 points

CONTMP BIO II:CELL BIO,DEV,PHYS

Prerequisites: a course in college chemistry and BIOL UN2005 or BIOL UN2401, or the written permission of either the instructor or the premedical adviser. Cellular biology and development; physiology of cells and organisms. Same lectures as BIOL UN2006, but recitation is optional. For a detailed description of the differences between the two courses, see the course web site or http://www.columbia.edu/cu/biology/ug/advice/faqs/gs.html. Website: http://www.columbia.edu/cu/biology/courses/c2006/ , SPS, Barnard, and TC students may register for this course, but they must first obtain the written permission of the instructor, by filling out a paper Registration Adjustment Form (Add/Drop form). The form can be downloaded at the URL below, but must be signed by the instructor and returned to the office of the registrar. http://registrar.columbia.edu/sites/default/files/content/reg-adjustment.pdf

• Department: Biological Sciences
• TR 10:10 a.m.-11:25 a.m.
• TR 4:10 p.m.-5:25 p.m.
• 3 points

INTERMEDIATE SANSKRIT II

Reading and grammatical analysis of a literary text, chosen from the dramatic and narrative tradition. No P/D/F or R credit is allowed for this class.

• Department: Middle Eastern, South Asian and African Studies
• TR 10:10 a.m.-noon
• Instructor: Jay Ramesh
  Info
• 4 points

TWENTIETH CENTURY ART

The course will examine a variety of figures, movements, and practices within the entire range of 20th-century art—from Expressionism to Abstract Expressionism, Constructivism to Pop Art, Surrealism to Minimalism, and beyond–situating them within the social, political, economic, and historical contexts in which they arose. The history of these artistic developments will be traced through the development and mutual interaction of two predominant strains of artistic culture: the modernist and the avant-garde, examining in particular their confrontation with and development of the particular vicissitudes of the century’s ongoing modernization. Discussion section complement class lectures. Course is a prerequisite for certain upper-level art history courses.

• Department: Art History and Archaeology
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Branden W Joseph
  CULPA: 9 Wikipedia Info
• 4 points

CHINESE RELIGIOUS TRADITIONS

This course provides a chronological and thematic introduction to Chinese religions from their beginnings until modern times. It examines distinctive concepts, practices and institutions in the religions of China. Emphasis will be placed on the diversity and unity of religious expressions in China, with readings drawn from a wide-range of texts: religious scriptures, philosophical texts, popular literature and modern historical and ethnographic studies. Special attention will be given to those forms of religion common to both “elite” and “folk” culture: cosmology, family and communal rituals, afterlife, morality and mythology. The course also raises more general questions concerning gender, class, political patronage, and differing concepts of religion.

• Department: Religion
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Zhaohua Yang
  Info
• 4 points

TWENTIETH CENTURY ART-DISC

Required discussion section for UN2405 Twentieth Century Art.

• Department: Art History and Archaeology
• T 5:10 p.m.-6 p.m.
• T 6:10 p.m.-7 p.m.
• W 10:30 a.m.-11:20 a.m.
• M 10:30 a.m.-11:20 a.m.
• M 2:10 p.m.-3 p.m.
• M 3:10 p.m.-4 p.m.
• Instructor: Pujan Karambeigi
  Info
• 0 points

Chinese Religious Traditions - Discussio

Chinese Religious Trad -

This course provides a chronological and thematic introduction to Chinese religions from their beginnings until modern times. It examines distinctive concepts, practices and institutions in the religions of China. Emphasis will be placed on the diversity and unity of religious expressions in China, with readings drawn from a wide-range of texts: religious scriptures, philosophical texts, popular literature and modern historical and ethnographic studies. Special attention will be given to those forms of religion common to both “elite” and “folk” culture: cosmology, family and communal rituals, afterlife, morality and mythology. The course also raises more general questions concerning gender, class, political patronage, and differing concepts of religion.

• Department: Religion
• M 11:10 a.m.-noon
• W 5:10 p.m.-6 p.m.
• R 1:10 p.m.-2 p.m.
• Instructor: Mehreen Z Jiwan
  Info
• Instructor: Qichen Qian
  Info
• Instructor: Stephanie A Bell
  Info
• 0 points

1ST YEAR SEM IN CHEMICAL RES

Prerequisites: CHEM UN1403 or CHEM UN1604 or CHEM UN2045 or the instructors permission. A one-hour weekly lecture, discussion, and critical analysis of topics that reflect problems in modern chemistry, with emphasis on current areas of active chemical research.

• Department: Chemistry
• F noon-12:50 p.m.
• Instructor: Vesna Gasperov
  CULPA: 1 h-index: 4 Info
• 1 points

Architecture, 1750-1890

19th Century Architecture

This course revisits some of the key moments in the architecture of the nineteenth century with the goal of understanding the relationship between these developments and a global modernity shaped by old and new empires. In doing so, it assumes a particular methodological stance. Rather than attempting to be geographically comprehensive, it focusses on the interdependencies between Europe and its colonies; instead of being strictly chronological, it is arranged around a constellation of themes that are explored through a handful of projects and texts. Reading of primary sources from the period under examination is a crucial part of the course. Students will have the opportunity to hone their critical skills by reading, writing, and conducting research toward a final paper. Discussion section required.

• Department: Art History and Archaeology
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Zeynep Celik Alexander
  Info
• 4 points

ARCHITECTURE 1750-1890-DISC

• Department: Art History and Archaeology
• R 12:10 p.m.-1 p.m.
• R 1:10 p.m.-2 p.m.
• F 11:10 a.m.-noon
• F 12:10 p.m.-1 p.m.
• Instructor: Cecilia R Santos
  Info
• 0 points

SECOND YR CLASSICAL TIBET II

• Department: East Asian Languages and Cultures
• MW 1:10 p.m.-3 p.m.
• Instructor: Sonam Tsering Ngulphu
  Info
• 4 points

LABORATORY IN SCREENWRITING

This lab is limited to declared Film and Media Studies majors.  Exercises in the writing of film scripts.

• Department: Film
• F 10 a.m.-1 p.m.
• Instructor: Melanie A Rish
  Info
• Instructor: Vishnu S Sinha
  Info
• Instructor: Angeline J Dimambro
  Info
• 3 points

PRINTMAKING I: INTAGLIO

(Formerly R3401) Enables the student to realize concepts and visual ideas in a printed form. Basic techniques are introduced and utilized: the history and development of the intaglio process; demonstrations and instruction in line etching, relief, and dry point. 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

PRACTICUM PROPS & PAINT

Course may be taken for 1-3 points. May be retaken for full credit. 

Prerequisites: permission of Theatre Department Production Manager, Michael Banta (
mbanta@barnard.edu
). Training and practical props and/or scenic painting work on Departmental mainstage productions.

• Department: Theatre @Barnard
• Instructor: Michael Banta
  Info
• 1-3 points

PRACTICUM LIGHTS & SOUND

Course may be taken for 1-3 points. May be retaken for full credit. 

Prerequisites: permission of Theatre Department Production Manager, Michael Banta (
mbanta@barnard.edu
). Training and practical lighting and/or sound work on Departmental mainstage productions.

• Department: Theatre @Barnard
• Instructor: Gregory Winkler
  CULPA: 3 Info
• 1-3 points

PRACTICUM WARDROBE

Course may be taken for 1-3 points. May be retaken for full credit. 

Prerequisites: permission of Theatre Department Costume Shop Manager Kara Feely (kfeely@barnard.edu). Training and practical costume construction and fitting work on Departmental mainstage productions.

• Department: Theatre @Barnard
• Instructor: Kara M Feely
  Info
• 1-3 points

Visual Activism

How has visual culture played a role within the social movements of the last several decades, such as #BlackLivesMatter and Extinction Rebellion? How, we might ask, is activism made visible; how does it erupt (or disappear) with collective fields of vision?  Drawing upon Black South African queer photographer Zanele Muholi’s term “visual activism” as a flexible rubric that encompasses both formal practices and political strategies, this lecture class interrogates contemporary visual cultures of dissent, resistance, and protest as they span a range of ideological positions.

We will examine recent developments in and around recent intersections of art and politics from around the world, looking closely at performances, photographs, feminist dances, graffiti, murals, street art, posters, pussy hats, and graphic interventions, with a special focus on tactics of illegibility and encodedness. Topics include visual responses to structural racisms, global climate change, indigenous land rights, state violence, gentrification, forced migration, and queer/trans issues.

• Department: Art History and Archaeology
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Julia Bryan-Wilson
  Wikipedia Info
• 4 points

PRACTICUM STAGE MANAGEMENT

Course may be taken for 1-3 points. May be retaken for full credit. 

Prerequisites: permission of Theatre Department Production Manager, Michael Banta (
mbanta@barnard.edu
). Training and practical stage management work on Departmental  mainstage productions.

• Department: Theatre @Barnard
• Instructor: Michael Banta
  Info
• 1-3 points

Visual Activism (discussion section)

Visual Activism disc. sec

Required discussion section for AHIS UN2425 Visual Activism

• Department: Art History and Archaeology
• R 2:10 p.m.-3 p.m.
• R 3:10 p.m.-4 p.m.
• M 4:10 p.m.-5 p.m.
• M 5:10 p.m.-6 p.m.
• Instructor: Sinclair O Spratley
  Info
• 0 points

PRACTICUM DESIGN THESIS FESTIVAL

Course may be taken for 1-3 points. May be retaken for full credit. 

Prerequisites: permission of the Senior Thesis Festival coordinator. Training and practical work as student designer on the Senior Thesis Festival.

• Department: Theatre @Barnard
• F 2:10 p.m.-5 p.m.
• Instructor: Kara M Feely
  Info
• 1-3 points

PRACTICUM DESIGN ASSISTANT

Course may be taken for 1-3 points. May be retaken for full credit. 

Prerequisites: permission of the Senior Thesis Festival coordinator. Training and practical design work assisting student designers for the Senior Thesis Festival.

• Department: Theatre @Barnard
• Instructor: Michael Banta
  Info
• 1-3 points

COGNITIVE NEUROSCIENCE

Prerequisites: PSYC UN1001 or equivalent introductory course in Psychology This course provides an in-depth survey of data and models of a wide variety of human cognitive functions. Drawing on behavioral, neuropsychological, and neuroimaging research, the course explores the neural mechanisms underlying complex cognitive processes, such as perception, memory, and decision making. Importantly, the course examines the logic and assumptions that permit us to interpret brain activity in psychological terms.

• Department: Psychology
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Mariam Aly
  CULPA: 5 h-index: 15 Info
• 3 points

Social Neuroscience

This course will provide a broad overview of the field of social neuroscience. We will consider how social processes are implemented at the neural level, but also how neural mechanisms help give rise to social phenomena and cultural experiences. Many believe that the large expansion of the human brain evolved due to the complex demands of dealing with social others—competing or cooperating with them, deceiving or empathizing with them, understanding or misjudging them. What kind of “social brain” has this evolutionary past left us with? In this course, we will review core principles, theories, and methods guiding social neuroscience, as well as research examining the brain basis of processes such as theory of mind, emotion, stereotyping, social group identity, empathy, judging faces and bodies, morality, decision-making, the impact of culture and development, among others. Overall, this course will introduce students to the field of social neuroscience and its multi-level approach to understanding the brain in its social context.

• Department: Psychology
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Jon B Freeman
  Wikipedia Info
• 3 points

PRINTMAKING I: SILKSCREEN

(Formerly R3413) Printmaking I: Silkscreen introduces silkscreen and other silkscreen techniques. Given the direct quality of the process, the class focuses on the students personal vision through experimentation with this print medium. Individual and group critiques. Portfolio required at end. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

• Department: Visual Arts
• R 10 a.m.-4 p.m.
• Instructor: Emma F Hammond-Thomas
  Info
• 3 points

ORGANIC CHEMISTRY I-LECTURES

Prerequisites: (CHEM UN1403 and CHEM UN1404) or CHEM UN1604 The principles of organic chemistry. The structure and reactivity of organic molecules are examined from the standpoint of modern theories of chemistry. Topics include stereochemistry, reactions of organic molecules, mechanisms of organic reactions, syntheses and degradations of organic molecules, and spectroscopic techniques of structure determination. Although CHEM UN2443 and CHEM UN2444 are separate courses, students are expected to take both terms sequentially. Students must ensure they register for the recitation which corresponds to the lecture section. Please check the Directory of Classes for details.

• Department: Chemistry
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Christopher Eckdahl
  Info
• 4 points

ORGANIC CHEMSTRY II-LECTURES

Prerequisites: CHEM UN1404 or CHEM UN1604, CHEM UN1500 and CHEMUN2443. The principles of organic chemistry. The structure and reactivity of organic molecules are examined from the standpoint of modern theories of chemistry. Topics include stereochemistry, reactions of organic molecules, mechanisms of organic reactions, syntheses and degradations of organic molecules, and spectroscopic techniques of structure determination. Although CHEM UN2443 and CHEM UN2444 are separate courses, students are expected to take both terms sequentially. Students must ensure they register for the recitation which corresponds to the lecture section. Please check the Directory of Classes for details.

• Department: Chemistry
• MW 11:40 a.m.-12:55 p.m.
• MW 6:10 p.m.-7:25 p.m.
• TR 11:40 a.m.-12:55 p.m.
• MW 6:10 p.m.-7:25 p.m.
• Instructor: Christopher Eckdahl
  Info
• Instructor: Charles E Jr Doubleday
  Info
• Instructor: James Leighton
  CULPA: 15 Wikipedia h-index: 46 Info
• Instructor: Charles E Jr Doubleday
  Info
• 4 points

ORGANIC CHEMISTRY - REC

• Department: Chemistry
• T 4:10 p.m.-5 p.m.
• T 5:10 p.m.-6 p.m.
• W 3:10 p.m.-4 p.m.
• Instructor: Christopher Eckdahl
  Info
• 0 points

ORGANIC CHEMISTRY - REC

ORGANIC CHEMSTRY II-LECTURESTO BE ENROLLED IN UN2444 SECTION 1, YOU MUST REGISTER FOR UN2446 RECITATION

• Department: Chemistry
• W 3:10 p.m.-4 p.m.
• Instructor: Christopher Eckdahl
  Info
• 0 points

ORGANIC CHEMISTRY - REC

ORGANIC CHEMSTRY II-LECTURESTO BE ENROLLED IN UN2444 SECTION 1, YOU MUST REGISTER FOR UN2446 RECITATION

• Department: Chemistry
• W 3:10 p.m.-4 p.m.
• W 4:10 p.m.-5 p.m.
• W 5:10 p.m.-6 p.m.
• W 6:10 p.m.-7 p.m.
• R 1:10 p.m.-2 p.m.
• R 6:10 p.m.-7 p.m.
• F 10 a.m.-10:50 a.m.
• F 12:10 p.m.-1 p.m.
• Instructor: Christopher Eckdahl
  Info
• 0 points

TAP II

Prerequisites: DNCE BC1445, BC1446, or Permission of instructor.

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

ORGANIC CHEMISTRY - REC

Corequisites: CHEM UN2444 Chemistry UN2448 ORGANIC CHEMISTRY RECITATIONORGANIC CHEMISTRY II-LECTURESTO BE ENROLLED IN UN2444 SECTION 2, YOU MUST REGISTER FOR UN2448 RECITATION

• Department: Chemistry
• M 4:10 p.m.-5 p.m.
• M 5:10 p.m.-6 p.m.
• M 8:10 p.m.-9 p.m.
• W 4:10 p.m.-5 p.m.
• W 5:10 p.m.-6 p.m.
• W 8:10 p.m.-9 p.m.
• Instructor: Charles E Jr Doubleday
  Info
• 0 points

BEHAVIORAL NEUROSCIENCE

Prerequisites: PSYC UN1001 or PSYC UN1010 or the instructors permission. Examines the principles governing neuronal activity, the role of neurotransmitter systems in memory and motivational processes, the presumed brain dysfunctions that give rise to schizophrenia and depression, and philosophical issues regarding the relationship between brain activity and subjective experience.

• Department: Psychology
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Alfredo Spagna
  CULPA: 3 h-index: 15 Info
• 3 points

PILATES FOR DANCERS

Prerequisites: Permission of instructor or DNCE BC1330, BC1331, BC1135, BC1136. Focus on movement practices, primarily for dancers, which introduces the concepts of Joseph Pilates, a seminal figure in creating a method of body conditioning. Learn and practice a repertory of mat work to improve body awareness, strength, flexibility, and dynamic alignment.

• Department: Dance @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Allison Easter
  Info
• 0-1 points

FELDENKRAIS FOR DANCERS

Through guided practice-based lessons in Awareness Through MovementÒ (ATM), students develop sensory awareness of habitual neuromuscular patterns resulting in increased movement efficiency, improved skill acquisition, and greater strength, coordination, and flexibility. Applicable to all dance styles and activities.

• Department: Dance @Barnard
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Carol Teitelbaum
  Info
• 0-1 points