THE AFRICANA COLLOQUIUM

Black@Barnard

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

• Department: Africana Studies (AFSB)
• W 12:10 p.m.-2 p.m.
• Instructor: Monica L Miller
  CULPA: 10 Info
• 4 points

INTRODUCTION TO POETRY WRITING

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

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

• Department: English @Barnard
• T 6:10 p.m.-8 p.m.
• Instructor: Angel Nafis
  Info
• 3 points

Chinese Theater and Drama Traditions

Chinese Theater/Drama

This course explores the world of Chinese theater: where a heroine is resurrected through the power of love, a filial son saves his mother from underworld torment, and stalwart workers fight for revolution. Examining texts in many genres/forms-from the 16th century romantic drama The Peony Pavilion to the 20th century revolutionary opera The Red Lantern - we investigate the versatility of Chinese drama to encompass politics, history, social movements, and human emotions. Connecting texts to stage practice, we explore gender fluidity in performance, theories of theater, "star culture," and cross-cultural work.

• Department: East Asian Languages and Cultures
• W 12:10 p.m.-2 p.m.
• Instructor: Allison E Bernard
  CULPA: 1 Info
• 4 points

PLAYWRITING II

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

• Department: English @Barnard
• T 2:10 p.m.-4 p.m.
• Instructor: Kathleen Tolan
  CULPA: 1 Info
• 3 points

EXPERIMENTAL MECH OF MATERIALS

Material behavior and constitutive relations. Mechanical properties of metals and cement composites. Structural materials. Modern construction materials. Experimental investigation of material properties and behavior of structural elements including fracture, fatigue, bending, torsion, buckling.

• Department: Civil Engineering and Engineering Mechanics
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Shiho Kawashima
  h-index: 24 Info
• 4 points

MOD ARCHITECTURE IN THE WORLD

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

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

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

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

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

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

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

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

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

The conceptual writing practices of history, theory, and criticism

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

• Department: Architecture @Barnard
• M 4:10 p.m.-5:25 p.m.
• Instructor: Ralph Ghoche
  CULPA: 1 h-index: 2 Info
• 4 points

FICTION WRITING

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

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

• Department: English @Barnard
• R 6:10 p.m.-8 p.m.
• Instructor: Gina Apostol
  Info
• 3 points

MODERN ARCHITECTURE IN THE WORLD - DISC

MODERN ARCH IN WORLD - DI

N/A

• Department: Architecture @Barnard
• W 4:10 p.m.-5:25 p.m.
• 0 points

MODERN ARCHITECTURE IN THE WORLD - DISC

MODERN ARCH IN WORLD - DI

N/A

• Department: Architecture @Barnard
• W 4:10 p.m.-5:25 p.m.
• 0 points

MODERN ARCHITECTURE IN THE WORLD - DISC

MODERN ARCH IN WORLD - DI

N/A

• Department: Architecture @Barnard
• W 4:10 p.m.-5:25 p.m.
• 0 points

ADVANCED POETRY WRITING

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

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

• Department: English @Barnard
• W 2:10 p.m.-4 p.m.
• Instructor: Monica Sok
  Info
• 3 points

SCREENWRITING FUNDAMENTALS

SCREENWRITING FUNDMENTALS

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

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

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

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

• Department: Film @Barnard
• W 5:40 p.m.-8:30 p.m.
• F 10:10 a.m.-noon
• Instructor: Sado Paul
  Info
• 3 points

STRUCTURAL ANALYSIS

Methods of structural analysis. Trusses, arches, cables, frames; influence lines; deflections; force method; displacement method; computer applications.

• Department: Civil Engineering and Engineering Mechanics
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Maria Q Feng
  CULPA: 3 h-index: 46 Info
• 3 points

PUBLIC SPEAKING

FIRST-YEAR PUBLIC SPEAKNG

Open only to undergraduates. 


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

• Department: English @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Daniela Kempf
  Info
• 3 points

PUBLIC SPEAKING

Open only to undergraduates. 


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

• Department: English @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Daniela Kempf
  Info
• 3 points

Figure Painting: Alternative Source Mate

This class is designed to introduce you not only to the subject of painting the human figure and its expressive potential, but also to focus on the art and craft of Painting. We will be painting the figure from secondary source material that can include photos, other artworks, clay models etc. The focus will be on figurative narration. We will be learning to see color, and use paint in response to that. Painting is a way to account for, express and communicate what you have seen with your eyes, mind or in your imagination. You will be introduced to different approaches to the craft of painting, and will by the end of the semester be more free and confident in interpreting your inner and outer vision. We will also be looking at paintings made in different times and places and discuss how and why they look the way they do. You will also be designing and carrying out your own independent project to be completed by the final critique.

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

HOW TO BUILD A PERSON

Prerequisites: No prerequisites. Departmental approval NOT required. Character is something that good fiction supposedly cannot do without. But what is a character, and what constitutes a supposedly good or believable one? Should characters be like people we know, and if so, how exactly do we create written versions of people? This class will examine characters in all sorts of writing, historical and contemporary, with an eye toward understanding just how characters are created in fiction, and how they come to seem real to us. Well read stories and novels; we may also look at essays and biographical writing to analyze where the traces of personhood reside. Well also explore the way in which these same techniques of writing allow us to personify entities that lack traditional personhood, such as animals, computers, and other nonhuman characters. Does personhood precede narrative, or is it something we bestow on others by allowing them to tell their story or by telling a story of our own creation on their behalf? Weekly critical and creative exercises will intersect with and expand on the readings and discussions.

• Department: Writing
• M 2:10 p.m.-4 p.m.
• Instructor: Mina Seckin
  Info
• 3 points

STRUCTURAL DESIGN

Design criteria for varied structural applications, including buildings and bridges; design of elements using steel, concrete, masonry, wood, and other materials.

• Department: Civil Engineering and Engineering Mechanics
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Tom T Panayotidi
  CULPA: 3 Info
• 3 points

COMPUTER-AIDED STRUCTRL DESIGN

Corequisites: CIEN E3125. Introduction to software for structural analysis, design, and modeling with lab. Integration of software into project workflows. Introduction to best practices for modeling and verification of results using hand calculations.

• Department: Civil Engineering and Engineering Mechanics
• R 4:10 p.m.-6:40 p.m.
• 1 points

ZORA NEALE HURSTON & BLACK PERFORMANCE

ZORA NEALE HURSTON & BLK

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

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

DESIGN PROJECTS

Capstone design project in civil engineering. This project integrates structural, geotechnical and environmental/water resources design problems with construction management tasks and sustainability, legal and other social issues. Project is completed in teams, and communication skills are stressed. Outside lecturers will address important current issues in engineering practice. Every student in the course will be exposed with equal emphasis to issues related to geotechnical engineering, water resources / environmental engineering, structural engineering, and construction engineering and management.

• Department: Civil Engineering and Engineering Mechanics
• T 1:10 p.m.-2:25 p.m.
• Instructor: Tom T Panayotidi
  CULPA: 3 Info
• 4 points

History of Western Music: Classical Era

Hist of West Mus: Class-2

Topics in western music from the Classical Era to the 20th Century, focusing on the development of musical style and thought, and on analysis of selected works. Pre-req: Music Theory II or permission of instructor.

• Department: Music
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Sonja G Wermager
  CULPA: 2 Info
• 3 points

THIRD-YEAR CONVERSATION FR II

Prerequisites: completion of the language requirement in French or the equivalent. Conversation on contemporary French subjects based on readings in current popular French periodicals.

• Department: French
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Samuel Skippon
  CULPA: 13 Info
• 2 points

GENDERED CONTROVERSIES

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

• Department: Women's, Gender, Sexuality Studies @Barnard
• F 11 a.m.-12:50 p.m.
• Instructor: Lisa Duggan
  Info
• 4 points

INTERMEDIATE MACRO-DISC/RECIT

Discussion/Recitation section for ECON BC3033

• Department: Economics @Barnard
• R 10 a.m.-10:50 a.m.
• F noon-12:50 p.m.
• W 3 p.m.-3:50 p.m.
• W 4:10 p.m.-5 p.m.
• Instructor: Joel Garinkol
  Info
• 0 points

DATA STRUCTURES IN JAVA

Data types and structures: arrays, stacks, singly and doubly linked lists, queues, trees, sets, and graphs. Programming techniques for processing such structures: sorting and searching, hashing, garbage collection. Storage management. Rudiments of the analysis of algorithms. Taught in Java. Note: Due to significant overlap, students may receive credit for only one of the following three courses: COMS W3134, COMS W3136, COMS W3137.

• Department: Computer Science
• MW 2:40 p.m.-3:55 p.m.
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Paul S Blaer
  CULPA: 46 h-index: 8 Info
• 3 points

CREATIVE NON-FICTION

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

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

• Department: English @Barnard
• R 11 a.m.-12:50 p.m.
• Instructor: Liana Finck
  CULPA: 3 Info
• 3 points

Painting: Color, Materials and Technique

Pntng: Color, Materials &

What does it mean to think materially? To
use
color? These are the questions that will guide this foundational course designed for painters, ranging from beginner to advanced, who want to develop their technique and material thought process.

We will begin with a focus on color, using the Albers method to learn first from experience, developing an eye for color, before we delve into color theory and color philosophy. The creative eye for color will aid us as we learn the ins and outs of acrylic painting, oil painting, the mediums, historical techniques, and associated theoretical concerns in
how
something is painted. Some of the class will be spent painting observationally, working on our ability to see creatively and translate experience into material. Many of the projects will be self-directed in subject or approach, whether you consider yourself a staunch realist or pure abstract artist, focusing mostly on the material language of the painting. Students can expect to cover the basics of a studio practice, such as stretching canvases, building a palette, developing a range of techniques, as well as gaining a critical eye for material decisions and how to realize their vision.

• Department: Visual Arts
• T 10 a.m.-4 p.m.
• Instructor: Kelsey M Shwetz
  Info
• 3 points

ESSENTIAL DATA STRUCTURES

A second programming course intended for nonmajors with at least one semester of introductory programming experience. Basic elements of programming in C and C++, arraybased data structures, heaps, linked lists, C programming in UNIX environment, object-oriented programming in C++, trees, graphs, generic programming, hash tables. Due to significant overlap, students may only receive credit for either COMS W3134, W3136, or W3137.

• Department: Computer Science
• T 4:10 p.m.-6:40 p.m.
• Instructor: Brian Borowski
  Info
• 4 points

SHAKESPEARE IN PERFORMANCE

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

• Department: English @Barnard
• T 12:10 p.m.-2 p.m.
• Instructor: Patricia D Denison
  CULPA: 10 Info
• 4 points

PLANT PEOPLE

Plant people are in our midst: they covet plants, grow them, and obsess over them. We call plant people green thumbs. They tend gardens; sniff herbs; make poultices; take cuttings. Plant people risk life and limb in pursuit of plants or become plant-like themselves. They tire of human ways and root in place, preferring the company of trees. As people can become plant-like, plants can also appear people-like, as sentient, sovereign beings who should be addressed with the proper pronouns. These plants have the power to act upon the world of people, and not always benignly. Finally, plant people can be everyday people like you and me, who consume and incorporate plants into our bodies, often without thought or awareness.

In this fiction seminar, we will read all about plant people: stories about plant obsessives, plant witnesses, plant actors, and plant consumers. How do we write stories about plant people? We will discuss craft techniques that relate to writing about plants, from voice to perspective to plot. How do we pull off the disorienting perspectival shift when writing from the vantage of an oak tree? How do we render plants precisely, botanically; what new vocabulary do we need to know? What are some of existing tropes about plants? Most importantly, how do we overcome plant blindness? In addition to short stories and novels, we will also read some nonfiction that will inform our fiction writing. Authors on the syllabus include Ursula Le Guin, Elif Shafak, Robin Wall Kimmerer, Richard Powers, Han Kang, David Diop, Andrea Barrett, and Christina Garza Rivera.

• Department: Writing
• R 2:10 p.m.-4 p.m.
• Instructor: Anelise I Chen
  Info
• 3 points

AFFECT AND ACTIVISM

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

• Department: Women's, Gender, Sexuality Studies @Barnard
• W 9 a.m.-10:50 a.m.
• Instructor: Manijeh Moradian
  Info
• 4 points

BALLET V

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

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

MODERN AMERICAN DRAMA & PERFORMANCE

MOD AMERCN DRAMA & PERFOR

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

• Department: English @Barnard
• W 12:10 p.m.-2 p.m.
• Instructor: Patricia D Denison
  CULPA: 10 Info
• 4 points

INTRODUCTION VOCAL REPERTOIRE

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

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

VOCAL REPERTOIRE, TECHNIQUE

VOCAL REPERTOIRE TECHNIQUE

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

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

RACE & SEXUALITY:BLACK QUEERS

• Department: Women's and Gender Studies
• R 4:10 p.m.-6 p.m.
• Instructor: Marisa Solomon
  Info
• 4 points

Advanced R in Biology

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

• Department: Biological Sciences @Barnard
• F 10:10 a.m.-1 p.m.
• Instructor: Vincent D Fitzpatrick
  Info
• 3 points

BALLET VI

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

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

Tragedy, Theory, Theatre

TRAGEDY, THEORY, THEATRE

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

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

TOPICS COMPARATIVE LIT

LITERATURE AND WAR

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

• Department: Comparative Literature and Society @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Daniella Gitlin
  Info
• 3 points

CLASSIC VARIATIONS

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

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

Science Writing

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

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

Jews in the Christian Imagination

Jews in Christian Imagina

Since the beginning of the movement that would become Christianity, Jews have occupied a unique – and uniquely fraught – position in the Christian imagination. Why did so few of the very Jews to whom Jesus preached accept him as their messiah? Why, as the Church grew in wealth and influence, did Jews continue to live in Christian communities, and what was their proper place in Christian society? In our course, we will read early and medieval Christian narratives about Jews that are, in many ways, an attempt to answer these questions – dark imaginative visions of Jews as child-killers, cannibals, and devil worshippers. We will use narrative, psychological, and literary theory as tools to analyze these tales and to make sense of their complicated and continuing legacy.

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

EARLY AMERCN DRAMA & PERFRMNC

Competing constructions of American identity in the United States date back to the early republic when a newly emerging nation struggled with the questions: What makes an American American? What makes America America? From colonial times forward, the stage has served as a forum to air differing beliefs as well as medium to construct new beliefs about Nation, self and other. The texts we will read, from colonial times through WWI, explore diverse topics such as politics, Native American rights, slavery, labor unrest, gender roles, and a growing immigrant population.

• Department: English @Barnard
• R 10:10 a.m.-noon
• Instructor: Pamela Cobrin
  CULPA: 6 Info
• 4 points

WORLDMUSE ENSEMBLE

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

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

Attention

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

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

CRITICAL HISTORIES OF DRAMA, THEATRE, AN

CRIT HIST DRAMA, THTR & P

This course undertakes a dialectical approach to reading and thinking about the history of dramatic theatre, interrogating the ways writing inflects, and is inflected by, the material dynamics of performance in the modern era. Course undertakes careful study of the practices of performance, and of the sociocultural, economic, political, and aesthetic conditions animating representative performances in theatres globally; course will also emphasize development of important critical concepts for the analysis of drama, theatre, and performance. Topics include the sociology of theatre, the impact of print on conceptions of performance, representing gender and race, the politics of intercultural performance, and the dynamics of emerging forms and critical practices of performance analysis. Writing: 2-3 papers; Reading: 1-2 plays, critical and historical reading per week; final examination. Fulfills one (of two) lecture requirements for Theatre/Drama and Theatre Arts majors.

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

How the Ancients Argued: The Global Rhet

Long before Aristotle’s Rhetoric and far from Athens and Rome, rhetoricians were teaching people how to communicate powerfully in politics, the law, and the street. This course surveys the ancient rhetorics of Egypt, China, the Americas, and the Arab world. We will examine a body of primary texts from 2,300 B.C.E. to 1,500 C.E. that teach people to wield language effectively.

• Department: English and Comparative Literature
• T 12:10 p.m.-2 p.m.
• Instructor: Susan Mendelsohn
  CULPA: 5 h-index: 3 Info
• 4 points

THE CANTERBURY TALES

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

• Department: English @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Eugene A Petracca
  Info
• 3 points

TRADITIONAL INDIAN PERFORMNCE

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

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

ADVANCED PROGRAMMING

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

• Department: Computer Science
• MW 4:10 p.m.-5:25 p.m.
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Brian Borowski
  Info
• 4 points

DESIGN PROJECT

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

• Department: Applied Physics and Applied Mathematics
• Instructor: Yuan Yang
  h-index: 49 Info
• 3 points

POSTCOLONIAL DRAMA:THE CANON & ITS OTHER

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

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

ASIAN AMERICAN PERFORMANCE

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

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

THE BODY AND SOCIETY

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

• Department: Anthropology @Barnard
• M 10:10 a.m.-noon
• Instructor: Paloma Rodrigo Gonzales
  Info
• 4 points

COMPUTER GRAPHICS

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

Please note: 

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

• Department: Computer Science @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Niall Williams
  Info
• 3 points

THE ENGLISH COLLOQUIUM

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

• Department: English @Barnard
• T 11 a.m.-12:50 p.m.
• M 2:10 p.m.-4 p.m.
• W 2:10 p.m.-4 p.m.
• W 9 a.m.-10:50 a.m.
• Instructor: Achsah Guibbory
  CULPA: 17 Info
• Instructor: Andrew L Lynn
  CULPA: 17 Info
• Instructor: Jayne Hildebrand
  CULPA: 3 Info
• Instructor: Joseph Moshenka
  Info
• 4 points

Trees of Knowledge: Ecocriticism and Wor

ECOCRITICISM & WORLD LIT

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

• Department: Comparative Literature and Society @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Erk Grimm
  CULPA: 10 Info
• 3 points

SHAKESPEARE II

Prerequisites: Enrollment limited to 60 students. Critical and historical introduction to selected comedies, histories, tragedies, and romances by Shakespeare. Please note that you do not need to take ENGL BC3163: Shakespeare I and ENGL BC3164: Shakespeare II in sequence; you may take them in any order.

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

Novels of Empire

Literary and visual texts sometimes express the essence of historical experience more powerfully than “factual” narratives or historical debates. This class will focus on four such texts – three novels and one film – which take empire as their central theme. They are taken from different empires, different chronological periods, and different (but sometimes interrelated) phases of imperial conquest, development, and decline. Our task will essentially be a close reading of the texts, and the reconstruction of their historical and geographical context. The empires in question for this semester are the British, Ottoman, Russian, and French.

• Department: History
• W 4:10 p.m.-6 p.m.
• Instructor: Catherine Evtuhov
  CULPA: 2 Info
• 4 points

THEORIES OF PERFORMANCE STUDIES

Prerequisites: Enrollment limited to 16 students.

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

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

MILTON

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

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

RENAISSANCE DRAMA:1580-1642

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

• Department: English @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Peter Platt
  CULPA: 23 Info
• 3 points

VICTORIAN AGE IN LITERATURE

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

• Department: English @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Jayne Hildebrand
  CULPA: 3 Info
• 3 points

CEPHALOPOD COGNITION

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

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

AMERICAN LITERATURE 1800-1870

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

• Department: English @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Lisa Gordis
  CULPA: 15 Info
• 3 points

The Century of Mikis Theodorakis: Greece

Mikis Theodorakis's passing in 2021 marked a pivotal moment in how this great composer is
seen as an agent of social and political change, not only in Greece but also in Europe and on the
international stage. In this course, we will explore the life and work of the great Greek composer
Mikis Theodorakis in the context of the troubled passage from the 20th to the 21st century. This
course aims to be an exploration of the historical circumstances in the early 20th-century
Balkans, and the way literary production, notably poetry through the work of Theodorakis,
expressed and shaped the social and political struggles worldwide. The focus will be on popular
culture and popular music—and notably popular song-- as a means of political struggle through
everyday life experience. We will focus on popular song as an artistic creation, as Theodorakis
shaped it, using poetry brought to the masses through radio and popular concerts.

At the end of the course, the students will have acquired a significant amount of knowledge of
the history, politics, society, and culture of Greece in the troubled 20th and 21st centuries, of the
role of Greece in the turbulent history of the Balkans of the 20th century, and they will have
acquired also knowledge of the musical and cinematographical landscape of the same centuries.
They will get to know well the work of the great composer Mikis Theodorakis, a major figure of
the cultural and political landscape of Greece and Europe and even globally. They will be able to
think critically regarding the role of the individual in political, social, and historical
developments and the role of art, of engaged art and notably music, in history.

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

CONSERVATION BIOLOGY-DISC

• Department: Ecology, Evolution, and Environmental Biology
• W 6:10 p.m.-7 p.m.
• R 6:10 p.m.-7 p.m.
• Instructor: Dustin Partridge
  Info
• 0 points

INT'L HUMAN RIGHTS LAW

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

• Department: Institute for Study of Human Rights
• T 4:10 p.m.-6 p.m.
• T 6:10 p.m.-8 p.m.
• Instructor: Belinda Cooper
  CULPA: 1 Info
• Instructor: Jacqueline Dugard
  Info
• 3 points

CRITICAL WRITING

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

• Department: English @Barnard
• MW 9 a.m.-10:15 a.m.
• TR 2:40 p.m.-3:55 p.m.
• TR 11:40 a.m.-12:55 p.m.
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Eugene A Petracca
  Info
• 4 points

MODERNISM

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

• Department: English @Barnard
• TR 8:40 a.m.-9:55 a.m.
• Instructor: Victor Zarour Zarzar
  Info
• 3 points

HARLEM RENAISSANCE LITERATURE

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

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

INDEPENDENT STUDY

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

THEORY

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

• Department: Religion @Barnard
• T 2:10 p.m.-4 p.m.
• Instructor: Beth A Berkowitz
  CULPA: 2 h-index: 6 Info
• 4 points

THE VISUAL AND VERBAL ARTS

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

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

FILM PRODUCTION

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

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

• Department: Film @Barnard
• R 2:10 p.m.-5:30 p.m.
• R 6:10 p.m.-9 p.m.
• T 2:10 p.m.-4 p.m.
• Instructor: Daniel F Pfeffer
  Info
• Instructor: Julia L Thompson
  Info
• 3 points

ADVANCED TRANSLATION WORKSHOP

• Department: French
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Sophie Queuniet
  CULPA: 7 Info
• 3 points

DIRECTING I

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

• Department: Theatre @Barnard
• MW 4:10 p.m.-6 p.m.
• Instructor: Tea Alagic
  Info
• 3 points

QUEER THEORY

• Department: Women's and Gender Studies
• T 12:10 p.m.-2 p.m.
• Instructor: Jack Halberstam
  Wikipedia Info
• 4 points

OPEN NONFICTION WORKSHOP

Prerequisite: Student must have taken beginning workshop in any undergraduate creative writing concentration. Open Nonfiction Workshop is designed for students with some experience in writing literary nonfiction. Intermediate workshops present a higher creative standard than beginning workshops and an expectation that students will produce finished work. Outside readings supplement and inform the exercises and longer written projects. By the end of the semester, students will have produced thirty to forty pages of original work in at least two traditions of literary nonfiction. Please visit 
https://arts.columbia.edu/writing/undergraduate
 for information about registration procedures.

• Department: Writing
• T 10:10 a.m.-noon
• Instructor: Elizabeth L Greenwood
  CULPA: 3 Info
• 3 points