REFLEXIVITY IN ART & FILM

This seminar will explore a range of individual works of Western art from the 16th century to late 20th century in which the tension between illusionism and reflexivity is foregrounded. It will focus on well-known paintings and films in which forms of realism and verisimilitude coexist with features that affirm the artificial or fictive nature of the work or which dramatize the material, social and ideological conditions of the work’s construction. Topics will include art by Durer, Holbein, Velazquez, Watteau, Courbet, Morisot, Vertov, Deren, Godard, Varda, Hitchcock and others. Readings will include texts by Auerbach, Gombrich, Brecht, Jameson, Barthes, Didi-Huberman, Bazin, Lukacs, Mulvey, and Daney

• Department: Art History and Archaeology
• T 4:10 p.m.-6 p.m.
• Instructor: Jonathan K Crary
  CULPA: 11 Wikipedia Info
• 4 points

TAP III

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

Tap III is an advanced level tap class for students who have 5 or more years of tap dance training. We will cover tap technique, proper use of the body to enhance sound quality and style, a variety of musical genres and structures, and improvisation.

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

Evolution of Intelligence, Animal Commun

Prerequisites: PSYC UN1001, and the instructors permission.

A systematic review of the evolution language covering the theory of evolution, conditioning theory, animal communication, ape language experiments, infant cognition, preverbal antecedents of language and contemporary theories of language.

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

SPATIAL ANALYSIS FOR SDEV

This is an intermediate course in spatial modeling developed specifically for students in the Undergraduate Sustainable Development program. This course will provide a foundation for understanding a variety of issues related to spatial analysis and modeling. Students will explore the concepts, tools, and techniques of GIS modeling and review and critique modeling applications used for environmental planning and policy development. The course will also offer students the opportunity to design, build and evaluate their own spatial analysis models. The course will cover both vector and raster based methods of analysis with a strong focus on raster-based modeling. We will draw examples from a wide range of applications in such areas as modeling Land Use and Land Cover for biodiversity and conservation, hydrological modeling, and site suitability modeling. The course will consist of lectures, reading assignments, lab assignments, and a final project.

• Department: Earth Institute
• M 10:10 a.m.-11:25 a.m.
• Instructor: Kytt J Macmanus
  Info
• 3 points

Latinx Artists Coast to Coast

This course takes a close look at visual art and performative culture by artists of Latin American descent in the U.S. or Latinx, Latina/o art.  The artists we will study trace their heritage to Mexico, Puerto Rico, the Dominican Republic, and Cuba, along with other countries in Latin America.  We will consider how these wide-ranging and diverse creative expressions come to signify
Latinidad
while in the process transforming U.S. culture. This means examining colonial era histories that inform the work of contemporary Latinx artists including, but not limited to, histories of race and botanical illustration. We will also look at the histories and visual expressions of Afro-Caribbean and Taíno spiritual practices that have had a great influence on Latinx art production. Course themes include: physical and psychic borders, indigeneity, colonialism and racialization, gender and sexuality, and expanding notions of American art and identity. Class discussions will focus on close examination of theoretical approaches and individual works along with shifting ideas of representation.

• Department: Art History and Archaeology
• M 4:10 p.m.-6 p.m.
• Instructor: Kellie Jones
  CULPA: 3 Wikipedia Info
• 4 points

URBAN ENVIRONMENTAL JUSTICE: GENDER, RAC

In this course we will explore urban environmental inequalities through the lens of environmental justice.  The concept of environmental justice has risen in prominence in the language of environmental activism, politics, and policymaking. Informed by critical studies of the environment, we will address the broad question of why, for some, the environment is representational of a healthy lifestyle and source of prosperity, while for others it is a source of risk and harm. Our course of study invites students to critically analyze environmental justice case studies and to develop an understanding of the complex relationships among urban populations and the social, political, and economic processes that lead to environmental inequality. We will also explore how racism is foundational to environmental exploitation and consider why global struggles for racial justice are crucial for protecting both people and the earth. We will pay particular attention to how environmental health inequalities are linked to race, class, gender, and nation. Drawing from academic texts, films, and photo essays we will explore how urban planning and economic development policies create environmental inequalities in the US and globally.

• Department: Urban Studies @Barnard
• TR 5:40 p.m.-6:55 p.m.
• Instructor: Elizabeth Alexander
  Info
• 3 points

Neurobiology of Working Memory

Working memory is our ability to retain information in mind in the absence of sensory stimuli. In this course we will gain a more thorough understanding of what working memory is and how the brain supports it.

• Department: Psychology
• R 10:10 a.m.-noon
• Instructor: Sarah Demoya
  Info
• 4 points

PUERTO RICO: COLONIAL EXPRNCE

Prerequisites: Third-year bridge course (W3300), and introductory surveys (W3349, W3350). This course analyzes how political conflicts and cultural attitudes emerged in Puerto Rico throughout colonial Spanish rule (1492-1898) reappear or influence developing thought after the transfer of sovereignty to the United States and through the 1952 creation of the Commonwealth, as manifested in legal, journalistic, literary, and other cultural works.

• Department: Spanish and Latin American Culture
• R 2:10 p.m.-4 p.m.
• Instructor: Wadda Rios-Font
  CULPA: 4 h-index: 8 Info
• 3 points

Modern German Literature and the Unconsc

Modern Lit and Unconsciou

Course Description

This course will introduce students to a variety of Modern German literary texts, through the lens of the unconscious. The desire to uncover the roots of psychological darkness leads these texts to extreme corners of the human psyche. Students will read and examine literature and theoretical texts to gain a deeper understanding of the development of the concept of the unconscious in the late 1800s to early 1900s. The course will undertake close-readings of a few of Freud’s key texts:
The Interpretation of Dreams
,
Dora: Analysis of a Case of Hysteria
, and
Beyond the Pleasure Principle
. We will examine the unconscious from several perspectives: the female/foreign, the death drive, and the locative unconscious, which relies on specific environs to enrich and agitate the psyche. Authors considered in the course include: Hugo von Hofmannsthal, Else Lasker-Schüler, Franz Kafka, Robert Musil, Thomas Mann, Arthur Schnitzler, Alfred Döblin.

Guiding Questions

How does the concept of the unconscious develop in the early 20th century through literary and theoretical texts? How do writing styles and authorial choices influence our understanding of the unconscious? Freud attempts to map the human psyche as a topographical space, what other ways can we conceive of the psyche?

Course Objectives


Students will experience and gain familiarity with canonical Modern German texts

Students will have a rigorous understanding of Freud’s early conception of the unconscious

Students will have several critical lenses through which to analyze psychoanalytic theory and literature

Students will develop short answer writing skills and long-form essay, as well as peer-review editing skills

• Department: Germanic Languages
• R 2:10 p.m.-4 p.m.
• Instructor: Iloe M Ariss
  Info
• 3 points

Mechanical Muse: Writing Technologies Be

Each new writing technology has produced its own fantasies and fears. Plato had Socrates warn that the alphabet would ruin memory; Nietzsche, half-blind at a typewriter, noticed that “our writing tools are also working on our thoughts”; the Surrealists tried to write without an author; and the language model now produces fluent prose with no one behind it. This course reads that history backward and forward. We move from the alphabet and the golem’s animating letter, through the copyist’s pen around 1800 and the typewriter, phonograph, and Parlograph around 1900, to automatic writing, the card index, the computer, and generative AI: What does the apparatus do to the writer and to writing? And which imaginaries accompanied the introduction of new writing technologies? Along the way, we ask who has been imagined at the machine (the Muse, the copyist, the medium, the typist, the cyborg) and what each figure reveals about the fantasies attached to writing.

The course is organized around two theoretical frameworks. The first treats technology as an a priori of writing: in Friedrich Kittler’s account, “media determine our situation,” and the instrument conditions what can be written, and even thought, before any writer sets to work. The second, Rüdiger Campe’s “scene of writing,” treats writing as an ensemble of language, instrument, and the gestures of the writing body, whose friction literature often stages. Much of our discussion will test one framework against the other: Does the apparatus determine what is written, or is it one element among others in the scene of writing?

You will also write in four genres, each with its own purpose: the reading journal (collecting and annotating), the scene-of-writing commentary (close reading of a single scene), the analytical essay (based on the reading journal but making an argument and developing a specific topic), and the co-writing experiment with a reflective essay (writing with AI, then thinking about what it did). Each genre builds on the one before. For each assignment you will receive a prompt and a rubric. Learning to write in these genres is part of the course.

Readings and lectures in English. No prerequisites.

• Department: Germanic Languages
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Oliver Simons
  CULPA: 4 Info
• 3 points

FIELD WORK & RESEARCH SEMINAR: TODDLER C

FLD WRK&RSRCH SEM:TODDLR CENT

This is a two-semester course. Those interested in applying for Fall 2026-Spring 2027 should email 
toddlercenter@barnard.edu
 to sign up for information sessions and receive details on the application process. PSYC BC2129 Developmental Psychology (with or without PSYC BC2128 lab) is a prerequisite, as well as permission of the instructor.

This advanced course in developmental psychology integrates theory, research, and practice at the Barnard Toddler Center,  a state-of-the-art center serving 18-36 month old children and their families. Students in the course participate as student teachers alongside an experienced staff one morning per week. Everybody gathers in a weekly seminar to discuss the intellectual concepts and research that help explain toddler behavior and the center's educational practices. In the fall semester, the focus is on developing a skillful practice when working with children and understanding the foundations of toddler development using current science and psychological theories. In the spring semester, student teaching continues, and the class carries out new research projects at the center, guided by the instructor, on topics such as the emerging concept of self, language and cognition, social interactions, emotional development, spatial and physical exploration, and parenting philosophies.

• Department: Psychology @Barnard
• T 2:10 p.m.-4 p.m.
• Instructor: Anna Shusterman
  Info
• 4 points

THE AMERICAN SUPERNATURAL

In this course, we'll consider American texts about the supernatural. We'll begin in the colonial period, when many New Englanders interpreted surprising events as divine or demonic interventions. We'll look at texts about Salem witchcraft and colonial revivals, comparing the way authors argue that these events are supernatural or natural, divine or diabolical. We'll then consider American writers who use the supernatural to explore the human mind, issues of class and gender, and questions of history and identity. Throughout the course, we’ll also consider the way that supernatural stories function as entertainment, and consider the implications of choosing to entertain ourselves and each other with fear and wonder.

• Department: English @Barnard
• M 2:10 p.m.-4 p.m.
• Instructor: Lisa Gordis
  CULPA: 15 Info
• 4 points

CLINICAL FIELD PRACTICUM

Prerequisites: Three psychology courses and permission of the instructor required during program planning the fall semester before the course is offered. Enrollment limited to 12 students; seniors are given priority. This course introduces students to clinical and counseling work, and to psychodynamic ways of understanding and supporting people in psychological distress. Students secure a clinical placement for the course, and apply readings on psychodynamic notions of parenting, psychopathology, and therapeutic process to their clinical experiences. The course helps students clarify their professional goals, and provides the clinical experience that strengthens applications to social work programs, and that is required for applications to clinical and counseling doctoral programs.

• Department: Psychology @Barnard
• R 12:10 p.m.-2 p.m.
• Instructor: Julia Sheehy
  Info
• 4 points

Top-Down Effects on Perception

For much of the history of neuroscience, perception was viewed as a rigidly hierarchical process. A bottom-up network beginning with the transduction of different sensory modalities into action potentials, relay distribution through the thalamus and finally cortical processing from early sensory areas to the frontal lobe.  Once thought to fully explain perception, evidence from the last few decades suggests that is an incomplete view. Expectation, attention, memories, tasks and emotions can affect perception and sensory processing even in early cortical stages. These top-down effects suggest that the subjective reality each one of us experience is not determined solely by the shapes of objects, frequency of air vibrations or structure of odorant molecules. Reality is built at the intersection between the physical attributes of the world and  our brains’ internal processes.

• Department: Psychology
• M 12:10 p.m.-2 p.m.
• Instructor: Tiago Altavini
  Info
• 3 points

PHILOSOPHY OF LANGUAGE

• Department: Philosophy
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Melissa S Fusco
  CULPA: 1 Info
• 3 points

Staging Revolt: Masses, Multitudes & Pol

Staging Revolt: Hispanic

This course traces the birth and development of the mass and the multitude as new and distinctive political actors in the context of Hispanic modernities. From the Esquilache revolts in Spain and the Atahualpa or Tupac Amaru rebellions in Latin America in the XVIIIth Century to the Argentine
Cacerolazo
in 2001, the 15M movement in Spain in 2011 or the International Women Strike in 2018, the role of these collective political subjects will be considered as a spatial and performative intervention in the public sphere. Public spaces become stages where protests take the form of experimental and alternative models of social interaction. Political goals are pursued through the transformation of quotidian behaviors, spaces and stories; cities become canvases on which tentative maps are drawn, functioning as potential scripts for new social and political structures. Literary and visual primary sources (e.g. Echeverría, Lamborghini, Poniatowska, Galdós, Goya, Genovés) along with journalistic accounts and testimonies, will be put in dialogue with theoretical texts (e.g. Le Bon, Canetti, Virno, Laclau, Hardt/Negri, Gago).

• Department: Latin American and Iberian Cultures
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Alberto Medina
  Info
• 3 points

THE GLOBAL COLD WAR

• Department: History
• T 12:10 p.m.-2 p.m.
• Instructor: Paul T Chamberlin
  CULPA: 3 Info
• 4 points

INDEP BIOLOGICAL RESEARCH

Prerequisites: Intro Bio I & II. Students who have not taken Intro Bio are encouraged to register for BIOL UN2600. Concurrent with registering for this course, a student must register with the department and provide a written invitation from a mentor; details of this procedure are available at https://biology.columbia.edu/content/biol-un3500-independent-biological-research. Students must register for recitations UN3510 or consult the instructor. Corequisites: BIOL UN3510.

Independent Biological Research is an opportunity for full-time undergraduates in the College, SEAS and GS interested in laboratory research to share in the work of an ongoing research program in our Department or in a comparable laboratory elsewhere in the region. Projects should address a specific biological problem. Clinical projects are not allowed. While most projects are laboratory-based, computational projects that address specific biological issues are allowed.

• Department: Biological Sciences
• Instructor: Ron M Prywes
  CULPA: 2 Info
• 3-4 points

SUPERVISED READINGS IN PHYSICS

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

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

Intro to Moving Image: Video, Film & Art

Intro Moving Image:Video,

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

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

COLONIAL GOTHAM

This class is not a “pre-history” of the modern metropolis, but rather a stand-alone story of Gotham’s growth from a tiny Dutch trading post in the midst of hundreds of Native villages into a key port of the first British Empire. We will close at the dramatic moment when the colonial society at the tip of Manhattan was torn apart and partially destroyed in the inter-imperial civil war we know as the American Revolution.

Even when its skyline was made of wooden masts and steeples, New York City was a diverse and dangerous place. Major topics will include frontier wars, slave conspiracies, religious revivals, and conflicts between the legitimate and contraband economies. All along, we will try to balance local and global perspectives, and blend social, cultural, political, and economic analyses. The course will also consider this colonial town’s place in American national memory, and critically approaching the many self-congratulatory and silly stories people like to believe about this long-lost island town.

The central texts in this course are a combination of secondary sources and primary texts. Our weekly meetings will mostly focus on the assigned reading, with each student submitting six (6) short reading responses on Courseworks before 9 am on the day of class. Students will also develop an original fifteen-to-twenty-page research paper on a colonial New York topic of their own choosing, and will be strongly encouraged to use archival resources held at Columbia or one of the city’s other major archives (NYPL, N-YHS, NMAI, Schomburg Center, Municipal Archives).

• Department: History @Barnard
• F 12:10 p.m.-2 p.m.
• Instructor: Andrew C Lipman
  CULPA: 5 Info
• 3 points

INDEP BIOLOGICAL RESEARCH - REC

• Department: Biological Sciences
• T 5:40 p.m.-6:30 p.m.
• W 5:40 p.m.-6:30 p.m.
• T 4:10 p.m.-5 p.m.
• W 10:10 a.m.-11 a.m.
• Instructor: Ron M Prywes
  CULPA: 2 Info
• 0 points

ADVANCED WORKSHOP TRANSLATION

Maurice Blanchot once described translators as the “hidden masters of culture.” Indeed, though our labor and craft often go unrecognized in the age of Google Translate, translators play an essential role as tastemakers, bridge-builders, advocates, and diplomats, not to mention the most intimate readers and re-writers of literature. In this workshop, we will explore translation as a praxis of writing, reading, and revision. Together, we will also interrogate translation's complex and often fraught role in cultural production. What ethical questions does translation raise? Who gets to translate, and what gets translated? What is the place of the translator in the text? What can translation teach us about language, literature, and ourselves? Readings will include selections from translation theory, method texts, and literary translations across genres, from poetry and prose to essay and memoir. Students will workshop original translations into English and complete brief writing and translation exercises throughout.

• Department: Comparative Literature and Society @Barnard
• M 2:10 p.m.-4 p.m.
• Instructor: Daniella Gitlin
  Info
• 4 points

The Historical Imagination in Caribbean

Hist Imagination Caribbea

Caribbean literature offers complicated and vivid portrayals of the Caribbean’s past, and grapples with difficult histories lived by its people that compromised colonial archives can only partially capture. Literary works far exceed the limited narratives of Caribbean history by imagining entire worlds that official documents could never contain, rich selves, cultures and communities built by many generations of Caribbean people. This course is aimed at bringing forth a broader understanding of Caribbean history by examining a body of creative works by feminist and womanist writers that continuously remain attuned to the complexities of the past, which are either underrepresented or absent in the record. Chosen literary texts will also be paired with historical works that will illuminate and contextualize the multiple themes with which these Caribbean authors frequently engage, including slavery, and colonialism, racism and colorism, migration and immigration, gender and sexuality, poverty and globalization. From these pairings, students will explore both the divergences and alignments in how writers and historians approach the work of retelling the past, and will acquire reading and writing skills that will foster thoughtful critical analysis of the ever-changing contours of the Caribbean’s history.

• Department: History
• W 2:10 p.m.-4 p.m.
• Instructor: Natasha J Lightfoot
  CULPA: 5 Info
• 4 points

SENIOR SEMINAR II

Individual research in Womens Studies conducted in consultation with the instructor. The result of each research project is submitted in the form of the senior essay and presented to the seminar.

• Department: Women's and Gender Studies
• T 2:10 p.m.-4 p.m.
• Instructor: Julia Bryan-Wilson
  Wikipedia Info
• 4 points

ADVANCED SENIOR STUDIO II

Advanced Senior Studio II is a critique class that serves as a forum for senior Visual Arts majors to develop and complete one-semester studio theses.  The priorities are producing a coherent body of studio work and understanding this work in terms of critical discourse.  The class will comprise group critiques and small group meetings with the instructor. Field trips and visiting artist lectures will augment our critiques. Please visit: 
https://arthistory.barnard.edu/senior-thesis-project-art-history-and-visual-arts-majors

• Department: Art History @Barnard
• M 12:10 p.m.-4 p.m.
• Instructor: John Miller
  CULPA: 2 Info
• 4 points

ROMARE BEARDEN:HOME IS HARLEM

Prerequisites: This course is limited to 20 students Romare Bearden: Home is Harlem, is an exploration into one of the greatest American artists finding home in Harlem. The noted painter, collagist, intellectual and advocate for the arts, spent his childhood and young adult life in Harlem. Known for chronicling the African-American experience, he found rich sources for artistic expression in the Manhattan neighborhoods above 110th Street.

• Department: Africana Studies (AFSB)
• W 10:10 a.m.-noon
• Instructor: Diedra Harris-Kelley
  Info
• 4 points

ADVANCED ORGANIC CHEMISTRY LAB

Prerequisites: CHEM UN2493 and CHEM UN2494 , or the equivalent. A project laboratory with emphasis on complex synthesis and advanced techniques including qualitative organic analysis and instrumentation.

• Department: Chemistry
• M 1:10 p.m.-6 p.m.
• T 1:10 p.m.-6 p.m.
• Instructor: Fay W Ng
  CULPA: 6 Info
• 3 points

JUNIOR SEMINAR IN URBAN STUDIES

JR SEMINAR IN URBAN STUDI

Prerequisites: Non-majors admitted by permission of instructor. Students must attend first class. Enrollment limited to 16 students per section. Evaluation of current political, economic, social, cultural and physical forces that are shaping urban areas.

• Department: Urban Studies @Barnard
• T 12:10 p.m.-2 p.m.
• Instructor: Christian Siener
  CULPA: 1 Info
• 4 points

Digital Media Culture and Theory

Digital Media Culture The

In this seminar, we will explore digital images in relation to cinema, photography, and other media. We will examine the fate of materiality, the body, and duration in 21st c. media, and consider whether the digital marks a significant break from the analog. Texts by Gilles Deleuze, Lev Manovich, Hito Steyerl, and others; works by Natalie Bookchin, Harun Farocki, Jacolby Satterwhite, and others.

• Department: Film @Barnard
• T 2:10 p.m.-4 p.m.
• 4 points

BLACK WOMEN STYLE&PERFRMNCE

Black Women, Performance, and the Politics of Style will provide an historical overview of iconic Black women entertainers of the 20th and 21st centuries. The course will explore various Black female archetypes presented on stage and through audio and visual media, consider performance as both an intentional and unintentional political stance, and document the impact Black women have had on the arts and entertainment industries.

The course will involve reading, viewing videos and photographs, and listening to recordings. The course will focus primarily, but not solely, on Black women musicians.  Many of the women we will discuss are considered multi-disciplinary – musicians, dancers, actors. Moving across the decades of the 20th century, we will examine how Black women performers responded to racial and gender inequity in the arts and entertainment industries and throughout society.  We will compare responses to these inequities with those of contemporary performers in the 21st century. We will explore style as self-expression and commercialization as well as a vehicle for appealing to audiences across demographics.  We will consider Black women who perform in more “popular” entertainment arenas as well as performers often overlooked for their contributions because their styles and genres cannot be easily categorized. We will examine the Black female body in and as performance within the context of sexuality, inhabitation, and stereotyping and look at the role of hair and clothing as performance “prop” and political statement. 

Because music videos and new media formats such as social media today often precipitate, compliment, or replace live performance, these will also be key in our examination of performance style.

• Department: Africana Studies (AFSB)
• F 10:10 a.m.-noon
• Instructor: Shirley Taylor
  Info
• 4 points

The Arabic Novel

The novel in Arabic literature has often been the place where every attempt to look within ends up involving the need to contend with or measure the self against the European, the dominant culture. This took various forms. From early moments of easy-going and confident cosmopolitan travellers, such as Ahmad Faris al-Shidyaq, to later author, such as Tayeb Salih, mapping the existential fault lines between west and east. For this reason, and as well as being a modern phenomenon, the Arabic novel has also been a tool for translation, for bridging gaps and exposing what al-Shidyaq—the man credited with being the father of the modern Arabic novel, and himself a great translator—called ‘disjunction’. We will begin with his satirical, deeply inventive and erudite novel, published in 1855, Leg Over Leg. It is a book with an insatiable appetite for definitions and comparisons, with Words that had been lost or fell out of use (the author had an abiding interest in dictionaries that anticipates Jorge Louis Borges) and with locating and often subverting moments of connection and disconnection. We will then follow along a trajectory to the present, where we will read, in English translation, novels written in Arabic, from Egypt, Syria, Sudan, Morocco and Palestine. We will read them chronologically, starting with Leg Over Leg (1855) and finishing with Minor Detail, a novel that was only published last year.  Obviously, this does not claim to be a comprehensive survey; for that we would need several years and even then, we would fall short. Instead, the hope is that it will be a thrilling journey through some of the most facinating fiction ever written. Obviously, this does not claim to be a comprehensive survey; for that we would need several years and even then, we would fall short. Instead, the hope is that it will be a thrilling journey through some of the most fascinating fiction ever written.

• Department: Comparative Literature and Society @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Hisham Matar
  CULPA: 2 Wikipedia Info
• 4 points

The Seven Years War (1754-1763), Glob

THE SEVEN YEARS' WAR

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

• Department: History
• R 2:10 p.m.-4 p.m.
• Instructor: Christopher L Brown
  CULPA: 5 Info
• 4 points

Art & Culture in Harlem

Harlem is a community with a long and storied legacy of arts and entertainment that dates back to the late 1800s. Its legacy extends through the many cultural movements that have helped to define the community such as the Harlem Renaissance in the early 1900s, the Black Arts Movement in the 1960s, and Hip Hop in the 1970s and 1980s, to the current renaissance of venues that anchor Harlem as a neighborhood vibrant with varied opportunities for cultural engagement. Harlem is home to several historic and iconic venues devoted to the arts and entertainment such as the Apollo Theater, Dance Theatre of Harlem, the Studio Museum in Harlem, and the National Black Theatre. These and many other venues along with many others throughout the neighborhood have helped to anchor Harlem as a beacon for Black creative expression that has been instrumental in shaping American culture. The Schomburg Center for Research in Black Culture, part of the New York Public Library, stands as a repository for much of this history and as an emblem of Harlem’s extensive cultural history. In recent years, Harlem has also seen a burgeoning of new galleries, performance spaces, and cultural events that have reignited and brought new audiences to the community. In this course, we will explore Harlem’s early history and how it evolved from a place known primarily for its entertainment venues to one with a mix of standard and more cutting edge artistic and cultural ventures. Community, politics, and economics will also be considered as we look at various cultural and artistic movements. As part of our exploration, we will examine whether shifts in demographics and the ideas, notions, and sometimes, myths about the neighborhood have influenced arts and entertainment in the community. We will seek to define what distinguishes arts and entertainment in Harlem from other New York City neighborhoods and how Harlem has contributed over the years to Black arts and entertainment in NYC and beyond. This course will include visits to venues and visits from guest speakers, all relative to in-class discussions and deeper exploration of the space arts and entertainment have continued to hold for the community and for the people of Harlem. Along with guided walking tours, visits to selected venues will help to delineate Harlem’s cultural past and its continuing evolution through the work of artists, curators, administrators, scholars, culture bearers, and others. Students are encouraged to attend events at some of the institutions and venu

• Department: Africana Studies (AFSB)
• F 12:10 p.m.-2 p.m.
• Instructor: Shirley Taylor
  Info
• 4 points

DRUGS & POLITICS IN AMERICAS

A major challenge for governments across the Western Hemisphere is the complex relationship between illicit drugs, violence, and politics. We can see this relationship operating at multiple levels, from everyday politics in gang-controlled neighborhoods to the global arenas where governments debate and craft international drug policy. These links also reach back in history to global wars of empire and colonial rule, race relations during and following the collapse of the institution of slavery, and contemporary drug wars being waged across the Western Hemisphere and other parts of the world. Today, the dynamics and consequences of the politics of illicit drugs touch all our lives in different ways, including individual and family struggles with substance abuse, everyday encounters with militarized police, and the strains on democracy and citizenship, among many others. This course will examine some of these dynamics and consequences with a theoretical and empirical focus mainly on Latin America and the United States. Throughout our time together we will connect these pressing issues to broader theories, concepts and empirical findings in political science. The course is divided into several individual modules (denoted below with the headings A – G) under three overarching themes for this semester:

 

1. Politics of Drugs in a Historical Perspective:
The first theme is a broad historical overview of the political origins of illicit drugs and the global drug regime. Some of the main questions we will tackle are: When and why did states label drugs as illicit?  How did domestic and global politics come together to shape the global drug regime and the “war on drugs?” What role did race and gender play in the early social construction of illicit drugs?

 

2. Illicit Drugs, Politics and Governance:
The second theme focuses on contemporary linkages between illicit drugs, violence, and politics. Here we will examine the conditions under which illicit drug markets are either violent or (relatively) peaceful. We will tackle questions like: Do states always seek to dismantle drug markets? What is the relationship between illicit drugs and electoral politics? What role do illicit drugs play in governance by armed non-state actors?  Are states and criminal actors involved in the drug trade always at “war” with each other? 


3. Democracy, Citizenship, and the War on Drugs:
The th

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

COMPOSITION:SITE/EXPERIMENTAL

• Department: Dance @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Caroline Fermin
  Info
• 3 points

DEVISING IMMERSIVE PERFORMANCE

This course is designed as a workshop in both immersive devising and performance skills, revolving around the creation and execution of an immersive experience. Through a collaborative devising process, students will explore possibilities of environmental, site-specific, experiential, and ambulatory design. Students will develop compositional structures and strategies for creating content, create and develop embodied characters, as well as design and physically navigate the particular architecture of a performance environment. Students will also hone skills specific to interactive performance such as maneuvering audience, gaze, breath work, and choice making and improvisation within the parameters of storytelling.

• Department: Dance @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Elisa R Davis
  Info
• 3 points

SR SEM IN BIOLOGY

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

• Department: Biological Sciences @Barnard
• F noon-2 p.m.
• F 10 a.m.-noon
• Instructor: Jonathan Snow
  CULPA: 7 h-index: 18 Info
• Instructor: Hilary Callahan
  CULPA: 4 h-index: 17 Info
• 4 points

GUIDED RESEARCH & SEMINAR

This year-long course is open to junior and senior Biology majors and minors. Students will complete an independent research project in Biology under the guidance of a faculty mentor at Barnard or another local institution. Attendance at the weekly seminar is required. By the end of the year, students will write a scientific paper about their project and give a poster presentation about their research at the Barnard Biology Research Symposium.

Completion of this year-long course fulfills two upper-level laboratory requirements for the Biology major or minor. This course must be taken in sequence, beginning with BIOL BC3591 in the Fall and continuing with BIOL BC3592 in the Spring. Acceptance into this course requires confirmation of the research project by the course instructors. A Barnard internal mentor is required if the research project is not supervised by a Barnard faculty member. This course cannot be taken at the same time as BIOL BC3593-BIOL BC3594.

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

GUIDED RESEARCH & SEMINAR

This year-long course is open to junior and senior Biology majors and minors. Students will complete an independent research project in Biology under the guidance of a faculty mentor at Barnard or another local institution. Attendance at the weekly seminar is required. By the end of the year, students will write a scientific paper about their project and give a poster presentation about their research at the Barnard Biology Research Symposium.

Completion of this year-long course fulfills two upper-level laboratory requirements for the Biology major or minor. This course must be taken in sequence, beginning with BIOL BC3591 in the Fall and continuing with BIOL BC3592 in the Spring. Acceptance into this course requires confirmation of the research project by the course instructors. A Barnard internal mentor is required if the research project is not supervised by a Barnard faculty member. This course cannot be taken at the same time as BIOL BC3593-BIOL BC3594.

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

NEUROSCIENCE GUIDED RESEARCH

Neuroscience research commonly generates datasets that are increasingly complex and large. Open science and data sharing platforms have emerged across a wide range of neuroscience disciplines, laying the foundation for a transformation in the way scientists share, analyze, and reuse immense amounts of data collected in laboratories around the world. This class is designed to introduce students to several open source databases that span multiple investigative levels of neuroscience research. Students will utilize the datasets to conduct individual research projects.

• Department: Neuroscience & Behavior @Barnard
• R 4:10 p.m.-6 p.m.
• Instructor: Kara Pham
  CULPA: 9 Info
• 4 points

SR PROJECT:REPERTORY FOR DANCE

Independent study for preparing and performing repertory works in production to be presented in concert.

• Department: Dance @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Marjorie Folkman
  CULPA: 2 Info
• Instructor: Vincent McCloskey
  CULPA: 2 Info
• 3 points

SENIOR THESIS RESEARCH & SEMINAR

SR THESIS RESEARCH & SEMI

This year-long course is open to senior Biology majors. Students will complete an independent research project in Biology under the guidance of a faculty mentor at Barnard or another local institution. Attendance at the weekly seminar is required. By the end of the year, students will write a scientific paper about their project and give an oral presentation about their research at the Barnard Biology Research Symposium.

Completion of this year-long course fulfills the senior capstone requirement for the Biology major. This course must be taken in sequence, beginning with BIOL BC3593 in the Fall and continuing with BIOL BC3594 in the Spring. Acceptance into this course requires confirmation of the research project by the course instructors. A Barnard internal mentor is required if the research project is not supervised by a Barnard faculty member. This course cannot be taken at the same time as BIOL BC3591-BIOL BC3592.

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

SENIOR THESIS RESEARCH & SEMINAR

SR THESIS RESEARCH & SEMI

This year-long course is open to senior Biology majors. Students will complete an independent research project in Biology under the guidance of a faculty mentor at Barnard or another local institution. Attendance at the weekly seminar is required. By the end of the year, students will write a scientific paper about their project and give an oral presentation about their research at the Barnard Biology Research Symposium.

Completion of this year-long course fulfills the senior capstone requirement for the Biology major. This course must be taken in sequence, beginning with BIOL BC3593 in the Fall and continuing with BIOL BC3594 in the Spring. Acceptance into this course requires confirmation of the research project by the course instructors. A Barnard internal mentor is required if the research project is not supervised by a Barnard faculty member. This course cannot be taken at the same time as BIOL BC3591-BIOL BC3592.

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

RSRCH/SEM-NEUROSCNC&BEHAVIOR

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

• Department: Neuroscience & Behavior @Barnard
• R 4:10 p.m.-6 p.m.
• Instructor: Russell D Romeo
  CULPA: 9 Info
• Instructor: Peter D Balsam
  CULPA: 25 Info
• Instructor: Alex White
  h-index: 13 Info
• Instructor: Kevin G Bath
  Info
• 4 points

GUIDED RESEARCH

Similar to BIOL BC3591-BIOL BC3592, this is a one-semester course that provides students with degree credit for unpaid research 
without 
a seminar component. You may enroll in BIOL BC3597 for between 1-4 credits per semester. As a rule of thumb, you should be spending approximately 3 hours per week per credit on your research project.

A 
Project Approval Form
 must be submitted to the department each semester that you enroll in this course. Your Barnard research mentor (if your lab is at Barnard) or internal adviser in the Biology Department (if your lab is elsewhere) must approve your planned research 
before
 you enroll in BIOL BC3597. You should sign up for your mentor's section. 

This course does not fulfill any Biology major requirements.  It is open to students beginning in their first year.

• Department: Biological Sciences @Barnard
• Instructor: Rafael Marcondes
  Info
• Instructor: Hilary Callahan
  CULPA: 4 h-index: 17 Info
• Instructor: John Glendinning
  CULPA: 23 h-index: 39 Info
• Instructor: Jordan Balaban
  Info
• Instructor: Jj L Miranda
  CULPA: 3 Info
• Instructor: Alison Pischedda
  CULPA: 3 h-index: 11 Info
• Instructor: Jonathan Snow
  CULPA: 7 h-index: 18 Info
• Instructor: Brian Morton
  CULPA: 21 Info
• Instructor: Jennifer H Mansfield
  CULPA: 2 h-index: 15 Info
• Instructor: Gabrielle Corradino
  Info
• Instructor: Jessica Goldstein
  CULPA: 14 Info
• Instructor: Emlyn J Resetarits
  Info
• 1-4 points

PROBLEMS IN CHEMISTRY

Prerequisites: CHEM BC3328 and permission of instructor. Individual research projects at Barnard or Columbia, culminating in a comprehensive written report.

• Department: Chemistry @Barnard
• Instructor: Christian Rojas
  CULPA: 24 Info
• Instructor: Marisa C Buzzeo
  CULPA: 2 Info
• Instructor: Dina C Merrer
  CULPA: 24 Info
• Instructor: Andrew C Crowther
  CULPA: 1 Info
• Instructor: Michael Campbell
  Info
• Instructor: Rachel Austin
  CULPA: 18 Wikipedia h-index: 28 Info
• Instructor: Christina Vizcarra
  CULPA: 1 Info
• Instructor: Rebecca Donegan
  Info
• 2 points

PROBLEMS IN CHEMISTRY

Prerequisites: CHEM BC3328 and permission of instructor. Individual research projects at Barnard or Columbia, culminating in a comprehensive written report.

• Department: Chemistry @Barnard
• 2 points

PROBLEMS IN CHEMISTRY

Prerequisites: CHEM BC3328 and permission of instructor. Individual research projects at Barnard or Columbia, culminating in a comprehensive written report.

• Department: Chemistry @Barnard
• Instructor: Meenakshi S Rao
  CULPA: 24 Info
• 2 points

PROBLEMS IN CHEMISTRY

Prerequisites: CHEM BC3328 and permission of instructor. Individual research projects at Barnard or Columbia, culminating in a comprehensive written report.

• Department: Chemistry @Barnard
• Instructor: Christian Rojas
  CULPA: 24 Info
• Instructor: Marisa C Buzzeo
  CULPA: 2 Info
• Instructor: Dina C Merrer
  CULPA: 24 Info
• Instructor: Andrew C Crowther
  CULPA: 1 Info
• Instructor: Michael Campbell
  Info
• Instructor: Rachel Austin
  CULPA: 18 Wikipedia h-index: 28 Info
• Instructor: Christina Vizcarra
  CULPA: 1 Info
• Instructor: Rebecca Donegan
  Info
• 4 points

PROBLEMS IN CHEMISTRY

Prerequisites: CHEM BC3328 and permission of instructor. Individual research projects at Barnard or Columbia, culminating in a comprehensive written report.

• Department: Chemistry @Barnard
• 4 points

Approaches to Global Thought

Challenges confronting the world today require multiple perspectives, approaches, and methods to grasp their complexity and devise responses and solutions. Whether addressing the climate crisis, public health threats, global and local inequities, social problems, geopolitical tensions, or any number of other problems, all demand the expertise developed in disciplinary training as well as flexible thinking and the ability to collaborate and solve problems across disciplinary boundaries. This course places students with different majors into conversation with each other to consider the approaches of their own disciplines, learn about the methodological “tool kits” of other fields, investigate examples of transdisciplinary research, and work with their classmates to design their own problem-centered collaborative projects.

• Department: Committee on Global Thought
• M 12:10 p.m.-2 p.m.
• Instructor: Sarah A Miller-Davenport
  Info
• 4 points

Broadway's New York: A Cultural History

This course explores the intertwined histories of Broadway and New York City. Emphasizing musicals and plays set in the five boroughs, students examine how Broadway serves as both a stage and a lens for imagining urban life. The course considers how the “Great White Way” not only reflects social and cultural change but also operates as a powerful site of tourism, commerce, and political expression. Through case studies of landmark productions, students analyze how Broadway stages urban myths, crises, and possibilities within broader debates about gentrification, labor, and city identity. Students will engage with the material through traditional lectures and screenings, supplemented by immersive field experiences including archive research, museum and theater tours, and a live Broadway performance.

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

RELATVITY,BLACK HOLES,COSMOLGY

• Department: Astronomy
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Frederik Paerels
  CULPA: 21 Info
• 3 points

REHEARSAL & PERFRMNCE IN DANCE

• Department: Dance @Barnard
• MW 6:10 p.m.-9 p.m.
• TR 6:10 p.m.-9 p.m.
• 1-3 points

REHEARSAL & PERFRMNCE IN DANCE

• Department: Dance @Barnard
• TR 6:10 p.m.-9 p.m.
• 1-3 points

REHEARSAL & PERFRMNCE IN DANCE

• Department: Dance @Barnard
• TR 6:10 p.m.-9 p.m.
• Instructor: Nelida Tirado
  Info
• 1-3 points

INTL LAW & U.N. IN PRACTICE

Prerequisites: POLS UN1601 or HRTS UN3001 An equivalent course to POLS UN1601 or HRTS UN3001 may be used as a pre-requisite, with departmental permission. Examines the development of international law and the United Nations, their evolution in the Twentieth Century, and their role in world affairs today. Concepts and principles are illustrated through their application to contemporary human rights and humanitarian challenges, and with respect to other threats to international peace and security. The course consists primarily of presentation and discussion, drawing heavily on the practical application of theory to actual experiences and situations. For the Barnard Political Science major, this seminar counts as elective credit only. (Cross-listed by the Human Rights Program.)

• Department: Human Rights (HRTB)
• F 12:10 p.m.-2 p.m.
• Instructor: Martin S Flaherty
  CULPA: 1 Wikipedia Info
• 4 points

As If: Anthropologies of the Future

This seminar engages--through science fiction and speculative fiction, film, and companion readings in anthropology and beyond—a range of approaches to the notion of the “future” and to the imagination of multiple futures to come.  We will work through virtual and fictive constructions of future worlds, ecologies, and social orders “as If” they present alternative possibilites for pragmatic yet utopian thinking and dreaming in the present (and as we’ll also consider dystopian and “heterotopian” possibilities as well).

• Department: Anthropology
• T 4:10 p.m.-6 p.m.
• Instructor: Marilyn Ivy
  CULPA: 11 Wikipedia Info
• 4 points

INDEPENDENT STUDY

This course can be worth 1 to 4 credits (each credit is equivalent to approximately three hours of work per week), and requires a Barnard faculty as a mentor. The course will be taken for a letter grade, regardless of whether the student chooses 1, 2, 3, or 4 credits. The expectations for each of these options are as follows: 1 credit, 3h/week commitment, 5-10 page "Research Report" at the end of the term; 2 credits, 6h/week commitment, 5-10 page "Research Report" at the end of the term; 3 credits, 9h/week commitment, 15-20 page "Research Report" at the end of the term; 4 credits, 12h/week commitment, 15-20 page "Research Report" at the end of the term. "Research Report" is a document submitted to the person grading the student, the instructor of record for the section in which the student has enrolled. If a student is working off-site, then input from the off-site research mentor will inform the grading. The "Research Report" can take a variety of forms: progress reports on data collected, training received, papers read, skills learned, etc.; or organized notes for lab notebooks, lab meetings, etc.; or manuscript-like papers with Intro, Methods, Results, Discussion; or some combination thereof, depending on the maturity of the project.  Ultimately, this will take different forms for different students/labs.

• Department: Psychology @Barnard
• Instructor: Robert Brotherton
  CULPA: 1 Info
• Instructor: Armita Ghobadi
  Info
• Instructor: Ken Light
  CULPA: 17 h-index: 15 Info
• Instructor: Koleen McCrink
  CULPA: 6 h-index: 17 Info
• Instructor: Michelle Greene
  Info
• Instructor: Robert E Remez
  CULPA: 26 Wikipedia h-index: 23 Info
• 1-4 points