MASTERPIECES OF WESTERN ART
Discussion and analysis of the artistic qualities and significance of selected works of painting, sculpture, and architecture from the Parthenon in Athens to works of the 20th century.
- Department: Core (A&S)
- MW 2:40 p.m.-3:55 p.m.
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Instructor:
Lynnette Widder
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Instructor:
Susannah E Blair
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Instructor:
Monica K Bulger
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Instructor:
Eleonora Pistis
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Instructor:
Laura Tibi
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Instructor:
Monica K Bulger
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Instructor:
Cecilia Resende Santos
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Instructor:
Emma C Leidy
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Instructor:
Kent M Minturn
CULPA: 2
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Instructor:
Alessandra Di Croce
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Instructor:
Page S Knox
CULPA: 14
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Instructor:
Leah E Werier
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Instructor:
Leslie Tait
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Instructor:
Meredith Gamer
CULPA: 1 Info -
Instructor:
Frederique Baumgartner
CULPA: 3 Info -
Instructor:
Leah E Werier
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Instructor:
Danny Smith
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Instructor:
Luke Cohen
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Instructor:
Hannah R Pivo
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Instructor:
Branden W Joseph
CULPA: 9
Wikipedia
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Instructor:
Luke Cohen
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Instructor:
Diana Mellon
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Instructor:
Matthew E Teti
CULPA: 2 Info -
Instructor:
Alex Marko
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Instructor:
Rebecca M Yuste-Golob
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Instructor:
Muge Arseven
CULPA: 1 Info -
Instructor:
Giulia Bertoni
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Instructor:
Diana Mellon
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Instructor:
Muge Arseven
CULPA: 1 Info - 3 points
INTENSIVE ELEMENTARY ITALIAN
An intensive course that covers two semesters of elementary Italian in one, and prepares students to move into Intermediate Italian. Students will develop their Italian communicative competence through listening, (interactive) speaking, reading and (interactive) writing. The Italian language will be used for real-world purposes and in meaningful contexts to promote intercultural understanding. This course is especially recommended for students who already know another Romance language. May be used toward fulfillment of the language requirement.
- Department: Italian
- TRF 12:10 p.m.-2 p.m.
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Instructor:
Barbara Spinelli
CULPA: 9
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- 6 points
INTENSIVE ELEMENTARY LATIN
Equivalent to Latin 1101 and 1102. Covers all of Latin grammar and syntax in one term to prepare the student to enter Latin 1201 or 1202. This is an intensive course with substantial preparation time outside of class.
- Department: Classics
- MW 6:10 p.m.-8 p.m.
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Instructor:
Lien Van Geel
CULPA: 1 Info - 4 points
Music Humanities
MASTERPIECES OF WESTERN M
Analysis and discussion of representative works from the Middle Ages to the present.
- Department: Core (A&S)
- MW 8:40 a.m.-9:55 a.m.
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Instructor:
Kristy K Barbacane
CULPA: 3 Info - 3 points
Music Humanities
Analysis and discussion of representative works from the Middle Ages to the present.
- Department: Core (A&S)
- MW 8:40 a.m.-9:55 a.m.
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Instructor:
Gabrielle E Ferrari
Info - 3 points
Music Humanities
MASTERPIECES OF WESTERN M
Analysis and discussion of representative works from the Middle Ages to the present.
- Department: Core (A&S)
- MW 8:40 a.m.-9:55 a.m.
- MW 10:10 a.m.-11:25 a.m.
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Instructor:
Calder M Hannan
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Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
Gabrielle E Ferrari
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Instructor:
Galen P Degraf
CULPA: 1 Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
Audrey Amsellem
CULPA: 2 h-index: 0 Info -
Instructor:
Hannah S Kendall
Wikipedia Info -
Instructor:
Thomas T Wetmore
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Instructor:
Audrey Amsellem
CULPA: 2 h-index: 0 Info -
Instructor:
Hannah S Kendall
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Instructor:
Katie M Cooke
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Instructor:
Diana M Rodriguez
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Instructor:
Ralph R Whyte
CULPA: 2 h-index: 0 Info -
Instructor:
David A Farrow
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Instructor:
Manuel Garcia Orozco
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Instructor:
Knar Abrahamyan
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Instructor:
Lucy Turner
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Instructor:
Benjamin A Steege
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Instructor:
Scott Douglass
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Instructor:
Lucy Turner
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Instructor:
Joshua Navon
CULPA: 5
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Instructor:
Russell J O'Rourke
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Instructor:
Julia Doe
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Instructor:
Velia Ivanova
CULPA: 4
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Instructor:
Sasha S Doster
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Instructor:
Saad N Haddad
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Instructor:
Velia Ivanova
CULPA: 4
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Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
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Instructor:
Saad N Haddad
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Instructor:
Ryan H Pratt
CULPA: 3 Info -
Instructor:
Marilyn McCoy
CULPA: 7
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Instructor:
Ashkan Behzadi
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Instructor:
Justin T Gregg
CULPA: 1 Info -
Instructor:
Audrey Amsellem
CULPA: 2 h-index: 0 Info - 3 points
READING THE FUTURE
How do we think about the future? Why do we develop the hopes and fears that we do? How do present conditions and discourses inform, influence, or limit our senses of personal and political possibility? In this section of First-Year Writing, we will explore conceptions of the future in 19th through 21st-century literary fiction. We will begin by close reading 20th-century short stories that evoke hopes and fears for the future on individual, social, and global scales. We will then turn to H.G. Wells’ classic novella
The Time Machine
and place its portrayal of the future in the context of late Victorian science and socioeconomics. Finally, we will consider how contemporary literature reflects and responds to the accelerating climate crisis, and explore fiction’s role in helping us apprehend the potential for radical environmental disruption.
- Department: First-Year Writing @Barnard
- MW 4:10 p.m.-5:25 p.m.
- MW 6:10 p.m.-7:25 p.m.
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Instructor:
Michael Shelichach
Info - 3 points
MUSIC IN NARRATIVE
Clothing is a part of everyone’s daily life, and what one wears is often considered to be an expression of individuality. Yet, while a wardrobe may involve deeply personal choices, the textiles available to us and the styles we gravitate toward can also reflect our historical moment. Like other art forms, fashion is political, and its materials—textiles—have historically been at the heart of global trade. In this course, we will ask: what can literature show us about cultural and political histories of fashion trends and the textile industry? Just as importantly, how can understanding historical context for the textiles, needlecrafts, and garments that appear in the pages of a story offer insights into character, setting, and theme? As a class, we will consider some of the ways fashion and the global circulation of textile goods have been bound up in relationships between nations and empires as well as relationships between individuals, society, and the environment. Readings are subject to change but may include fiction by Virginia Woolf, Ntozake Shange, Elizabeth Gaskell, Oscar Wilde, Jane Austen, and Elizabeth Inchbald. Other readings will draw upon fashion theory and scholarship on textile history by scholars such as Lisa Lowe, Hilary Davidson, Monica Miller, Suchitra Choudhury, Amber Butchart, and others. We will also consider costuming as a part of worldbuilding and character development in film and television examples such as
Bridgerton
, and we will put our discussions of historical text(ile)s into conversation with recent work in fashion activism.
- Department: First-Year Writing @Barnard
- MW 11:40 a.m.-12:55 p.m.
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Instructor:
Elizabeth Weybright
Info - 3 points
SPECULATING THE PAST
Recent works as diverse as The New York Times’s
Overlooked Project
and Netflix’s
Bridgerton
raise questions about what records we keep, how we narrate history, and the factors that determine what stories we can tell. In this class, we will probe these questions by reading literary works that turn to a speculative mode to make sense of history, past and present. As we enter the critical conversation about the historical record, we will explore how authority and value are assigned to different texts and accounts. In so doing, we will also develop our ability to read texts' and documents' own theorizations of truth and fact. Readings may include work by Virginia Woolf, Marlene NourbeSe Philip, Carmen Maria Machado, Adrienne Rich, and N.K. Jemisin alongside critical texts by Saidiya Hartman, Ngũgĩ wa Thiong’o, and others. Course costs will not exceed $15.
- Department: First-Year Writing @Barnard
- MW 5:40 p.m.-6:55 p.m.
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Instructor:
Sarah Schwartz
Info - 3 points
ATTENTION!
Attention is the foundation of investigation, action, and intention. It means concentration and deliberation. It can also mean distraction and confusion. Quietly reading a difficult work of literature, puzzling over a math problem, revising a paper for class, or cooking an elaborate meal are forms of attention. So is endlessly scrolling through social media, binge-watching a television series, or strolling aimlessly through the city. Where and how we use our attention is the foundation, the bedrock, of nearly everything we think and do. It is therefore unsurprising that gathering and directing our attention is also an enormous, lucrative industry. In this course we will study the science and philosophy of attention alongside the history of the "attention economy" and evolving techniques and technologies of attention harvesting. We will explore these subjects while reflecting upon and writing about our own habits of paying attention. By paying attention to attention, we will nurture a brighter awareness of the many interests vying for our time, mental engagement, money, our very lives, and of our abilities to scrutinize, critically examine, or resist our entrapment within the modern attention industry.
- Department: First-Year Writing @Barnard
- TR 10:10 a.m.-11:25 a.m.
- TR 11:40 a.m.-12:55 p.m.
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Instructor:
Nathan Gorelick
Info - 3 points
BALLET I
This course is designed for the absolute beginner or the student returning to ballet class after a lengthy hiatus and is intended to familiarize the student with the classical ballet terminology, to foster independence in this particular vocabulary, to introduce the historical context of the Western art form and conventions of a ballet class. Learning the physical practice of this centuries-old craft will give the student basic classical ballet terminology as well as gaining an anatomical understanding of the body.
- Department: Dance @Barnard
- MW 9 a.m.-10 a.m.
- MW 10:10 a.m.-11:25 a.m.
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Instructor:
Kate A Glasner
CULPA: 31
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Instructor:
Vincent McCloskey
CULPA: 2 Info - 2 points
CONTESTED TRUTHS: MEMORY, AUTHORITY AND
This class examines the ways that a historical event can be remembered and described differently by direct participants, and how personal biases, such as race, gender and class, affect the process of recollection and narration. Some of the texts that will be read and discussed include Sara Collins’
The Confessions of Frannie Langton
, Ian McEwan’s
Atonement
, and Alison Bechdel's
Fun Home
, among others. Our analysis of these texts will be augmented by theoretical works drawn from sociology and literary studies.
- Department: First-Year Writing @Barnard
- MW 8:40 a.m.-9:55 a.m.
- MW 10:10 a.m.-11:25 a.m.
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Instructor:
Benjamin M Breyer
CULPA: 13
Info
- 3 points
BALLET II
Ballet II
- Department: Dance @Barnard
- MW 10:10 a.m.-11:25 a.m.
- TR 2:40 p.m.-3:55 p.m.
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Instructor:
Kate A Glasner
CULPA: 31
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Instructor:
Nicole D Robertson
Info - 2 points
THE TEENAGE STRANGE
Teenagers inhabit a strange land: in exile from childhood, still immigrating to adulthood. How have different writers mapped the liminal territory of the teenage experience? In this class, we will step away from the rich tradition of realistic Coming-of-Age narratives and explore how genre frameworks—including speculative, horror, fairy tale, gothic, and quest traditions—have been used to illuminate the Teenage Strange. How have writers used the strangeness of genre to render this slice of time? How does genre capture the teenage intersection between public and private inquiry—between larger questions about the world, and more private questions about the self? How does genre construct questions about fear, desire, rage, shame, power, culture, and love? How does it deconstruct reality so it can be seen, investigated, and felt? Readings may include work by Octavia Butler, A.S. King, Angela Carter, Carmen Maria Machado, Shirley Jackson, Joan He, Francesca Lia Block, Kelly Link, Viktor Shklovsky, Ursula K. LeGuin, Akwaeke Emezi, and others.
- Department: First-Year Writing @Barnard
- TR 11:40 a.m.-12:55 p.m.
- TR 10:10 a.m.-11:25 a.m.
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Instructor:
Emily K Austin
Info - 3 points
WOMEN ON THE VERGE
A HISTORY OF SEXUALITY
The "Mad Woman" is an archetype with enduring appeal in storytelling. Inimical forces conspire to curb her agency or prohibit the pursuit of her desires; how does she survive or strike back from such a disadvantaged position? How is her “madness” represented as the effect of her oppression and a consequence of her femininity? How does she weaponize the very terms by which her existence is disqualified? Moreover, under what conditions does she subject others to the same suffering imposed on her, and to what cost? This course considers the ways women of all kinds negotiate life “on the verge,” in states of extreme precarity or with the threat of violence lurking around them. What do their complicities, rebellions, and fantasies reveal about sexual difference materialized within patriarchal societies? To be “on the verge” is to hover in a liminal space between “here” and “there,” perhaps to be even something not quite human. This unique vantage point offered by this eclectic collection of women will orient our critical approach to this seminar. Possible texts include Euripides’s
Medea
, Aeschylus’s
Oresteia
cycle, Valerie Solanas’s
SCUM Manifesto
, Andrea Dworkin’s
Right-wing Women
, Toni Morrison’s
Beloved
, Pedro Almodóvar’s
Women on the Verge of a Nervous Breakdown
, and Coralie Fargeat’s
The Substance
.
- Department: First-Year Writing @Barnard
- MW 11:40 a.m.-12:55 p.m.
- MW 1:10 p.m.-2:25 p.m.
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Instructor:
Andrew Ragni
Info - 3 points
ARTS OF RESISTANCE
How can the arts, particularly the literary arts, serve as tools for liberation and social change? How can writing be an act of defiance against forces of oppression? In this class, we will engage with texts that challenge dominant ideologies, resist oppressive structures, and envision new communities. We will attend to subtle and overt subversion in both the form and content of the works we discuss. The literary and theoretical works we read will provide models for creative intervention in public conversations around race, gender, sexuality, and class. Literary works may include works by Layli Long Soldier, Hala Alyan, Solmaz Sharif, Jamaica Kincaid, Sandra Cisneros, Octavia Butler, Isabel Allende, and others. Theory may include writings by Saidiya Hartman, Toni Morrison, Frantz Fanon, Judith Butler, Laura Mulvey, Audre Lorde, bell hooks, and others.
- Department: First-Year Writing @Barnard
- TR 1:10 p.m.-2:25 p.m.
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Instructor:
Alexandra P Watson
CULPA: 16 Info - 3 points
Origins and Meaning: Independent Study
Origins and Meaning: Ind.
The proposed independent study is a one-semester course that is in dialogue with the Origins
and Meaning, Physics UN1111. Students in the independent study will further explore various
issues raised in Origins and Meaning by (a) meeting once per week with the instructor, (b)
completing a selection of readings and viewings, and (c) completing an end-of-term writing
assignment.
- Department: Physics
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Instructor:
Brian Greene
CULPA: 9
Wikipedia
Info
- 1 points
PRINCIPLES OF ECONOMICS-DISC
Required Discussion section for ECON UN1105 Principles of Economics
- Department: Economics
- 0 points
Identity and Theory in American Literatu
Identity and Theory in US
In this course, we will explore a handful of contemporary literary texts written by marginalized authors through the lens of fundamental theoretical concepts in the Humanities. Over the course of the semester, we will ask: how does identity animate American literary texts, both when explicitly named and dealt with by marginalized authors, or unnamed and neutralized by majority group authors who do not tackle questions of identity? We will probe the multifaceted ways in which identity is visible and invisible in contemporary American literature, and how authors of color, queer and trans authors, and disabled authors have faced off with canonization itself. The class will engage fundamental scholarship on race, gender, disability, class, and culture in order to better understand how identity is used as a literary tool, both as it upholds societal norms and/or challenges it. Readings will likely include theoretical works by authors such as Judith Butler and Kevin Quashie, and literary works by authors such as James Baldwin and Eli Clare.
- Department: First-Year Writing @Barnard
- MW 4:10 p.m.-5:25 p.m.
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Instructor:
Samuel Davis
Info - 3 points
BEGINNING NONFICTION WORKSHOP
Prerequisites: No prerequisites. Department approval NOT required. The beginning workshop in nonfiction is designed for students with little or no experience in writing literary nonfiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually submit their own writing for the critical analysis of the class. Outside readings supplement and inform the exercises and longer written projects.
- Department: Writing
- R 12:10 p.m.-2 p.m.
- R 6:10 p.m.-8 p.m.
- W 6:10 p.m.-8 p.m.
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Instructor:
Ade Khan
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Instructor:
Diana M Heald
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Instructor:
Emma W Decamp
Info - 3 points
ENVIRONMENTAL RISKS & DISASTERS
Prerequisites: high school science and math. An introduction to risks and hazards in the environment. Different types of hazards are analyzed and compared: natural disasters, such as tornados, earthquakes, and meteorite impacts; acute and chronic health effects caused by exposure to radiation and toxic substances such as radon, asbestos, and arsenic; long-term societal effects due to environmental change, such as sea level rise and global warming. Emphasizes the basic physical principles controlling the hazardous phenomena and develops simple quantitative methods for making scientifically reasoned assessments of the threats (to health and wealth) posed by various events, processes, and exposures. Discusses methods of risk mitigation and sociological, psychological, and economic aspects of risk control and management.
- Department: Earth and Environmental Sciences
- TR 10:10 a.m.-11:25 a.m.
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Instructor:
Goran Ekstrom
CULPA: 10 h-index: 76 Info - 3 points
INTRO-ELECTRICAL ENGINEERING
Basic concepts of electrical engineering. Exploration of selected topics and their application. Electrical variables, circuit laws, nonlinear and linear elements, ideal and real sources, transducers, operational amplifiers in simple circuits, external behavior of diodes and transistors, first order RC and RL circuits. Digital representation of a signal, digital logic gates, flipflops. A lab is an integral part of the course. Required of electrical engineering and computer engineering majors.
- Department: Electrical Engineering
- TR 4:10 p.m.-5:25 p.m.
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Instructor:
David G Vallancourt
CULPA: 28
Info
- 3.5 points
CALCULUS III
Prerequisites: MATH UN1101 or the equivalent Vectors in dimensions 2 and 3, complex numbers and the complex exponential function with applications to differential equations, Cramers rule, vector-valued functions of one variable, scalar-valued functions of several variables, partial derivatives, gradients, surfaces, optimization, the method of Lagrange multipliers. (SC)
- Department: Mathematics @Barnard
- MW 10:10 a.m.-11:25 a.m.
- MW 8:40 a.m.-9:55 a.m.
- MW 11:40 a.m.-12:55 p.m.
- MW 2:40 p.m.-3:55 p.m.
- TR 11:40 a.m.-12:55 p.m.
- TR 1:10 p.m.-2:25 p.m.
- TR 2:40 p.m.-3:55 p.m.
- TR 4:10 p.m.-5:25 p.m.
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Instructor:
Wenjian Liu
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Instructor:
Deeparaj Bhat
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Instructor:
Brian Harvie
Info - 3 points