INTERMEDIATE POETRY WORKSHOP

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

• Department: Writing
• M 12:10 p.m.-2 p.m.
• Instructor: Alexander Dimitrov
  Info
• 3 points

INTERMEDIATE ARMENIAN I

Prerequisites: MDES UN1301 and MDES UN1302 or the equivalent. A continuation of the study of reading, writing and speaking of Armenian. In Intermediate Armenian I, students learn to communicate about a wide range of topics. Such topics include biographical narration, cooking and recipes, health and well-being, holidays and celebrations, travel and geography, etc. At this level, students continue to develop their skills in reading, writing, speaking, and listening while perfecting the grammatical concepts to which they were introduced in the first year. No P/D/F or R credit is allowed for this class.

• Department: Middle Eastern, South Asian and African Studies
• MW 3:50 p.m.-5:30 p.m.
• Instructor: Charry Karamanoukian
  Info
• 4 points

INTRO TO JUDAISM

A historical overview of Jewish belief and practice as these have crystallized and changed over the centuries. Special attention to ritual and worship, the forms of religious literature, central concepts, religious leadership and institutions, Israel among the nations.

• Department: Religion @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Beth A Berkowitz
  CULPA: 2 h-index: 6 Info
• 3 points

HINDUISM

Considers efforts since 1900 to synthesize a coherent understanding of what Hinduism entails, sometimes under the heading of sanatana dharma. Using a rubric provided by the Bhagavad Gita, explores philosophical/theological (jnana), ritual (karma), and devotional (bhakti) aspects of Hindu life and thought.

• Department: Religion @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: John S Hawley
  CULPA: 28 Info
• 4 points

APPROACHES TO POETRY

Prerequisites: No prerequisites. Department approval NOT required. One advantage of writing poetry within a rich and crowded literary tradition is that there are many poetic tools available out there, stranded where their last practitioners dropped them, some of them perhaps clichéd and overused, yet others all but forgotten or ignored. In this class, students will isolate, describe, analyze, and put to use these many tools, while attempting to refurbish and contemporize them for the new century. Students can expect to imitate and/or subvert various poetic styles, voices, and forms, to invent their own poetic forms and rules, to think in terms of not only specific poetic forms and metrics, but of overall poetic architecture (lineation and diction, repetition and surprise, irony and sincerity, rhyme and soundscape), and finally, to leave those traditions behind and learn to strike out in their own direction, to write -- as poet Frank OHara said -- on their own nerve.

• Department: Writing
• M 6:10 p.m.-8 p.m.
• Instructor: Quincy Jones
  Info
• 3 points

TRADITIONS IN POETRY

Prerequisites: No prerequisites. Department approval NOT required. 

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

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

 

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

 

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

• Department: Writing
• W 4:10 p.m.-6 p.m.
• Instructor: Latif A Ba
  Info
• 3 points

EAR-TRAINING I

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

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

EAR-TRAINING II

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

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

HINDUISM - DISCUSSION

• Department: Religion @Barnard
• W 4:10 p.m.-5 p.m.
• W 5:10 p.m.-6 p.m.
• R 4:10 p.m.-5 p.m.
• R 5:10 p.m.-6 p.m.
• Instructor: John S Hawley
  CULPA: 28 Info
• 0 points

MUSIC THEORY I

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

• Department: Music
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Peter M Susser
  CULPA: 20 Info
• 3 points

MUSIC THEORY II

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

• Department: Music
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Cheng W Lim
  Info
• 3 points

Introduction to Music Cognition

Intro to Music Cognition

The aim of music cognition is to understand the musical mind. This course is an introduction to a variety of key topics in this field, including human development, evolution, neural processing, embodied knowledge, memory and anticipation, cross-cultural perspectives, and emotions. The course explores recent research on these topics, as well as ways in which this research can be applied to music scholarship. Readings are drawn from fields as diverse as music theory, psychology, biology, anthropology, and neuroscience, and include general works in cognitive science, theoretical work focused on specific musical issues, and reports of empirical research.

• Department: Music
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Mariusz Kozak
  CULPA: 4 h-index: 5 Info
• 3 points

ECON & FIN MTHDS FOR SDEV

Prerequisites: Principles of Economics and one semester of calculus. The objective of this course is to introduce students to the skills and methods necessary to understand and evaluate the economic and financial aspects of sustainable development. Throughout the course, students will compare competing objectives and policies through the prism of economic & financial reasoning. Environmental economics and finance are broad areas covering all the multi-faceted and complex interactions between the economic system and the natural environment. Financial markets are the primary source of signals used to direct economic activity in a capitalist global economy. Economic activity is the primary determinant of the quality and sustainability of the natural environment. Students interested in sustainable development who are unfamiliar with economics and who do not develop a facility with economic and financial concepts are severely handicapped in their efforts to increase the level of environmental responsibility embedded in economic activity. This course is intended to provide students with a flying introduction to key analytical concepts required to understand topics in environmental economics and finance and to introduce them to selected topics within the field. The first part of the course (the Analytical Toolbox) is designed to provide a set of portable skills for two sets of students: a) those who will work in fields specifically devoted to sustainable development who, as part of their work, will need to engage with sources of economic & financial information and with discourses where sustainable development is not a focus; and b) students who may end up following careers in organizations where sustainability is not the primary objective. The topics and readings in the second part of the course were chosen to facilitate a critical engagement with the broad intellectual framework underlying sustainable development from the perspective of economics and finance. The topics are intended to create a community of intellectual discourse on sustainable development that will spill over beyond the classroom to the conversations of students and alumni that will far outlive graduation. Offered in the Fall.

• Department: Earth Institute
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Satyajit Bose
  CULPA: 4 Info
• 3 points

COLONIAL ENCOUNTERS

Examines the shaping of European cultural identity through encounters with non-European cultures from 1500 to the post-colonial era. Novels, paintings, and films will be among the sources used to examine such topics as exoticism in the Enlightenment, slavery and European capitalism, Orientalism in art, ethnographic writings on the primitive, and tourism.

• Department: History @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Lisa Tiersten
  CULPA: 45 Info
• 3 points

COLONIAL ENCOUNTERS

Examines the shaping of European cultural identity through encounters with non-European cultures from 1500 to the post-colonial era. Novels, paintings, and films will be among the sources used to examine such topics as exoticism in the Enlightenment, slavery and European capitalism, Orientalism in art, ethnographic writings on the primitive, and tourism.

• Department: Auditing
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Lisa Tiersten
  CULPA: 45 Info
• 0 points

SCIENCE FOR SUSTAINABLE DEVPT

The course provides students with an understanding of Earth's natural systems that is essential to addressing the multi-faceted issues of sustainable development.  After completing the course, students should be able to incorporate scientific approaches and perspectives into their research in other fields or policy decisions and be able to use scientific methods of data analysis.  The semester will highlight the climate system and solutions from both physical and ecological perspectives; water resources; food production and the cycling of nutrients; and the role of biodiversity in sustainable development.  The course emphasizes key scientific concepts such as uncertainty, experimental versus observational approaches, prediction and predictability, the use of models, and other essential methodological aspects.

• Department: Earth and Environmental Sciences
• TR 2:40 p.m.-3:55 p.m.
• 3 points

MODERN III

Modern III continues training in contemporary/modern technique for the beginning-intermediate  level dancer, emphasizing alignment and musicality while expanding on the dancer’s physical and  intellectual understanding of articulation, phrasing, dynamics, performance and focus. Our class  will incorporate relevant principals from classical modern techniques along with contemporary  aesthetics, improvisation and reflection. Our class aims to create a space that is in support of your  artistic development, aesthetic fluency, and creative explorations as a dancer

• Department: Dance @Barnard
• TR 10:10 a.m.-11:25 a.m.
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Tamisha Guy
  Info
• Instructor: Francesca Dominguez
  Info
• 0-1 points

MODERN IV

Modern IV is a contemporary technique class for the intermediate to advanced-intermediate level  dancer, emphasizing alignment and musicality while expanding on the dancer’s physical and  intellectual understanding of articulation, phrasing, dynamics, performance, and focus. Our class  will incorporate relevant principles from classical modern techniques with contemporary  aesthetics, improvisation, and reflection. Our class aims to create a space that is in support of your  technical and aesthetic development as a dancing practitioner, performer, and creator.

• Department: Dance @Barnard
• MW 10:10 a.m.-11:25 a.m.
• F 1 p.m.-2:50 p.m.
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Caroline Fermin
  Info
• Instructor: Jodi Melnick
  CULPA: 3 Info
• Instructor: Marjorie Folkman
  CULPA: 2 Info
• 0-1 points

EVERYDAY COMMUNISM

This lecture course comparatively and transnationally investigates the twentieth-century communism as a modern civilization with global outreach. It looks at the world spread of communism as an ideology, everyday experience, and form of statehood in the Soviet Union, Europe, Asia (Mao’s China), and post-colonial Africa. With the exception of North America and Australia, communist regimes were established on all continents of the world. The course will study this historical process from the October Revolution (1917) to the Chernobyl nuclear disaster (1986), which marked the demise of communist state. The stress is not just on state-building processes or Cold War politics, but primarily on social, gender, cultural and economic policies that shaped lived experiences of communism. We will closely investigate what was particular about communism as civilization: sexuality, materiality, faith, selfhood, cultural identity, collective, or class and property politics. We will explore the ways in which “ordinary people” experienced communism through violence (anti-imperial and anti-fascist warfare; forced industrialization) and as subjects of social policies (gender equality, family programs, employment, urban planning). By close investigation of visual, material and political representations of life under communism, the course demonstrates the variety of human experience outside the “West” and capitalist modernity in an era of  anti-imperial politics, Cold War, and decolonization, as well as current environmental crisis.

• Department: History
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Malgorzata Mazurek
  CULPA: 2 Info
• 4 points

DISC - Everyday Communism

DISCUSSION SECTION for HIST UN 2336 Everyday Communism

• Department: History
• Instructor: Ella M Coon
  Info
• 0 points

INTRO TO INDIAN CIVILIZATION

Introduction to Indian civilization with attention to both its unity and its diversity across the Indian subcontinent. Consideration of its origins, formative development, fundamental social institutions, religious thought and practice (Vedic, Buddhist, Jain, Hindu, Muslim, and Sikh), literary and artistic achievements, and modern challenges.

• Department: Asian and Middle East @Barnard
• TR 8:40 a.m.-9:55 a.m.
• Instructor: Rachel McDermott
  CULPA: 37 Info
• 4 points

ANCIENT NEAR EASTERN LITERATURE

This colloquium is a course on many influential texts of literature from Ancient Near Eastern cultures, including Sumerian, Egyptian, Babylonian, Assyrian, Hittite, Canaanite, and others. The emphasis is on investigating the literary traditions of each culture – the subject matter, form, methods, and symbolism– that distinguish them from one another and from later traditions of the Middle East. The course is not
a “civilization” course, nor is it a history class, although elements of culture and history will be mentioned as necessary. The course is intended to provide a facility with, and an awareness of, the content and context of ancient works of literature in translation from the Ancient Middle East.

Students in this course will gain a familiarity with the major cultures of the Ancient Middle East, the best known and most remarked upon stories, and the legacy of those works on some later traditions. The course is organized thematically in order to facilitate comparison to the materials in similar courses at Barnard and Columbia. The approach will be immediately familiar to students who have previously taken Asian Humanities (AMEC) or Literature-Humanities (Core), but the course does not require any previous experience with literature or the Ancient Near East and is open to everyone.

All assigned readings for the course will be in English. The course meets once a week and sessions are two hours long.

• Department: Asian and Middle East @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Nathanael P Shelley
  CULPA: 6 Info
• 4 points

INTRO TO AUDIO STORYTELLING

LEC - INTRO TO AUDIO STOR

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

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

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

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

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

CONTEMPORARY BIOLOGY I

Prerequisites: one year of college chemistry or the written permission of either the instructor or the premedical adviser is required. Recommended as the introductory biology course for science majors who have completed a year of college chemistry and premedical students. The fundamental principles of biochemistry, molecular biology, and genetics. Website: http://www.columbia.edu/cu/biology/courses/c2005/index.html. SPS and TC students may register for this course, but they must first obtain the written permission of the instructor, by filling out a paper Registration Adjustment Form (Add/Drop form). The form can be downloaded at the URL below, but must be signed by the instructor and returned to the office of the registrar. registrar. http://registrar.columbia.edu/sites/default/files/content/reg-adjustment.pdf

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

PLTCS CRIME& POLICING IN U.S.

This course will examine the historical development of crime and the criminal justice system in the United States since the Civil War. The course will give particular focus to the interactions between conceptions of crime, normalcy and deviance, and the broader social and political context of policy making.

• Department: History @Barnard
• MW 6:10 p.m.-7:25 p.m.
• Instructor: Matthew Vaz
  Info
• 3 points

INTERMEDIATE SANSKRIT I

Prerequisites: Elementary Sanskrit II or instructor permission. This course constitutes the first half of a year-long reading course designed to give students the tools necessary for advanced study in Classical Sanskrit. Readings in epic (itihasa), poetry (kavya), systematic thought (sastra), and commentary (vyakhyana) will introduce students to a variety of important genres and their distinctive conventions. A focus upon the Sanskrit tradition’s own categories of analysis—grammatical, commentarial, and prosodic—will enable students to begin to make sense of original Sanskrit texts as generations of the tradition’s own readers have. No P/D/F or R credit is allowed for this class.

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

INTRO TO AUDIO STORYTELLING

INTRO TO AUDIO STORY DISC

Required discussion section for WRIT UN2400 Around the Fire: Introduction to Audio Storytelling

• Department: Writing
• F 11:10 a.m.-noon
• F 2:10 p.m.-3 p.m.
• 0 points

LAB IN WRITING FILM CRITICISM

Lab in Writing Film Criticism 

This course will focus on writing fresh, original criticism, on developing an individual voice, and on creating strong arguments supporting your ideas (qualities that translate to many areas, from reviewing to pitching a film project). Screenings in and outside class will be followed by discussion and in-class writing exercises, as well as regular writing assignments. How do you choose an effective critical approach? How do you make your opinions vivid and convincing on the page? We will also analyze recent criticism and consider the changing landscape of film criticism today.

Prerequisite:
Instructor’s permission. Submit a short, film-related sample to cj2374@columbia.edu
Note: Because permission is required, on-line registration may say the course is full when it is not. Priority given to film majors.

• Department: Film
• M 1:10 p.m.-3:40 p.m.
• Instructor: Caryn James
  Wikipedia Info
• 3 points

STATISTICS FOR ECONOMICS

Elementary computational methods in statistics. Basic techniques in regression analysis of econometric models. One-hour weekly recitation sessions to complement lectures.

• Department: Economics @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Randall Reback
  CULPA: 17 h-index: 14 Info
• 4 points

18TH CENTURY ART IN EUROPE

This course will examine the history of art in Europe from the late seventeenth to the early nineteenth century. This was a period of dramatic cultural change, marked by, among other things, the challenging of traditional artistic hierarchies; increased opportunities for travel, trade, and exchange; and the emergence of “the public” as a critical new audience for art. Students will be introduced to major artists, works, and media, as well as to key themes in the art historical scholarship. Topics will include: the birth of art criticism; the development of the art market; domesticity and the cult of sensibility; the ascension of women artists and patrons; and the visual culture of empire, slavery, and revolution. The emphasis will be on France and Britain, with forays to Italy, Spain, Germany, India, America, and elsewhere.

• Department: Art History and Archaeology
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Frederique Baumgartner
  CULPA: 3 Info
• 3 points

SECOND YEAR CLASSICAL TIBETAN I

n/a

• Department: East Asian Languages and Cultures
• TR 2:10 p.m.-4 p.m.
• Instructor: Sonam Tsering Ngulphu
  Info
• 4 points

UNITED STATES 1940-1975

Emphasis on foreign policies as they pertain to the Second World War, the atomic bomb, containment, the Cold War, Korea, and Vietnam. Also considers major social and intellectual trends, including the Civil Rights movement, the counterculture, feminism, Watergate, and the recession of the 1970s.

• Department: History @Barnard
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Mark C Carnes
  CULPA: 50 Info
• 3 points

UNITED STATES 1940-1975

Emphasis on foreign policies as they pertain to the Second World War, the atomic bomb, containment, the Cold War, Korea, and Vietnam. Also considers major social and intellectual trends, including the Civil Rights movement, the counterculture, feminism, Watergate, and the recession of the 1970s.

• Department: Auditing
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Mark C Carnes
  CULPA: 50 Info
• 0 points

History Painting and Its Afterlives

History Painting & Afterl

This course will study the problematic persistence of history painting as a cultural practice in nineteenth century Europe, well after its intellectual and aesthetic justifications had become obsolete. Nonetheless, academic prescriptions and expectations endured in diluted or fragmentary form. We will examine the transformations of this once privileged category and look at how the representation of exemplary deeds and action becomes increasingly problematic in the context of social modernization and the many global challenges to Eurocentrism. Selected topics explore how image making was shaped by new models of historical and geological time, by the invention of national traditions, and by the emergence of new publics and visual technologies. The relocation of historical imagery from earlier elite milieus into mass culture forms of early cinema and popular illustration will also be addressed.

• Department: Art History and Archaeology
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Jonathan K Crary
  CULPA: 11 Wikipedia Info
• 3 points

Indigenous History of North America - DI

Indigenous Hist N Amer -

Required discussion section for Indigenous History of North America (HIST UN1488)

• Department: History
• Instructor: Wyatt Reynolds
  Info
• 0 points

LABORATORY IN SCREENWRITING

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

• Department: Film
• M 6 p.m.-9 p.m.
• W 6 p.m.-9 p.m.
• F 2 p.m.-5 p.m.
• Instructor: Shan Jiang
  Info
• Instructor: Hazel C McKibbin
  Info
• Instructor: Javier H Cibils Madero
  Info
• 3 points

PRINTMAKING I: INTAGLIO

(Formerly R3401) Enables the student to realize concepts and visual ideas in a printed form. Basic techniques are introduced and utilized: the history and development of the intaglio process; demonstrations and instruction in line etching, relief, and dry point. Individual and group critiques. Portfolio required at end. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

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

STAGE MANAGEMENT

Prerequisites: Permission of the instructor, given at first class meeting. This course explores the role of the stage manager and production manager in theatrical production. Students undertake hands-on exercises to develop the practical and collaborative skills essential to working both as a stage manager and production manager--script analysis; production timeline and rehearsal management; technical rehearsal; budgeting; working with directors and designers; working with unions; health and safety codes; house management; box office.

• Department: Theatre @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Michael Banta
  Info
• 3 points

PRACTICUM SCENIC PAINT

PRACTICUM PROPS & PAINT

May be retaken for full credit. 

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

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

PRACTICUM LIGHTS & SOUND

May be retaken for full credit. 

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

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

PRACTICUM WARDROBE & RUN CREW

May be retaken for full credit. 

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

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

PRACTICUM STAGE MANAGEMENT

May be retaken for full credit. 

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

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

Twentieth-Century Architecture

20TH CENTURY ARCHITECTURE

This course examines some of the key moments of architectural modernity in the twentieth century in an attempt to understand how architecture participated in the making of a new world order. It follows the lead of recent scholarship that has been undoing the assumption that modern twentieth-century architecture is a coherent enterprise that should be understood through avant-gardist movements. Instead, architectural modernity is presented in this course as a multivalent, and even contradictory, entity that has nonetheless had profound impact on modernity. Rather than attempting to be geographically comprehensive, it focuses on the interdependencies between the Global North and the South; instead of being strictly chronological, it is arranged around a constellation of themes that are explored through a handful of projects and texts. Reading primary sources from the period under examination is a crucial part of the course.

• Department: Art History and Archaeology
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Zeynep Celik Alexander
  Info
• 4 points

PRACTICUM DESIGN & PRODUCTION ASSISTANT

PRACTICUM DESIGN ASSISTAN

May be retaken for full credit. 

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

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

DISC SEC Twentieth-Century Architecture

DISC SEC 20th C Architect

• Department: Art History and Archaeology
• T 12:10 p.m.-1 p.m.
• T 1:10 p.m.-2 p.m.
• W 11:10 a.m.-noon
• W 12:10 p.m.-1 p.m.
• Instructor: Maya Wilson-Sanchez
  Info
• 0 points

COGNITIVE NEUROSCIENCE

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

• Department: Psychology
• MW 8:40 a.m.-9:55 a.m.
• Instructor: Elif A Duman
  Info
• 3 points

PRINTMAKING I: RELIEF

(Formerly R3411) Printmaking I: Relief introduces woodcut and other relief techniques. Given the direct quality of the process, the class focuses on the students personal vision through experimentation with this print medium. Individual and group critiques. Portfolio required at end. If the class is full, please visit http://arts.columbia.edu/undergraduate-visual-arts-program.

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

Social Neuroscience

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

• Department: Psychology
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Jon B Freeman
  Wikipedia Info
• 3 points

Social Neuroscience

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

• Department: Auditing
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Jon B Freeman
  Wikipedia Info
• 0 points

POLITICAL HISTORY OF CONTEMPORARY AFRICA

POLI HIST OF CONTEMP AFRI

This course offers a survey of the poltiical history of contemporary Africa, with a focus on the states and societies south of the Sahara. The emphasis is on struggle and conflict—extending to war—and peace.

• Department: History
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Gregory Mann
  CULPA: 15 h-index: 13 Info
• 4 points

Political History of Contemporary Africa

Pol Hist of Contemporary

Discussion course for lecture UN2438 description below:

This course offers a survey of the political history of contemporary Africa, with a focus on the states and societies south of the Sahara.  The emphasis is on struggle and conflict - extending to war - and peace.

• Department: History
• Instructor: Kimaiyo Jepkoec Kimaiyo
  Info
• 0 points

INTRO AFRICAN-AMERCN HISTORY

Major themes in African-American History: slave trade, slavery, resistance, segregation, the New Negro, Civil Rights, Black Power, challenges and manifestations of the contemporary Color Line.General Education Requirement: Historical Studies (HIS).

• Department: History @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Celia E Naylor
  CULPA: 2 Info
• 3 points

PRINTMAKING I: SILKSCREEN

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

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

ORGANIC CHEMISTRY I-LECTURES

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

• Department: Chemistry
• MW 11:40 a.m.-12:55 p.m.
• TR 1:10 p.m.-2:25 p.m.
• MW 6:10 p.m.-7:25 p.m.
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Christopher Eckdahl
  Info
• Instructor: Virginia W Cornish
  CULPA: 47 Wikipedia h-index: 46 Info
• Instructor: Charles E Jr Doubleday
  Info
• Instructor: James Leighton
  CULPA: 15 Wikipedia h-index: 46 Info
• 4 points

ORGANIC CHEMISTRY - REC

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

ORGANIC CHEMISTRY - REC

• Department: Chemistry
• W 3:10 p.m.-4 p.m.
• W 4:10 p.m.-5 p.m.
• W 5:10 p.m.-6 p.m.
• W 6:10 p.m.-7 p.m.
• R 1:10 p.m.-2 p.m.
• R 6:10 p.m.-7 p.m.
• F 11:10 a.m.-noon
• F 12:10 p.m.-1 p.m.
• Instructor: Christopher Eckdahl
  Info
• 0 points

ORGANIC CHEMISTRY - REC

• Department: Chemistry
• M 3:10 p.m.-4 p.m.
• T 3:10 p.m.-4 p.m.
• R 3:10 p.m.-4 p.m.
• Instructor: Virginia W Cornish
  CULPA: 47 Wikipedia h-index: 46 Info
• 0 points

TAP II

• Department: Dance @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Dormeshia Sunbry-Edwards
  Info
• 0-1 points

ORGANIC CHEMISTRY - REC

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

Organic Chemistry I - Recitation

Organic Chemsitry I - Rec

Corequisites: TO BE ENROLLED IN UN2443 Section 004, YOU MUST REGISTER FOR UN2451 RECITATION

• Department: Chemistry
• M 4:10 p.m.-5 p.m.
• W 4:10 p.m.-5 p.m.
• W 5:10 p.m.-6 p.m.
• Instructor: James Leighton
  CULPA: 15 Wikipedia h-index: 46 Info
• 0 points

PILATES FOR DANCERS

Pilates for Dancers is a full-body, low impact exercise class based on the work of Joseph Pilates, including movement concepts from Rudolf von Laban and Irmgard Bartenieff. We’ll work on a yoga or Pilates mat doing exercises and movement sequences that build strength, flexibility, coordination and clarity in the body. The class is suitable for dancers, athletes and movement enthusiasts. A Pilates ring is highly recommended. A limited number of Pilates rings will be available in class.

This course may not be appropriate for those with spine, neck, and shoulder injuries.  If you have any of these types of injuries, kindly present a doctor’s note clearing you for participation in the class.

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

FELDENKRAIS FOR DANCERS

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

• Department: Dance @Barnard
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Carol Teitelbaum
  Info
• 0-1 points

DRUGS AND BEHAVIOR

Prerequisites: PSYC W1001 or PSYC W1010, or the equivalent. The effects of psychoactive drugs on the brain and behavior.

• Department: Psychology
• TR 8:40 a.m.-9:55 a.m.
• Instructor: Carl Hart
  CULPA: 43 Wikipedia h-index: 54 Info
• 3 points

ORGANIC CHEM. LAB I TECHNIQUES

Prerequisites: (CHEM UN1403 and CHEM UN1404) or (CHEM UN1604) and (CHEM UN1500 or CHEM UN1507) Corequisites: CHEM UN2443 Techniques of experimental organic chemistry, with emphasis on understanding fundamental principles underlying the experiments in methodology of solving laboratory problems involving organic molecules. Attendance at the first lab lecture and laboratory session is mandatory. Please note that CHEM UN2493 is the first part of a full year organic chemistry laboratory course. Students must register for the lab lecture section (CHEM UN2495) which corresponds to their lab section. Students must attend ONE lab lecture and ONE lab section every other week. Please contact your advisers for further information.

• Department: Chemistry
• M 1:10 p.m.-5 p.m.
• T noon-3:50 p.m.
• T 6:10 p.m.-10 p.m.
• W 1:10 p.m.-5 p.m.
• Instructor: Talha Siddiqui
  CULPA: 3 Info
• 0 points