PLAYWRITING II

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

• Department: English @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Kathleen Tolan
  CULPA: 1 Info
• 3 points

EXPERIMENTAL MECH OF MATERIALS

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

• Department: Civil Engineering and Engineering Mechanics
• F 1 p.m.-4 p.m.
• Instructor: Shiho Kawashima
  h-index: 24 Info
• 4 points

STORY WRITING II

Writing sample required to apply. Instructions and the application form can be found here: 
https://english.barnard.edu/english/creative-writing-courses
. Advanced workshop in writing, with emphasis on the short story. Some experience in the writing of fiction required. Conference hours to be arranged.

• Department: English @Barnard
• R 11 a.m.-12:50 p.m.
• Instructor: Nellie G Hermann
  Info
• 3 points

MOD ARCHITECTURE IN THE WORLD

Prerequisites: Designed for but not limited to sophomores; enrollment beyond 60 at the discretion of the instructor. 

Modern Architecture in the World is an introduction to different arenas in which architecture’s modern condition has been disputed in the last two centuries across different geographies. The course will address significant transformations in the built environment as well as the forms of practice, epistemic frameworks, and ideologies that led them. It will also attend to the forms of labor and economies that engendered new structures and organizations of space, the material resources and industries mobilized in their construction, the identities and forms of power they represented and imposed, the manifold embodiments that they hosted and shaped, the diverse socialites and politics they supported, and the ecologies they negotiated.

The course is organized around a number of key themes, with each class covering episodes spanning the whole period under consideration, up until the present. In this way, it will question the existence of a single line of development, a master narrative, or a teleological line of progress and will highlight instead the multiple, simultaneous, conflicting, and branching genealogies unfolding throughout the period. Students will gain knowledge of key buildings, artifacts, trends, and schools as they relate to those genealogies.

Each lecture will emphasize contending and shifting positions across geographies within the arenas explored, understanding hegemonic trends as well as dissenting positions. While different locations around the world will be highlighted in each class, the course positions modern architecture in the world by privileging an exploration of the cultural and material networks and hierarchies characteristic of the period—with attention to colonialism, coloniality, migration, resource extraction, and war, among others.

• Department: Architecture @Barnard
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Ignacio Gonzalez Galan
  Info
• 3 points

FICTION WRITING

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. 

Assignments designed to examine form and structure in fiction.

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

ADVANCED POETRY WRITING

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. Weekly workshops designed to generate and critique new poetry. Each participant works toward the development of a cohesive collection of poems. Readings in traditional and contemporary poetry will also be included.

• Department: English @Barnard
• W 4:10 p.m.-6 p.m.
• Instructor: Elisa Gonzalez
  Info
• 3 points

COLL:PROBLMS IN INTNL SECURITY

COLL:PROBLMS IN INT'L SECURITY

Prerequisites: POLS V1501 or POLS V1601 or the equivalent. Admission by application through the Barnard department only. Enrollment limited to 16 students. Barnard syllabus. Examination of causes and consequences of major current problems in international security. Topics will focus on state power dynamics: the rise of China and the reemergence of the Russian military, challenges facing NATO with the rise of populism and authoritarianism in the West, nuclear deterrence and proliferation, cyber conflict and information war, and chemical and biological weapons.

• Department: Political Science @Barnard
• T 10:10 a.m.-noon
• Instructor: Kimberly Marten
  CULPA: 71 Wikipedia h-index: 19 Info
• 4 points

SCREENWRITING FUNDAMENTALS

SCREENWRITING FUNDMENTALS

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

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

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

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

• Department: Film @Barnard
• W 12:10 p.m.-3 p.m.
• Instructor: Peter Nickowitz
  Info
• 3 points

ADVANCED SCREENWRITING

Prerequisite: FILM BC3201 or equivalent. First priority enrollment is given to senior Film Studies majors/concentrations. For more information on this semester's visiting instructor from the Artemis Rising Foundation Filmmaker Fellowship Program, visit: https://athenacenter.barnard.edu/arff

This screenwriting seminar provides students an in-depth understanding of the short form which will help them turn their ideas into a short film script (up to 10 pages in length). With a focus on studying contemporary international short films students will learn to write their own short screenplay, as well as learn to give and receive feedback and receive tips on revising their scripts. Homework assignments will include watching films, reading short stories, writing exercises and reading screenplays.

• Department: Film @Barnard
• W 5:10 p.m.-8 p.m.
• Instructor: Danielle T Douge
  Info
• 3 points

CENS/FREEDOM-EXPR-ERLY MOD EUR

• Department: History
• W 10:10 a.m.-noon
• Instructor: Elisheva Carlebach
  CULPA: 6 Wikipedia Info
• 4 points

FIGURE PAINTING

Prerequisites: VIAR R1000 and VIAR R2100. (Formerly R3210) Course provides the experience of employing a wide range of figurative applications that serve as useful tools for the contemporary artist. Non-Western applications, icon painting, and the European/American traditions are presented. 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
• W 10 a.m.-4 p.m.
• Instructor: David A Cruz
  Info
• 3 points

STRUCTURAL ANALYSIS

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

• Department: Civil Engineering and Engineering Mechanics
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Maria Q Feng
  CULPA: 3 h-index: 46 Info
• 3 points

PUBLIC SPEAKING

FIRST-YEAR PUBLIC SPEAKNG

Open only to undergraduates. 


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

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

PUBLIC SPEAKING

Open only to undergraduates. 


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

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

LITERATURE&CULTURES OF STRUGGLE IN S.AFR

Generations of resistance have shaped contemporary life in South Africa -- in struggles against colonialism, segregation, the legislated racism known as apartheid, and the entrenched inequalities of the post-apartheid era. Two constants in this history of struggle have been youth as a vanguard of liberation movements and culture as a weapon of struggle. As new generation of South African youth -- the born frees -- has now taken to the streets and social media to decolonize the university and claim their education as a meaningful right, this course traces the ways that generations of writers, artists, and activists have faced censorship, exile, and repression in an ongoing struggle to dismantle apartheid and to free the mind, the most powerful weapon in the hands of the oppressor according to Black Consciousness activist Steve Biko. This course traces the profoundly important roles that literature and other cultural production (music, photography, film, comics, Twitter hashtags like #rhodesmustfall and #feesmustfall) have played in struggle against apartheid and its lingering afterlife. Although many of our texts were originally written in English, we will also discuss the historical forces, including nineteenth-century Christian missions and Bantu Education, as well as South Africas post-1994 commitment to being a multilingual democracy, that have shaped the linguistic texture of South African cultural life.

• Department: Middle Eastern, South Asian and African Studies
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Jennifer Wenzel
  CULPA: 3 h-index: 15 Info
• 3 points

CRITICAL PERFORMANCES

This course occupies the intersection of two practices: making theory and making theatre. It presents theatre as a distinctively theoretical and material activity, one in which the stage practices of training and performance are understood to articulate theoretical and ideological attitudes about the world, and in which theoretical texts are understood to summon modes of theatrical being into presence.  In the course, students will undertake four distinctive activities: they will read plays; they will read theoretical texts, often having to do with performance; they will make several brief experimental critical performances; and they will write about performance as a mode of theoretical critique. The course is broken up into four main units, each of which opens with a critical response to a problem in the history of performance—the impact of realism, or of politics as theatre, for example—followed by a studio class, in which students experiment with the interaction between performance and conceptualization, and then returns to the seminar room for an accounting of how, how well, or whether this interaction was materialized. Plays have been selected in order to bring critical issues directly into focus. All students will participate in 4 experimental critical performances; write briefly about them, and undertake both a final performance and a longer critical essay analyzing the challenging interface between theoretical critique and critical performance. (This course counts as a lecture/seminar “studies” course for the Theatre major.)

• Department: Theatre @Barnard
• M 10:10 a.m.-noon
• 4 points

STRUCTURAL DESIGN

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

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

ADVANCED POETRY WRITING II

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. In this workshop, we will explore poetry writing as the pursuit and expression of a liberatory language– the language of our highest attention and freedom– shared between reader and writer, and consider the metaphysics and motivations for making meaning and making it our own. In addition to workshops, we will alternate between classes centered on formal and thematic explorations with others focusing on contemplative practices and our writing process. Readings will range diversely through eras and modes including works, among others, by Sun Buer, Audre Lorde, Hannah Emerson, Mei-Mei Berssenbrugge, and Mónica de la Torre.

• Department: English @Barnard
• F 12:10 p.m.-2 p.m.
• Instructor: Farnoosh Fathi
  Info
• 3 points

COMPUTER-AIDED STRUCTRL DESIGN

Corequisites: CIEN E3125. Introduction to software for structural analysis and design with lab. Applications to the design of structural elements and connections.

• Department: Civil Engineering and Engineering Mechanics
• T 4:10 p.m.-6:40 p.m.
• Instructor: Tom T Panayotidi
  CULPA: 3 Info
• 1 points

DESIGN PROJECTS

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

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

How to Write Funny

"Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die."   

--Mel Brooks 

"Comedy has to be based on truth. You take the truth and you put a little curlicue at the 

End."                                                                                                                --Sid Caesar 

"Analyzing humor is like dissecting a frog. Few people are interested and the frog dies of it."                                                                                                                                  --E.B. White 

 

"What is comedy? Comedy is the art of making people laugh without making them puke."                                                                                                                                       --Steve Martin 

"Patty Marx is the best teacher at Columbia University."

--Patty Marx 

O

• Department: Writing
• T 2:10 p.m.-4 p.m.
• Instructor: Patricia A Marx
  Info
• 3 points

HIST-WEST MUS:CLASSICAL-20TH CENTURY

Topics in Western music from the Classical era to the present day, focusing on the development of musical style and thought, and on analysis of selected works.

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

THE AMERICAN COWBOY AND THE ICONOGRAPHY

AMER COWBOY/ICONOG OF WES

This upper-level research-oriented seminar will study the all-American icon of the cowboy, with its signature embrace of masculinity, stoicism, elegiac music, and love of nature. We will read Cormac McCarthy’s
The Border Trilogy
and other works that emerge from this icon, watch a curated series of cowboy movies, and write critical essays.

• Department: English @Barnard
• M 2:10 p.m.-4 p.m.
• Instructor: Margaret R Ellsberg
  CULPA: 54 Info
• 4 points

E AFRICA & THE SWAHILI COAST

*This course provides an introduction to the social and cultural history of the Swahili coast and an overview of some of the major debates that have dominated this historiography.*

• Department: Middle Eastern, South Asian and African Studies
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Laura Fair
  h-index: 15 Info
• 3 points

Intermediate Computing in Python

INTERMDTE COMPUTING IN PY

Essential data structures and algorithms in Python with practical software development skills, applications in a variety of areas including biology,  natural language processing, data science and others.

• Department: Computer Science
• F 1:10 p.m.-3:40 p.m.
• Instructor: Jan Janak
  Info
• 4 points

THIRD-YEAR CONVERSATION FR II

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

• Department: French
• TR 11:40 a.m.-12:55 p.m.
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Alexandra Borer
  CULPA: 4 Info
• 2 points

NEW KIDS ON THE BLOCK

There’s a new cast of characters in American fiction: kids, teens, young adults who won’t grow up or grow up much too soon—kids of immigrants, most of them, millennials, a lot of them, and they’re telling stories, different stories, stories that dispel stereotypes and decenter the dominant, white gaze. In this seminar we will examine contemporary novels and short stories by immigrants and kids of immigrants that resist cliched diaspora narratives. Starting with the old guard that first defined immigrant writing, including Vladimir Nabokov and Sandra Cisneros, we’ll dig into how this genre has evolved in the 21st century first with Julie Otsuka and Jhumpa Lahiri, and, more recently, with Jenny Zhang, Jade Sharma, and Anthony Veasna So. Duty, guilt, grandmas, food, debt, intergenerational trauma and buried family secrets that rise from the dead will be ever-present, of course, but we’ll also find joy, absurdity, blasphemy, and other surprises as we study the distinct ways these authors reframe the immigrant experience and move beyond the lens of identity politics. Though our primary focus will be coming-of-age narratives, we’ll read numerous works from adult perspectives, too, grappling especially with the concept “anagnorisis” (Greek: “recognition”), which, in literary works, is a character’s often startling discovery of their true identity. Throughout the course we’ll use what we learn to produce new creative work biweekly, all while envisioning and executing ways to ultimately recast the “other” in our own fiction.

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

DATA STRUCTURES IN JAVA

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

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

CREATIVE NON-FICTION

CREAT NON-FIC: LIKE IT IS

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.

In this class, you'll write two personal essays, about fifteen pages each. We'll spend each class discussing two student essays and one published essay. My goal in this class--besides building a community of people to talk about writing together--is for each student to figure out what drives them to write, what they're most driven to write about, and how their mind works. I like to find and bring out each student's strengths as a writer, storyteller, thinker. 

I'm a comics artist (long-form) and cartoonist (short-form), and I encourage anyone with an interest in making comics or other kinds of visual narratives to do so. I can offer help with very nuts and bolts things like materials and computer programs, as well as help telling a clear story in a sometimes complicated medium. 

I don't think there are clear, universal boundaries between non-fiction and fiction, personal essay and journalistic essay, fact and story (in a creative writing context, I mean!), long-form and short-form, written word and other modes of communication - and I like for students to start to figure out their own personal differentiations and definitions. 

Homework for this class is mostly reading. There's also a quick weekly writing assignment, graded pass/fail, just to keep you writing regularly. In our workshops, we go over the essays in draft form. I don't grade the essays until they're officially turned in at the end of the semester.

• Department: English @Barnard
• R 2:10 p.m.-4 p.m.
• Instructor: Liana Finck
  CULPA: 3 Info
• 3 points

CREATIVE NON-FICTION

CREAT NON-FIC: REAL LIFE

Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.

In this class, you'll write two personal essays, about fifteen pages each. We'll spend each class discussing two student essays and one published essay. My goal in this class--besides building a community of people to talk about writing together--is for each student to figure out what drives them to write, what they're most driven to write about, and how their mind works. I like to find and bring out each student's strengths as a writer, storyteller, thinker. 

I'm a comics artist (long-form) and cartoonist (short-form), and I encourage anyone with an interest in making comics or other kinds of visual narratives to do so. I can offer help with very nuts and bolts things like materials and computer programs, as well as help telling a clear story in a sometimes complicated medium. 

I don't think there are clear, universal boundaries between non-fiction and fiction, personal essay and journalistic essay, fact and story (in a creative writing context, I mean!), long-form and short-form, written word and other modes of communication - and I like for students to start to figure out their own personal differentiations and definitions. 

Homework for this class is mostly reading. There's also a quick weekly writing assignment, graded pass/fail, just to keep you writing regularly. In our workshops, we go over the essays in draft form. I don't grade the essays until they're officially turned in at the end of the semester.

• Department: English @Barnard
• R 6:10 p.m.-8 p.m.
• Instructor: Christine M Smallwood
  Info
• 3 points

Painting: Color, Materials and Technique

Pntng: Color, Materials &

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

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

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

BUILDING BETTER WORLDS

As 20th century literary traditions prove increasingly ill-equipped to capture the realities of 21st century life, readers look towards fictional worlds for inspiration and escape from the political chaos of day-to-day existence. When we write we shape the world, because the worlds we imagine impact the world we inhabit. But what does it mean for a writer to 'build a world?' What obligations does the creator of a fiction have to readers who inhabit a world they wish to escape? Are the worlds we build for escape always political? Can we build another world as an avenue to better understand this one?

In this seminar we will explore the concept of "world building" by looking at a variety of work from authors who are known for their immense secondary worlds (such as J.R.R. Tolkein, Ursula K. Le Guin, N.K. Jemisin, or Octavia Butler) but also at fiction that applies techniques of both immersion and politics in ways that may subvert our understanding of what it means to 'create.' Writers discussed are as wide ranging as Toni Morrison, Angela Carter, Gabriel Garcia Marquez, Margaret Atwood, Shirley Jackson, Ray Bradbury, Clive Barker, all the way up to contemporary writers whose works populate our best loved Independent bookstores: Helen Oyeyemi, Victor LaValle, Ted Chiang, Marlon James, Jeff VanderMeer, Colson Whitehead, Salman Rushdie, Carmen Maria Machado, Alexandra Kleeman, or Nana Kwame Adjei-Brenyah.

• Department: Writing
• W 4:10 p.m.-6 p.m.
• Instructor: Molly L McGhee
  Info
• 3 points

Zora Neale Hurston: A Writing Life

On her “Record of Freshman Interest” form, Zora Neale Hurston, Barnard class of 1928, wrote in response to the question of what vocation or profession she had in mind after graduation, “I have had some small success as a writer and wish above all to succeed at it. Either teaching or social work would be interesting, but consolation prizes.”  No consolation prize was necessary as Hurston became one of American and African American literature’s finest writers, America’s first Black anthropologist, and a Black feminist ancestor and icon. A deep dive into Hurston’s work and writing life, this course reads Hurston as a narrative stylist and theorist in multiple genres: as poet, essayist, writer of short stories, novelist, playwright, folklorist, and memorist. The goal of this class is to read Hurston closely and widely and to identify and examine her aesthetic philosophy and stylistic choices as one of the first African American women able to have a writing “career.” We will concentrate on her work from the 1920s through the 1930s, when she was at Barnard, and a leading figure in the Harlem/New Negro Renaissance.

In her time, Hurston was adamant about writing for and about people like herself; she saw ordinary black people as keepers of a rich culture that should be celebrated and shared.  In this spirit, the assignments for this course will lead to final digital projects that can be shared with the Barnard community in anticipation of the centennial of Hurston’s matriculation and graduation from Barnard (1925-1928).  We will partner with the Digital Humanities Center at Barnard, as well as Barnard Archives; we will engage resources at Barnard, such as Hurston-focused issues of
The Scholar and Feminist Online
, and other institutions, such as Columbia’s Rare Book Collection, the Schomburg Center for Research in Black Culture, and the Library of Congress. No prior experience with digital tools is necessary.

• Department: Africana Studies (AFSB)
• T 10:10 a.m.-noon
• Instructor: Monica L Miller
  CULPA: 10 Info
• 4 points

NOT EXACTLY SCIENCE FICTION

MORE THAN SCIENCE FICTION

In this course we will explore the possibilities of scientific language and ideas both as literature and in literature. The texts we will consider will range from science fiction, to writings by scientists, to nature writing, and much else. We will also consider works that might at first appear unrelated to scientific thinking, such as folk tales, mysteries, and fantastical stories. Special attention will be paid to the special effects generated by scientific language when it appears near other styles of expression. Students will also be responsible for four short creative assignments inspired by the readings, as well as a brief in-class presentation.

• Department: Writing
• T 10:10 a.m.-noon
• Instructor: Rivka R Galchen
  CULPA: 6 Info
• 3 points

AFFECT AND ACTIVISM

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

• Department: Women's, Gender, Sexuality Studies @Barnard
• W 12:10 p.m.-2 p.m.
• Instructor: Manijeh Moradian
  Info
• 4 points

BALLET V

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

• Department: Dance @Barnard
• MW 4:10 p.m.-5:25 p.m.
• TR 8:40 a.m.-9:55 a.m.
• Instructor: Nicole D Robertson
  Info
• Instructor: Kate A Glasner
  CULPA: 31 Info
• 0-1 points

MODERN AMERICAN DRAMA & PERFORMANCE

MOD AMERCN DRAMA & PERFOR

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

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

INTRODUCTION VOCAL REPERTOIRE

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

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

VOCAL REPERTOIRE, TECHNIQUE

VOCAL REPERTOIRE TECHNIQUE

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

• Department: Music @Barnard
• TR 1:10 p.m.-2:55 p.m.
• Instructor: Jean-Paul Bjorlin
  Info
• 3 points

SOIL MECHANICS

Index properties and classification; compaction; permeability and seepage; effective stress and stress distribution; shear strength of soil; consolidation; slope stability.

• Department: Civil Engineering and Engineering Mechanics
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Hoe I Ling
  h-index: 45 Info
• 4 points

BALLET VI

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

• Department: Dance @Barnard
• TR 4:10 p.m.-5:25 p.m.
• F 9 a.m.-10:50 a.m.
• Instructor: Antonio Carmena
  Info
• Instructor: Ashley Tuttle
  CULPA: 1 Info
• 0-1 points

EARLY 20TH-CENTURY UNITED STATES DRAMA A

EARLY 20TH-C US DRAMA & P

The beginning of the 20th century in the United States was a time of turbulence: the excitement of a new century mixed with the flurry of voices trying to define “What makes an American, American.” Theatre reflected and inflected discussions, arguments, debates and celebrations of identity and belonging. And, everything was up for debate: morals, religion, sexuality, gender roles, race–all factions clawing towards ideals of citizenship. In this seminar, we will explore early 20th-century American theater as a forum for these debates–plays and performances of all types assert visibility of both issues and bodies, politicizing both in the process. We will begin by looking at the end of the 19th century as the nation engaged with the end of legally enslaving African Americans, the Women’s Suffrage movement gearing up, and the national debates on immigration, morality and religion–and all made their way to the stages of theater and Performance in the United States. Topics in this seminar will include The Harlem Renaissance, The Little Theatre Movement, Comstock/Censorship Laws, Broadway Fare, Popular Entertainment, Female Playwrights, Queer Theatre, Popular Music (to name a few more than “a few”).

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

CLASSIC VARIATIONS

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

• Department: Dance @Barnard
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Ashley Tuttle
  CULPA: 1 Info
• 0-1 points

TOPICS COMPARATIVE LIT

LITERATURE AND HORROR

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

• Department: Comparative Literature and Society @Barnard
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Monica F Cohen
  CULPA: 8 Info
• 3 points

TOPICS COMPARATIVE LIT

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

• Department: Auditing
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Monica F Cohen
  CULPA: 8 Info
• 0 points

DERRIDA & LITERATURE

Jacques Derrida was one of the most important thinkers of the 20th century and his impact on literary studies was enormously significant. The objective of this course is to take stock of Derrida’s contribution to literature, and to do so by assessing the intricate relations he establishes between literature, philosophy, economic and political theory, gender studies, translation studies, postcolonial theory, and theology. The course is divided into six parts. Part 1 introduces Derrida’s approach to ‘deconstruction,’ particularly as regards his engagement with the fundamental concepts of Western thought and the importance he confers upon the notion of ‘writing’ itself. Part 2 examines Derrida’s autobiographical texts wherein he positions himself as a subject for deconstruction, interrogating his own gender, his sense of being an organic, creaturely life-form, the relationship he has to his own language, and the matter of his identity as French, but also as Algerian, and Jewish. While the majority of the Derrida texts we will be reading are excerpts from larger works or short essays and interviews, in this section we will read a full-length text –
Monolingualism of the Other
– so that we can trace Derrida’s train of thought from beginning to end. In Part 3 we will use an interview conducted by Derek Attridge, “This Strange Institution Called Literature,” as a template for thinking about Derrida’s relation to literature, and in Part 4 we will read our second full-length text by Derrida, namely
Given Time 1: Counterfeit Money
, an in-depth analysis of a prose poem by the French poet Charles Baudelaire. Part 5 considers an aspect of Derrida’s work that reveals the extent of his embrace of provisional, in-between positions for thought in general, and for literary texts in particular, namely translation. For deconstruction is keenly invested in words beginning with ‘trans’: transposition, transplant, trans-valuation, and indeed trans-gender. Translation provides Derrida with a scenario whereby crossings and transits can be imagined – for literary texts, and for identities that wish to remain un-determined by fixed poles or normative values. The course finishes with an assessment of Derrida’s reflections on death, mourning, and the matter of leaving a legacy. In Part 6, we therefore read more of the essay “Living On,” and also Derrida’s final interview, “Learning to Live, F

• Department: Comparative Literature and Society @Barnard
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Brian D O'Keeffe
  CULPA: 28 Info
• 3 points

WORLDMUSE ENSEMBLE

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

• Department: Music @Barnard
• TR 11:10 a.m.-12:55 p.m.
• Instructor: Jean-Paul Bjorlin
  Info
• 3 points

WALK THIS WAY

Whats in a walk? This course undertakes an interdisciplinary study of a fundamental human activity, focusing on philosophical and aesthetic treatments of human locomotion. After first examining the history of walking as a social, economic, religious, and political activity, the course will concentrate on urban walking and how it has been represented in text and image from ancient times to the present. Topics will include walking as introspection, escape, recreation, and discovery; walking and gender; the psychogeography of walking, walking in the city, etc. Readings from Austen, Wordsworth, Dickens, Thoreau, Whitman, Joyce, Woolf, OHara, De Certeau, and many others. Images from film, painting, and photography to be provided by student research. Ditto for musical strolls.

• Department: English @Barnard
• TR 8:40 a.m.-9:55 a.m.
• Instructor: William C Sharpe
  CULPA: 12 h-index: 11 Info
• 3 points

CRITICAL HISTORIES OF DRAMA, THEATRE, AN

CRIT HIST DRAMA, THTR & P

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

• Department: Theatre @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Abby N Schroering
  Info
• 3 points

ARTS&HUMANITIES IN CITY FIELDWORK LAB

ARTS&HUMANITIES IN CITY L

• Department: Education @Barnard
• W 2:10 p.m.-6 p.m.
• F 8:30 a.m.-12:30 p.m.
• Instructor: Drew Chambers
  Info
• 0 points

TRADITIONAL INDIAN PERFORMNCE

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

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

ADVANCED PROGRAMMING

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

• Department: Computer Science
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Jae W Lee
  CULPA: 42 Info
• 4 points

DESIGN PROJECT

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

• Department: Applied Physics and Applied Mathematics
• Instructor: Simon Billinge
  CULPA: 3 h-index: 75 Info
• 3 points

POSTCOLONIAL DRAMA:THE CANON & ITS OTHER

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

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

SCI IN CITY II FIELDWORK LAB

• Department: Education @Barnard
• T 2:30 p.m.-6 p.m.
• R 2:30 p.m.-6 p.m.
• Instructor: Althea B Hoard
  Info
• 0 points

Parallel Optimization for Robotics

Parallel Optimization Rob

Many stages of state-of-the-art robotics pipelines rely on the solutions of underlying optimization algorithms. Unfortunately, many of these approaches rely on simplifications and conservative approximations in order to reduce their computational complexity and support online operation. At the same time, parallelism has been used to significantly increase the throughput of computationally expensive algorithms across the field of computer science. And, with the widespread adoption of parallel computing platforms such as GPUs, it is natural to consider whether these architectures can benefit robotics researchers interested in solving computationally constrained problems online. This course will provide students with an introduction to both parallel programming on CPUs and GPUs as well as optimization algorithms for robotics applications. It will then dive into the intersection of those fields through case studies of recent state-of-the-art research and culminate in a team-based final project.

• Department: Computer Science @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Brian K Plancher
  Info
• 3 points

Computer Science in the City - Fieldwork

Comp. Science in the City

This is the fieldwork component for the proposed course described below.

Using the overarching theme of “Computer Science in the City,” this course will build participants’ knowledge of pedagogical methods for the teaching of computer science while exploring ways to use the City as a resource for teaching and learning. Course participants will have an opportunity to gain an understanding of concepts and practices appropriate for K-12 students as they explore the New York State Learning Standards. 

As we explore the multitude of opportunities for teaching computer science in New York City, we will also take into consideration the diversity of the students that course participants teach or are preparing to teach. We will examine the social and political contexts that learning and teaching happen in, and consider the implications of these contexts for different groups of students. As participants develop an understanding of what it means to be literate in computer science, they will explore ways to make computer science education more meaningful and accessible to all students by infusing it with students’ daily and cultural experiences. We will explore notions of social justice and the implications for teaching computer science for social justice by addressing barriers to engagement, persistence, and achievement in mathematics.

Working in teams to plan for Computer Science Enrichment lessons, participants will explore ways to teach computer science using a constructivist approach while being responsive to the demands of the NYS Next Generation Standards, Universal Design for Learning (UDL), growth mindsets, critiques of growth mindsets, and tenets of justice and caring. Participants will also have an opportunity to build positive computer science mindsets for themselves and for K-12 students as they engage in experiential learning, plan for Computer Science Enrichment sessions that incorporate ways to visualize and communicate computer science content and skills, and evaluate the efficacy of their planning and teaching in light of their students’ learning outcomes.

• Department: Education @Barnard
• F 8:30 a.m.-12:30 p.m.
• W 2:10 p.m.-6 p.m.
• Instructor: Maria S Rivera Maulucci
  h-index: 10 Info
• 0 points

TRAGIC BODIES

This course will focus on embodiment in ancient and modern drama as well as in film, television, and performance art, including plays by Sophocles, Shakespeare, and Beckett; films such as “Rosemary’s Baby” and “The Limits of Control”; and performances by artists such as Karen Finley and Marina Abromovic. We will explore the provocations, theatricality, and shock aesthetics of such concepts as Artaud’s “Theater of Cruelty” and Kristevas powers of horror, as well as Adornos ideas about terror and the sublime.

• Department: Comparative Literature and Society @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Nancy Worman
  CULPA: 23 Wikipedia Info
• 3 points

TRAGIC BODIES

This course will focus on embodiment in ancient and modern drama as well as in film, television, and performance art, including plays by Sophocles, Shakespeare, and Beckett; films such as “Rosemary’s Baby” and “The Limits of Control”; and performances by artists such as Karen Finley and Marina Abromovic. We will explore the provocations, theatricality, and shock aesthetics of such concepts as Artaud’s “Theater of Cruelty” and Kristevas powers of horror, as well as Adornos ideas about terror and the sublime.

• Department: Auditing
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Nancy Worman
  CULPA: 23 Wikipedia Info
• 0 points

THE ENGLISH COLLOQUIUM

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

• Department: English @Barnard
• R 12:10 p.m.-2 p.m.
• T 11 a.m.-12:50 p.m.
• T 2:10 p.m.-4 p.m.
• W 10:10 a.m.-noon
• Instructor: James G Basker
  CULPA: 7 Wikipedia Info
• Instructor: Achsah Guibbory
  CULPA: 17 Info
• Instructor: Jayne Hildebrand
  CULPA: 3 Info
• Instructor: Eugene A Petracca
  Info
• 4 points

DEVELOPING ACCESSIBLE USER INTERFACES

DEVELOP ACCESSIBLE INTERF

Introduction to access technology and the development of accessible systems. In this course, students build and evaluate various access technologies. Topics include: text-to-speech, speech recognition, screen readers, screen magnification, alternative input, tactile displays, and web transformation. This course teaches students the deep inner workings of today’s user interface technology and serve as a guide for building the user interfaces of the future.

• Department: Computer Science @Barnard
• TR 6:10 p.m.-7:25 p.m.
• Instructor: Antonio K Moretti
  h-index: 7 Info
• 3 points

NOVELLA CERVANTES TO KAFK

• Department: Comparative Literature and Society @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Alfred Mac Adam
  CULPA: 40 Info
• 3 points

SHAKESPEARE II

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

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

17TH-CENTURY PROSE & POETRY

The seventeenth century was a century of revolution, giving birth to modern ways of thinking, and calling into question many of the old ways. In the early years, many were affected by melancholy, some believing the world was approaching the endtimes. England experienced plagues, particularly in London, and other catastrophes. So we might find some affinity with our own current situation, facing new challenges, our world turned upside down, which is what many people felt during that time. Out of all of this turmoil, however, came great literature including lyric poems by John Donne and others exploring love and desire, doubt and faith, sex and God. Donne also wrote a series of 
Devotions
 grappling with mortality over a course of 23 days when he was suffering from typhus or relapsing fever and almost died. Others turned to find solace in the natural world and friendship (Amelia Lanyer, Katherine Philips, Henry Vaughan). Robert Burton wrote a book on melancholy, which he kept adding to.  Francis Bacon thought a revolution in science could redeem the world. Thomas Browne, a physician as well as writer, tackled the problem of intolerance and religious conflict. Thomas Hobbes thought only a firm (authoritarian?) government could reestablish peace and security, while Gerard Winstanley (a “Leveller”) thought that owning land (and money) was the source of all war and misery. Transgressive women had their own ideas. The Quaker leader Margaret Fell defended women's right to preach. We will read selections from these and other writers, understanding them in their historical context and with a sense of their current resonance.The seventeenth century was a century of revolution, giving birth to modern ways of thinking, and calling into question many of the old ways. In the early years, many were affected by melancholy, some believing the world was approaching the endtimes. England experienced plagues, particularly in London, and other catastrophes. So we might find some affinity with our own current situation, facing new challenges, our world turned upside down, which is what many people felt during that time. Out of all of this turmoil, however, came great literature including lyric poems by John Donne and others exploring love and desire, doubt and faith, sex and God. Donne also wrote a series of 
Devotions
 grappling with mortality over a course of 23 days when he was suffering from typhus or relapsing fever and almost died. Others turned to find solace in the natura

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

THE AMERICAN MUSICAL

Prerequisites: reading ability of music and some theoretical knowledge is required. Musical theater is one of Americas most vital and important art form. Several of its major creators studied at Columbia, including Richard Rodgers, Lorenz Hart, Oscar Hammerstein II, John Kander, and Fred Ebb. This course will present a historical survey of American musical theater from its origins in late nineteenth-century; through the musicals of figures like Kern, Gershwin, and Rodgers - Hammerstein; through Sondheim and the megamusical of Lloyd Webber. Focus will be on selected shows, through which broader cultural and musical trends will be examined.

• Department: Music
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Walter M Frisch
  CULPA: 17 Info
• 3 points

RENAISSANCE DRAMA:1580-1642

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

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

LITERATURE AND PSYCHOANALYSIS

Love him or hate him—or both, as is more often and more fittingly the case—you must admit that Freud turned the world upside-down. Against the supposed supremacy of rational consciousness, he found the power of the unconscious. At the heart of civilized order, he uncovered ever more sophisticated mechanisms of repression. Where the world saw the march of progress, he saw the death drive. And he discovered all of this through a new invention, a science of narrative, called psychoanalysis. According to this science, we are the stories we tell. And this means that we, our lives, our joys and anxieties, our past and our future, are like any story: always open to interpretation. In this course, we turn this lens back upon psychoanalysis, opening its clinical history and fundamental concepts to critical, literary interpretation. Beginning with Freud but moving beyond him, we will read foundational psychoanalytic texts alongside plays, poetry, novels, short stories, and films that corroborate, complicate, and contest the Freudian framework. We will consider the intrinsically literary qualities of psychoanalysis and, inversely, we will ask what literature, literary criticism, and literary theory gain or lose in this critical relation to psychoanalysis.

• Department: English @Barnard
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Nathan Gorelick
  Info
• 3 points

VICTORIAN AGE IN LITERATURE

THE VICTORIAN NOVEL

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

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

CEPHALOPOD COGNITION

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

• Department: Psychology @Barnard
• R 1:10 p.m.-3 p.m.
• Instructor: Ken Light
  CULPA: 17 h-index: 15 Info
• 4 points

AMERICAN LITERATURE 1800-1870

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

• Department: English @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Lisa Gordis
  CULPA: 15 Info
• 3 points

MODRN BRITISH & AMERCAN POETRY

MODERN BRIT&AM POETRY

Poetry written in English during the past century, discussed in the context of modernism, postmodernism, literary theory, and changing social and technological developments. Students will participate in shaping the syllabus and leading class discussion. Authors may include Yeats, Williams, Eliot, Moore, Bishop, Rich, Ginsberg, Stevens, O Hara, Plath, Brooks, Jordan, Walcott, Alexie, and many others.

• Department: English @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: William C Sharpe
  CULPA: 12 h-index: 11 Info
• 3 points

CONSERVATION BIOLOGY-DISC

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

POSTMODERNISM

This course considers how Postmodernisms profound distrust of language and narrative transforms the form and function of literature. Writers include Stoppard, Pynchon, Didion, Morrison, Robinson, Coetzee, Ishiguro, Wallace, Ashbery, and Hejinian.

• Department: English @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Kristi-Lynn Cassaro
  Info
• 3 points

INT'L HUMAN RIGHTS LAW

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

• Department: Institute for Study of Human Rights
• T 6:10 p.m.-8 p.m.
• Instructor: Christian M de Vos
  Info
• 3 points

CRITICAL WRITING

(Formerly called Literary Criticism - Theory.) Provides experience in the reading and analysis of literary texts and some knowledge of conspicuous works of literary criticism. Frequent short papers. Required of all English majors before the end of the junior year. Sophomores are encouraged to take it in the spring semester even before officially declaring their major. Transfer students should plan to take it in the fall semester.

• Department: English @Barnard
• T 2:10 p.m.-4 p.m.
• W 4:10 p.m.-6 p.m.
• R 4:10 p.m.-6 p.m.
• W 11 a.m.-12:50 p.m.
• Instructor: Kristi-Lynn Cassaro
  Info
• Instructor: Rachel Eisendrath
  CULPA: 6 Info
• Instructor: Lisa Gordis
  CULPA: 15 Info
• Instructor: John J Pagano
  CULPA: 27 Info
• 4 points

LITERARY THEORY

In this course, we will trace the complex category of
imitation
from its ancient roots to some of its modern theoretical and literary manifestations. Interpreted differently by different thinkers, imitation can refer to the problem of art’s imitation of things in the world (e.g., your portrait looks like you), art’s imitation of other artistic works (e.g., your portrait looks like a Rembrandt), people’s imitation or even mimicry of one another (who does she think she is?). The latter form of imitation raises the most overtly socio-political questions, whether by replicating social power structures in order to “pass” in a potentially hostile environment or by subverting these same structures through mimicking, outwitting, critiquing, or mocking them. At its core, the category of imitation focuses our attention on what is so central to artmaking that it almost eludes our notice: the question of resemblance. Put in its simplest form: What are we doing (philosophically, artistically, socially) when we make one thing resemble another?

• Department: English @Barnard
• R 9 a.m.-10:50 a.m.
• Instructor: Ross T Hamilton
  CULPA: 25 Info
• 4 points

HARLEM RENAISSANCE LITERATURE

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

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

INDEPENDENT STUDY

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

THEORY

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

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

DANCE IN FILM

Survey of theatrical dance in the 20th century specific to film production. Five kinds of dance films will be examined: musicals, non–musicals, documentaries, film essays and pure dance recording.

• Department: Dance @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Gabri Christa
  CULPA: 1 Info
• 3 points

FILM PRODUCTION

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

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

• Department: Film @Barnard
• T 4:10 p.m.-7 p.m.
• F 2:10 p.m.-5 p.m.
• Instructor: Julia L Thompson
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• Instructor: Daniel F Pfeffer
  Info
• 3 points

ADVANCED TRANSLATION WORKSHOP

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

DIRECTING I

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

• Department: Theatre @Barnard
• MW 2:10 p.m.-4 p.m.
• Instructor: Shannon M Sindelar
  Info
• 3 points

SOLID EARTH DYNAMICS

Prerequisites: any 1000-level or 2000-level EESC course; MATH UN1101 Calculus I and PHYS UN1201 General Physics I or their equivalents. Concurrent enrollment in PHYS UN1201 is acceptable with the instructors permission. Properties and processes affecting the evolution and behavior of the solid Earth. This course will focus on the geophysical processes that build mountains and ocean basins, drive plate tectonics, and otherwise lead to a dynamic planet. Topics include heat flow and mantle circulation, earthquakes and seismic waves, gravity, Earths magnetic field, and flow of glaciers and ice sheets.

• Department: Earth and Environmental Sciences
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Meredith Nettles
  CULPA: 3 h-index: 31 Info
• 3 points

DIRECTING II

Prerequisites: Students required to have taken THTR UN3200 Directing I or THTR UN3203 Collaboration: Directing and Design, or equivalent. Enrollment limited to 14 students. Permission of instructor given at first class meeting. Course focuses on developing an individual directorial style, placing emphasis on visual research, and the use of different staging environments: end-stage, in the round, environmental. Class is structured around scene-work and critique, and each student will direct at least three fully-realized scenes. Material typically drawn from European avant-garde.

• Department: Theatre @Barnard
• TR 12:10 p.m.-2 p.m.
• Instructor: Alice A Reagan
  CULPA: 1 Wikipedia Info
• 3 points