TUTORIAL IN EARTH SCIENCE

Prerequisites: declared major in Earth and environmental sciences and the departments permission. Students with particular interest in one of the many components of the Earth and environmental sciences should approach a director of undergraduate studies during the registration period so that tutorial-level exposure to the subject can be arranged. Each point requires two hours each week of readings, discussion, and research work under the close supervision of a member of the Department of Earth and Environmental Sciences, Lamont-Doherty Earth Observatory, American Museum of Natural History, or Goddard Institute for Space Studies. In consultation with the supervisor, the student selects a topic for intensive study and the time and place of the tutorial discussion sessions. May be repeated for credit up to a maximum of 12 points, with a maximum of 6 points with each staff member.

• Department: Earth and Environmental Sciences
• Instructor: Folarin Kolawole
  Info
• 1-3 points

INTRO-STUDY AND THEORY OF FILM

The nature of cinema as a technology, a business, a cultural product, an entertainment medium, and most especially an art form. Study of cinematic genres, stylistics, and nationalities; outstanding film artists and artisans; the relationship of cinema to other art forms and media, as well as to society.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Jason R Lariviere
  Info
• 3 points

TRANSLATING THEATRE WKSHP

Prerequisites: Completion of Intermediate French II or equivalent. Please contact Prof. Laurie Postlewate.  Students will be placed on an automatic waitlist and admitted to the course individually after contacting Prof. Postlewate. The course combines: reading and watching plays in French, hands-on translation work (French to English), and study and discussion of theoretical and dramaturgical issues specific to translating theatre.

• Department: French @Barnard
• MTR 10 a.m.-1 p.m.
• Instructor: Laurie Postlewate
  CULPA: 17 Info
• 3 points

ACTING IN PARIS

Summer Acting in Paris Working Title is an intensive Acting class that focuses on the practical study of key Contemporary French theatre practitioners that have contributed to the understanding of acting as a physical and ensemble-oriented practice. The course seeks to practice core principles developed by Peter Brook and the Theatre des Bouffes du Nord,  Théâtre du Soleil, and the Ecole Internacionale de Theatre Jacques Lecoq. A series of Masterclasses with performers trained under these pedagogies will be scheduled to further the student's knowledge of the practitioners mentioned above during the course.   

Functioning in tandem with the Translating Theater class by Prof. Postlewate, the course will practice the acting ideas acquired through the performance of new translations of plays by Moliere, Joel Pommerat, Olivie Py, Jazmina Reza, and Wajdi Mouawad. By collaborating with the translating students, the class seeks to hone the rhythmical embodiment of the text and address essential aspects of working with contemporary French plays in translation. As a class, both courses will attend performances of those plays to understand further how the body, language, and ensemble work operates to create meaning on stage.

• Department: Theatre @Barnard
• MTWRF 9 a.m.-9 p.m.
• Instructor: Gisela D Cardenas Ojeda
  Info
• 3 points

THIRD YEAR CHINESE I

Third Year Chinese I, CHNS3003UN, 5 points. You are required to take Third Year Chinese II, CHNS3004UN, 5 points with this course.

Instructor
:
Zhirong Wang

Prerequisites
: Two (2) years of college-level Chinese or the equivalent
Texts
: Jingua Chinese (Columbia University staff, published by Peking University Press; simplified characters) Introduces Chinese social values and attitudes, focusing on the rapid changes now taking place in China. Uses materials from Chinese newspapers and modern short stories to teach essential elements of semi-formal and formal writing. Reading and writing are routine tasks, and oral discussion and debate are important components of the class, allowing students to integrate and improve their communication skills in Chinese. To enroll in this course, you must apply to the

Virtual Columbia Summer Chinese Language
program through the Center for Undergraduate Global Engagement (UGE).

Global Learning Scholarships
available.
Tuition
charges apply.
Please note the program dates are different from the Summer Term A & B dates.

• Department: Global Programs
• Instructor: Zhirong Wang
  CULPA: 11 Info
• 5 points

THIRD YEAR CHINESE II

Third Year Chinese II, CHNS3004UN, 5 points. You are required to take Third Year Chinese I, CHNS3003UN, 5 points with this course.

Instructor
:
Zhirong Wang

Prerequisites
: Two (2) years of college-level Chinese or the equivalent
Texts
: Jingua Chinese (Columbia University staff, published by Peking University Press; simplified characters)

Introduces Chinese social values and attitudes, focusing on the rapid changes now taking place in China. Uses materials from Chinese newspapers and modern short stories to teach essential elements of semi-formal and formal writing. Reading and writing are routine tasks, and oral discussion and debate are important components of the class, allowing students to integrate and improve their communication skills in Chinese. To enroll in this course, you must apply to the

Virtual Columbia Summer Chinese Language
program through the Center for Undergraduate Global Engagement (UGE).

Global Learning Scholarships
available.
Tuition
charges apply.
Please note the program dates are different from the Summer Term A & B dates.

• Department: Global Programs
• Instructor: Zhirong Wang
  CULPA: 11 Info
• 5 points

EVAL THE EVID OF AUTHENTICITY

The adjudged authenticity of a work of art is fundamental in determining its value as a commodity on the art market or, for example, in property claim disputes or in issues of cultural property restitution. Using case studies some straightforward and others extremely vexing--this course examines the many ways in which authenticity is measured through the use of provenance and art historical research, connoisseurship, and forensic resources. From within the broader topics, finer issues will also be explored, among them, the hierarchy of attribution, condition and conservation, copies and reproductions, the period eye and the style of the marketplace.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• Instructor: Lynn Catterson
  CULPA: 35 h-index: 2 Info
• 4 points

EVAL THE EVID OF AUTHENTICITY

The adjudged authenticity of a work of art is fundamental in determining its value as a commodity on the art market or, for example, in property claim disputes or in issues of cultural property restitution. Using case studies some straightforward and others extremely vexing--this course examines the many ways in which authenticity is measured through the use of provenance and art historical research, connoisseurship, and forensic resources. From within the broader topics, finer issues will also be explored, among them, the hierarchy of attribution, condition and conservation, copies and reproductions, the period eye and the style of the marketplace.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• Instructor: Lynn Catterson
  CULPA: 35 h-index: 2 Info
• 4 points

INTRO TO VIDEO STORYTELLING

The Introduction to Video Storytelling course teaches students the basics of conceiving, researching, and reporting a story through video. Students will learn to think critically about what makes for a good video story--what makes it newsworthy, what makes video the proper medium for conveying that story--and how to execute using the latest technology. Students will learn how to use and handle a camera, how to best record sound, how to properly frame and light a subject or scene, as well as learn how to use Adobe Premiere editing software. Students will have one complete video story at the end of the 6-week course.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• Instructor: Zoeann Murphy
  Info
• 3 points

WAR REPORTING:THE COVERAGE OF

War Reporting: The Coverage of Armed Conflict explores the origins and roles of modern war reporting, examines the challenges journalists face, and discusses journalism's place in the public discourse of armed conflict and political violence, most notably terrorism. Taught by U.S. Marine corps veteran and Pulitzer Prize winning reporter and author, C.J. Chivers, class discussions will be lively and require student engagement. There will be guest lectures and seminars with leading journalists with experience in recent wars, as well discussions with security and legal professionals who assist and guide news organizations in their coverage of war. The examination of risks to journalists on conflict beats will include detailed case studies of real kidnappings and battlefield deaths, and study examples of risk mitigation and best practices in the field. The course is intended for students with a deep interest in war, terrorism and journalism, including both news consumers and aspiring practitioners. It aims to promote skepticism of official narratives and critical thinking about journalism itself.

• Department: Summer Session (SUMM)
• TR 9 a.m.-12:10 p.m.
• Instructor: Christopher J Chivers
  Info
• 3 points

FINANCIAL ECONOMICS

Prerequisites: STAT UN1201, ECON UN3211 Intermediate Microeconomics and ECON UN3213 Intermediate Macroeconomics. Equivalent to ECON UN3025. Institutional nature and economic function of financial markets. Emphasis on both domestic and international markets (debt, stock, foreign exchange, Eurobond, Eurocurrency, futures, options, and others). Principles of security pricing and portfolio management; the capital asset pricing model and the efficient markets hypothesis.

• Department: Summer Session (SUMM)
• MW 9 a.m.-12:10 p.m.
• Instructor: Thu H Pham
  Info
• Instructor: Vincent Chartray
  Info
• 3 points

PARTIAL DIFFERENTIAL EQUATIONS

Prerequisites: (MATH UN2010 and MATH UN2030) or the equivalent introduction to partial differential equations. First-order equations. Linear second-order equations; separation of variables, solution by series expansions. Boundary value problems.

• Department: Summer Session (SUMM)
• TR 5:30 p.m.-8:40 p.m.
• Instructor: Fabio Nironi
  CULPA: 17 Info
• 3 points

Making Change: Activism, Social Movement

Activism and Education

Making Change: Activism, Social Movements and Education will look at the ways people power has pushed for change in the United States educational landscape. We will study historical and current social political education movements to answer questions such as: What does education/teacher activism look like? Who engages in educational social activism, and why? What do different models for organizing look like, past to present? We will learn from the examples of the Freedom Schools, the Chicago Teachers Union, the Tucson Unified School District fight for ethnics studies, BLM at Schools, Teacher Activist Groups and more. We will engage in readings, watch documentaries and hear from education activist guest lecturers.

Learning Outcomes: 


You will explore the historical relationships between and across social movements in education and its social contexts. 

You will reflect on major educational justice movements from across the country and analyze its impact and importance. 

You will evaluate the changing role of education and schools in our society and propose actions that could be taken to improve education and schools in the future.

• Department: Pre-College Program (Barnard)
• TR 1 p.m.-4:10 p.m.
• Instructor: Natalia Ortiz
  Info
• 3 points

Making Change: Activism, Social Movement

Activism and Education

Making Change: Activism, Social Movements and Education will look at the ways people power has pushed for change in the United States educational landscape. We will study historical and current social political education movements to answer questions such as: What does education/teacher activism look like? Who engages in educational social activism, and why? What do different models for organizing look like, past to present? We will learn from the examples of the Freedom Schools, the Chicago Teachers Union, the Tucson Unified School District fight for ethnics studies, BLM at Schools, Teacher Activist Groups and more. We will engage in readings, watch documentaries and hear from education activist guest lecturers.

Learning Outcomes: 


You will explore the historical relationships between and across social movements in education and its social contexts. 

You will reflect on major educational justice movements from across the country and analyze its impact and importance. 

You will evaluate the changing role of education and schools in our society and propose actions that could be taken to improve education and schools in the future.

• Department: Pre-College Program (Barnard)
• TR 1 p.m.-4:10 p.m.
• Instructor: Natalia Ortiz
  Info
• 3 points

British Literature to 1500

This course will introduce some of the most fascinating texts of the first eight hundred years of English literature, from the period of Anglo-Saxon rule through the Hundred Years’ War and beyond—roughly, 700–1500 CE. We’ll hit on some texts you’ve heard of – 
Beowulf
 and selections from Chaucer’s 
Canterbury Tales
 – while leaving time for some you may not have encountered – Marie de France’s 
Lais
 and Margery of Kempe’s 
Book
. Along the way, we’ll also hone skills of reading, writing, and oral expression crucial to appreciating and discussing literature in nuanced, supple ways. 

If you take this course, you’ll discover how medieval literature is both a mirror and a foil to modern literature. You’ll explore the plurilingual and cross-cultural nature of medieval literary production and improve (or acquire!) your knowledge of Middle English. Plus, you’ll flex your writing muscles with two papers.

• Department: Summer Session (SUMM)
• TR 9 a.m.-12:10 p.m.
• Instructor: Hannah Weaver
  Info
• 3 points

Worlds of Alexander the Great

This course looks at the narrative and the historical context for an extraordinary event: the conquest of the Persian empire by Alexander III of Macedonia, conventionally known as “Alexander the Great”. We will explore the different worlds Alexander grew out of, confronted, and affected: the old Greek world, the Persian empire, the ancient near-east (Egypt, Levant, Babylonia, Iran), and the worlds beyond, namely pre-Islamic (and pre-Silk Road) Central Asia, the Afghan borderlands, and the Indus valley. The first part of the course will establish context, before laying out a narrative framework; the second part of the course will explore a series of themes, especially the tension between military conquest, political negotiation, and social interactions. Overall, the course will serve as an exercise in historical methodology (with particular attention to ancient sources and to interpretation), an introduction to the geography and the history of the ancient world (classical and near-eastern), and the exploration of a complex testcase located at the contact point between several worlds, and at a watershed of world history.

• Department: Summer Session (SUMM)
• MW 9 a.m.-12:10 p.m.
• Instructor: Lien Van Geel
  CULPA: 1 Info
• 3 points

Economics of Work and Play

Is human activity the locus of human freedom? Is human wellbeing more or less to do with the consumption of goods and services (as the neoclassical economist would have us believe) or with the status of human actions (whether as play or work)? Do human institutions--the state, patriarchal households, educational establishments, corporations, factories, prisons, retirement homes--impact individual preferences, dispositions, tolerances? Or, do fixed and stable human preferences (underlying assumption of neoclassical consumer theory) underpin such hierarchical institutions around which human life is organized? What aspects of labor--lack of ownership of means of production, minimal control over the work process, simplification (deskilling) of tasks-- lead to alienation of the worker? Can we imagine alternative structures of social work that is cooperative and non-hierarchical? What factors are implicated in the recent increase in so-called "bullshit jobs" over the past 40 years or so? What does the future of work look like?

• Department: Pre-College Program (Barnard)
• MW 1 p.m.-4:10 p.m.
• Instructor: Lalith Munasinghe
  CULPA: 33 Info
• 3 points

Economics of Work and Play

Is human activity the locus of human freedom? Is human wellbeing more or less to do with the consumption of goods and services (as the neoclassical economist would have us believe) or with the status of human actions (whether as play or work)? Do human institutions--the state, patriarchal households, educational establishments, corporations, factories, prisons, retirement homes--impact individual preferences, dispositions, tolerances? Or, do fixed and stable human preferences (underlying assumption of neoclassical consumer theory) underpin such hierarchical institutions around which human life is organized? What aspects of labor--lack of ownership of means of production, minimal control over the work process, simplification (deskilling) of tasks-- lead to alienation of the worker? Can we imagine alternative structures of social work that is cooperative and non-hierarchical? What factors are implicated in the recent increase in so-called "bullshit jobs" over the past 40 years or so? What does the future of work look like?

• Department: Pre-College Program (Barnard)
• MW 1 p.m.-4:10 p.m.
• Instructor: Lalith Munasinghe
  CULPA: 33 Info
• 3 points

Political Reporting: On the Campaign Tra

Political journalism--from the campaign trail to the halls of Congress--has played a vital and important role over the last four years. This course will offer an overview and critical examination of political journalism and the interaction of media with the White House, Congress, campaigns and statehouses. It will explore how technology and polarization have changed coverage of politics, as well as ethical considerations, shifting newsroom expectations and the challenges facing journalists as they cover campaigns and American political institutions.

The course is intended for students with a deep interest politics and journalism, including both news consumers and aspiring practitioners. It aims to both provide practical training and promote critical thinking about political journalism itself. The focus will be largely on print journalism, though radio and television work will be briefly explored along with opinion writing. This will be a writing intensive class with a focus on practical skills. Workshopping of written articles will be required and there will be in-class writing and reporting exercises. Students will both examine their own biases and meet with leading practioners of the craft. 

The course is led by
New York Times
political reporter Lisa Lerer.

• Department: Summer Session (SUMM)
• MW 9 a.m.-12:10 p.m.
• Instructor: Mya G Jaradat
  Info
• 3 points

Undergraduate Mentored Research

Prerequisites: the project mentors permission. This course provides a mechanism for students who undertake research with a faculty member from the Department of Statistics to receive academic credit. Students seeking research opportunities should be proactive and entrepreneurial: identify congenial faculty whose research is appealing, let them know of your interest and your background and skills.

• Department: Statistics
• Instructor: Ronald Neath
  CULPA: 13 Info
• 3 points

Democracy: Theory & Practice

The goal of this course is to provide students with an overview of constitutive debates over the theory and practice of democracy along three major lines: democracy as a word (with a time-honored ancestry and a tortuous trajectory across the centuries); democracy as a constellation of principles and values; and democracy as an array of institutions and procedures that instantiate the word and pursue the foundational principles of popular sovereignty and democratic self-rule. In doing so, we will read the work of major representatives of historical and contemporary political thought who assessed democracy’s shortcomings and potential, examined the relationship between its theory and its practice, and offered prominent resources for thinking about democracy’s future in our present.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: David Ragazzoni
  Info
• 3 points

HISTORY OF CAPITALISM

Capitalism shapes every aspect of our daily lives. Thinkers on both the left and the right of the political spectrum agree that capitalism structures our economic, social, and political relationships. Yet, there is little agreement as to the definition of capitalism and its normative implications. The definition and interpretation of capitalism differs across time and space, always evolving in response to challenges, crises, and contradictions. The aim of this course is to provide students with analytical tools to think critically and historically about the concept of capitalism. By studying how philosophers, economists, and political theorists have defined and described the concept of capitalism throughout its history (from the early seventeenth century to the present), students will be provided with a set of terminologies and analytical frameworks that enable them to interrogate the various dimensions of capitalism. The readings in the course are selected to illustrate the fact that capitalism has always been controversial. We will read texts authored by both proponents and critics of capitalism. We will explore how various canonical figures have thought about private property, markets, money, economic growth, injustice, inequality, alienation, and socialism.

• Department: Summer Session (SUMM)
• MW 9 a.m.-1 p.m.
• Instructor: Carl Wennerlind
  CULPA: 30 Info
• 4 points

Art & Performance in the Time of AIDS

Art & Perf in the Time of

This seminar explores the varied ways artists responded to the AIDS crisis of the 1980s and 90s through performance, theatre, and activist art.  As government indifference persisted and deaths soared, artists became radicalized and contemporary art and performance became a vehicle for activism.  We will follow different tactics in artwork responding to AIDS including the use of gay desire as a weapon and emblem of the fight for visibility.  The work we will view, think about, discuss, and write about is political, often angry, and always suffused with loss.  Because AIDS affected marginalized communities whose histories are still being told, we will examine a range of artists and materials that includes but also moves beyond the gay white male perspective.  We will spend time with theatre work by Reza Abdoh, Tony Kushner, and María Irene Fornés, videos by Juanita Mohammad, visual art by Kia LaBeija, Felix González-Torres, Martin Wong, and David Wojnarowicz, music by Mark Adamo and Diamanda Galás, among other lesser known artist/activists.  We will approach these works alongside critical and creative writing by José Esteban Muñoz and Audre Lorde among others.  The final project will be a research paper, built in stages throughout the semester, that engages critically with artwork that intersects with AIDS activism.

• Department: Pre-College Program (Barnard)
• TR 9 a.m.-12:10 p.m.
• Instructor: Alice A Reagan
  CULPA: 1 Wikipedia Info
• 3 points

Art & Performance in the Time of AIDS

Art & Perf in the Time of

This seminar explores the varied ways artists responded to the AIDS crisis of the 1980s and 90s through performance, theatre, and activist art.  As government indifference persisted and deaths soared, artists became radicalized and contemporary art and performance became a vehicle for activism.  We will follow different tactics in artwork responding to AIDS including the use of gay desire as a weapon and emblem of the fight for visibility.  The work we will view, think about, discuss, and write about is political, often angry, and always suffused with loss.  Because AIDS affected marginalized communities whose histories are still being told, we will examine a range of artists and materials that includes but also moves beyond the gay white male perspective.  We will spend time with theatre work by Reza Abdoh, Tony Kushner, and María Irene Fornés, videos by Juanita Mohammad, visual art by Kia LaBeija, Felix González-Torres, Martin Wong, and David Wojnarowicz, music by Mark Adamo and Diamanda Galás, among other lesser known artist/activists.  We will approach these works alongside critical and creative writing by José Esteban Muñoz and Audre Lorde among others.  The final project will be a research paper, built in stages throughout the semester, that engages critically with artwork that intersects with AIDS activism.

• Department: Pre-College Program (Barnard)
• TR 9 a.m.-12:10 p.m.
• Instructor: Alice A Reagan
  CULPA: 1 Wikipedia 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 5:30 p.m.-8:40 p.m.
• Instructor: Paul S Blaer
  CULPA: 46 h-index: 8 Info
• 3 points

ADVANCED PROGRAMMING

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

• Department: Computer Science
• TR 5:40 p.m.-8:40 p.m.
• Instructor: Brian Borowski
  Info
• 4 points

DISCRETE MATHEMATICS

Logic and formal proofs, sequences and summation, mathematical induction, binomial coefficients, elements of finite probability, recurrence relations, equivalence relations and partial orderings, and topics in graph theory (including isomorphism, traversability, planarity, and colorings).

• Department: Computer Science
• TR 1 p.m.-4:10 p.m.
• 4 points

PAINTING I

This is an intensive, six-week class moving from the basics of paint materials, techniques, issues of color, light, narrative and most of all representation. Students will begin working from still life set-ups in the studio and gradually move towards more ambitious approaches including figure painting from a model. Towards the end of the class students will be encouraged to work on a project or projects that more closely reflect their personal ideas.

• Department: Summer Session (SUMM)
• TWR 5:30 p.m.-8 p.m.
• Instructor: Nicholas W Farhi
  Info
• 3 points

INTERMEDIATE MACROECONOMICS

Prerequisites: MATH UN1101 and ECON UN1105 or the equivalent; one term of calculus. Corequisites: MATH UN1201. This course covers the determination of output, employment, inflation and interest rates. Topics include economic growth, business cycles, monetary and fiscal policy, consumption and savings and national income accounting.

• Department: Summer Session (SUMM)
• MW 10:20 a.m.-11:55 a.m.
• Instructor: Tamrat Gashaw
  CULPA: 10 Info
• 4 points

WRITING ABOUT ART

Prerequisites: No prerequisites. Department approval NOT required. 

This course will introduce students to writing about visual art. We will take our models from art history and contemporary art discourse, and students will be prompted to write with and about current art exhibitions and events throughout the city. The modes of art writing we will encounter include: the practice of ekphrasis (poems which describe or derive their inspiration from a work of art); writers such as John Ashbery, Gary Indiana, Eileen Myles, and others who for periods of their life held positions as art critics while composing poetry and works of fiction; writers such as Etel Adnan, Susan Howe, and Renee Gladman who have produced literature and works of art in equal measure. We will also look at artists who have written essays and poetry throughout their careers such as Robert Smithson, Glenn Ligon, Gregg Bordowitz, Moyra Davey, and Hannah Black, and consider both the visual qualities of writing and the ways that visual artists have used writing in their work. Lastly, we will consider what it means to write through a “milieu” of visual artists, such as those associated with the New York School and Moscow Conceptualism. Throughout the course students will produce original works and complete a final writing project that enriches, complicates, and departs from their own interests and preoccupations.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• Instructor: Thomas A Donovan
  Info
• 3 points

SOCIOLOGY OF EDUCATION

All of us have spent many years in school and understand that schools impact our lives in important ways. But how exactly does formal schooling shape young people? And how do students make sense of their lives in the context of schools and educational systems more broadly? In this class we will examine education as a central institution in modern society, and we will grapple with an important question: What role does education play in reinforcing or challenging broader patterns of social inequality and mobility? Particular emphasis will be placed on higher education as a critical site in which these processes take shape.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• TR 1 p.m.-4:10 p.m.
• Instructor: Bonnie R Siegler
  Info
• Instructor: Dominic T Walker
  Info
• 3 points

Neuroscience in Paris

PSYC3226OC:  Nueroscience in Paris: 4 points.

Instructor: Alfredo Spagna, Department of Psychology

Modern theories attempt to characterize the human mind in terms of information processing. But machines that process information do not seem to 
feel 
anything; a computer may for instance receive inputs from a video camera, yet it would be hard to imagine that it 
sees 
or experiences the vividness of colors like we do. This course explores behaviors by understanding the influences of biological processes. What does a prototypical neuron look like? How do neurons talk to each other? How does neuronal communication produce behavior? Then we will move into asking deeper questions like: what happens in the brain when you want to move? why do we dream? How do we form memories? Nobody has yet provided a convincing theory as to how to explain the subjective nature of our mental lives in objective physical terms. Over four weeks, 
CSP23
 attempts to provide a strong introductory foundation to the field of human neuroscience.

Each week we will review a neuroscientific field, by following the four main components of the scientific method:


Observation and formulation of scientific questions

Data collection and analysis

Accurate and transparent communication of results

High-level discussion of the findings and future directions and societal relevance


To enroll in this course, you must apply to the 
 Columbia Summer Practicum: Neuroscience in Paris
 program, through the Center for Undergraduate Global Engagement (UGE).

Global Learning Scholarships
available.
Tuition
charges apply.

• Department: Global Programs
• Instructor: Alfredo Spagna
  CULPA: 3 h-index: 15 Info
• 4 points

AMERICAN CONSTITUTIONAL LAW

This course is an introduction to American constitutional law. We examine key historical debates surrounding the constitution’s framing, ratification, and subsequent amendments, and study several major court decisions that have elaborated the constitution’s meaning over time. We will explore competing theories of how the constitution should be interpreted, how the constitution distributes and limits the power of different branches of government, and which fundamental political and civil rights the constitution guarantees (see the schedule of readings for specific topics). Students will regularly discuss, debate, and write about these issues.

A major learning goal of the course is to practice the skills needed to understand a legal argument and to articulate our own. Students will learn how to identify the different elements of a legal opinion, how to formulate a legal opinion, and how to conduct basic legal research.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Luke S Macinnis
  CULPA: 7 Info
• 3 points

AMERICAN URBAN POLITICS

This urban politics course examines the evolving intergovernmental structure of political power in and relative to American cities. It includes factors that range from globalization to national and state policies and politics, down through the local level where - to misquote former Speaker of the House Tip O’Neill - “all politics used to be local.“ It focuses on the context and drivers of local government politics, structures, and decision-making frameworks and on the evolution of cities’ patterns of relationships with state and national governments. Themes include power and decision-making, the leadership and administration of cities, present day problems and strategies to deal with them, the historical origins of urban politics, past federal and state policies toward cities and the contemporary consequences of these patterns. The survivability of the city in the face of contemporary overlapping crises will be addressed. Among other topics, students can expect to focus on urban political economy, political machines and urban reform, immigration, race and ethnicity in urban politics, regional efforts to contend with economic development and crisis, federal laws and policies that have shaped today’s urban environment, the day to day administration of cities, and urban problems such as fiscal strain, poverty, the burden of growth and attracting economic investment, the costs and consequences of urban terror, disaster, extreme political lability, and the evolving global city.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• Instructor: Judith Russell
  CULPA: 49 Info
• 4 points

SHAKESPEARE

This course provides an introduction to Shakespeare through a combination of reading his plays and viewing them in performance. On the one hand, we approach each play as a written, published text: our in-class conversation consist primarily in close analysis of key passages, and, in one class period, we visit Rare Books to examine the earliest printed versions of the plays in light of English Renaissance print technology. On the other hand, we view performances of each assigned play, including the attendance as a group of at least one Shakespeare production on an NYC stage. Our semester’s through line is to trace, from his earliest plays to Hamlet, Shakespeare’s remarkable development of the techniques of characterization that have made generations of both playgoers and readers feel that his dramatis personae are so modern, real, human. We will also devote attention to exploring the value of each play in our present moment and on our local stages. We read 8 plays in all, including Titus Andronicus, Midsummer Night's Dream, Julius Caesar, Macbeth, Merchant of Venice, and Hamlet.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• Instructor: Douglas S Pfeiffer
  CULPA: 7 Info
• 3 points

AMERICAN URBAN POLITICS-DISC

This is the required discussion section for 
POLS S3233.

• Department: Summer Session (SUMM)
• MW 4:10 p.m.-5 p.m.
• Instructor: Molly R Kraus
  Info
• 0 points

COMPUTATIONAL LINEAR ALGEBRA

• Department: Computer Science
• TR 1 p.m.-4:10 p.m.
• Instructor: Nakul Verma
  CULPA: 10 h-index: 16 Info
• 4 points

COMPUTER SCIENCE THEORY

Regular languages: deterministic and non-deterministic finite automata, regular expressions. Context-free languages: context-free grammars, push-down automata. Turing machines, the Chomsky hierarchy, and the Church-Turing thesis. Introduction to Complexity Theory and NP-Completeness.

• Department: Computer Science
• MW 1 p.m.-4:10 p.m.
• 3 points

MONEY AND BANKING

Prerequisites: ECON UN3211 and ECON UN3213 or the equivalent. Introduction to the principles of money and banking. The intermediary institutions of the American economy and their historical developments, current issues in monetary and financial reform.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Wendy A Morrison
  Info
• 3 points

WALT WHITMAN AND NEW YORK

Walt Whitman was not the first to write about New York. But he was the first of many to let New York write him. By age 43, Whitman had composed most of his best poetry, published three editions of Leaves of Grass, and left New York only twice. How did the second son of an unsuccessful farmer, a grammar school dropout and hack writer become America’s greatest poet? This course offers a response to this perennial mystery of literary scholarship by proposing that “Walt Whitman, a kosmos, of Manhattan the son” was indeed a product of his environment. Coming of age as a writer at the same time the city was emerging as a great metropolis, he received his education and inspiration from New York itself. Course time is equally divided between discussions of Whitman’s antebellum poetry, journalism, and prose (including the newly recovered Life and Adventures of Jack Engle) in their cultural and geographical contexts, and on-site explorations that retread Whitman’s footsteps through Brooklyn and his beloved Mannahatta. Experiential learning is further encouraged through assignments based in archives, museums, and at historic sites throughout the city.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Karen Karbiener
  CULPA: 7 Info
• 3 points

TYRANNY & AUTOCRACY-RUSS/SOV UNION

• Department: Summer Session (SUMM)
• TR 1 p.m.-5 p.m.
• Instructor: Michael F Stanislawski
  CULPA: 66 Wikipedia Info
• 4 points

THE ART OF THE ESSAY

What makes the essay of personal experience an essay rather than a journal entry? How can one's specific experience transcend the limits of narrative and transmit a deeper meaning to any reader? How can a writer transmit the wisdom gained from personal experience without lecturing her reader? In The Art of the Essay, we explore the answers to these questions by reading personal essays in a variety of different forms. We begin with Michel de Montaigne, the 16th-century philosopher who popularized the personal essay as we know it and famously asked, “What do I know?,” and follow the development of the form as a locus of rigorous self-examination, doubt, persuasion, and provocation. Through close reading of a range of essays from writers including Annie Dillard, George Orwell, Jamaica Kincaid, and June Jordan, we analyze how voice, form, and evidence work together to create a world of meaning around an author's experience, one that invites readers into conversations that are at once deeply personal and universal in their consequences and implications.

• Department: Pre-College Program (Barnard)
• TR 1 p.m.-4:10 p.m.
• MW 1 p.m.-4:10 p.m.
• TR 1 p.m.-4:10 p.m.
• MW 1 p.m.-4:10 p.m.
• Instructor: Wendy C Schor-Haim
  CULPA: 11 Info
• Instructor: Alexandra P Watson
  CULPA: 16 Info
• Instructor: Wendy C Schor-Haim
  CULPA: 11 Info
• Instructor: Alexandra P Watson
  CULPA: 16 Info
• 3 points

Sustainable Communities in Ecuador: What

SUSTAINABLE COMMUN. IN EC

Indigenous people in Ecuador, which represent about 7% of the Ecuadorian population (United Nations, 2015), are disproportionately poor compared with the rest of the population. In 2008 the country embarked on an effort to improve their situation by creating and approving a new constitution. Despite all of these efforts, indigenous people continue to struggle in Ecuador. For indigenous women specially the battle goes beyond the economic hardship, as they face domestic violence and abuse in a daily basis. 

The proposed course is designed to provide students with a unique one-to-one interaction with Spanish native speakers in three different sites: the Ecuadorian Amazon Rainforest Reservation of Papallacta, the Reservation of Mandaripanga, and the Runatupari Community in the Andean Region of Ecuador.  It aims to:

1. Explore, learn and document the work some indigenous groups have been doing since the new constitution was approved back in 2008.

2. Provide students with a service-learning opportunity working hand in hand when possible with women community leaders at the different sites.

3. Learn about how their communities work to preserve their resources and maintain a sustainable culture.

4. Immerse themselves in the Spanish language and culture by interacting, sharing, and living with native Spanish speakers.

5. Have student produce a focused final essay linking the key concepts from the readings and their lived experiences in the communities visited.

• Department: Spanish and Latin American Culture
• MTWRF 9 a.m.-9 p.m.
• Instructor: Maria E Lozano
  CULPA: 7 Info
• 3 points

QUEER GENRES

In this class, we will focus on queer narratives of the self to explore how authors represent queerness across centuries and genres, and how these queer narratives are informed by various historical, national, cultural and political contexts. Through a comparative, transnational and intersectional approach that takes into account the particularities of each author’s context, we will aim to answer the following questions: How do various cultural, national, linguistic, religious or political contexts affect the way queer identities are defined and represented in literature? How do these authors represent the intersections of queerness with race, class, ethnicity, disability and citizenship? How have queer narratives developed over time and across cultures in conversation with local and global modes of conceptualizing gender and sexuality? How do queer authors utilize the particularities of each genre to create new forms of self-expression?

Texts will span various genres such as short stories, poems, memoirs, graphic novels, novels and personal essays by authors such as James Baldwin, Audre Lorde, Sappho, Carmen Maria Machado, Alison Bechdel, Adrienne Rich, Casey Plett and Imogen Binnie. Additionally, we will read critical and theoretical works that will urge us to consider these works from a range of perspectives, such as queer studies, feminist studies, disability studies, and transgender studies.

• Department: Pre-College Program (Barnard)
• MW 1 p.m.-4:10 p.m.
• Instructor: Duygu Ula
  CULPA: 6 Info
• 3 points

QUEER GENRES

In this class, we will focus on queer narratives of the self to explore how authors represent queerness across centuries and genres, and how these queer narratives are informed by various historical, national, cultural and political contexts. Through a comparative, transnational and intersectional approach that takes into account the particularities of each author’s context, we will aim to answer the following questions: How do various cultural, national, linguistic, religious or political contexts affect the way queer identities are defined and represented in literature? How do these authors represent the intersections of queerness with race, class, ethnicity, disability and citizenship? How have queer narratives developed over time and across cultures in conversation with local and global modes of conceptualizing gender and sexuality? How do queer authors utilize the particularities of each genre to create new forms of self-expression?

Texts will span various genres such as short stories, poems, memoirs, graphic novels, novels and personal essays by authors such as James Baldwin, Audre Lorde, Sappho, Carmen Maria Machado, Alison Bechdel, Adrienne Rich, Casey Plett and Imogen Binnie. Additionally, we will read critical and theoretical works that will urge us to consider these works from a range of perspectives, such as queer studies, feminist studies, disability studies, and transgender studies.

• Department: Pre-College Program (Barnard)
• MW 1 p.m.-4:10 p.m.
• Instructor: Duygu Ula
  CULPA: 6 Info
• 3 points

CLASSICAL MYTHOLOGY

Introduction to and analysis of major myths in classical literature. Topics include the changing attitudes and applications of myth from Greek epic to tragedy, as well as modern approaches to myth. Readings include Homer, Hesiod, Aeschylus, Sophocles, and Euripides. All readings in English.

• Department: Summer Session (SUMM)
• MW 9 a.m.-12:10 p.m.
• MW 1 p.m.-4:10 p.m.
• Instructor: Valeria Spacciante
  Info
• Instructor: Marissa K Swan
  Info
• 3 points

RACE, SPACE AND URBAN SCHOOLS

Many people don’t think of themselves as having attended segregated schools.  And yet, most of us went to schools attended primarily by people who look very much like ourselves.  In fact, schools have become more segregated over the past 30 years, even as the country becomes increasingly racially diverse.  In this class, we will use public schools in New York as an example to examine the role race plays in shaping urban spaces and institutions.

We will begin by unpacking the concept of racialization, or the process by which a person, place, phenomenon, or characteristic becomes associated with a certain race. Then, we will explore the following questions: What are the relationships between city schools and their local contexts?  What does it mean to be a “neighborhood school”?  How are spaces inside of schools racialized?  We will use ethnographies, narrative nonfiction, and educational research to explore these questions from a variety of perspectives.  You will apply what you have learned to your own experiences and to current debates over urban policies and public schools.

This course will extend your understanding of key anthropological and sociological perspectives on urban inequality in the United States, as well as introduce you to critical theory.

• Department: Summer Session (SUMM)
• MW 5:30 p.m.-8:40 p.m.
• Instructor: Chandler Miranda
  CULPA: 2 h-index: 4 Info
• 3 points

MUSIC-EAST ASIA-SOUTHEAST ASIA

MUSIC IN EAST ASIA

A topical approach to the concepts and practices of music in relation to other arts in the development of Asian civilizations.

• Department: Summer Session (SUMM)
• TR 9 a.m.-12:10 p.m.
• Instructor: Kevin Fellezs
  CULPA: 4 Info
• 3 points

MUSICS OF INDIA & WEST ASIA

This course is a topical (not comprehensive) survey of some of the musical traditions of South and West Asia, and of their diasporas. Each tradition will be described locally, connecting it to critical themes that the course aims to explore. The purpose of the course is to introduce you to a range of indigenous and diasporic “Asian” musical styles, ideas, traditions, and artists through an interdisciplinary approach to the study of music as culture. No previous background in music is required.

• Department: Summer Session (SUMM)
• MW 9 a.m.-12:10 p.m.
• Instructor: Noah D Rosen
  Info
• 3 points

CONSUMER CULTURE IN MOD EUROPE

The development of the modern culture of consumption, with particular attention to the formation of the woman consumer. Topics include commerce and the urban landscape, changing attitudes toward shopping and spending, feminine fashion and conspicuous consumption, and the birth of advertising. Examination of novels, fashion magazines, and advertising images.

• Department: Pre-College Program (Barnard)
• MW 9 a.m.-12:10 p.m.
• Instructor: Lisa Tiersten
  CULPA: 45 Info
• 3 points

CONSUMER CULTURE IN MOD EUROPE

The development of the modern culture of consumption, with particular attention to the formation of the woman consumer. Topics include commerce and the urban landscape, changing attitudes toward shopping and spending, feminine fashion and conspicuous consumption, and the birth of advertising. Examination of novels, fashion magazines, and advertising images.

• Department: Pre-College Program (Barnard)
• MW 9 a.m.-12:10 p.m.
• Instructor: Lisa Tiersten
  CULPA: 45 Info
• 3-4 points

Global Activism: The Politics and Dynami

GLBL ACTIV:POL OF SOCIAL

#Metoo #Kony2012 #Fake News #BLM, #Loveislove, #IIcantbreathe, and etc are just a few examples of modern social movements.

 This class will examine the processes of collective action in Social Movements. This course will investigate social movements from collective action from domestic and international perspectives. The course will focus on the hitherto success and failure of social movements: waves of feminism, the civil rights movement, and the LGBTQ+ movement. Students will learn the many methods of successful social movements such as peaceful protesting, sit-in’s, acts of civil disobedience, and riots. The transdisciplinary academic boundaries of Global Social Movements combine and draw from sociology, political science, and anthropology. From the use of case studies, students will comparatively be able to understand issues in the power of the social problems (not to be limited) such as police brutality that has resulted in collective action that resulted in the Egyptian Revolution from the 2020 unrest around the globe.

• Department: Pre-College Program (Barnard)
• TR 1 p.m.-4:10 p.m.
• Instructor: Camara Silver
  Info
• 3 points

Global Activism: The Politics and Dynami

GLBL ACTIV:POL OF SOCIAL

#Metoo #Kony2012 #Fake News #BLM, #Loveislove, #IIcantbreathe, and etc are just a few examples of modern social movements.

 This class will examine the processes of collective action in Social Movements. This course will investigate social movements from collective action from domestic and international perspectives. The course will focus on the hitherto success and failure of social movements: waves of feminism, the civil rights movement, and the LGBTQ+ movement. Students will learn the many methods of successful social movements such as peaceful protesting, sit-in’s, acts of civil disobedience, and riots. The transdisciplinary academic boundaries of Global Social Movements combine and draw from sociology, political science, and anthropology. From the use of case studies, students will comparatively be able to understand issues in the power of the social problems (not to be limited) such as police brutality that has resulted in collective action that resulted in the Egyptian Revolution from the 2020 unrest around the globe.

• Department: Pre-College Program (Barnard)
• TR 1 p.m.-4:10 p.m.
• Instructor: Camara Silver
  Info
• 3 points

EXISTENTIALISM

A survey of major themes of Existentialist philosophy in Europe from the mid 19th century to the mid 20th century, this class will focus on Kierkegaard, Heidegger, and Sartre and their influences on philosophical conceptions of the human being and the form of its freedom, and the consequences of anxiety, nihilism, and despair in the face of death.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Amogha B Sahu
  Info
• 3 points

AMERICAN MEMORY

Historiographically speaking this course is a study of the complex processes that evolve social memory and shape various (often deeply contested) historical narratives.  Practically speaking, this course is a study of objects (“scraps” and “fragments”) that “fix” history within the matrices of particular technologies (manuscripts, books, photographs, recorded sound and moving image) at a particular moment in time and amid a variety of historical contexts (most of which quickly become invisible to posterity).  Our challenge, really the challenge for all researchers, is to reconcile the process by which fixed history is evolved into both memory and narrative.

But, first, we distinguish “American Memory” from “American History.”  To begin, I suggest that history is memory codified and placed within a particular narrative (generally the final product is a published volume).  We need to consider, however, that Americans are exceptionally good at democratizing technologies of memory: Thomas Edison (recorded sound, moving image), Polaroid, and Steve Jobs (I-phone) revolutionized how (and by whom) memory is captured and shared.  I suggest, that such a collective history of memory making has created massive new opportunities to expand upon and revaluate the boundaries of “American History.” 

Within this critical context we will then engage the complex contestations of history that are shaping American culture today.  Does America have a national origin story?  Across American history how have the experiences of Native Americans been remembered, forgotten, and (re)remembered?  What is “The Lost Cause” and how can a narrative composed in 1865 still be tearing at the very fabric of American society?  What is “the West”?  Could the advances in Civil Rights (broadly conceived) that we associate with post World War II America have been possible without the documentation and preservation of the memories of marginalized populations from before World War II (this includes focused study of the WPA during the 1930s as well as the phenomena of “America’s documentary aesthetic.”  More recently, we will consider the connection between the processes of memorializing the Aids epidemic (the famous Aids Memorial Quilt) and the rapid acceleration of LGBTQ+ rights in America.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Ben Alexander
  Info
• 3 points

REVOLUTIONS IN TEXT AND TECHNOLOGY

New media is nothing new. New media historians trace rich record of the moments when some new textual technology entered the public sphere and provoked responses ranging from widespread anxiety and to revolutionary fervor. We will examine the cultural anxieties that attend new media, stretching from Plato’s
Phaedrus
—where Socrates warns that the advent of writing will destroy people’s memories—to today, when Nicholas Carr asks “Is Google making us stupid?” The clay tablet, the codex, the printing press, the chalkboard, the telegraph, the typewriter, the pdf, computer coding, and the smart phone have each promised to revolutionize the reading and writing publics, access to power, and even how people think.

This course examines those promises within their historical contexts, through critical study, and using hands-on experiences. For instance, we will study the role of clay tablets in upholding ancient empires at the same time that we craft our own clay tablet texts. We will take notes with ink pens while we study the role of Medieval scribes in spreading Christianity and Islam. We will create ‘zines while studying the Riot Grrl movement. And we will create our own html hypertexts (no prior coding experience required) as we read the earliest hypertext fiction. These hands-on experiences move arguments about the dangers and revelations of writing technologies out of the realm of the hypothetical and into the realm of the experiential.

The class will visit Columbia’s Rare Book and Manuscript Library (RBML) and Barnard’s Zine Archive, where we will look at textual artifacts, from ancient papyri to early print and digital texts. Our approach will prepare you to situate the contemporary textual technologies you take for granted (IMs, Twitter, Google Docs, and so on) within the long history of new media. And it will teach those pursuing literary studies, new media studies, and computer science research methods required to examine a text as a technology.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Susan Mendelsohn
  CULPA: 5 h-index: 3 Info
• 3 points

3rd Yr Grammar & Comp: Paris

3RD YR GRAMMAR & COMP: PARIS

FREN3405OC: Third Year Grammar and Composition
.
3 points.

Prerequisite: Intermediate French II or the equivalent.

The goal of 
FREN3405OC
 is to help students improve their grammar and perfect their writing and reading skills, especially as a preparation for taking literature or civilization courses, or spending a semester in a francophone country. Through the study of two full-length works of literature and a number of short texts representative of different genres, periods, and styles, they will become more aware of stylistic nuances, and will be introduced to the vocabulary and methods of literary analysis. Working on the advanced grammar points covered in this course will further strengthen their mastery of French syntax. They will also be practicing writing through a variety of exercises, including pastiches and creative pieces, as well as typically French forms of academic writing such as “résumé,” “explication de texte,” and “dissertation".

To enroll in this course through the
Columbia Summer in Paris
program, you must apply to the through the Center for Undergraduate Global Engagement (UGE).

Global Learning Scholarships
available.
Tuition
charges apply.

Please note the program dates are different from the Summer Term A & B dates.

• Department: Global Programs
• 3 points

ARCH OF NYC LEISURE INDUSTRY

This class examines venues in New York City constructed specifically for entertainment, recreation, and relaxation. Organized typologically, it covers parks, playgrounds, theaters, performing arts complexes, World’s Fairs, hotels, department stores, and museums from the perspective of architectural history and urban planning, while taking into account issues such as class and race, private and public patronage, the city’s transition from industrial hub to global cultural capital, and the financial and social impact of the entertainment industry on the people of New York. Above all, it explores the ways in which places of play, recreation, and escape have shaped and continue to reshape the identity of the city that never sleeps. The 4-credit course includes numerous class trips, some of which will take place beyond regular class time.

• Department: Summer Session (SUMM)
• MW 9 a.m.-12:10 p.m.
• Instructor: Irina T Oryshkevich
  CULPA: 11 Info
• 4 points

INTRO TO SYMBOLIC LOGIC

Advanced introduction to classical sentential and predicate logic. No previous acquaintance with logic is required; nonetheless a willingness to master technicalities and to work at a certain level of abstraction is desirable.

• Department: Summer Session (SUMM)
• MW 9 a.m.-12:10 p.m.
• Instructor: Samara E Burns
  Info
• 3 points

PRINTMAKING I

Introduction to the fundamentals of silkscreen techniques. Students gain familiarity with the technical processes of silkscreen and are encouraged to use the processes to develop their visual language. Students are involved in a great deal of drawing for assigned projects. Portfolio required at end.

• Department: Summer Session (SUMM)
• TR 6:15 p.m.-9:25 p.m.
• MW 6:15 p.m.-9:25 p.m.
• Instructor: Xinyi Liu
  Info
• Instructor: Shuai Yang
  Info
• 3 points

INTRO TO ECONOMETRICS

Prerequisites: STAT UN1201 Intro to Stats w/Calculus, MATH UN1201 Calculus III, and either intermediate micro or macro (UN3211 or UN3213). Equivalent to ECON UN3412. Modern econometric methods, the general linear statistical model and its extensions, simultaneous equations and the identification problem, time series problems, forecasting methods, extensive practice with the analysis of different types of data.

• Department: Summer Session (SUMM)
• MW 10:20 a.m.-11:55 a.m.
• Instructor: Seyhan Erden
  CULPA: 7 Info
• 4 points

JACKSON POLLOCK & THE NY SCHOOL

Coming on the heels of the MoMA's blockbuster exhibit, this seminar will trace the rise and fall of Abstract Expressionism, from its pre-World War II precipitates in Europe (Surrealism) and in America (Regionalism), to the crucial moment when, as scholar Serge Guilbaut has argued, New York 'stole' the idea of modern art, and finally, through the decade when Pop Art rendered Abstract Expressionism obsolete. Although special emphasis will be given to Jackson Pollock, whose persona and work reside at the literal and figurative center of the movement, we will also look closely at works by Mark Rothko, Clyfford Still, Willem DeKooning, Lee Krasner, Louise Bourgeois, Helen Frankenthaler, Eva Hesse, Robert Rauschenberg, Jasper Johns and Cy Twombly. Class lectures and presentations will be supplemented with trips to New York's world-renowned museums.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Kent M Minturn
  CULPA: 2 Info
• 3 points

JACKSON POLLOCK & THE NY SCHOOL

Coming on the heels of the MoMA's blockbuster exhibit, this seminar will trace the rise and fall of Abstract Expressionism, from its pre-World War II precipitates in Europe (Surrealism) and in America (Regionalism), to the crucial moment when, as scholar Serge Guilbaut has argued, New York 'stole' the idea of modern art, and finally, through the decade when Pop Art rendered Abstract Expressionism obsolete. Although special emphasis will be given to Jackson Pollock, whose persona and work reside at the literal and figurative center of the movement, we will also look closely at works by Mark Rothko, Clyfford Still, Willem DeKooning, Lee Krasner, Louise Bourgeois, Helen Frankenthaler, Eva Hesse, Robert Rauschenberg, Jasper Johns and Cy Twombly. Class lectures and presentations will be supplemented with trips to New York's world-renowned museums.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Kent M Minturn
  CULPA: 2 Info
• 3 points

US PRESIDENCY WASHINGTON TO TRUMP

This lecture examines how the American presidency evolved into the most important job on earth. It examines how major events in US and world history shaped the presidency. How changes in technology and media augmented the power of the president and how the individuals who served in the office left their marks on the presidency. Each class will make connections between past presidents and the current events involving today's Commander-in-Chief. Some topics to be discussed: Presidency in the Age of Jackson; Teddy Roosevelt and Presidential Image Making; Presidency in the Roaring ‘20s; FDR and the New Deal; Kennedy and the Television Age; The Great Society and the Rise of the New Right; 1968: Apocalyptic Election; The Strange Career of Richard Nixon; Reagan's Post Modern Presidency; From Monica to The War on Terror.

• Department: Summer Session (SUMM)
• MW 9 a.m.-12:10 p.m.
• Instructor: David Eisenbach
  CULPA: 24 Wikipedia Info
• 3 points

NYC AND THE HISTORY OF MUSEUM

This course will introduce students to the history of museums and display practices through New York collections. The birth of the museum as a constitutive element of modernity coincides with the establishment of European nation states. Throughout the course of the nineteenth century, museums were founded in major European and American cities to classify objects, natural and manmade, from plants and fossils to sculpture and clothing. This course presents the alternate art history that can be charted through an examination of the foundation and development of museums from cabinets of curiosity to the collection-less new museums currently being built in the Middle East and beyond. We will consider broad thematic issues such as nationalism, colonialism, canon formation, the overlapping methods of anthropology and art history, and the notion of 'framing' from the architectural superstructure to exhibition design. We will visit a wide variety of museums from the American Museum of Natural History to the Metropolitan Museum of Art to the National September 11 Memorial and Museum as in-depth case studies of more general concepts. Students will have the opportunity to meet museum educators, conservators and curators through on site teaching in a variety of institutions.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Risham Majeed
  CULPA: 3 Info
• 4 points

NYC AND THE HISTORY OF MUSEUM

This course will introduce students to the history of museums and display practices through New York collections. The birth of the museum as a constitutive element of modernity coincides with the establishment of European nation states. Throughout the course of the nineteenth century, museums were founded in major European and American cities to classify objects, natural and manmade, from plants and fossils to sculpture and clothing. This course presents the alternate art history that can be charted through an examination of the foundation and development of museums from cabinets of curiosity to the collection-less new museums currently being built in the Middle East and beyond. We will consider broad thematic issues such as nationalism, colonialism, canon formation, the overlapping methods of anthropology and art history, and the notion of 'framing' from the architectural superstructure to exhibition design. We will visit a wide variety of museums from the American Museum of Natural History to the Metropolitan Museum of Art to the National September 11 Memorial and Museum as in-depth case studies of more general concepts. Students will have the opportunity to meet museum educators, conservators and curators through on site teaching in a variety of institutions.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Risham Majeed
  CULPA: 3 Info
• 4 points

American Art in a Global Context: 1750

American Art, 1750 1914

Through an examination of painting, sculpture, decorative arts, photography. fashion and visual culture of the United States from 1750 to 1914, the course will explore how American artists responded to and operated within the wider world, while grappling with issues of identity at home. Addressing themes shared in common across national boundaries, the class will consider how American art participated in the revolutions and reforms of the "long" nineteenth century, and how events of the period continue to impact our country today. The period witnessed the emergence of new technologies for creating, using and circulating images and objects, the expansion and transformation of exhibition and viewing practices, and the rise of new artistic institutions, as well as the metamorphosis of the United States from its colonial origins to that of a world power, including the radical changes that occurred during the Civil War.  With many sessions taking place at the Metropolitan Museum of Art, the class will investigate how American art engaged with international movements while constructing national identity during a period of radical transformation both at home and abroad.

• Department: Summer Session (SUMM)
• TR 9 a.m.-12:10 p.m.
• Instructor: Page S Knox
  CULPA: 14 Info
• 4 points

GLOBAL HIST OF THE US MILITARY

This course charts the expansion of U.S. military power from a band of colonists to a globe-girdling colossus with over 2.1 million personnel, some 750 bases around the world, and an annual budget of approximately $754 billion — almost half of federal discretionary spending, and more than the next nine nations combined. It introduces students to the history of American military power; the economic, political, and technological rise of the military-industrial complex and national security state; the role of the armed services in international humanitarian work; and the changing role of the military in domestic and international politics. A three-point semester-long course, compressed into six weeks; visit
bobneer.com
for a complete syllabus.

• Department: Summer Session (SUMM)
• TR 2 p.m.-5:10 p.m.
• Instructor: Robert M Jr Neer
  Info
• 3 points

NEUROSCIENCE AND SOCIETY

This course investigates the ways in which research in human neuroscience both reflects and informs societal issues. Topics include how neuroscience research is interpreted and applied in areas such as healthcare, education, law, consumer behavior, and public policy.

• Department: Summer Session (SUMM)
• TR 5:30 p.m.-8:40 p.m.
• Instructor: Trenton Jerde
  h-index: 11 Info
• 3 points

BIOCHEM I-STRUCT/METABOLSM-REC

How does life work on a molecular level? Why do we succumb to disease, and how can we create new cures? This course will explore the biochemistry of life and how this knowledge can be harnessed to create new medicines. You will learn how cells convert environmental resources into energy through metabolism, how cellular molecules function, and how to use this biochemical knowledge for drug discovery related to neurodegeneration, cancer, and the current SARS-CoV-2 COVID19 pandemic. At the conclusion of the course, you will be able to diagram the major metabolic pathways and compare how these pathways are dysregulated in normal tissues in and disease states, and to design your own drug discovery program to create therapeutic for diseases such as COVID-19. In addition, you will know what techniques are used to uncover biochemical knowledge and how to design and interpret relevant experiments. You will be capable of collaborating with other people in the analysis and interpretation of biochemical data, and be able to communicate, defend and refute interpretations of data. You will learn how to create an original research proposal in the form of a research grant application. Having completed one year of college-level biology and one year of organic chemistry will be helpful to maximally benefit from this course. This course satisfies the requirement of most medical schools for introductory biochemistry, and is suitable for advanced undergraduates, and beginning graduate students; this replaces the previous UN3501 course.

• Department: Summer Session (SUMM)
• T 5 p.m.-6 p.m.
• R 5 p.m.-6 p.m.
• Instructor: Mary Ann Price
  CULPA: 5 Info
• 0 points

HIST OF THE CITY OF NEW YORK

The social, cultural, economic, political, and demographic development of America's metropolis from colonial days to present. Slides and walking tours supplement the readings.

• Department: Summer Session (SUMM)
• MW 9 a.m.-12:10 p.m.
• Instructor: Stephen J Sullivan
  CULPA: 2 Info
• 3 points

"""BLACKNESS"" IN FRENCH"

AFRS3567OC​: ‘Blackness’ in French. 3 points.

Instructor: 
Kaiama L. Glover and Maboula Soumahoro
​
Taught in English.

This course is approved as a Global Core at Columbia.
What are the historical linkages between ‘Black’ France and the United States? Between African-Americans and ‘Black’ French women and men? How is this relationship different from and contingent on the relationship between the French and their post(-)colonial ‘Others?’ Taking an internationalist (specifically transatlantic) approach and considering the 20th and 21st centuries, this course explores literature, art, culture, history, and politics emerging from or grappling with ‘Black’ France. The course features guest lectures by Black French intellectuals and cultural actors, guided museum visits and walking tours, and educational dining opportunities with owners of Black French African and Afro-Caribbean restaurants, so to offer students the opportunity to encounter ‘Black’ France in a variety of contexts, and to bring them into conversations about the fact and fantasy of ‘race’ in the complex, long-historical relationship between the United States and the French Republic. "'Blackness' in French is part of a wider 'Black France Consortium cohort that will engage over the course of the five-week session in a broad range of co-curricular activities and programming. To enroll in this course, you must apply to the  
Columbia Summer in Paris
program, through the Center for Undergraduate Global Engagement (UGE).

Global Learning Scholarships
available.
Tuition
charges apply.

• Department: Global Programs
• 4 points

THE EIGHTEENTH-CENTURY NOVEL: GENRE AND

In the late seventeenth century, a new genre appears across Europe: the novel.  It told the stories – not of the princes and princesses – but of ordinary people on extraordinary voyages, from villages to the Metropolis, from England to Africa and the Americas. In their travels, they encountered not the dragons or giants of romance, but the people and things that made up everyday life in the eighteenth century – country houses and whorehouses, aristocrats and the merchants, pirates and slaves, and a vast array of enticing goods (shoes and coats, silks and ribbons, coffee and opium) produced in early capitalism.

Why does the novel appear?  What role does it play, in personal psychology as well as society?  Can we account for its increasing popularity as well as its transformations across the eighteenth century?  To puzzle these questions, we will place the development of the novel within the history of art, philosophy and science, as well as psychology and literary theory.  Writers include Mme. de La Fayette, Aphra Behn, Daniel Defoe, Eliza Heywood, Henry Fielding, John Cleland, William Godwin, and Jane Austen. Critical readings include selections from Benjamin, Adorno,
Foucault, Elias, Moretti, and others.  Note: we will read primarily novellas (short novels) or selections from longer novels in this course.

• Department: Summer Session (SUMM)
• TR 5:30 p.m.-8:40 p.m.
• Instructor: Ross T Hamilton
  CULPA: 25 Info
• 3 points

HIST OF LATINOS/AS IN THE U.S.

As a population, Latino, Latina, Latine, and Latinx peoples have been prominent in the public sphere in popular culture, the media, and especially around discussions of immigration. Though individuals with a tapestry of Spanish-Indian-African ancestry (who may be described as “Latinas/os” “Hispanics” or “Latinxs” today) explored the lands of present-day Florida and New Mexico long before English colonizers reached Plymouth Rock, Latina/o/x communities are continually seen as foreigners, immigrants, and “newcomers” to American society. This course aims to place Latina/o populations in the United States within historical context. We begin by asking:  Who are Latinas/os in the U.S. and how did they become part of the American nation-state?  Why are they identified as a distinct group? How have they participated in American society and how have they been perceived over time?  The course will familiarize students with the broad themes, periods, and questions raised in the field of Latinx History.  Topics include conquest and colonization, immigration, labor recruitment, education, politics, popular culture, and social movements.  The course emphasizes a comparative approach to Latinx history aiming to engage histories from the Southwest, Midwest, and Eastern United States and across national origin groups—Mexican Americans, Puerto Ricans, Cubans, Dominicans, Central Americans, and South Americans. This class is taught in mostly the modern period (after 1750) within United States history so it can count toward the history major or concentration. Where the course points may be applied depends on a student’s field of specialization within their major or concentration. The course can also count toward the 
Global Core
 requirement, which is reflected on the Columbia online registry.  The class can, moreover, serve as three elective points toward degree progress or as non-technical elective credits. Finally, the course is regularly 
cross-listed 
with both the Center for the Study of Ethnicity and the Institute for the Study of Human Rights as well as with American Studies.

• Department: Summer Session (SUMM)
• MW 12:30 p.m.-3:40 p.m.
• Instructor: Darius V Echeverria
  CULPA: 1 Info
• 3 points

The Business Story and the Occupational

Business/Occupational Nov

A story in the “occupational” genre develops within a professional setting, like a hospital, airport, or police department. Occupational novels (and film and television scripts) are widely consumed but rarely studied. In this course, we will take a deep dive into the history of the genre, beginning with works from French and Soviet realisms, and continuing to American police procedurals and Japanese business novels.

Despite its popular image, works in this genre will lead us to profound philosophical questions about collective intelligence, personal belonging, the emergence of institutional agency, and the feeling of personal powerlessness in the face of large bureaucracies. Readings from Plato, Hobbes, Marx, Mary Douglas, Sara Ahmed other institutional theorists will therefore anchor our weekly discussion.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• Instructor: Dennis Tenen
  CULPA: 8 h-index: 3 Info
• 3 points

METAPHYSICS

This course will survey topics in contemporary metaphysics. We will focus on material objects, time, modality, causation, properties, and natural kinds. We will begin by considering what objects there are in general (ontology) and what to say about certain puzzling entities (such as holes). Then we will turn to debates about material objects and puzzles about composite objects and the notion of parthood. Next is the issue of how material objects persist over time and survive change in their parts. We shall consider two important views on persistence. We then turn to two issues related to persistence: personal identity over time, and puzzles about time travel. This will lead us into the next part of the course on modality and causation, which concerns the notions of possibility, necessity, laws of nature, and causation. We will consider different views about 'possible worlds'. We will then consider the nature of laws and causation and then turn to the problem of free will. We will look at debates in the metaphysics of properties between realists and nominalists about properties. Then we'll consider causal powers, dispositions, and natural kinds. The section will conclude with problems about the metaphysics of socially constructed kinds such as race or gender.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Ching Hei Yau
  Info
• 3 points

Topics in Clinical Psychology - Summer

A seminar for advanced undergraduate students exploring different areas of clinical psychology. The specific focus within clinical psychology may differ each time the course is offered, so it is possible for the course to be retaken for additional credit.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• Instructor: Jeffrey M Cohen
  h-index: 5 Info
• 3 points

CLINICAL NEUROPSYCHOLOGY SEM

Prerequisites: the instructor's permission required; contact emccaski@barnard.edu. An introductory course in neuroscience like PSYC 1001 or PSYC 2450. Analysis of the assessment of physical and psychiatric diseases impacting the central nervous system, with emphasis on the relationship between neuropathology and cognitive and behavioral deficits.

• Department: Summer Session (SUMM)
• MW 6:15 p.m.-9:25 p.m.
• Instructor: E'Mett McCaskill
  CULPA: 38 Info
• 3 points

ADVANCES IN IPE

This course examines questions in international political economy, asking what we know and how we know it. It addresses questions such as: Why do some countries promote globalization while others resist it? What do IOs do in international politics? Who runs our system of global governance? We will explore these questions and others by focusing on topics such as international trade, foreign aid, investment, and the environment. For each topic, we will use a variety of theoretical lenses and then investigate the evidence in favor of each. More generally, the course will consider the challenges of drawing casual inferences in the field of international political economy. There are no prerequisites for this course but an introductory economy course would be helpful. Students will write a short reading response each week and produce a research proposal for studying a topic related to international political economy, though they do not need to actually conduct this research.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Sharyn L O'Halloran
  Info
• 4 points

ADVANCES IN IPE-DISC

This is the required discussion section for 
POLS S3628.

• Department: Summer Session (SUMM)
• TR 4:10 p.m.-5 p.m.
• Instructor: Manu S Burson
  Info
• 0 points

RECORDED SOUND

Prerequisites: the instructor's permission. Main objective is to gain a familiarity with and understanding of recording, editing, mixing, and mastering of recorded music and sounds using Pro Tools software. Discusses the history of recorded production, microphone technique, and the idea of using the studio as an instrument for the production and manipulation of sound.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• Instructor: David Adamcyk
  CULPA: 1 Info
• 3 points

Contemporary American Short Story Collec

Contemp. American Short S

In 2013, Alice Munro was honored with the Nobel Prize in literature. Munro’s award was seen as a literary landmark: the first time that the prize was awarded to a writer whose exclusive form was the short story. The award was seen as fitting recognition, not only for this writer in particular, but also more broadly as moment of recognition for the short story’s importance as a genre, especially in a publishing industry that has long been dominated by the novel.

In this course, we will focus on the contemporary North American short story authors featured on our syllabus: Chimamanda Adichie, George Saunders, Lydia Davis, Carmen Machado, Leanne Simpson, Anthony Veasna So. Some of the writers on this list are veterans of the short story form. Others are authors who recently published debut collections. As we work through our reading list, we will attempt to analyze not only individual short stories, but also what marks these books as collections. What might hold these texts together? What disrupts the unifying principles of a collection? And most importantly, what do short stories offer—in terms of representations of American life and culture and itscomplexity—that other forms do not?

• Department: Summer Session (SUMM)
• MW 9 a.m.-12:10 p.m.
• Instructor: Denise Cruz
  CULPA: 8 h-index: 6 Info
• 3 points

ISSUES IN 19TH C FRENCH P

ISSUES IN 19TH CENT FRENCH ART

AHIS3682OC. Issues in Nineteenth Century Art.
3 points.

We will  focus on a key artistic period that is full of upheavals. We will particularly consider the affirmation of the individuality of the artist in relation to the institutions and great pictorial movements that have marked the history of French painting of that time.

To enroll in this course, you must apply to the  
Columbia Summer in Paris
program, through the Center for Undergraduate Global Engagement (UGE).

Global Learning Scholarships
available.
Tuition
charges apply.

• Department: Global Programs
• 3 points

THE THEATER OF THE ABSURD

The theater of the absurd was a theatrical movement that emerged in Paris in the 1950s. Plays such as Samuel Beckett’s
Waiting for Godot
and Eugène Ionesco’s
The Bald Soprano
challenged the conventions of traditional theater, staging a darkly humorous, “absurd” vision of human existence. In this course, we will conduct close readings of some of the major plays of the movement, and explore its links to the Existentialist philosophy of post-WWII France (especially the philosophy of Albert Camus). We will pay particular attention to the social and political context of the movement’s emergence; the challenge to conventions of bourgeois drama; popular and critical reception of the plays. After brief contextualization of the period to be studied and some indications as to how to read dramatic texts, we will proceed to a close analysis of the text, performance and reception of some of the key works of the theater of the absurd, beginning with Eugène Ionesco’s
The Bald Soprano
and T
he Lesson
, followed by Samuel Beckett's Waiting for
Godot
 (1953). Analysis of these plays will allow us to identify the primary characteristics and themes of absurdist drama (purposelessness and hopelessness of human existence; godlessness of the modern world; futility of action; collapse of logic; impossibility of communication etc) as well as the hallmarks of the absurdist theatrical style (its debt to mime, vaudeville, and the circus; the use of humor, ritual, and violence; theater within theater; absence of action/plot etc). With a good grasp of what constitutes absurd theater we will then familiarize ourselves with some of its literary and intellectual origins: the existentialist philosophy of J.-P. Sartre and especially Albert Camus (“The Myth of Sisyphus”); parallels to absurdism in the writings of Franz Kafka; Antonin Artaud’s "theater of cruelty”; Alfred Jarry’s 
Ubu Roi
 (1896); the manifestos of the Italian Futurist F.T. Marinetti; the "static drama" of the Belgian Symbolist Maurice Maeterlinck.

• Department: Pre-College Program (Barnard)
• MW 1 p.m.-4:10 p.m.
• Instructor: Peter T Connor
  CULPA: 13 Info
• 3 points

MAJOR WOMEN FILMMAKERS

Traditional film history has consigned a multitude of cinema practices to an inferior position. By accepting Hollywood’s narrative model as central, film scholars have often relegated non-male, non-white, non-Western films to a secondary role. Often described as “marginal” or “peripheral” cinemas, the outcomes of these film practices have been systematically excluded from the canon. Yet… are these motion pictures really “secondary”? In relation to what? And according to whom? This course looks at major films by women filmmakers of the 20th Century within a tradition of political cinema that 1) directly confronts the hegemonic masculinity of the Hollywood film industry, and 2) relocates the so-called “alternative women’s cinema” at the core of film history. Unlike conventional feminist film courses, which tend to be contemporary and anglocentric, this class adopts a historical and worldwide perspective; rather than focusing on female directors working in America today, we trace the origins of women’s cinema in different cities of the world (Berlin, Paris, New York) during the silent period, and, from there, we move forward to study major works by international radical directors such as Lorenza Mazzetti, Agnès Varda, Forough Farrokhzad, Věra Chytilová, Chantal Akerman, Lina Wertmüller, Barbara Loden, Julie Dash, and Mira Nair. We analyse how these filmmakers have explored womanhood not only as a source of oppresion (critique of patriarchal phallocentrism, challenge to heteronormativity, etc) but, most importantly, as a source of empowerment (defense of matriarchy, equal rights, lesbian love, inter- and transexuality...). Required readings include seminal texts of feminist film theory by Claire Johnston, Laura Mulvey, Ann Kaplan, bell hooks, and Judith Butler. Among the films screened in the classroom are silent movies –
Suspense
(Lois Weber, 1913),
The Seashell and the Clergyman
(Germaine Dulac, 1928)—, early independent and experimental cinema –
Girls in Uniform
(Leontine Sagan, 1931),
Ritual in Transfigured Time
(Maya Deren, 1946)—, “new wave” films of the 1950s and 1960s –
Cléo from 5 to 7
(Varda, 1962),
Daisies
(Chytilová, 1966)–,
auteur
cinema of the 1970s –
Seven Beauties
(Wertmüller, 1974),
Jeanne Dielman
(Akerman, 1975)–, and documentary films –

• Department: Pre-College Program (Barnard)
• MW 9 a.m.-12:10 p.m.
• Instructor: Breixo Viejo Vinas
  CULPA: 5 Info
• 3 points

MAJOR WOMEN FILMMAKERS

Traditional film history has consigned a multitude of cinema practices to an inferior position. By accepting Hollywood’s narrative model as central, film scholars have often relegated non-male, non-white, non-Western films to a secondary role. Often described as “marginal” or “peripheral” cinemas, the outcomes of these film practices have been systematically excluded from the canon. Yet… are these motion pictures really “secondary”? In relation to what? And according to whom? This course looks at major films by women filmmakers of the 20th Century within a tradition of political cinema that 1) directly confronts the hegemonic masculinity of the Hollywood film industry, and 2) relocates the so-called “alternative women’s cinema” at the core of film history. Unlike conventional feminist film courses, which tend to be contemporary and anglocentric, this class adopts a historical and worldwide perspective; rather than focusing on female directors working in America today, we trace the origins of women’s cinema in different cities of the world (Berlin, Paris, New York) during the silent period, and, from there, we move forward to study major works by international radical directors such as Lorenza Mazzetti, Agnès Varda, Forough Farrokhzad, Věra Chytilová, Chantal Akerman, Lina Wertmüller, Barbara Loden, Julie Dash, and Mira Nair. We analyse how these filmmakers have explored womanhood not only as a source of oppresion (critique of patriarchal phallocentrism, challenge to heteronormativity, etc) but, most importantly, as a source of empowerment (defense of matriarchy, equal rights, lesbian love, inter- and transexuality...). Required readings include seminal texts of feminist film theory by Claire Johnston, Laura Mulvey, Ann Kaplan, bell hooks, and Judith Butler. Among the films screened in the classroom are silent movies –
Suspense
(Lois Weber, 1913),
The Seashell and the Clergyman
(Germaine Dulac, 1928)—, early independent and experimental cinema –
Girls in Uniform
(Leontine Sagan, 1931),
Ritual in Transfigured Time
(Maya Deren, 1946)—, “new wave” films of the 1950s and 1960s –
Cléo from 5 to 7
(Varda, 1962),
Daisies
(Chytilová, 1966)–,
auteur
cinema of the 1970s –
Seven Beauties
(Wertmüller, 1974),
Jeanne Dielman
(Akerman, 1975)–, and documentary films –

• Department: Pre-College Program (Barnard)
• MW 9 a.m.-12:10 p.m.
• Instructor: Breixo Viejo Vinas
  CULPA: 5 Info
• 3 points

RESEARCH DESIGN: SCOPE AND METHODS

RESEARCH DESIGN: SCOPE&ME

This class aims to introduce students to the logic of social scientific inquiry and research design. Although it is a course in political science, our emphasis will be on the science part rather than the political part — we’ll be reading about interesting substantive topics, but only insofar as they can teach us something about ways we can do systematic research. This class will introduce students to a medley of different methods to conduct social scientific research.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• Instructor: Michael Miller
  CULPA: 18 h-index: 14 Info
• 4 points

SCOPE AND METHODS - DISC

This is the required discussion section for
POLS UN3720.

• Department: Summer Session (SUMM)
• MW 4:10 p.m.-5 p.m.
• Instructor: Samuel D Frederick
  Info
• 0 points

Personhood

This seminar seeks to engage with materials that question personhood. Drawing on both fictional and non-fictional accounts, we will be involved with textual and visual documents as well institutional contexts in order to revisit such notion under contemporary capitalism. We will cover topics like rites of passage and life cycle, the role of the nation state and local communities in defining a person, the relation between self and non-self, between the living and the dead. We will likewise address vicarious forms of personhood through the prosthetic, the avatar or the heteronomous. But we will also look into forms of dissipation and/or enhancement of personhood through bodybuilding, guinea-piging and pharmo-toxicities. As a whole, the course will bring to light how the question of personhood cross-culturally relates to language, performativity, religion, technology, law, gender, race, class, care, life and death.

• Department: Summer Session (SUMM)
• TR 1 p.m.-4:10 p.m.
• Instructor: Maria Jose de Abreu
  Info
• 4 points

POLITICAL PHILOSOPHY

Six major concepts of political philosophy including authority, rights, equality, justice, liberty and democracy are examined in three different ways. First the conceptual issues are analyzed through contemporary essays on these topics by authors like Peters, Hart, Williams, Berlin, Rawls and Schumpeter. Second the classical sources on these topics are discussed through readings from Hobbes, Locke, Hume, Marx, Plato, Mill and Rousseau. Third some attention is paid to relevant contexts of application of these concepts in political society, including such political movements as anarchism, international human rights, conservative, liberal, and Marxist economic policies as well as competing models of democracy.

• Department: Summer Session (SUMM)
• MW 1 p.m.-4:10 p.m.
• Instructor: Christian A Jensen
  Info
• 3 points

AFRICA AND FRANCE

This course endeavors to understand the development of the peculiar and historically conflictual relationship that exists between France, the nation-states that are its former African colonies, and other contemporary African states. It covers the period from the 19th century colonial expansion through the current ‘memory wars’ in French politics and debates over migration and colonial history in Africa. Historical episodes include French participation in and eventual withdrawal from the Atlantic Slave Trade, emancipation in the French possessions, colonial conquest, African participation in the world wars, the wars of decolonization, and French-African relations in the contexts of immigration and the construction of the European Union. Readings will be drawn extensively from primary accounts by African and French intellectuals, dissidents, and colonial administrators. However, the course offers neither a collective biography of the compelling intellectuals who have emerged from this relationship nor a survey of French-African literary or cultural production nor a course in international relations. Indeed, the course avoids the common emphasis in francophone studies on literary production and the experiences of elites and the common focus of international relations on states and bureaucrats. The focus throughout the course is on the historical development of fields of political possibility and the emphasis is on sub-Saharan Africa. Group(s): B, C Field(s): AFR, MEU

• Department: Summer Session (SUMM)
• TR 3 p.m.-7 p.m.
• Instructor: Gregory Mann
  CULPA: 15 h-index: 13 Info
• 4 points

WHEN AMERICAN TELEVISION BECAME AMERICAN

In a 2015 interview with David Simon (creator of
The Wire
) President Barak Obama offered that
The Wire
is, "one of the greatest -- not just television shows, but pieces of American art in the last couple of decades."  
The Wire
combines hyperrealism (from a-quasi anthropological capture of syntax and dialect that recalls the language of Langston Hughes and Zora Neal Hurston to a preference for actors who lived “the game” in Baltimore’s inner city) with the reinvention of fundamental American themes (from picaresque individualisms, to coming to terms with the illusory “American dream”, to a fundamental loss of faith in American institutions), and engages in a scathing expose of the shared dysfunction among the bureaucracies (police, courts, public schools etc.) that manage a troubled American inner city.  On a more macro level
The Wire
humanizes (and therefore vastly problematizes) assumptions about the individual Americans’ who inhabit America’s most dangerous urban environments from gang members to police officers to teachers and even ordinary citizens.

The Wire
, of course, did not single-handedly reshape American television. Scholars like Martin Shuster refer to this period of television history as “new television.” That is, the product of new imaginations that felt television had exhausted its normative points of reference, subject matter and narrative technique. Many of the shows from this period sought to reinvent television for interaction with an evolving zeitgeist shaped by shared dissolution with 21st century American life: “I’d been thinking: it’s good to be in a thing from the ground floor, I came too late for that, I know.  But lately I’m getting the feeling I might be in at the end.  That the best is over,” Tony Soprano confides to Dr. Malfi in S1.E1 of the Sopranos.  Series that fall within this rubric include (in chronological order):
The Sopranos
;
The Wire
;
Deadwood
;
Madmen
; and
Breaking Bad.

• Department: Summer Session (SUMM)
• TR 5:30 p.m.-8:40 p.m.
• Instructor: Ben Alexander
  Info
• 3 points