REFLEXIVITY IN ART & FILM

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

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

SOCIETIES/CULTRS: INDIAN OCEAN

This course introduces the Indian Ocean as a region linking the Middle East, East Africa, South and Southeast Asia. With a focus on both continuities and rupture from the medieval to the modern period, we study select cultures and societies brought into contact through interregional migration and travel from the 10th to 20th centuries. Different types of people - nobles, merchants, soldiers, statesmen, sailors, scholars, slaves - experienced mobility in different ways. How did different groups of people represent such mobilities? What kinds of political, economic, and social cooperation, accommodation or conflict did different Indian Ocean encounters engender? We read some of the newest humanities and social science scholarship, as well as primary sources ranging from manuscript illustrations, sailor’s stories, merchant letters, travelogues, pilgrimage accounts, colonial documents, memoirs, and diplomatic accounts.

• Department: Middle Eastern, South Asian and African Studies
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Mana Kia
  CULPA: 2 h-index: 11 Info
• 3 points

COLL: GENDER & PUBLIC POLICY

In this course, we will examine how notions of sex and gender have shaped public policies, and how public policies have affected the social, economic, and political citizenship of men and women in the United States over time.

• Department: Political Science @Barnard
• M 4:10 p.m.-6 p.m.
• Instructor: Katherine L Krimmel
  CULPA: 6 Info
• 4 points

THE SHORT FILM: HISTORY & AESTHETICS

SHORT FILM: HISTORY&AESTH

Most film students begin their careers directing short films. However, during their formative years in college, they are only exposed to full-length features. The main objective of this course is to resolve this contradiction by helping the future director to recognize the specific characteristics of the short format.

This course studies international short films from the silent period to the present day by focusing on narrative compression and stylistic unity. Special attention is paid to the different aesthetic qualities of the short film in relation to its mode of organization (fiction, documentary, animation, and avant-garde). Each session includes the screening of two or three short films
twice
: first, without interruption; second, with a detailed shot-by-shot analysis that considers narrative structure, dialogue, framing, lighting, camera movement, use of sound and music, editing techniques, etc.

Films discussed in the classroom include
The Immigrant
(Chaplin, 1917),
An Andalusian Dog
(Buñuel, 1929),
Rain
(Ivens, 1929),
Tit for Tat
(Rogers, 1935),
The Ventriloquist Dummy
(Cavalcanti, 1945),
Blood of the Beasts
(Franju, 1949),
Night and Fog
(Resnais, 1955),
Two Men and a Wardrobe
(Polanski, 1958),
Glass
(Bert Haanstra, 1958),
An Occurrence at Owl Creek Bridge
(Enrico, 1962),
La Jetée
(Marker, 1962),
Patriotism
(Mishima, 1966),
The Perfect Human
(Leth, 1968),
Ghost Trio
(Beckett, 1976),
Life Lessons
(Scorsese, 1989),
Food
(Švankmajer, 1992),
Dogs Have No Hell
(Kaurismäki, 2002),
Cousins?
(Jarmusch, 2003), and
The Gal Who Got Rattled
(Coen Brothers, 2018).

• Department: Film @Barnard
• M 10:10 a.m.-1:55 p.m.
• Instructor: Breixo Viejo Vinas
  CULPA: 5 Info
• 3 points

COMPUTER AIDED DESIGN

Introduction to numerical methods and their applications to rigid body mechanics for mechanisms and linkages. Introduction to finite element stress analysis for deformable bodies. Computer-aided mechanical engineering design using established software tools and verifications against analytical and finite difference solutions.

• Department: Mechanical Engineering
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Kristin Myers
  CULPA: 3 h-index: 25 Info
• 3 points

Evolution of Intelligence, Animal Commun

Prerequisites: PSYC UN1001, and the instructors permission.

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

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

SPATIAL ANALYSIS FOR SDEV

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

• Department: Earth Institute
• W 10:10 a.m.-12:25 p.m.
• Instructor: Kytt J Macmanus
  Info
• 3 points

Women Artists in Eighteenth-Century Euro

Women Artists in 18th-C E

This seminar will examine the career and artistic production of women artists in the long eighteenth century in Europe, with a specific focus on Italy, France and Britain. Recent research has shown that many women managed to become professional artists during this period. But how successful were they? And what did their work consist of? To date, the historical recovery of data about their career and oeuvre remains a work in progress. In contrast, the few women artists who reached international fame in the eighteenth-century – in part because they were members of otherwise overwhelmingly male art academies – have received significant scholarly attention by art historians that include Angela Rosenthal and Mary Sheriff, among others, and have been the subject of important monographic exhibitions in the past two decades. In light of this state of the research, we will study the cases of canonical artists, such as Angelica Kauffman (1741-1807), as well as the cases of still understudied (yet sufficiently documented) artists, such as Marie Geneviève Bouliar (1763-1825). Our primary task will be to examine the different ways in which women who became artists navigated the eighteenth-century social order – an order where the terms “woman” and “professional artist” were commonly understood as contradictory – and analyze their art with a critical understanding of the expectations, aesthetic and otherwise, that they were held to. Topics of discussion will include: training; the hierarchy of genres; women artists and media, including miniature, engraving and sculpture; self-portraiture and gender expectations; women artists and art criticism; and emulation and authorship.

• Department: Art History and Archaeology
• T 10:10 a.m.-noon
• Instructor: Frederique Baumgartner
  CULPA: 3 Info
• 4 points

STAGING THE EARLY MOD MEDITERR

BLOOD/LUST: STAGING EARLY MODE

This course examines, in sixteenth and seventeenth century Spain and England (1580-1640), how the two countries staged the conflict between them, and with the Ottoman Empire; that is, how both countries represent national and imperial clashes, and the concepts of being “Spanish,” “English,” or “Turk,” as well as the dynamic and fluid identities of North Africa, often played out on the high seas of the Mediterranean with Islam and the Ottoman Empire. We will consider how the Ottoman Empire depicted itself artistically through miniatures and court poetry. The course will include travel and captivity narratives from Spain, England, and the Ottoman Empire.

• Department: Comparative Literature and Society, Institute for
• W 2:10 p.m.-4 p.m.
• Instructor: Patricia E Grieve
  CULPA: 15 Info
• 4 points

VICE AND VIRTUE

When Colombian novelist and literary critic Soledad Acosta de Samper declared in 1895 that the cause of “moralizing” Spanish American society was a task that female writers shared with the rest of the continent’s women, she was, in effect, placing a gender claim on a very old notion of the purpose of literature. A hundred years before the Peruvian-born Pablo de Olavide had begun his long epistolary novel (
El evangelio en triunfo
) by lamenting that the publishing industry of his era had not yet managed to harness its resources into a single volume that would make Christian doctrine and morality palatable to enlightened readers. What both writers shared was a sense of the imperceptible ability of narrative to transmit moral sensibility. This power—U.S. educational reformer Charles Brooks would call it “moral electricity”—served at once as a justification and a social charge for writers and publishers. Believers in the book as the media force capable of shifting social consciousness, the writers and critics of nineteenth-century Latin America peppered their works with equal parts optimism and dread, as the same art that renders virtue desirable could be turned over to the service of vice. Their new or at least newly distributed art conjured a notion of the American hemisphere on the one hand as a new moral Paradise and on the other as a place where the battle against moral chaos could still go disastrously wrong.

• Department: Spanish and Latin American Culture
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Ronald D Briggs
  CULPA: 4 Info
• 3 points

COGNITIVE GRAMMAR OF SPANISH

From a cognitive and operational point of view, this course aims to reflect on the theoretical and, mainly, practical limits of traditional grammar explanations, contributing with a new meaningful, experiential and representational understanding of Spanish as a human mean of communication. Within this framework, some of the most representative aspects of the grammar of Spanish will be studied from a fully practical perspective, favoring the comparison with the grammar of English. In each case, the reflection will lead to turn the traditional rules and their exceptions, into operational laws without exceptions, as well as to highlight the natural logic underlying every single grammar decision in the use of language.

• Department: Latin American and Iberian Cultures
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Jose Placido Ruiz-Campillo
  Info
• 3 points

FIELD WORK & RESEARCH SEMINAR: TODDLER C

FLD WRK&RSRCH SEM:TODDLR CENT

PSYC BC1129/2129 (with or without lab) as well as permission of the instructor.
The Barnard Toddler Center provides the focus for this seminar and research in applied developmental psychology, an amalgam of developmental, educational, and clinical psychology. The seminar integrates theory and research and for AY 20-21 will use daily recordings of the toddler sessions as the centerpiece for understanding early development. The unique context of Covid19 will be used to understand risks in development, especially for vulnerable children and families. Second term students will also conduct research on parenting during the pandemic.

• Department: Psychology @Barnard
• T 2:10 p.m.-4 p.m.
• Instructor: Tovah Klein
  CULPA: 10 Info
• 4 points

Love and Death in 19th-Century American

Love and Death in 19c Am.

How did individuals in the nineteenth century United States try to make sense of their lives? In many ways, this century was marked by change above all. The country endured the bloodiest war in its history (approximately 750,000 soldiers died in the Civil War), as well as violent conflicts with American Indians, Britain, Mexico, and Spain. The United States moved from a sparsely populated agrarian land of about 4 million to an urban industrial global power of 76 million, quadrupling its land mass. Waves of immigration made the country increasingly diverse in race, ethnicity, and religion. Abolitionism, suffragism, labor unions, and the temperance movement inspired change and provoked often violent opposition. Meanwhile, technological and commercial innovations in print production, alongside the rise of literacy, enabled a mass market for texts of all kinds.

This course examines the literary response to the social turbulence of the nineteenth century by focusing on representations of love and death. Do love and death—seen by some as universal aspects of the human condition—offer stability in a tumultuous society? After all, the most intimate and deeply felt moments of life seem to offer reprieve from the forces of history. Yet, as we’ll see, the very meanings of love and death change as society changes. The personal sentiments that make us feel human are in fact social. By studying literature, we can examine the extent to which notions of intimacy and mortality register cultural transformation. Meanwhile we’ll get to ask if it is indeed true, as Leslie Fiedler suggests in
Love and Death in the American Novel
, that American literature “is incapable of dealing with adult sexuality and is pathologically obsessed with death.”

• Department: English and Comparative Literature
• T 12:10 p.m.-2 p.m.
• Instructor: Aaron Ritzenberg
  CULPA: 4 h-index: 4 Info
• 4 points

Oral History Methods & Praxis in America

ORAL HISTORY METHODS & PR

This course introduces students to the philosophy, ethics, and practice of oral history with specific emphasis on interview and transcription techniques and the use of oral history in interdisciplinary research and analysis. This course will also include instruction on the archival collection, preservation, description, and digitization of oral history interviews.

Course themes include: 


Introduction to Oral History

Foundations of Oral History

Ethical and Legal Considerations (IRB, vulnerable populations, shared authority)

Oral History Best Practices

Oral History and Memory

Interviewing

Transcription and Metadata as Political Acts

Oral History as Primary Sources in Research and Writing

Community Oral History

Oral History as Public History

Oral History and Social Justice

Oral History Online

Oral History and Exhibitions/Programming

• Department: American Studies @Barnard
• W 4:10 p.m.-6 p.m.
• Instructor: Kimberly Springer
  CULPA: 1 h-index: 13 Info
• 3 points

CLINICAL FIELD PRACTICUM

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

• Department: Psychology @Barnard
• T 11 a.m.-12:50 p.m.
• 4 points

CRITICAL PERIODS IN BRAIN

CRITICAL PERIODS IN BRAIN DVLP

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

CONTEMP LATIN AMER SHORT FICT

Prerequisites: Third-year bridge course (W3300), and introductory surveys (W3349, W3350). Readings of short stories and novellas by established and emerging writers from Spanish America and Brazil. Defines the parameters of Latin American short fiction by exploring its various manifestations, fantastic literature, protest writing, satire, and realism. Among the authors to be studied will be: Machado de Assis, Borges, Garcia Marquez, Ana Lydia Vega, Clarice Lispector, Silvina Ocampo, and Jose Donoso.

• Department: Spanish and Latin American Culture
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Alfred Mac Adam
  CULPA: 40 Info
• 3 points

Out of Her Mind: American Women Writing,

American Women Writing 17

This course explores how American women writers who suffered from depression, disability, bodily pain, or social marginalization, used the environment and its literary representations to redefine the categories of gender, ability, and personhood. Prior to their inclusion into the public sphere through the US Constitution’s 19th Amendment which in 1920 granted women the right to vote, American artists had to be particularly resourceful in devising apt strategies to counter the political and aesthetic demands that had historically dispossessed them of the voice, power, and body. This course focuses on the women writers who conceptualized their own surroundings (home, house, marriage, country, land, island and the natural world) as an agent that actively and decisively participates in the construction and dissolution of personal identity. In doing so, they attempted to annul the separation of the public (politics) and the private (home) as respective male and female spheres, and in this way they contributed, ahead of their own time, to the suffragist debates. Our task in this course will be to go beyond the traditional critical dismissal of these emancipatory strategies as eccentric or “merely aesthetic” and therefore inconsequential. Instead, we will take seriously Rowlandson’s frontier diet, Fuller’s peculiar cure for her migraines, Wheatley’s oblique references to the Middle Passage, Jewett’s islands, Ša’s time-travel, Thaxter’s oceans, Hurston’s hurricanes, and Sansay’s scathing portrayal of political revolutions. We will read these portrayals as aesthetic decisions that had—and continue to have—profound political consequences: by externalizing and depersonalizing what is commonly understood to be internal and intimate, the authors we read collapse the distinction between inside and outside, between the private and public—the distinction that traditionally excluded women from participation in the public life, in policy- and decision-making.

• Department: English and Comparative Literature
• T 2:10 p.m.-4 p.m.
• Instructor: Vesna Kuiken
  Info
• 4 points

BRAZILIAN SOCIETY & CIV (ENG)

Each week, a historical period is studied in connection to a particular theme of ongoing cultural expression. While diverse elements of popular culture are included, fiction is privileged as a source of cultural commentary. Students are expected to assimilate the background information but are also encouraged to develop their own perspective and interest, whether in the social sciences, the humanities (including the fine arts), or other areas.

• Department: Latin American and Iberian Cultures
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Joao Nemi Neto
  CULPA: 1 Info
• 3 points

Representing the Past

REPRESENTING THE PAST

Examines the renderings of the past as conveyed by historians and by those seeking to "represent" the past, such as novelists, playwrights, filmmakers, ritualists, and artists.  Analyzes the theoretical, philosophical, and evidentiary problems and possibilities inherent in various modes of historical narration and representation.

• Department: History @Barnard
• W 2:10 p.m.-4 p.m.
• Instructor: Mark C Carnes
  CULPA: 50 Info
• 4 points

Gene-Environment Interactions & Epigenet

Gene-Env Interaction & Ep

The aim of this course is to examine the biological bases of individual differences in behavior. We will start by examining how individual differences in behavior and health are shaped by gene-environment interactions. We will complement these studies with the endophenotype approach and discuss its role in our contemporary views of complex disorders. We will then introduce behavioral epigenetics studies that are suggested to mediate the effects of gene-environment interactions at different levels of analysis. We will continue by discussing how these topics shape and are shaped by developmental programming. We will end the semester by discussing the major debates around these topics as well as their implications in real life and public policies. By covering these topics, students are expected to gain a better understanding of how our behavior is i) formed and shaped by gene-environment interactions over time, ii) influenced by the underlying physiological and epigenetic mechanisms, and iii) changed by developmental processes. With this information, the students are expected to view individual differences in behavior in a perspective that is highly interdisciplinary and dynamic.

• Department: Psychology
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Elif A Duman
  Info
• 4 points

INDEP BIOLOGICAL RESEARCH

Prerequisites: Concurrent with registering for this course, a student must register with the department and provide a written invitation from a mentor; details of this procedure are available at http://www.columbia.edu/cu/biology/courses/w3500/index.htm. Students must register for recitations UN3510 or consult the instructor. Corequisites: BIOL UN3510 The course involves independent study, faculty-supervised laboratory projects in contemporary biology. Concurrent with registering for this course, a student must register with the department, provide a written invitation from a mentor and submit a research proposal; details of this procedure are available at http://www.columbia.edu/cu/biology/courses/w3500/index.htm. A paper summarizing results of the work is required by the last day of finals for a letter grade; no late papers will be accepted. See the course web site (above) for more details. Students can take anywhere from 2-4 points for this course.

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

SUPERVISED STUDY IN GERMANY (BCGS)

19/20 Ct. Ger. Philos.

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Art&Ideas in Mod. Europe

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Berlin: Hist, Memory, Lit

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Environ. Policies Europe

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

EU Energy&Climate Crisis

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Europ Intercult Marketing

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Europ. Legal Traditions

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Germany in Europ. Persp.

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Integrat.&Security Europe

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Jewish Life Centr. Europe

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Mod. Ger. Hist. in Europe

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Muslims & Islam in Europe

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Revolut. Europe 1953-89

• Department: Global Programs
• 4 points

SUPERVISED STUDY IN GERMANY (BCGS)

Women/Gend. Stud. Europe

• Department: Global Programs
• 4 points

SUPERVISED READINGS IN PHYSICS

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

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

Intro to Moving Image: Video, Film & Art

BEGINNING VIDEO

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

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

Indians and Empires in North America

Indians & Empires in N Am

In this course you will be asked to re-think American history.   That is, we will approach the history of America as a continental history.  This will require that we think of North America as a New World space, a place that was inhabited and occupied by indigenous peoples, and then remade by the arrival and settlement of Europeans.  You will be asked to imagine a North America that was indigenous and adaptive, as well as colonial and Euro-American.  This approach to the study of North American history is designed to challenge the epistemology and literature of the history of colonization and American expansion, which displaces Native peoples from the central narrative of American history by placing them at the physical margins of colonial and national development.  Instead we will explore the intersection and integration of indigenous and Euro-American national identity and national space in North America and trace their co-evolution from first contact through the early nineteenth century.

• Department: History
• W 10:10 a.m.-noon
• Instructor: Michael Witgen
  Info
• 4 points

COLL: URBAN VIOLENCE

• Department: Political Science @Barnard
• W 2:10 p.m.-4 p.m.
• Instructor: Eduardo Moncada
  CULPA: 2 h-index: 12 Info
• 4 points

COLONIAL GOTHAM

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

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

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

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

INDEP BIOLOGICAL RESEARCH - REC

• Department: Biological Sciences
• W 5:40 p.m.-6:30 p.m.
• R 5:40 p.m.-6:30 p.m.
• Instructor: Ron M Prywes
  CULPA: 2 Info
• 0 points

ADVANCED WORKSHOP TRANSLA

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

• Department: Comparative Literature and Society @Barnard
• M 4:10 p.m.-6 p.m.
• Instructor: Hannah C Kauders
  Info
• 4 points

HIST APPROACHES FEMINIST QUES

Comparative study of gender, race, and sexuality through specific historical, socio-cultural contexts in which these systems of power have operated. With a focus on social contexts of slavery, colonialism, and modern capitalism for the elaboration of sex-gender categories and systems across historical time.

• Department: Women's, Gender, Sexuality Studies @Barnard
• T 2:10 p.m.-4 p.m.
• Instructor: Alexander Pittman
  CULPA: 10 Info
• 4 points

The Historical Imagination in Caribbean

Hist Imagination Caribbea

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

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

STUDIES IN U.S. IMPERIALISM

Historical, comparative study of the cultural effects and social experiences of U.S. imperialism, with attention to race, gender and sexuality in practices of domination and struggle.

• Department: Women's, Gender, Sexuality Studies @Barnard
• W 10:10 a.m.-noon
• Instructor: Neferti Tadiar
  CULPA: 10 Wikipedia Info
• 4 points

MAGIC & MONSTERS IN YIDD LIT

MAGIC & MONSTERS IN YIDD (ENG)

A Serious Man, the 2009 movie by the Coen Brothers opens with a Yiddish folk tale featuring a dybbuk. Dybbuks, golems, magicians, and monsters haunt not only Yiddish literature but also the contemporary cinema, as illustrated by such recent films as The Unborn and The Possession. Why are we so attracted to dybbuks, spirit possession, magic, and monsters in the twenty-first century? This course will focus on magic, monsters, dybbuks, demons, and golems in Yiddish literature and beyond, including film and popular culture. We will approach the supernatural motif from the perspective of gender, body, and performance studies, and will explore the questions of memory, trauma, and identity. The aim of the course is to encourage students to discuss and critically engage with the various texts and film adaptations listed on the syllabus in an attempt to answer the following questions: In what ways do these works explore, interrogate with, and reflect on human experience? What do they tell us about the powers of good and evil? How relevant are they in the twenty-first century? The course puts emphasis on developing the skills of critical, analytical, and abstract thinking in relation to the discussed works, as well as the ability to express that critical thinking in writing. No knowledge of Yiddish required.

• Department: Germanic Languages
• T 4:10 p.m.-6 p.m.
• Instructor: Agnieszka Legutko
  CULPA: 1 Info
• 3 points

SENIOR SEMINAR II

Prerequisites: Permission of instructor. Enrollment limited to senior majors. Individual research in Womens Studies conducted in consulation with the instructor. The result of each research project is submitted in the form of the senior essay and presented to the seminar.

• Department: Women's, Gender, Sexuality Studies @Barnard
• W 4:10 p.m.-6 p.m.
• Instructor: Elizabeth Bernstein
  CULPA: 27 Info
• 4 points

NEW/OLD FORMS OF POL PROTEST

This course will introduce the students to the important topic of political protest. Each week we will address different aspects of the phenomenon: from the determinant to the actors and strategies of protest. We will discuss how the forms of protest have changed and the current role of the internet in general and social media in particular. Finally, we will discuss the role of the state and state repression, in particular censorship in the dynamics of protest. Since this is a comparative politics course, we will cover a range of different countries, including the United States, as well as both democratic and authoritarian regimes.

• Department: Political Science
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Chiara Superti
  CULPA: 3 Info
• 3 points

ADVANCED SENIOR STUDIO II

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

• Department: Art History @Barnard
• M 10:10 a.m.-2 p.m.
• Instructor: Irena Haiduk
  Info
• 4 points

ROMARE BEARDEN:HOME IS HARLEM

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

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

ADVANCED ORGANIC CHEMISTRY LAB

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

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

JUNIOR SEMINAR IN URBAN STUDIES

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

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

QUEER HARLEM

GAY HARLEM

This course explores representations of queer Harlem in African American literature, sonic culture, and performance. We will consider the history and making of Harlem, key figures of the Harlem Renaissance, and the aesthetic innovations of writers and artists who defied the racial, sexual, and gendered conventions of their time. We will be guided by an intersectional approach to the study of race, gender, and sexuality and the methods of Black queer studies, African American and African diaspora literary studies, as well as sound and performance scholarship. We will ask when, where, and what was/is gay Harlem; how we might excavate its histories; map its borders; and speculate on its material and imagined futures.

• Department: Africana Studies (AFSB)
• T 12:10 p.m.-2 p.m.
• Instructor: Maleda Belilgne
  Info
• 4 points

BANGLADSH:LIFE-TECT ACTV DELTA

This course will explore the interaction of riverine processes, water and hydrology, sedimentary processes, tectonics, land subsidence and sea level rise, environmental issues, cultural setting, and sustainable development in the world’s largest delta.  The course will explore both the hazards and resources for life in this dynamic environment through lectures, a field trip to Bangladesh during Spring Break and guest lecturers in earth and social sciences.  During the field trip, we will be joined by Dhaka University professors and students, providing experience in cross-cultural collaboration, as well as translators to interviews and discussions with Bangladeshis.

By the end of the course, students will develop a quantitative understanding of the multiple earth sciences issues. It will also provide a perspective on the mixture of competing earth science, social, historical and political issues that must be addressed in order to effectively address environmental issues. Students should acquire an ability to assess competing claims and projections for future environmental change.

• Department: Earth Institute
• TR 2:10 p.m.-4 p.m.
• Instructor: Michael S Steckler
  Info
• 4 points

Radical Poetics in Seventeenth-Century E

Donne, Herbert, Marvell

This seminar will center on the close reading of some of the most formally complex and intellectually dense lyric poetry written in English - more specifically, the work of the seventeenth-century poets generally deemed exemplary of the English “metaphysical” tradition. We will divide our time more or less equally among three figures: John Donne, the libertine-turned-priest whose poetry spans erotic and devotional extremes; George Herbert, the humble parson whose daring experiments in poetic form can seem uncannily postmodern; and finally Andrew Marvell, whose nickname—“the Chameleon”—gestures both toward the shiftiness of his political affiliations and the radical ambiguity of his poetry. Each week we will undertake the careful analysis of exhilaratingly, exhaustingly difficult poems. Our reading will also include a set of critical or historical supplements, meant to enrich and enliven our understanding of the primary texts under consideration.

• Department: English and Comparative Literature
• R 10:10 a.m.-noon
• Instructor: Molly Murray
  CULPA: 26 Info
• 4 points

BLACK WOMEN STYLE&PERFRMNCE

BLACK WOMEN STYLE & PERFRMNCE

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

The Arabic Novel

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

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

True Crime: Fact and Feeling, 1927-Prese

True Crime Lit. 1927-Pres

True crime is often dismissed as trashy and exploitative. Nevertheless, it has always attracted serious authors, playwrights, filmmakers and journalists, and it has produced great works of art. True crime is fascinating because it prompts a search for truths, both factual and emotional, that can never be fully known. It appeals to our emotions and our craving for sensation, but also our desire to make sense of the insensible. With its use of both
fact
and
feeling
, true crime raises important philosophical and ethical questions: What does society find morally outrageous, or morally ambiguous? What counts as evidence? What is the relationship between truth, justice and the law?

     In this course we define true crime broadly: it means any piece (factual or fictional, with much gray area in between) that tells the story of a real-life crime. We will break down the various features of true crime as a genre, paying particular attention to how these features travel and change across media. We’ll be discussing how particular cases strike a chord and resonate with larger social and cultural issues.

     We will start by defining true crime as a genre, examining a sensational tabloid case from the 1920s. We’ll see how different tellings of this crime expressed contemporary anxieties about modernity, labor and gender.

We then turn to true crime’s exploration of the boundary between fiction and journalism. We look at how the hybrid genre of the “nonfiction novel,” and fictional portrayals of journalism raise epistemic and ethical questions about the telling of true crime stories. Moving forward into the 1980s and 1990s, we will consider how skepticism about objective truth lead to new, “performative” styles of true crime in documentary film and long-form journalism, culminating in the pioneering podcast
Serial.
We will then look at true crime in the age of cable news and the Internet, which makes heightened emotional appeals. We’ll examine different versions of sensational cases, from the O. J. Simpson trial to hate crimes and serial killers. We will conclude by examining how contemporary true crime stories have looked at specific cases as a way of exposing larger flaws in the criminal justice system.

     The course raises many questions: In what ways does true crime channel anxieties about social norms and change? How does true crime express

• Department: English and Comparative Literature
• M 6:10 p.m.-8 p.m.
• Instructor: Julia K Sirmons
  CULPA: 3 Info
• 4 points

Immersive Theater: Skills and Devising

DEVISING IMMERSIVE PERFOR

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

• Department: Dance @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Elisa R Davis
  Info
• 3 points

SR SEM IN BIOLOGY

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

• Department: Biological Sciences @Barnard
• M 4:10 p.m.-6 p.m.
• Instructor: Jordan Balaban
  Info
• 4 points

GUIDED RESEARCH & SEMINAR

The introductory biology sequence is a pre-requisite for this yearlong course (BIOL BC1500, BIOL BC1501, BIOL BC1502, and BIOL BC1503).

An independent research project in Biology under the guidance of a faculty member and suiting the needs of the individual student. A Barnard research mentor (if your lab is at Barnard) or internal adviser in the Biology Department (if your lab is elsewhere) must approve your planned research before you enroll in this year-long course. A  
Project Approval Form
 must be submitted to the department in the fall. 

Attendance at a weekly seminar is required. By the end of the year, students enrolled in BIOL BC3591-BIOL BC3592 will write a scientific paper and give a poster presentation of their work at the Barnard Biology Research Symposium.  Completion of this year-long course fulfills two upper-level laboratory requirements for the major. Must be taken in sequence, beginning in the fall.

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

GUIDED RESEARCH & SEMINAR

The introductory biology sequence is a pre-requisite for this yearlong course (BIOL BC1500, BIOL BC1501, BIOL BC1502, and BIOL BC1503).

An independent research project in Biology under the guidance of a faculty member and suiting the needs of the individual student. A Barnard research mentor (if your lab is at Barnard) or internal adviser in the Biology Department (if your lab is elsewhere) must approve your planned research before you enroll in this year-long course. A  
Project Approval Form
 must be submitted to the department in the fall. 

Attendance at a weekly seminar is required. By the end of the year, students enrolled in BIOL BC3591-BIOL BC3592 will write a scientific paper and give a poster presentation of their work at the Barnard Biology Research Symposium.  Completion of this year-long course fulfills two upper-level laboratory requirements for the major. Must be taken in sequence, beginning in the fall.

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

SR PROJECT:REPERTORY FOR DANCE

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

• Department: Dance @Barnard
• W 12:10 p.m.-2 p.m.
• Instructor: Colleen Thomas
  CULPA: 6 Info
• 3 points

SENIOR THESIS RESEARCH & SEMINAR

SR THESIS RESEARCH & SEMI

Same as BIOL BC3591-BIOL BC3592, including attendance at a weekly seminar. By the end of the year, students enrolled in BIOL BC3593-BIOL BC3594 will write a scientific paper and orally present their work at the Barnard Biology Research Symposium.

A Barnard research mentor (if your lab is at Barnard) or internal adviser in the Biology Department (if your lab is elsewhere) must approve your planned research before you enroll in this year-long course. A  
Project Approval Form
 must be submitted to the department in the fall. Completion of this year-long course fulfills the senior capstone requirement for the major; it cannot be taken at the same time as BIOL BC3591-BIOL BC3592. Must be taken in sequence, beginning in the fall.

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

RSRCH/SEM-NEUROSCNC&BEHAVIOR

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

• Department: Neuroscience & Behavior @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Peter D Balsam
  CULPA: 25 Info
• Instructor: Elizabeth P Bauer
  CULPA: 3 h-index: 21 Info
• Instructor: Russell D Romeo
  CULPA: 9 Info
• 4 points

INDEPENDENT PROJECT

• Department: Chemistry @Barnard
• Instructor: Marisa C Buzzeo
  CULPA: 2 Info
• 1-4 points

GUIDED RESEARCH

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

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

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

• Department: Biological Sciences @Barnard
• Instructor: Elizabeth P Bauer
  CULPA: 3 h-index: 21 Info
• Instructor: Hilary Callahan
  CULPA: 4 h-index: 17 Info
• Instructor: John Glendinning
  CULPA: 23 h-index: 39 Info
• Instructor: Allison Lopatkin
  h-index: 15 Info
• Instructor: Jennifer H Mansfield
  CULPA: 2 h-index: 15 Info
• Instructor: Jj L Miranda
  CULPA: 3 Info
• Instructor: Brian Morton
  CULPA: 21 Info
• Instructor: Alison Pischedda
  CULPA: 3 h-index: 11 Info
• Instructor: Jonathan Snow
  CULPA: 7 h-index: 18 Info
• Instructor: Gabrielle Corradino
  Info
• Instructor: Jordan Balaban
  Info
• 1-4 points

PROBLEMS IN CHEMISTRY

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

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

PROBLEMS IN CHEMISTRY

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

• Department: Chemistry @Barnard
• 2 points

PROBLEMS IN CHEMISTRY

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

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

PROBLEMS IN CHEMISTRY

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

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