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Columbia University 2024-25 Supplemental Essay Prompt Guide

Early Decision: Nov 1

Regular Decision Deadline: Jan 1

Columbia University  2024-25 Application Essay Question Explanations

The Requirements: 1 lists of 100 words; 4 essays of 150 words each 

Supplemental Essay Type(s): Community , Why, Short Answer

List questions

For the list question that follows, there is a 100 word maximum. please refer to the below guidance when answering this question:, your response should be a list of items separated by commas or semicolons., items do not have to be numbered or in any specific order., it is not necessary to italicize or underline titles of books or other publications., no author names, subtitles or explanatory remarks are needed., list a selection of texts, resources and outlets that have contributed to your intellectual development outside of academic courses, including but not limited to books, journals, websites, podcasts, essays, plays, presentations, videos, museums and other content that you enjoy.  (100 words or fewer).

How do you pursue intellectual development outside of the classroom? You’ll need to be careful to avoid self-aggrandizing or pandering choices. Don’t top your list with 1984 unless you genuinely picked it up of your own accord, read it from start to finish, and meditated on Orwell’s intentions (while staring out the window, jaw agape). Think of not just the most recent media you’ve consumed, but also the old classics you can’t help revisiting (anything by Jenny Han, the podcast you binged in two weeks, the film you saw in theaters three times). Play with the sequencing here: how would you set these up in your library? Chronologically? Alphabetically? Thematically? Maybe you can make an entertaining leap from the sublime to the ridiculous by placing a heart-wrenching play alongside a goofy satire. Have fun with it! After all, this list is, at its core, about what you consume for the pleasure of it.

Short answer questions

For the four short answer questions, please respond in 150 words or fewer., a hallmark of the columbia experience is being able to learn and thrive in an equitable and inclusive community with a wide range of perspectives. tell us about an aspect of your own perspective, viewpoint or lived experience that is important to you, and describe how it has shaped the way you would learn from and contribute to columbia’s diverse and collaborative community. (150 words or fewer).

Ah, the infamous “community” essay. Many schools ask students about their communities because they want to know how you relate to the people around you, forge connections, and commune with your peers. In this particular instance, the question emphasizes equity, inclusivity, diversity, and collaboration. What do these words mean to you and how do they relate to your perspective or lived experience? Maybe you’re very involved in a progressive church youth group that celebrates its members differences, including trans and nonbinary members. Perhaps the friends you made at the skatepark have introduced you to a new culture and mindset of “try and try again” that you love. Maybe there are different languages spoken by the volunteers in your community garden, and now you know how to say “basil” in four different dialects (BTW in Italian it’s “ basilico ,” #funfact). How do you see equity, inclusivity, diversity, and collaboration play out in your community? And, looking forward, how would you keep those values alive at Columbia next fall?

In college/university, students are often challenged in ways that they could not predict or anticipate. It is important to us, therefore, to understand an applicant’s ability to navigate through adversity. Please describe a barrier or obstacle you have faced and discuss the personal qualities, skills or insights you have developed as a result. (150 words or fewer)

This prompt is incredibly similar to the Common App’s Prompt #2, which asks applicants to recount a time when they faced a challenge, setback, or failure. Our advice is similar: isolate an incident of trial in your life and illustrate how you learned from it. Writing about a difficult time in your life requires both vulnerability and perspective. Instead of focusing on the barrier or obstacle you were up against, spend most of the words at your disposal on how you rose to the occasion to overcome the challenge at hand. This is your opportunity to show admissions that you are a developing, maturing young adult with resilience and work ethic. As you zero in on a key moment, ask yourself the following questions: What healthy coping mechanisms or communication skills did you develop? Who, if applicable, did you choose to lean on and why? What did you learn about yourself? How will you approach difficult situations moving forward? Be honest and open, and we’re sure admissions will be impressed.

Why are you interested in attending Columbia University? We encourage you to consider the aspect(s) that you find unique and compelling about Columbia. (150 words or fewer)

This brief assignment is Columbia’s version of the classic Why Essay , and the key to every good Why Essay is solid, specific research. Spend some quality time with the Columbia website or, if you can, on a campus tour. Ask questions, take notes, and dig to find specific people, organizations, and experiences that excite you. Don’t dig too deep into majors or classes just yet; you’ll have an opportunity to write about your academic interest in a little bit, so for now, focus on the Columbia experience as a whole. Once you have some notes on the page, try to weave together a story that pairs your interests with Columbia’s offerings. Reveal new information about yourself while also showing that you’ve done your homework.

What attracts you to your preferred areas of study at Columbia College or Columbia Engineering? (150 words or fewer)

This prompt gives you a chance to geek out about your intended area(s) of study. Whether you’re hoping to study at Columbia College or Columbia Engineering, the assignment is the same: offer admissions insight into your academic interests and pursuits. Whether your goals are intellectual, professional, or somewhere in between, your reasoning should be grounded in what Columbia has to offer. 150 words isn’t a lot of space, but that doesn’t mean you can’t provide a detailed response. Get ambitious and aim to answer these two key questions: What intrigues or excites you about your intended major? And why is Columbia the ideal place for you to study it? Do a little research to identify classes you’d like to take, professors you’d like to work with, and alumni you’d like to network with; then, get to drafting—and leave yourself plenty of time to edit and revise! 

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How to Write the Columbia University Supplemental Essays

Columbia University is a popular choice for many students. Its prime location in the heart of New York City and its renowned Core Curriculum are just two of the many reasons this Ivy League institution receives tens of thousands of applications each year.

You might ask yourself, “ how do I get into Columbia University? ” Because Columbia is one of the most selective universities in the U.S., you should ensure that every component of your application, including your supplemental essays, are top notch. Read on to learn how to help your writing stand out to Columbia’s admissions officers.

How Many Supplemental Essays Does Columbia Have?

Every college has different essay requirements and guidelines. Students applying to  Columbia University  are asked to respond to five supplemental essays. These include one list question with a 100-word limit and four short-answer questions — each with a 150-word maximum.

2024-25 Columbia-Specific Application Questions

If you want to write the best possible supplemental essays and question responses for Columbia University, it’s important to carefully review the list question and each essay prompt.

List Question

For the list question that follows, there is a 100 word maximum. Please refer to the below guidance when answering this question:

• Your response should be a list of items separated by commas or semicolons.
• Items do not have to be numbered or in any specific order.
• It is not necessary to italicize or underline titles of books or other publications.
• No author names, subtitles or explanatory remarks are needed.

List a selection of texts, resources and outlets that have contributed to your intellectual development outside of academic courses, including but not limited to books, journals, websites, podcasts, essays, plays, presentations, videos, museums and other content that you enjoy.  (100 words or fewer)

Short Answer Questions

For the four short answer questions, please respond in 150 words or fewer.

• A hallmark of the Columbia experience is being able to learn and thrive in an equitable and inclusive community with a wide range of perspectives. Tell us about an aspect of your own perspective, viewpoint or lived experience that is important to you, and describe how it has shaped the way you would learn from and contribute to Columbia’s diverse and collaborative community. (150 words or fewer)
• In college/university, students are often challenged in ways that they could not predict or anticipate. It is important to us, therefore, to understand an applicant’s ability to navigate through adversity. Please describe a barrier or obstacle you have faced and discuss the personal qualities, skills or insights you have developed as a result. (150 words or fewer)
• Why are you interested in attending Columbia University? We encourage you to consider the aspect(s) that you find unique and compelling about Columbia. (150 words or fewer)
• What attracts you to your preferred areas of study at Columbia College or Columbia Engineering? (150 words or fewer)

How Do You Answer the Columbia List Question?

The list question might look simple, but it can actually be one of the most challenging parts of Columbia’s application process because the word limit is so low. This question will force you to think strategically and choose every word carefully to achieve maximum impact.

Think back and try to pinpoint the texts, media, and other outlets that had the greatest impact on you and your personal journey. This list should be all about what you enjoy learning in your spare time rather than inside of the classroom. Choose sources that are meaningful to you and align with the academic goals and extracurricular interests that you’ve articulated throughout your application.

How to Write Columbia Supplemental Essays

Students also need to prioritize the short answer questions in Columbia’s supplemental essay section. Here are a few top tips on how to tackle each question:

Supplement Question #1

The first Columbia supplemental essay question asks students to reflect on their ability to work with peers with different perspectives. The most impactful responses to this question will focus on an applicant’s desire to learn from those who are different from them and that highlight the applicant’s commitment to expanding their worldview. Ideally, answers will reference specific times in which the student contributed to collaborative communities that are diverse and unified.

Supplement Question #2

To respond to this essay prompt, focus on a specific obstacle or challenge you have faced. Briefly describe the situation and its impact on you, then emphasize the personal qualities or skills you used to overcome it. Highlight how this experience helped you grow, whether by developing resilience, problem-solving abilities, or gaining new insights. Keep your response concise and reflective, ensuring that it demonstrates your capacity to handle adversity in a college or university setting.

Supplement Question #3

Most colleges have some version of a “ Why this college? ” prompt and Columbia is no exception. The best responses demonstrate that you have done your research and that you are an expert on what Columbia has to offer. This means that you will name specific clubs, professors, research programs, and courses that excite you.

Supplement Question #4

This question asks you to articulate why you are passionate about a field of study that you wish to continue to focus on in college. Since you only have 150 words to devote to this response, stick to one subject that really interests you and fully explain why you are interested in that topic. Aim to include specific examples and anecdotes that highlight your commitment to that field, as well as any future goals you may have.

Evergreen Tips for Writing the Columbia Supplemental Essays

While some tips are specific to certain Columbia supplemental essay questions, we also have a few general pointers:

Answer the Question

It might be tempting, but don’t go off topic, even if you have something interesting to share. Admissions officers want to see that you’re capable of following directions and giving them the exact information that they’re looking for. Reread each of your answers to make sure every point directly ties back to the question that is being asked. If you’re not sure whether it’s relevant, it’s better to play it safe by editing it out or asking someone you trust for their feedback.

Express Your Values

Each of Columbia’s supplemental essay questions gives you an opportunity to express your opinions and articulate what makes you unique. Avoid giving cookie-cutter answers. Instead, embrace the traits and quirks that set you apart from the pack.

Focus on the “Why Columbia?” Question

The “Why Columbia?” short answer question is one of the most important prompts on the Columbia application. Admissions officers are looking to accept students who are passionate about attending, so it’s important to let your love of Columbia University shine through. Take time to  do your research , be specific, and articulate exactly what kind of impact you would like to make on campus.

Discuss a Future Career Path

Other top  college application essay tips  include highlighting a view toward the future and your career aspirations. Admissions officers are interested in learning about your long-term goals and the kind of legacy you wish to create. When you discuss your passions and goals, don’t be afraid to think long-term and write about what you hope to accomplish post-graduation, even five or ten years down the line.

Need Help With Your Supplemental Essays?

The application process for top-tier colleges like Columbia is complex, and virtually every student can benefit from some college admissions assistance . If you’re looking to learn what you can do to stand out for all of the right reasons, our team of expert admissions counselors is here to help.

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August 3, 2024

2024-2025 Columbia Supplemental Essay Prompts

Columbia University has released its supplemental essay prompts for the 2024-2025 college admissions cycle. There are five essays in this year’s Columbia supplement. These essays are required of Columbia’s applicants in addition to The Common Application ’s Personal Statement. So what are this year’s Columbia supplemental essays? Let’s dive in!

2024-2025 Columbia Essay Topics and Questions

1. List a selection of texts, resources and outlets that have contributed to your intellectual development outside of academic courses, including but not limited to books, journals, websites, podcasts, essays, plays, presentations, videos, museums and other content that you enjoy. ( 100 words or fewer)  

Columbia’s admissions office truly wants a list of items separated by commas or semicolons. Year after year, many students submit prose in response to this prompt, which is a terrible, horrible, no good, very bad idea. Columbia has given clear instructions, and thus students would be wise to adhere to the instruction.

In short, Columbia wants to know that an applicant will appreciate New York’s culture within which Columbia lives and breathes if admitted to their institution. Including books that appear on required reading lists in classrooms across America, like  The Great Gatsby , is as solid an indicator as anything that a student doesn’t read for pleasure. And if a student doesn’t read for pleasure, how intellectually curious could they be? In every Columbia essay prompt, it’s vital to showcase intellectual curiosity.

2. A hallmark of the Columbia experience is being able to learn and thrive in an equitable and inclusive community with a wide range of perspectives. Tell us about an aspect of your own perspective, viewpoint or lived experience that is important to you, and describe how it has shaped the way you would learn from and contribute to Columbia’s diverse and collaborative community.  (150 words or fewer)

This essay prompt is Columbia’s retort to the Supreme Court’s outlawing of Affirmative Action . While colleges are now outlawed from explicitly considering a student’s race in the admissions process, Chief Justice Roberts wrote in his majority opinion, “At the same time, as all parties agree, nothing in this opinion should be construed as prohibiting universities from considering an applicant’s discussion of how race affected his or her life, be it through discrimination, inspiration, or otherwise.” Herein lies that opening.

But even if a student is not an underrepresented minority, it’s a chance to convey their story and what interesting viewpoints and perspectives they can offer the Ivy League institution. Students should thus not shy away from voicing a view that some may deem unpopular.

If a student is passionate about environmental science, for instance, and, in an essay, eloquently substantiates the economic benefits of fracking — from their own lived experience growing up in North Dakota — they’ve accomplished the task. Of course, it would also behoove them to write about some of the environmental harm from the practice — and what can be done about it.

3. In college/university, students are often challenged in ways that they could not predict or anticipate. It is important to us, therefore, to understand an applicant’s ability to navigate through adversity. Please describe a barrier or obstacle you have faced and discuss the personal qualities, skills or insights you have developed as a result.  (150 words or fewer)

Applicants need not have survived cancer to answer this prompt powerfully. They need not have grown up in an underprivileged community. But they need to pick a genuine obstacle and showcase how they overcame it. Maybe there were few research opportunities for astrophysicists in a student’s area. Maybe their school curriculum didn’t reach AP Physics 1 , much less AP Physics C . Whatever the story, this is an applicant’s chance to tell it.

That being said, applicants should avoid writing about issues that may lead them to face discrimination in the admissions process, such as learning disabilities. Because while no college will tell you that they discriminate against students with learning disabilities, it has long been our belief at Ivy Coach that these schools don’t want to deal with special accommodations if they can avoid it.

4. Why are you interested in attending Columbia University? We encourage you to consider the aspect(s) that you find unique and compelling about Columbia.  (150 words or fewer)

Every college includes language here that’s slightly different, but — make no mistake — this is a Why College essay prompt . This essay needs to be filled with specific after specific of how a student will contribute their singular hook — rather than well-roundedness — to the school’s community. And, no, name-dropping professors and class names do not count as specifics. Students should instead endeavor to capture specifics about a school that are enduring and paint a detailed portrait of their life at Columbia .

5. What attracts you to your preferred areas of study at Columbia College or Columbia Engineering?  (150 words or fewer)

This prompt, which only pops up once an applicant clicks Columbia College or Columbia Engineering in the supplement’s Academics section, asks, in short, Why Major? Columbia’s admissions committee wants to know why a student has chosen a given field and how they hope to contribute to that field over the next four years. Columbia seeks to admit students who will change the world in one super specific, often small way. So if students aren’t clear on what they want to study — at least in their application — it fails to inspire readers. Of course, once at Columbia College or the School of Engineering and Applied Science , students can change their intended major every Tuesday. But on the application, it’s another story entirely.

Ivy Coach’s Assistance with Columbia University Essays

If you’re interested in Ivy Coach ’s assistance in presenting a powerful narrative in your child’s Columbia essays, fill out our consultation form . We’ll then be in touch to delineate our college counseling services for seniors with Ivy Coach’s Jen Duran , a former Columbia admissions officer.

You are permitted to use www.ivycoach.com (including the content of the Blog) for your personal, non-commercial use only. You must not copy, download, print, or otherwise distribute the content on our site without the prior written consent of Ivy Coach, Inc.

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Columbia Supplemental Essays 2023-24

Columbia University is a highly ranked private institution located in New York City. It is not only one of the most sought after colleges in New York , but also in the nation and world. As such, Columbia Admissions receives thousands of impressive applications each admissions cycle. Successful applications have more than stellar academic records and varied extracurriculars. They have strong Columbia supplemental essays and a compelling why Columbia essay.

Before we jump into how to write your own Columbia supplemental essays, let’s learn a bit more about the university. Columbia is located on the Upper West Side of Manhattan in New York City. As one of eight Ivy League colleges in the United States, it’s no surprise Columbia is highly competitive . The university is ranked #18 in National Universities and reports a selective 6% acceptance rate. 

Are you wondering how to get into Columbia University?

Don’t let Columbia’s prestigious reputation dissuade you from applying. Columbia takes a holistic approach to how they review applications. Admissions is interested in your academic record, letters of recommendation, your background and unique attributes, and your essays.

While there’s no singular approach for how to get into Columbia, supplemental essays play a significant role in admissions decisions. Writing application essays can be challenging, which is why we’ve put together our guide to the Columbia Supplemental Essays. In this guide, we will cover Columbia University requirements and how to approach the Columbia essay prompts, including the why Columbia essay. And, we’ll give you plenty of tips for writing your own essays.

Columbia Essay: Quick Facts

Columbia university essay quick facts.

• Columbia University acceptance rate: 6% – U.S. News ranks Columbia as a highly selective school.
• Early Decision: November 1 st  
• Questbridge: November 1 st   
• Regular Decision: February 15 th  
• 1 personal essay 
• 5 short answer essays 
• Coalition App
• Questbridge
• Columbia Essay Tip: Don’t be intimidated by the number of Columbia supplemental essays. The short answer essays are only 100-150 words and can be tackled in just a few well-constructed sentences. 

Please note that essay requirements are subject to change each admissions cycle, and portions of this article may have been written before the final publication of the most recent guidelines. For the most up-to-date information on essay requirements, check the university’s admissions website.

Does Columbia require essays?

Yes, the Columbia University requirements include a personal statement and several school-specific Columbia supplemental essays. Let’s discuss the longest Columbia essay first. Depending on your application method, you will need to submit a Personal Statement (Coalition App) or a Personal Essay (Common App). While the essay prompts are different for each application platform, the goals of each are very similar. 

Coalition Application

The Coalition application provides the following Personal Statement prompts for students to choose from: 

Coalition Application Personal Statement Prompts

1. tell a story from your life, describing an experience that either demonstrates your character or helped to shape it., 2. what interests or excites you how does it shape who you are now or who you might become in the future, 3. describe a time when you had a positive impact on others. what were the challenges what were the rewards, 4. has there been a time when an idea or belief of yours was questioned how did you respond what did you learn, 5. what success have you achieved, or obstacle have you faced what advice would you give a sibling or friend going through a similar experience, 6. submit an essay on a topic of your choice., common application.

The Common App provides the following Personal Essay prompts for students to choose from:

Common Application Personal Statement Prompts

1. some students have a background, identity, interest, or talent that is so meaningful they believe their application would be incomplete without it. if this sounds like you, then please share your story., 2. the lessons we take from obstacles we encounter can be fundamental to later success. recount a time when you faced a challenge, setback, or failure. how did it affect you, and what did you learn from the experience, 3. reflect on a time when you questioned or challenged a belief or idea. what prompted your thinking what was the outcome, 4. reflect on something that someone has done for you that has made you happy or thankful in a surprising way. how has this gratitude affected or motivated you, 5. discuss an accomplishment, event, or realization that sparked a period of personal growth and a new understanding of yourself or others., 6. describe a topic, idea, or concept you find so engaging that it makes you lose all track of time. why does it captivate you what or who do you turn to when you want to learn more, 7. share an essay on any topic of your choice. it can be one you’ve already written, one that responds to a different prompt, or one of your own design., choosing a prompt for your personal statement.

Reading through each of the Columbia essay prompts above, you might be overwhelmed trying to pick just one to respond to. While deciding on a prompt is an important decision, all of these prompts have something in common. They are all designed to give students the opportunity to discuss a broad range of interests, identities, and experiences. Remember, the goal of this Columbia essay is to give the admissions committee insight into who you are and what you care about.

Your personal statement is a core component of your application and often has the longest word count. In general, you should aim for your personal essay to be between 500 to 650 words. However, having a specific number of words is far less important than your ability to make every word count. That means not including superfluous details and being sure you don’t leave your reader with more questions than answers. For more resources on writing a stellar personal statement, check out our “Writing About You: Personal Statement” webinar . 

In addition to the Columbia personal statement or personal essay, the Columbia University requirements include several short answer essays . These short answer essays are also known as the Columbia supplemental essays. Later on, we’ll take an in-depth look at each of these Columbia supplemental essays and how to approach each prompt. 

How many essays does Columbia have?

Columbia University requires applicants to submit a total of 6 essays (1 personal statement essay and 5 Columbia supplemental essays). This may seem like a lot of writing, but it is not as intimidating as it sounds. The personal statement is an essay that you will likely use for all of the colleges you apply to. So, there is no need to write a separate personal statement for Columbia. However, you should think about your college list and what personal essay topic might be the most fitting for the schools you are applying to. 

The other 5 Columbia essay prompts are all short answers, meaning they only require a few sentences to respond to. Each of the short answer Columbia essay prompts is designed to address Columbia University’s values , mission, and academic features. The goal of these essays is to show the admissions committee why you would be a good fit for Columbia University. We’ll cover the specific details and lengths of each of the Columbia essay prompts later in this guide. 

Supplementary Materials

Separate from the Columbia supplemental essays, Columbia gives students the opportunity to discuss a research project that they conducted. This question asks the applicant to provide an abstract, essentially a short written summary detailing the nature of their research. Additionally, students can submit creative portfolios in areas such as architecture, creative writing, dance, and drama. While the Columbia supplemental essays are required, remember these are both considered supplementary materials and are completely optional!

Columbia Short Answer Essays

The Columbia Office of Admissions refers to the short answer Columbia essay prompts as Columbia-Specific Application Questions . There are 5 Columbia essay prompts for students to respond to. Unlike the personal statement, where students can pick from a selection of prompts, students are required to answer all 5 of the Columbia essay prompts. 

Columbia University Short Answer Essay Prompts

1. “list a selection of texts, resources and outlets that have contributed to your intellectual development outside of academic courses, including but not limited to books, journals, websites, podcasts, essays, plays, presentations, videos, museums, and other content that you enjoy.  ( 100 words or fewer) ”, 2. a hallmark of the columbia experience is being able to learn and thrive in an equitable and inclusive community with a wide range of perspectives. tell us about an aspect of your own perspective, viewpoint or lived experience that is important to you, and describe how it has shaped the way you would learn from and contribute to columbia’s diverse and collaborative community.  (150 words or fewer), 3. in college/university, students are often challenged in ways that they could not predict or anticipate. it is important to us, therefore, to understand an applicant’s ability to navigate through adversity. please describe a barrier or obstacle you have faced and discuss the personal qualities, skills or insights you have developed as a result.  (150 words or fewer), 4. why are you interested in attending columbia university we encourage you to consider the aspect(s) that you find unique and compelling about columbia.  (150 words or fewer), 5. what attracts you to your preferred areas of study at columbia college or columbia engineering  (150 words or fewer).

Admissions gives specific guidelines for students to follow when answering the first prompt:

“Your response should be a list of items separated by commas or semicolons, items do not have to be numbered or in any specific order, it is not necessary to italicize or underline titles of books or other publications, and no author names, subtitles or explanatory remarks are needed.”

For more insight into the Columbia admissions process and how to make your Columbia supplemental essays stand out check out the video below from a Columbia admissions officer:

Remember, when writing your Columbia supplemental essays, be sure your first essay is formatted according to the conditions above. And, be sure to note the word limits provided for each of the Columbia essay prompts. (Prompt #1 is 100 words or fewer, whereas prompts #2-#5 are 150 words or fewer!)

Tips for approaching Columbia Short Answer Essays

Now, let’s discuss how to approach each of the Columbia supplemental essays. Each essay has a particular topic and focus. When discussing the short answer Columbia supplemental essays, we’ll refer to them as:

• The list essay
• The inclusion essay
• The adversity essay
• The why school essay
• The why major essay

Let’s start with the first of the Columbia essay prompts: the list essay!

The list essay is the one short answer Columbia supplemental essay that does not require you to write in complete sentences. Instead, this Columbia essay prompt instructs you to compose a list. However, don’t underestimate this question because it is structured differently than other Columbia supplemental essays. Through your list, admissions will get a sense of what type of literature and media you consume and consider impactful.

The first step to conquering the list essay is a brainstorming session. Write down all the content you find meaningful or that has a positive, recurring presence in your life. Then you can begin reducing that list to the content you would most like to include. Your final list should include a diverse set of content that has had a varied impact on your development. For example, one of your artifacts might be something that influenced you spiritually. Another may have influenced you intellectually or even socially. This Columbia essay is a great way to show how dynamic you are and where your interests lie. 

Inclusion Essay

The cultural diversity essay is another common supplemental essay for many colleges. This Columbia essay prompt begins by stating Columbia’s commitment to diversity, equity & inclusion . Diversity on a college campus leads to a rich academic and social experience that reflects varied perspectives and identities.

When considering the identities you hold, don’t be afraid to think outside the box when discussing your background and lived experiences. Your gender, region of origin, ethnicity, culture, and religion are all examples of identities that might have shaped you. Beyond simply stating an aspect of your identity, you’ll want to share how that translates to the way in which you see the world. You’ll also want to touch on how your experiences impact the way in which you learn from and share with others. 

Adversity Essay

The adversity essay prompt seeks to understand how the applicant has navigated adversity in their life. Students can sometimes struggle when asked to write about challenges as they often feel like they are sharing their weaknesses. However, if you are able to look at those challenges through a lens of learning and growth, so will your reader.

Understanding how an applicant overcomes a challenge is one of the best ways to envision their success on Columbia’s campus. After all, college is challenging. Admissions officers want to see that you have experience facing challenges head-on and growing from those experiences.

Why School Essay

Next, let’s discuss the why Columbia essay. The why Columbia essay is like your standard why school essay. The why Columbia essay may be worded slightly differently than other why school prompts, but they’re asking the same questions. Why are you interested in this college? What do you intend to do here? How can you contribute to the campus community?

Your job in this essay is to paint a picture of why you are a great fit for Columbia’s campus. You should articulate how you would benefit from attending Columbia and how Columbia might benefit from having you on campus. In college admissions, this connection is often referred to as “fit”. Your why Columbia essay should make the case that Columbia is the best fit for your college experience. 

Why Major Essay

The why major essay is similar to the why Columbia essay. However, this Columbia essay is asking you to reflect on your specific major of interest. Similar to the why Columbia essay, you’ll want to do your research before attempting to answer this Columbia essay. Topics you might explore are research opportunities and unique academic features of your major as well as related clubs and organizations.

When writing your why major essay, don’t make the mistake of just listing facts about your major at Columbia. Make sure you are articulating why these features are important to you and how they’ll help you thrive in your studies.

Next, let’s discuss how the Admissions team uses your responses to the Columbia essay prompts in their holistic admissions review. 

Columbia Supplemental Essays

Columbia supplemental essays are designed to gather very specific information from each applicant. As we discussed earlier in the article, Columbia uses a holistic admissions approach . This means, Columbia is interested in more than just your GPA and the number of advanced courses you’ve taken. They are equally interested in your values and unique interests.

Columbia University is no longer able to offer interviews as part of the application process. This makes the Columbia supplemental essays your best opportunity to make a personal connection with the admissions committee. To learn more about how your Columbia supplemental essays are evaluated, check out this video about Columbia supplemental essays.

How to write the Columbia supplemental essays

Writing strong Columbia supplemental essays is crucial to crafting a strong overall application. There are some technical aspects that are critical to the success of your Columbia supplemental essays. Your spelling, grammar, and essay structure should be exemplary of a strong high school or even college level essay. To help you catch any careless writing errors, you can ask someone else to read over your Columbia supplemental essays. However, having a proofread essay is just the baseline. 

Effective Columbia supplemental essays have a strong narrative, are easy to follow, and address the Columbia essay prompts in their entirety. A strong narrative means you have chosen effective stories and examples to best answer the Columbia essay prompts. Details to support your perspective or argument are critical for the admissions committee to easily follow your essay. And of course, it is important to answer the Columbia essay prompts completely. 

Finding your voice

In addition to these elements, one of the most important features of strong Columbia supplemental essays is authenticity . This is often referred to as allowing your “voice” to be heard throughout your Columbia supplemental essays. This can be achieved by writing in a tone and using words that are natural to you. Being honest and even vulnerable in your essay can also leave the admissions committee feeling like they’ve really heard you. Many of the Columbia essay prompts are perfect canvases for a personal and introspective essay. Take advantage of the breadth of Columbia essay prompts and choose topics that capture your unique perspective. 

For more guidance on how to write strong Columbia supplemental essays, check out our guide on Columbia essay examples. Some of the Columbia essay examples are from previous admissions cycles. But, they can still be helpful with approaching this year’s essay prompts!

QuestBridge Applicants to Columbia University

Students interested in Columbia University can also apply through Questbridge. Questbridge is a nonprofit organization that partners with over 50 colleges and universities across the country. Their partners include top schools including the University of Chicago, University of Pennsylvania, Vanderbilt University, and of course Columbia University. Students applying to Columbia through Questbridge have a slightly different admissions process. 

Questbridge applicants should not fill out an application on the Common App or the Coalition application. Instead, students will apply to Columbia University through the QuestBridge application. Questbridge has a unique approach to enrolling students at some of the top colleges in the nation. National College Match takes the place of traditional Columbia admissions decisions. However, the Questbridge application requires the same five short answer essays as the Common App and the Coalition application. 

Check out the CollegeAdvisor guide to QuestBridge scholarships below and learn more about how to apply today!

The Questbridge Scholarship Guide

Does Columbia care about essays?

Columbia cares deeply about essays. Each year, admissions officers around the country put great thought into the supplemental essay questions. Each of the Columbia essay prompts is directly connected to what the admissions committee is looking for. For example, the why Columbia essay tells the admissions committee if you would be a good fit for Columbia University. Like the why Columbia essay, the why major essay helps the committee understand how you might succeed in the classroom.

Columbia supplemental essays, like the why Columbia essay, are used in conjunction with all your other application materials. When evaluated together, each piece allows the admissions committee to develop an understanding of who you are personally and academically. 

How do I make my Columbia essays stand out?

Many students wonder how to make their Columbia supplemental essays stand out from the larger application pool. For selective institutions like Columbia, there is no shortage of talented applicants. At this level of selectivity, it may seem impossible to differentiate yourself from the rest. But the best way to make your Columbia supplemental essays stand out is to be true to yourself!

The best essays are personal, transparent, and unique to you. Instead of trying to guess what admissions wants to hear about, lead with what you are most passionate about. There is no universal strategy for writing a stand-out essay. The strengths of each student will always be unique to the applicant. So, spend your energy on identifying and discussing the things that make you, you! 

Columbia Supplemental Essays – 5 Takeaways

Are you still wondering how to get into Columbia? Here are 5 key takeaways to help you impress the Columbia admissions officers:

Remember these things for your Columbia supplemental essays:

• Your personal essay is the longest essay required by Columbia University. Make sure you are strategic about discussing a topic that won’t feel redundant once the committee reads your supplemental essays. 
• The why Columbia essay and why major essays can be powerful prompts to help sway admissions officers. Use the why Columbia essay to articulate why Columbia University is the best fit for you overall. Then, include any additional major-specific details in your why major essay.
• The short answer essays are brief, but don’t underestimate these questions. Like the why Columbia essay, each Columbia essay highlights a question or topic that is core to the college’s values. 
• Preparation often leads to the best product. Dedicate time to brainstorming, outlining, writing, and revising your essays. You won’t want to wait until the last minute for any of these important essay-writing steps. 
• Let your authenticity shine through! Your Columbia supplemental essays are the only place in your Columbia application to address the admissions team in your own voice. Whether you are writing your why Columbia essay or your adversity essay, stay focused on who you are! (And not who you think admissions wants you to be.)

In addition to these Columbia supplemental essay takeaways, CollegeAdvisor has countless additional resources to help you through the application process . Check out our essay guides and examples and our webinar panel with Columbia University students.

This essay guide was written by Chelsea Holley. Looking for more admissions support? Click here to schedule a free meeting with one of our Admissions Specialists. During your meeting, our team will discuss your profile and help you find targeted ways to increase your admissions odds at top schools. We’ll also answer any questions and discuss how CollegeAdvisor.com can support you in the college application process.

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How to Write a Stand-Out "Why Columbia" Essay

College Essays

One of the essays you'll have to write when applying to Columbia University is the "Why Columbia" essay. In this essay, you'll need to convince the admissions committee that Columbia is your dream school and that you'd be a great fit on the campus.

The "Why Columbia" essay question can be intimidating for students. You might be wondering: what should I mention in it? What does the admissions committee want to hear from me?

In this article, we'll break down the "Why Columbia" essay, explaining what the prompt asks and what the committee wants to hear. We'll also show you a real, successful "Why Columbia" essay example and explain why it works. Finally, we'll suggest potential topics for your essay and offer tips on how to write your own college admissions essays.

The 411 on the "Why Columbia" Essay Prompt

Here's the current "Why Columbia" essay prompt for the 2023-2024 application cycle :

Why are you interested in attending Columbia University? We encourage you to consider the aspect(s) that you find unique and compelling about Columbia. (150 words or fewer)

As you can see, the "Why Columbia" essay prompt asks a specific question: why do you want to attend Columbia University over any other school?

The admissions committee wants to see that you are genuinely interested in attending Columbia specifically and that you value it more than all other colleges out there.

As an applicant, you might be thinking that everyone applies to Columbia for the same reason: it's an Ivy League school and one of the best universities in the world.

The admissions committee knows all these facts about Columbia and knows that all applicants will know these facts, too.

What the Columbia admissions committee wants to learn is why you specifically want to go to Columbia rather than another amazing university.

From their perspective, students who really want to go to Columbia are more likely to enroll when they're accepted. This increases the university's yield rate and ensures that the freshman class will be full. If you can show in your essay that you’ve carefully considered the unique things about Columbia that make it the perfect school for you, you’ve got a good shot at getting an acceptance letter!

What Is the Purpose of the "Why Columbia" Essay?

Why does Columbia require applicants to answer this essay question? And what is the admissions committee really looking for in your answer? Let's analyze the "Why Columbia" essay prompt.

No matter which schools you're applying to, "Why This College" essays are perhaps the most common essay prompts you'll find on college applications because colleges want to see that you really want to attend their school.

But why exactly do colleges care that you want to go to their school?

Students who are passionate about their college or university are more likely to feel that the school is a good fit for them. They'll be more likely to commit to their studies, participate in on-campus activities, and become an active alum after graduation.

Therefore, if you show in your essay that you really love Columbia, it will make admissions officers feel more confident that you're going to have a significant and positive impact on their school.

If your reasons for attending Columbia are vague or even plain wrong (for instance, say you claim you'd like to take a major that isn't actually offered at Columbia), the admissions committee will think that you don't care about the school and aren't really interested in it.

Basically, the purpose of the essay is to suss out whether your interest in Columbia is genuine and to see whether you're ready to take advantage of Columbia's many opportunities.

What Should You Write About in Your "Why Columbia" Essay?

There are a number of different topics you can pursue for your "Why Columbia" essay. Ideally, you'll want to explore specific topics that you can talk about in-depth.

Here are some suggested topics for your essay:

• Majors or classes you're interested in (look for class names in the online course catalog)
• Professors whose research you're interested in
• Extracurriculars that you'd be interested in joining (you can likely find these online, too)
• Current and past Columbia students you've met before and whom you admire
• Volunteer opportunities  you'd like to get involved in 
• Financial aid opportunities Columbia offers that make it possible for you to attend
• Professional development opportunities Columbia offers

When it comes down to it, make sure to choose something about Columbia that no other school offers.

For instance, Columbia is in New York City and therefore has relationships with lots of businesses and organizations in the area. You could use your essay to examine how these Columbia-specific opportunities in New York will positively affect your education.

What you don't want to do, however, is wax on about how you love city-living— you need to make sure to describe how Columbia's specific relationship with NYC will help you to further your goals.

Match opportunities at Columbia to specific goals you have. For example, you could talk about how a particular professor's course aligns with your career objectives.

You need to be very specific in your answer: every single thing you say should relate back to a certain feature of Columbia. The entire focus of your essay should be what Columbia offers and how you'll take advantage of the school's academics and activities to get the best college education possible.

4 Tips for a Great Response to the "Why Columbia" Essay

Regardless of how you decide to answer this prompt, there are four tips everyone should keep in mind to ensure that they are fully answering the question, giving the information Columbia wants to see, and standing apart from other applicants.

#1: Do Your Research

Before you begin writing your response to this essay prompt, you should know exactly why you want to attend Columbia University. There are multiple ways you can do this research:

• Visit the school website or browse the list of departments, programs, and courses
• Check out the school newspaper, schedule a campus visit (virtual or in-person!), or set up a meeting with an alum, current student, or professor to get a feel for the campus

Every college campus has its own vibe, and visiting is the best way to get a sense of how Columbia might work with your personality as a student.

#2: Be Specific

From your research, you should have come up with specific reasons why Columbia is a great school for you. The more specific you can be when answering this prompt, the better.

Don't say Columbia has great academics, caring professors, and an interesting student body. The vast majority of schools have that!

Instead, try to mention opportunities only Columbia can provide, such as specific professors, courses, extracurricular activities, or research opportunities.

The things you discuss should be things your other top schools don't offer—things that really make Columbia stand out.

#3: Show Your Passion

Columbia wants students who care a lot about their studies and their school, so be sure this comes across in your response.

A bland statement such as "I am impressed by Columbia's strong engineering program" doesn't tell the school anything about you or help you stand apart from other applicants. Show your passion by naming specific professors or features of the program.

You've done your research to mention certain qualities Columbia has that have enticed you, and now it's time to discuss specific qualities about yourself, too. Why does the engineering program make you so excited? What do you want to get out of it? Be detailed, specific, and honest.

#4: Proofread

Your Columbia essay should be the strongest possible example of your writing skills. Before you turn in your application, take time to edit and proofread your essays.

Your work should be free of spelling and grammar errors. Make sure to run your essays through a spelling and grammar check before you submit.

It's a good idea to have someone else read your "Why Columbia" essay, too. You can seek a second opinion on your work from a parent, teacher, or friend.

Ask them whether your work represents you as a student and person. Have them check and make sure that you haven't missed any small writing errors. Having a second opinion will help your work be the best it can be.

Here's a little taste of what a good "Why Columbia" essay looks like.

"Why Columbia" Essay Example

If you're stuck on what to write for your own essay, looking at "Why Columbia" essays that actually worked can be helpful. Below, we examine one "Why Columbia" essay that got a student accepted to Columbia and talk about what specifically made this piece of writing so strong.

The following essay comes to us from an accepted Columbia 2020 student via AP Study Notes :

At a college visit this year, I met a Columbia alumnus named Ayushi, whose stories helped me develop a thorough understanding of Columbia. Ayushi told me that Columbia funded both her summer trip to Syria to interview refugees and her seed money for a start-up she launched. As an aspiring entrepreneur, I'm impressed by a university that encourages students to pursue their own independent creations instead of simply offering the option to work on faculty projects. Columbia's four entrepreneurship organizations, among them the Columbia Organization of Rising Entrepreneurs, provide a dynamic start-up community for me to launch my own business.

In addition, when I explored Columbia online, the emphasis put on interdisciplinary studies particularly excited me. The Columbia Engineering website is rich with stories of engineering students who are also involved in Shakespeare troupes, service projects, and multicultural groups. In my opinion, diverse experiences are the foundation of creative thinking. At Columbia, I will continue to diversify my experience by not just joining the Parliamentary Debate Team, but also by making new friends on the intramural soccer field and starting a cultural club for Italian heritage students who wish to learn more about Italian history, language, food, and current events.

Columbia Engineering stands uniquely apart from other programs by incorporating several in-depth humanities and writing classes into the graduation requirements. I believe that looking at critical issues with an open mind and sophisticated grasp of the humanities is extremely important to being an engineer. For example, I could not imagine exploring the future of quantum cryptography without considering the political ripple effects of Edward Snowden, the moral ramifications of the quantum encryption revolution, and the relationship between technology and income inequality. I am confident that I will thrive in the Columbia culture of passionate engagement and vibrant, energetic conversation.

Why does this essay work?

It answers the prompt specifically.

This essay gives examples of personal experience with the school and proves that the applicant did their research: they present clear evidence as to how engineering students are involved on campus and talk about specific academic courses.

There are many impressive details in this essay, and the section that addresses extracurriculars is cleverly written to showcase the applicant's diverse interests. This student's mention of certain extracurriculars they want to do indicates that they looked at many facets of Columbia University, not just the engineering department.

It's clear from this essay just how the author views their fit at Columbia. They've talked about specific organizations they would like to be a part of, such as the Columbia Organization of Rising Entrepreneurs, while also showing why they want to join that organization.

Additionally, the applicant mentions a Columbia University student they spoke with, which means they took getting to know the student body seriously and really wanted to find out what Columbia students were like to see whether they, too, would fit in.

The conversation with the Columbia alum also emphasizes the applicant's initiative: they're willing to go above and beyond to learn about the school.

Conclusion: Writing a Great "Why Columbia" Essay

The purpose of the "Why Columbia" essay is for you to prove to the admissions committee that Columbia is the best school for you

In your essay, you could write about multiple topics that are specific to Columbia, such as academics, the student body, extracurriculars, and research opportunities.

When writing your "Why Columbia" essay, make sure to research the school extensively and be specific about activities and opportunities that really make you want to attend.

If you're stuck on how to proceed, analyzing a successful "Why Columbia" essay example might help you get inspiration for what to write.

What's Next?

How tough is it to get into Columbia? For answers, read our expert guide on how to get into Columbia and the Ivy League , written by a Harvard alum!

Should you apply early or regular decision to college? Find out the pros and cons of early decision .

Want to see some more college essay examples? We have links to 100+ great college essays that includes our expert analysis on how you can write a stand-out essay of your own.

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Hayley Milliman is a former teacher turned writer who blogs about education, history, and technology. When she was a teacher, Hayley's students regularly scored in the 99th percentile thanks to her passion for making topics digestible and accessible. In addition to her work for PrepScholar, Hayley is the author of Museum Hack's Guide to History's Fiercest Females.

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How to Write the Areas of Study Essay for Columbia

This article was written based on the information and opinions presented by Joseph Recupero in a CollegeVine livestream. You can watch the full livestream for more info.

What’s Covered:

Common essay mistakes, the best type of response, responding as an undecided major.

Columbia has 6 essay prompts in this year’s application. One prompt in particular that we’ll focus on in this article is the “areas of study” prompt, which is Columbia’s version of the “why major” essay . The prompt asks:

For applicants to Columbia College/School of Engineering, please tell us what from your current and past experiences (either academic or personal) attracts you specifically to the areas of study that you previously noted in the application. (200 words or fewer)

It can be tricky figuring out what you want to write about, but there are a couple things to keep in mind when choosing your essay topic. 

Focusing on Future Goals

The areas of study prompt can be difficult to grasp at first. Columbia wants to know what current and past experiences you’ve had that attract you to the area of study you listed in your application. A common mistake with this essay is talking about your future goals. This prompt is meant for you to focus on your past and current interests. You can write about either personal or academic reasons, but make sure not to focus on the future. 

Not Responding to the Prompt

A lot of people want to end the essay with what they will be doing at Columbia, but that’s not what Columbia is asking you. They’re asking you what are the specific reasons, questions and  theories you have that lead you to choose an area of study. You only have 200 words in this essay, so you don’t want to waste any words answering a question they didn’t ask.

Answering “Why Columbia”

Another common mistake made is talking about why you want to go to Columbia. There is another prompt for you to focus on those reasons, so try not to focus on the classes or programs you want to take at Columbia. This question isn’t about Columbia. It is about the admission office getting a better understanding of your passions. Each prompt is designed for you to talk about different areas of your life. You want to maximize your essays by writing about unique topics in each one. 

When answering this question, you really want to focus on answering why you chose a particular area of study. The best reasons are deeper than just goals. You want to have those emotional and personal reasons. Most student’s responses focus strictly on their academic and career aspirations, but wrapping those reasons into a deeper meaning are the best ways to stand out. 

Columbia is an academically rigorous place. Students spend many late nights and weekends studying for their classes. It takes a lot of motivation to accomplish that. This essay is meant for you to explain your motivation. 

For example, when Joseph was applying to Columbia, he wrote his essay on wanting to be an anthropologist. He talked about hiding an Atlas under his bed and reading it when nobody was around because his parents didn’t think travel was important, but he did. Joseph wrote about wanting to learn the mysteries of our world and that being why he wanted to study anthropology. It was a lot more meaningful of a response than just saying “I want to go to Columbia because I read a book about anthropology.”

It is easy to write a generic response that does not delve into who you are, but the deeper reasons you give, the more you will stand out. 

If you are applying as an undecided major, this prompt might sound challenging. Even if you aren’t sure about an exact major, you should have some idea about your academic interests. Do you like STEM? Are you more interested in the humanities? 

Pick 2 or 3 areas of study you are interested in and describe why they interest you. Remember this essay has a maximum word count of 200 words, so try not to spread yourself too thin. Responding as an undecided major might mean you craft your response a bit differently from those who already picked a major, but the topic stays the same. Tell Columbia about your academic interests and why they interest you!  

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Slavic Languages

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Departmental Office: 708 Hamilton; 212-854-3941 http://www.columbia.edu/cu/slavic/

Director of Undergraduate Studies: Prof. Adam Leeds, 715 Hamilton Hall; 212-854-3941; [email protected]

Russian Language Program Director: Prof. Alla Smyslova, 708 Hamilton; 212-854-8155; [email protected]

The Department of Slavic Languages and Literatures is devoted to the study of the cultures, literatures, and languages of Russia and other Slavic peoples and lands. We approach our study and teaching of these cultures with an eye to their specificity and attention to their interaction with other cultures, in history and in the contemporary global context. We focus not only on the rich literary tradition, but also on the film, theater, politics, art, music, media, religious thought, critical theory, and intellectual history of Russians and other Slavs. Our approach is interdisciplinary.

Students who take our courses have different interests. Many of our courses are taught in English with readings in English and have no prerequisites. As a consequence, our majors and concentrators are joined by students from other literature departments, by students of history and political science who have a particular interest in the Slavic region, and by others who are drawn to the subject matter for a variety of intellectual and practical reasons.

We provide instruction in Russian at all levels (beginning through very advanced), with a special course for heritage speakers. To improve the proficiency of Russian learners and speakers, we offer a number of literature and culture courses in which texts are read in the original and discussion is conducted in Russian. We offer three levels of other Slavic languages: Bosnian-Croatian-Serbian, Czech, Polish, and Ukrainian (with additional courses in culture in English). All language courses in the Slavic Department develop the four basic language skills (speaking, listening, reading, and writing) and cultural understanding.

Our department prides itself on the intellectual vitality of its program and on the sense of community among students and faculty. As they explore Russian and Slavic languages, literatures, and cultures, students develop not only their specific knowledge and cultural understanding, but also the capacity for critical thought, skills in analyzing literary and other texts, and the ability to express their ideas orally and in writing. Our graduates have used their knowledge and skills in different ways: graduate school, Fulbright and other fellowships, journalism, publishing, law school, NGO work, public health, government work, and politics. Our faculty is proud of its students and graduates.

Majors and Concentrations

Guided by the director of undergraduate studies and other faculty members, students majoring in Slavic create a program that suits their intellectual interests and academic goals. They choose from three tracks: Russian Language and Culture (for those with a strong interest in mastering the language), Russian Literature and Culture (for those who want to focus on literary and cultural studies), and Slavic Studies (a flexible regional studies major for those interested in one or more Slavic cultures). In each major, students may count related courses in other departments among their electives.

In addition to its majors, the department offers five concentrations. Three are analogous to the major tracks (Russian Language and Culture, Russian Literature and Culture, and Slavic Studies). There is also a concentration in Russian Literature that does not require language study and another concentration in Slavic Cultures that allows students to focus on a Slavic language and culture other than Russian.

Motivated seniors are encouraged but not required to write a senior thesis. Those who write a thesis enroll in the Senior Seminar in the fall term and work individually with a thesis adviser. Students have written on a wide range of topics in literature, culture, media, and politics.

Slavic Culture at Columbia Outside of the Classroom

All interested students are welcome to take part in departmental activities, such as conversation hours, Slavic student organizations, the department's various film series (Russian, East Central European, Central Asian, and Ukrainian), and the country's first undergraduate journal of Eastern European and Eurasian Culture, The Birch . The Slavic Department has close ties to the Harriman Institute and the East Central European Center, which sponsor lectures, symposia, performances, and conferences.

Study and Research Abroad

The department encourages its students to enrich their cultural knowledge and develop their language skills by spending a semester or summer studying in Russia, the Czech Republic, Poland, Ukraine, or the countries of the former Yugoslavia. The department helps students find the program that suits their needs and interests. Undergraduates may apply to the Harriman Institute for modest scholarships for research during winter/spring breaks or the summer.

Advanced/NEWL Placement 

A score of 5 on the AP/NEWL Russian exam satisfies the foreign language requirement. Upon successful completion of a 3-point 3000 level (or higher) course at Columbia, the Department of Slavic Languages will award 3 points of AP credit, provided the grade in the course is a B or better. Courses taught in English may not be used to earn AP credit. No credit or placement is given for the SAT II Subject test. If you wish to continue with Russian at Columbia, you should take the departmental placement test and speak with the Russian program director prior to registration to ensure proper placement.  

• Valentina Izmirlieva  Liza Knapp (Chair) Mark Lipovetsky (Leiderman)
• Irina Reyfman 

Assistant Professors   

Ofer Dynes Adam Leeds Jessica Merrill

Term Assistant Professors

Erica Drennan (Barnard)

Senior Lecturers

• Christopher Harwood Yuri Shevchuk Alla Smyslova
• Aleksandar Boskovic
• Christopher Caes Tatiana Mikhailova

Adam Leeds (Fall 2022, Spring 2023)  

Guidelines for all Slavic Majors and Concentrators

Senior thesis.

A senior thesis is not required for any Slavic major. Students who wish to undertake a thesis project should confer with the director of undergraduate studies during the registration period in April of their junior year and register to take RUSS UN3595 SENIOR SEMINAR in the fall term of their senior year. Students can opt to expand the thesis into a two-semester project register for RUSS UN3998 SUPERVISED INDIVIDUAL RESEARCH , with their thesis adviser, in the spring term of their senior year. Senior Seminar may satisfy one elective requirement; the optional second semester of thesis work adds one course to the 15 required for the major.

Courses in which a grade of D has been received do not count toward major or concentration requirements.

Major in Russian Language and Culture

This major is intended for students who aim to attain maximal proficiency in the Russian language. Intensive language training is complemented by an array of elective courses in Russian culture that allow students to achieve critical understanding of contemporary Russian society and of Russian-speaking communities around the world. Since this major emphasizes language acquisition, it is not appropriate for native Russian speakers.

The program of study consists of 15 courses, distributed as follows:

Major in Russian Literature and Culture

The goal of this major is to make students conversant with a variety of Russian literary, historical and theoretical texts in the original, and to facilitate a critical understanding of Russian literature, culture, and society. It is addressed to students who would like to complement serious literary studies with intensive language training, and is especially suitable for those who intend to pursue an academic career in the Slavic field.

Students considering graduate study in Russian literature are strongly advised to complete four years of language training.

Major in Slavic Studies

This flexible major provides opportunities for interdisciplinary studies within the Slavic field. Students are encouraged to choose one target language (Bosnian-Croatian-Serbian, Czech, Polish, Russian, or Ukrainian), though there are possibilities for studying a second Slavic language as well. Generally, the major has one disciplinary focus in history, political science, economics, religion, anthropology, sociology, art, film, or music. In addition, this program allows students to focus on a particular Slavic (non-Russian) literature and culture or to do comparative studies of several Slavic literatures, including Russian. Students should plan their program with the director of undergraduate studies as early as possible, since course availability varies from year to year.

Altogether students should complete four courses in a single discipline, including, if appropriate, the required history or literature/culture courses.

Concentration in Russian Language and Culture

This program is intended for students who aim to attain proficiency in the Russian language. Intensive language training is complemented by an array of elective courses in Russian culture that allow students to achieve critical understanding of contemporary Russian society and of Russian-speaking communities around the world. Since this concentration emphasizes language acquisition, it is not appropriate for native Russian speakers.

The program of study consists of 10 courses, distributed as follows:

Concentration in Slavic (Non-Russian) Language and Culture

This program is intended for students who aim to attain proficiency in a Slavic language other than Russian. Intensive language training is complemented by an array of elective courses in Slavic cultures that allow students to achieve critical understanding of the communities that are shaped by the Slavic language of their choice. Since this concentration emphasizes language acquisition, it is not appropriate for native speakers of the target language.

Concentration in Russian Literature and Culture

The goal of this concentration is to make students conversant with a variety of Russian literary texts and cultural artifacts that facilitate a critical understanding of Russian culture. It is addressed to students who would like to combine language training with study of the Russian literary tradition.

Concentration in Slavic Studies

This flexible concentration provides opportunities for interdisciplinary studies within the Slavic field. Students are encouraged to choose one target language (Bosnian-Croatian-Serbian, Czech, Polish, Russian, or Ukrainian), and one disciplinary focus in history, political science, economics, religion, anthropology, sociology, art, film, or music. In addition, this program allows students to focus on a particular Slavic (non-Russian) literature and culture, or to do comparative studies of several Slavic literatures, including Russian.

Altogether students should complete three courses in a single discipline, including, if appropriate, the required history or literature/culture courses.

Concentration in Russian Literature

This concentration is addressed to serious literature students who would like to pursue Russian literature but have no training in Russian. It allows students to explore the Russian literary tradition, while perfecting their critical skills and their techniques of close reading in a variety of challenging courses in translation.

The program of study consists of 8 courses, with no language requirements, distributed as follows:

Relevant literature courses from other departments may count toward the concentration only if approved by the director of undergraduate studies.

Bosnian/Croatian/Serbian Language and Literature

BCRS UN1101 ELEM BOSNIAN/CROATIAN/SERBIAN. 4.00 points .

Essentials of the spoken and written language. Prepares students to read texts of moderate difficulty by the end of the first year

BCRS UN1102 ELEM BOSNIAN/CROATIAN/SERBIAN. 4.00 points .

BCRS UN2101 INTER BOSNIAN/CROATIAN/SERBIAN. 4.00 points .

Prerequisites: BCRS UN1102 or the equivalent. Prerequisites: BCRS UN1102 or the equivalent. Readings in Serbian/Croatian/Bosnian literature in the original, with emphasis depending upon the needs of individual students

BCRS UN2102 INTER BOSNIAN/CROATIAN/SERBIAN. 4.00 points .

Prerequisites: BCRS UN1102 or the equivalent. Prerequisites: BCRS UN1102 or the equivalent. Readings in Serbian/Croatian/Bosnian literature in the original, with emphasis depending upon the needs of individual students. This course number has been changed to BCRS 2102

BCRS GU4002 YUGOSLAV＆POST-YUGOSLAV CINEMA. 3.00 points .

This course investigates the complex relationship between aesthetics and ideology in Yugoslav and post-Yugoslav cinema. Specifically, it examines the variety of ways in which race, ethnicity, gender inequality, and national identity are approached, constructed, promoted, or contested and critically dissected in film texts from the Socialist Federative Republic of Yugoslavia (SFRY) and its successor states (Bosnia, Croatia, Serbia, FYR Macedonia). The course has four thematic units and is organized chronologically.

BCRS GU4331 ADV BOSNIAN/CROATIAN/SERBIAN. 3.00 points .

Prerequisites: BCRS UN2102 Prerequisites: BCRS UN2102 Further develops skills in speaking, reading, and writing, using essays, short stories, films, and fragments of larger works. Reinforces basic grammar and introduces more complete structures

BCRS GU4332 ADV BOSNIAN/CROATIAN/SERBIAN. 3.00 points .

Comparative Literature - Czech

CLCZ GU4020 Czech Culture Before Czechoslovakia. 3 points .

Not offered during 2023-2024 academic year.

Prerequisites: sophomore standing or the instructor's permission.

An interpretive cultural history of the Czechs from earliest times to the founding of the first Czechoslovak republic in 1918. Emphasis on the origins, decline, and resurgence of Czech national identity as reflected in the visual arts, architecture, music, historiography, and especially the literature of the Czechs.

CLCZ GU4030 POSTWAR CZECH LITERATURE. 3.00 points .

A survey of postwar Czech fiction and drama. Knowledge of Czech not necessary. Parallel reading lists available in translation and in the original

CLCZ GU4035 THE WRITERS OF PRAGUE. 3.00 points .

After providing an overview of the history of Prague and the Czech lands from earliest times, the course will focus on works by Prague writers from the years 1895-1938, when the city was a truly multicultural urban center. Special attention will be given to each of the groups that contributed to Prague’s cultural diversity in this period: the Austro-German minority, which held disproportionate social, political and economic influence until 1918; the Czech majority, which made Prague the capital of the democratic First Czechoslovak Republic (1918-1938); the German- and Czech-speaking Jewish communities, which were almost entirely wiped out between 1938 and 1945; and the Russian and Ukrainian émigré community, which—thanks in large part to support from the Czechoslovak government—maintained a robust, independent cultural presence through the 1920s and early 1930s. Through close reading and analysis of works of poetry, drama, prose fiction, reportage, literary correspondence and essays, the course will trace common themes that preoccupied more than one Prague writer of this period. In compiling and comparing different versions of cultural myth, it will consider the applicability of various possible definitions of the literary genius loci of Prague

CLCZ GU4038 PRAGUE-SPRING 1968-FILM ＆ LIT. 3.00 points .

The course explores the unique period in Czech film and literature during the 1960s that emerged as a reaction to the imposed socialist realism. The new generation of writers (Kundera, Skvorecky, Havel, Hrabal) in turn had an influence on young emerging film makers, all of whom were part of the Czech new wave

Comparative Literature - Polish

CLPL GU4042 Bestsellers of Polish Literature. 3 points .

A study of the 20th-century Polish novel during its most invigorated, innovative inter-war period. A close study of the major works of Kuncewiczowa, Choromanski, Wittlin, Unilowski, Kurek, Iwaszkiewicz, Gombrowicz, and Schulz. The development of the Polish novel will be examined against the background of new trends in European literature, with emphasis on the usage of various narrative devices. Reading knowledge of Polish desirable but not required. Parallel reading lists are available in the original and in translation.

CLPL GU4040 Mickiewicz. 3 points .

The Polish literary scene that in this particular period stretched from Moscow, Petersburg, and Odessa, to Vilna, Paris, Rome. The concept of exile, so central to Polish literature of the 19th-century and world literature of the 20th will be introduced and discussed. The course will offer the opportunity to see the new Romantic trend initially evolving from classicism, which it vigorously opposed and conquered. We will examine how the particular literary form - sonnet, ballad, epic poem and the romantic drama developed on the turf of the Polish language. Also we will see how such significant themes as madness, Romantic suicide, Romantic irony, and elements of Islam and Judaism manifested themselves in the masterpieces of Polish poetry. The perception of Polish Romanticism in other, especially Slavic, literatures will be discussed and a comparative approach encouraged.Most of the texts to be discussed were translated into the major European languages. Mickiewicz was enthusiastically translated into Russian by the major Russian poets of all times; students of Russian may read his works in its entirety in that language. The class will engage in a thorough analysis of the indicated texts; the students' contribution to the course based on general knowledge of the period, of genres, and/or other related phenomena is expected.

CLPL GU4300 The Polish Novel After 1989. 3 points .

This seminar is designed to offer an overview of Post-1989 Polish prose. The literary output of what is now called post-dependent literature demonstrates how political transformations influenced social and intellectual movements and transformed the narrative genre itself. The aesthetic and formal developments in Polish prose will be explored as a manifestation of a complex phenomenon bringing the reassessment of national myths, and cultural aspirations. Works by Dorota Maslowska, Andrzej Stasiuk, Pawel Huelle, Olga Tokarczuk, Magdalena Tulli and others will be read and discussed. Knowledge of Polish not required.

CLPL GU4301 Survey of Polish Literature and Culture. 3 points .

This course introduces and explores key works, traditions, and tendencies in Polish literature and culture from the Middle Ages to the present. Focusing in particular on the monuments of Polish literature, the course embeds them in historical context and places them in dialog with important ideas and trends in both Polish and European culture of their time.  The aim is to engender and establish an understanding of Poland’s position on the literary and cultural map of Europe.  In addition to literature, works of history, political science, film, and the performing arts will be drawn on for course lecture and discussion. No prerequisites. Readings in English.

Comparative Literature - Slavic

CLSL UN3304 How To Read Violence: The Literature of Power, Force and Brutality from 20th Century Russia and America. 3 points .

This course seeks to understand how authors and filmmakers in the 20th century communicate the experience of violence to their audiences. We will discuss how fragmentation, montage, language breakdown and other techniques not only depict violence, but reflect that violence in artistic forms. We will also ask what representing violence does to the artistic work. Can the attempt to convey violence become an act of violence in itself? We will consider texts from Vladimir Mayakovsky, John Dos Passos, Andrei Platonov, Vasiliy Grossman, Allen Ginsberg, Anna Akhmatova, Richard Wright, Cormac McCarthy, Vladimir Sorokin, as well as films from Sergei Eisenstein, Alexei Balabanov and Quentin Tarantino. Full course description and syllabus available at  readingviolence.weebly.com .

CLSL GU4000 Hebrew: History, Politics, Culture, Literature. 3.00 points .

This class offers an introduction to Hebrew culture from a historical and literary perspective, focusing on the intersection of linguistic ideology, and literary and cultural creativity. What, we will ask, is the relationship between what people think about Hebrew and what they write in Hebrew? We will investigate the manners in which Hebrew was imagined – as the language of God, the language of the Jews, the language of the patriarchy, the language of secularism, the language of Messianism, the language of nationalism, a dead language, a diasporic Eastern European language, a local Middle Eastern Language, ext., and how these conflicting imaginaries informed Hebrew creativity. This class does not require prior knowledge of Hebrew. Students proficient in Hebrew, Yiddish, Arabic, Ladino, and/or European languages are encouraged to contact the instructor in advance for supplementary material in these languages

CLSL GU4003 Central European Drama in the Twentieth Century. 3 points .

Focus will be on the often deceptive modernity of modern Central and East European theater and its reflection of the forces that shaped modern European society. It will be argued that the abstract, experimental drama of the twentieth-century avant-garde tradition seems less vital at the century's end than the mixed forms of Central and East European dramatists.

CLSL GU4004 Introduction to Twentieth-Century Central European Fiction. 3 points .

This course introduces students to works of literature that offer a unique perspective on the tempestuous twentieth century, if only because these works for the most part were written in "minor" languages (Czech, Polish, Hungarian, Serbian), in countries long considered part of the European backwaters, whose people were not makers but victims of history. Yet the authors of many of these works are today ranked among the masters of modern literature. Often hailing from highly stratified , conservative societies, many Eastern and Central European writers became daring literary innovators and experimenters. To the present day, writers from this "other" Europe try to escape history, official cultures, politics, and end up redefining them for their readers. We will be dealing with a disparate body of literature, varied both in form and content. But we will try to pinpoint subtle similarities, in tone and sensibility, and focus, too, on the more apparent preoccupation with certain themes that may be called characteristically Central European.

CLSL GU4008 Slavic Avant-Garde Surfaces. 3 points .

This lecture course will provide a punctual survey of the major trends and figures in the interwar visual culture and avant-garde poetry of the Soviet Russia and East Central Europe (Poland, Czechoslovakia, Hungary, and Yugoslavia), including the opulent field of their intersection. Topics include various interfaces of visual culture and graphic arts, such as public spaces, walls, propaganda trains, windows, postcards, posters, books, and screens. The course will address the innovative use of typography and photography, typophoto and photomontage, as well as the short written and hybrid genres such as manifesto, cinepoetry, photo essay, and photo frescoes. We will discuss poets and artists such as Mayakovsky, Lissitsky, Rodchenko, Klutsis, Vertov, Teige, Nezval, Sutnar, Štirsky, Szczuka, Stern, Themersons, Kassák, Kertész, Moholy-Nagy, Goll, Micić, VuÄo, Matić. Each session will include a lecture followed by discussion.

CLSL GU4010 What We Do in the Shadows: A History of the Night in Eastern Europe. 3.00 points .

This course looks at nighttime as an object of inquiry from an experiential, historical, religious, literary, and cultural perspectives, introducing the students with the growing field of night studies. It covers the Early Modern and the Modern Periods and centers primarily on Eastern Europe and East Central Europe, with a secondary focus on Jewish Literature and Culture in these regions. The course caters for students who are interested in in night studies, in the history and culture of Eastern Europe, students who are interested in Jewish (Hebrew and Yiddish) Studies, as well as students who are interested in the intersection of history and literature

CLSL GU4011 Experimental Cultures. 3.00 points .

This seminar course will provide a punctual survey of trends and figures in the experimental cultures of East Central Europe. Formations include the avant-gardes (first, postwar, and postcommunist); experimental Modernisms and Postmodernisms; alternative film, media, and visual culture; and formally inventive responses to exceptional historical circumstances. Proceeding roughly chronologically from early twentieth to early twenty-first centuries, we will examine expressionist/surrealistic painting and drama; zenithist hybrid genres such as cinépoetry and proto-conceptualist writing; mixed-media relief sculpture; post-conceptual art; experimental and animated film; and avant-garde classical music. In terms of theory, we will draw on regional and global approaches to artistic experimentation ranging from Marxist and other theories of value through discourses of the body and sexuality in culture to contemporary affect theory. The course will be taught in English with material drawn primarily from Poland, Yugoslavia, Czechoslovakia, and Hungary. Each session will include a lecture followed by discussion

CLSL GU4012 Holocaust Literature: Critical Thinking in Dark Times. 3.00 points .

How do you write literature in the midst of catastrophe? To whom do you write if you don’t know whether your readership will survive? Or that you yourself will survive? How do you theorize society when the social fabric is tearing apart? How do you develop a concept of human rights at a time when mass extermination is deemed legal? How do you write Jewish history when Jewish future seems uncertain? This course offers a survey of the literature and intellectual history written during World War II (1939-1945) both in Nazi occupied Europe and in the free world, written primarily, but not exclusively, by Jews. We will read novels, poems, science fiction, historical fiction, legal theory and social theory and explore how intellectuals around the world responded to the extermination of European Jewry as it happened and how they changed their understanding of what it means to be a public intellectual, what it means to be Jewish, and what it means to be human. The aim of the course is threefold. First, it offers a survey of the Jewish experience during WWII, in France, Russia, Poland, Latvia, Romania, Greece, Palestine, Morocco, Iraq, the USSR, Argentina, and the United States. Second, it introduces some of the major contemporary debates in holocaust studies. Finally, it provides a space for a methodological reflection on how literary analysis, cultural studies, and historical research intersect

CLSL GU4016 Socialist World Literature. 3.00 points .

This course researches the potentiality and development of a Socialist World Literature. Students will learn about the more contemporary constructions of World Literature in the West, and then look at how the Soviet Union and its satellites potentially crafted an alternative to the contemporary construction. The class will then examine whether the Soviet version addressed some of the criticism of the contemporary definitions of World Literature, particularly through addressing the colonialism and nationalism. Students will learn about the complex history of World Literature and its definitions, reading the major theorists of the concept as well as the major critics. They will also create their own arguments about World Literature in a highly-scaffolded major project due at the end of the term. All readings will be provided online

CLSL GU4017 The Central European Grotesque. 3.00 points .

Central Europe is home to large number of authors, artists, and directors who made use of the critical power of the grotesque. Beginning from the fin-de-siecle and moving to the contemporary moment, students will get to know a wide range of grotesque art from Central Europe as well as several of the critical approaches to the subject. The course should be of interest to anyone studying Central European culture, as well as students interested in cultural studies more generally. Students will learn to identify and analyze examples of the grotesque through a variety of theoretical lenses. They will also enrich their knowledge of Central European literature and culture

CLSL GU4075 POST COLONIAL/POST SOV CINEMA. 3.00 points .

The course will discuss how filmmaking has been used as an instrument of power and imperial domination in the Soviet Union as well as on post-Soviet space since 1991. A body of selected films by Soviet and post-Soviet directors which exemplify the function of filmmaking as a tool of appropriation of the colonized, their cultural and political subordination by the Soviet center will be examined in terms of postcolonial theories. The course will focus both on Russian cinema and often overlooked work of Ukrainian, Georgian, Belarusian, Armenian, etc. national film schools and how they participated in the communist project of fostering a «new historic community of the Soviet people» as well as resisted it by generating, in hidden and, since 1991, overt and increasingly assertive ways their own counter-narratives. Close attention will be paid to the new Russian film as it re-invents itself within the post-Soviet imperial momentum projected on the former Soviet colonies

CLSS GU4101 Balkan as a Metaphor. 3 points .

This seminar for graduate and advanced undergraduate students has two main objectives. First, it is to critically assess competing and conflicting conceptions of the Balkans, Balkanism, and Balkanization. Second, it engages with border studies, a vast and thriving field that makes sense of widely different and constantly changing definitions of the border. The course’s case studies focus on the region of the former Yugoslavia across the disciplines currently recognized as the humanities and social sciences. We will examine what those disciplinary borders do to the different types of borders we have chosen to analyze. We will discuss the concepts of copy and imitation in relation to Balkan arts and politics in the contemporary globalized world. We will explore documentary film and performance art representations of how refugees, migrant minorities, and borderline populations counter marginalizations and trauma.

CLSL GU4995 Central European Jewish Literature: Assimilation and Its Discontents. 3 points .

Examines prose and poetry by writers generally less accessible to the American student written in the major Central European languages: German, Hungarian, Czech, and Polish. The problematics of assimilation, the search for identity, political commitment and disillusionment are major themes, along with the defining experience of the century: the Holocaust; but because these writers are often more removed from their Jewishness, their perspective on these events and issues may be different. The influence of Franz Kafka on Central European writers, the post-Communist Jewish revival, defining the Jewish voice in an otherwise disparate body of works.

Comparative Literature - Russian

CLRS UN3314 The Story, She Told: Women's Autofiction ＆ Life Writing in Russian. 3.00 points .

In her 1975 essay The Laughter of Medusa, Hélène Cixous compared women’s writing—in French, “écriture féminine”—to the unexplored African continent. To date, literary criticism has been grappling with the distinct qualities of literary works, crafted by women. This course offers a survey of main autofictional works and memoirs, written originally in the Russian language within the last 100 years. We will start our journey with the tumults of the WW1 and the Bolshevik Revolution, the Civil War, through the WW2, the Soviet dissident movement, the emigration waves into Israel and the United States, the advent of a post-socialist Russia in 1991—in order to arrive at the two plus decades of Vladimir Putin’s presidency. We will consider the ways in which each author transposes and conveys her own—and others’ memories—through the medium of autofiction, defined by Serge Doubrovsky, who coined the term in French, as “the adventure of the language, outside of wisdom and the syntax of the novel.” All selected works, with very few exceptions, are available in English; no reading knowledge of Russian is required. No prerequisites

CLRS UN3309 Fact and Fiction: The Document in Russian and American Literature. 3 points .

“Truth is stranger than fiction,” wrote Mark Twain in 1897. It is an axiom more relevant today than ever before, as more and more writers draw on “true events” for their literary works. Svetlana Alexievich, 2015 winner of the Nobel Prize for Literature, goes so far as to insist that “there are no borders between fact and fabrication, one flows into the other” in contemporary literature. In this course we read works from Russian and American literature that dance along this line between fact and fiction. Sometimes called “creative non-fiction,” “literary journalism,” or “documentary prose,” these works (Sergei Tretiakov, Viktor Shklovsky, Truman Capote, Tom Wolfe, John McPhee, Artem Borovik, and others) blur the boundaries between documentary evidence and literary art. No prerequisites.

CLRS GU4011 DOSTOEVSKY,TOLSTOY ＆ ENG NOVEL. 3.00 points .

A close reading of works by Dostoevsky (Netochka Nezvanova; The Idiot; A Gentle Creature) and Tolstoy (Childhood, Boyhood, Youth; Family Happiness; Anna Karenina; The Kreutzer Sonata) in conjunction with related English novels (Bronte's Jane Eyre, Eliot's Middlemarch, Woolf's Mrs. Dalloway). No knowledge of Russian is required

CLRS GU4017 Chekhov [English]. 3 points .

A close reading of Chekhov's best work in the genres on which he left an indelible mark (the short story and the drama) on the subjects that left an indelible imprint on him (medical science, the human body, identity, topography, the nature of news, the problem of knowledge, the access to pain, the necessity of dying, the structure of time, the self and the world, the part and the whole) via the modes of inquiry (diagnosis and deposition, expedition and exegesis, library and laboratory, microscopy and materialism, intimacy and invasion) and forms of documentation (the itinerary, the map, the calendar, the photograph, the icon, the Gospel, the Koan, the lie, the love letter, the case history, the obituary, the pseudonym, the script) that marked his era (and ours). No knowledge of Russian required.

CLRS GU4022 Russia and Asia: Orientalism, Eurasianism, Internationalism. 3 points .

CC/GS/SEAS: Partial Fulfillment of Global Core Requirement

This course explores the formation of Russian national and imperial identity through ideologies of geography, focusing on a series of historical engagements with the concept of "Asia." How has the Mongol conquest shaped a sense of Russian identity as something destinct from Europe? How has Russian culture participated in Orientalist portrayals of conquered Asian lands, while simultaneously being Orientalized by Europe and, indeed, Orientalizing itself? How do concepts of Eurasianism and socialist internationalism, both arising in the ealry 20th century, seek to redraw the geography of Russia's relations with East and West? We will explore these questions through a range of materials, including: literary texts by Russian and non-Russian writers (Pushkin, Lermontov, Tolstoy, Solovyov, Bely, Blok, Pilnyak, Khlebnikov, Planotov, Xiao Hong, Kurban Said, Aitimatov, Iskander, Bordsky); films (Eisenstein, Tarkovsky, Kalatozov, Paradjanov, Mikhalkov); music and dance (the Ballets Russes); visual art (Vereshchagin, Roerich); and theoretical and secondary readings by Chaadaev, Said, Bassin, Trubetskoy, Leontievm, Lenin, and others.

CLRS GU4036 Nabokov and Global Culture. 3 points .

In 1955, an American writer of Russian descent published in Paris a thin book that forever shaped English language, American culture, and the international literary scene.  That book, of course, was Vladimir Nabokov's Lolita .

We will speak of exile, memory and nostalgia, of hybrid cultural identities and cosmopolitan elites, of language, translation and multilingualism.  All readings will be in English.

CLRS GU4037 Poets, Rebels, Exiles: 100 Years of Russians and Rusian Jews in America. 3.00 points .

Poets, Rebels, Exiles examines the successive generations of the most provocative and influential Russian and Russian Jewish writers and artists who brought the cataclysm of the Soviet and post-Soviet century to North America. From Joseph Brodsky—the bad boy bard of Soviet Russia and a protégé of Anna Akhmatova, who served 18 months of hard labor near the North Pole for social parasitism before being exiled—to the most recent artistic descendants, this course will interrogate diaspora, memory, and nostalgia in the cultural production of immigrants and exiles

CLRS GU4038 DOSTOEVSKY,DEMONS,DICKENS. 3.00 points .

A study of Dostoevsky and Dickens as two writers whose engagement in the here and now was vital to their work and to their practice of the novel. Readings from Dostoevsky cluster in the 1870s and include two novels, Demons (1872) and The Adolescent (1876), and selections from his Diary of a Writer. Readings from Dickens span his career and include, in addition to David Copperfield (1850), sketches and later essays.

CLRS GU4040 The Future is Red (White and Blue): Modernity and Social Justice in U.S. and U.S.S.R.. 4 points .

In the 1920s, the Soviet Union and the U.S. emerged as growing world powers, offering each other two compelling, if often opposed, versions of modernity. At the same time, each country saw its intercontinental rival as an attractive, but dangerous “other”: a counterexample of the road not taken, and a foil for its own ideology and identity. From the 1920s to the heat of the Cold War, Some of the USSR’s most prominent public figures came to the U.S. and several American intellectuals, progressive activists, and officials traveled to the Soviet experiment. This course examines the cultural images of the American and Soviet “other” in the texts that resulted from these exchanges. We will read works about America from Sergei Esenin, Vladimir Mayakovsky, Ilya Il'f and Evgeny Petrov, and poems, essays, and novels about Russia by Langston Hughes, Claude McKay, Louise Bryant, W.E.B. Du Bois, John Steinbeck, and others. Each of these texts attempts to grapple with what it means to be modern—both technologically advanced and socially liberated—in different national contexts and under different proclaimed ideologies. 

CLRS GU4111 Narrative and Repetition: Circling in Time and Space. 3.00 points .

An introduction to central concepts in narrative theory: plot, archetype, myth, story vs. discourse, Freudian analysis, history and narrative, chronotype and personal narrative. These are explored in the context of sustained investigation of a particular plot device: the time loop. Examples come from Russian modernist fiction, Soviet and American science fiction, and film. We compare being stuck in a time loop with being lost in space - a theme found in personal narratives shared orally and online, as well as in literary fiction. Students develop a final paper topic on time loop narrative of their choice

CLRS GU4113 Impossible Worlds in Russian and English Ficiton. 3.00 points .

It is often remarked that narratives constrain. The pressure to fit knowledge to a plot structure can limit understanding. This course explores the problem of narrative structure by focusing on the storyworld. We ask, can distorting the time and space of a fictional world enable new knowledge? We consider fictions set in other places (heterotopias), stories without endings, genre hybrids, time travel, 4D space. In addition to texts, units focus on oral storytelling, and image and game based narrative. The syllabus is historical and comparative, contrasting (primarily) Russophone and Anglophone works drawn from the 19th-20th centuries. Our investigation of impossible worlds is supported throughout by readings in narrative theory. The course thus also provides an introduction to Bakhtinian, structuralist, and cognitive narrative studies. No prerequisites. All assigned reading is provided in English

CLRS GU4213 Cold War Reason: Cybernetics and the Systems Sciences. 3.00 points .

The Cold War epoch saw broad transformations in science, technology, and politics. At their nexus a new knowledge was proclaimed, cybernetics, a putative universal science of communication and control. It has disappeared so completely that most have forgotten that it ever existed. Its failure seems complete and final. Yet in another sense, cybernetics was so powerful and successful that the concepts, habits, and institutions born with it have become intrinsic parts of our world and how we make sense of it. Key cybernetic concepts of information, system, and feedback are now fundamental to our basic ways of understanding the mind, brain and computer, of grasping the economy and ecology, and finally of imagining the nature of human life itself. This course will trace the echoes of the cybernetic explosion from the wake of World War II to the onset of Silicon Valley euphoria

CLRS GU4215 Thinking Socialism: The Soviet Intelligentsia After Stalin. 3.00 points .

While Soviet Union after the second World War is often figured as a country of “stagnation,” in contrast to the avant garde 1920s and the tumult of Stalin’s 1930s, this figure is currently being re-evaluated. Political calm belied a rapidly changing society. The period developed a Soviet culture that was indubitably educated, modern, and mass. Despite, or within, or against the ever changing and ambiguous boundaries, censors, and dogmas, Soviet intellectuals generated cultural productions that reflected upon, processed, and critiqued the reality in which they lived and created. This course examines the development of this late Soviet “intelligentsia,” the first that was fully a product of Soviet society itself. Against a background of social history, we will select developments in various realms of cultural production for further examination, which from year to year may include philosophy, literature, political culture and ideology, art, and science

Czech Language and Literature

CZCH UN1101 ELEMENTARY CZECH I. 4.00 points .

Essentials of the spoken and written language. Prepare students to read texts of moderate difficulty by the end of the first year

CZCH UN1102 ELEMENTARY CZECH II. 4.00 points .

CZCH UN2101 INTERMEDIATE CZECH I. 4.00 points .

Prerequisites: CZCH UN1102 or the equivalent Prerequisites: CZCH UN1102 or the equivalent Rapid review of grammar. Readings in contemporary fiction and nonfiction, depending upon the interests of individual students

CZCH UN2102 INTERMEDIATE CZECH II. 4.00 points .

Prerequisites: CZCH UN1102 or the equivalent. Prerequisites: CZCH UN1102 or the equivalent. Rapid review of grammar. Readings in contemporary fiction and nonfiction, depending upon the interests of individual students

CZCH GU4333 READINGS IN CZECH LITERATURE I. 3.00 points .

Prerequisites: two years of college Czech or the equivalent. A close study in the original of representative works of Czech literature. Discussion and writing assignments in Czech aimed at developing advanced language proficiency

CZCH GU4334 READINGS IN CZECH LITERATURE II. 3.00 points .

Prerequisites: two years of college Czech or the equivalent. Prerequisites: two years of college Czech or the equivalent. A close study in the original of representative works of Czech literature. Discussion and writing assignments in Czech aimed at developing advanced language proficiency

Polish Language and Literature

POLI UN1101 ELEMENTARY POLISH I. 4.00 points .

POLI UN1102 ELEMENTARY POLISH II. 4.00 points .

POLI UN2101 INTERMEDIATE POLISH I. 4.00 points .

Prerequisites: POLI UN1102 or the equivalent. Prerequisites: POLI UN1102 or the equivalent. Rapid review of grammar; readings in contemporary nonfiction or fiction, depending on the interests of individual students

POLI UN2102 INTERMEDIATE POLISH II. 4.00 points .

POLI GU4051 Movements in Polish Cinema. 3 points .

This course introduces and explores three separate movements in Polish post-World War II cinema – the “Polish School” of 1955–1965, the “Cinema of Moral Concern” of 1976–1981, and the “New Naïveté,” of 1999–2009. Each of these currents adopted a loosely conceived, historically specific aesthetic and ideological platform, which they sought to put into practice artistically in order to exert a therapeutic and a didactic influence on the culture and society of their time.

• The “Polish School,” which was characterized by a blend of Italian neorealist and Polish Romantic or absurdist/existentialist styles, sought to represent and work through the national trauma of World War II in a context in which political censorship prevented the direct address of such issues. It includes the early work of world-renowned director Andrzej Wajda, as well as works by prominent filmmakers such as Andrzej Munk, Jerzy Kawalerowicz, and Wojciech Has.
• The “Cinema of Moral Concern,” which drew on and combined the techniques of West European “cinemas of truth” with those of the New Hollywood, was in the forefront of the cultural ferment of the late 70s, which was devoted to the establishment of an underground civil society outside the institutions of the communist state and led up to the founding of the trade union Solidarity. It includes early work by internationally recognized filmmakers Krzysztof Kieślowski, Krzysztof Zanussi, and Agnieszka Holland.
• The “New Naïveté” drew on a broad variety of Hollywood and international styles, seeking to transform the legacy of Solidarity’s anti-communist “revolution of the spirit” into contemporary forms of cultural capital in order to lay the foundations for “capitalism with a human face.” Among filmmakers active in this movement are Krzysztof Krauze, Robert Gliński, and Piotr Trzaskalski.

Screening approximately one film a week, we will view at least five works from each movement, examining and discussing their individual formal and aesthetic principles and ideological investments, their relation to their respective movement as a whole, and their impact on the culture of their day.

POLI GU4101 ADVANCED POLISH. 3.00 points .

Prerequisites: two years of college Polish or the instructor's permission. Extensive readings from 19th- and 20th-century texts in the original. Both fiction and nonfiction, with emphasis depending on the interests and needs of individual students

POLI GU4102 ADVANCED POLISH II. 3.00 points .

Prerequisites: two years of college Polish or the instructors permission. Extensive readings from 19th- and 20th-century texts in the original. Both fiction and nonfiction, with emphasis depending on the interests and needs of individual students

Russian Language

RUSS UN1101 FIRST-YEAR RUSSIAN I. 5.00 points .

Grammar, reading, composition, and conversation

RUSS UN1102 FIRST-YEAR RUSSIAN II. 5.00 points .

RUSS UN2101 SECOND-YEAR RUSSIAN I. 5.00 points .

Prerequisites: RUSS UN1102 or the equivalent. Prerequisites: RUSS UN1102 or the equivalent. Drill practice in small groups. Reading, composition, and grammar review.Off-sequence

RUSS UN2102 SECOND-YEAR RUSSIAN II. 5.00 points .

Prerequisites: RUSS UN2101 or the equivalent. Prerequisites: RUSS UN2101 or the equivalent. Drill practice in small groups. Reading, composition, and grammar review

RUSS UN3101 THIRD-YEAR RUSSIAN I. 4.00 points .

Limited enrollment.

Prerequisites: RUSS UN2102 or the equivalent, and the instructor's permission. Prerequisites: RUSS UN2102 or the equivalent, and the instructor's permission. Recommended for students who wish to improve their active command of Russian. Emphasis on conversation and composition. Reading and discussion of selected texts and videotapes. Lectures. Papers and oral reports required. Conducted entirely in Russian

RUSS UN3102 THIRD-YEAR RUSSIAN II. 4.00 points .

Prerequisites: RUSS UN2102 or the equivalent and the instructor's permission. Prerequisites: RUSS UN2102 or the equivalent and the instructors permission. Enrollment limited. Recommended for students who wish to improve their active command of Russian. Emphasis on conversation and composition. Reading and discussion of selected texts and videotapes. Lectures. Papers and oral reports required. Conducted entirely in Russian

RUSS UN3105 Real World Russian. 3 points .

Prerequisites: ( RUSS UN2102 ) (department placement test)

This content-based course has three focal points: 1) communicative skills 1) idiomatic language; 3) cross-cultural awareness. The course is designed to help students further develop all of their language skills with particular focus on communicative and information processing skills, as well as natural student collaboration in the target language. The materials and assignments that will be used in class allow to explore a broad range of social, cultural, and behavioral contexts and familiarize students with idiomatic language, popular phrases and internet memes, developments of the colloquial language, and the use of slang in everyday life. On each class students will be offered a variety of content-based activities and assignments, including, information gap filling, role-play and creative skits, internet search, making presentations, and problem-solving discussions. Listening comprehension assignments will help students expand their active and passive vocabulary and develop confidence using natural syntactic models and idiomatic structures. Students will be exposed to cultural texts of different registers, which will help them enhance their stylistic competence. Students will learn appropriate ways to handle linguo-social situations, routines, and challenges similar to those they come across when traveling to Russia. They will explore various speech acts of daily communication, such as agreement/disagreement, getting and giving help, asking for a favor, expressing emotions, and so forth. Part of class time will be devoted to nonverbal communication, the language of gestures, emotional phonetics and intonation.

RUSS UN3430 RUSSIAN FOR HERITAGE SPEAKERS. 3.00 points .

Prerequisites: RUSS V3430 or the instructor's permission. Prerequisites: RUSS V3430 or the instructor's permission. This course is designed to help students who speak Russian at home, but have no or limited reading and writing skills to develop literary skills in Russian. THIS COURSE, TAKEN WITH RUSS V3431, MEET A TWO YEAR FOREIGN LANGUAGE REQUIREMENT. Conducted in Russian

RUSS UN3431 RUSSIAN FOR HERITAGE SPKRS II. 3.00 points .

Prerequisites: RUSS V3430 or the instructors permission. This course is designed to help students who speak Russian at home, but have no or limited reading and writing skills to develop literary skills in Russian. THIS COURSE, TAKEN WITH RUSS V3430, MEET A TWO YEAR FOREIGN LANGUAGE REQUIREMENT. Conducted in Russian

RUSS GU4342 FOURTH-YEAR RUSSIAN I. 4.00 points .

Prerequisites: RUSS UN3101 and RUSS UN3102 Third-Year Russian I and II, or placement test. Prerequisites: RUSS UN3101 and RUSS UN3102 Third-Year Russian I and II, or placement test. Systematic study of problems in Russian syntax; written exercises, translations into Russian, and compositions. Conducted entirely in Russian

RUSS GU4343 FOURTH-YEAR RUSSIAN II. 4.00 points .

FOURTH-YEAR RUSSIAN II

RUSS GU4350 Moving to Advanced-Plus: Language, Culture, Society in Russian Today. 3 points .

Prerequisites: Six semesters of college Russian and the instructor's permission.

The course is designed to provide advanced and highly-motivated undergraduate and graduate students of various majors with an opportunity to develop professional vocabulary and discourse devices that will help them to discuss their professional fields in Russian with fluency and accuracy. The course targets all four language competencies: speaking, listening, reading and writing, as well as cultural understanding. Conducted in Russian.

RUSS GU4351 Moving to Advanced-Plus: Language, Culture, Society in Russian Today. 3 points .

Prerequisites: eight semesters of college Russian and the instructor’s permission.

RUSS GU4434 PRACTICAL STYLISTICS-RUSS LANG. 3.00 points .

Prerequisites: RUSS W4334 or the equivalent or the instructor's permission. Prerequisites: RUSS W4334 or the equivalent or the instructor's permission. Prerequisite: four years of college Russian or instructor's permission. The course will focus on theoretical matters of language and style and on the practical aspect of improving students' writing skills. Theoretical aspects of Russian style and specific Russian stylistic conventions will be combined with the analysis of student papers and translation assignments, as well as exercises focusing on reviewing certain specific difficulties in mastering written Russian

RUSS GU4910 LITERARY TRANSLATION. 4.00 points .

Prerequisites: four years of college Russian or the equivalent. Prerequisites: four years of college Russian or the equivalent. Workshop in literary translation from Russian into English focusing on the practical problems of the craft. Each student submits a translation of a literary text for group study and criticism. The aim is to produce translations of publishable quality

Russian Literature

RUSS UN3332 Vvedenie v russkuiu literaturu: Scary Stories. 3 points .

For non-native speakers of Russian.

Prerequisites: two years of college Russian or the instructor's permission.

The course is devoted to the reading, analysis, and discussion of a number of Russian prose fiction works from the eighteenth to twentieth century. Its purpose is to give students an opportunity to apply their language skills to literature. It will teach students to read Russian literary texts as well as to talk and write about them. Its goal is, thus, twofold: to improve the students' linguistic skills and to introduce them to Russian literature and literary history. A close study in the original of the "scary stories" in Russian literature from the late eighteenth century. Conducted in Russian.

RUSS UN3333 VVEDENIE V RUSSKUIU LITERATURU. 3.00 points .

Prerequisites: two years of college Russian or the instructor's permission. Prerequisites: two years of college Russian or the instructor's permission. The course is devoted to the reading, analysis, and discussion of a number of Russian prose fiction works from the eighteenth to twentieth century. Its purpose is to give students an opportunity to apply their language skills to literature. It will teach students to read Russian literary texts as well as to talk and write about them. Its goal is, thus, twofold: to improve the students’ linguistic skills and to introduce them to Russian literature and literary history. In 2007-2008: A close study in the original of the “fallen woman” plot in Russian literature from the late eighteenth century. Conducted in Russian

RUSS GU4332 CHTENIIA PO RUSSKOI LITERATURE. 3.00 points .

Prerequisites: Three years of college Russian and the instructor's permission. Prerequisites: Three years of college Russian and the instructors permission. The course is devoted to reading shorter works by Nikolai Gogol. The syllabus includes a selection of stories from Evenings at a Farm near Dikanka and Mirgorod, “Nevsky Prospect,” “The Overcoat,” “Nose,” and “Petersburg Tales,” and The Inspector General

RUSS GU4338 CHTENIIA PO RUSSKOI LITERATURE. 3.00 points .

The course is devoted to reading and discussing of Tolstoy's masterpiece. Classes are conducted entirely in Russian.

RUSS GU4340 Chteniia po russkoi literature: Bulgakov. 3.00 points .

The course is devoted to reading and discussing of Mikhail Bulgakov’s masterpiece Master i Margarita. Classes are conducted entirely in Russian

RUSS GU4344 ADV RUSSIAN THROUGH HISTORY. 3.00 points .

Prerequisites: RUSS UN3101 and RUSS UN3102 Third-Year Russian I and II, or placement test. Prerequisites: RUSS UN3101 and RUSS UN3102 Third-Year Russian I and II, or placement test. A language course designed to meet the needs of those foreign learners of Russian as well as heritage speakers who want to develop further their reading, speaking, and writing skills and be introduced to the history of Russia

RUSS GU4345 ADV RUSSIAN THROUGH HISTORY. 3.00 points .

Prerequisites: three years of Russian. Prerequisites: three years of Russian. This is a language course designed to meet the needs of those foreign learners of Russian as well as heritage speakers who want to further develop their reading, listening, speaking, and writing skills and be introduced to the history of Russia

Slavic Culture

SLCL UN3001 SLAVIC CULTURES. 3.00 points .

The history of Slavic peoples - Russians, Czechs, Poles, Serbs, Croats, Ukrainians, Bulgarians - is rife with transformations, some voluntary, some imposed. Against the background of a schematic external history, this course examines how Slavic peoples have responded to and have represented these transformations in various modes: historical writing, hagiography, polemics, drama and fiction, folk poetry, music, visual art, and film. Activity ranges over lecture (for historical background) and discussion (of primary sources)

SLCL UN3100 FOLKLORE PAST ＆ PRESENT. 3.00 points .

An introduction to the concept of folklore as an evolving, historical concept, and to primary source materials which have been framed as such. These are translated from Bosnian, Chukchi, Czech, Finnish, German, Polish, Russian, Serbian, Tuvan, Ukrainian, Yiddish, Yupik languages, and others. Geographical range is from South-Eastern Europe to the Russian Far East. We learn about particular oral traditions, their social mechanisms of transmission and performance, their central themes and poetics. Attention is paid to the broader sociopolitical factors (Romantic nationalism, colonization) which have informed the transcription, collection and publication of these traditions. For the final project, students learn how to conduct an ethnographic interview, and to analyze the folklore of a contemporary social group. Our goal is to experientially understand—as folklorists and as members of folk groups ourselves—the choices entailed in transcribing and analyzing folklore

HNGR GU4028 Modern Hungarian Prose in Translation: Exposing Naked Reality. 3 points .

This course introduces students to representative examples of an essentially robust, reality-bound, socially aware literature. In modern Hungarian prose fiction, the tradition of nineteenth-century "anecdotal realism" remained strong and was further enlivened by various forms of naturalism. Even turn-of-the century and early twentieth-century modernist fiction is characterized by strong narrative focus, psychological realism, and an emphasis on social conditions and local color. During the tumultuous decades of the century, social, political, national issues preoccupied even aesthetics-conscious experimenters and ivory-tower dwellers. Among the topics discussed will be "populist" and "urban" literature in the interwar years, post-1945 reality in fiction, literary memoirs and reportage, as well as late-century minimalist and postmodern trends.

HNGR GU4050 The Hungarian New Wave: Cinema in Kadarist Hungary [In English]. 3 points .

Hungarian cinema, like film-making in Czechoslovakia, underwent a renaissance in the 1960's, but the Hungarian new wave continued to flourish in the 70's and film remained one of the most important art forms well into the 80's. This course examines the cultural, social and political context of representative Hungarian films of the Kadarist period, with special emphasis on the work of such internationally known filmmakers as Miklos Jancso, Karoly Makk, Marta Meszaros, and Istvan Szabo. In addition to a close analysis of individual films, discussion topics will include the "newness"of the new wave in both form and content (innovations in film language, cinematic impressionism, allegorical-parabolic forms, auteurism, etc.), the influence of Italian, French, German and American cinema, the relationship between film and literature, the role of film in the cultures of Communist Eastern Europe, the state of contemporary Hungarian cinema. The viewing of the films will be augmented by readings on Hungarian cinema, as well as of relevant Hungarian literary works.

Slavic Literatures

SLLT GU4000 EURASIAN EXILES & LIT IN N.Y.. 3 points .

Eurasian Exiles and Literature in New York examines Eurasian exile literature in the United States and especially New York over the course of four emigration waves: so called Second Wave writers who fled the Russian Revolution (Vladimir Nabokov), the Third Wave exiles, who came after World War II (Joseph Brodsky and Sergei Dovlatov), the exile literature of the last Soviet generation who came as refugees in the late 1970s and early 1980s (Gary Shteyngart, Irina Reyn), and the perestroika and post-Soviet diaspora, who came to New York after 1991. All four waves drew upon a rich Russian cultural heritage and influences that they encountered abroad to create innovative work: new topoi and urban fiction as well as unique images of New York. All four have complicated and fascinating engagements with American society and the cultures of New York City, and also with the Russian and Eurasian émigré communities, vibrant worlds unto themselves. The initial waves drew mainly on East European themes and were still attached to Russia while the latter were increasingly concerned with non-Russian nationalities like Bukharan Jews, Georgians, and Tajiks. The course looks closely and critically at the meanings of “exile” and “Eurasia,” as well as the poetics of exilic and urban writing; it asks whether we can still speak of exiles and exile fiction in the postSoviet age of globalization, social media, and unprecedented migration.

Ukrainian Language and Literature 

UKRN UN1101 ELEMENTARY UKRAINIAN I. 4.00 points .

Designed for students with little or no knowledge of Ukrainian. Basic grammar structures are introduced and reinforced, with equal emphasis on developing oral and written communication skills. Specific attention to acquisition of high-frequency vocabulary and its optimal use in real-life settings

UKRN UN1102 ELEMENTARY UKRAINIAN II. 4.00 points .

UKRN UN2101 INTERMEDIATE UKRAINIAN I. 4.00 points .

Prerequisites: UKRN UN1102 or the equivalent. Prerequisites: UKRN UN1102 or the equivalent. Reviews and reinforces the fundamentals of grammar and a core vocabulary from daily life. Principal emphasis is placed on further development of communicative skills (oral and written). Verbal aspect and verbs of motion receive special attention

UKRN UN2102 INTERMEDIATE UKRAINIAN II. 4.00 points .

UKRN GU4001 Advanced Ukrainian I. 3 points .

Prerequisites: UKRN UN2102 or the equivalent.

The course is for students who wish to develop their mastery of Ukrainian. Further study of grammar includes patterns of word formation, participles, gerunds, declension of numerals, and a more in-depth study of difficult subjects, such as verbal aspect and verbs of motion. The material is drawn from classical and contemporary Ukrainian literature, press, electronic media, and film. Taught almost exclusively in Ukrainian.

UKRN GU4002 Advanced Ukrainian II. 3 points .

UKRN GU4006 Advanced Ukrainian Through Literature, Media, and Politics. 3.00 points .

This course is organized around a number of thematic centers or modules. Each is focused on stylistic peculiarities typical of a given functional style of the Ukrainian language. Each is designed to assist the student in acquiring an active command of lexical, grammatical, discourse, and stylistic traits that distinguish one style from the others and actively using them in real-life communicative settings in contemporary Ukraine. The styles include literary fiction, scholarly prose, and journalism, both printed and broadcast

UKRN GU4007 Advanced Ukrainian Through Literature, Media and Politics II. 3.00 points .

UKRN GU4033 FIN DE SIECLE UKRAINIAN LIT. 3.00 points .

The course focuses on the emergence of modernism in Ukrainian literature in the late 19th century and early 20th century, a period marked by a vigorous, often biting, polemic between the populist Ukrainian literary establishment and young Ukrainian writers who were inspired by their European counterparts. Students will read prose, poetry, and drama written by Ivan Franko, the writers of the Moloda Muza, Olha Kobylianska, Lesia Ukrainka, and Volodymyr Vynnychenko among others. The course will trace the introduction of feminism, urban motifs and settings, as well as decadence, into Ukrainian literature and will analyze the conflict that ensued among Ukrainian intellectuals as they shaped the identity of the Ukrainian people. The course will be supplemented by audio and visual materials reflecting this period in Ukrainian culture. Entirely in English with a parallel reading list for those who read Ukrainian

UKRN GU4037 SOV UKRAINIAN MODERNISM: REV, REB, EXPER. 3.00 points .

This course studies the renaissance in Ukrainian culture of the 1920s - a period of revolution, experimentation, vibrant expression and polemics. Focusing on the most important developments in literature, as well as on the intellectual debates they inspired, the course will also examine the major achievements in Ukrainian theater, visual art and film as integral components of the cultural spirit that defined the era. Additionally, the course also looks at the subsequent implementation of the socialist realism and its impact on Ukrainian culture and on the cultural leaders of the renaissance. The course treats one of the most important periods of Ukrainian culture and examines it lasting impact on today's Ukraine. This period produced several world-renowned cultural figures, whose connections with the 1920s Ukraine have only recently begun to be discussed. The course will be complemented by film screenings, presentations of visual art and rare publications from this period. Entirely in English with a parallel reading list for those who read Ukrainian

UKRN GU4054 CREATING ID-CONTEMP UKRN CULTR. 3.00 points .

This course presents and examines post-Soviet Ukrainian literature. Students will learn about the significant achievements, names, events, scandals and polemics in contemporary Ukrainian literature and will see how they have contributed to Ukraine’s post-Soviet identity. Students will examine how Ukrainian literature became an important site for experimentation with language, for providing feminist perspectives, for engaging previously-banned taboos and for deconstructing Soviet and Ukrainian national myths. Among the writers to be focused on in the course are Serhiy Zhadan, Yuri Andrukhovych, Oksana Zabuzhko and Taras Prokhasko. Centered on the most important successes in literature, the course will also explore key developments in music and visual art of this period. Special focus will be given to how the 2013/2014 Euromaidan revolution and war are treated in today’s literature. By also studying Ukrainian literature with regards to its relationship with Ukraine’s changing political life, students will obtain a good understanding of the dynamics of today’s Ukraine and the development of Ukrainians as a nation in the 21st century. The course will be complemented by audio and video presentations. Entirely in English with a parallel reading list for those who read Ukrainian

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I'm a student who was arrested at a Columbia protest. I am not a hero, nor am I a villain.

New york mayor eric adams has said that there were no incidents of violence. that's not true..

Tuesday night, two dozen Columbia University students linked arms in front of the student-occupied Hamilton Hall at dusk. I was one of them. 

We sang with broken yet mighty voices, “Your people are my people, your people are mine; your people are my people, our struggles align.” We were a group of activists of differing faiths and none, friends and strangers united, linking arms with one another and, in spirit, with the generations of courageous students who came before us. Electricity crackled through the air from the growing protests echoing just beyond the university gates – gates I had just moments ago slipped through and sprinted from like a bat out of hell. 

We knew we were likely to be arrested for being on campus despite the university-mandated shelter-in-place order, but chose we to run into the fire anyway.

As a human chain, draped in keffiyehs and shaking like leaves in the autumn wind, we sang with hushed tones and breathed deeply as hundreds of New York police officers armed with flash grenades and pepper spray marched toward us like a military parade. 

As they approached from multiple directions, we sang with frail and cracking voices, “This love that I have, the world didn’t give it to me; the world didn’t give it, the world can't take it away," as officers threatened student journalists with arrest , presumably to ensure minimal coverage of the aggression they were about to exert. 

Students in dorms craned their necks and shakily stretched their iPhones out windows to observe the impending attack. 

We clung tighter to one another as they approached us, and seized us like rag dolls and slammed us into the hallowed ground of brick and concrete. But unlike rag dolls, we bleed, we crack, we bruise, we feel.

Police at Columbia were anything but professional

Once dispersed, I held my hands up to show I was neither resisting nor armed. In response, I was handled brutally by police alongside other students being shoved down concrete steps saying with shameless condescension, “Watch your step.” We were arrested, bound and shuttled down to 1 Police Plaza, where the New York Police Department had a pizza party prepared for arresting officers. 

They threw us in cells like animals – cells where the only toilets women could use lacked any privacy and where our naked bodies were in plain sight to throngs of male officers.

Why are we protesting? College students are telling you exactly how they feel about the Israel-Hamas war. Listen.

During news conference hours later, New York Mayor Eric Adams said there were no incidents of violence. This is an abhorrent lie. Later on Wednesday, in an email sent to the entire university community, Columbia President Minouche Shafik thanked the NYPD for their “professionalism.” This supposed professionalism is also a lie. 

What is nonviolent and professional about seizing a compliant 120-pound student with her hands up and slamming her to the concrete ground? What is nonviolent and professional about brutalizing students? What is professional about removing a woman’s hijab during police bookings and refusing to return it – yet offering me, a non-Muslim, my vest because the jail cell was cold? What is professional about forcing women to expose their genitalia to male officers in order to use the toilet because we “trespassed” on our own university?

We sang “Like a tree planted by the waters, we shall not be moved” as our bodies were seized – but we would not be moved. 

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Protesters aren't antisemitic. Our hearts are with innocent Gazans.

Our hearts are with Gaza, our resolve is stronger than ever, and we hope the world sees the brutality of the police against peaceful protesters, at the behest of our own university president .

But make no mistake, we are not the heroes of this story – that honor belongs to those in Gaza ; those whose families have been starved, whose cities have been bombed, whose children have been slaughtered; and those who did not have the privilege of choosing arrest or offering their bodies up as a public relations sacrifice.

Gen Z supports Palestinians: Gen Z wants no part of Biden's unceasing support of Israel as civilian deaths in Gaza mount

Nor are we villains – those are the perpetrators of slaughter, such as Minouche Shafik and the Board of Trustees who would rather beat and arrest students than divest from a foreign government committing genocide .

On Saturday, I hosted a Passover Seder at my cramped Manhattan apartment for many of my closest friends. Representing many faiths and none, we broke bread together and celebrated the Jewish liberation from slavery and a broken, unjust system of oppression. 

On Tuesday I was shackled and arrested as part of the campus movement that many in the news media are calling “ antisemitic .” It isn’t.

Critically, our fellow Jewish students are not the villains in this story. They are our friends, our family, our blood, our fellow foot soldiers. Like us, they bleed, they crack, they bruise, they feel. At no point have the student organizers called for or promoted violence against our Jewish brothers and sisters. We are calling to end the violence and genocide against our Palestinian brothers and sisters. 

I chose to risk arrest because – unlike many of my classmates and friends – I’m privileged enough not to face deportation; because my potential suspension – and any other consequences that may befall me – does not even register on the scale of suffering experienced by those for whom we sing, whose lives have been taken, whose children have been slaughtered, whose families are being starved and tortured – those whom Columbia University is complicit in killing.

We are not the heroes, nor are we the villains – the latter category belongs to Columbia and the broken system it refuses to heal.

Allie Wong is a Ph.D. student at Columbia University. She holds a Master of Arts degree in Nonproliferation and Terrorism Studies from the Middlebury Institute of International Studies, an M.A. in International Affairs from the Moscow State Institute of International Relations and a bachelor's degree in Human Rights, Peace and Nonviolent Activism from New York University.

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