Introduces mechanics of rock deformation. Discusses recognition, interpretation, and mechanics of faults, folds, structural features of igneous and metamorphic rocks, and superposed deformations. Introduces regional structural geology and tectonics. Laboratory includes techniques of structural analysis, recognition and interpretation of structures on geologic maps, and construction of interpretive cross sections. Structural geology is the study of processes and products of rock deformation. This course introduces the techniques of structural geology through a survey of the mechanics of rock deformation, a survey of the features and geometries of faults and folds, and techniques of strain analysis. Regional structural geology and tectonics are introduced. Class lectures are supplemented by lab exercises and demonstrations as well as field trips to local outcrops.

The discipline of structural geology studies the architecture of the solid Earth and other planets. Rock deformation patterns are exciting features beacause of their aesthetic beauty and their economic interest to man. Knowledge of the subsurface structure is vital for the success of a variety of engineering and mineral exploration pograms. A thorough understanding of rock structures is essential for strategic planning in the petroleum and mining industry, in construction operations, in waste disposal surveys and for water exploration. Deformation structures in the country rock are important further for locallizing hazard zones, such as potential rockslide masses, ground subsidence, and seismic faults. Research activities concentrate on rock defomation structures in he shallow continental crust.

This course covers the fundamental concepts of structural mechanics with applications to marine, civil, and mechanical structures. Topics include analysis of small deflections of beams, moderately large deflections of beams, columns, cables, and shafts; elastic and plastic buckling of columns, thin walled sections and plates; exact and approximate methods; energy methods; principle of virtual work; introduction to failure analysis of structures. We will include examples from civil, mechanical, offshore, and ship structures such as the collision and grounding of ships.

Structural components in nuclear power plant systems, their functional purposes, operating conditions, and mechanical-structural design requirements. Combines mechanics techniques with models of material behavior to determine adequacy of component design. Considerations include mechanical loading, brittle fracture, inelastic behavior, elevated temperatures, neutron irradiation, and seismic effects.

The Core Mantle Boundary (CMB) represents one of the most important physical and chemical discontinuities of the deep Earth as it separates the solid state, convective lower mantle from the liquid outer core. In this seminar course, we will examine our current understanding of the CMB region from integrated seismological, mineral physics and geodynamical perspectives. Instructors will introduce state-of-the-art methodologies that are employed to characterize the CMB region and relevant papers will be discussed in class. Topics will include CMB detection and topography, D'' anisotropy, seismic velocity anomalies (e.g., ultra-low velocity zones), temperature, chemical reactions, phase relations, and mineral fabrications at the core-mantle boundary. These results will be integrated to address the CMB's fundamental role in both mantle and core dynamics.

This course focuses on a systematic approach to the design of analog electronic circuits. The methodology presented in the course is based on the concepts of hierarchy, orthogonality and efficient modeling. It is applied to the design of negative-feedback amplifiers. It is shown that aspects such as ideal transfer; noise performance, distortion and bandwidth can be optimized independently. A systematic approach to biasing completes the discussion. Lectures are interactive and combined with weekly sessions where students can work on exercises under supervision of the professors.

Provides a comprehensive introduction to crystalline structure, crystal chemistry, and bonding in rock-forming minerals. Introduces the theory relating crystal structure and crystal symmetry to physical properties such as refractive index, elastic modulus, and seismic velocity. Surveys the distribution of silicate, oxide, and metallic minerals in the interiors and on the surfaces of planets, and discusses the processes that led to their formation.

Provides an integrated approach to understanding the practice of engineering in the real world. Students research the life cycle of a major engineering project, new technology, or startup company from multiple perspectives: technical, economic, political, cultural. Emphasis on analyzing engineering artifacts, understanding documentation, framing logical arguments, communicating effectively, and working in teams.

Music and sound are two different concepts that share much in common. Determining the difference between the two can sometimes be difficult due to the subjective nature of deciding what is or is not music. The goal of this activity is to take something constructed by students, that would be normally classified as just sound and have the class work together to make what can be perceived to be music. Students construct basic stringed instruments made of shoeboxes and rubber bands. This activity aims to increase student understanding of what distinguishes music from sound.

In this art history video discussion Dr. Beth Harris and Dr. Steven Zucker look at Franz von Stuck's "The Sin," 1893. Neue Pinakothek, Munich.

Associated lessons plans are also available for download and adaptation in the Guttman Community College OER collection in CUNY Academic Works.

Through two lessons and their associated activities, students do the work of scientists by designing their own experiments to answer questions they generate. Through a simple activity involving surface tension, students learn what a hypothesis is—and isn't—and why generating a hypothesis is an important aspect of the scientific method. In the second activity, with bubble gum to capture their interest, students learn to design and conduct controlled experiments to answer their own questions about the amounts of sugar (or artificial sweetener) in bubble or chewing gum.

Taking as its starting point the works of one of Britain's most respected, prolific—and funny—living dramatists, this seminar will explore a wide range of knowledge in fields such as math, philosophy, politics, history and art. The careful reading and discussion of plays by (Sir) Tom Stoppard and some of his most compelling contemporaries (including Caryl Churchill, Anna Deveare Smith and Howard Barker) will allow us to time-travel and explore other cultures, and to think about the medium of drama as well as one writer's work in depth. Some seminar participants will report on earlier plays that influenced these writers, others will research everything from Lord Byron's poetry to the bridges of Konigsberg, from Dadaism to Charter 77. Employing a variety of critical approaches (both theoretical and theatrical), we will consider what postmodernity means, as applied to these plays. In the process, we will analyze how drama connects with both the culture it represents and that which it addresses in performance. We will also explore the wit and verbal energy of these contemporary dramatists…not to mention, how Fermat's theorem, classical translation, and chaos theory become the stuff of stage comedy.

Intensive study of an important topic or period in drama. Close analysis of major plays, enriched by critical readings and attention to historical and theatrical contexts. Instruction and practice in oral and written communication. Topic for Fall: Renaissance Drama. This course explores the creation (and creativity) of the modern scientific and cultural world through study of western Europe in the 17th century, the age of Descartes and Newton, Shakespeare, Rembrandt and MoliĚŹre. The class compares period thinking to present-day debates about the scientific method, art, religion, and society. This team-taught, interdisciplinary subject draws on a wide range of literary, dramatic, historical, and scientific texts and images, and involves theatrical experimentation as well as reading, writing, researching and conversing.

Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We'll look at laws, both national and local, relating to the "obscene", as well as unofficial practices, and think about the way censorship operates in American life now. And of course we will study the offending texts, themselves, to find what is really dangerous about them, for ourselves.

Intensive study of a range of texts by a single author or by a limited group of authors whose achievements are mutually illuminating. Some attention to narrative theory, and biographical and cultural backgrounds. Instruction and practice in oral and written communication. Topic: Joyce's Ulysses and Its Legacy.

Intensive study of a range of texts by a single author or by a limited group of authors whose achievements are mutually illuminating. Some attention to narrative theory, and biographical and cultural backgrounds. Instruction and practice in oral and written communication. Topic: Joyce's Ulysses and Its Legacy. This seminar looks at two bestselling nineteenth-century American authors whose works made the subject of slavery popular among mainstream readers. Uncle Tom's Cabin by Harriet Beecher Stowe and The Adventures of Huckleberry Finn by Mark Twain have subsequently become canonized and reviled, embraced and banned by individuals and groups at both ends of the political and cultural spectrum and everywhere in between.

Intensive study of films of a particular period or genre, or films by a single director. Instruction and practice in oral and written communication. Topic: Technologies of Seeing: Pre-cinema to Early Cinema. This course investigates relationships between two media, film and literature, studying works linked across the two media by genre, topic, and style. It aims to sharpen appreciation of major works of cinema and of literary narrative. The course explores how artworks challenge and cross cultural, political and aesthetic boundaries. It includes some attention to theory of narrative. Films to be studied include works by Akira Kurosawa, John Ford, Francis Ford Coppolla, Clint Eastwood, Orson Welles, Billy Wilder, and Federico Fellini, among others. Literary works include texts by Aeschylus, Sophocles, Shakespeare, Cervantes, HonorĚŠ de Balzac, Henry James and F. Scott Fitzgerald.

How do literature, philosophy, film and other arts respond to the profound changes in world view and lifestyle that mark the twentieth century? This course considers a broad range of works from different countries, different media, and different genres, in exploring the transition to a decentered "Einsteinian" universe.

William Butler Yeats occupies a dominant position in the lives and work of the Irish poets who followed him. We will explore some of that poetry, and consider how later poets, especially female poets, tried to come to grips with, or escape from, that dominance. As a seminar, the subject will place special emphasis on student involvement and control. I will ask you to submit one ten-twelve page essay, two shorter (five page) essays, and to accept the role of "leadoff person," perhaps more than once, That role will demand that you choose from among the assigned readings for that session the poem we should focus upon, and to offer either a provocative articulation of what the poem is about, or a provocative question which the poem confronts, and which we should grapple with, as well.