So You Don’t Love Your Class(es)…

One of the first photos I took during my sophomore year. I returned to campus determined to make the most of my time at Columbia—and what a year ahead! Photo credit: Alan Chen.

The time has come—and maybe even passed. You registered for a course during shopping week that leaves you disappointed every M/W, that makes you grind your teeth, or that fills you with deep regret over your course selection. And unfortunately, you are now stuck in the course, with little recourse. But look, we’ve all been there—and even if it seems like you have little to learn in the class, you might still have a few things to learn from the class. In the following blog post, I want to detail a few reflections on the classes that I haven’t been too fond of and the classes that I have fawned over.

  1. When scouting out new departments, don’t feel obligated to begin with intro-level classes.

When I first began my time at Columbia, I only knew to start with introductory classes. Fearful that I might have neither the foundation nor the correct intuition to succeed in more advanced classes, I restricted myself to the domain of 1000-level coursework in political science, economics, and math. 

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A Beginner’s Guide to Grant Proposals

Setting up for a Critical Cartography Project workshop with the Sixth Street Community Center, made possible by the Center for Science & Society Seed Grant. Photo credit: Madeleine Cesaretti

A grant can provide the foundational financial support needed to launch a new initiative or revitalize an existing one. Grants range in terms of funding packages large and small and stem from a variety of sources, including state governments, city agencies, and private foundations among other organizations. They are typically awarded through a competitive bidding process, with application requirements differing between each one. With so many specifications, the process of writing a grant proposal can feel overwhelming, but it certainly does not have to be. Think of the application as telling a story—your story—about a project that is true to you. Securing a grant allows you to access the resources to bring your vision to life.

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The Core Is For You

Meditation, Josef Israëls. Photo credit: Rijksmuseum

I often play one song on loop, over and over again—there’s something about a little instrumental detail that can hook me. Same goes for other media. Certain paragraphs in books, photographs in my camera roll or pasted on my wall, and scenes or lines from movies make me pause whenever I experience them. This is a kind of organic distraction: aesthetic things take me out of the stream of my continuous life and let me sit in some different place for a moment.

It’s a nice reprieve from the noise of the city and college. But it can sometimes be a bit too distracting. Ruminating over single pieces of art can take me away from the day and make my tasks a little more difficult to focus on.

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Exploring Paris through Its Archives

One of the first documents that I reviewed at the Bibliothèque nationale de France – François Mitterand. Originally published by le Journal des réformes sociales in 1879, this edition detailed the publication’s utopian socialist program. Photo Credit: Alan Chen.

Archival research is already demanding enough as is, so the challenge can only mount when researching in a foreign language in a foreign archive. If you find yourself in this situation, however, fret not! In the blog post that follows, I want to reflect on my time in one of France’s most imposing archives this past summer: la Bibliothèque nationale de France – François Mitterrand (BnF). In doing so, I hope to distill my first two weeks in the archives down into a brief guide on how to navigate a foreign archive in a foreign language. 

Accessing the Archival Materials
As you begin your adventure into the archives, let’s assume that you have a working list of materials that you’d like to consult. Before you can cross the bridge into all that lovely literature, you must first come face-to-face with the ugly troll of the introductory archival appointment. Luckily, the archival representative is not there to give you a hard time—but there may be cultural barriers that render these appointments difficult. For one, make sure to come to your consultation prepared with some knowledge of the local higher education system. The BnF requires that prospective researchers be at least undergraduate-level students. Simple as this may sound, France’s higher education system functions differently than that of the U.S.: whereas a traditional undergraduate degree in the U.S. will conventionally last you four years, a traditional undergraduate degree in France will only occupy three years (often leaving time for students to pursue Masters degrees). Equally confusing is that the thèse—or thesis—of the French higher education system belongs to doctoral candidates, and not to undergraduates. Therefore, in order to smoothly complete the archival registration process at the archival appointment, it is extremely helpful to know the foreign counterparts of your educational level and your research project.

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Visual Arts and Academics: Bringing Both Together

Photo credit: Maddie Cesaretti

Deep in the tall grasses and dry underbrush of the prairies of eastern Kansas, I crouch, my grandfather’s old film camera slung over my shoulder. Trees sway with the wind blowing over the lake ahead of me, and my sister waves from the water’s edge. It is spring break of 2024, and I am working on photographs for my Introduction to Darkroom Photography course—the first Visual Arts class I have taken in college. Up to this point, I understood my artistic practice as separate from my work in other classes. I had not yet learned to see how the subjects I was drawn to with my camera connected to the narrative threads I was pulled towards in the historical archives or to the visual and political dynamics I identified in the built environment of New York and other cities. By taking a class that centered on creative ways of thinking and being, I came to realize that my interests in the relationship between person, place, and the past flow throughout my life, beyond my previously self-imposed separation between my academic work and my artistic practice.

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My HRSP (Humanities Research Scholars Program) Journey: The Fruits of a Failed Project

One of my favorite primary sources, found in my exploration: an advertisement letter by the New York Edison Company for lights (presumably electronic lightbulbs), addressed to Congregation Ansche Chesed president Meyer Goodfriend, April 5th, 1915. Source: Jewish Theological Seminary Library, Congregation Ansche Chesed Records, Box 1, Folder 5. Photo Credit: Janus Yuen.

Okay, I might be exaggerating a little when I say that I “failed” in my research, but bear with me, and I’ll explain why I think the failure of my project was more fruitful than if it had “succeeded.”

In the summer after my sophomore year, I was unbelievably fortunate to receive the opportunity to participate in the Humanities Research Scholars Program with five of my classmates from across the humanities. I say unbelievably because, for me, the trade was unbelievable. In exchange for an ambitious and locally actionable research project and a promise to dive headfirst into the archives, I was given housing, a stipend, and the most invaluable commodity for Columbia undergraduates: a couple weeks of (mostly) unstructured time. Rather than expecting us to produce some final research paper, we were expected to go to the primary sources in the spirit of exploration and play—the way any research project would ideally begin, rather than procrastinated until around three weeks before a final paper deadline.

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To Color the Void: Remembering Why We Read

The Death of Socrates (cropped), Jacques Louis-David.
Photo Credit: Metropolitan Museum of Art

For a recent philosophy class, I read a Socratic dialogue called the Phaedo, which relates the hours leading up to Socrates’s death. It’s a powerful text: after being sentenced by his fellow Athenians, Socrates tries to distract his students from his demise by offering them proofs of the afterlife, as well as arguments for why dying is not as bad of a thing as people assume it to be. In the end, he reaches for his cup of poisonous hemlock and lays down to die.

I found Socrates’s courage inspiring. But as I was about to wedge the Phaedo away between other old books, I was struck by the memory of another text. I opened my big, red edition of the Bible—the one we all read for Lit Hum and CC—and flipped to the New Testament. Before long, I was at Matthew 14.

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Thank you to Chile, and Thank you to Columbia: Logistics for Successful Research Abroad

Photo Credit: Harrison Gerson

My summer research abroad as a rising junior (2023) provided me with the confidence to pursue international research within the social sciences. As a Laidlaw Scholar, I worked with the Tourism Federation of Chile to develop their sustainability guidelines. Here’s the process that made my research successful:


Feeling ‘Comfortably Uncomfortable’ Abroad
Comfort is vital to the success and learning of you and your partners. On the other hand, many see entering a new, different space as an incredible learning opportunity. With this in mind, my experience was ‘comfortably uncomfortable;’ I was physically safe and intellectually able to contribute while being outside of my comfort zone in a way that places the least additional burdens on the community. 

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Lost in “Translation”: Reflections on Language and Research

An example of a gloss for a Quechua-language catechism. Credit: Symbolo catholico indiano, Fray Luis Jerónimo de Oré y Rojas, fol. 66r, 1598.

As my six weeks with the Humanities Research Scholars Program (HRSP) began, I felt enthusiastic optimism. I knew my project was ambitious, and that it would challenge me in unexpected ways (my biceps, sore after carrying a pile of dictionaries back to my dorm, were early evidence of this). Still, I trusted my planning, and was excited to learn more about colonial-era translation in Mexico and Peru. Moreover, I was confident in my ability to carry out the translations which would be the crux of my research; with linguistics coursework, previous translation experience, and ample resources by my side, how difficult could it really be to work with these texts? 

The answer to this question came quickly: very. Almost as soon as I opened the primary sources I had painstakingly lugged from Butler, I became concerned about the irony inherent in my project. While I tried to study translative choices between Spanish, Quechua, and Maya, I was adding an additional layer of mediation with my English-language analysis. In just the first week of research, I found myself facing a significant methodological problem. I needed to capture subtle grammatical differences between texts, but with minimal Anglophonic interference. 

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Diary of a Wimpy Biochemistry Intern Who Asks Too Many Questions

Photo Credit: Maurice Chakour

My first day interning at a biochemistry lab, I messed up a protein assay. 

The array of instruments on the bench were new to me. Most menacing of them was the micropipette, and I didn’t know how to tell my boss I was quite clueless (he was the PI, who was already gracious enough to have accepted me—a freshman without research experience). So, I sucked it up and tried my best. 

What was supposed to be a beautiful gradient of purple (as shown) ended up looking like a tray of water. I didn’t pipette most of the ingredients needed, wasting an hour of my time and half the protein sample. I braced myself as I confessed to my PI that the plate was a colorless failure. Fortunately, I wasn’t yelled at as expected. In fact, my boss was more than understanding and gave me step-by-step instructions for the procedure. 

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