Continuing Education | Fall 2014 | The New School for Public Engagement by The New School

THE NEW SCHOOL FOR PUBLIC ENGAGEMENT

THE NEW SCHOOL Continuing Education Fall 2014 Term Begins August 25

HOW TO REGISTER

HOW TO USE THIS CATALOG

This catalog lists course offerings for the Fall 2014 term. Early registration online or by fax, telephone, or mail is strongly encouraged, as courses may fill or be canceled because of insufficient enrollment. See pages 73–74 for more information about procedures and deadlines, or call 212.229.5690. Go to the registrar, located at 72 Fifth Avenue, 4th floor (corner of 13th Street), for in-person registration.

The catalog includes several features designed to help you use it effectively.

Note: In-person registration is closed May 26, July 4, and all Saturdays and Sundays. Register online or by fax when the office is closed; registrations will be processed the next working day. Online Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course, you will receive an email confirming your registration. By Fax You can register by fax with payment by credit card using the appropriate registration form in the back of this bulletin. Fax to 212.229.5648 at least three days before your course begins. No confirmation will be faxed; your Statement/Schedule will be mailed to you. By Mail Use the appropriate registration form in the back of this bulletin. Mail registration must be postmarked at least two weeks before your course begins. Your Statement/Schedule will be mailed to you.

Finding a Subject General subjects are listed in the Table of Contents on page 3. For more information about any course, contact the department or program; telephone numbers are found on the first page of each general subject area. Interpreting the Course Description A chart on page 72 breaks down the format of the course descriptions and explains the different elements.

USEFUL CONTACT INFORMATION General Information ...................... nspeinfo@newschool.edu 212.229.5615 Registration Office ...................................... 212.229.5690 Box Office ................................................... 212.229.5488 Student Financial Services........................... 212.229.8930 Admission Office (bachelor’s and graduate programs) ......... 212.229.5150 Alumni Office .............................................. 212.229.5662 Press Contact ............................................. 212.229.5151 New School Dean’s Office ............................ 212.229.5615 New School Switchboard ............................. 212.229.5600

By Phone You can register as a noncredit student by telephone, with payment by credit card. Call 212.229.5690, Monday–Friday. Call at least three days before your course begins. Your Statement/Schedule will be mailed to you. In Person You can register in person at 72 Fifth Avenue, 4th floor (corner of 13th Street). A schedule for in-person registration is published on page 73 of this catalog.

THE NEW SCHOOL FOR PUBLIC ENGAGEMENT

FALL 2014 COURSE BULLETIN In this catalog, discover hundreds of courses available to you at The New School. A leading private university in New York City, The New School also offers more than 135 degree and certificate programs in art and design, the liberal arts and social sciences, management and urban policy, and the performing arts. We invite you to learn about the universityâ&#x20AC;&#x2122;s undergraduate and graduate degree programs at www.newschool.edu/degreeprograms.

ACADEMIC TERM CALENDAR Fall 2014 Classroom/studio courses usually meet twice a week for 12â&#x20AC;&#x201C;15 sessions beginning the week of August 25. Online courses run nine weeks, from August 25 to October 31.

Holidays New School facilities will be closed. Labor Day, September 1 Thanksgiving, November 27 and 28

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H O L I DAYS A N D R E C E S S E S A R E H I G H L I G H T E D I N W H I T E C I R C L E S .

CONTENTS

FALL 2014 COURSES Arts and Social Engagement, 6 Ethics, Power, and Justice, 9 Gender and Sexuality, 12 Literary and Cultural Studies, 13 For course advising, call 212.229.5124. Race and Ethnicity, 15 Psychology, 16 Media Studies and Film, 19 For course advising, call 212.229.8903. Media Studies, 20 Film Studies, 22 Film and Media Production, 25 Film and Media Business, 29 Screenwriting, 30 The Writing Program, 32 For course advising, call 212.229.5611. Fundamentals, 33 Poetry, 34 Fiction, 35 Nonfiction, 37 Journalism and Feature Writing, 38 Special Topics, 39

Foreign Languages, 40 For course advising, call 212.229.5676. American Sign Language, 41 Arabic, 41 Brazilian Portuguese, 42 Chinese (Mandarin), 42 French, 43 German, 44 Italian, 45 Japanese, 45 Korean, 46 Russian, 46 Spanish, 46 Yiddish, 47 English Language Studies, 48 For course advising, call 212.229.5372. Teaching English to Speakers of Other Languages, 48 English as a Second Language, 50 Grammar of English, 50 Listening/Speaking, 51 Writing, 51 Reading, 52 ESL + Design Certificate, 53 ESL + Music Certificate, 53 Creative Arts and Health Certificate, 54 For course advising, call 212.229.5567.

ABOUT THE NEW SCHOOL THE NEW SCHOOL FOR PUBLIC ENGAGEMENT, 62 Educational Programs and Services, 62 Study Options, 62 Study Online, 63 Libraries and Computing Facilities, 63 International Student Services, 64 Services for Students with Disabilities, 64 The New School for Public Engagement Undergraduate Program, 64 THE UNIVERSITY, 65 University Administrative Policies, 66 Student Accounts and Records, 66 Tuition and Fees, 67 Cancellations, Refunds, Add/Drop, 67 Admission to Class, 69 Other University Policies, 69 Records and Grades, 70 Academic Transcripts, 70 Noncredit Record of Attendance, 70 Grades, 70 Family Educational Rights and Privacy Act, 71

REGISTRATION PROCEDURES

Food Studies, 57 For course advising, call 212.229.5124.

Understanding the Course Description, 72 Before Registering, 73 Register and Pay, 73 Student ID, 74 Find Your Class, 74 Withdrawal/Refund Policy, 74

Institute for Retired Professionals, 60

NEIGHBORHOOD MAP

Management and Entrepreneurship, 56 For course advising, call 212.229.5124.

REGISTRATION FORMS

FALL 2014 COURSES

ARTS AND SOCIAL ENGAGEMENT

Arts and Social Engagement: An Introduction NARH2200

The arts have been a mainstay of the curriculum at

A 15 sessions. Wed., 4:00–5:50 p.m., beg. Aug. 27. Noncredit tuition $650.

The New School throughout its history. As a center of

Julia Foulkes

modernism in the first half of the 20th century, The New School offered courses in choreography, musical composition, and photography. The school connected the arts to the wider world: Many of the events and courses offered helped advance criticism and theory of new artistic genres, tied artistic innovation to contemporary political and social issues, and promoted the arts as a means by which to understand and contribute to society. The following pathway of courses carries forward this tradition, exploring the breadth of expression and modes of engagement that make the arts social. Courses examine questions like: Who defines the arts? For what purposes?

A poem can change the world—or just one person’s life. What explains the connection between an artwork and an individual, a wider public, a world? This course serves as an introduction to a pathway of courses that explore this question by examining the variety of ways in which people experience and are influenced by the arts. We investigate different modes of engagement: from the creation of stories that help us imagine and understand the complex lives of others to the research that informs this process; from criticism and curatorship that involve intensive analysis of artworks to art in the service of political ends; from interactions with institutions and markets that channel the arts to creative therapies and communal art-making processes that help heal wounds and enable people to envision new ways of living together. Different publics need and build different kinds of art, so we also look at how networks—cities, institutions, collectives—shape, support, or neglect the arts. We think about what the arts and engagement mean by examining case studies that ground our broad investigation of the way imagination and creativity connect to insight and action around social issues. The course also introduces students to the varied forms of theory, practice, and experience in the arts in which New School faculty are engaged. (3 credits)

For how long? If imagination fuels the arts, this pathway

Museum Studies: An Introduction NARH2102

of courses connects imagination and creativity to societal

A 15 sessions. Fri., 1:00–2:50 p.m., beg. Aug. 29. Noncredit tuition $650.

insight and action. These courses prepare students for advanced study or careers in arts education, creative arts therapy, arts management, urban studies, conflict mediation, journalism, and community organizing. For further information, contact ase@newschool.edu.

Agnes Szanyi

Museums have always been contested sites of representation. Who decides which artifacts are collected and displayed, whose story is represented, how it is represented, who has access to a museum? Studying museums gives us insight into what a society values enough to collect. How these artifacts are interpreted and displayed and how access to the museum is granted or denied reflects and, in turn, constructs collective identity and memory. In this course, we critically discuss the history and role of museums, collecting, representation, architecture, display, museum education and access, and types of public and private funding. (3 credits) Introduction to Digital Humanities NHUM2001 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug 27. Noncredit tuition $650.

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course, you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the a ppropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 73 for the schedule. For details of registration procedures and deadlines, see pages 73–74 or call 212.229.5690.

Claire Potter

How do computers enable us to rethink, reform, and reorient every stage of the intellectual process? How can collaboration and other forms of digital creativity help us understand a book, an archive, a painting, a space, an idea, a film—or our own minds—differently? In this course, we use digital tools to re-conceptualize the humanities. Educating ourselves about the history, present situation, and future of computerized intellectual work, we address distinctions between digital work and play, examine virtual humanness, and assess the way digital worlds affect intellectual categories like “art,” “culture,” and “society.” Digital tools not only allow us to share our ideas and knowledge but also promote creative expression that transcends any one discipline or mode of communication. This course involves writing but also focuses on making time, space, ideas, narrative, and argumentation visible. Exercises call for collaboration, innovation, and design rather than the individualism, competition, and “knowledge banking” sometimes seen in scholarship in the analog humanities world. Readings include selections from Anne Balsamo, Designing Culture; Anne Burdick et al., Digital Humanities; Stephen L. Carter, Civility; Cathy N. Davidson, Now You See It; Lawrence Lessig, Free Culture; Marshall Poe, A History of Communications; and Siva Vaidhyanathan, The Googlization of Everything. This course prepares students to participate in courses and projects associated with the Humanities Action Lab. (3 credits)

ARTS AND SOCIAL ENGAGEMENT

Interpreting Cities and Spaces: Ways of Looking NARH2800 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 26. Noncredit tuition $650. Margarita Gutman

To fully experience and understand city life, one must see the richness of urban shapes and spaces. This foundational course examines cities and spaces through the prism of the eye, focusing on the interpretation of visual representations of change and continuity in the context of urban history and urban theories. Through images, graphics, maps, photos, films, and paintings, the layers of shapes, spaces, cultures, functions, and symbols condensed in the contemporary city are explored. Visual examples are found in Barcelona, Mexico City, and New York City. In consultation with the instructor, students, working individually and in groups, select themes and approaches in different cities, applying categories of urban analysis and visual representation to understand the historical origins of contemporary urban challenges and expectations for the future. Students learn to recognize categories of visual representation and analyze landscapes, infrastructures, and architecture. (3 credits)

The Art of Viewing Art: Learning from Current Exhibitions NARH0010 A 15 sessions. Thurs., 1:00–2:50 p.m., beg. Aug. 28. Noncredit tuition $650. This is a noncredit course. Credit students must register for NARH3010, below. John Zinsser

Learn to use the city’s galleries and museums as your classroom. Each week, students visit a different exhibition. Course lectures illuminate the exhibitions in historical context and from a broader cultural perspective. Guest speakers include artists, gallery owners, curators, and art critics. We view a mix of contemporary and historical shows and compare the artworks we have seen. The New York art world offers eye-opening experiences for those who know how and where to look. (noncredit) The Art of Viewing Art: Learning from Current Exhibitions NARH3010 A 15 sessions. Thurs., 1:00–3:50 p.m., beg. Aug. 28. Credit students only. John Zinsser

From Object to Experience: Art of the 1960s and 1970s NARH3729 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit

This is the same course as NARH0010, but class sessions continue one hour longer for credit students. (3 credits)

tuition $650. Paula Stuttman

The Experience of Spectacle in Contemporary Society NHUM3107

The roots of much contemporary art can be found in the art movements of the 1960s and 1970s. This course is a survey of the period through a wide range of materials. Artists under discussion include Joseph Beuys, Yoko Ono, Marina Abramović, Lygia Clark, and Robert Heinecken. We approach artworks not as objects but as social experiences in which participatory actions are embraced. New York’s thriving art scene and The New School’s own art collection serve as resources. Assignments include a conceptual project dealing with the use of language and anchored in the idea of community. The final project is a curatorial proposal of the student’s own design. This course is a seminar; participation is required. (3 credits)

A 15 weeks, beg. Aug. 25. Noncredit tuition $650.

Just Art: Current Trends in Art and Social Justice NPUB3222 A 15 sessions. Fri., 10:00–11:50 a.m., beg. Aug. 29. Noncredit tuition $650. Carin Kuoni

The claim that art enhances the quality of life dates back to Renaissance Italy and extends to our century, in examples such as public art for disenfranchised communities in New York’s South Bronx. We have also seen the arts put into the service of politics, as in Russian Constructivism and the Mexican muralist movement. What is new is an understanding that aesthetic practices contribute something unique to the social and political well-being of society and that the arts can advance social and political justice. This class offers a rigorous examination of notions of justice as they relate to art and art practices. We examine key terms such as access, happiness, rights, commons, place making, and participation and then look in depth at international art projects intended to advance social justice and the social, political, and cultural context from which they arise. How do we experience successful examples of politically engaged art, and how can we discuss it effectively? What scales and timeframes need to be considered? Ultimately, what is the relationship between aesthetics, usefulness, and social cohesion? In content and structure, the course parallels the activities surrounding the international biennial Vera List Center Prize for Art and Politics, directed by the Vera List Center at The New School, and students will have the opportunity to evaluate finalists for the prize. (3 credits)

ONLINE

Yunus Tuncel

We look at the phenomenon of spectacle from diverse but interrelated perspectives and try to understand what is at work in our “spectacular experiences.” We read from authors such as Kant, Nietzsche, Heidegger, Artaud, and Debord, trying to understand what spectacle is, its dynamics, and its sign language. Is spectacle what a culture considers worthy of collective representation? If so, how does an artistic spectacle such as film differ from other types of spectacles such as sports? As we pose these questions and others, we examine various pertinent issues: imagination (the beautiful and the sublime), ecstasy-participation, technology, feelings and catharsis (violence and discharge of emotions), the unconscious and transference (individual and collective), and alienation. The course is designed to be interactive; our readings are combined with our everyday experiences of spectacle. We view multimedia works and film and discuss them in light of the theories covered in class. (3 credits) Music in Film NMUS3761 A 15 weeks, beg. Aug. 25. Noncredit tuition $650.

ONLINE

Marc A. Peloquin

This course explores the significance of music and sound in the medium of film. We consider live music traditions of the silent era, the role of music in early talkies, the golden age of the Hollywood musical, popular music and the movie soundtrack, collaborations between composers and directors, and the art of film scoring. Historical and cultural issues are addressed, but the emphasis is on the importance of music to the film-viewing experience. Composers considered include Max Steiner (Casablanca, Gone with the Wind, King Kong), Aaron Copland (Our Town, Of Mice and Men), Bernard Herrmann (Psycho, Vertigo, Citizen Kane), Danny Elfman (Batman), and Nino Rota (The Godfather). (3 credits)

You can register for most courses for either noncredit or general credit status. The noncredit tuition is listed as part of the course description. General credit tuition for courses in this catalog is $1,170 per credit. For information about registration options, see pages 62–63.

ARTS AND SOCIAL ENGAGEMENT

Jazz and American Culture NMUS3630

The Human Condition Seen Through Film NSOS0841

A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 26. Noncredit

A 15 sessions. Tues., 12:10–2:50 p.m., beg. Aug. 26. Noncredit

tuition $650.

tuition $650. This is a noncredit course. Credit students must register for NSOS2841, below.

John Halsey

Toby Talbot

What are the historical roots of jazz, and how did it influence modern dance, film, and the Broadway musical? Jazz emerged from the fusion of European and West African music that occurred in the United States and the Caribbean islands during the 18th and 19th centuries. It has since evolved into a major art form reflecting the contradictions and creative energy of American life in the 20th and 21st centuries. As the ultimate multicultural music, jazz continues to challenge assumptions regarding art and society. Studying jazz and American culture yields insights for both the music lover and the general student of American culture. This course includes performances by guest musicians, recordings and videotapes, and selected readings of critical literature. Visits to jazz clubs and concerts are arranged. (3 credits)

Documentary film is intended to enlighten and provoke. Films in this series explore universal cultural, political, and ethical themes: economic survival, the natural environment, conflict and war, justice and dignity, family bonds, and creativity. We discuss these themes in class. Scheduled films: The Law in These Parts (Israel), Chasing Ice (USA), The House We Live In (USA), The Atomic States of America (USA), Detropia (USA), The Invisible War (USA), Slavery by Another Name (USA), Teenage Witness (USA), Saving Face (Pakistan), Silence Broken (South Korea), Position Among the Stars (USA), Always Faithful (USA), Miss Representation (USA), Familia (USA), Last Call to the Oasis (USA), and Paradise Lost (USA). There may be substitutes for certain films. (noncredit)

Popular Dance Performed: From Musical Theater to Hip-Hop NMUS2600

A 15 sessions. Tues., 12:10–2:50 p.m., plus online discussion group, beg.

A 5 sessions. Sat., 10:00 a.m.–4:00 p.m., beg. Sept. 13. Noncredit

Aug. 26. Credit students only.

The Human Condition Seen Through Film NSOS2841

tuition $650.

Toby Talbot

William K. Moulton

The same as course NSOS0841, above, with additional online discussions and research projects for credit students. (3 credits)

In this course we study popular dance forms, the music that supports them, and the cultures that surround them. Starting with dance in films, we move on to dance in musical theater, jazz dance, and hip-hop. In each case, we look at the art of popular dance in contrast to classical dance forms—modern dance and ballet—and try to understand how these forms of dance are conceived and what makes them effective and popular. Students develop an understanding of the craft of choreography and of dancing and music making. Film and video content viewed in the classroom is complemented by a class outing to see live popular dance in New York. Between classes, students watch online videos, write critiques, analyze a dance of their choosing, and keep a journal of their experiences. (3 credits)

Murals of New York City NARH2006 A 5 sessions. Sat., 11:00 a.m.–12:50 p.m., beg. Oct. 11. Noncredit tuition $220. Glenn Palmer-Smith

Murals tell stories. What do the murals of New York tell us about the city? In this course, an introduction to New York’s greatest works of public art, we explore the complicated creation of these murals and the legends that continue to surround them. We study the evolution of mural art during the turbulent 20th century and the way it reflected the taste, style, and ideas shaped by the changing social and economic forces of the city. (1 credit)

E T H I C S , P OW E R , A N D J U S T I C E

ETHICS, POWER, AND JUSTICE Ethics, power, and justice are overlapping concepts that structure the way we operate in the world—and try to change it. Since its founding, The New School has maintained that education advances justice and that it is necessary to critique power and use it for the greater good. The New School put those ideals into action in 1933 with the establishment of the University in Exile, which provided refuge for intellectuals facing persecution by the fascist regimes of Europe. But these ideals are often at odds with the realities of modern nation-state systems, global

Critical Thinking: Informal Logic NPHI2610 A 15 sessions. Mon., 8:00–9:50 p.m., beg. Aug. 25. Noncredit tuition $650. Lisa Michelle McKeown

In this course, we study and apply the principles and methods that distinguish good reasoning from poor reasoning. Working with this tool kit of techniques for evaluating arguments, we examine the logic that shapes contemporary debates about politics, media, art, and science. To complement this practical exercise, we also reflect on the psychological structures that make critical thinking an essential aspect of constructive civic engagement and human wellbeing in general. (3 credits) Linguistic Anthropology: On the Power of Gestures, Jokes, and Words NANT3300 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug 26. Noncredit tuition $650.

practices of production and consumption, and international

Rachel Heiman

politics. Studying ethics alongside power and justice allows

We often think of language as simply a means of expressing ideas and exchanging information. But as we move through our daily lives, our words and gestures continually construct, negotiate, and contest our identities, social worlds, and political conditions. This class explores the powerful role played by communication—and miscommunication—in the formation of gender dynamics, class relations, ethnoracial identities, cultural institutions, and national boundaries. Students gain an understanding of the anthropological subfield of linguistic anthropology through ethnographic readings and firsthand observation of linguistic forms and language practices. Readings examine the ideas about language and the complex dynamics and multiple layers of meaning in everyday language use, from bodega chitchat to dinnertime narratives to psychiatric interviews to drunken humor. (3 credits)

us to consider the conditions necessary for the freedom of all members of society. This area of study explores the question of whether just societies are possible and, if so, how we might work toward them. These courses prepare students for a diverse range of careers in human rights, political activism, law, and government as well as graduate study in philosophy, politics, human rights, international affairs, and law. BA/MA options can be pursued in graduate programs in Anthropology, Historical Studies, International Affairs, Politics, Liberal Studies, Philosophy, and Sociology. For more information, contact Terri Gordon, chair, at epj@newschool.edu.

ONLINE

The History of Poverty NHIS3470 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Fiore Sireci

Poverty has been viewed as a virtue, as in the early Christian and monastic traditions, and a sign of personal weakness, as in the individualist doctrines prevalent today. This course examines both the historical reality and the image of poverty. We investigate the living conditions and the laws and institutions affecting the poor at selected points in British, French, and U.S. history, as well as the role played by the “lower” social classes in making that history. We study poverty as it came into public consciousness in early modern Britain through powerful texts and visual art. We examine institutional responses, both private and governmental, such as debtor’s prisons, foundling hospitals, and “philanthropy.” We then look at the role of the disenfranchised in France during the 1789 Revolution and beyond and their fictional representation in Les Misérables and later in La Bohème. We devote the second half of the course to policies around and perceptions of poverty in the United States from the Great Depression to the present. (3 credits)

This logo indicates that the course is offered online. See page 63 or visit the website at www.newschool.edu/online for more information.

E T H I C S , P OW E R , A N D J U S T I C E

Blogging I: Your Toolbox NHUM2411

Introduction to Philosophy I NPHI2100

A 5 sessions. Wed., 4:00–5:50 p.m., beg. Aug. 27. Noncredit tuition $220.

A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

Claire Potter

Timothy Quigley

Although “weblogs” existed in the 1990s, they became a popular phenomenon only in the 21st century. Anticipating the popularity of social media, they were initially a personal medium, reflecting a long tradition of English-language “confessional” literature. Today blogs serve every conceivable purpose: keeping military families in touch during a deployment; serving as easy-to-build webpages; selling baby products; providing a space for serious news, political writing, art, and scholarship. If you want to try blogging, now is your chance; no experience is necessary. In five weeks, you learn to use a basic blogger’s toolbox, choosing a Web platform and design, establishing a theme, and finding readers for your work. The course also covers ethical approaches to writing in public, the basics of copyright and Creative Commons licensing, and the steps involved in establishing a writing practice. Students can make their blogs public or keep them open only to the class and other selected viewers. (1 credit)

This course surveys the history of Western philosophy from Socrates, Plato, and Aristotle to the beginnings of modern philosophy in the work of Descartes. Students are introduced to the classic philosophical questions: What is truth? Beauty? Justice? What are the essential components of a good life? What are the proper roles of reason and the passions? While examining these questions, we also consider the nature of philosophy as a practice and how philosophical exercises and reflection take the philosopher beyond purely theoretical concerns. Students interested in thinking critically about reality, knowledge, mind and body, desire, and values will benefit from this class, a fundamental course for anyone interested in self-reflection and understanding the world. This course was formerly listed as NPHI3100. If you have taken that course, do not take NPHI2100; it is the same course and cannot be taken twice for credit. (3 credits)

Blogging II: Web Communities NHUM3411

A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

A 5 sessions. Wed., 4:00–5:50 p.m., beg. Oct. 8. Noncredit tuition $220.

Yunus Tuncel

Claire Potter

Ethical questions arise every day of our lives. We are often frustrated and discouraged, as ethics is not a science. Even philosophical opinions vary. Skepticism, relativism, and extreme individualism get in the way of attaining moral certainty and doing what is right. Yet we continue to search for goodness. In this course, we confront the difficulties head-on. First we consider two philosophical accounts of the basis for moral decision making, Kant’s ethics of duty and Mill’s and Singer’s ethics of usefulness. Then we think philosophically about specific ethical problems and moral dilemmas, mostly concerning issues of life and death. (3 credits)

Every blogger is part of a Web community—but which one? How can a blogger attract one set of readers and discourage others? Students in this class can choose to continue work on a blog established in Blogging I or a personal or work-related blog they wish to define and develop. Readings put Web communities in historical and cultural context: What aspects of analog or paper-based communities can blogs replicate or improve on? By the end of the class, each student will have developed strategies for attracting and retaining desired readers and deterring undesired readers. Topics to be covered include the advantages and perils of pseudonymity, the nature of networks, trolling, linking strategies, RSS feeds, and site meters. Students who have not taken Blogging I may wish to review materials on copyright and ethics. (1 credit) Ethics and Literature: The Problem of Evil NLIT3434 A 15 sessions. Tues., 4:00–5:50 p.m., beg. Aug. 26. Noncredit tuition $650. Terri Gordon

In The City of God, Saint Augustine confronts a central problem: How did evil come into the world if human beings were created good? In this course, we explore the question of evil through a study of texts from periods ranging from biblical to modern times. With Dostoevsky and Kafka, we travel on the dark side of life, examining crime, transgression, and nightmarish systems. We explore a number of theoretical perspectives, from Augustine’s notion of the “evil will” to Nietzsche’s standpoint “beyond good and evil” to Arendt’s thesis of the “banality of evil.” Through our study of the ethical universe of literary texts, we engage with questions essential to humanity, including the nature of human beings, the basis for moral conventions, individual and collective responsibility, goodness versus happiness, and guilt, forgiveness, and redemption. (3 credits)

ONLINE

Ethics: Values and Choices NPHI2501 ONLINE

Human Rights: Relativism Versus Universalism NPHI3288 A 15 sessions. Wed., 8:00–9:50 p.m., beg. Aug. 27. Noncredit tuition $650. Luis Guzman

Is there such a thing as an objective or universal point of view? On one hand, the history of Western philosophy can be viewed as a continuous search for a fixed point of view, for a perspective that reveals how things “really are.” On the other hand, many serious thinkers have attempted to relativize any postulation of an absolute perspective. This age-old controversy is reflected in modern debates, such as the conflict between the Universal Declaration of Human Rights, promulgated by the United Nations in 1948, and objections to the imposition of a particular value system on a pluralistic world. This course explores arguments raised by ethical relativists throughout the history of philosophy, from Sextus Empiricus to Nietzsche to Richard Rorty, in order to arrive at the contemporary debate about human rights. Students analyze the strengths and weaknesses of universalist and relativist perspectives in attempting to answer the question: How can a coherent system of human rights be established in a world of diverse and sometimes contradictory social values? (3 credits) Philosophy for the 21st Century: Affects, Objects, and Agents NPHI3112 A 15 sessions. Mon., 4:00–5:50 p.m., beg. Aug. 25. Noncredit tuition $650. Timothy R. Quigley

In this course we examine the prospects for fashioning a radically new philosophical understanding of the world and our place within it. In place of the anthropocentric models of the modern period, we search for a system of coordinates based on broader ecological awareness and attention to both the human and nonhuman world around us. Drawing on concepts from philosophers such as Baruch Spinoza, Gilles Deleuze, and Graham Harman, we attempt to unravel and analyze the metaphysical, ethical, and political forces of the present using the tools of imagination and reason. (3 credits)

E T H I C S , P OW E R , A N D J U S T I C E

Classical Political Philosophy NPHI2120

Modern Social Theory NSOC3102

A 15 sessions. Tues., 4:00–5:50 p.m., beg. Aug. 26. Noncredit

A 15 sessions. Mon., 4:00–5:40 p.m., beg. Aug. 25. Noncredit

tuition $650.

Bernard Flynn

Meredith Hall

This course is concerned with the major concepts through which Western societies have defined the nature of the political. We begin with the ancient Greeks, paying special attention to Plato’s Republic and Aristotle’s Politics. We then turn to the theological dimensions of Christian political thought, beginning with the epistles of Paul and Augustine’s City of God and continuing with Thomas Aquinas’ conception of natural law. Next we explore the process of secularization of political philosophy in the Renaissance, reading Machiavelli’s The Prince and excerpts from Hobbes’ Leviathan and Spinoza’s Theological-Political Treatise. (3 credits)

What holds societies together? When do they break down into conflict? What drives social change? Are there rules that govern human interaction? This course examines some of the Big Ideas about society, how those ideas came about, and how we can use them to understand concrete social problems. In the first part of the course, we look at how the classical thinkers Adam Smith, Auguste Comte, and Herbert Spencer grappled with ideas about progress and social change. In the second part, we focus on efforts by four seminal writers—Karl Marx, Emile Durkheim, Max Weber, and Georg Simmel—to understand the development of capitalism and its implications for modern societies. Throughout the course, different theoretical traditions are presented as tool kits with which to examine historical and contemporary social issues. (3 credits)

Global Justice NPOL3310 A 15 sessions. Thurs., 8:00–9:50 p.m., beg. Aug. 28. Noncredit tuition $650.

Deconstructing Cities NSOC2710

Karsten Struhl

From Plato to John Rawls, classical political theory regards arguments concerning justice as moral disagreements about the internal organization of a nation- or city-state. In the age of globalization, however, there is increasing recognition that decisions made within one national entity often have effects that transcend its boundaries and that the actions of transnational agents like corporations and international financial and trade institutions significantly affect the living conditions of people around the world. A global institutional order is emerging whose rules are coming under increasing scrutiny and moral criticism. After a brief introduction to the classical problem of justice, this course focuses on contemporary interpretations of the concept of global justice. We examine the relation of these interpretations to different assessments and theories of globalization. We also look at the debates about global justice from the perspective of the struggles for alternative forms of globalization. (3 credits)

A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Robert Jürgen von Mahs

This is an introductory urban studies course that exposes students to new ways of understanding cities and the social disparities they manifest. The class focuses on contemporary urban issues including income inequality, segregation, gentrification, homelessness, immigration, media and culture, and social control. Students learn to analyze such problems by looking at economic, political, and social processes occurring simultaneously on different scales—global, local, personal—and how they unfold through space and over time. Using New York City as a benchmark, students explore urban contexts in comparative international perspective by researching an urban issue in a global city of their choice. The course satisfies core introductory lecture requirements for urban studies majors studying primarily online. (3 credits)

Law and Terrorism NPOL3571 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Glynn Torres-Spelliscy

The conclusion of World War II led to a new era in international relations, one purportedly based on international law and human rights. In practice, however, states frequently ignore international legal requirements when the laws impede the pursuit of their own national interests. Since the catastrophic attacks on September 11, 2001, the United States has responded to security threats with policies and practices in its declared Global War on Terrorism that have challenged fundamental legal understandings. These policies have not so much disregarded international law as redefined it. This course focuses on the complex legal and domestic constitutional issues posed by the U.S. government’s words and actions. Topics discussed range from domestic issues, such as the USA PATRIOT Act, warrantless wiretapping, and indefinite detention, to international legal issues, such as the doctrine of preemption, the practice of “extraordinary rendition,” and the treatment of detainees in U.S. custody or under U.S. control. The policies of the Bush and Obama administrations are compared with respect to their effects on the international legal order. (3 credits)

For help in interpreting course descriptions, see chart on page 72.

GENDER AND SEXUALITY

GENDER AND SEXUALITY This area of study presents a wide-ranging array of debates and research methodologies for understanding how bodies come to be defined as male or female. Scientific language often serves to naturalize connections between genetic makeup and appropriate roles within the social world. The study of gender and sexuality in our program—with its attention to the larger history of feminism, gay and queer political movements, postcolonial studies, and trans theory—challenges commonly held beliefs about the essential nature of men and women and moves beyond a

Queer New York NCST3300 A 15 sessions. Tues., 4:00–5:50 p.m., beg. Aug. 26. Noncredit tuition $650. Ricardo Montez

This course traverses the geography of New York City, exploring queer life from the 1960s to the present. Through engagement with literature, performance, and film, students look at experiments in the production of queer art and culture. From Jack Smith’s trash aesthetics to Dynasty Handbag’s performance of abjection, queer art practice has transformed the landscape of New York City and fueled the development of vibrant underground communities. In addition to examining queer historical landmarks such as the Chelsea Hotel, CBGB, and the Pyramid Club, students consider the ephemeral nature of queer subcultures and investigate multiple aesthetic models for queerness, including camp and realness. NCST3300 was formerly listed as NHUM3062. Do not register for this course if you have taken NHUM3062; it is the same course and cannot be taken twice for credit. (3 credits)

binary, male/female approach to a broader understanding of the social world. For further information, contact gsx@newschool.edu. Performance in the Museum: Curation, Dramaturgy, and Contemporary Performance Practice NARH3224 A 15 sessions. Mon., 4:00–5:50 p.m., beg. Aug. 25. Noncredit tuition $650. Joshua Lubin-Levy

In recent years, visual arts institutions have become increasingly interested in curating performance. In New York City alone, organizations such as the Museum of Modern Art, The New Museum of Contemporary Art, and the Guggenheim have developed new platforms for presenting performance as well as novel approaches to using performance as both a means of public engagement and a way to expand their archives. Taking these examples as our point of departure, we explore the relationship of performance to contemporary art and examine the forces that have reoriented institutions around performance and the ways performance reorganizes the institution. The course focuses on the increasingly blurred line between performance curators and performance dramaturgs. Students are asked to think in both critical and practical terms about how to create space for performance in a field dominated by objects. While readings and discussions focus on art and cultural theory and criticism, class projects involve conceiving of new public platforms for performance and developing language to address these practices, and invite students to apply both performative and dramaturgical approaches to their own scholarship. Class discussion is supplemented with opportunities to engage with performers and curators from New York’s downtown performance community. Questions examined in the course include: What kinds of critical, artistic and theoretical tools might be used to meet the demands performance places on the visual arts? What role does description play in capturing ephemeral events? In what ways can we define and bridge the gap between theory and practice? (3 credits)

U N D E R G R A D U AT E D E G R E E P R O G R A M F O R A D U LT S The New School for Public Engagement provides an opportunity to complete your undergraduate degree at your own pace in a largely selfdesigned liberal arts program. For more information, call 212.229.5630 or visit www.newschool.edu/nspe/undergrad.

Masculine Identities NLIT3392 A 15 sessions. Fri., 12:00–1:50 p.m., beg. Aug. 29. Noncredit tuition $650. Herbert L. Sussman

This course examines the variety of masculine identities, the long history of changing definitions of what it means “to be a man.” We trace the warrior ideal from the Homeric epics through Arthurian tales to current antiheroic representations of men at war. We also examine the complex history of samesex relations, from Plato to the passionate friendships of the 19th century to the varied styles of modern gay identities. Hemingway’s writing evokes a powerful masculine ideal as well as its discontents. Since masculinity is shaped by ethnicity, the course considers the construction of masculine identities in African-American, Jewish, and Asian men. We also look at the changing constructions of the male body, examine visual artists such as Robert Mapplethorpe, consider the notion of female masculinity, read current gender theory about masculinities, and discuss such film genres as the buddy film, the western, and the muscle film. Students present oral reports on contemporary styles of masculinity. (3 credits) Music, Women, and Gender NMUS3591 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Sonya Mason

Rather than adding a list of long-forgotten matriarchs to our historical roster, modern feminist-based musicology has sought to understand the effects of gender and sexuality within a broad cultural and political framework. It seeks not to provide new histories but to add to the understanding and appreciation of great music through context and the social codes of the language of music. This course traces the history of important female musicians, from the spiritual Hildegard of Bingen in the Middle Ages to the indomitable Cosima Wagner to current leading ladies such as Madonna and Björk. We examine many of the scholars and critics currently at the forefront of this field of inquiry. (3 credits)

L I T E R A R Y A N D C U LT U R A L S T U D I E S

LITERARY AND CULTURAL STUDIES

Nineteenth-Century Russian Literature NLIT3440 A 15 sessions. Tues., 4:00–5:50 p.m., beg. Aug. 26. Noncredit tuition $650.

FOR COURSE ADVISING, CALL 212.229.5124

Anthony Anemone

Val Vinokur, Chair

The New School has attracted some of the most important literary and cultural figures of the 20th and 21st century. Courses in this area focus on the role played by the verbal

In this course, we explore the central literary achievements of Russian literature’s golden age. While our emphasis is on close readings of major works by such writers as Alexander Pushkin, Mikhail Lermontov, Nikolai Gogol, Ivan Turgenev, Fyodor Dostoevsky, Leo Tolstoy, and Anton Chekhov, we pay special attention to the development of the aesthetics of realism and to the special role played by literature in Russian society of the period. (3 credits)

arts in shaping and interrogating culture and society. Our view of literature includes all uses of language—speech, poetry, storytelling, scripted performance, narrative, and writing. We read English language works and literature in translation, employing approaches to culture and society drawn from humanistic inquiry and the modern social sciences. For further information, contact lcs@newschool.edu. Ten Plays That Shook the World NLIT3802 A 15 sessions. Tues., 8:00–9:50 p.m., beg. Aug. 26. Noncredit tuition $650. Alexandra Boggs

The plays analyzed and discussed in this course are considered milestones in the history of theater because of their innovative uses of language, form, and thematic treatment and the insights they provide into the human soul. They test our aesthetic, intellectual, and emotional boundaries, leading us to reflect on the nature of love, ambition, loneliness, and self-righteousness. Ultimately, they deal with the universal human condition. We begin in the classical period, reading Sophocles’ Antigone and Euripides’ The Trojan Women. We move on to the Renaissance and the Enlightenment, reading Shakespeare’s Hamlet and Goethe’s Faust. Continuing into European modernism, we read Ibsen’s A Doll’s House. Next we examine the radical currents in Ionesco’s The Bald Soprano, Arrabal’s The Automobile Graveyard, and Adrienne Kennedy’s Funnyhouse of a Negro. Finally we enter the late 20th century with Harold Pinter’s The Homecoming and Anna Deveare Smith’s Fires in the Mirror. (3 credits) The Muse Singing: Myth in Poetry NLIT3106 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

Nineteenth-Century Horror: Demons, Doppelgängers, and the Living Dead NLIT3859 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Frances Chiu

The 19th century was a period when all things supernatural and sensational flourished. What were the political, social, and cultural contexts of the fiction of ghosts, monsters, vampires, and doppelgängers? Is it entirely coincidental that Frankenstein was written at a time that witnessed the rise of workers’ rights—or that the first full-fledged vampire predated Karl Marx’s Das Kapital, with its apt comparison between vampirism and capitalism, by less than a year? To what extent can the Irish and Scottish preoccupation with dangerous doubles and bloodsucking aristocrats be attributed to contemporary concerns with imperialism, national identity, and independence (e.g., Home Rule)? We study Ann Radcliffe’s Gaston de Blondeville, Mary Shelley’s Frankenstein, John Polidori’s short story “Vampyre,” selections from the penny dreadful Varney the Vampire, Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde, Oscar Wilde’s Picture of Dorian Gray, Richard Marsh’s Beetle, and Bram Stoker’s Dracula. (3 credits) NEW History of the Photography Book NCST3104 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Aug. 28. Noncredit tuition $650. Valerie Mendelson

This course provides a history of the photographic book. We trace the medium from the 19th century to the present, looking at the narrative use of images from Talbot to Dornac to Walker Evans, Robert Frank, and Ed Ruscha as well as the use of photographs in narrative in such books and poems as Julia Margaret Cameron’s version of Tennyson’s “Idylls of the King,” Breton’s Nadja, and Sebald’s Rings of Saturn. (3 credits) New York City NLIT3150

ONLINE

Sharon Mesmer

The compelling, beautifully told myths of the classical world still enthrall us today. What is it about these mysterious and beautiful tales that has captured the poetic imagination for centuries? We gain a new appreciation for four of the most familiar Greco-Roman myths—Demeter and Persephone, Cupid and Psyche, Daedalus and Icarus, and Orpheus and Eurydice—by examining the oldest-known literary sources (the Homeric Hymn to Demeter, Apuleius, and Ovid) and modern interpretations by well-known scholars like Edith Hamilton and Joseph Campbell. These short readings are followed by close readings of modern poetic retellings of each tale, which we compare with the original sources. We also discuss film versions of the myths (which students view outside class), including Cocteau’s La Belle et la bête (Beauty and the Beast), a modern interpretation of Cupid and Psyche; and Camus’ Orfeu Negro (Black Orpheus). (3 credits)

A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit tuition $650. Joseph Salvatore

The novelist Paul Auster has said that New York is the most American of cities, a living embodiment of what America is all about: diversity, tolerance, and equality under law. He says that despite its often antagonistic relationship with the rest of the country, New York City is the nation’s true heartland. This course examines the literary and cultural history of New York City. We roam through textual neighborhoods, including Wall Street, the Lower East Side and East Village, Greenwich Village, the Upper East Side, and Harlem, and even across the bridges into other boroughs. The course considers the role of immigrants in the formation of New York; battles between gangs, police, and politicians; the bohemian community and the Beat subculture; the idea of Central Park; and the glory of the Harlem Renaissance. We read Walt Whitman, T.S. Eliot, Herman Melville, Stephen Crane, F. Scott Fitzgerald, John Dos Passos, Henry Roth, Hubert Selby Jr., Diane di Prima, Claude Brown, Bret Easton Ellis, Tama Janowitz, Mary Gaitskill, Jay McInerney, Toni Morrison, and Patrick McGrath. We consider the representations of the city in films and TV shows: Manhattan, Saturday Night Fever, The Warriors, Friends, Seinfeld, and Sex and the City. (3 credits)

L I T E R A R Y A N D C U LT U R A L S T U D I E S

Cultures of Madness NANT3639

Dubliners NLIT3274 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

A 15 sessions. Thurs., 4:00–5:50 p.m., beg. Aug. 28. Noncredit

Margaret Boe Birns

tuition $650.

Dubliners is both an excellent introduction to James Joyce and a text that stands on its own as a classic short story cycle. Considered Joyce’s first masterpiece, this volume explores the everyday joys, sorrows, regrets, and confusions of Dublin people in the Edwardian period. It has been recognized as some of the 20th century’s finest short fiction. Students read all 15 stories, beginning with stories of childhood and adolescence; moving on to prime-oflife stories of love, loneliness, marriage, and family; and ending with stories that describe arts, politics, and religion at the waning of one century and the dawn of another. We end with the masterwork novella The Dead, which brings the book to a final epiphany—in Joyce’s own words, a “sudden spiritual manifestation” that opens the consciousness to truths that have been lingering in the air or in the psyche. This is an opportunity to study Dubliners in detail from both naturalistic and symbolic perspectives, as both realistic prose and enigmatic and emotionally layered poetry. (3 credits)

Victoria Malkin

Reading Toni Morrison NLIT3383 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Aug. 28. Noncredit tuition $650. Tracyann Williams

This course offers an intensive examination of Toni Morrison’s work in its own contexts and in the critical contexts in which others have read it. Winner of the 1993 Nobel Prize for literature, Toni Morrison is not only a powerful novelist but one of the most important American literary figures of the 20th century, producing incisive scholarship, literary criticism, and analyses of contemporary race relations. We examine her contributions to each of these fields. We also consider the specific historical moments that Morrison reimagines in her fiction, as well as the historical and cultural events that shaped the creation of each novel as she wrote it. The course emphasizes the process of examining an individual author’s work in view of the literary, biographical, historical, and cultural influences that shaped it. (3 credits)

Why do we do the things we do? Why do we feel the things that we feel? Can any behavior truly be called crazy? Through a mix of readings, this course introduces concepts, theories, and methods related to the study of culture and human behavior. In this era of globalization, where contact between people from different lands and cultures is more the norm than the exception, an understanding of the role culture plays in personal decision making, group belief systems, and culture-bound expressions of suffering is critical. Texts exploring the anthropology of psychology and medicine provide the class with a framework for examining the intersection of culture and interpretations of irrationality and abnormality. (3 credits) Philosophy of Language NPHI3766 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit tuition $650. Luis Guzman

During the 20th century, the emphasis in academic philosophy shifted toward the critical analysis and pragmatic implications of language. Philosophers began to contrast “doing something” with “talking about something.” Many took the position that by dissecting language, its components, and the way it works, one could resolve (or dissolve) many long-standing philosophical problems. This course explores the concept of meaning in language, tracing its evolution from something that connects words and objects to an activity that performs tasks in the world, reflecting an understanding of meaning as use. We read works by Ludwig Wittgenstein, Bertrand Russell, W.V. Quine, and Donald Davidson. (3 credits)

RACE AND ETHNICITY

RACE AND ETHNICITY Since its founding, The New School has been at the forefront of intellectual debates concerning the study and representations of social groups. W.E.B. DuBois famously taught one of the first courses on race and AfricanAmerican culture offered by a university. The courses in this curriculum represent the New School’s legacy of progressive approaches to the study of diversity. Biology, the social sciences, psychology, art history, and literature have worked together historically to manufacture knowledge of human bodies. From census polls to marketing campaigns, racial and ethnic identities act as primary categories for organizing our world. Students who pursue this area of study will not only examine the representations and histories of human difference but also think through the ways in which identity establishes itself as a logical framework for understanding the self and others. For further information, contact res@newschool.edu.

NEW Race and Biology NANT3213 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Jennifer Scott

What do we learn about ourselves through genetics and genealogy? How does DNA connect with what we know about our identities, family ancestry, and cultural heritage? This course explores the intersection between biology, culture, and history. In particular, we examine evolving scientific and social concepts of race and human difference. Students learn how certain racial classifications— such as Caucasoid, Mongoloid, and Negroid and mulatto, quadroon, octoroon, and creole—emerged historically. They critically examine the ways lineage is dissected and quantified—why people speak about ethnic, racial, and national make-up in terms of percentages and fractions; why cultural tools such as the census are used to “count” heritage; how “the one-drop rule” operated in the United States. Using anthropological, sociological, historical, biological, and literary works, we also explore the “social narratives” or “social life of DNA,” the various ways genetics is used culturally and racially: as evidence to make legal claims or seek social justice; to anticipate wellness or disease; to determine social membership, pedigree, or purity; to reconstruct identities. We analyze the recent commercialization and popularization of genetic analysis, evident in increased public DNA testing and television programs such as the American documentary series Who Do You Think You Are? Examining these trends, we investigate the ways genetics is used to constitute family history, construct individual and group identities, and create community. (3 credits) NEW Debates in Race and Ethnicity NCST2103 A 15 sessions. Thurs., 4:00–5:50 p.m., beg. Aug. 28. Noncredit tuition $650. Ricardo Montez

This course is an interdisciplinary engagement with contemporary literature and scholarship on race and ethnicity in which the following questions are considered: How do race and ethnicity organize the social world? What are the historical conditions under which the various definitions of racial and ethnic difference emerged? What is at stake in the institutional recognition of race and ethnicity, particularly as these categories come to be defined in relation to other forms of difference such as gender and class? How do people use labels of racial and ethnic difference to develop an understanding of the self in relation to the social and political worlds they inhabit? The course, an introduction to the curricular area of race and ethnicity studies, provides an overview of this complex field, which includes Latino studies, AfricanAmerican studies, Asian-American studies, and whiteness studies. (3 credits)

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the a ppropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 73 for the schedule. For details of registration procedures and deadlines, see pages 73–74 or call 212.229.5690.

PSYCHOLOGY

PSYCHOLOGY The rigorous curriculum of the Psychology program provides students with a comprehensive view of the contemporary field of psychological science while encouraging critical reflection on current trends and movements in the field. Whether exploring cutting-edge work in neuropsychology and cognitive science, examining intensive studies in psychoanalytic thought, or contemplating culturally constructed understandings of the individual in society,

Introduction to Social Psychology NPSY2301 A 15 sessions. Wed., 8:00–9:50 p.m., beg. Aug. 27. Noncredit tuition $650. Instructor to be announced

What role does social influence play in our lives? How do we form stereotypes? A series of lectures and films introduce the perspectives and research methods of social psychology. The class also learns to analyze social situations and events encountered in everyday life. Topics discussed include social cognition; self-perception and self-esteem; perceptions of others, attitudes, and persuasion; stereotypes, prejudice, and discrimination; intergroup conflict, obedience, and conformity; aggression and altruism; and human relationships and attraction. The class closes by considering how we participate in the construction of social realities. (3 credits)

students develop an appreciation for the breadth and depth of the field. Courses in research methods and statistics

Cross-Cultural Psychology NPSY2345

train students to critically evaluate psychological research

A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit

and texts and serve as essential preparation for graduate

Instructor to be announced

study. Degree-seeking students who are interested in pursuing a psychology major can find information at www.newschool.edu/public-engagement/ba-psychology. Fundamentals of Psychology NPSY2001 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit tuition $650. Catherine Mindolovich

As a subject of intellectual inquiry, psychology spans the histories of many cultures, but since antiquity, psychological interpretation has revolved around recurring themes. When philosophers, naturalists, and other scholars began to divide into separate academic departments in the 19th century, psychology, with much fanfare, sought recognition as a separate discipline. Its goals were, and are, the explanation of memory, emotion, perception, consciousness, learning, motivation, personality, development, and social influence. These fundamentals of the field are the topics of this course. (3 credits) Introductory Statistics NPSY2010 A 15 sessions. Mon., 8:00–9:50 p.m., beg. Aug. 25. Noncredit tuition $650. Shelley Feuer

This course is an introduction to statistics, with a focus on its application to psychology and related social sciences. The class explores quantitative data and applies concepts to a range of situations. Topics covered include descriptive statistics, basic probability, normal distributions, confidence intervals, hypothesis tests, correlation, and linear regression. The course also provides an introduction to software used to analyze and present statistical information. The goal is for students to master concepts and develop statistical literacy. (3 credits)

tuition $650.

Traditional theories of psychology, developed primarily by Western Europeans and North Americans, are based on the unexamined assumption that all human behavior can be explained by a single worldview. However, recent research has demonstrated that despite certain universals in human societies, norms in non-Western societies often differ from those in Western Europe and North America. In this course, students learn to make distinctions between behaviors exhibited by all humans (like use of language) and culturally determined behaviors. To that end, we explore the influence of culture on perception, cognition, education, individual and social behavior, expressions of physical and mental illness, and self-perception. (3 credits) Theories of Personality NPSY2401 A 15 sessions. Mon., 4:00–5:50 p.m., beg. Aug. 25. Noncredit tuition $650. Eleonora Pia

This class introduces theories of personality through readings of primary texts by major theorists. We begin by examining the groundbreaking research of Sigmund Freud and his theory of personality development and the unconscious. We then read modern Freudians, from John Bowlby and Margaret Mahler to Erik Erikson and Heinz Kohut. We look at Melanie Klein and the British Middle Group, particularly Donald Winnicott. We consider interpersonal and relational theories that stress not only the inner mind but the interactional self. We conclude with current research from feminism, sociology, and genetics. Throughout, we discuss personality as an intersection of factors including subjectivity, biological inheritance, personal history, and culture. We question the idea of a “normal” personality and study the way each theorist defines the abnormal or pathological. We also draw on cultural and clinical texts to illuminate these theories and the relevance of psychoanalysis to art and other cultural practices. (3 credits) Abnormal Psychology NPSY2501 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 27. Noncredit tuition $650. Hannah Yves Knafo

Using a multitheoretical model of psychopathology, students explore basic contemporary and historical conceptions of abnormal behavior. They are introduced to the current classification system of mental disorders, the Diagnostic and Statistical Manual (DSM-V), and consider its strengths and weaknesses in an increasingly complex field. Psychodynamic, cognitive, humanistic, and sociocultural approaches to major Axis I and Axis II disorders are presented. The class employs critical thinking to examine current controversies over classification, assessment, and treatment of mental illness. (3 credits)

PSYCHOLOGY

Introduction to Neuropsychology NPSY3140 A 15 weeks. Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Anna Odom

The brain’s function has been an enigma throughout history, but in the last decade, great strides have been made in this area of research. In this course, we employ the psychological perspective of neuroanatomy and neurophysiology to develop an understanding of how the brain produces thought and behavior. We look at the way neural activity produces our perception of the world, our behavior, our cognition and memory, and our emotional life. We also explore how psychoactive drugs affect these processes and how neural activity produces conscious awareness and plays a role in mental illness and substance abuse. (3 credits) Illicit Substance Use in Our Society NPSY3142 A 15 sessions. Fri., 12:00–1:50 p.m., beg. Aug. 29. Noncredit tuition $650. Anwar Siddiqui

Illicit drugs have a long and controversial history in the United States, from the days of opium houses and cocaine in soda to Prohibition and mandatory sentencing. This course is an overview of the use and abuse of illicit drugs and the role these drugs play in our society. We explore the physiological mechanisms associated with drug use, abuse, and addiction; the classification, evaluation, and diagnosis of drug use, abuse, and addiction; theoretical understandings of addiction; and the differing approaches to addiction treatment. We also examine the social and historical context of drug use and abuse, theoretical and political issues around the use of drugs, and the complex interaction of context, culture, race, gender, and class. (3 credits) Developmental Psychology NPSY3256 A 15 sessions. Thurs., 8:00–9:50 p.m., beg. Aug. 28. Noncredit tuition $650. Namrata Goyal

How do people grow and change through life, from conception to death? This course introduces the field of human developmental psychology. Topics addressed include the characteristics and capacities of the human infant, infant-parent attachment and interaction, cognitive development, control of emotions, social cognition, family and peer relationships, moral development, and aging. We consider both biological and cultural influences and explore controversial issues in the field of lifespan developmental psychology. Students learn about the research methods developmental psychologists use to ask and answer questions about change and stability across the course of an individual’s life. (3 credits) How We Eat: Psychology of Food and Eating NPSY3458 A 15 weeks. Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Grace Choi

This online course is a study of modern-day perceptions of and behaviors related to food and eating. We closely examine and discuss both scholarly and popular texts, studies, and research experiments from social, cultural, and cognitive psychology. Topics explored include disgust, etiquette, and perceptions of taste; comparative perceptions of fullness and pleasure; cravings and comfort; commensality and eating as social ritual; the psychological impact of starvation and of excess; the implications of food advertising for choice; neurogastronomy and synesthesia; disordered eating behaviors; and shame over what is or is not consumed. Reading reflections, discussion board posts, and a final project on a topic of the student’s choosing determine the final grade. (3 credits)

Receive your Harm Reduction Psychotherapy Certificate and expand your career opportunities. This graduate-level noncredit professional certificate program at The New School for Social Research offers licensed and license-eligible mental health and substance abuse practitioners specialized training in the theory and application of harm reduction psychotherapy. Gain knowledge and practice skills that can be adapted to and applied in a variety of clinical settings including –– Psychiatric hospitals –– Outpatient and inpatient treatment programs –– Substance abuse treatment centers –– Public health and advocacy agencies –– Harm reduction centers –– Private practice

www.newschool.edu/nssr/harmreduction-psychotherapy-program

An Affirmative Action/Equal Opportunity Institution.

PSYCHOLOGY

The Psychology of Creativity NPSY3839

Evolutionary Psychology NPSY3870

A 15 sessions. Thurs., 10:00–11:50 a.m., beg. Aug. 28. Noncredit

A 15 weeks. Aug. 25 thru Dec. 15. Noncredit tuition $650.

tuition $650.

Gina Turner

Patricia Simko

Evolutionary theory suggests that the behavior of animals, including humans, is shaped by biological drives like survival and reproduction. These drives influence the way we interact on both the personal and the cultural levels. In addition, culture itself has imperatives that exert pressures on human behavior. Evolutionary psychology looks at how the culture we live in can be as much of a factor in human development as the genes we inherit from our parents. In this course, we look at milestones in the human lifespan (including parent-child relationships, family interactions, mate choice, illness, and social interactions such as friendship and violence) and possible explanations from an evolutionary perspective. (3 credits)

Creativity is both a central goal and a vexing challenge for most of us. We struggle with our inner thoughts as we strive to put forward the best possible image of ourselves. Our most challenging creation is our own self, a work-in-progress that is never completed. In this course, we examine the psychological literature on creativity, including classic and psychoanalytic theories of creativity, and engage in exercises that help us move beyond our own limitations to become our best selves. The course involves reading, exercises, and life experiments that lead to both a cognitive and an experiential understanding of the creative nature of the self. (3 credits) The Psychology of Men NPSY3844 A 15 sessions. Wed., 4:00–5:50 p.m., beg. Aug. 27. Noncredit tuition $650. Warren Spielberg

Men grapple with identity, work, fatherhood, and the heroic male ideal. Men and boys lead statistics for violent crimes, suicide, early mortality, school failure, learning disabilities, and a host of psychiatric maladies. This course considers the complexities of male psychology, beginning with the neurobiology of, and psychoanalytic perspectives on, male development through the life cycle. We move on to examine the historical origin of the traditional male role model in Western civilization and contrast it with models in other parts of the world, incorporating more recent feminist critiques. We pay special attention to boyhood in the United States, including issues of sexuality, race, and violence. We conclude by considering various treatment models used in psychotherapy to address the particular psychological problems of men. (3 credits) Introduction to Social Work NPSY3850 A 15 sessions. Tues., 8:00–9:50 p.m., beg. Aug. 26. Noncredit tuition $650. Michele Frank

This course introduces students to the challenges and goals of social work and to the history of social welfare. We focus on the essentials of therapeutic practice with individuals, couples, groups, and the community. We explore the skills needed in working with a range of cases, from the high-functioning private practice client to the disturbed patient in crisis. We look at a range of work settings for social workers, from private clinical practice to mental health settings such as child welfare, health care, gerontology, and justice and corrections, as well as policy and international work. We also review the career trajectory for social workers, from entering graduate school to beginning professional practice. Assignments include exercises that simulate therapeutic encounters. (3 credits)

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the appropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 73 for the schedule.

For help in interpreting course descriptions, see chart on page 72.

For details of registration procedures and deadlines, see pages 73–74 or call 212.229.5690.

ONLINE

MEDIA STUDIES AND FILM

MEDIA STUDIES AND FILM Media Studies Film Studies Film and Media Production

Certificate in Film Production The New School awards a certificate attesting to successful completion of a sequence of courses in which students master the art and craft of filmmaking. For more information, see Film and Media Production (opposite) or go online to www.newschool.edu/ce/filmproductioncert.

Film and Media Business

Certificate in Screenwriting

Screenwriting

The New School awards a certificate attesting to successful completion of a sequence of courses in which students master the art and craft of writing for the cinema. This curriculum can be completed entirely online, on campus, or through a combination of online and on-campus courses. For more information about the certificate program, see Screenwriting in the following pages or at www.newschool.edu/ce/screenwritingcert.

FOR COURSE ADVISING, CALL 212.229.8903. w w w. n e w s c h o o l . e d u / c o / m e d i a f i l m

Anne Balsamo, Dean, School of Media Studies Melissa Friedling, Director of Undergraduate Studies

At The New School, you can both study media as a scholar and learn how to create it. We offer instruction in the most current digital technologies as well as traditional filmmaking. We update our courses all the time to reflect the ongoing advances in the fields of film and media studies and production. Our mission is to help people understand and analyze modern communication and realize their personal vision in narrative, experimental, and inter-media forms. Courses can be taken for undergraduate credit or on a noncredit basis.

Master of Arts in Media Studies Since 1975, The New School has offered the Master of Arts in Media Studies in an innovative program that combines theoretical and practical understanding of media and their role in our rapidly changing world. For more information, go to www.newschool.edu/mediastudies. To speak to a counselor, call the Office of Admission at 212.229.5630 or email nsadmissions@newschool.edu. Master of Science in Media Management Expanding on its successful Media Management certificate, The New School now offers the MS in Media Management. This curriculum combines a solid foundation in managerial skills with critical analysis of media industries and their products and is designed to develop innovative thinking and entrepreneurship. For more information, visit the website at www.newschool.edu/mediastudies. To speak to a counselor, call the Office of Admission at 212.229.5630 or email nsadmissions@newschool.edu. Graduate Certificate in Documentary Media Studies This one-year intensive course of study integrates documentary history, theory, and social practice with documentary craft. Each student completes an original short documentary video. Credits are eligible for transfer to the Master of Arts in Media Studies after admission to that program. For more information, visit the website at www.newschool.edu/docstudies, call the Office of Admission at 212.229.5630, or email nsadmissions@newschool.edu. Graduate Certificate in Media Management This 12-credit course of study provides working and aspiring media professionals with a state-of-the-art education in the principles and skills they need to become leaders in the industry. Content includes an industry overview and media economics, information technologies, leadership and competitive strategies, and corporate responsibility. Credits are eligible for transfer to the MA in Media Studies after admission to that program. For more information, visit the website at www.newschool.edu/mmp or contact the Office of Admission at 212.229.5630 or nsadmissions@newschool.edu.

U N D E R G R A D U AT E D E G R E E P R O G R A M F O R A D U LT S The New School for Public Engagement provides an opportunity to complete your undergraduate degree at your own pace in a largely selfdesigned liberal arts program. For more i足nformation, call 212.229.5630 or visit www.newschool.edu/nspe/undergrad.

MEDIA STUDIES AND FILM

MEDIA STUDIES

Whose Story Is It? Media in Developing Countries NCOM3022 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

In these courses, students learn to think critically and functionally about the history and evolving forms of creative and commercial media, their distribution and reception, and their use in and usefulness for society. Introduction to Media Studies NCOM3000 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 26. Noncredit tuition $650. Peter Haratonik

Students explore media history and the basic concepts employed in media analysis, spanning the history of technologies from the magic lantern to multimedia and stressing the relationship between media and their social, political, and economic contexts. Since media are at once technology, art, entertainment, and business enterprises, they need to be studied from a variety of disciplinary perspectives. The readings for this course reflect this multifaceted approach and draw attention to the work of key thinkers and theorists in the field. Examples are drawn primarily from the visual media of commercial film, television, advertising, video, and the Internet, although alternative media practices are also noted. Students gain an understanding of how media texts are constructed, how they convey meaning, and how they shape one another in significant ways. (3 credits) The Viral Media Lab NCOM3005 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Aug. 28. Noncredit tuition $650. Kathleen Sweeney

This collaborative course explores the origins of social media viruses. We view and discuss trends in media consumption, sloganeering, and fashion. We trace the history of online advertising, YouTube videos, and Twitter and discuss the role of gossip and word of mouth in creating viral media. We read works by Malcolm Gladwell, Rob Walker, Clay Shirky, Deanna Zandt, Danah Boyd, Elinor Ostrom, and Yochai Benkler to gain an anthropological understanding of human interactivity. We define memes, shareware, and other features of the ever-evolving technological landscape in which messages live out their cycles of influence. Throughout the course, students maintain a blog/response log for assignments. For final projects, students can choose either to write a research paper on a topic relating to viral media, social media, or memes or to produce their own viral media video, photo series, or message campaign. (3 credits)

Melanie Beth Oliviero

Technology has brought people around the world closer together than ever. We learn about countries and peoples in regions formerly remote and closed to external observers. But what exactly do we know? From whose perspective is the story told? This course contrasts foreign coverage of life in African, Asian, Latin American, and Eurasian countries with local reporting. We explore the print and broadcast media in countries consciously building more democratic states. We address the legal and legislative environments that foster the development of independent media, as well as the self-censorship that too many reporters and editors practice. We examine patterns of coverage, from imitation of CNN and the BBC to promotion of indigenous voices. We look for the cutting edge of local reporting, in which standard journalistic methods are amalgamated with traditional storytelling techniques. (3 credits) The Beat Goes On: Music, Media, and Society NCOM3050 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit tuition $650. David Fractenberg

This course examines the contemporary critical and often intensely ideological debate over the power, influence, and partisanship of mass media in shaping American culture, politics, and economic and social life. We look at the technological development of mass media in 20th-century societies; the dynamics of mass-oriented propaganda and rhetoric in shaping attitudes, beliefs, and values; broadcast and print media as venues for political empowerment; the use of mass media in dictatorial and democratic regimes; the promotion of the acquisitive-consumptive lifestyle and the mentality of possessive individualism; advertising and public relations; and Web-based forms of persuasion. (3 credits)

In his 1977 book, Noise: The Political Economy of Music, Jacques Attali describes music as “a way of perceiving the world” that serves both communicative and organizing functions within societies. In comparison with other forms of discourse, which must often present credible evidence to support their claims, music seems to have a fairly simple appeal. In Bob Marley’s words, “When it hits you, you feel okay.” We examine the social organizing functions of music through a series of queries: Is music fuel for political action, a distraction, or both? How does it relate to local and national identities? What is a protest song (from Lennon to Public Enemy)? Does popular music organize us not only socially but economically? Through readings of theorists from Theodor Adorno to Tricia Rose, consideration of artists like Public Enemy and Banda Macho of Mexico, and viewing of films like the cult classic Rockers, students explore questions like these to draw their own conclusions about the impact on our lives of the beat that goes on. (3 credits)

ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the appropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 73 for the schedule. For details of registration procedures and deadlines, see pages 73–74 or call 212.229.5690.

ONLINE

Jean I. Oliver-Cretara

HOW TO REGISTER Persuasion and the Media NCOM3011

ONLINE

MEDIA STUDIES AND FILM

Imaging: Communication in the Era of the Brand NCOM3112

Fake News, Politics, and Popular Culture NCOM3219

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit

A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 26. Noncredit

tuition $650.

Deanne Dunning

Karen Kramer

In our culture, control of image is essential for success. It’s what makes us want to buy one brand rather than another or vote for a particular candidate. This course explores the power of imaging and the methods by which a marketable personality (for a product, service, organization, or individual) is defined, developed, and communicated. Topics covered include strategies for balancing the emotional and the rational aspects of a message, finding a position with “soul,” and using research to full advantage. We explore the way imaging practice is shaped by the exploding world of media and the way imaging affects the corporate bottom line. Video and audio presentations and case studies help students understand the imaging process and acquire the know-how to evaluate and use it. This course is designed for current or aspiring corporate communicators, brand and marketing managers, graphic designers, media and advertising professionals, and anyone interested in promoting a product, service, or organization, whether for-profit or not-forprofit. (3 credits)

When it comes to current events, especially politics, who really gives us the truth, and how is it disseminated? Should we rely on mainstream broadcast and cable news? Is the “fake news” from late-night talk shows, Hollywood movies, and independent documentaries more, less, or just as reliable? To find the truth in news, documentary media, and reality-based media, the viewer must be able to distinguish fiction and propaganda from reality. In this course, various media are analyzed to reveal the methods by which actual documentary material can be manipulated to create fake news. Clips from government propaganda films (U.S. and foreign), Hollywood films about recent and current events, documentaries, and conventional and unconventional news programs are viewed and discussed. These are compared with alternative modes of getting out the news, especially new online media represented by YouTube, blogs, and social media but also traditional media such as song (calypso, folk, and rap). (3 credits)

Race, Ethnicity, and Class in Media NCOM3166

Introduction to Digital Design NCOM3200

A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit

A 15 sessions. Mon., 7:00–9:45 p.m., beg. Aug. 25. Noncredit tuition $1,070.

tuition $650.

Ira Robbins

Michelle Materre

Digital design is now ubiquitous, applied to all kinds of commercial, fine art, and personal work. This course covers the principles of electronic graphic design, typography, and color theory. Students produce projects using photographs, text, and drawn elements such as logos, creating designs that have visual impact and convey intended meaning. Technical instruction covers Adobe Photoshop, InDesign, and Illustrator tools and capabilities; publishing with Adobe Acrobat; and formatting files for posting on the Internet and copying to DVD. Taught on the Macintosh platform. (3 credits)

This course analyzes media images from the broad spectrum of the industry (Hollywood cinema, independent film, news media, etc.) in order to reflect on how these images shape people’s ideas about race, class, and ethnicity. Our analysis highlights and critiques diverse images from the perspectives of social and political significance, stylistic influences, and cultural history. A wide range of film and video is screened and discussed. We first examine the portrayal of people of color in mainstream movies, contemporary and classic. We then discuss the development of independent filmmaking in communities of color, especially African-American, Asian-American, and Latino. We focus on the ways independent filmmakers of color have represented their own identities and experiences in and through the media they have created. How do their images differ from those in the dominant media? What influence do their images have in their own communities and in the dominant community? (3 credits) Fundamentals of Web Design NCOM3210 A 15 sessions. Mon., 7:00–9:45 p.m., beg. Aug. 25. Noncredit tuition $1,075. Frederick Murhammer

Everyone now has a presence online, and knowing how to construct and maintain a basic website is a necessary skill for every professional. In this course, students learn basic skills in Web design programming (HTML and CSS) and Web graphics by developing individual projects. The emphasis is on front-end Web design and learning about different formats and platforms as well as browser compatibility. Each student designs and builds a professional portfolio and/or project website. Taught on the Macintosh platform. (3 credits)

Writing Across Media NCOM3241 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $730.

ONLINE

Carol Dix

Professional writers produce copy for a variety of media: They write topof-the-line stories for local, national, and global newspapers; features for national, regional, and special-interest magazines; copy for corporate publications, such as newsletters, house magazines, company brochures, and annual reports; PR, such as press releases and press briefings; copy for direct-mail campaigns and advertising; promotional materials for sales and, in the nonprofit sector, fundraising campaigns; and copy for nonprint media such as radio, TV, and multimedia, including the Internet. This writer’s workshop is open to beginners as well as those with various kinds of writing experience. Students experiment with writing in different styles and share their writing for class discussion. They come away from the workshop with a range of practical writing skills that can be readily applied in different kinds of media. (3 credits)

For help in interpreting course descriptions, see chart on page 72.

MEDIA STUDIES AND FILM

FILM STUDIES

Social Media Mashup NCOM3305 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $780.

ONLINE

Josephine Dorado

In recent decades, the practice of media collaboration has been redefined by technologies that enable people to communicate and share environments across the globe. Social networking, blogging and vlogging, wikis, instant messaging, webcasting, and gaming environments are just a few of the methods available. We live in a world of ever-expanding networks, and the ways we process and “mash up” the sounds, images, multimedia, and data reflect the evolving connections between us. The very process of participation has evolved with the advent of these technologies, profoundly affecting business practices, education, creative processes, community life, and democratic citizenship. We have moved as a society from isolated, passive taking in of information to active engagement with others in reshaping the world. We are a participatory culture. This course introduces the concept of social media and the mashup process as collaborative cultural exchange. While studying remix culture and collaborative process, students develop a variety of projects that involve mashing up media using Web-based techniques of media creation, editing, sharing, and online presentation. The result is a series of vignettes reflecting the distributed nature of our natural dynamic and bringing us together in cohesive cultural fusion. (3 credits)

These courses enable students to analyze film and related screen media from a variety of perspectives and appreciate cinema art and its history in a global context. Students learn to make surer and sounder judgments about their own film experiences and to speak and write about those judgments with clarity and skill. The Art of Film NFLM3411 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit tuition $650. John Freitas

We explore a range of practical and theoretical issues related to film aesthetics as we study the many ways directors combine the elements of film to produce expressive and singular works of art, striving to create the perfect balance or integration of form and content. The class considers the essential properties of the medium—mise-en-scène, cinematography, editing, and sound—as exemplified in selected motion pictures. Filmmakers discussed include Atom Egoyan, Robert Bresson, Fernando Meirelles, Jean-Luc Godard, Werner Herzog, Alfred Hitchcock, Abbas Kiarostami, Terrence Malick, Orson Welles, and Wong Kar-Wai. This course is ideal both for students who wish to learn how to analyze cinematic texts and for production-oriented students taking Filmmaking Studio or related courses. Students are required to view some films outside of class. (3 credits)

MEDIA STUDIES AND FILM

Introduction to Cinema Studies NFLM2400 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit

Director and Editor: Martin Scorsese and Thelma Schoonmaker NFLM3011

tuition $650; includes screening series below.

A 5 weeks, Aug. 25 thru Sept. 29. Noncredit tuition $220.

John Freitas

Rebecca Qidwai

Everyone appreciates film, but cinema studies is not merely movie appreciation. As an academic discipline, cinema studies explores the techniques filmmakers use to make meaning and the various frameworks within which viewers understand those meanings. This course offers an overview of the key concepts of cinematic communication and meaning: the shot and its relation to other shots in a sequence; the composition of shots; camera movement; editing; sound; mise-en-scène; and the relationship between form and content. These aesthetic concerns are grounded in theoretical approaches, including realism, genre, auteurs, stars and national cinemas, and methodologies based on ideology, psychoanalysis, feminism, and postmodernism. Students view and discuss a range of classic films (and excerpts from others), developing a cinematic vocabulary and the ability to read a film through critical analysis. Students are also encouraged to see and critique current first-run features in order to explore one another’s reactions to today’s commercial cinema. Continuing education students in this course attend screenings immediately after lectures at no additional cost. (3 credits)

The 37-year collaboration between director Martin Scorsese and editor Thelma Schoonmaker has produced some of the most memorable and widely lauded American films of all time. As a devoted student and fan of the cinema, Scorsese repeatedly returns to themes of morality, guilt, corruption, and crime and often makes reference to classic gangster and western films of the past. His films owe much of their form—the use of slow motion, long tracking shots, and rapidly edited MOS montage sequences—to Schoonmaker’s distinctive editing. Schoonmaker edited Scorsese’s first film, Who’s That Knocking at My Door (1967), when he was a student at NYU. There she also met filmmaker Michael Wadleigh; she later earned her first Academy Award for editing his documentary Woodstock (1970), a film noted for its innovative use of superimpositions and freeze frames in the nonfiction mode. Students are expected to watch and write about one film each week outside of class: Raging Bull (1980), Goodfellas (1990), The Departed (2006), Casino (1995), and The Aviator (2004). Notably, Taxi Driver (1976) was not edited by Schoonmaker; differences in the work will be examined. Class readings include contemporary reviews of films and essays by film historians and scholars. This is one of four five-week courses on cinema auteurs and director–editor collaborations that were particularly influential in developing the art of editing. These courses complement one another when taken sequentially. (1 credit)

Introduction to Cinema Screening Series NFLM0400 A 15 sessions. Wed., 8:00–9:50 p.m. beg., Aug. 27. Noncredit tuition $125. John Freitas

Vertigo (Alfred Hitchcock, 1958), In the Mood for Love (Wong Kar-Wai, 2000), Days of Heaven (Terrence Malick, 1978), Night of the Hunter (Charles Laughton, 1956), The Sweet Hereafter (Atom Egoyan, 1997), The Conversation (Francis Ford Coppola, 1974), Last Year at Marienbad (Alain Resnais, 1961), Salaam Bombay! (Mira Nair, 1988), Ugetsu Monogatari (Kenji Mizoguchi, 1953), Do the Right Thing (Spike Lee, 1989), The Conformist (Bernardo Bertolucci, 1970), 3 Women (Robert Altman, 1977), Peeping Tom (Michael Powell, 1960), Sana toit ni Loi (aka Vagabond) (Agnes Varda, 1985), and The Lady Eve (Preston Sturges, 1941). Titles are subject to change. Noncredit students can register for the screening series alone, without the lectures (NFLM 2400). Students registering for the lectures are expected to attend the screenings, at no additional cost. (noncredit) Movements in World Cinema Part 1: The Emergence of an Art Form NFLM2500 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit tuition $650. Heliodoro San Miguel

Like all art forms, motion pictures are influenced by a number of factors: aesthetic, technological, economic, social, political. Part 1 of this two-part course is an overview of the major events and movements in world cinema from film’s beginnings to the 1960s. Does the cinematic point of view shape one’s perspective on history? Can film be used effectively to promote dialogue, discourse, and intercultural awareness? When is film effective as social commentary? What impact does the globalization of society today have on cinematic representation? We study selected films about American society before, during, and after slavery; films about postcolonial Africa and Asia; and pre-Marxist films from Latin America. Excerpts and full-length films are viewed and discussed. Students are required to view some films outside of class. (3 credits)

ONLINE

Director and Editor: Quentin Tarantino and Sally Menke NFLM3041 A 5 weeks, Nov. 3 thru Dec. 8. Noncredit tuition $220.

ONLINE

Rebecca Qidwai

This course explores the collaboration between the film director Quentin Tarantino and the film editor Sally Menke (1953–2010). Tarantino directs films that are known as much for their explicit violence and language and charged themes as for their distinctive brand of storytelling and signature stylized references to film genres and cinematic iconography, owing much to Menke’s editing. Tarantino was quoted as saying, “The best collaborations are the director–editor teams” and that Menke was his “only truly genuine collaborator.” It was to Menke that Tarantino dedicated Django Unchained (2012), the first film he made after her untimely death. Students are expected to watch and write about one film each week outside of class: Reservoir Dogs (1992), Pulp Fiction (1994), Jackie Brown (1997), Kill Bill (2002–2004), and Inglourious Basterds (2009). Class readings include contemporary reviews of Tarantino’s films and essays by film historians and scholars. This is one of four five-week courses on cinema auteurs and director–editor collaborations that were particularly influential in developing the art of editing. These courses complement one another when taken sequentially. (1 credit) Films of Andrei Tarkovsky NFLM3042 A 5 sessions. Tues., 6:00–7:50 p.m., beg. Sept. 30. Noncredit tuition $220. Anthony Anemone

In this course, we explore the major works of Andrei Tarkovsky (1932–1986), the greatest of the wave of Russian filmmakers who emerged after the death of Stalin. Influenced by the great European and Japanese directors of the 1950s and 1960s (Antonioni, Bergman, Bresson, Kurosawa), Tarkovsky combined philosophical and metaphysical themes, mesmerizing long takes, and recurring images to create a unique visual style that revolutionized Russian cinema in the 1960s and 1970s. Students are expected to watch and write about one film each week outside of class: Ivan’s Childhood (1962), Andrei Rublev (1966), Solaris (1972), The Mirror (1975), and Stalker (1979). Class readings include Tarkovsky’s own writings and essays by film historians and scholars. This is one of four five-week courses on cinema auteurs who were particularly influential in developing the art of editing. These courses complement one another when taken sequentially. (1 credit)

MEDIA STUDIES AND FILM

Films of Sergei Eisenstein NFLM3043

Political Cinema NFLM3343

A 5 sessions. Tues., 6:00–7:50 p.m., beg. Nov. 4. Noncredit tuition $220.

A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

Anthony Anemone

Anthony Kaufman

This course explores the major works of Sergei Eisenstein (1898–1948), one of the giants of not only Russian but world cinema. A filmmaker, film theorist, and teacher, Eisenstein developed the theory and practice of “montage”—the dialectical notion that meaning in a film is created primarily by the juxtaposition of individual shots. The aesthetic brilliance, technical experimentation, and political commitment of his films continue to influence both mainstream and politically committed cinema today. Students are expected to watch (and write about) one film each week outside of class: Strike (1925), Battleship Potemkin (1926), October (1927), Alexander Nevsky (1938), and Ivan the Terrible, Part 1 (1942). Class readings include Eisenstein’s own writings, contemporary reviews of his films, and essays by film historians and scholars. This is one of four five-week courses on cinema auteurs who were particularly influential in developing the art of editing. These courses complement one another when taken sequentially. (1 credit)

Political crises often produce powerful and provocative images and stories. This course looks at cinema and media from and about some of the world’s most contentious political hotspots, including Southeast Asia, Afghanistan and Iraq, Israel and the Arab world, and (most recently) Ukraine and Russia. Surveying both fiction and documentary works, the course examines concepts of national memory, propaganda, and the war film along with theories of trauma, ideology, and the Other. The class also examines whether images and stories can lead to social and political change. Combining historical and aesthetic approaches, the class surveys films about World War II (Why We Fight and Triumph of the Will), the war in Vietnam (Winter Soldier and Apocalypse Now), Iraq and Afghanistan (The Hurt Locker and My Country, My Country), the Israeli–Palestinian conflict (Paradise Now and Waltz with Bashir), Egypt (The Square), and other topics. (3 credits)

Directing Actors for Film and Television NFLM3316

A 15 sessions. Mon., 8:00–9:50 p.m., beg. Aug. 25. Noncredit

ONLINE

Skin Off Your Face: The Anatomy of Horror Films NFLM3430

A 15 sessions. Fri., 4:00–6:40 p.m., beg. Aug. 29. Noncredit tuition $780.

tuition $650.

Laura Morgan

MM Serra

This intensive workshop explores every stage of working with actors, from the initial conception of the character to final editing for performance. Each stage of directing is described in a step-by-step process that enables directors to work with actors trained in a variety of ways. Weekly lectures introduce the general techniques of directing and the diverse working methods of outstanding directors. As their main project, students select, analyze, cast, and rehearse a scene from a published screenplay. Professional actors from the New York community perform the roles. Scenes are presented in class, critiqued, and performed again to demonstrate techniques and principles discussed in lectures. The workshop nature of the course enables students to learn from classmates’ experiences. Classwork is enriched by reading and research on the techniques of students’ favorite directors. (3 credits)

Filmmakers working in the horror genre foreground and manipulate a culture’s collective fears. This course is a political survey of horror films that reveal a direct relationship to the social unconscious. We begin with several classics: The Cabinet of Dr. Caligari, Nosferatu, King Kong, Frankenstein, and The Bride of Frankenstein. We then examine some more or less contemporary pictures as examples of newly identified subgenres, such as rape-revenge, splatter, and slasher films. Readings from Georges Bataille, William Everson, Stephen King, Judith Butler, and Carol Clover help us explore and expand on the concepts of terror and gender as we discuss the horror film in relation to themes like performativity, identification, and female and cross-dressing serial killers. (3 credits)

Documenting Our World: A History of Nonfiction Film NFLM3405

A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Rebecca Alvin

Since 1895, when Thomas Edison filmed his friend Fred Ott’s sneeze, there has been intense interest in the ability of motion picture cameras to document our world. Filmmakers have recorded events around them, whether a sneeze or a major historical event, in hopes of gaining a deeper understanding of themselves and their environment. This drive, combined with developments in thought and technology, resulted in what we now call documentary or nonfiction film. This course is an exploration of the history of documentary film from the Lumière brothers to Michael Moore, examining landmark works and presenting various movements, styles, and notions of truth. This survey equips students with the tools needed to navigate the increasingly complex world of audiovisual information that many unquestioningly accept as truth. (3 credits)

Cinema and Ideology NFLM3433 ONLINE

Marina Shron

From Eisenstein and Buñuel to Godard and Pasolini, ideology has defined both the content and the language of cinema. Film, more than any other medium, blurs and almost erases the line between ideological and aesthetic elements. The visual power of cinema and its mass character made it a perfect instrument of propaganda, capable of imposing on the viewer either a particular ideological framework (as in the Soviet Union and Nazi Germany) or an ideological void (Hollywood and commercial culture). We examine the relationship between cinema and political thought in the 20th century—a relationship full of contradictions. We discuss the ideological basis of major cinematic movements from the 1920s through the 1980s, including Dada and surrealism, French New Wave, and Italian neorealism, as well as ideological dimensions in the work of great filmmakers like Orson Welles, Jean-Luc Godard, Rainer Werner Fassbinder, and Stanley Kubrick. (3 credits)

MEDIA STUDIES AND FILM

FILM AND MEDIA PRODUCTION

Vamps, Virgins, and Goddesses: Gender, Sexuality, and Nationhood in Popular Indian Cinema NFLM3492 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Rebecca Qidwai

This course introduces the genre of popular Indian films known as Bollywood, with a focus on constructions of gender, sexuality, and national identity in the film narratives. We begin by exploring the Indian cinema of the period immediately preceding the birth of the Indian nation-state. We analyze articulations of gender and sexuality in the colonial context and then trace them discursively through the decades that follow. We treat popular cinema as a social text that illuminates changing ideas about gender roles and sexual behavior in modern India. The course is divided into four historical sections: the colonial period (1930s), the era of Nehru nationalism (1950s), the social justice era (1970s), and the commodity fetish period (2000s). (3 credits)

In these courses, students learn the craft of film and digital media production, creating sophisticated portfolio-ready projects. All courses can be taken individually for undergraduate credit or on a noncredit basis. Students can earn a certificate in film production (see below) or take production courses as part of an undergraduate degree program of study. For information about degree programs, call the Office of Admission at 212.229.5630 or email nsadmissions@newschool.edu.

New School Film Shows Students have opportunities to exhibit their works-in-progress at open screenings and industry panels held several times a year. For more information or to enter a project, call 212.229.8903 or visit www.newschool.edu/ce/filmproductioncert.

Certificate in Film Production The New School awards a Certificate in Film Production for the successful completion of eight courses that guide the student through the contemporary art and craft of filmmaking using both traditional 16mm film and HD digital technologies. The courses explore all creative aspects of filmmaking and professional development in the film industry. A sequence of three production courses guides each student through the completion of a personal film project. These courses are complemented by workshops and seminars in which students explore aesthetic aspects of film and digital production, including directing, cinematography, screenwriting, and business. The certificate program is open to committed students at any level of experience. There is no formal admission process except for students who require a visa to enter the United States. For certificate program advising, call 212.229.8903. Prospective certificate students who are not U.S. citizens or permanent residents should call 212.229.5630 for important admission and visa information. Students studying full-time can complete the certificate in four academic terms. Students have the opportunity to submit their finished films for the annual New School Invitational Film Show. Six required courses must be taken sequentially or concurrently, as indicated: • The Art of Film • Filmmaking Studio 1 (can be taken concurrently with The Art of Film) • Film 2: Intermediate Filmmaking Lab • Film 3: Advanced Preproduction (can be taken concurrently with Film 2) • Film 4: Advanced Film Production • Film 5: Advanced Postproduction and Editing The two additional courses are electives from our extensive curriculum in Film Studies, Film and Media Production, Media and Film Business, and Screenwriting. Certificate approval is based on attendance and participation, comprehension of theories and techniques, and final projects. General policies governing New School certificate programs are described in the Educational Programs and Services section of this catalog (see Table of Contents).

ONLINE

This logo indicates that the course is offered online. See page 63 or visit the website at www.newschool.edu/online for more information.

MEDIA STUDIES AND FILM

Filmmaking Studio 1 NFLM3660

Film 3: Advanced Preproduction NFLM3670

A 15 sessions. Wed., 7:00–9:45 p.m., beg. Aug. 27. Noncredit

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit

tuition $1,440.

tuition $650.

Kathleen Rugh

William Pace

B 15 sessions. Thurs., 4:00–6:45 p.m., beg. Aug. 28. Noncredit

Student filmmakers learn how to lay the groundwork for an advanced narrative, documentary, or experimental film or digital motion picture project. They learn to develop a visual approach to written material. In the first weeks of the course, the class examines a variety of approaches to visual storytelling, from the concept to dramatic structures, character development, tone, and style. Each student develops a script for a seven- to ten-minute film based in or around New York City. In the second half of the course, students engage in a series of exercises designed to help them find the right artistic and practical approaches to their scripts while they continue refining their stories. The important ways in which short films differ from full-length features are discussed. The workshop ends with shot breakdowns, planning, storyboarding, and location scouting. Prerequisite: Filmmaking Studio 2 or equivalent experience. This course must be taken before Film 4: Advanced Film Production. This course was formerly called Film 2: Advanced Preproduction and Development. If you have taken that course, do not take this one; it is the same course. (3 credits)

tuition $1,440. Melissa Friedling

This course is an opportunity for the serious beginner to learn the fundamentals of 16mm filmmaking. Students engage in a series of exercises in basic cinematography, lighting, scriptwriting, directing, and editing. Discussions emphasize the theoretical and practical framework of film language, and student work is critiqued by both the instructor and classmates. Students are expected to crew on one another’s projects to develop production skills and gain on-set experience. A substantial commitment of time outside of class is required. Cameras and digital editing equipment are provided, but students will incur additional modest costs for film stock, developing, and supplies. By the end of the course, students will have experienced all aspects of MOS (nonsync) filmmaking, from preproduction to production and postproduction, and will be ready for more ambitious personal film projects at the next level of production courses. Familiarity with the Macintosh platform is assumed. (3 credits) Film 2: Intermediate Filmmaking Lab NFLM3632 A 15 sessions. Tues., 12:10–2:55 p.m., beg. Aug. 26. Noncredit tuition $1,440. Jeremy Brooke

To realize an artistic vision in film requires an in-depth understanding of the technology, process, and tools. In this workshop, students explore advanced concepts and techniques in film and digital media production through a series of exercises that evolve into increasingly complex collaborative projects. Topics covered include operation of advanced 16mm film and HD digital cameras, film stocks and video formats, the structure of a film crew and the responsibilities of its members, lenses and lighting equipment, shooting exteriors and interiors, gripping, production design, field sound recording, preproduction planning and breakdowns, film and HD workflows, and the collaborative process. Working as a team, students set up and shoot several scenes in class and two scenes on location using sync-sound film and HD cameras and rotating crew positions. The scenes are then screened and critiqued by the class. Students hone their skills and work collaboratively to acquire the technical knowledge necessary to execute professional film and video projects. Prerequisite: Filmmaking Studio 1 or Digital Video Production, or equivalent experience and permission of the instructor. This course was formerly called Filmmaking Lab: Art, Technology, and Tools. Do not take this course if you have taken Filmmaking Lab; it is the same course. (3 credits)

Film 4: Advanced Film Production NFLM3680 A 15 sessions. Wed., 7:00–9:45 p.m., beg. Aug. 27. Noncredit tuition $1,775. Marcus Turner

Students are guided in shooting their own narrative, documentary, or experimental films using HD digital video or 16mm film. All students in the class crew on one another’s productions as a way of practicing the teamwork that is part of filmmaking and in order to maximize the learning experience. The course covers preproduction (budgeting, casting, scheduling, locations, permits, releases, film stocks), directing (including script analysis and rehearsals), camera and lighting (with professional equipment like the Arriflex SR camera and Mole-Richardson and Lowel lights), sound (use of professional microphones and digital sound recorders), and editing (synching dailies and an editing approach). Students should expect to incur some personal expenses beyond the course tuition. Prerequisites: Filmmaking Studio 1, Film 2, and Film 3 or permission of the instructor. Because of space limitations, enrollment priority is given to degree and film certificate students. Bring your seven- to ten-page script to the first session. This course was formerly called Film 3: Advanced Film Production. If you have taken that course, do not take this one; it is the same course. (3 credits) Film 5: Advanced Post-Production Workshop NFLM3690 A 15 sessions. Wed., 7:00–9:45 p.m., beg. Aug. 27. Noncredit tuition $1,440. John Didato

This course is an overview of the entire postproduction and finishing process for students who have completed shooting a short film project. Techniques of film editing using AVID Media Composer are reviewed. Individuals edit their own projects, which range from narrative films to documentaries, experimental films, and hybrid pieces. The editing experience may vary greatly from student to student depending on the nature of the project. Class time is devoted to editing exercises, lectures, group discussions, screenings, and presentations by guest film professionals. Topics discussed and demonstrated include creating rhythm; dramatic arc and character emphasis in scenes; cutting on, after, and before movement; match cutting; symbolic and thematic editing; and A&B cutting for documentaries. The class also explores sound editing and design, color correction, screening formats for festivals, standard industry mastering options, and distribution. Prerequisite: Film 4 or permission of the instructor. Students must bring to the first session their own HD video or 16mm film footage ready to edit. This course was formerly called The Art of Editing: Finishing a Film. If you have taken that course, do not take this one; it is the same course. (3 credits)

MEDIA STUDIES AND FILM

Digital Video Production NFLM3700

Cinematography and Lighting NFLM3515

A 15 sessions. Tues., 7:00–9:45 p.m., beg. Aug. 26. Noncredit tuition $1,440.

A 15 sessions. Thurs., 7:00–10:00 p.m., beg. Aug. 28. Noncredit tuition $1,360.

Michele D. Beck

Marcus Turner

With digital cameras and computer editing equipment widely accessible, the possibility of creating engaging, professional-quality moving images is within virtually everyone’s reach. Digital video is an exciting and powerful medium of expression, but knowing how to use the tools isn’t enough to enable you to create a coherent and articulate video project. This course can help artists in any genre create works that are both technically and conceptually sound. Students work toward this goal by learning digital video editing and using it to experience the power of editing as creative expression. They are also introduced to production techniques, including the use of the digital camera, storyboarding, and basic lighting and sound. Several short video projects are completed during the term. There are no prerequisites, but familiarity with the Macintosh is assumed. Students have access to New School digital video cameras and editing software but must have a firewire drive. (3 credits)

Students explore theoretical and practical elements of cinematography, with an emphasis on lighting. While learning techniques of studio and location lighting, students also study historical and contemporary trends and styles. Theoretical topics include exposure, color theory, and filters. Professional techniques for altering the look of a film are demonstrated and discussed. Practical tests and scenes are shot with color and black & white film stocks and digital video. Students explore similarities and differences between film and digital formats, particularly in framing, contrast, and exposure. Film Production certificate students should take this course before Film 3: Advanced Preproduction; it can be taken concurrently with Film 2: Intermediate Filmmaking Lab. (3 credits)

Digital Editing: Fundamentals NFLM4627 A 15 sessions. Tues., 7:00–9:45 p.m., beg. Aug. 26. Noncredit tuition $1,440. Jeremy Brooke

Affordable and professional desktop editing software has given all filmmakers an economical and time-efficient way to edit their films using the exact same tools as the pros. Creating transitions, filters, titles, layered audio, and multiple versions has never been simpler, but knowing the tools is not enough. An understanding of editing conventions and the aesthetics of montage, continuity, and pacing is equally important. In this workshop, students learn both. Through lectures, demonstrations, and hands-on exercises, the course offers a conceptual and technical introduction to postproduction and nonlinear editing. Students become acquainted with workflow and HD video formats, as well as the basic functionality of Media Composer/Avid on Macintosh computers. Using their own pre-existing footage, students learn techniques for organizing media, editing picture and sound, and outputting to various formats. This course is not intended for students completing a Film 4 project. Bring digital video footage ready to edit and a firewire drive to the first session. (3 credits) The Aesthetics of Directing NFLM3510 A 15 sessions. Fri., 4:00–6:45 p.m., beg. Aug. 29. Noncredit tuition $780. Shimon Dotan

Your challenge as a director is to realize your vision on the screen. Designed for students who are making or planning to make their own films, this course covers the art and craft of directing. We analyze the work of classic and contemporary directors, observing how they use the language of cinema. Topics include framing and composition, camera angles, camera movement, blocking actors, visualizing action, creating a sequence, script breakdown, and techniques for establishing character, mood, and conflict. We explore different directing styles, such as the subjective approach of expressionism, the pursuit of authenticity in realism, and the narrative conventions of Hollywood. Students do a script breakdown and storyboard for a scene they then videotape. Short scenes produced on video in class demonstrate principles in practice. Noncredit students must bring their own camcorders; New School cameras are available only for credit students. (3 credits)

The Innovative Camera: Experiments in 16mm Filmmaking NFLM3631 A 15 sessions. Thurs., 7:00–10:00 p.m., beg. Aug. 28. Noncredit tuition $1,440. Joel Schlemowitz

This course explores the 16mm Bolex camera’s wide-ranging image-making possibilities. Using techniques that date back to the birth of cinema and the trick films of Georges Méliès, students learn to create in-camera effects and “ready-made” projects that go straight from the camera to the screen. Assignments alternate between the technical and the thematic. Shooting techniques (such as double exposure, matte shots, optical distortion, single frame and time exposure, and hand developing) are explored in class; outside of class, students create short projects based on themes (such as cine-portrait, “camera roll,” and image-sound interaction). Historical background is provided through screenings of films by Georges Méliès, Hans Richter, Marie Menken, Stan Brakhage, Rose Lowder, Bruce Bailey, Jim Hubbard, and Rosalind Schneider. Necessary camera and editing equipment is provided. Students will incur personal costs for film stock, developing, and supplies but can expect to spend less than in regular filmmaking courses. Each student is expected to complete three projects, one of which will be selected for a final screening. No previous film experience is required. (3 credits) Advanced Digital Production Techniques Intensive: Sony, Arri, RED NFLM3001 A 3 sessions. Fri. thru Sun., 12:00–6:00 p.m., beg. Sept. 26. Noncredit tuition $285. Mariusz Cichon

Independent filmmakers now have several options for high-end cameras and digital workflows that can create motion pictures with a look that rivals productions made with much larger budgets. This workshop is a hands-on introduction to the leading professional packages of Sony F65, Arri Alexa, and RED Epic. There is discussion and demonstration of camera operation, the advantages and limitations of different cameras, capture formats, data management (basic treatment of raw footage and transcoding options), and postproduction workflow. The instructor, a digital media expert, leads the discussions and brings the latest equipment packages for in-class testing. Students have an opportunity to shoot footage and process the data in class and, by the end of the workshop, should be able to make informed decisions about shooting and posting with these cameras and workflows on their own projects. Credit students must submit a project dossier within one week of the last day of class. (1 credit)

MEDIA STUDIES AND FILM

Location Sound Recording: Weekend Workshop NFLM3003

Remake: Production Workshop NFLM3077

A 3 sessions. Fri., Sat. & Sun., 12:00–6:00 p.m., beg. Oct. 3. Noncredit

A 3 sessions. Fri., Sat. & Sun., 12:00–5:20 p.m., beg. Oct. 10. Noncredit

tuition $285.

tuition $480.

Jeanne Gilliland

Timothy Sutton

The importance of capturing high-quality sound when filming on location cannot be overestimated; the inconvenience and expense incurred as a result of poorly recorded sound are considerable. This intensive course, taught by a veteran of the TV and film industry, introduces best practices of recording and mixing sound on location. Students learn to achieve professional-quality results with the equipment widely used in the industry today. Practical challenges introduce students to the basic skill of conducting informed “field diagnostics”—assessing the location and choosing the best recording technique and equipment for the situation. After an introduction to the principles of acoustical theory (what is sound, and how does it behave in different environments?), students engage in recording and listening exercises. Lessons include training in the use of microphones, recorders, and mixers and instruction on line-up, levels, indicators and monitoring, compressors and limiters, boom operation, recording to camera, noise, and set protocol. (1 credit)

Influenced by filmmakers like Michel Gondry and Wes Anderson, as well as the countless digital mashups and tributes on sites like YouTube, the remake is truly a 21st-century production process. In this three-day intensive course, students follow the tradition of copying the work of “masters” as a way to gain an appreciation of and master art and craft. Students develop a better understanding of filmmaking by deconstructing, reconstructing, and reproducing scenes from feature films, but with a DIY difference. The class views four films of historic note, then “crews up” to re-create specific scenes from a selected film down to the frame, using inexpensive resources immediately at hand. Crews are challenged to use makeshift alternatives and make cost-saving choices in every detail as they create a textured, atmospheric scene. The class is a hands-on creative experience that ignites the collaborative spirit good filmmaking requires and immerses students in cinematic history and theory as well as the art and craft of production, cinematography, production design, costume design, acting, directing, and editing. Students’ finished short pieces will be ready for festival screening. Prerequisite: Digital Video Production or the equivalent. (1 credit)

MEDIA STUDIES AND FILM

FILM AND MEDIA BUSINESS

The Business of Hollywood NFLM3473 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

New technologies and changes in production and distribution models have profoundly affected the film and media production business. Our courses provide information and tools to help aspiring professionals navigate these constantly changing waters. Students taking film and media production courses, as well as those interested in careers in media management, are strongly encouraged to take courses in this area. The Producer’s Role NFLM3456 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Aug. 28. Noncredit tuition $650. Charles Schultz

Once a film is in preproduction, the producer is responsible for providing the best possible support system. The producer must organize all the elements, human and material, needed to implement the creative team’s artistic vision. A producer’s duties may include legal and accounting work; revising the script; casting actors; finding props, wardrobe, and equipment within budget; and working with the director and editor during and after the shoot. Low-budget and student filmmaking provides invaluable experience as preparation for larger productions, teaching students how to assess technical materials and the skills and talents of above- and below-the-line personnel. This course tracks the producer’s role from the selection of material to the delivery of the production. Students choose a project and spend the term developing a professional-quality proposal. (3 credits)

ONLINE

Amotz Zakai

Theodore Roosevelt said, “Far better to dare mighty things, to win glorious triumphs, even though checkered by failure, than to take rank with those poor spirits who neither enjoy much nor suffer much.” Deal making in Hollywood involves both risk and reward. Rather than listening to instructors lecturing for hours on how negotiations work and movies are put together, students in this course actually participate in hypothetical business scenarios. The unique role-playing structure is designed to provide a glimpse of the real-world machinations of Hollywood deal making. Every student controls his or her learning curve: Pay attention, and you’ll learn from your mistakes; fall asleep at the wheel, and you’ll quickly stand out to the world. The course provides essential business knowledge for aspiring filmmakers and executives entering the film business. Readings and lectures supplement the primary role-playing exercise. (3 credits) Music in the Media Business NFLM3483 A 15 sessions, Tues., 4:00–5:50 p.m., beg. Aug. 26. Noncredit tuition $650. Joshua A. Rabinowitz

The music industry, once dominated by record labels, now consists of multifaceted and interconnected global businesses having little to do with records or CDs. The significance of other kinds of media in this rapidly changing business continues to grow, with distribution models migrating from the album and the music video to the downloadable single, the “everything” deal, and even the ringtone. This course offers an insider’s overview of the music business and its relationships with the media as a whole. We survey the experiences of industry professionals, examine case studies, and explore potential new directions for this complicated industry—changes that we, as music makers and consumers, might use to our advantage. Industry professionals join us as guest speakers. (3 credits)

MEDIA STUDIES AND FILM

SCREENWRITING

Script Analysis NSRW2800 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit

Students can take screenwriting courses for undergraduate credit or on a noncredit basis. For those interested in a structured program of study, The New School offers a certificate (see below). The certificate curriculum has been cooperatively designed by our distinguished faculty to create a cohesive program for the serious student. Upon completing the core sequence of screenwriting courses, students have a comprehensive grounding in story, character, theme, action, visuals, and dialogue, as they have been carefully guided through the entire screenplay writing process. Early registration is strongly recommended. In order to ensure the quality of each course, enrollment is strictly limited. If a desired course is filled, call 212.229.8903 for advising.

Certificate in Screenwriting The New School awards a Certificate in Screenwriting for successful completion of six approved courses. The certificate program is open to committed students with or without previous experience. There is no formal admission process, but students will need the permission of the instructor or a School of Media Studies advisor to register for Screenwriting 2 and 3. Upon completion of the sequence of courses, students should have a professionalquality screenplay ready for the marketplace. Four required courses must be taken sequentially: • Script Analysis • Screenwriting 1: Fundamentals • Screenwriting 2: Writing the Screenplay • Screenwriting 3: Finishing the First Draft Students select two courses from the Film Studies or Media and Film Business curriculum to complete the certificate program. The certificate program can be completed in four academic terms (including summer term), but a longer course of study is acceptable. Certificate approval for each course is based on attendance and participation, comprehension of ideas and techniques, and quality of the final project. General policies governing New School certificate programs are described in the Educational Programs and Services section of this catalog (see Table of Contents). For more information and program advising, call 212.229.8903. (International students should call 212.229.5630 for important admission information.)

tuition $760. Gregory Takoudes

B 15 sessions. Thurs., 8:00–9:50 p.m., beg. Aug. 28. Noncredit tuition $760. Loren-Paul Caplin

C 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $760.

ONLINE

Leslie McCleave

Whether you are a writer, a director, or a producer, an understanding of story structure and dramatic principles is essential. In-depth analysis of a screenplay’s storyline, characters, dialogue, images, and theme reveals a wide range of narrative techniques and storytelling styles, from Hollywood to independent and everything in between. Students view successful films and analyze their scripts, learning how essential information is conveyed, how story elements are communicated through visual means, how dramatic momentum is built with cause and effect, and what makes a character credible and complex. Students end the term with the ability to analyze any film script and apply that knowledge to their own screenwriting. (3 credits) Screenwriting 1: Fundamentals NSRW3810 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit tuition $760. Jonathan R. Danziger

B 15 sessions. Thurs., 6:00–7:50 p.m., beg. Aug. 28. Noncredit tuition $760. Loren-Paul Caplin

C 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $760.

ONLINE

Gregory D. Takoudes

This course for the beginning screenwriter introduces the tools, vocabulary, and techniques used to tell a screen story and put an original idea into outline form. Assignments illustrate basic three-act structure, economical use of dialogue, visual storytelling elements, development of complex characters, revelation of background information, and effective use of dramatic tension. Students become familiar with screenwriting terminology as scenes from wellknown films are analyzed on video to reveal structural elements in the writing. By the end of the course, each student will have developed an original idea into a detailed step outline for a feature-length screenplay and written the opening scene. Prerequisite: Script Analysis. (3 credits) Screenwriting 2: Writing the Screenplay NSRW3820

Online Certificate in Screenwriting All four required courses and selected electives are offered online, so that students can now complete the Certificate in Screenwriting entirely online or combine on-campus and online study. Visit www.online.newschool.edu for more information about our distance learning environment. O P E N H O U S E W E E K AT T H E N E W S C H O O L August 12–16 Walk in, call, or email to register for a class or receive advising on how to get started on your college degree. 66 West 12th Street New York City 212.229.5615 nspeinfo@newschool.edu

A 15 sessions. Tues., 4:00–5:50 p.m., beg. Aug. 26. Noncredit tuition $760. Leslie McCleave

B 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $760.

ONLINE

Marina Shron

Students work on finishing the first half of a feature-length screenplay. They begin by creating a detailed outline to solidify structure and simplify the writing process. In class, writers analyze their own and one another’s stories for strength of imagery, clarity of underlying ideas, and effective use of elements such as unity, tension, obstacles, exposition, foreshadowing, and cause and effect. Writing exercises help students develop unique, complex characters. Finally, students use their finished outlines to write the first 50 pages of a draft in proper screenplay format. Weekly page requirements keep them on track, while in-class reviews offer support, guidance, and direction. Prerequisite: Screenwriting 1 or permission of the instructor. (3 credits)

MEDIA STUDIES AND FILM

Screenwriting 3: Finishing the First Draft NSRW3830 A 15 sessions. Wed., 8:00–9:50 p.m., beg. Aug. 27. Noncredit

Episodics and Procedurals: Crafting The Original One-Hour Pilot NSRW3852

tuition $760.

A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $760.

Deirdre L. Fishel

Ian Grody

Permission required. Students undertake the challenging task of finishing their feature-length screenplays. In workshop, with careful guidance by the instructor, each writer re-examines, tightens, and rewrites the outline and existing scenes, giving close attention to structure, logic, motivation, complex character development, tone, and theme. There is an emphasis on the specific problems of successful scene writing and on development of a professional writing style that makes for a compelling presentation on the page. Successful screenplays are studied as examples. The goal for each student is to finish the term with a polished and professional first draft. Prerequisite: at least 50 pages of an original screenplay, properly formatted. Students can attend this course in person or online. Students on campus participate in lectures and workshops; online students access the same lectures and participate in asynchronous workshops. Students are encouraged to choose one mode of attendance and notify the instructor at the beginning of the course. (3 credits)

From period dramas like Mad Men and Boardwalk Empire to fairy tale– inspired procedurals like Grimm to musicals like Smash and Glee, the diversity of shows on TV today is unprecedented. The industry is always innovating and looking for fresh ideas. This course begins with a guided analysis of contemporary network and cable pilot scripts, ranging from the serialized (Breaking Bad, Big Love, Mad Men) to the procedural (Grimm, Awake, Psych). Students examine the structures, episodic breaks, and essential elements of functional origin stories. They are challenged to identify the qualities of a script that make it special to viewers. A discussion of dramatic questions explored in the course of a series or season and of unique selling points follows. Each student devises a five- to ten-page treatment or pitch document describing an idea for an original series, including character breakdowns, a pilot synopsis and brief outline of the first season, a description of episode structure (A and B stories), and a statement of theme and tone. After these have been reviewed, students go on to write the first and second acts of their original scripts. (3 credits)

ONLINE

Screenwriting for the Web NSRW3837 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $760.

ONLINE

William Pace

Episodic shows were previously the exclusive domain of the major TV studios, but with bandwidth constantly increasing, the barriers to independent Internet video series have come down. Worldwide distribution at the click of a mouse button is available for any writer-creator of a series. Web series such as LonelyGirl15, Ask a Ninja, and Liam Sullivan’s Kelly videos demonstrate the popularity of this new format; their creators, formerly unpaid amateurs, are now successful professionals. This course begins with a review of the essentials of visual dramatic storytelling and an examination of produced Web shows to help students understand what works and what doesn’t work in this new medium. They become familiar with the unique demands of writing narratives that extend over a number of “webisodes” with a short running time. Each student writes a series proposal, a series “bible,” an outline for a first-season run, and several opening webisode scripts. The production, uploading, and marketing of Web series are discussed. (3 credits) TV Sitcom Writing NSRW3842 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $760.

ONLINE

Mort Scharfman

One of the most popular genres on TV today, with some of the most innovative writing in any genre, the TV sitcom is no joke. This course investigates the peculiar art of the sitcom and offers students the challenge of writing a half-hour TV comedy script. Students work step by step, developing a premise, creating an outline, writing pages, revising the draft, and critiquing the script in the classroom workshop. After analyzing a number of current and past televised sitcoms, students complete a script for an existing half-hour comedy (from a selection approved by the instructor). They also learn about the business of the sitcom and are prepared for professional work. (3 credits)

THE WRITING PROGRAM

THE WRITING PROGRAM Fundamentals Poetry Fiction Nonfiction

Master of Fine Arts in Creative Writing The New School offers the Master of Fine Arts in Creative Writing with concentrations in fiction, nonfiction, poetry, arts writing, and writing for children. For more information, visit www.newschool.edu/writing or call the Office of Admission at 212.229.5630.

Journalism and Feature Writing Special Topics FOR COURSE ADVISING, CALL 212.229.5611. w w w. n e w s c h o o l . e d u / c e / w r i t i n g p r o g r a m

Luis Jaramillo, Director Laura Cronk, Associate Director

Students come to The New School from across the United States and around the world to live the writer’s life in New York City. To study at The New School is to join a prestigious community of writers who are experimenting and evolving together. The New School offered one of the first creative writing workshops and pioneered a new philosophy of education. In the workshop model, a professional writer works closely with serious-minded students who write regularly and participate actively in class discussion of their own and classmates’ work. Long before the MFA program existed, The New School was committed to teaching and guiding new writers drawn to New York in search of inspiration, mentorship, and the company of fellow writers. Today, students at all levels study writing under the direction of master teachers who are themselves pre-eminent authors. Coursework emphasizes literature as a living art. Playing host to an extraordinary calendar of events— from readings and panels to book releases and award ceremonies—the School of Writing is an active part of today’s cultural dialogue. Enrollment is limited, so early registration for the course of your choice is recommended. If you have not had a college course in composition, you are encouraged to enroll in one of the Fundamentals courses before taking any other workshop.

The Leonard and Louise Riggio Honors Program: Writing and Democracy The Riggio program is a sequence of writing workshops and close reading seminars for students matriculated in undergraduate degree programs. Tuition assistance is provided for students admitted to the program. For more information, visit www.newschool.edu/riggio.

THE WRITING PROGRAM

FUNDAMENTALS

NEW Writing for Artists NWRW1030 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit tuition $730.

These courses are for students who are native or near-native speakers of English. For courses in English as a second language, see page 50.

Rebecca Reilly

Punctuation NWRW1012 A 5 sessions. Wed., 6:00–7:50 p.m., beg. Aug 27. Noncredit tuition $250. Randi Ross

B 5 weeks, beg. Aug. 26. Noncredit tuition $250.

ONLINE

Noelle A. Kocot-Tomblin

Second-guess yourself no more. This course provides a supportive structure for mastering proper punctuation. No punctuation mark is left unturned as students learn the use of commas, semicolons, apostrophes, quotation marks, em and en dashes, colons, parentheses, ellipses, question marks, and exclamation points. Each week, students write short essays in which they practice punctuation. Everyone gives and receives feedback as part of the ongoing discussion. (1 credit)

A 5 sessions. Wed., 6:00–7:50 p.m., beg. Oct 8. Noncredit tuition $250. Randi Ross ONLINE

Noelle A. Kocot-Tomblin

Good writing is the sum of its verbs, and every writer who wants his or her words on the page to be taken seriously must master certain skills. In this short course, students focus on two essential components of composition that trip up even seasoned writers: verb use and syntax. Exercises illustrate the correct use of the past and future tenses and the conditional as well as common mistakes in subject-verb agreement. The class then addresses the rules of English syntax, or word order. Students practice these skills in short original pieces that are workshopped in class. (1 credit) Style and Effectiveness NWRW1014 A 5 sessions. Wed., 6:00–7:50 p.m., beg. Nov. 12. Noncredit tuition $250. Randi Ross

B 5 weeks, beg. Nov. 4. Noncredit tuition $250.

Academic Writing NWRW1104 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Aug. 28. Noncredit tuition $730.

Building the Sentence NWRW1013

B 5 weeks, beg. Sept. 30. Noncredit tuition $250.

Writing is performance. Visual artists, designers, musicians, writers, dancers, filmmakers, actors—artists of every kind come together in a supportive workshop environment to develop their writing skills. Students practice the skills of argumentation, research, and clear expression, which improve critical pieces as well as the kinds of writing they will likely have to produce as professional artists or critics in the field. In the first half of the class, students learn the craft of critical writing from the ground up by constructing an analytic essay in increments. The second half of the class is devoted to putting these skills into professional practice, as students write artist statements, reviews of current work, personal essays, creative pieces, and more. Students read top critics in their fields as well as writers from the canon particularly relevant to their own work. (3 credits)

ONLINE

Noelle A. Kocot-Tomblin

It’s how you say it. In this short course, students consider the elements that work together to create stylish and effective prose, by dissecting the choices every writer makes that add up to style. The class reads examples of effective prose by best-selling authors, including Toni Cade Bambara, Garrett Hongo, and Amy Tan, and students write short pieces inspired by the readings and workshop them in class. This course offers a supportive environment in which to think critically about and strengthen your unique writing style. (1 credit)

B 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $730.

ONLINE

Margaret Fiore

Writing well is essential to success in college. This course teaches students the foundations of academic writing: the nature of research; the skills of criticism, analysis, and argumentation; the process of revision; and the basics of correct grammar and American English usage. Students for whom English is a foreign language should take ESL Academic Writing instead of this course. (3 credits) Tools, Not Rules: Rhetorical Grammar for Writers NWRW1119 A 15 sessions. Tuesdays, 6:00–7:50 p.m., beg. Aug. 26. Noncredit tuition $730. Joseph Salvatore

Not a traditional course in grammar, this class examines the most complex tool in the writer’s toolbox—the sentence. The course is guided by the belief that as writers, we need to know not only how to use this tool but how to talk about it. The goal for students is not to memorize grammar rules but rather to learn how those rules can be used to produce a wide range of rhetorical effects. In order to manipulate those rules, writers must understand them. The course begins at the beginning: nouns, verbs, subjects, predicates, all the parts of speech. Students then learn to analyze sentences in both what they read and what they write; they learn not only what syntax is but how to control it consciously and how the decisions they make will affect readers. They come to see how words become sentences, sentences become paragraphs, and paragraphs create a cohesive whole. The class reads chapters from a grammar and rhetoric textbook and completes practice exercises assigned weekly. A workshop for writers of all genres, absolute beginners as well as experienced professionals, who want to better understand all the tools in the toolbox. (3 credits)

NEW Writing for Food Studies NWRW 1020 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 26. Noncredit tuition $730. Lisa Freedman

Food people know that presentation is important in cooking and that balance, creativity, and risk taking are as well. The same could be said of writing. In a supportive workshop environment, students learn the basics of expository, personal, and opinion writing through reading and responding to food-related texts. Assignments include many types of writing, all connected in some way to our relationship with food: letters to food editors, food reviews, personal essays, and a researched position paper. Texts include Jonathan Safran Foer’s thought-provoking book Eating Animals and Roy Peter Clark’s Writing Tools: 50 Essential Strategies for Every Writer. This course is open to anyone interested in food and writing. (3 credits)

THE WRITING PROGRAM

POETRY

Making Poems: An Advanced Workshop NWRW4213 A 15 sessions. Wed., 4:00–5:50 p.m., beg. Aug. 27. Noncredit tuition $730.

Beginning Poetry Workshop NWRW2203

Patricia Carlin

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit tuition $730. Richard Tayson

B 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $730.

ONLINE

Kathleen Ossip

“A poem,” said William Carlos Williams, “is a small (or large) machine made of words—efficient, with no unnecessary parts, doing important work.” In this workshop, students learn how to build verse, from the individual word through lines and stanzas to the finished, polished poem. Poetic inspiration is explored: what activities can summon it and how to use it when it happens. Writing exercises help students practice basic elements of the craft, such as line breaks, voice, and openings and closings. Students read a variety of modern and contemporary poets, selected according to the interests and needs of the class. At every class meeting, students’ poems are read and discussed to clarify their strengths and develop students’ understanding of the process of revision. (3 credits)

Permission required. “Good poets borrow; great poets steal.” Poetry in English is a storehouse we can raid at will. The focus in this workshop for experienced writers is discussion of student poems, but we also explore ways to make creative use of other poems, from the most recent innovations to the poetry of the Middle Ages. Each week, suggested assignments, illustrated by a wide range of models, serve as jumping-off points from which to explore. Every strong poem is experimental. Students try old forms, invent new ones, and learn to see how “failure” can provide the basis for their best work. Students are also offered help in preparing and submitting work for publication. Written comments are given on all work submitted, and private conferences are available. For permission to register, send ten sample pages by August 1 to the instructor, c/o New School Writing Program, 66 West 12th Street, room 503, New York, NY 10011. (3 credits)

From Silence to Poem NWRW3204 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 26. Noncredit tuition $730. Richard Tayson

Beginning and advanced writers work on dismantling silences in their lives and generating poems from personal experience. We work in a safe, functional community to open hidden places within ourselves. The heretical Gospel According to Thomas says, “If you do not bring forth that which is within you, that which is within you will destroy you. If you bring forth that which is within you, that which is within you will save you.” This notion informs our work together, enabling the writer to follow the poem’s impulse in order to break old habits and write something challenging and difficult. (3 credits) Poetry: The Language of Music NWRW3205 A 15 sessions. Mon., 8:00-9:50 p.m., beg. Aug. 25. Noncredit tuition $730. Dave Johnson

This study of musical poetics focuses on the buried linguistic and musical structures of poetry and the way these structures create voice and meaning in a poem. We discuss how music serves as a muse for the poet and creates a relationship between form and content. Some class time is devoted to close reading of established and younger poets representing different poetic styles and to close listening to the voices of poets reading from their own work. Most class time, however, is devoted to examination of student writing, with the goal of helping students find their own music and voice within the poem. This course is open to poets at all levels, but beginners are especially welcome. (3 credits) The Poetry Manuscript NWRW3257 A 15 sessions. Thurs., 6:00–7:50, beg. Aug. 28. Noncredit tuition $730. Kathleen Ossip

In this workshop, students organize and structure the first draft of a chapbook or book-length collection of poems. We explore the process of assembling a manuscript: grouping, organizing, pruning, and adding to your book, chapbook, or sequence. We read and discuss your manuscripts of 20 to 50 pages, which you submit in draft form in the first class session. For inspiration, we study recently published chapbooks by Ben Fama and Joy Katz as well as books by Eduardo Corral and Tracy K. Smith. We also talk about the process of seeking publication for your collection. (3 credits)

For help in interpreting course descriptions, see chart on page 72.

THE WRITING PROGRAM

FICTION

Fiction Writing NWRW3303 A 15 sessions. Tues., 10:00–11:50 a.m., beg. Aug. 26. Noncredit tuition $730.

Beginning Fiction NWRW2305

Sidney Offit

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit tuition $730. Sharon Mesmer

B 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $730.

ONLINE

Jessica Sholl

This course begins with short writing exercises designed to jump-start creative thinking and to explore fiction basics: character, dialogue, plot, point of view, and imagery. Students then submit longer pieces to be discussed in a workshop setting, which are reviewed with particular attention to technique, style, and narrative structure. Readings include works by James Baldwin, Joan Didion, Mavis Gallant, Virginia Woolf, and Paul Bowles. (3 credits) Mechanics of Fiction: Craft, Theory, and Practice NWRW2306

This course acquaints students with aspects of fiction-writing technique. It is designed for students trying to develop a project or find the approach with which they can best express themselves. The instructor discusses viewpoint, mood, characterization, dialogue, plot, and story. Readings from the works of Joyce, Hemingway, Sterne, and D. H. Lawrence demonstrate these elements. During the early weeks, the instructor may give assignments to help students explore their own experiences for realization in a short story or novel. Students may be asked to write a scene depicting a child-parent relationship or to create a dialogue between characters one of whom wants something from the other. Experiments in various styles are encouraged. Work is read aloud and examined. Promising projects are developed under the instructor’s supervision, and consideration is given to publication possibilities. An editor or writer may occasionally visit the class to share his or her experiences with students. (3 credits)

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit tuition $730.

Fiction Writing: Memory, Imagination, Desire NWRW3308

Joseph Salvatore

A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Aug. 28. Noncredit tuition $730.

Not a traditional workshop, this course covers the essential elements of the craft of fiction: character, dialogue, point of view, description, and theme, as well as plot versus story, time and pacing, metaphor and comparison, style and structure, and language and revision. Examples of these elements are culled from both canonical and contemporary works. Students read articles and essays by critics, theorists, and fiction writers, especially writers who both create and teach fiction writing. When covering the idea of character, for example, students read what Henry James, Virginia Woolf, Aristotle, E. M. Forster, and contemporary voices such as Wayne Booth, Alice Munro, and Francine Prose have to say on the topic. In addition to studying the basic elements and foundational theories, students undertake several short creative writing exercises that build on the lessons. This course is designed as an introduction for students who wish to take or are taking a fiction writing workshop and want to understand better not only the elements of the craft but also the vocabulary of the writing workshop. (3 credits) The Novel Workshop NWRW3301 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 26. Noncredit tuition $730. Catherine Texier

This workshop is for students who want to develop the discipline and skills needed to write a novel. Exercises keep the class writing at a fast clip and are aimed at developing facility with elements of the novel, such as character, story, plot, dialogue, and meaning. Students encounter different possibilities of form, style, and subject matter through close readings of historical and contemporary novelists including Charles Dickens, Jane Austen, Jean Rhys, James Baldwin, Joan Didion, and Lynne Tillman. Students share their work with the class weekly, and the instructor provides written comments. The desire to write a novel is the only prerequisite. (3 credits)

Robert Dunn

Fiction, though we write it to share with the world, comes from a place within us that is a private, interior alembic in which memory and imagination, heated by desire, mix. This course helps students discover this special place and the voices that arise from it and learn how to draw these voices into a well-written story. We ponder the essential mystery of putting words on paper—how to discover material, conquer initial confusion or lack of confidence, and proceed with discipline. Basics are stressed—character, story, point of view, voice, style—as well as rhythm, pacing, psychological subtlety, development, imagery, color, tone, and the power of what’s not stated but is nonetheless made clear. We discuss one another’s original stories as well as classics by Chekhov, Joyce, and others. Assignments are given to students who need a gentle goad. Each story is individually critiqued by the instructor, and marketing advice is given. Professional writers and editors occasionally join our discussions. (3 credits) Accidental Realities: Writing Experimental Fiction NWRW3311 A 15 sessions. Thurs., 8:00–9:50 p.m., beg. Aug. 28. Noncredit tuition $730. Sharon Mesmer

Cut-ups, collage, use of dream images, and heightened language are often the provenance of poetry. In this class, experimentation with words and text is applied to the writing of fiction. Building upon pre-existing narratives, stories, or characters—or creating them—students learn to produce an exploded prose that opens up new avenues for creation and interpretation. Model readings— Woolf ’s Mrs. Dalloway, Bataille’s The Impossible, and Cisneros’ House on Mango Street—are paired with writing assignments (the events of one day, an obsession, vignettes of childhood) and in-class writings (cut-ups, “exquisite corpses”) to provide new ideas and methods for composing fiction. (3 credits)

NEW Art of Speculative Fiction NWRW2315 A 10 sessions. Mon., 8:00–9:50 p.m., beg. Sept. 29. Noncredit tuition $500. Karen Thompson Walker

What if we all lived underground? What if we all went blind? What if society as we know it collapsed? How do writers like Karen Russell, Kevin Brockmeier, and Jose Saramago make the impossible seem real? In a workshop environment, we explore the strategies and pitfalls of writing speculative fiction, with special emphasis on the beginnings of such “what if ” stories. Each student receives feedback from the instructor and from peers on a substantial piece of writing, experiments with techniques and forms, and ends the course with a vision of the way forward. (2 credits) 35

THE WRITING PROGRAM

The Great American Short Story NWRW3327

Advanced Fiction Writing: Revise and Polish NWRW4310

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit

tuition $730.

Alexandra Shelley

Douglas Martin

This is a workshop for story writers of all levels. Because the short story is just that—short—every element of this miniature world is crucial. Discussions and writing exercises focus on such aspects of the craft as creating characters who can be picked out of a crowded room, making dialogue sizzle, using settings that appeal to all of the senses, and taking emotional risks. To observe these techniques, each week we look under the hood of a short story by a contemporary writer to see how it operates. Pieces by workshop members are read beforehand by fellow students and the instructor, who offer both written critique and useful class discussion. The goal: writing and honing stories until they work and understanding why they do. (3 credits)

The workshop is an opportunity for writers to speed their creative and technical maturation. This course is for students who are beyond introductory courses and are ready to take their writing to a higher level. Workshop time is dedicated primarily to student work; assignments look toward and initiate tasks commonly encountered by aspiring writers. The intention of the course is to help individuals prepare themselves and their work for the next phase of their vocation, be it approaching editors, agents, and literary journals or applying to graduate schools. These subjects are addressed realistically and reasonably, with the quality of the writing always foremost on the agenda. (3 credits)

How Fiction Thrills: Writing Suspense NWRW3334 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $730.

ONLINE

Katia Spiegelman Lief

In both literary and commercial fiction, good writing and compelling suspense should go hand in hand but often don’t. Instead, we get literary fiction that doesn’t move and suspense fiction without soul. In this course, the goal is to merge the two to create exciting fiction that satisfies on every level. Through work shared in class and assigned exercises and reading, we explore the essentials of successful fiction writing—how to develop story and character, how to write good dialogue, and how to self-edit. Students master the techniques that make for can’t-put-it-down suspense. This course is open to both beginning and seasoned fiction writers, whether of stories or novels, who wish to explore the crossover territory where the commercial thriller meets literature. The goal is for each student to finish a knockout story or the outline and first chapter of a novel. The suggested reading list includes The Collector by John Fowles, Saturday by Ian McEwan, Strangers on a Train by Patricia Highsmith, The Spy Who Came in from the Cold by John le Carré, The Poet by Michael Connelly, Mystic River by Dennis Lehane, and Thriller: Stories to Keep You Up All Night, edited by James Patterson. (3 credits)

THE WRITING PROGRAM

NONFICTION

Finding Your Voice in Nonfiction NWRW3403 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit tuition $730.

Introduction to Creative Nonfiction NWRW2401

Candy Schulman

A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit tuition $730. Lisa Freedman

B 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $730.

ONLINE

Betty Liu

This workshop is for serious beginners as well as more experienced writers who want to delve into the still-evolving genre of creative nonfiction, which includes personal essay, memoir, documentary, and literary journalism. Through in-class writing and weekly assignments, students develop the skills needed to build a narrative frame around real-life events and situations. Student work is read and discussed in class. Readings from both The Art of the Personal Essay: An Anthology from the Classical Era to the Present, edited by Phillip Lopate, and Vivian Gornick’s The Situation and the Story guide our consideration of the choices made by James Baldwin, Joan Didion, Natalie Ginzburg, Walter Benjamin, and other masters. (3 credits) Poetic Autobiography NWRW1123 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $730.

ONLINE

Rebecca Reilly

This workshop takes the desire to write the self as its starting point. Poetic autobiography is a hybrid form that combines the immediacy and heightened language of poetry with the narrative and descriptive powers of prose. Students at all levels, particularly beginners, work on developing voice and style through a combination of creative and academic writing. Weekly assignments encourage students to chronicle aspects of their own daily existence from various perspectives and to depict their lives through condensed fragments rather than linear narratives. For inspiration, we read authors such as Gertrude Stein, Anne Carson, Jamaica Kincaid, Edmond Jabes, Frank O’Hara, W.G. Sebald, and Kamau Braithwaite. (3 credits) Literary Nonfiction: Art in the Everyday NWRW3405 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $730.

ONLINE

Christopher Pastore

Students explore selected forms of creative nonfiction: personal essay, reportage, biography, travel writing, food writing, profile, memoir, and linked fragments. The use of dialogue, setting, characterization, plot, and narrative voice is emphasized. The discipline of writing regularly is encouraged and supported through the assignment of short weekly exercises. Students are also assigned longer pieces that are workshopped in class. Discussions about the forms, techniques, and history of nonfiction are supplemented by readings from work by Joan Didion, V.S. Naipaul, Jamaica Kincaid, W.G. Sebald, Sherman Alexie, and Abigail Thomas. (3 credits)

ONLINE

“Fiction is obliged to stick to possibilities. Truth isn’t,” wrote Mark Twain. His words have even more resonance today, when so many actual events are harder to believe than the inventions of a novelist. Nonfiction offers limitless creative possibilities for contemporary writers willing to observe our complex world and translate their observations and experiences into dynamic prose full of insight and provocative ideas. This workshop is for serious beginners and experienced writers of essays, memoirs, narratives, humor, satire, travel, and op-ed pieces. Writing discipline is emphasized, and students receive writing prompts and assignments as well as working on their own projects. In workshop, they receive supportive critiques from their peers. Exercises and critiques are designed to help the writer develop a unique voice and style. The instructor offers guidance in using examples and anecdotes and incorporating dialogue and other techniques more common in fiction writing. For inspiration, we read and discuss exemplary work by Joan Didion, David Sedaris, Maureen Dowd, and E.B. White. Finally, we analyze print and online publishing markets, and the instructor offers tips about submission strategies and marketing suggestions for publishable work. (3 credits) The Personal Essay NWRW3423 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Aug. 28. Noncredit tuition $730. Madge McKeithen

This is a workshop for those who are particularly interested in writing essays using skills and tools often associated with other genres and art forms. Writers with comic or poetic sensibilities and an interest in the aesthetic value of surprise are encouraged to enroll. We read two essays weekly—one by a humorist, one by a poet—and discuss their strengths separately and in juxtaposition. Students also write weekly, and their work is reviewed in a supportive workshop setting. Guest authors visit, and publications and presses are discussed. We read from Woody Allen, Jonathan Ames, Margaret Atwood, Max Beerbohm, Robert Benchley, Wendell Berry, Charles Bukowski, Anne Carson, Annie Dillard, Nora Ephron, Louise Glück, Ian Frazier, Robert Hass, Edward Hirsch, Fran Lebowitz, David Lehman, Steve Martin, Czeslaw Milosz, Montaigne, Naomi Shihab Nye, David Rakoff, Adrienne Rich, Mark Rudman, May Sarton, David Shields, David Sedaris, Floyd Skloot, Tom Sleigh, Jon Stewart, James Thurber, Sarah Vowell, and Adam Zagajewski. (3 credits) Writing Your Personal Story NWRW3426 A 5 sessions. Tues., 4:00–5:50 p.m., beg. Sept. 30. Noncredit tuition $250. Nancy Kelton

This workshop teaches students methods of capturing their own memories, dreams, childhood experiences, and personal truths in a unique voice. They learn how to write with precision of thought and language, unimpeded by the inner critic. Exercises in class and weekly writing assignments help students establish disciplined work habits. The instructor critiques all student work, suggesting revisions and guiding serious writers toward publication. Assigned readings provide models of subject matter, style, and form. (1 credit)

This logo indicates that the course is offered online. See page 63 or visit the website at www.newschool.edu/online for more information.

THE WRITING PROGRAM

JOURNALISM AND FEATURE WRITING

The Experimental Essay NWRW3520 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $730.

ONLINE

Robert Lopez

Journalism Basics NWRW2601

The experimental essay trespasses on poetry, fiction, and nonfiction. It evolves from trials, impulses, longings, and risks—culminating in a form that is often both surprising and inventive. It is a genre in which, as Emerson says, “everything is admissible, philosophy, ethics, divinity, criticism, poetry, humor, fun, mimicry, anecdotes, jokes, ventriloquism.” We read a variety of experimental essays, spanning different time periods and cultures. Paying close attention to form as well as content, we study contemporary essayists including Susan Sontag, Anne Carson, Joe Wenderoth, and Annie Dillard. We also delve into the history of the essay by reading Seneca, Sei Shōnagon, Montaigne, Pessoa, Barthes, and others. Students write several experimental essays, which are read and discussed in class. We also talk about experimental essays in the context of current literary publishing. Our aim is to discover how the essay, because of its ability to engage with and mimic a variety of forms and genres, is the most radical, experimental, comprehensive, and inventive, as well as the most forgiving, of the literary genres. (3 credits)

A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $730.

Self and Craft: A Creative Writing Workshop NWRW3518 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 26. Noncredit tuition $730.

ONLINE

Richard Huff

Writing a well-structured, high-quality newspaper or magazine story is not easy. Students interested in journalism are challenged to write clear, evocative, and compelling prose with exercises, assignments and deadlines, specific tips, and plenty of encouragement. Students examine contemporary newspaper and magazine writing, including current stories in the New York Times, Newsday, and the Washington Post, as well as a variety of Pulitzer Prize–winning pieces. Magazines and newspapers that depend heavily on freelance contributors are discussed. A portion of each class is devoted to the study of language, with discussions of grammar, style, and usage designed to help students learn to write simple, elegant, and jargon-free prose. (3 credits) Writing for New York City Newspapers and Magazines NWRW3601 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit tuition $730.

B 15 sessions. Mon., 8:00–9:50 p.m., beg. Aug. 25. Noncredit tuition $730.

Elaine Edelman

Susan Shapiro

This exploration of the craft of fiction and of expressive, personal nonfiction (essays, memoirs, reminiscences, humor, travel sketches) balances technical concerns with awareness of how the writing process engages and transforms the writer’s self. We employ the “process” approach to writing, which recognizes that imaginative work often discovers its true subject, style, and form in the course of several revisions, and a professional approach to regularly putting words on paper. Class sessions emphasize peer feedback in an atmosphere of mutual respect, support, and frankness. The instructor also responds, separately and in writing, to every submitted piece and, upon individual request, will discuss publishing possibilities. Recommended for students with some writing experience. (3 credits)

The New York Times, Daily News, Newsday, New York Post, and Wall Street Journal all use freelance writers for profiles, features, reviews, news stories, humor, and editorials. So do New York Magazine, the Village Voice, Time Out New York, and the New Yorker. Taught by a writer whose work has appeared in more than 100 publications, this course reveals the secrets of breaking in. Topics include tailoring pieces to specific columns, writing a perfect cover and pitch letter, contacting the right editors, and submitting the work, following up, and getting clips. Assignments are read and critiqued in class. Speakers include top Manhattan editors. (3 credits) Arts and Entertainment Journalism NWRW3611 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit tuition $730. Matthew Melucci

This course teaches aspiring writers and journalists the art of composing music, theater, or movie reviews; features; news stories; and opinion pieces for print and online media. Whether your first love is attending live rock shows or catching the latest indie movie or Broadway play, this course takes you through the sometimes difficult process of gathering the facts and interviews necessary to piece together stories about artists and events to sell to entertainment magazines and other media sources. The class works on structure, coherence, and style as well as voice. What goes into landing an interview with a top artist or celebrity? How do you get the backstage access that will give your feature story the color it deserves? How do you let go of being a fan and let the journalist out? (3 credits)

THE WRITING PROGRAM

SPECIAL TOPICS

Playwriting from Personal Experience NWRW3708 A 15 sessions. Tues., 8:00–9:50 p.m., beg. Aug. 26. Noncredit

NEW Writers’ Gym NWRW3999 A 10 sessions. Tues., 6:00–7:50 p.m., beg. Sept. 30. Noncredit tuition $500. Alice Eve Cohen

Sometimes the most inspiring place to write is in a room full of writers. Writers’ Gym is a hands-on improvisational writing workshop. This weekly writing “workout” is designed to help students increase their flexibility and spontaneity and generate new work. For a substantial portion of every class, students write in response to prompts provided by the instructor. In this multigenre course, students explore various ways of telling a story: through fiction, playwriting, and memoir. Time is allotted for participants to share work aloud and receive feedback. Students present a portfolio of work-inprogress written during the course. The class is open to students who have completed at least one course in creative writing or have professional writing experience. (2 credits)

tuition $730. Alice Eve Cohen

How do you start writing a play? In this workshop, students use personal experience as a springboard for generating original characters, stories, and imagery for the stage. Basic elements of playwriting are explored through in-class writing exercises and weekly writing assignments. We experiment with the possibilities of dramatic storytelling, with an emphasis on fictionalizing and transforming personal experiences and memories. Students read their own work aloud and discuss it in class and also read selections from well-known playwrights. By the end of the course, students will have completed the first draft of a one-act play or a collection of very short plays. Open to all levels, this workshop is designed to be a safe, supportive environment for a hands-on exploration of playwriting. (3 credits) Playwriting NWRW3702 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $730.

ONLINE

Children’s Book Illustration and Writing NWRW3812

Robert S. Montgomery

A 15 sessions. Mon., 8:00–9:50 p.m., beg. Aug. 25. Noncredit

An introduction to the basics of drama, including story, character, conflict, scene construction, and overall plotting. Students also consider issues such as drama as metaphor, realities of staging, and production problems. The course is geared to the theatrical experience of each student, with readings and writing exercises suggested when appropriate. Feedback from classmates approximates an audience experience, and the instructor provides detailed responses to all work submitted. Students should expect to complete at least 20 pages of script by the end of the course. (3 credits)

tuition $730. Jacquie Hann

In this course, each student develops a children’s book from an initial concept to a “dummy” ready for submission to a publisher. The class explores the entire production process, including searching for ideas, writing a first draft, making sketches and character studies, editing, creating finished artwork and dummies, and writing cover letters and submitting a finished work to publishers. Writing assignments help students focus their ideas and build their stories. Illustration assignments lead to creation of a portfolio that can be shown to art directors. Weekly critiques help students hone their individual styles. (3 credits) NEW The New School: The Soap Opera NWRW3888 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit tuition $730. John Reed

In this one-of-a-kind cooperative effort with the School of Media Studies, writers fashion and manufacture a multimedia, multicultural, multi-indy soap operatic event. Students create a fictive world, write scripts, and launch a website with text artifacts and other extras from the “show.” Readings explore the political structures of the soap opera and forms ranging from epic myths and religious stories to bougie novels and event television. Meanwhile, peers in the School of Media Studies, in a separate course, apply their creativity to producing, shooting, and editing the scripts, with the goal of creating a whole season of the show. Screen credits to be determined. (3 credits)

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the appropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 73 for the schedule. For details of registration procedures and deadlines, see pages 73–74 or call 212.229.5690.

FOREIGN LANGUAGES

FOREIGN LANGUAGES Arabic

Japanese

Brazilian Portuguese

Korean

Chinese (Mandarin)

Russian

French

Sign Language

German

Spanish

Italian Yiddish FOR COURSE ADVISING, CALL 212.229.5676. w w w. n e w s c h o o l . e d u / c e / f o r e i g n l a n g u a g e s

Foreign language study is important for anyone who wishes to understand and get ahead in our increasingly global society. For many decades, The New School has been successfully teaching foreign languages to people of all ages and backgrounds who travel abroad, who conduct business in other countries or with New York Cityâ&#x20AC;&#x2122;s multicultural communities, who wish to appreciate great literature or films in the original languages, and whose scholarly pursuits mandate facility with another language.

Learning a Foreign Language at The New School New School foreign language courses are designed to help you achieve linguistic independence in the language you have chosen to study. Most of the modern language instructors are native speakers. All courses are designed to introduce the language in its cultural context. Enrollment in any class in limited, and lively classroom interaction between students and instructors and among students themselves is expected at every level of instruction. Choosing the Proper Course With some exceptions, foreign languages are taught at The New School in a five-course sequence, designated as Levels 1 through 5. Each level corresponds to one academic term of study. Levels 1, 2, and 3 are introductory stages of language learning; Levels 4 and 5 are intermediate stages. Beyond that, a variety of content-based courses are offered for students who have attained a degree of fluency in a language. Those who wish to learn at an accelerated pace can opt for an Intensive course. These courses provide the equivalent of one and a half or two levels of study in one term and carry double the credit points. Reading courses are designed for graduate students preparing for their reading exams and anyone who wishes to read texts in another language and is not concerned about listening and speaking. On the Go workshops are immersion weekend workshops oriented to travelers, offering intensive contextual instruction over two weekends. Self-Placement Test Proper placement is important to successful learning of a foreign language. When choosing a course level, keep in mind your previous experience with the language you wish to study, whether high school and college courses, extended stays in a country where the language is spoken, and/or frequent contact at home or work with speakers of the language. The New School offers self-placement tests for most languages, so if you think you might be beyond Level 1, take the self-placement exam for the level at which you would like to start. The exam can be taken in 15â&#x20AC;&#x201C;20 minutes and can be obtained from the Foreign Languages office at 66 West 12th Street, 6th floor, or by calling 212.229.5676 or emailing foreignlanguages@newschool. edu. Return the completed exam to the Department of Foreign Languages for scoring; the results will be reported to you by email, telephone, or mail, in accordance with your request. If no examination is available, the office staff can help you make an appointment for in-person placement advising.

FOREIGN LANGUAGES

AMERICAN SIGN LANGUAGE

ARABIC

Introduction to Sign Language NSLN1001

Arabic on the Go: Level 1 NARB1804

A 13 sessions. Wed., 6:00–7:50 p.m., beg. Sept. 10. Noncredit

A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Oct. 11, 12, 18 & 19.

tuition $590.

Noncredit tuition $350.

The totally visual language of deaf people is now the third most commonly used language in the United States. This course introduces the culture and communication methods of the contemporary deaf community, focusing on the experience of navigating social interactions using signs, gestures, and visual cues. Topics explored and practiced include the psychology of deafness, finger spelling, the art of interpreting, and the silent speech of body language. At the end of the course, each student completes a final project dealing with a particular aspect of the language and culture of the deaf and hard of hearing. (2 credits)

Arabic on the Go: Level 2 NARB1805

American Sign Language: Level 1 NSLN1011 A 13 sessions. Thurs., 6:00–7:50 p.m., beg. Sept. 11. Noncredit tuition $590.

A beginner’s course exploring the system known as American Sign Language (ASL), a form of communication used by thousands of deaf Americans and Canadians. ASL is an expressive, versatile, full-fledged language—not a hodgepodge of charades and finger spelling—with its own traditions of grammar, poetry, and puns. Students master the techniques essential to ASL conversations, including fingerspelling and facial expressions. Through demonstrations and class activities, including interactive exercises and roleplaying, students gain familiarity with ASL at a beginner’s level and a general understanding of the history of deaf society in the United States. This course is led by a deaf native signer. There is no prerequisite. (2 credits)

A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Nov. 8, 9, 15 & 16. Noncredit tuition $350.

Before traveling to the Middle East, stop at The New School for a weekend immersion in Levantine Arabic. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Levantine Arabic. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language. No prior knowledge of Modern Standard Arabic is required. Since the focus of this course is conversation, phonetic transliterations are used. (1 credit) Level 1 NARB1001 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit tuition $620.

This is the first course of a three-term sequence that introduces the fundamentals of the Arabic language. Students learn the Modern Standard Arabic alphabet and sound system (FuS-Ha) and engage in basic conversation using the Levantine dialect (the language of Syria, Lebanon, Palestine, and Jordan). They acquire basic reading, writing, and speaking skills while learning about contemporary cultures of the Middle East. (3 credits) Level 3 NARB2001

American Sign Language: Level 2 NSLN1012

A 15 sessions. Mon., 8:00–9:50 p.m., beg. Aug. 25. Noncredit

A 13 sessions. Tues., 6:00–7:50 p.m., beg. Sept. 9. Noncredit

tuition $620.

tuition $590.

In this third-semester course, students continue developing basic skills— listening, speaking, reading, and writing—in both Modern Standard Arabic and Levantine Colloquial Arabic and study the cultures of the Arab world. Students learn new verb tenses and develop the ability to narrate events and describe a variety of places and people. Simple Arabic texts are introduced. Prerequisite: Arabic Level 2, the equivalent, or permission of the instructor. (3 credits)

A course for people with a basic understanding of American Sign Language (ASL) who wish to acquire more sophisticated communication skills. Guided by a deaf native signer, students develop greater conversational fluency, expand their sign vocabulary, and improve their fingerspelling ability. Practical roleplaying exercises and individual presentations of the ASL face, hand, and body language give them the tools to communicate with deaf and hard of hearing people in a variety of social and professional settings. Some assigned projects take students into the deaf community. In class, students are strongly encouraged to communicate using ASL only. Prerequisite: American Sign Language Level 1 or the equivalent or permission of the instructor. (2 credits)

NEW Conversational Arabic NARB3707 A 13 sessions. Thurs., 8:00–9:50 p.m., beg. Sept. 11. Noncredit tuition $590.

This class is designed to help students converse more fluently in Levantine Arabic. Course material includes songs, films, TV shows, and articles in which topics such as family, education, politics, and social change are explored. Prerequisite: Arabic Level 4 or the equivalent. (2 credits)

FOREIGN LANGUAGES

BRAZILIAN PORTUGUESE

CHINESE (MANDARIN)

Level 1 NPRT1001

Level 1 NCHM1001

A 13 sessions. Mon., 6:00-7:50 p.m., beg. Sept. 8. Noncredit

A 13 sessions. Mon., 6:00–7:50 p.m., beg. Sept. 8. Noncredit tuition $590.

tuition $590.

This is the first part of a three-course elementary sequence that introduces the fundamentals of Mandarin Chinese speaking, listening, reading, and writing. The goal of the course is for students to acquire essential vocabulary, an understanding of sentence patterns in a communicative context, and a solid foundation in tone recognition and pronunciation. As the course develops, students acquire the ability to hold simple conversations in Chinese in such contexts as offering greetings, introducing family members, and discussing times and dates. Simplified characters are used to introduce reading and writing. No prior knowledge of Chinese is assumed. (2 credits)

A first course in Portuguese for those with no previous knowledge of the language. Students acquire basic speaking, reading, and writing skills while learning about Brazilian culture. Class activities include interactive exercises and role-playing. The aim is for students to develop the ability to use the language effectively for practical communication. (2 credits) Level 3 NPRT2001 A 13 sessions. Mon., 8:00–9:50 p.m., beg. Sept. 8. Noncredit tuition $590.

This intermediate-level course is designed for students familiar with the basic grammatical structures of Portuguese. The course begins with a review of these structures and moves on to more complex grammatical forms, such as the subjunctive, the conditional, and relative pronouns. Particular attention is paid to developing the ability to understand spoken Portuguese and converse about topics pertaining to different times and places. Prerequisite: Portuguese Level 2 or the equivalent or permission of the instructor. (2 credits) Portuguese for Spanish Speakers NPRT1700 A 13 sessions. Tues., 8:00–9:50 p.m., beg. Sept. 9. Noncredit tuition $590.

This is a beginner’s Portuguese course for students with a strong Spanish language background and little or no knowledge of Portuguese. They learn to use their knowledge of Spanish to gain competency and confidence in speaking Portuguese. They learn to minimize the confusions that can result from the similarities of the languages. The emphasis is on eliminating Spanish phonetics, vocabulary, and sentence structure from their Portuguese speech. Prerequisite: fluency in Spanish. (2 credits)

Level 3 NCHM2001 A 13 sessions. Mon., 8:00–9:50 p.m., beg. Sept. 8. Noncredit tuition $590.

This is the third part of a three-course elementary sequence that introduces the fundamentals of Mandarin Chinese speaking, listening, reading, and writing. The goal at Level 3 is to continue building vocabulary and to practice sentence patterns in communicative contexts. Students converse about topics relating to everyday life, such as shopping, making appointments, and school life. Simplified characters are used for reading and writing instruction. Prerequisite: Chinese Level 2, the equivalent, or permission of the instructor. (2 credits) Chinese for Heritage Speakers NCHM3701 A 13 sessions. Thurs., 6:00–7:50 p.m., beg. Sept. 11. Noncredit tuition $590.

This course is designed for people who can communicate orally in Mandarin Chinese in daily life but cannot read or write the language. By the end of the course, students will 1) have mastered the Chinese phonetic system (pinyin); 2) be able to present and discuss topics on Chinese culture introduced in class; 3) be able to read simple texts with the help of a character dictionary; 4) be able to write a short essay (about 200 characters). Both traditional and simplified Chinese characters are used in the course. (2 credits)

FOREIGN LANGUAGES

FRENCH

Level 1 NFRN1001 A 13 sessions. Sat., 12:00–1:50 p.m., beg. Sept. 6. Noncredit

French on the Go: Level 1 NFRN1804 A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Oct. 11, 12, 18 & 19. Noncredit tuition $350.

French on the Go: Level 2 NFRN1805 A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Nov. 8, 9, 15 & 16. Noncredit tuition $350.

French on the Go: Level 3 NFRN1806 A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Oct. 11, 12, 18 & 19. Noncredit tuition $350.

French on the Go: Level 4 NFRN1807 A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Nov. 8, 9, 15 & 16. Noncredit tuition $350.

Before traveling to France or another country where French is commonly spoken, stop at The New School for a weekend immersion in the French language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in French. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language; Level 3 is an intermediate-level course for students with a good working knowledge of French; Level 4 is an advanced course. (1 credit) Introductory Intensive 1 NFRN1003 A 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Sept. 6. Noncredit tuition $1,000.

B 26 sessions. Tues. & Thurs., 8:00–9:50 p.m., beg. Sept. 9. Noncredit tuition $1,000.

This is an accelerated course for beginners with little or no knowledge of French. Students learn the fundamentals of the French language through speaking, listening, reading, and writing. They acquire elementary grammar skills (present and past tenses, pronouns), learn how to express negation and ask questions, and practice by conversing and writing about university life, friends and family, hobbies and leisure, celebrations, holidays, and travel. They learn about France and the Francophone world while building their communicative skills. (4 credits) Introductory Intensive 2 NFRN1004 A 26 sessions. Mon. & Wed., 6:00–7:50 p.m., beg. Sept. 8. Noncredit tuition $1,000.

This accelerated course is a continuation of Introductory Intensive and concludes the study of the fundamentals of the French language through speaking, listening, reading, and writing. Students continue the study of elementary grammar (present and past tenses, expressing negation, asking questions, and using pronouns). They practice by conversing and writing about shopping, food, daily life, health, technology, and ecology. Students continue to learn about France and the Francophone world while enhancing their communicative skills. Prerequisite: French Introductory Intensive 1 or the equivalent. (4 credits)

tuition $590.

B 13 sessions. Mon., 4:00–5:50 p.m., beg. Sept. 8. Noncredit tuition $590. C 13 sessions. Tues., 8:00–9:50 p.m., beg. Sept. 9. Noncredit tuition $590.

D 13 sessions. Thurs., 6:00–7:50 p.m., beg. Sept. 11. Noncredit tuition $590.

This is the first course of a three-term sequence that introduces the fundamentals of the French language through speaking, listening, reading, and writing. Students acquire elementary grammar (present tense), learn to express negation and ask questions, and practice by conversing and writing about university life, hobbies, friends, and family. They learn about France and the Francophone world while building their communicative skills. (2 credits) Level 2 NFRN1002 A 13 sessions. Tues., 6:00–7:50 p.m., beg. Sept. 9. Noncredit tuition $590.

B 13 sessions. Mon., 8:00–9:50 p.m., beg. Sept. 8. Noncredit tuition $590.

This is the second course of a three-term sequence that introduces students to the fundamentals of the French language through speaking, listening, reading, and writing. They continue to study elementary grammar (irregular present tenses, past tense, pronouns) and practice by conversing and writing about leisure, celebrations, holidays, and travel. They continue to learn about French and Francophone cultures. Prerequisite: French Level 1 or the equivalent. (2 credits) Level 3 NFRN2001 A 13 sessions. Wed., 8:00–9:50 p.m., beg. Sept. 10. Noncredit tuition $590.

This is the last part of a three-course elementary sequence that introduces the fundamentals of the French language through speaking, listening, reading, and writing. Students conclude their study of elementary grammar (the conditional mood, reflexive verbs, and relative pronouns) and practice by communicating about shopping, food, daily life, health, technology, and ecology. While enhancing their communicative skills, students continue to learn about France and the Francophone world. Prerequisite: French Level 2 or the equivalent. (2 credits) Level 4 NFRN2002 A 13 sessions. Tues., 6:00–7:50 p.m., beg. Sept. 9. Noncredit tuition $590.

Students begin intermediate-level study of French. Review and reinforcement of some of the more complex grammatical structures of the language are combined with cultural readings and viewings of short films and online materials. Students refine their writing and verbal skills through brief compositions, class presentations, and sustained classroom conversation in French. Prerequisite: French Level 3, French Introductory Intensive 2, or the equivalent. (2 credits) Level 5 NFRN3001 A 13 sessions. Tues., 6:00–7:50 p.m., beg. Sept. 9. Noncredit tuition $590.

This is the second course in the intermediate-level French sequence, with continued review and reinforcement of complex grammatical structures. Study materials and communicative practice are similar to those of Level 4. Prerequisite: French Level 4, French Introductory Intensive 2, or the equivalent. (2 credits)

FOREIGN LANGUAGES

GERMAN

NEW Grammaire/Composition 1 NFRN2011 A 5 weeks, Oct. 13 thru Nov. 14. Noncredit tuition $350.

ONLINE

This one-credit workshop is a comprehensive French grammar review for students who have completed one or two years of college-level French or the equivalent. It is meant for those who have already acquired a foundation in French but need to review and expand upon what they already know. Online activities reinforce students’ understanding of French grammar and expand their knowledge of vocabulary and idioms. (1 credit) NEW Grammaire/Composition 2 NFRN3011

ONLINE

A 5 weeks, Oct. 13 thru Nov. 14. Noncredit tuition $350.

This one-credit workshop is a comprehensive French grammar review for students who have completed two or more years of college-level French or the equivalent. Students improve their grammar and refine their writing and reading skills. The emphasis is on grammatical accuracy, clarity, and the appropriate use of idioms and syntax. The course is especially well suited to students planning to take advanced literature or civilization courses or study in a Francophone country. (1 credit) NEW French for Art and Music NFRN3741 A 13 sessions. Wed., 6:00–7:50 p.m., beg. Sept. 10. Noncredit tuition $590.

This course is designed for intermediate to high-intermediate students who are interested in exploring the world of French art and music while honing their writing, speaking, and listening skills. The course materials include various media (art magazines, literary excerpts and art criticism, visual material from museums and other sources, exhibition reviews, opera librettos and lyrics from art songs, movies) selected to build students’ vocabulary, reinforce their knowledge of grammar, and encourage them to speak spontaneously on a range of topics pertaining to the arts. This course is conducted entirely in French. Prerequisite: French Level 4, the equivalent, or permission of the instructor. (2 credits)

Introductory Intensive 1 NGRM1003 A 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Sept. 6. Noncredit tuition $1,000.

This is a course for beginners who want to progress rapidly in learning German. Students acquire basic speaking, reading, and writing skills while learning about German culture. The emphasis is on developing communication skills. (4 credits) Level 1 NGRM1001 A 13 sessions. Mon., 8:00–9:50 p.m., beg. Sept. 8. Noncredit tuition $590.

B 13 sessions. Thurs., 6:00–7:50 p.m., beg. Sept. 11. Noncredit tuition $590.

A first course in German for those with no previous knowledge of the language. Students learn basic speaking, reading, and writing skills while discovering aspects of German culture. Class activities include interactive exercises and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language. (2 credits) Level 2 NGRM1002 A 13 sessions. Mon., 6:00–7:50 p.m., beg. Sept. 8. Noncredit tuition $590.

Designed for students with elementary knowledge of German, this course reviews simple grammar and introduces more complex grammatical and syntactical elements of the language. Students expand their vocabulary and knowledge of German culture in a context that emphasizes communication skills. Prerequisite: German Level 1, the equivalent, or permission of the instructor. (2 credits)

NEW Professional French Translation NFRN3742

Level 3 NGRM2001

A 13 sessions. Thurs., 6:00–7:50 p.m., beg. Sept. 11. Noncredit

A 13 sessions. Wed., 8:00–9:50 p.m., beg. Sept. 10. Noncredit

tuition $590.

This project-based course is a comprehensive overview of the field of Frenchto-English translation. Students acquire the skills and techniques needed to translate professional texts. They learn to use available resources to develop translation strategies and solve increasingly complex translation problems while exploring the use of search engines, dictionaries, glossaries, and parallel documents. Topics covered include news, legal, business, and financial translation. Prerequisite: French Level 5, the equivalent, or permission of the instructors. (2 credits)

tuition $590.

This course assumes familiarity with the basic grammatical structures of the German language. It begins with a review and moves on to cover more complex grammatical forms. The emphasis is on improving students’ ability to understand spoken German and converse on topics pertaining to different times and places. Prerequisite: German Level 2, the equivalent, or permission of the instructor. (2 credits) NEW Conversation 2 NGRM4161 A 13 sessions. Wed., 6:00–7:50 p.m., beg. Sept. 10. Noncredit tuition $590.

This is an intermediate-level course about the language, culture, and history of German-speaking countries for students who have previously studied German. You will engage in speaking, listening, viewing, writing, and reading and develop an understanding of cultural and historical aspects of the Germanspeaking world. The class is taught entirely in German and emphasizes the language skills necessary to communicate effectively in a foreign language. Prerequisite: German Level 3, the equivalent, or permission of the instructor. (2 credits)

FOREIGN LANGUAGES

ITALIAN

JAPANESE

Italian on the Go: Level 1 NITL1804

Introductory Intensive NJPN1003

A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Oct. 11, 12, 18 & 19.

A 26 sessions, Tues. & Thurs., 6:00–7:50 p.m., beg. Sept. 9. Noncredit

Noncredit tuition $350.

tuition $1,000.

Italian on the Go: Level 2 NITL1805

This is an accelerated course for beginners with no knowledge of Japanese. Students learn the fundamentals of the Japanese language through speaking, listening, reading, and writing. They acquire elementary grammar (using present and past tenses, expressing negation, asking questions, using adjectives) and practice by conversing about daily life. Students also learn 46 hiragana, 46 katakana, and 43 kanji. They learn about Japanese culture and traditions while developing communicative skills. (4 credits)

A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Nov. 8, 9, 15 & 16. Noncredit tuition $350.

Before traveling to Italy, stop at The New School for a weekend immersion in the Italian language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Italian. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language. (1 credit) Level 1 NITL1001 A 13 sessions. Mon., 8:00–9:50 p.m., beg. Sept. 8. Noncredit tuition $590.

B 13 sessions. Tues., 6:00–7:50 p.m., beg. Sept 9. Noncredit tuition $590.

This is the first course of a three-term sequence that introduces students to the fundamentals of the Italian language through speaking, listening, reading, and writing. Students acquire elementary grammar skills (present and past tenses of regular and irregular verbs) and practice by conversing and writing about themselves, friends, family, hobbies, and university and professional life. They learn about Italian culture while building their communicative skills. (2 credits) Level 2 NITL1002 A 13 sessions. Tues., 4:00–5:50 p.m., beg. Sept. 9. Noncredit tuition $590.

This is the second course of a three-term sequence that introduces students to the fundamentals of the Italian language through speaking, listening, reading, and writing. Students acquire elementary grammar (present and past tense of regular and irregular verbs) and practice by conversing and writing about themselves, friends, family, hobbies, and university and professional life. They learn about Italian culture while building their communicative skills. Prerequisite: Italian Level 1, the equivalent, or permission of the instructor. (2 credits) Assaggi di Cultura Italiana 1 NITL3714 A 13 sessions. Wed., 6:00–7:50 p.m., beg. Sept. 10. Noncredit tuition $590.

This intermediate-level conversation course offers students a taste of various topics relating to Italian culture, society, and customs. Speaking strategies and grammatical structures are reviewed and explored through readings and discussions of art, cinema, music, and news. The course includes interactions with Italian communities in New York City. Students are encouraged to actively participate and share their own experiences with Italian culture in class. Prerequisite: Italian Level 3, the equivalent, or permission of the instructor. (2 credits)

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the appropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 73 for the schedule. For details of registration procedures and deadlines, see pages 73–74 or call 212.229.5690.

FOREIGN LANGUAGES

KOREAN

SPANISH

NEW Korean on the Go: Level 1 NKRN1804

Spanish on the Go: Level 1 NSPN1804

A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Oct. 11, 12, 18 & 19.

Noncredit tuition $350.

NEW Korean on the Go: Level 2 NKRN1805

Spanish on the Go: Level 2 NSPN1805

A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Nov. 8, 9, 15 & 16.

Noncredit tuition $350.

Before traveling to South Korea, stop at The New School for a weekend immersion in the Korean language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Korean. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language. (1 credit)

Spanish on the Go: Level 3 NSPN1806 A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Oct. 11, 12, 18 & 19. Noncredit tuition $350.

Spanish on the Go: Level 4 NSPN1807 A 4 days. Sat. & Sun., 10:00 a.m.–2:30 p.m., Nov. 8, 9, 15 & 16. Noncredit tuition $350.

Level 1 NKRN1001 A 13 sessions. Wed., 6:00–7:50 p.m., beg. Sept. 10. Noncredit tuition $590.

A beginning course in the national language of Korea. The emphasis is on learning to speak Korean. Reading and writing of Korean characters is introduced. All communication skills are taught in a cultural context. (2 credits)

Before traveling to Spain or Latin America, stop at The New School for a weekend immersion in the Spanish language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Spanish. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language; Level 3 is an intermediate-level course for students with a good working knowledge of Spanish; Level 4 is an advanced course. (1 credit) Introductory Intensive 1 NSPN1003

RUSSIAN Level 1 NRSN1001 A 13 sessions. Thurs., 6:00–7:50 p.m., beg. Sept. 11. Noncredit tuition $590.

A first course in Russian for those with no previous knowledge of the language. Students acquire basic speaking, reading, and writing skills, including the Cyrillic alphabet, while learning about Russian culture. Class activities include interactive exercises and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language. (2 credits) Level 3 NRSN2001 A 13 sessions. Thurs., 8:00–9:50 p.m., beg. Sept. 11. Noncredit tuition $590.

This course begins with a review of the basic structures of the Russian language and goes on to introduce more complex grammatical forms. The emphasis is on improving students’ ability to understand spoken Russian and converse in Russian on a variety of topics. Prerequisite: Russian Level 2 or the equivalent or permission of the instructor. (2 credits)

A 26 sessions. Mon. & Wed., 6:00–7:50 p.m., beg. Sept. 8. Noncredit tuition $1,000.

This is an accelerated course for beginners with little or no knowledge of Spanish. Students learn the fundamentals of the Spanish language through speaking, listening, reading, and writing. They acquire a wide range of elementary communicative competencies such as using the present, past, and future tenses; expressing likes and dislikes; describing things; and asking questions. They practice conversing and writing about themselves and others, school and leisure activities, time, weather, and shopping. They learn about Spanish and Latin American culture while building their communicative skills. (4 credits) Introductory Intensive 2 NSPN1004 A 26 sessions. Tues. & Thurs., 8:00–9:50 p.m., beg. Sept. 9. Noncredit tuition $1,000.

This accelerated course is the continuation of Introductory Intensive and completes the study of the fundamentals of the Spanish language. Students extend their knowledge of essential grammar, learning how to express opinions (past and present subjunctive) and make conjectures (conditional and future). They continue learning about Spanish and Latin American cultures while developing communication skills. Prerequisite: Spanish Introductory Intensive 1 or the equivalent. (4 credits)

FOREIGN LANGUAGES

Level 1 NSPN1001

Level 5 NSPN3001

A 13 sessions. Sat., 12:00–1:50 p.m., beg. Sept. 6. Noncredit

A 13 sessions. Thurs., 6:00–7:50 p.m., beg. Sept. 11. Noncredit tuition

tuition $590.

$590.

B 13 sessions. Tues., 6:00–7:50 p.m., beg. Sept. 9. Noncredit

This intermediate-level course assumes familiarity with basic Spanish grammar. The class reviews the most commonly used grammatical structures to build fluency. Students practice expressing themselves clearly and correctly using present, past, and future tenses. They also review and practice the subjunctive, the conditional, and compound tenses. They are expected to construct complex sentences and paragraphs both in speaking and in writing, using idiomatic expressions, relative constructions, and correct sequence of tenses. Students learn about Spanish and Latin American cultures by reading and viewing authentic materials, such as magazines, newspaper articles, broadcasts, and websites. Prerequisite: Spanish Level 4, the equivalent, or permission of the instructor. (2 credits)

tuition $590.

C 13 sessions. Wed., 8:00–9:50 p.m., beg. Sept. 10. Noncredit tuition $590.

D 13 weeks, Sept. 8 thru Dec. 12. Noncredit tuition $590.

ONLINE

This is the first course of a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Students acquire elementary grammar (present and future tenses), learn to ask questions, and practice by conversing and writing about family members, school and leisure activities, likes and dislikes, time, and weather. They learn about Spanish and Latin American culture while building their communicative skills. (2 credits) Level 2 NSPN1002 A 13 sessions. Wed., 6:00–7:50 p.m., beg. Sept. 10. Noncredit tuition $590.

B 13 sessions. Thurs., 8:00–9:50 p.m., beg. Sept. 11. Noncredit tuition $590.

This is the second course of a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Students continue using the basic grammatical structures learned in Level 1 and learn new ones, such as past tenses, pronouns, reflexive constructions, and demonstratives. They practice by conversing and writing about topics such as food, daily routines, shopping, seasons, and travel. They continue learning about Spanish and Latin American culture while building communicative skills. Prerequisite: Spanish Level 1, the equivalent, or permission of the instructor. (2 credits) Level 3 NSPN2001 A 13 sessions. Tues., 8:00–9:50 p.m., beg. Sept. 9. Noncredit tuition $590.

This is the third course in a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Students build on the basic grammar learned in previous courses and go on to learn the different uses of past tenses, combinations of pronouns, and the various forms of commands while learning to construct complex sentences. They practice by conversing and writing about topics such as celebrations, health, technology, and personal relationships. As in previous courses, they continue learning about Spanish and Latin American cultures. Prerequisite: Spanish Level 2, the equivalent, or permission of the instructor. (2 credits) Level 4 NSPN2002 A 13 sessions. Mon., 8:00–9:50 p.m., beg. Sept. 8. Noncredit tuition $590.

This is the last course in a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Grammar instruction focuses on uses of the subjunctive and expressing conditions and hypotheses. Topics of classroom conversation and writing assignments include the environment, city life, personal well-being, and household chores. Students continue learning about Spanish and Latin American cultures. Prerequisite: Spanish Level 3, the equivalent, or permission of the instructor. (2 credits)

NEW Taller de Español NSPN2731 A 5 sessions. Wed., 3:50–5:30 p.m., beg. Nov. 5. Noncredit tuition $350.

This course is for students with very basic intermediate fluency who wish to refine their speaking skills and complement their language class with a practical session focused on conversation. Students practice the topics covered in Intermediate Intensive 1 and expand on them in conversation. In addition to studying cultural topics, students focus on retelling past events, expressing their opinions about issues that affect their lives and others, describing habits in the past and comparing them with current habits, giving instructions and directions, describing different kinds of housing and finding the right roommate, and talking about their future and that of others. Prerequisite: Spanish Introductory Intensive 2, the equivalent, or permission of the instructor. (1 credit) Mexico: Arte y Cultura NSPN3723 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 26. Noncredit tuition $620.

This course, conducted entirely in Spanish, introduces students to Mexican art, covering the period from 1900 to the present, including mural and easel painting, photography, sculpture, folk arts, and architecture. In the process, they gain a general understanding of Mexican historical development. Students practice speaking Spanish through lectures, discussions, readings, and collaborative work. There is a class field trip to view Mexican art on display in New York City. Prerequisite: Spanish Level 5, the equivalent, or permission of the instructor. (3 credits)

YIDDISH Yiddish Language and Culture NYDH1000 A 15 sessions. Mon., 8:00–9:50 p.m., beg. Aug. 25. Noncredit tuition $620.

Yiddish, a language that is more than 1,000 years old, is being revived as a legacy language by scholars and even by hipsters. In addition to studying the vocabulary, structure, and grammar of the Yiddish language, students explore the range of cultural expressions (in areas like cuisine, fashion, and music) and contexts that shaped the development of Yiddish from the Middle Ages to the present. (3 credits)

ENGLISH LANGUAGE STUDIES

ENGLISH LANGUAGE STUDIES Teaching English to Speakers of Other Languages English as a Second Language FOR COURSE ADVISING, CALL 212.229.5372. w w w. n e w s c h o o l . e d u / c e / e n g l i s h l a n g u a g e s t u d i e s

Gabriel Diaz Maggioli, Director, Department of Language Learning and Teaching Caitlin Morgan, Director, English Language Studies

English has become the language of international

TEACHING ENGLISH TO SPEAKERS OF OTHER LANGUAGES Language institutes in the United States and around the world are looking for native or near-native English speakers trained to teach the language; the demand for them continues to grow. There are adult language programs throughout the country in need of properly trained staff to work with immigrants. Also, thousands of foreign students come to the United States each year to study, and many colleges now have ESL programs that hire instructors regularly. In addition, many people living, studying, or working in the United States employ private tutors to help them with their English. In short, training in English language teaching can prepare you for a wide variety of careers at home and abroad.

communication; command of spoken and written English is important in business, the arts, and other professions all over the world. The demand for ESL courses and trained ESL teachers continues to grow. The mission of English Language Studies at The New School is to address this demand by offering high-quality courses in English

Master of Arts in Teaching English to Speakers of Other Languages The New School offers the master of arts degree in Teaching English to Speakers of Other Languages (TESOL), with concentrations in teaching and curriculum development. For more information, visit the website at www.newschool.edu/matesol. For a printed brochure, call the Office of Admission at 212.229.5630 or email nsadmissions@newschool.edu.

language instruction and teacher training. Certificate in Teaching English The New School offers a certificate for aspiring and working ESL teachers for whom a master’s degree is inappropriate or impractical. The certificate attests to successful completion of a five-course training program in teaching English to speakers of other languages. The certificate curriculum has a practical orientation based on theory and techniques of communicative, studentcentered learning. Students learn a variety of skills readily applicable to classroom teaching and tutoring. Students who complete the program usually find work in nonprofit immigrant support institutions, schools abroad, and private practice. Note, however, that The New School’s Certificate in Teaching English does not certify the holder to teach ESL in public or registered proprietary schools in New York State. Prospective students must apply online to the Department of English Language Studies. The application includes a writing sample and English grammar test. Applicants will be contacted for an in-person interview soon after their complete application has been received. Note: Non-native speakers of English must have a TOEFL score of at least 250 (CBT), 100 (IBT), or 600 (PBT). For the application and complete program information, go online to www.newschool.edu/ce/teachingenglish. For more information, call 212.229.5372, email elsc@newschool.edu, or visit the Department of English Language Studies at 66 West 12 Street, 6th Floor. Required Curriculum: The certificate is awarded for successful completion of the program of study outlined below. A permanent record is maintained and transcripts are available. Courses need not be taken in the order listed unless a prerequisite is indicated in the course description. All courses can be taken for undergraduate credit or on a noncredit basis. Students who do not register for undergraduate credit must register as certificate students to establish a record of their enrollment. Certificate approval will not be awarded for any course retroactively. • • • • •

Methods and Techniques of Teaching ESL/EFL English Grammar for ESL Teaching Teaching the Sound System of English Using Authentic Materials to Teach ESL ESL Teaching Practicum

Noncredit students receive grades of AP (Approved) or NA (Not Approved) in each course; credit students must earn grades of C+ or better for certificate approval. For general rules governing all New School certificate programs, consult the Educational Programs and Services section of this catalog (see Table of Contents).

ENGLISH LANGUAGE STUDIES

Using Authentic Materials to Teach ESL NELT3432

Professional Development

A 4 sessions. Sat., 2:00–5:30 p.m., beg. Sept. 13. Noncredit tuition $405. Linda Pelc

Enrollment limited. Permission required; call 212.229.5372. This course presents techniques for choosing and using appropriate media and materials such as video, newspapers, Internet-based audio, and articles, as well as realia. Participants learn how to prepare teaching exercises that incorporate these kinds of materials, and, as time permits, the class experiments with them. (1 credit)

Professional development workshops are offered every semester for working ESL teachers. A certificate can be awarded for attendance at three professional development workshops. Email elsc@newschool.edu to request a certificate. X-Word Grammar Workshop NELT0537 A 1 session. Sat., 10:00 a.m.–4:45 p.m., Oct. 18. Noncredit tuition $125. Tamara Kirson

Methods and Techniques of Teaching ESL/EFL NELT3411 A 15 sessions. Mon. & Wed., 7:00–9:40 p.m., beg. Aug 27. Noncredit tuition $1,035. Theresa Breland

Enrollment limited. Permission required; call 212.229.5372. This course is open to those interested in or currently teaching English as a second or foreign language. Learn the basics of student-centered teaching and how to plan lessons that integrate contextualized grammar instruction with the teaching of vocabulary and four language skills (speaking, listening, reading, writing). Also learn about error correction and classroom management. The emphasis is on communicative learning. Participants are required to observe at least three hours of ESL classes and teach an ESL/EFL class for a minimum of 20 hours during the semester. Participants must find their own teaching positions; call 212.229.5372 or email elsc@newschool.edu for a list of possible teaching sites. (4 credits) English Grammar for ESL Teaching NELT3412 A 15 sessions. Thurs., 7:00–9:40 p.m., beg. Aug. 28. Noncredit tuition $1,035. Delis Pitt

Enrollment limited. Permission required; call 212.229.5372. This course is designed to improve formal understanding of English grammar to facilitate teaching the language. (3 credits)

X-word grammar stems from the sector analysis work of the linguist Robert Allen and revolves around the use of “petite but powerful” auxiliary verbs. These verbs demystify grammar rules, enabling students to analyze and understand the way grammar works, not in a vacuum but in the context of reading and writing. Participants learn how X-word grammar can help students find the subject in a sentence, generate questions, form negatives, match verbs to subjects, avoid fragments, and write complex sentences. This interactive workshop allows for ample practice in using and teaching this accessible and logical system. (noncredit) Teaching ESL to Adults with Low Literacy NELT0538 A 1 session. Sat., 10:00 a.m.–4:45 p.m., beg. Oct. 25. Noncredit tuition $125. Linda Pelc

Adults with low literacy in their first language have very different needs from literate beginning-level ESL students, though they often sit side by side in the ESL classroom. Volunteers and trained ESL teachers are sometimes at a loss as to how to help low-literacy students in their classes. In this hands-on workshop, participants explore teaching approaches, techniques, and materials that are appropriate and effective in working with low-literacy adults. The course is recommended for those working with immigrants in community language programs in the United States. (noncredit)

ESL Teaching Practicum NELT3416

X-Word Grammar and Relationships: Subject-Verb Agreement and Noun Boxes NELT0544

A 14 sessions. Tues., 6:00–7:50 p.m., beg. Sept. 9. Noncredit

A 1 session. Sat., 10:00 a.m.–4:00 p.m., beg. Nov. 8. Noncredit

tuition $630.

tuition $125.

Richard P. Humphreys

Tamara L. Kirson

Enrollment limited. Permission required; call 212.229.5372. Following a twoday orientation, students teach or team-teach an English class three hours daily for three weeks and participate in a seminar twice a week. Prerequisites: Methods and Techniques of Teaching ESL/EFL, English Grammar for ESL Teaching, and Using Authentic Materials to Teach ESL. (3 credits)

For English language learners, subject-verb agreement and the use of determiners to signal a noun are often sources of confusion and error. X-word grammar addresses these relationships with a methodology that minimizes rules and focuses on inductive learning. Visual, tactile, and kinesthetic activity aid the student in the learning process. Participation in X-Word Grammar Workshop (NELT0537) on October 18 would be beneficial but is not required for attendance at this workshop. The workshop focuses on these questions: What are noun boxes? What is included and in what order? In what sectors or places are these words located in the sentence? What is the relationship between the noun boxes and the x-words that follow (i.e., subjectverb agreement)? (noncredit)

For help in interpreting course descriptions, see chart on page 72.

ENGLISH LANGUAGE STUDIES

ENGLISH AS A SECOND LANGUAGE

GRAMMAR OF ENGLISH

Theresa M. Breland, Linda Britton, Andrea de Toledo, Jessica Dukes, Joan Durk, Suzanne Kaplan-Fonseca, Bonny Hart, Richard Humphreys, Tamara Kirson, Darleen Lev, Jaclyn Lovell, Patrick Mull, Cristina Patterson, Delis M. Pitt, Ryan Roslenic, Dolly Setton, Cathy Shikler

A 24 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Sept. 8. Noncredit

Placement Advising: All students must see an English Language Studies advisor for testing and placement at the appropriate level before they register. Call 212.229.5372 or email elsc@newschool.edu.

Grammar of English 3 NESL0300 tuition $1,440.

Enrollment limited. Permission required. Practice in basic English language skills and grammar for students at the low-intermediate to intermediate level. Call 212.229.5372 for required placement advising. (noncredit) Grammar of English 4 NESL0400

Study Options in English as a Second Language Individual Classes: Students who do not need a visa can take classes from four to 18 hours per week. Certificate: A Certificate in English as a Second Language can be awarded to those who successfully complete a minimum of 100 hours of ESL coursework. All students who enroll as certificate students can obtain a transcript of the courses they have taken even if they do not complete 100 hours of coursework. Policies governing all New School certificate programs are stated in the Educational Programs and Services section of this catalog (see the Table of Contents). Note: The registration fee for certificate students is $80 per semester. Intensive Study: The Department of English Language Studies has developed a unique program for intensive study of English as a second language. A fulltime curriculum (18 hours per week) is designed for each student, made up of courses at an appropriate level chosen from those offered in this catalog. Selected New School lectures, film screenings, concerts, and other events are free of charge to students enrolled in the ESL Intensive Study program. 12-week intensive program: tuition $4,880. Part 1 begins September 9 and ends Dec 4.

A 24 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Sept. 8. Noncredit tuition $1,440.

Enrollment limited. Permission required. A high-intermediate-level course focusing on the grammar, structure, and usage of written English. Call 212.229.5372 for required placement advising. (noncredit) Grammar of English 5 NESL0500 A 24 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Sept. 8. Noncredit tuition $1,440.

Enrollment limited. Permission required. Low-advanced-level students review the basics and explore the more complex points of grammar in written English while improving their general command of the language. Call 212.229.5372 for required placement advising. (noncredit) Grammar of English 6 NESL0600 A 24 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Sept. 8. Noncredit tuition $1,440.

Enrollment limited. Permission required. Advanced students review the basics and explore the more complex points of grammar in written English while improving their general command of the language. Call 212.229.5372 for required placement advising. (noncredit)

ENGLISH LANGUAGE STUDIES

LISTENING/SPEAKING

WRITING

Listening/Speaking 3 NESL0320

Writing in English 3 NESL0310

A 24 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Sept. 8. Noncredit

A 24 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Sept. 9. Noncredit tuition $1,440.

tuition $1,000.

Enrollment limited. Permission required. Low-intermediate to intermediate students practice speaking and listening in a variety of informal and formal situations. Problems with grammar, vocabulary, and pronunciation are addressed. Call 212.229.5372 for required placement advising. (noncredit) Listening/Speaking 4: New York Life NESL0420 A 24 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Sept. 8. Noncredit tuition $1,000.

Enrollment limited. Permission required. High-intermediate and advanced students learn to recognize key elements and supporting details in various examples of authentic spoken English such as movies, interviews, live discussions, and television programs. They develop successful listening strategies and speaking skills. Problems with the grammar of spoken English, vocabulary, and pronunciation are reviewed as they come up. Call 212.229.5372 for required placement advising. (noncredit) Listening/Speaking 5: Thinking Critically NESL0520 A 24 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Sept. 8. Noncredit tuition $1,000.

Enrollment limited. Permission required. High-intermediate and advanced students learn to recognize key elements and supporting details in various examples of authentic spoken English such as movies, interviews, live discussions, and television programs. They develop successful listening strategies and speaking skills. Problems with the grammar of spoken English, vocabulary, and pronunciation are reviewed as they come up. Call 212.229.5372 for required placement advising. (noncredit) Listening/Speaking 6: Advanced Workshop NESL0620 A 24 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Sept. 8. Noncredit tuition $1,000.

Enrollment limited. Permission required. Students practice advanced listening points, using authentic materials such as news broadcasts, films, and documentaries. Pronunciation and presentation skills are emphasized. Problems with grammar and vocabulary are addressed as they come up. Call 212.229.5372 for required placement advising. (noncredit)

Enrollment limited. Permission required. Students at the low-intermediate to intermediate level work on writing paragraphs and build to writing essays consisting of an effective introduction, well-developed body paragraphs, and a solid concluding paragraph. They learn how to write evaluative essays, compareand-contrast essays, and argumentative essays. Students revise their work and develop skills used by successful writers. Specific grammar points are covered based on problems revealed in the students’ writing or as otherwise determined by the instructor. Call 212.229.5372 for required placement advising. (noncredit) Writing in English 4 NESL0410  A 24 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Sept. 9. Noncredit tuition $1,440.

Enrollment limited. Permission required. Students at the high-intermediate level work on writing five-paragraph essays consisting of an effective introduction, well-developed body paragraphs, and a solid concluding paragraph. Students write personal narratives, summary-response essays, argumentative essays, critiques, analytical essays, and compare-and-contrast essays. They learn how to revise their work and develop other skills used by successful writers. Specific grammar points are covered based on problems revealed in the students’ writing or as otherwise determined by the instructor. Call 212.229.5372 for required placement advising. (noncredit) Writing in English 5 NESL0510  A 24 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Sept. 9. Noncredit tuition $1,440.

Enrollment limited. Permission required. Advanced-level students practice formulating a thesis, organizing their ideas into paragraphs, writing topic and concluding sentences, including specific examples from a variety of sources, and developing a personal writing voice. Projects include compare- andcontrast essays, analytical essays, argumentative essays, summary- response essays, persuasive essays, and critiques. Students learn how to revise their work and develop other skills used by successful writers. Specific points of grammar are covered in addition to those that arise in student writing. Call 212.229.5372 for required placement advising. (noncredit) Writing in English 6 NESL0610  A 24 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Sept. 9. Noncredit tuition $1,440.

Enrollment limited. Permission required. This course is designed to help international students meet university writing requirements. They learn how to develop, focus, organize, and support ideas in extended essays. They then learn the research techniques practiced in the United States and the conventions for documentation, such as footnotes, citations, and bibliographies. The course includes in-class writing, homework, and a short research paper. Call 212.229.5372 for required placement advising. (noncredit)

ENGLISH LANGUAGE STUDIES

READING

Reading 6: Self and Identity NESL0630 A 24 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Sept. 9. Noncredit

Reading and Vocabulary 3 NESL0330 A 24 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Sept. 9. Noncredit tuition $1,000.

Enrollment limited. Permission required. Practice in reading with emphasis on building vocabulary for students at the low intermediate to intermediate levels. Call 212.229.5372 for required placement advising. (noncredit) Reading 4: American Experience NESL0430 A 24 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Sept. 9. Noncredit tuition $1,000.

Students examine the American experience by reading a variety of fiction and nonfiction texts that relate to topics such as communication, the education system, the workplace, and family life. They explore American culture and values, often through images, becoming more aware of their own cultural values, behaviors, and beliefs. Students discuss, write and present on issues in the readings. Vocabulary skill building is emphasized. Call 212.229.5372 for required placement advising. (noncredit) Reading 5: Self and Identity NESL0530 A 24 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Sept. 9. Noncredit tuition $1,000.

Enrollment limited. Permission required. Students read and discuss fiction and nonfiction. Formal and structural issues are explored, and reading strategies and vocabulary are developed. The emphasis, however, is on developing language skills through discussions of personal reactions to the readings. Call 212.229.5372 for required placement advising. (noncredit)

tuition $1,000.

Enrollment limited. Permission required. In this reading and discussion class, students explore current issues from various cultural perspectives. Topics include individualism, competition, materialism, and attitudes toward change. Call 212.229.5372 for required placement advising. (noncredit)

ENGLISH LANGUAGE STUDIES

ESL + DESIGN CERTIFICATE

ESL + MUSIC CERTIFICATE

Parsons The New School for Design and the Department of English Language Studies together offer the ESL + Design Certificate program. This preenrollment program is for international students who plan to attend an art or design college in the United States but need to improve their scores on the Test of English as a Foreign Language (TOEFL) or wish to refresh their English language skills and adjust to university life in the United States before beginning art and design studies. The certificate program of study is based on a structured set of intensive English language (ESL) courses and incorporates design studio classes, short workshops, and an orientation to life in the United States. English language courses cover grammar, academic reading and writing, and listening and speaking. Students who test at the high intermediate level (Level 6) are eligible to take the Design and Language Studio course in place of Listening/Speaking 6.

Mannes College The New School for Music Extension Division and the Department of English Language Studies together offer the ESL + Music Certificate program. This pre-enrollment program is designed for individuals who need to improve their scores on the Test of English as a Foreign Language in order to be admitted to a music school in the United States or another English-speaking country or who want to adjust to university life in the United States before starting a music program. The certificate program of study is based on a structured set of intensive English language courses and includes private music lessons with Mannes College faculty, a Techniques of Music course, and performance seminars.

ESL + Design students are eligible to enter the United States on a student visa and have access to university facilities and services such as student housing (separate application and fees), tutoring at the University Learning Center, health services, a New School email account, and library privileges. Dates: 12 weeks (two 6-week sessions), September 8–December 5 Admission: Download the application form and instructions from the website, www.newschool.edu/continuing-education/esl-design-certificate. If you have questions about the application, contact the English Language Studies Center by email at elsc@newschool.edu or by telephone at 212.229.5372.

ESL + Music students are eligible to live in university housing and have access to many of the services and academic resources offered by The New School, including health services, an email account, practice rooms, library and computing services, tutoring, and free admission to Mannes College concerts, recitals, and other university events. Admission: Apply through Mannes College The New School for Music Extension Division. For the application and complete program information, go to www.newschool.edu/mannes/eslm-certificate. For more information, call 212.580.0210 x4802, email mannesextension@newschool.edu, or visit the Mannes Extension office at 150 West 85th Street, ground floor.

Tuition and Fees • ESL + Design core (Grammar, Writing, Listening/Speaking, and Reading): $4,880 • ESL + Design core with Design and Language Studio (not for credit) instead of Listening/Speaking: $5,278 • ESL + Design core with Design and Language Studio (for credit) instead of Listening/Speaking: $7,810 Design and Language Studio PNSO1506 A 12 sessions. Fri., 12:10–6:20 p.m., beg. Sept. 15.

In the Design and Language Studio course, students work on their English language skills in the context of art and design practice. They work collaboratively on urban-themed design exercises and conduct field research in New York City. They explore art and design disciplines through independent and group projects. They gain experience speaking English by participating in class discussions and by collaborations. They develop their English writing skills by writing about their projects and by building art and design vocabulary vital for creative practice. Prerequisite: Enrollment in the ESL + Design Certificate and high intermediate or advanced English language skills (Level 5 or 6). (3 credits)

C R E AT I V E A R T S A N D H E A LT H C E R T I F I C AT E

CREATIVE ARTS AND HEALTH CERTIFICATE Other fine arts courses can be taken at Parsons. FOR COURSE ADVISING, CALL 212.229.5567. V i s i t w w w. n e w s c h o o l . e d u / p a r s o n s / c o n t i n u i n g - e d u c a t i o n .

The Creative Arts and Health certificate program is currently accepting only students who are matriculated in a degree program at The New School. For a complete description, visit the website: www.newschool.edu/publicengagement/creative-arts-and-health-certificate. This career training program for college graduates and current undergraduates is about integrating modalities of music, drama, visual arts, and dance/ movement into the practice of therapy and social work in clinical settings and community services. The certificate program in Creative Arts and Health is didactic and experiential, grounded in the latest developments in psychology and mind-body healing. It is designed as preparation for advanced education as a licensed therapist and as general career development for human services professionals. The faculty includes experienced practitioners in creative arts therapies and related fields. The Certificate in Creative Arts and Health is awarded for successful completion of nine courses as outlined below, culminating in a clinical fieldwork experience. • Take two required psychology courses: Theories of Personality and Abnormal Psychology. (Both are prerequisites for the clinical fieldwork.) • Choose a track: Art Therapy, Music Therapy, Drama Therapy, or Dance/Movement Therapy. Take four courses in your track, including the introductory training course (parts 1 and 2, if set up in two parts). • Take two elective courses from one or two of the three other tracks. Students are required to take courses in modalities other than their chosen track to ensure a well-rounded learning experience. • Take Creative Arts and Health Fieldwork: a minimum of 150 hours in a clinical facility under professional supervision with a concurrent seminar at The New School.

People not enrolled in the certificate program may be permitted to take individual courses if space is available. Contact the program office for permission to register. Be aware that certificate status will not be assigned to any course retroactively. Introduction to Dance/Movement Therapy NCAT2510 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Aug. 28. Noncredit tuition $680. Nancy E. Koprak

In this course, students learn about dance therapy practice with diverse populations such as patients with eating disorders, chronic pain, and schizophrenia. Various techniques are demonstrated and discussed in relation to prevention and rehabilitation. This introduction to the field includes the history of the profession, theoretical concepts, information on further training, professional standards, and employment opportunities. Certificate students must register in person with a certificate registration form signed by the program coordinator. For more information, call 212.229.5567 or email CATinfo@ newschool.edu. (3 credits) Mind-Body Healing Through the Arts NCAT2701 A 5 sessions. Mon., 8:00–9:50 p.m., beg. Aug. 25. Noncredit tuition $220. John Mondanaro

The field of creative arts therapy is rapidly gaining recognition as an essential part of health care in our society. By tapping into the deeply expressive aspects of body, mind, and spirit through such modalities as music, sound, imagery, role, and movement, the therapist facilitates self-actualization and healing within the therapeutic relationship. Prominent practitioners demonstrate principles and practice in this series of experiential presentations. (1 credit) Training in Art Therapy 1 NCAT3100 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit tuition $680. Christine Alessandro

The New School certificate attests to completion of the defined program of study. It is not a professional certification or license. Professional credentials are awarded only by the several art therapies associations. The program is designed as a two-year, part-time course of study, but this can be adjusted according to individual needs. General policies governing all New School certificate programs apply (see the Table of Contents in this catalog). All courses must be taken at The New School for Public Engagement.

This course introduces students to the use of art in therapy. Theoretical models that build the foundation for the use of art in therapeutic situations are examined, and the history of the profession is outlined. Case presentation and artwork are discussed in class to illustrate assessment and treatment methods. Certificate students must register in person with a certificate registration form signed by the program coordinator. For more information, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

Most students take the Creative Arts and Health program on a noncredit basis. However, all courses are offered for undergraduate credit, and students who plan to apply these courses to a degree program at this or another college or university must register for credit. Noncredit certificate students and credit students have the same responsibilities and are treated the same way in every course.

The Dynamics of Art Materials NCAT3113

The Creative Arts and Health certificate program is open to anyone who has completed at least 30 college credits, preferably including courses in psychology and/or social work and in one or more of the four creative fields defined for the program: art, dance, drama, and music. (Applicants who have professional experience in the arts may be allowed to enter the program with fewer than 30 credits and take academic courses at The New School concurrently with their Creative Arts and Health courses.) Contact the program office to obtain the application instructions, or visit the website and use the Apply button. The deadline to submit an application is three weeks before the first day of classes of the term in which you wish to start taking courses. Please direct all questions about eligibility and admission procedures to the coordinator. Call 212.229.5567 or email catinfo@newschool.edu.

A 15 sessions. Tues., 8:00–9:50 p.m., beg. Aug. 26. Noncredit tuition $680. Dina Schapiro

Enrollment limited. Students explore making art for the purpose of selfexpression, using a wide range of art materials. Various art therapy techniques, the stages of group therapy, and prescriptive use of specific art media are the focus. The integration of art and psychology theory and practice is explored for students who come from a background in either area. Certificate students must register in person with a certificate registration form signed by the program coordinator. For more information, call 212.229.5567 or email CATinfo@ newschool.edu. (3 credits)

C R E AT I V E A R T S A N D H E A LT H C E R T I F I C AT E

Training in Music Therapy 1 NCAT3300

The Performance Wellness Seminar NCAT3740

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit

A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 26. Noncredit

tuition $680.

Christoph Grieder

Louise Montello

This introductory course includes an overview of research on and the theory and practice of music therapy, with a focus on music therapy and mental health with different patient populations and information about further training and job opportunities in the field. There is also an experiential component, in which students participate in clinically tested music therapy techniques such as Guided Imagery and Music, group music therapy, and clinical improvisation. As the term progresses, students are guided in developing fieldwork opportunities in the New York metropolitan area. Certificate students must register in person with a certificate registration form signed by the program coordinator. For more information, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

This course offers students, performing artists, educators, and clinicians a deeper understanding of the implications of stress in performance, as well as practical tools for allowing the body-mind to become a more resilient instrument in the face of stressful situations. The seminar also provides training in body-mind awareness techniques, body-based cognitive restructuring, behavioral rehearsal, and specially designed music therapy techniques that directly address key performance issues. Students keep daily logs to monitor changes in their own stress levels over the duration of the course. Certificate students must register in person with a certificate registration form signed by the program coordinator. For more information, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

Rhythm and Role: Unmasking the Essential Self NCAT3400

Creative Arts Health Fieldwork NCAT3900

A 4 sessions. Sat., 10:00–5:00 p.m., beg. Oct. 11. Noncredit tuition $680.

A 4 sessions. Wed., 2:00–3:50 p.m., Sept. 10, Oct. 8, Nov. 12 & Dec. 10. Noncredit tuition $795.

Louise Montello

Dina Shapiro

Enrollment limited. This intensive experiential course, which will be of special interest to creative arts and mental health practitioners, performers, and educators, seamlessly integrates concepts and techniques from music, art, movement, and drama therapy. The course includes an exploration of the interface of shamanism and creative arts therapy, storytelling, improvisation, and musical psychodrama. Creative arts therapy and psychoanalytic readings are required, as is journal keeping to frame the process. Certificate students must register in person with a certificate registration form signed by the program coordinator. For more information, call 212.229.5567 or email CATinfo@ newschool.edu. (3 credits)

Limited to 12. Permission required; call 212.229.5567 to arrange a placement interview. Fieldwork in a variety of settings is offered to certificate students who have completed the two required psychology and four concentration courses. Permission of the Creative Arts Therapy coordinator is required. Students must commit to ten hours per week per semester (15 weeks) to complete their fieldwork. On-site supervision is provided by members of the New School faculty. A concurrent seminar focuses on clinical issues particular to specific populations. The seminar meets once a month during the semester (twice a month during the summer term). (3 credits)

Drama Therapy: Methods and Techniques NCAT3505 A 15 sessions. Thurs., 8:00–9:50 p.m., beg. Aug. 28. Noncredit tuition $680. Jennifer Wilson

This two-semester course offers a complete orientation to the theory and practice of drama therapy. Various drama therapy techniques are explored in the classroom. Students are assisted in obtaining fieldwork experience and receive career counseling. Certificate students must register in person with a certificate registration form signed by the program coordinator. For more information, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits) Dance Therapy with Children NCAT3553 A 15 sessions. Tues., 8:00–9:50 p.m., beg. Aug. 26. Noncredit tuition $680. Susan Tortora

This didactic and experiential course focuses on treating children with developmental delays, learning disabilities, and other disorders. Students learn about the latest developments in neuroscience as it relates to child development and healing, including the significance of movement in the mother-infant relationship and the importance of dance/movement in early emotional and social development. Certificate students must register in person with a certificate registration form signed by the program coordinator. For more information, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the appropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 73 for the schedule. For details of registration procedures and deadlines, see pages 73–74 or call 212.229.5690.

MANAGEMENT AND ENTREPRENEURSHIP

MANAGEMENT AND ENTREPRENEURSHIP FOR COURSE ADVISING, CALL 212.229.5124. w w w. n e w s c h o o l . e d u / c e / m a n a g e m e n t a n d b u s i n e s s

Introduction to Management NMGT2100 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Richard Walton

Vivette Ancona, Coordinator

The Management and Entrepreneurship curriculum teaches organizational practices and enables students to develop an in-depth understanding of the effects of social and economic forces on today’s businesses, not-for-profits, and other organizations. Whether your interest is in acquiring or polishing job-related skills, positioning yourself for a new career, launching your own start-up, or supporting your work with nonprofits or in the arts, The New School can help you develop the skills necessary to adapt to an

This is a skill-building course for people whose job responsibilities or career interests require knowledge of basic management principles. We study concepts of organization, communication, decision making, planning, motivating, group dynamics, leadership, and change. Examples of common day-to-day management and supervisory problems provide realistic case studies. (3 credits) Basic Accounting NMGT2110 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Vivette Ancona

This course introduces basic concepts and practices of accounting and double-entry bookkeeping. Journals, ledgers, and various types of accounts are described and discussed. Real-world business transactions are analyzed, and their proper entry into financial records is demonstrated. Students learn how to determine profit or loss on a cash or accrual basis and develop related skills, such as preparing budgets and reading basic financial statements. (3 credits)

ever-changing environment. Introduction to Marketing NMGT2115 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Aug. 28. Noncredit

Introduction to QuickBooks NMGT1004

tuition $650.

A 5 sessions. Thurs., 8:00–9:50 p.m., beg. Aug. 28. Noncredit tuition $220.

Linnette Attai

Instructor to be announced

This course is for students interested in acquiring a working knowledge of the terminologies, processes, and practices needed to manage marketing in forprofit and not-for-profit companies. Learn fundamental concepts and models such as the Four P’s, segmentation, consumer behavior, and branding, and explore the interdisciplinary roots of marketing in anthropology, sociology, economics, and psychology. Students are encouraged to consider target markets as subcultures, products as cultural artifacts, and consumer decisions as behavioral choices. Current trends and hot-button issues, including ambush marketing, corporate social responsibility, and green marketing, are examined. Cases and guest speakers help students apply theory to a range of industries and products, including nonprofits, art and design, packaged goods, and services. (3 credits)

Long before there were mobile apps to use in your leisure time, applications existed to help you keep track of and manage your enterprise. Among those that have stood the test of time is QuickBooks. This course teaches you how to use QuickBooks and other accounting apps to track the progress of your business. (1 credit) Introduction to Spreadsheets NMGT1003 A 5 sessions. Thurs., 8:00–9:50 p.m., beg. Oct. 9. Noncredit tuition $220. Instructor to be announced

You’re hoping to get a start-up going and you need to work out various scenarios to help you decide on what you need in terms of funding, equipment, etc. You need to use spreadsheets. They not only will help you in the initial phase of your start-up but will remain a useful tool. This course teaches you how to use Excel and other spreadsheet applications for both the initial phase and later stages of your start-up. (1 credit)

The Big Idea: Making It Happen in Contemporary Ad Campaigns NMGT2122 A 15 sessions. Mon., 8:00–9:50 p.m., beg. Aug. 25. Noncredit tuition $650. Kurt Brokaw

Introduction to Microeconomics NECO2004 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Vivette Ancona

This course introduces the principles of microeconomics and shows how microeconomic analysis and techniques can be employed in problem solving. We begin with the basics of supply (firms) and demand (consumers) and examine the logic of consumers’ choices and firms’ decisions regarding output and pricing policies. We next study market structures, technological innovations, market failures, and public policies. Finally, we analyze labor markets, income distribution, and poverty. Throughout, we discuss case studies, such as the Microsoft antitrust case, deregulation of the telecom industry, and the debate about the effects of raising the national minimum wage. (3 credits)

Could you invent a Marlboro cowboy, a milk mustache, a talking E*TRADE baby, an Aflac duck? How do copywriters and art directors come up with ideas for the hottest viral, stealth, 3-D, and experiential media? Students work in self-selected teams to brainstorm, conceptualize, write, test, and pitch campaigns for social media, including mobile apps, as well as traditional television and print. The teams create campaigns for package goods, recording artists, retail businesses, and public service causes. Recent guest speakers include Anna Kate Roche (Eugene Lang College ’08), copywriter on Apple at TBWA/Chiat-Day’s Media Arts Lab; Matt Miller, CEO of the Association of Independent Commercial Producers; and Chris Brokaw, rock guitarist and feature film composer and producer. This is an ideal course for students interested in the creative side of advertising. (3 credits)

FOOD STUDIES

Entrepreneurship NMGT2140 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 26. Noncredit

FOR COURSE ADVISING, CALL 212.229.5124. w w w. n e w s c h o o l . e d u / c e / f o o d s t u d i e s

tuition $650. Elisa Balabram

Start-ups are the drivers of today’s economy. It takes specific skills and qualities to lead an organization to success in this vibrant sector. This hands-on, highly interactive course teaches students how to assess an idea, find funding, and bring the product to market. We review the concept of entrepreneurship and the practices associated with the successful development and launch of a start-up. This is a practical course that combines textbook study with real-life exercises such as developing an elevator pitch, devising a business plan, and delivering an investor presentation. (3 credits)

Food Studies at The New School draws on a range of disciplines to explore the connections between food and culture, media, politics, history, and the environment. Our faculty of scholars, policy activists, entrepreneurs, and scientists provide the theoretical and practical tools you

Managerial Skills for Successful Organizations NMGT2420 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

Fabio Parasecoli, Coordinator

ONLINE

need to engage in what has become a global conversation

Martin Greller

about food production, distribution, quality, and safety and

For managers, leaders, and staff members, effectiveness in organizations depends largely on understanding what’s going on beneath the surface of complex relationships and situations. Organizational Behavior (OB) provides important tools for achieving such understanding. OB draws on a range of social science disciplines—psychology, sociology, anthropology, and political science—to explain, predict, and influence human behavior in organizations. OB is a foundation for management studies and is critical for those who seek success in their own organizations. (3 credits)

to promote positive change in your local food chain.

Arts and Cultural Marketing: Selling What Makes New York City Interesting NMGT3115 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit tuition $650. David Eng

Like all great cities, New York offers a range of arts and cultural amenities, which drive the economy as well as enriching our lives. How does the arts and culture industry affect our local urban economy and beyond? How is the marriage of creative product and informed consumer achieved in a highly competitive and cluttered world? This course uses New York City as a case study to introduce the principles and practices of marketing with application to museums, galleries, performing arts, and other cultural institutions and organizations. Engaging the well-known Four P’s of marketing (product, price, place, promotion) and practical considerations of budget, institutional politics, and industry paradigms, students review selected arts and cultural marketing campaigns and consider the role of marketing in the future of this vital sector. Guest speakers from the industry bring their expertise to our discussions. (3 credits) Growing a Small Business NMGT3140 A 15 sessions. Tues., 8:00–9:50 p.m., beg. Aug. 26. Noncredit tuition $650. Alejandro Crawford

Entrepreneurs moving beyond the start-up phase of their businesses face both opportunities and challenges. This course focuses on building a business organization capable of managing and sustaining growth. Entrepreneurs need to operationalize their organizations (i.e., get the right people and systems in place), motivate their teams, manage limited resources (human and financial), and ensure cash flow. While perfecting their product or service and developing customer loyalty, new businesses must constantly improve and innovate and attract new customers. Entrepreneurs also need to establish and communicate a culture and value system for their businesses, creating a solid foundation for the future. (3 credits)

Introduction to Food Studies NFDS2050 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650.

ONLINE

Bea Banu

In this course, we explore the connections between food, culture, and society, looking at the role of food in the construction of personal and collective identity in terms of body, race and ethnicity, class, gender, nationality, and social movements. We also examine cultural aspects of food politics, paying particular attention to the United States but also considering globalization and international flows of people, goods, ideas, and technologies. The course introduces analytical approaches and methods that are widely used in the growing research field of food studies. (3 credits) Introduction to Food Design: We Eat What We Are NFDS2080 A 10 sessions. Tues., 7:00–9:45 p.m., beg. Aug. 26. Noncredit tuition $650. Pedro Reissig

This course is meant to inspire students to become involved in the rapidly growing field of food design. Food and design are both important subjects in themselves: Food is one of our most basic needs, and design is widely used today for innovation and problem solving. Food design is an emerging transdisciplinary field concerned with methods that can be used to improve our relationship to food in a variety of ways. These may involve the design of the edible product itself and its context, including food objects, spaces, process, and practices. Students become familiar with the impact of design on concrete, everyday situations related to food. The course is conceived as a design project, with the possibility of hands-on components. The scope is confined to familiar and immediate issues students can easily grasp and identify with. Each student works on a project related to his or her life and environment, engaging with food and design through firsthand experience. (3 credits)

FOOD STUDIES

American Culinary History: From the Erie Canal to the Food Network NFDS2101

Food Policy Tools for Food System Change NFDS3201

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Aug. 27. Noncredit

A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 25. Noncredit tuition $650.

tuition $650.

Thomas B. Forster

Andrew Smith

This course provides tools for advocacy through interactive participation and engagement with U.S. food and farm policy. Our food system relies on industrial farming practices controlled by relatively small clusters of global firms, with negative consequences for farm communities, urban consumers, and the environment. This course explores how ecologically and socially sustainable alternatives, from community-supported agriculture programs to inner-city farms, are generating excitement and energy at the city, state, national, and international levels. Through readings, lectures, and field trips, we consider policy responses to food system challenges on three levels: city-state, state-federal, and national-international. We discuss how current food and farm policies govern markets, provide incentives, and influence individual food choices. We look at emerging social movements and food policy coalitions in the United States and internationally. We hear from leaders advocating policy change, who discuss how community-based solutions could be scaled up to address the interlocking challenges of persistent hunger and poverty, environmental degradation and climate change, growing urban and rural food deserts, epidemics of preventable chronic diseases, and collapsing rural economies. (3 credits)

What does the Erie Canal have to do with Wonder Bread? Which American war gave us condensed soup? Why did American farmers turn away from organic farming in the first place? This course examines the historical, cultural, social, technological, and economic events that have influenced what Americans eat today. It is an action-packed history of home economists and fancy restaurateurs, family farmers and corporate giants, street vendors and captains of industry, mom-and-pop grocers and massive food conglomerates, burger barons and vegetarians, the hungry and the affluent, hard-hitting advertisers and health food advocates. All these players have shaped the contentious American foodscape of the 21st century. (3 credits) Food Products Business: Launching and Marketing NFDS2350 A 10 sessions. Mon., 4:00–5:50 p.m., beg. Sept. 8. Noncredit tuition $440. Terry Frishman

Do you dream of being a successful food entrepreneur? Do you wonder how others do it? This inspiring, fast-paced workshop covers the crucial business and communications steps required to launch and market a food product. A guest speaker shares an entrepreneurial story, discussing lessons hard learned and offering advice best received before starting in this risky business. (2 credits) Food TV: From Julia Child to Top Chef NFDS2950 A 5 sessions. Sat., 10:00–11:50 a.m., beg. Sept. 6. Noncredit tuition $220. Andrew Smith

Almost everybody watches food television, whether it’s programs that teach us how to cook, travel shows that tell us how others eat, or food competitions that entertain us. This overview begins with early cooking shows and ends with the latest hit programs. We take a critical look at food television: Is it educational or just entertainment? How are food television shows made? What is the relationship between food television and sponsors? How does television affect our food choices? Guest speakers enliven our discussions of these fascinating topics. (1 credit) Jewish Food Through Song and Film NFDS2952 A 5 weeks, Oct. 13 thru Nov. 14. Noncredit tuition $220.

ONLINE

Food Environments, Health, and Social Justice NFDS3220 A 15 weeks, Aug. 25 thru Dec. 15. Noncredit tuition $650. Magdalena Ornstein-Sloan

With obesity and diabetes rising at alarming rates, an interdisciplinary academic field has emerged to rethink the role of the environment in shaping our food use patterns and health. In this class, our approach is framed by the ideas and activities of the environmental justice movement, which guide a critical reading of the literature on food environments and the sociospatial distribution of nutritional resources. We conceptualize systems of food production and consumption in environmental terms, such as food deserts and platescapes, and examine how modes of food production and distribution are connected to the nutritional landscapes of cities. We consider research methods to gain an understanding of these environments and health effects and explore strategies to promote effective change in resource distribution. Students use Internet-based mapping tools to conduct field research on their own food environments. Written assignments include responses to major themes in the literature, reviews of relevant films, and letters to policymakers. (3 credits) Food Fight! The Role of Food in Advocacy and Sociopolitical Communication NFDS3300

Laura Silver

A 15 sessions. Tues., 12:00–1:50 p.m., beg. Aug. 26. Noncredit

This course offers students a taste of Eastern European and American Jewish culture through songs, films, and personal narratives dealing with food. We explore the Jewish experience and cultural and religious identity through foods that came to the United States by way of Jewish immigrants from Poland, Romania, and the Pale of Settlement. Traditional foods and their modern-day incarnations guide our exploration of Ashkenazi Jewish identity, culture, and peoplehood. We translate and interpret Yiddish and Hebrew, decoding words and phrases that we encounter in our explorations as we go from the Old World to the New, from the Pale to the sidewalks of the Lower East Side and the suburbs of middle America. (1 credit)

tuition $650.

ONLINE

Stafani Bardin

The importance of food in popular culture is evident in media such as television shows, films, and blogs. Complex issues such as hunger and food justice, health and obesity, locavorism, biotechnological influences, fair trade, ethical consumption, and sustainability are slowly entering the conversation about food in contemporary media outlets. We begin by examining the role food plays in communication from semiotic and cultural studies points of view. We then explore food as a focus of social, political, and environmental debates; as a topic discussed in social networks, advertising campaigns, political platforms, viral Internet campaigns, television programs, magazines, and newspapers; and as inspiration for art and media projects addressing these social and political issues. We discuss food and food advocacy content generators and consider effective communication strategies for food-related activism. (3 credits)

FOOD STUDIES

Hungering for Opportunities: Food and Migrations NFDS3410 A 15 sessions. Wed., 8:00–9:50 p.m., beg. Aug. 27. Noncredit tuition $650. Brandon Koenig

In the contemporary world, food sparks debates on power structures, race, ethnicity, and multiculturalism that acquire particular relevance in places where people from around the world live together and interact. In this course, we examine food in relation to migration in New York City and at the national and international levels. We look at how food can become an instrument of communication and cultural exchange but also of exclusion and xenophobia. Through lectures, interviews, and fieldwork in the city, we use food as a starting point for an analysis of the dynamics of adaptation, appropriation, and diaspora in a global framework. Although the focus is on contemporary society, we also explore historical aspects of the subject. (3 credits) Feasting Your Eyes: Food and Film NFDS3615 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Aug. 28. Noncredit tuition $700. Laura Di Bianco

Why are food and eating so prominent in movies of all genres? Why have movies centered on food become so popular in the past few decades? How have film directors depicted the relationship of food to culture, sex, fantasy, and fear? This course examines food, its production and consumption, and related sociopolitical and emotional issues in connection with film. Narrative, visual, and symbolic uses of food are explored in the context of contemporary popular culture. (4 credits)

EARN A DEGREE IN FOOD STUDIES. The BA and BS degree programs in Food Studies—offered through the Bachelor’s Program for Adults and Transfer Students at The New School—are your pathway to a career or graduate study in areas including –– Food policy research and advocacy –– Environmentally sustainable agriculture

Urban Agriculture and Food Activism NFDS3720 A 15 sessions. Wed., 4:00–5:50 p.m., beg. Aug. 27. Noncredit tuition $650. Kristin Reynolds

This course examines agricultural endeavors in urban environments and explores ways in which food production has been envisioned within the city landscape. Students survey concepts of urban agriculture, its place in the food system, its economics, and its environmental implications. Case studies focus on New York City. The course integrates readings and discussion with field trips, guest lectures, and media resources. (3 credits) Food, Global Trade, Development NFDS4260

–– Food marketing and distribution –– Business administration for governments and NGOs –– Culinary journalism

www.newschool.edu/publicengagement/ba-bs-food-studies

A 15 sessions. Wed., 4:00–5:50 p.m., beg. Aug. 27. Noncredit tuition $650. Sakiko Fukuda-Parr and Fabio Parasecoli

Food security is a basic human right and an urgent priority in countries rich and poor, but the causes of food insecurity and ways to address it are the subject of intense controversy. Multiple discourses shape debates in areas ranging from food sovereignty to sustainable food systems to the new Green Revolution. We examine a number of controversial questions: How can geographical indications be used to enhance opportunities for trade? Did speculation cause the recent price hikes in world food markets? From a cultural and ethical perspective, is the global intrinsically bad and the local intrinsically good? How do global value chains help or undermine local food systems? Drawing on food studies and development economics, this course is an exploration of key policy approaches and challenges around food security in the context of rapidly evolving global food systems. This is a graduate-level course that is also appropriate for undergraduates. (3 credits)

An Affirmative Action/Equal Opportunity Institution.

INSTITUTE FOR RETIRED PROFESSIONALS

INSTITUTE FOR RETIRED PROFESSIONALS www.irp.newschool.edu Michael I. Markowitz, Director

In 1962, a group of retired New York City schoolteachers, dissatisfied with the senior learning programs available to them, organized a learning community at The New School, the Institute for Retired Professionals (IRP). At the time of its founding, the IRP was one of the first examples in the United States of what would come to be called the “positive aging” movement and elder empowerment. The original IRP students developed a unique model of adult continuing education based on peer-learning, in which all members share responsibility for the scholarly venture, being simultaneously curriculum creators, teachers, and students. Today's IRP students, ranging in age from 54 to 94, develop and participate in challenging study groups (see the list opposite for examples). The IRP curriculum is limited only by the imagination of the program’s participants. IRP Learning Model The IRP model has been highly influential, and today many colleges welcome elder learning communities to their campuses. These programs have attracted to college campuses people who had formerly been excluded while contributing to a dialogue on the changing paradigm of aging and retirement. Over time, the IRP helped give birth to the ILR (Institute for Learning in Retirement) movement. Today, more than 300 campus-based programs follow the ILR model. Like the IRP, many are associated with the Elderhostel Institute Network (EIN), founded in 1989 as a clearinghouse for existing and new ILRs. That the Institute for Retired Professionals was welcomed and nurtured at The New School, with its historic roots in educating the educated, is not surprising. The New School has always been part of a movement in our society to make institutions of higher education more inclusive and more welcoming to women, people of color, and other underrepresented groups. The IRP program is still unique in the New York area. Mature students from various backgrounds design, teach, and participate with their peers in weekly courses that would meet academic standards in any college degree program. Applying for Membership Open house events and interviews are scheduled throughout the year. Applications are received and reviewed throughout the year for a limited number of September and February admissions. For more information about the program or membership, contact New School Institute for Retired Professionals, 66 West 12th St., New York, NY 10011; tel: 212.229.5682; fax: 212.229.5872; email: irp@newschool.edu. Academic Program IRP study groups are noncredit, and there are neither tests nor grades. However, all members of the community take their responsibilities seriously, and student participation in the study groups is an essential element in the continuing success of the institute. In the IRP model, information is created by the students themselves in study groups rather than transferred from teacher to student. Students also have opportunities to explore the broad range of New School courses and to participate in other aspects of university life as part of its diverse student body. The IRP itself sponsors regular public events at The New School, including the annual conference on elder abuse.

Typical Study Groups The study group is the heart of the IRP experience. Study groups are scheduled mornings and afternoons Monday through Thursday and Friday mornings. A small curriculum is now being offered in summer term as well. Class sizes range from 12 to 35. Every term, 20 or so new groups are started and the same number of old ones dropped. Some recent course titles are listed below. Literature and Arts World Dance T.S. Eliot Greek Drama Joyce’s Ulysses Jane Austen History of Jazz Plays of Albee and O’Neill Irish Poetry Japanese Literature Literature of Baseball Benjamin Britten Politics in 20th-Century Music Virginia Woolf Public Affairs The Constitution Human History and the Environment Globalism The Origins of War Great Decisions Socio-cultural Issues Immigration Policy Gender Issues Race and Society Slavery Past and Present 20th-Century Migrations Bioethics News Without Newspapers

Science and Psychology Cosmology 20th-Century Physics Origins of Personality Mathematics and the Arts Brain, Mind, and Consciousness Philosophy of Science Genetics Art and Physics Workshops Writer’s Workshop Watercolor Painting Area Studies Hispanic/Latino Experience The Pacific Rim Understanding Islam History American Radicals Early Civilizations Byzantium The Middle Ages Brazil’s History and Culture Russian History: 900–1917 Chinese History and Culture The American West Gay History and Literature The Harlem Renaissance

Social and Other Activities Learning in the IRP is both a social and an intellectual experience. Common learning interests provide a foundation for new friendships. In addition to classroom activities, the IRP sponsors group art shows, special lectures, and readings; publishes a literary journal; organizes urban walks, day trips, and domestic and international study trips; and offers inexpensive tickets to many cultural events.

POETRY WRITING WORLD POLICY MUSIC LITERATURE ART LECTURES ETHICS PHILOSOPHY PHOTOGRAPHY ARCHITECTURE COLLABORATION COMMUNITY READINGS TECHNOLOGY MEDIA STUDIES FILM POETRY WRITING MUSIC WORLD POLICY LITERATURE ART LECTURES ETHICS PHILOSOPHY WRITING ARCHITECTURE COLLABORATION COMMUNITY READINGS TECHNOLOGY MEDIA STUDIES FILM POETRY WRITING WORLD POLICY MUSIC LITERATURE ART

LEC-

TURES ETHICS PHILOSOPHY PHOTOGRAPHY ARCHITECTURE COMMUNITY READINGS TECHNOLOGY MEDIA STUDIES FILM POETRY WRITING MUSIC WORLD POLICY LITERATURE ART LECTURES ETHICS PHILOSOPHY WRITING ARCHITECTURE COLLABORATION COMMUNITY READINGS TECHNOLOGY MEDIA STUDIES FILM POETRY WRITING WORLD POLICY MUSIC LITERATURE ART LECTURES ETHICS PHILOSOPHY PHOTOGRAPHY ARCHITECTURE COMMUNITY READINGS TECHNOLOGY MEDIA STUDIES FILM POETRY WRITING MUSIC ARTS

ABOUT THE NEW SCHOOL The New School for Public GeneralEngagement Studies Educational Programs and Services The University University Administration Policies Administrative Other DivisionsPolicies of the University www.newschool.edu/public-engagement

www.newschool.edu/

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THE NEW SCHOOL FOR PUBLIC ENGAGEMENT David Scobey, Executive Dean, The New School for Public Engagement Kathleen Breidenbach, Vice Dean Celesti Colds Fechter, Associate Dean for Academic Services L.H.M. Ling, Associate Dean for Faculty Affairs Joseph Heathcott, Associate Dean for Academic Initiatives Nicholas Allanach, Director of Academic Operations Thelma Armstrong, Executive Assistant to the Dean Seth Cohen, Director of Administrative Services Merida Escandon, Director of Admission Emily Martin, Assistant Dean of Academic Operations Suk Mei Man, Director of Academic Systems Cecilia Ponte, Director of Faculty Affairs Chrissy Roden, Director of Academic Student Services Pamela Tillis, Director of Public Programs Allen Austill, Dean Emeritus

The New School was founded in 1919 as a center for “discussion, instruction, and counseling for mature men and women.” It became America’s first university for adults. Over the years, it has grown into an urban university enrolling more than 10,000 students in undergraduate and graduate degree programs. The New School for Public Engagement, the founding division of the university, has never neglected its o riginal mission. It continues to serve the intellectual, cultural, artistic, and professional needs and interests of adult students. The curriculum published in this bulletin offers an enormous range of opportunities for intellectual inquiry and skills development. Certain values inform the process of preparing a curriculum each term. These were articulated in a statement of purpose prepared by a University Commission on Continuing Education in the spring of 1984: “The New School does not set any limits to its p rograms in regard to subject matter. Whatever seriously interests persons of mature intelligence properly falls within the province of the school. History and philosophy, the social and behavioral sciences, literature and art, the natural and b iological sciences, e ducation, and ethics naturally take up a significant part of the New School curriculum, since these are the fields in which the forces of culture and change are most significantly active, and in which human beings, their institutions, and their products are directly studied. The centrality of the liberal arts is maintained and strengthened in every possible way, but not to the exclusion of o ther educational programs that serve a legitimate need for mature adults in a mature community.” Some of the finest minds of the 20th century developed unique courses at The New School. W.E.B. DuBois taught the first course on race and African-American culture offered at a university; Karen Horney and Sandor Ferenczi introduced the insights and conflicts of psychoanalysis; Charles Abrams was the first to explore the complex issues of urban housing; the first university course on the history of film was taught at this institution; and in the early sixties, Gerda Lerner offered the first university course in women’s studies. Over the years, lectures, s eminars, and courses have examined most of the important national and international issues of our time. To this day, many talented teachers and professionals choose The New School as a place to introduce new courses and explore new ideas. The New School maintains its tradition of educational innovation and keeps its place on the cutting edge of intellectual and creative life in New York City. Accreditation The New School and its degree programs are fully a ccredited by the Commission on Higher Education of the Middle States Association of Colleges and Secondary Schools. Its credits and degrees are r ecognized and accepted by other accredited colleges, universities, and professional schools throughout the United States. The New School, a privately supported institution, is chartered as a u niversity by the Regents of the State of New York. 62

Board of Governors of The New School for Public Engagement Gail S. Landis Randall S. Yanker, Chair Robert A. Levinson Anthony J. Mannarino, Vice Chair Bevis Longstreth George C. Biddle Victor Navasky Hans Brenninkmeyer Lawrence H. Parks, Jr. James-Keith (JK) Brown Julien J. Studley Gwenn L. Carr Monsignor Kevin Sullivan Christopher J. Castano Paul A. Travis John A. Catsimatidis Judith Zarin Marian Lapsley Cross Susan U. Halpern, Esq. Jeffrey J. Hodgman Honorary Members Joan L. Jacobson The Honorable David N. Dinkins Alan Jenkins Lewis H. Lapham Eugene J. Keilin

EDUCATIONAL PROGRAMS AND SERVICES The New School is committed to creating and maintaining an environment of diversity and tolerance in all areas of employment, education, and access to educational, artistic, and cultural programs and activities. It does not discriminate on the basis of age, race, color, sexual orientation, gender (including gender identity and expression), pregnancy, religion, religious practices, mental or physical disability, national or ethnic origin, citizenship status, veteran status, marital or partnership status, or other protected status. Students with disabilities should read Services for Students with Disabilities in this bulletin for information about obtaining accommodation of their needs and how to proceed if they feel such accommodation has been denied. Students who feel they have suffered disability discrimination other than denial of reasonable accommodation, or discrimination on any basis described above, may file a complaint pursuant to the University Policy on Discrimination (see University Policies Governing Student Conduct on the website at www.newschool.edu/studentservices/rights/other-policies). Inquiries about the application of laws and regulations concerning equal employment and educational opportunity at The New School, including Title VI (race, color, or national origin), Section 504 (people with disabilities), and Title IX (gender) may be referred to the office of the General Counsel, The New School, 80 Fifth Ave., suite 801, New York, NY 10011. Inquiries may also be referred to the Office of Federal Contract Compliance Programs, U.S. Department of Labor, 23 Federal Plaza, New York, NY 10278, or the U.S. Equal Employment Opportunity Commission (EEOC), New York District Office, 201 Varick Street, Suite 1009, New York, NY 10014. For individuals with hearing impairments, EEOC’s TDD number is 212.741.3080.

Study Options Noncredit The majority of courses in this bulletin can be taken on a noncredit basis. Noncredit students pay tuition and fees as listed in the course d escriptions. Noncredit students are entitled to receive the instructor’s evaluation of any assigned coursework they complete, but no letter grades are reported. Except for students in certificate programs (see opposite), the university does not maintain a permanent or official record of noncredit enrollment. We can provide a noncredit record of attendance, which may be used for tuition reimbursement from your employer or for your own records. This record of attendance must be requested during the term in which the course is taken. See Records, Grades, and Transcripts in this bulletin. There is a fee for this service.

SG CR HA OM O LS FA L L A2B0O1U2T PTUHBEL IN C E PWR O

General Credit (Nonmatriculated) A student interested in earning undergraduate college credits may register on a general credit basis for most courses in this bulletin, accumulating a maximum of 24 credits without matriculating. The number of credits awarded for any course is shown in parentheses at the end of the course description. The student receives a letter grade in each course and is entitled to transcripts of record. A general credit student is outside any degree program at The New School and is registered on a nonmatriculated basis. General credit students have limited access to university facilities: They have access to The New School’s Fogelman and Gimbel Libraries but not to the Bobst or Cooper Union Libraries; they do not have access to academic computing facilities unless they are enrolled in a course that includes such access. Answers to most questions about access to facilities can be found on the website at www.newschool.edu/resources. Credits are u sually transferable to the New School Bachelor’s and other undergraduate degree programs, but it is seldom possible to determine in advance whether credits will be accepted by a particular institution; that will be decided by the school and for a particular degree program. When possible, students taking courses for transfer to another school should confirm that the credits will be accepted before they register here. You should consider registering for general credit if you think you will need an official record of your course work for any reason: you are testing your ability to handle college-level study; to qualify for a salary increment from the Board of Education (NYC or other employer); to make up educational deficiencies (prerequisites for an MA, for example); to fulfill a language requirement for graduate school; or for career advancement. Specific requirements for credit vary from course to course, and each s tudent is responsible for learning from the instructor what they are: the books to be read, the paper(s) to be written, and other criteria to be used for evaluation. General credit registration for any course should be completed before the first class session. General credit registration for 9 or more credits requires prior approval and must be completed in p erson. Schedule an advising appointment with Academic Services: 212.229.5615; academicservices@newschool.edu. General credit tuition for courses in this catalog is $1,170 per credit for undergraduate students, and an $80 University Services Fee is charged each term at registration. Certificates The New School for Public Engagement awards certificates of completion in several areas of study. A certificate attests to successful completion of a structured program of courses designed to establish proficiency in a specific field. For more information, contact the Office of the Dean: call 212.229.5615. The following certificates are currently offered: Creative Arts Therapy (HEGIS code 5299.00) English as a Second Language (noncredit only) Teaching English to Speakers of Other Languages (HEGIS code 5608.00) TESOL Summer Institute certificates (noncredit only) Film Production (HEGIS code 5610.00) Screenwriting (HEGIS code 5610.00) Each certificate has specific requirements, and certificates are offered only as specified. Consult the particular sections of this bulletin or visit the website for information about these requirements and necessary e ducational advising. All certificate students are responsible for knowing and completing attendance and academic performance requirements for their courses. Tuition for Certificate Students: Tuition for noncredit certificate students is the tuition listed with the course descriptions in this catalog. If the student is taking the course for credit, tuition depends on the student’s status and the number of c redits assigned to the course.

Registration: All certificate students must have their programs approved by the appropriate course advisor before they register, must register in person, and must specifically request certificate status for each approved course at registration. Certificate students pay the $80 University Services Fee each term at registration. Grades and Records: Certificate students receive a grade of Approved (AP) or Not Approved (NA) at the conclusion of a course. (Credit students should consult their program advisor to find out the minimum letter grade required for Certificate Approval.) Permanent records are maintained for all certificate students, and transcripts are available. Request for Certificate: A student who has completed all the requirements of a certificate program should file the Petition for Certificate form available at the Registrar’s Office. Certificates are conferred in January, May, and August.

Study Online www.newschool.edu/online

The New School is a pioneer in extending teaching and learning into the Internet environment. Distance learning courses, online enhancement of campus courses, and public programs and discussions are available through the online portal. Using an Internet connection, you can enter The New School from anywhere in the world, 24 hours a day, seven days a week. Visit www.newschool.edu/online to learn more. More than 300 courses are offered in the full distance learning environment every year, enrolling more than 2,000 credit and noncredit students. Students matriculated in the New School for Public Engagement Undergraduate Program and graduate programs in Media Studies and TESOL can take some or all of their courses online. For additional information about degree programs online, contact the Office of Admission, 72 Fifth Avenue, 3rd floor, 212.229.5630, or email nsadmissions@newschool.edu.

Libraries and Computing Facilities The Raymond Fogelman Library has relocated to 55 West 13th Street. Emphasizing the social sciences, the Fogelman Library is the principal library for New School students. The Adam and Sophie Gimbel Library on the second floor of the Sheila Johnson Design Center (enter at 2 West 13th Street) has a rich art and design collection. The Harry Scherman Library at Mannes College The New School for Music, 150 West 85th Street, is devoted to European and American classical music. Reference services and instruction in library resources and technologies are available at all libraries. For further information about library services and procedures, consult with the reference librarians on duty in the libraries or visit www.newschool.edu/library. In order to visit the libraries, a student must present a valid New School ID card. Students taking courses for credit or certificate and members of the IRP are entitled to a photo ID. Noncredit students receive a New School ID without photo valid for the duration of their course(s) and must show a personal photo ID with their New School ID to use the library. Many library services are available online at library.newschool.edu. Computing Facilities All students matriculated in certificate programs have access to the Academic Computing Center, with Windows workstations and printers, and the University Computing Center, with Macintosh and Windows workstations, laser printers, and plug-in stations for laptops. Computing centers are part of the Arnhold Hall Multimedia Laboratory at 55 West 13th Street. Nonmatriculated students have only limited access to these facilities, which is described in the tech help and access directories on the website: www.newschool.edu/at/help/helpdir. 63

ABOUT THE NEW SCHOOL

International Student Services The New School is authorized under federal law to enroll non-immigrant alien students. The mission of International Student Services is to help international students reach their full potential and have positive experiences at The New School and, in cooperation with other departments, faculty, staff, and the students themselves, to promote diversity and foster respect for cultures from all over the world. International Student Services helps international students help themselves through printed handouts, orientations, and workshops, and individual advice and support. Before registering, all international students are required to attend an orientation and check in with International Student Services to confirm that they have been properly admitted into the United States and to review their rights, responsibilities, and regulations. Visit the website at www.newschool.edu/studentservices.

Students develop their programs from the hundreds of courses described in this bulletin and other courses open to degree students only. Visit the website to see a current list of courses. In addition, they may select courses offered by Eugene Lang College The New School for Liberal Arts, Parsons The New School for Design, and Mannes College The New School for Music Extension. Advanced undergraduates and those approved for a bachelor’s/master’s option can take graduate courses offered in Media Studies or International Affairs or other graduate programs of the university. Every student in the New School for Public Engagement’s Undergraduate Program is responsible for organizing the course offerings of The New School into a coherent academic program. To do so requires thoughtful planning and consideration of a v ariety of options. Each student forms a strong relationship with a faculty advisor with whom s/he talks through options, gains access to the full range of curricular resources available in the university, and shapes a group of courses into a coherent program suited to individual needs and interests. Bachelor of Arts/Bachelor of Science

Services for Students with Disabilities The Office of Student Disability Services shares the university’s philosophy of encouraging all students to reach their highest levels of achievement and recognizing and embracing individual differences. Student Disability Services assists students with disabilities in obtaining equal access to academic and programmatic services as required by the Americans with Disabilities Act of 1990 (ADA) and Section 504 of the Federal Rehabilitation Act of 1973. For more information about Student Disability Services, please visit www.newschool.edu/studentservices. Students who have disabilities are encouraged to self-identify. While there is no deadline by which to identify oneself as having a disability, early disclosure helps ensure that reasonable accommodations can be made prior to the start of the student’s courses. Once a student has self-identified, a meeting will be arranged to review appropriate medical documentation from a qualified clinician and discuss the student’s needs and concerns. Students who need special accommodations, please contact Student Disability Services: 212.229.5626; studentdisability@newschool.edu. Students with disabilities who feel they have been denied reasonable accommodation should follow the procedure provided for by the New School Policy for Requesting Reasonable Accommodations available on the website at www.newschool.edu/studentservices/rights/other-policies or at the Office of Student Rights and Responsibilities.

THE NEW SCHOOL FOR PUBLIC ENGAGEMENT UNDERGRADUATE PROGRAM www.newschool.edu/nspe/undergrad Bea Banu, Dean of the School of Undergraduate Studies

An Individualized Degree Program for Adults and Transfer Students The New School for Public Engagement’s Undergraduate Program is designed specifically for adult s tudents who are committed to completing their undergraduate education with a solid foundation in the liberal arts. Within a set of broad guidelines and working closely with a f aculty advisor, each student chooses courses that make sense for his or her personal goals. Students can attend part- or full-time, on campus, online, or by combining on-site and online courses.

The New School for Public Engagement bachelor’s degree in liberal arts requires satisfactory completion of 120 credits. The Bachelor of Arts degree requires a minimum of 90 credits in the liberal arts and sciences. For the Bachelor of Science degree, a student must complete a minimum of 60 credits in the liberal arts and sciences. The liberal arts and sciences, as defined by the New School Bachelor’s Program, correspond generally to the following chapters of the New School Bulletin: Social Sciences Writing Humanities Foreign Languages Media Studies and Film English Language Studies Screenwriting Food Studies Bachelor of Arts students may elect to include up to 30 credits, and Bachelor of Science students up to 60 credits, in non-liberal arts areas of study, again corresponding roughly to sections of the New School for Public Engagement Bulletin, such as Management and Business, Visual and Performing Arts, Media and Film Production, and Film and Media Business. New School for Public Engagement Undergraduate Program students may also take university undergraduate courses in Environmental Studies and Global Studies. (Note: The New School also offers the BFA degree in Musical Theater to graduates of the American Musical and Dramatic Academy integrated program. Contact the Office of Admission, 212.229.5630, for information about the AMDA program.) Complete information about admission and degree requirements, financial aid, course offerings, facilities and student services is published in the New School for Public Engagement Bulletin, available as a PDF on the website at www.newschool.edu/nspe/undergrad. Admission Matt Morgan, Assistant Director of Undergraduate Admission

The Office of Admission is open throughout the year to assist prospective students. Any student interested in a degree program should make an appointment to speak with a counselor: Call 212.229.5150; email admission@newschool.edu; or come in person to 72 Fifth Avenue. Office hours are 9:00 a.m.–5:00 p.m.

ABOUT THE NEW SCHOOL

THE UNIVERSITY www.newschool.edu

The New School for Public Engagement is one of seven divisions of The New School, a unique urban university offering undergraduate, graduate, and continuing education programs in the liberal arts and social sciences, design, and the performing arts. The other divisions are described briefly below. The New School is located in Manhattan’s Greenwich Village, with a few facilities elsewhere in Manhattan. There is a map on the inside back cover of this catalog that includes all facilities of the university. The New School provides the following institutional information on the university website at www.newschool.edu: FERPA (Family Education Rights and Privacy Act); financial assistance information (federal, state, local, private, and institutional need-based and non-need-based assistance programs, Title IV, FFEL, and Direct Loan deferments); institutional policies (fees, refund policies, withdrawing from school, academic information, disability services); completion/graduation and transfer-out rates (graduation rate of degree-seeking students, transfer-out rate of degreeseeking students). To request copies of any of these reports, contact the appropriate office as listed on the website.

THE DIVISIONS OF THE NEW SCHOOL As we approach the 100th anniversary of the university’s founding, The New School’s legacy of change remains a source of pride. The New School has been evolving since the day it began offering nondegree courses for working adults, responding to changes in the marketplace of ideas, career opportunities, and human curiosity. Each area of study, degree program, and school within the university has a unique story—from the founding division’s focus on nontraditional students to the new approaches to design, management, urban policy, and the performing arts introduced by the divisions that have become part of The New School since the 1970s. Today undergraduate, graduate, and continuing education students still come to The New School expecting a university like no other. For that reason, the story of The New School’s seven divisions, themselves the products of continuous reinvention, occupies a special place in the history of higher education. Visit the home page of each division for information about degrees offered and areas of study. Eugene Lang College The New School for Liberal Arts www.newschool.edu/lang 65 West 11th Street, New York NY 10011 | 212.229.5665 Eugene Lang College is The New School’s four-year liberal arts college for traditional-age undergraduates. The college began in 1972 as the Freshman Year Program, an experimental program for high school seniors. It became the Seminar College, a full-time bachelor’s program, in 1975 and a separate division of the university in 1985. This bold experiment in undergraduate education is named in honor of New School trustee Eugene M. Lang, a generous supporter of the college. Students at Eugene Lang College enjoy small seminar-style classes taught by a faculty of prominent scholars, many of whom are also affiliated with the graduate departments of The New School for Social Research. Lang’s location in the center of a major metropolitan area offers its students opportunities for civic engagement and internships available to students of few other small liberal arts schools.

Mannes College The New School for Music www.newschool.edu/mannes 150 West 85th Street, New York, NY 10024 | 212.580.0210 Founded in 1916 by David Mannes and Clara Damrosch, Mannes College became part of The New School in 1989. Mannes is one of the leading classical music conservatories in the world, providing professional training for a select group of talented student musicians. A comprehensive curriculum and faculty of world-class artists enable students to attain virtuosity in vocal and instrumental music, conducting, composition, and theory. Students also enjoy access to the resources of the university as a whole. Like the students they teach, Mannes faculty members come from every corner of the world. They include performers and conductors from prominent orchestras, ensembles, and opera companies and renowned solo performers, composers, and scholars in every field of classical music. Mannes offers undergraduate and graduate music degrees, professional diplomas, an extension program for adults, and a preparatory program for children. The New School for Drama www.newschool.edu/drama 151 Bank Street, New York, NY 10014 | 212.229.5150 The New School has been a center of innovation in theater since Erwin Piscator brought his Dramatic Workshop here from Europe in the 1940s. His students included Marlon Brando, Walter Matthau, Harry Belafonte, Elaine Stritch, and Tennessee Williams. Piscator established a tradition of excellence in theater education that continues at The New School today. The New School for Drama began in 1994 as a program to train talented individuals for careers in the theater as actors, directors, and playwrights. The New School’s New York City setting offers students abundant opportunities to learn through observation and make professional connections through the broadest theater career network in the United States. The New School for Jazz and Contemporary Music www.newschool.edu/jazz 55 West 13th Street, New York, NY 10011 | 212.229.5896 In 1986, The New School established an undergraduate program offering talented young musicians the opportunity to study with professional artists from New York City’s peerless jazz community. The teaching model is based on the tradition of the artist as mentor: Our students study and perform with some of the world’s most accomplished musicians. They are immersed in the history and theory of and latest developments in jazz, blues, pop, and the everevolving genres of contemporary music. Learning takes place in classrooms, student ensembles, one-on-one tutorials, public performances, and master classes. Students develop their creative talents to meet the high standards of professional musicianship exemplified by the legendary faculty. The New School for Public Engagement www.newschool.edu/public-engagement 66 West 12th Street, New York, NY 10011 | 212.229.5615 The New School for Public Engagement embodies the values that motivated the university’s founders in 1919. The division was renamed in 2011 to reflect its position as an enterprise designed to connect theory to practice, foster innovation in culture and communication, and promote democratic citizenship through lifelong education. The division offers undergraduate degree programs for adult and transfer students and graduate degrees and certificates in its schools of languages, media studies, and writing and in the Milano School of International Affairs, Management, and Urban Policy. The division also offers hundreds of open-enrollment continuing education courses on campus in Greenwich Village and online.

ABOUT THE NEW SCHOOL

The New School for Social Research www.newschool.edu/socialresearch 16 East 16th Street, New York, NY 10003 | 212.229.5700 In 1933, The New School gave a home to the University in Exile, a refuge for scholars fleeing persecution by the Nazis. In 1934, The New School incorporated this community as a graduate school of political and social science. Today’s graduate students enjoy opportunities to cross disciplinary boundaries and collaborate with scholars, designers, and artists in other divisions of the university. The New School for Social Research addresses the most urgent political, cultural, and economic concerns of the day and upholds the highest standards of critical inquiry. Parsons The New School for Design www.newschool.edu/parsons 2 West 13th Street, New York, NY 10011 | 212.229.8950 Parsons is one of the world’s preeminent colleges of art and design. Founded in 1896 by artist William Merritt Chase and his circle, Parsons was renamed in 1936 for its longtime president, Frank Alvah Parsons, who dedicated his career to integrating visual art and industrial design. Parsons became part of The New School in 1970. It was the first institution in the United States to award university degrees in fashion design, interior design, advertising and graphic design (originally commercial illustration), and lighting design. Parsons has earned and maintained an international reputation as a school at the vanguard of design education. Students in its undergraduate and graduate degree programs hold themselves to exceptional standards of creativity and scholarship, developing their skills and building knowledge in laboratories, workshops, and seminars. Parsons offers general art and design courses and certificate programs for students of all ages. Visit the home page of each division for information about degrees offered and areas of study.

OFFICERS OF ADMINISTRATION David E. Van Zandt, President Tim Marshall, Provost and Chief Academic Officer Anne Adriance, Chief Marketing Officer Andy Atzert, Vice President for Distributed and Global Education Carol S. Cantrell, Senior Vice President for Human Resources and Labor

Relations

Chris Ferguson, Vice President for Strategic Enrollment Management Lia Gartner, Vice President for Design, Construction and Facilities

Management

Mark Gibbel, Chief Development Officer Roy P. Moskowitz, Chief Legal Officer and Secretary of the Corporation Anand Padmanabhan, Senior Vice President and Chief Information Officer Linda Abrams Reimer, Senior Vice President for Student Services Michelle Relyea, Vice President for Student Success Donald Resnick, Chief Enrollment and Success Officer Bryna Sanger, Deputy Provost and Senior Vice President for Academic

Affairs

Tokumbo Shobowale, Chief Operating Officer Steve Stabile, Vice President for Finance and Business and Treasurer

Deans and Directors Stephanie Browner, Dean, Eugene Lang College

The New School for Liberal Arts

Contemporary Music

Richard Kessler, Dean, Mannes College The New School for Music Martin Mueller, Executive Director, The New School for Jazz and Pippin Parker, Director, The New School for Drama William Milberg, Dean, The New School for Social Research David Scobey, Executive Dean, The New School for Public Engagement Joel Towers, Executive Dean, Parsons The New School for Design

Visit the website at www.newschool.edu for the university board of trustees as well as information about administrative and academic offices.

UNIVERSITY ADMINISTRATIVE POLICIES University Registrar William Kimmel, Assistant Vice President and University Registrar Jennifer Simmons, Associate Registrar

Student Financial Services Lisa Shaheen, Director of Financial Aid Barbara Garcia, Director of Student Accounts Leslie King, Associate Director of Financial Aid Lisa Banfield, Associate Director of Financial Aid Lissette Gonzalez, Associate Director of Student Accounts Johanna Torres, Associate Director of Student Accounts

The administrative policies of The New School are designed to expedite enrollment in our courses and make our facilities and services accessible to all. The registrar’s office, Student Financial Services, and other student services offices at 72 Fifth Avenue are open to assist students throughout the year. Policies as stated in the following pages apply to certificate and nonmatriculated (noncredit/nondegree) students at The New School for General Studies. Students interested in undergraduate degrees offered by The New School for General Studies or courses, programs, and degrees offered by The New School for Social Research, Parsons The New School for Design, Milano The New School for Management and Urban Policy, Mannes College The New School for Music, The New School for Jazz and Contemporary Music, Eugene Lang College The New School for Liberal Arts, and The New School for Drama should consult the appropriate school’s website or catalog for tuition and fees as well as other administrative and academic information. Visit www.newschool.edu.

Student Accounts and Records All registered students can access their personal current student information on the Internet through a secure connection. Go to my.newschool.edu and follow the links to look up your Net ID and set or reset your password. You will need your New School ID number (N plus 8 digits). Once you log in, click the Student tab for access to up-to-date records of your student activities, including your enrollment in courses, the status of your tuition and fees (paid, owed, refundable), and, if you enrolled as a credit or certificate student, your grades. You can also authorize parents, guardians, or employers to view your student accounts and make payments on charges due.

ABOUT THE NEW SCHOOL

Students are responsible for keeping their own addresses and telephone numbers current in university records. They can update this information online at my.newschool.edu as necessary. Note: All university correspondence will be mailed to the address designated “official” in the student’s record and/or emailed to the student’s email address. For family educational rights and privacy policies, see page 47.

Tuition and Fees

Authorization letters and forms should be faxed to 212.229.8582; mailed to The New School, attention Third Party Billing, 79 Fifth Avenue, 5th floor, New York, NY 10003; or brought in person to the cashiering office at 72 Fifth Avenue. Payment may be made online at my.newschool.edu by ACH or credit card, or by faxing a credit card authorization along with the deferral form to 212.229.8582. Payment of all charges is the responsibility of the student. The student is liable for any and all deferred charges that the employer does not pay for any reason. The student’s liability is not contingent on receiving grades, receiving passing grades, or completing courses. Terms of Reimbursement

Tuition and fees are payable in full at the time of registration. Payment may be made by bank debit card or cash (in person only for both), personal check, credit card (MasterCard, Visa, Discover, American Express), or wire transfer. Please make checks payable to The New School and include the student’s name and (if assigned) New School ID number in the memo section. Registration is not complete until payment or payment arrangements, such as verification of employer reimbursement (see the next page), have been made. Confirmation is the Statement/Schedule received at the cashier (mailed to students who register online or by fax, mail, or telephone). Verify the accuracy of your class schedule: You are not registered for and will not earn credit for any course that does not appear on your class schedule. You are responsible for all courses and charges that appear on the statement/schedule.

Tuition and Fees: Continuing Education Student Status

Tuition

Materials Fees, etc.

University Services Fees

Noncredit

Stated in each course description in this catalog

Stated in course description if applicable

Registration fee: $7 per term

Undergraduate General Credit

$1,170 per credit

Same as above

$80 per term

Noncredit Certificate

The noncredit tuition

Same as above

$80 per term

Payment to the university is the responsibility of the student. Liability for tuition and fees is not contingent on completing courses, receiving grades, receiving passing grades, or realization of financial aid awards or loans. Failure to complete payment does not void your registration nor charges due. Contact Student Financial Services at 212.229.8930 with inquiries about payment of tuition and fees (or email sfs@newschool.edu using your New School email account if you have one). Access your personal account information online at my.newschool.edu.

If the reimbursement will be made upon receipt of grades: There is a participation fee of $150, and the student must complete both the Employer Reimbursement Deferment Form and the Deferral Credit Card Payment Authorization. (These forms can be downloaded from the website: go to www.newschool.edu/studentservices and select Billing and Payment.) Payment of the $150 participation fee and any balance of tuition and university fees not covered by the authorization letter must be made prior to or submitted with the deferment forms. Deferred charges must by paid in full by February 1 for the fall semester, June 15 for the spring semester, and August 15 for summer term. If payment is not contingent on receipt of grades and The New School can bill the employer directly: There is no participation fee. The student submits only the Employer Reimbursement Deferment Form (found on the website; see above) with the employer authorization letter. The New School will send an invoice for payment to the employer according to the authorization. Payment for any balance due not covered by the authorization letter must be made prior to or submitted with the deferment form. For answers to questions regarding employer reimbursement, email sfs@newschool.edu or call 212.229.8930. Tax Deduction for Education Under certain circumstances, educational expenses undertaken to maintain or improve job skills may be deductible for income tax purposes. Students are advised to bring this to the attention of their tax advisors. Returned Check Policy If, for any reason, a check does not clear for payment, a penalty of $30 is charged to the student’s account. The university cannot presume that a student has withdrawn from classes because a check has not cleared or has been stopped; payment and penalty remain due. Payment for the amount of the returned check and the $30 penalty must be made with cash, certified bank check, or money order; another personal check will not be accepted. An additional 10 percent penalty is charged if payment for a returned check is not received within four weeks. After a second returned check, all future charges must be paid with cash, certified bank check, or money order, and no further personal checks or ACH online payments will be accepted. If it becomes necessary to forward an account to a collection agency, an additional 10 percent penalty will be charged on the remaining balance.

Deferral of Payment for Employer Reimbursement Students expecting reimbursement from an employer or sponsor may defer payment of tuition and fees by submitting a signed authorization letter on official employer/sponsor letterhead along with the appropriate deferral form(s) as described below. This may be done by mail or fax or in person, but not by email. The authorization letter must show a current date and must include the student’s full name (and, if available, the student’s New School ID number), the amount to be reimbursed, the academic term for which the charges will be covered, the signer’s address and telephone number, and the specific terms for reimbursement (either contingent on receipt of grades or else billable upon registration; see below). Any portion of charges that the employer has not agreed to pay may not be deferred. Certificate and nonmatriculated students must submit these forms with their registration forms.

Cancellations, Refunds, Add/Drop, Status Changes Students are responsible for knowing university policies regarding adding or dropping courses and refund of tuition and fees. The policies and deadlines published in this bulletin are applicable to all certificate and nonmatriculated (noncredit or general credit) students. Students matriculated in the New School Bachelor’s Program should consult the Bachelor’s Program PDF catalog on the program website. Students taking courses in other divisions of the university should consult the appropriate school or program online catalog for policies and deadlines applicable to their programs.

ABOUT THE NEW SCHOOL

Schedule and Status Changes

Grade of “W”

Withdrawals, transfers from one course to another, registration for additional courses, and changes of status (e.g., from noncredit to credit) must be completed within the deadlines shown in the table opposite. Transfers from one course to another and changes of status can be made in person or in writing by fax. (They may not be made by telephone or email.) Any additional tuition or fees resulting from a course transfer or status change are payable at the time the change is made.

A student taking any course for academic credit may withdraw from the course without academic penalty by filing a request for a grade of “W” with the Registrar’s Office within the appropriate deadline. Deadlines are given in the Add/Drop Schedule at right. A grade of “W” will be recorded for the course, which will appear on the student’s transcript. Deadlines for refunds of tuition and fees, described in the same Add/Drop Schedule, will apply.

Certificate students must obtain advisor approval for all program changes, including withdrawals, grade of “W,” add/drop, and status changes.

Fall 2014 Add/Drop and Refund Deadlines

Refunds for Canceled Courses The New School reserves the right to cancel courses or to adjust the curriculum. Courses may be canceled due to insufficient enrollment, the withdrawal of the instructor, or inability to schedule appropriate instructional space.

Classroom Courses: Standard Semester This schedule applies to courses starting August 25–August 31 or September 15–21 and meeting for 10 or more weeks.

If you are registered in a course that is canceled, you will be notified by telephone or email. You will be asked if you wish to transfer to another course or if you wish a full refund of tuition and fees (including registration fees).

Schedule

Deadline to add or change status

Deadlines for tuition refunds

Credit student withdrawal for grade of “W”

Classroom 10 or more weeks beg. Aug. 25– Aug. 31

Before Sept. 9

Before Aug. 25, 100% refund Before Sept. 1, 90% Before Sept. 9, 80% Before Sept. 16, 70% Before Sept. 23, 60%

Before Oct. 11

Classroom 10 or more weeks beg. Sept. 15–21

Before Sept. 22

Before Sept. 15, 100% refund Before Sept. 22, 90% Before Sept. 30, 80% Before Oct. 8, 70% Before Oct. 15, 60%

Before Nov. 3

End of week 1, 100% refund End of week 2, 90% End of week 3, 80% End of week 4, 70%

End of 7th week for 15-week courses End of 5th week for shorter courses

If you are a certificate student, consult with your advisor in the event one of your courses is canceled. Withdrawals and Refunds: Continuing Education Requests to withdraw from a class or obtain a refund must be made in writing. Include your first and last name, date of birth or New School ID number, and the course from which you would like to withdraw. For convenience, you may use the Request to Drop form available at www.newschool.edu/ce-drop-form. You may submit your request by email, fax, mail, or in person. • By email to reghelp@newschool.edu using the same email address you provided upon registration.

Online Courses

• By fax to 212.229.5648

Online

• By mail to The New School, Registrar’s Office, 72 Fifth Ave., New York, NY 10011

Before end of week 2 (week 1 of the course is orientation)

• In person at 72 Fifth Ave., 4th floor The following policies apply. • Full refund of course tuition requires advance withdrawal. Otherwise the refund will be pro-rated—see the Add/Drop table at right. • Refunds are computed from the date and time the written notice is received in the Registrar’s Office, or the date of the postmark if the notice is mailed. • The registration/university services fee is not refundable unless a student’s withdrawal is due to a change of course schedule or instructor or the course is canceled by the university. • Withdrawals or refund requests may not be made by telephone. • Refunds of fees paid by credit card will be processed as a credit to that same account. • Failure to attend classes or notification to the instructor does not constitute official withdrawal. Failure to make or complete payment does not constitute official withdrawal.

Classroom Courses on Other Schedules This schedule applies only to classroom courses starting after September 21 or meeting fewer than 10 weeks on any schedule. Schedule

Deadline to add or change status

Deadline for tuition refunds (tuition charged)

Credit student withdrawal for grade of “W”

10 or more sessions beg. after Sept. 15

Before 3rd session

Before 1st session (full refund) Before 4th session (10% per session)

Between 4th & 7th sessions

6–9 sessions

Before 2nd session

Before 1st session (full refund) Before 3rd session (15% per session)

Between 3rd & 4th sessions

3–5 sessions

Before 2nd session

Before 1st session (full refund) Before 2nd session (30% charged)

Not applicable

1–2 sessions

Before 1st session

Before 1st session (full refund)

Not applicable

• Questions? Email reghelp@newschool.edu or call 212.229.5620.

Refund processing takes approximately four weeks.

ABOUT THE NEW SCHOOL

Admission to Class

Other University Policies

The New School reserves the right to deny a person admission to or continuance in its courses of study.

The board of trustees has adopted policies on Free Exchange of Ideas and Freedom of Artistic Expression, Discriminatory Harassment, Sexual Harassment, Alcohol and Illegal Drugs, Smoking, and University-Wide Disciplinary Procedures, among others. Copies of these policies are available on the website at www.newschool.edu/studentservices/rights/other-policies and from the Office of Student Services.

All persons wishing to attend any course at The New School must be properly registered. Students should be prepared to show a valid Statement/Schedule to the instructor or designated faculty services a ssistant for admission to any class. Possession of a current New School student ID card does not entitle the bearer to attend any particular course or session of a course. For classroom locations visit my.newschool.edu and select the Class Finder link (do not log in). Classrooms are also posted daily in the lobby at 66 West 12th Street. See the last page of this catalog for more information.

Academic Honesty

If you have not yet received your Statement/Schedule or have forgotten or lost it, you will be admitted to the class if your name appears on the class roster. You can access your course schedule online at my.newschool.edu (you will need your New School student ID number).

The university community, in order to fulfill its purposes, must maintain high standards of academic behavior. All members of the community are expected to exhibit honesty in their academic work. Students have a responsibility to acquaint themselves with and make use of proper procedures for writing papers, taking examinations, and doing research. The principle of academic honesty is understood to apply to all student work, including papers, reports, computer work, quizzes, and examinations. The New School reserves the right to suspend or dismiss a student whose conduct is found to be in conflict with the principle of academic honesty. Full information about New School policies and procedures in case of suspected violations is available in the office of Academic Student Services, 66 West 12th Street, room 301.

Student ID Card

Use of Photographs

Instructions for accessing online courses will be mailed to you. The Statement/Schedule is issued by the Office of Student Financial Services upon receipt of payment. If you register by mail, telephone, or fax, or on the Web, your Statement/Schedule will be mailed to you. Please retain this form.

Upon receipt of payment, noncredit students are mailed a New School ID card (without photo) valid only for the academic term in which they are enrolled. Please carry this ID whenever you come to The New School and be prepared to show it to security staff on request. If you do not receive your ID card within two weeks of registration, contact Student Financial Services at sfs@newschool.edu or 212.229.8930. All students taking courses for credit or certificate and members of the IRP are entitled to a student photo ID card. New students should obtain the photo ID as soon as they complete payment or payment arrangements. See the last page of this bulletin for Photo ID office location and hours. If your photo ID has been lost or stolen, call the Campus Card Services Office, 212.229.5660 x4472, to check if the card has been returned. There is a fee to replace a lost or stolen ID card. If you withdraw from your courses, The New School may terminate your student privileges, including access to university buildings and resources. Campus Security The New School employs a security staff to monitor and maintain the rights, privileges, and safety of members of the university community and the security of university property. It is assumed that members of the community will comply with security measures such as the checking of ID cards at building entrances and will report incidents to the security staff, if and when they occur. The university’s latest crime reporting statistics can be viewed at www.newschool.edu/security.

The New School reserves the right to take or cause to be taken, without remuneration, photographs, film, video, and other graphic depictions of students, faculty, staff, and visitors for promotional, educational, and other non-commercial purposes, as well as to approve such use by third parties with whom the university may engage in joint marketing. Such purposes may include print and electronic publications. This paragraph serves as public notice of the intent of the university to do so and as a release to the university giving permission to use your image for such purposes. License in Works to the University Under The New School’s Intellectual Property Policy, the university shall have a non-exclusive, royalty-free, worldwide license to use the works created by its students and faculty for archival, reference, research, classroom, and other educational purposes. With regard to tangible works of fine art or applied art, this license will attach only to stored images of such work (e.g., slides, videos, or digitized images) and does not give the university a right to the tangible works themselves. With regard to literary, artistic, and musical works, this license will only attach to brief excerpts of such works for purposes of education. When using works pursuant to this license, the university will make reasonable efforts to display indicia of the authorship of a work. This license shall be presumed to arise automatically and no additional formality shall be required. If the university wishes to acquire rights to use a work or a reproduction or image of a work for advertising, promotional or fund-raising purposes, the university will negotiate directly with the creator in order to obtain permission.

Admission to Public Programs Tickets to lectures, readings, concerts, and other events listed in the front of this bulletin with a fee but without a course registration number are available at the Box Office in the lobby of the Johnson Building, 66 West 12th Street. Visit www.newschool.edu/publicprograms, call 212.229.5353, or email specialprograms@newschool.edu for more information about New School events that are open to the public. Tickets can be reserved in advance with a credit card. Call 212.229.5488 and give your name, email or contact phone number, program title(s), and number of tickets required. The Box Office accepts cash and MasterCard, Visa, Discover, and American Express credit cards. Students and alumni with a valid university ID card can obtain free tickets to most special events by presenting their ID at the Box Office.

ABOUT THE NEW SCHOOL

RECORDS AND GRADES

Grade Descriptions A

4.0

C+

2.3

A–

3.7

2.0

B+

3.3

C–

1.7

3.0

1.0

B–

2.7

emporary Incomplete: Indicates failure to complete T assigned work. This mark is not given automatically but only on the request of the student and at the discretion of the instructor. A Request for Grade of Incomplete Form must be completed and signed by student and instructor. The time allowed for completion of the work and removal of the “I” mark will be set by the instructor but may be no later than the seventh week of the following fall semester for spring or summer term incompletes or the seventh week of the following spring semester for fall term incompletes. Grades of “I” not revised in the prescribed time will be recorded as a final grade of “WF” by the Registrar’s Office.

fficial Withdrawal Without Academic Penalty: Written O request must be presented in person at the Registrar’s Office by the published deadline (see Add/Drop Schedules on page 78).

nofficial Withdrawal and Failure (GPA value 0): Issued by U an instructor to a credit student who has not attended or not completed all required work in a course but did not officially withdraw before the grade of “W” deadline. It d iffers from “F,” which would indicate that the student technically completed requirements but that the level of work did not qualify for a passing grade.

Grade Reporting

Approved (noncredit certificate student)

Grades are recorded for all students registered in a course for credit or noncredit certificate.

Not Approved (noncredit certificate student)

Grade Not Reported for Student

Academic Transcripts An official transcript carries the Registrar’s signature and the New School seal. It documents a student’s permanent academic record at the university. Students may have a transcript mailed to any address, including other colleges and institutions, by submitting an official request to the Office of the Registrar. This can be done online at my.newschool.edu. Transcripts are not issued for students who have outstanding debts to The New School. For additional information, visit www.newschool.edu/studentservices/registrar/transcripts. Noncredit Record of Attendance Noncredit students can request a noncredit record of attendance during the academic term in which they are registered. This record identifies the course and verifies the student’s completion of the course. It is not an academic e valuation and does not provide a course grade. A noncredit record of a ttendance must be requested from the Registrar’s Office in writing no later than four (4) weeks before the final session of the course. The written request may be faxed to 212.229.5648 (credit card payment only), mailed, or presented in person at the Registrar’s Office. A s eparate record is issued for each noncredit course; the nonrefundable fee is $20 per course, which must be paid by the student’s own personal check or MasterCard, Visa, Discover, or American Express card; cash is not accepted. The noncredit record of attendance is not available for any event listed in the New School Bulletin without a course number or for any course meeting fewer than four times.

The New School does not maintain a permanent or official record of noncredit enrollment.

Students must be properly registered in order to attend any course or session of a course. Attendance in class and/or completion of course requirements is not the equivalent of registration and will not make a student eligible to receive academic credit or certificate approval for any course. Grades are normally posted within two weeks after a course ends. Students can view their grades on the Internet at my.newschool.edu. A student ID number (printed on your Statement/Schedule and photo ID card) is required for access. A printed copy of the grade report is available from the Registrar’s Office upon request by the student.

Grade Review Policy A student may petition for review of any grade within 60 days after the grade was issued. Before deciding to appeal a grade, the student should first request from the course instructor an informal explanation of the reasons for assigning the grade. If the student is not satisfied with the explanation or none is offered, the student may pursue the matter as follows: 1. The student submits a formal letter briefly stating objections to the assigned grade directly to the faculty member with a copy to the department chair or director (or if the faculty member is the department chair, with a copy to the dean). 2. The instructor is required to respond in writing to the student’s letter within one month of receipt, also with a copy to the department chair or director or the dean, as appropriate. 3. If the student is unsatisfied by the faculty member’s written explanation, further appeal can be made by a written request to the dean’s office for a review of the previous communications. An appropriate administrator designated by the dean will then convene an appeals committee to review the student’s letter and the instructor’s response, clarify any outstanding questions or issues, and make a recommendation to the dean. The dean’s decision is final.

ABOUT THE NEW SCHOOL

Change of Grade Final grades are subject to revision by the instructor with the approval of the dean’s office for one semester following the term in which the course was offered. After one semester has elapsed, all grades recorded in the Registrar’s Office become a permanent part of the academic record, and no changes are allowed.

Family Educational Rights and Privacy Act The Family Educational Rights and Privacy Act of 1974, with which The New School complies, was enacted to protect the privacy of education records, to establish the right of students to inspect and review their education records, and to provide guidelines for correction of inaccurate or misleading statements. The New School has established the following student information as public or directory information, which may be disclosed by the institution at its discretion: student name; major field of study; dates of attendance; full- or part-time enrollment status; year level; degrees and awards received, including dean’s list; the most recent previous educational institution attended, addresses, phone numbers, photographs, email addresses; and date and place of birth. Students may request that The New School withhold release of their directory information by notifying the Registrar’s Office in writing. This notification must be renewed annually at the start of each fall term.

As of January 3, 2012, the U.S. Department of Education’s FERPA regulations expand the circumstances under which your education records and personally identifiable information (PII) contained in such records—including your Social Security Number, grades, or other private information—may be accessed without your consent. First, the U.S. Comptroller General, the U.S. Attorney General, the U.S. Secretary of Education, or state and local education authorities (“Federal and State Authorities”) may allow access to your records and PII without your consent to any third party designated by a Federal or State Authority to evaluate a federal- or state-supported education program. The evaluation may relate to any program that is “principally engaged in the provision of education,” such as early childhood education and job training, as well as any program that is administered by an education agency or institution. Second, Federal and State Authorities may allow access to your education records and PII without your consent to researchers performing certain types of studies, in certain cases even when we object to or do not request such research. Federal and State Authorities must obtain certain use-restriction and data security promises from the entities that they authorize to receive your PII, but the Authorities need not maintain direct control over such entities. In addition, in connection with Statewide Longitudinal Data Systems, State Authorities may collect, compile, permanently retain, and share without your consent PII from your education records, and they may track your participation in education and other programs by linking such PII to other personal information about you that they obtain from other Federal or State data sources, including workforce development, unemployment insurance, child welfare, juvenile justice, military service, and migrant student records systems.

The Family Educational Rights and Privacy Act (FERPA) affords students certain rights with respect to their education records. These rights include:

The right to file a complaint with the U.S. Department of Education concerning alleged failures by the university to comply with the requirements of FERPA.

The right to inspect and review the student’s education records within 45 days of the day the university receives a request for access:

The name and address of the office that administers FERPA is:

A student should submit to the registrar, dean, head of the academic department, or other appropriate official, a written request that identifies the record(s) the student wishes to inspect. The university official will make arrangements for access and notify the student of the time and place where the records may be inspected. If the records are not maintained by the university official to whom the request was submitted, that official shall advise the student of the correct official to whom the request should be addressed.

The right to request the amendment of the student’s education records that the student believes are inaccurate, misleading, or otherwise in violation of the student’s privacy rights under FERPA: A student who wishes to ask the university to amend a record should write to the university official responsible for the record, clearly identify the part of the record the student wants changed, and specify why, in the student’s opinion, it should be changed. If the university decides not to amend the record as requested, the university will notify the student in writing of the decision and the student’s right to a hearing regarding the request for amendment. Additional information regarding the hearing procedures will be provided to the student when notified of the right to a hearing.

Family Policy Compliance Office U.S. Department of Education 400 Maryland Ave. SW Washington, DC 20202–4605

The Student Right to Know Act The New School discloses information about the persistence of undergraduate students pursuing degrees at this institution. This data is made available to all students and prospective students as required by the Student Right to Know Act. During the 2012–2013 academic year, the university reports the “persistence rate” for the year 2011 (i.e., the percentage of all freshmen studying full time in fall 2011 who were still studying full time in the same degree programs in fall 2012). This information can be found under the common data set information. Visit the Office of Institutional Research at www.newschool.edu/admin/oir for more information.

The right to provide written consent before the university discloses personally identifiable information from the student’s education records, except to the extent that FERPA authorizes disclosure without consent: The university discloses education records without a student’s prior written consent under the FERPA exception for disclosure to school officials with legitimate educational interests. A school official is a person employed by the university in an administrative, supervisory, academic or research, or support staff position (including law enforcement unit personnel and health services staff); a person or company with whom the university has contracted as its agent to provide a service instead of university employees or officials (such as an attorney, auditor, or collection agent); a person serving on the New School Board of Trustees; or a student serving on an official committee, such as a disciplinary or grievance committee, or assisting another school official in performing his or her tasks. A school official has a legitimate educational interest if the official needs to review an education record in order to fulfill his or her professional responsibilities for the university.

R E G I S T R AT I O N I N F O R M AT I O N

READING AND UNDERSTANDING THE COURSE DESCRIPTION Please read the full course description. It provides information about the structure of the course: number of sessions, fees, etc. A course description may also include instructions such as required equipment, special class meeting locations, and prerequisites.

Course master number: Use this number with the section letter to register. Number of class meetings

Section letter

Date of first class session

Days and hours of class sessions

Drawing at the Metropolitan Museum  NART1210 A 15 sessions. Wed., 12:10–2:50 p.m., beg. Aug. 27. Noncredit tuition $650.* Susan Cottle

Limited to 12. Beginning students learn how to draw using the collection of the Metropolitan Museum of Art as subject matter. Working from a different artwork or artifact each week, the course covers the fundamental principles and techniques of drawing, including basic gestural studies, learning how to see form, and experimenting with different kinds of mark making and materials. The setting and the small size of the class allow for instruction geared to the specific needs of individual students. Bring an all-purpose sketch pad and a pencil to the first session. The first session meets at the Group Registration desk in the lobby of the Metropolitan Museum, Fifth Avenue and 82nd Street. (3 credits)

Limited enrollment: Register early if enrollment is limited.

Instructor: For more information, see Biographical Notes in this bulletin.

Off-campus meeting site. Room assignments for courses meeting at The New School can be viewed online at my.newschool.edu (Class Finder) and are posted daily in the lobby at 66 West 12th Street.

Indicates that this course carries three credits. Most courses in this bulletin can be taken either on a noncredit basis or for undergraduate credit. The number of credits assigned to the course appears in the parentheses. For guidance in deciding whether to take a course for credit, see pages 38–39.

ONLINE

This logo indicates that the course is offered online. See page 63 or visit the website at www.newschool.edu/online for more information.

* If you are taking the course for credit, you do not pay this fee. General credit tuition is charged per credit.

R E G I S T R AT I O N I N F O R M AT I O N

REGISTRATION INFORMATION FOR CONTINUING EDUCATION STUDENTS

Before Registering • Select a course. • Note the course number and section (for example, NLIT1000 section A). • Decide whether to register as a noncredit, noncredit certificate, or general credit student. Most students take courses on a noncredit basis (the cheapest option; no grade or permanent record is kept). See pages 38–39 to learn more about registration options. • Prepare payment. Full payment is due at the time of registration.

Tuition and Fees: Continuing Education Student Status

Tuition

University Services Fees

Lab, Materials, etc. Fees

Noncredit

Printed in each course description in this bulletin

Registration fee: $7 per term

Printed in course description if applicable

$1,170 per credit

$80 per term

General Credit (Nondegree)

Noncredit Certificate

The noncredit tuition

$80 per term

Register and Pay • Online Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. • By phone at 212.229.5690 (noncredit only) Hours: Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. Pay by MasterCard, Visa, American Express, or Discover. • By fax to 212.229.5648 Use the detachable registration forms in the back of this bulletin. Pay by MasterCard, Visa, American Express, or Discover. • By mail to The New School, Registrar’s Office, 79 Fifth Avenue, New York, NY 10003 Use the detachable registration forms in the back of this bulletin. Pay by MasterCard, Visa, American Express, or Discover, or by personal check/money order payable to The New School. • In person at 72 Fifth Avenue, 4th floor Regular hours: Monday–Thursday, 10:00 a.m.–5:45 p.m. Friday, 10:00 a.m.– 4:45 p.m. (closed May 26 and July 4)

Same as above

Extended hours: Aug. 18–22: Tuesday–Thursday, 9:00 a.m.–5:45 p.m. Friday, 9:00 a.m.–4:45 p.m

Same as above

Aug. 25–Sept. 12: Monday–Thursday, 9:00 a.m.–6:00 p.m. Friday, 9:00 a.m.–4:45 p.m. (closed Sept. 1) Pay by MasterCard, Visa, American Express, or Discover; by personal check or money order payable to The New School; or with cash. For questions regarding registration, email reghelp@newschool.edu.

egister early. The class you want might fill or, on the other hand, be R cancelled because of insufficient registration.

* Please note that online registration is not live. The registrar will contact you if there are any problems processing your registration request.

Deadlines: Online, telephone, and fax registrations must be submitted three business days before the class starts. Mailed registrations for all courses must be posted two weeks before the class starts. If you miss these deadlines, you can still register in person (see opposite). Note: Students enrolled in certificate programs must have their courses approved by an academic advisor before they register and must register in person. General credit registration for nine or more credits requires prior approval and must be completed in person. Schedule an advising appointment with Academic Services: 212.229.5615; academicservices@newschool.edu.

R E G I S T R AT I O N I N F O R M AT I O N

Student ID Number and ID Cards • ID Number (the letter N plus 8 digits): Appears on your Statement/ Schedule. Use this number for future registrations and correspondence with The New School. • ID Cards: Upon receipt of payment, noncredit students are mailed an ID card (without photo) valid only for the term in which they are enrolled. If you do not receive your ID card within two weeks of registration, contact Student Financial Services at sfs@newschool.edu or 212.229.8930.

Fall 2014 Add/Drop and Refund Deadlines Classroom Courses: Standard Semester This schedule applies to courses starting August 25–August 31 or September 15–21 and meeting for 10 or more weeks. Schedule

Deadline to add or change status

Deadlines for tuition refunds

Credit student withdrawal for grade of “W”

All certificate, general credit, and IRP students can obtain a photo ID at Campus Card Services, 66 West 12th Street, room 404. The hours are Monday, Tuesday, and Thursday, 9:00 a.m.–5:30 p.m.; and Wednesday, 9:00 a.m.–6:00 p.m. (Card Services is closed May 26 and July 4.) There is a fee to replace a lost or stolen card.

Classroom 10 or more weeks beg. Aug. 25– Aug. 31

Before Sept. 9

Before Aug. 25, 100% refund Before Sept. 1, 90% Before Sept. 9, 80% Before Sept. 16, 70% Before Sept. 23, 60%

Before Oct. 11

Before Sept. 22

Find Your Class Location

Classroom 10 or more weeks beg. Sept. 15–21

Before Sept. 15, 100% refund Before Sept. 22, 90% Before Sept. 30, 80% Before Oct. 8, 70% Before Oct. 15, 60%

Before Nov. 3

End of week 1, 100% refund End of week 2, 90% End of week 3, 80% End of week 4, 70%

End of 7th week for 15-week courses End of 5th week for shorter courses

• Online at my.newschool.edu. Do not log in. Just select the Class Finder link. Room assignments can change, so check as close to your class start time as possible. • In person on the day the class starts: room assignments are posted in the lobby at 66 West 12th St. (between Fifth and Sixth Avenues). Most classes meet at 66 West 12th St. or 6 East 16th St. See the neighborhood map on the inside back cover. Some courses meet at off-site locations as indicated in the course description. If your course is online, instructions for logging in to your virtual classroom will be mailed to you.

Withdrawal/Refund Policy • To cancel your registration in a course, you must formally withdraw in writing to the Registrar’s Office (by fax, mail, or in person). See the table opposite for deadlines and refundable charges. For a more complete statement of university policy regarding withdrawals and refunds, see page 44. Nonattendance does not constitute withdrawal. • The registration/university services fee is not refundable unless you are withdrawing because of changes in the course schedule or instructor. • Refund processing takes approximately four weeks.

Published by The New School for Public Engagement Produced by Communications and External Affairs, The New School The information published here represents the plans of The New School at the time of publication. The university reserves the right to change without notice any matter contained in this publication, including but not limited to tuition, fees, policies, degree programs, names of programs, course offerings, academic activities, academic requirements, facilities, faculty, and administrators. Payment of tuition or attendance at any classes shall constitute a student’s acceptance of the administration’s rights as set forth above. Photography: James Ewing, Jessica Miller, Martin Seck, Matthew Septimus, Michael Winfrey.

Online Courses Online

Before end of week 2 (week 1 of the course is orientation)

Classroom Courses on Other Schedules This schedule applies only to classroom courses starting after September 21 or meeting fewer than 10 weeks on any schedule. Schedule

Deadline to add or change status

Deadline for tuition refunds (tuition charged)

Credit student withdrawal for grade of “W”

10 or more sessions beg. after Sept. 15

Before 3rd session

Before 1st session (full refund) Before 4th session (10% per session)

Between 4th & 7th sessions

6–9 sessions

Before 2nd session

Before 1st session (full refund) Before 3rd session (15% per session)

Between 3rd & 4th sessions

3–5 sessions

Before 2nd session

Before 1st session (full refund) Before 2nd session (30% charged)

Not applicable

1–2 sessions

Before 1st session

Before 1st session (full refund)

Not applicable

Mannes

17TH ST.

(150 West 85th Street)

Goldmark Practice Center

16TH ST.

(37 West 65th Street)

79 Fifth Avenue

Albert and Vera List Academic Center (6 East 16th Street)

UNION SQUARE and GREENWICH VILLAGE AREA

6th Ave. – 14th St. Subway (F,L, M)

The New School For Drama

14th St. – Union Square Subway (4,5, 6,L,N,Q,R) M

14TH ST.

80 Fifth Avenue Fanton Hall/Welcome Center

Arnhold Hall

G G

(72 Fifth ( YOU AREAvenue) HERE )

FIFTH AVE.

(151 Bank Street)

UNION SQUARE

UNION SQUARE W.

15TH ST.

71 Fifth Avenue

Kerrey Hall Residence (65 Fifth Avenue)

University Center (63 Fifth Avenue) U E

(55 West 13th Street)

Parsons East (25 East 13th Street)

13TH ST.

Johnson Center Annex

(2 West 13th Street, 66 Fifth Avenue)

(68 Fifth Avenue) 12TH ST.

Alvin Johnson/J.M. Kaplan Hall

(66 West 12th Street)

AY BROADW

UNIVERSITY PLACE

SEVENTH AVE.

SIXTH AVE.

Sheila C. Johnson Design Center

Eugene Lang College Building

(65 West 11th Street)

Lang Annex

11TH ST.

(64 West 11th Street)

UNION SQUARE and GREENWICH VILLAGE AREA

The New School Campus Map CONTINUING EDUCATION OFFICES AND FACILITIES A

Creative Arts Therapy program office. . . . . . . . . . . . . . . . . . . . . . . . . . . . 916 English Language Studies office. . . . . . . . . . . . . . . . . . . . . . . . . . . . 6th floor Foreign Languages Department. . . . . . . . . . . . . . . . . . . . . . . . . . . . 6th floor Humanities Department. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floor Institute for Retired Professionals.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511 New School Bachelor’s Program. . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floor New School for Public Engagement Dean’s Office. . . . . . . . . . . . . . . . 301 Social Sciences Department. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floor Writing Program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503 The Auditorium at West 12th Street. . . . . . . . . . . . . . . . . . . . . ground floor Classrooms Posted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lobby Classrooms B

65 West 11th Street (enter at 66 West 12th Street ) Wollman Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5th floor Classrooms

64 West 11th Street

6 East 16th Street Media Studies and Film office.. . . . . . . . . . . . . . . . . . . . . . . . . . . 16th floor Classrooms

25 East 13th Street Art, Architecture, and Lighting Studios, Making Center

80 Fifth Avenue Student Health Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3rd floor

72 Fifth Avenue Registrar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4th floor Student Financial Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4th floor Office of Admission

66 West 12th Street

55 West 13th Street Fogelman Library Circulation. . . . . . . . . . . . . . . . . . . . . . . . . . . ground floor Media Laboratories.. . . . . . . . . . . . . . . . . . . . . . . . . 3rd, 4th, 8th, 9th floors Theresa Lang Community and Student Center. . . . . . . . . . . . . . 2nd floor Classrooms

150 West 85th Street Mannes Extension Program. . . . . . . . . . . . . . . . . . . . . . . . . . . . ground floor Scherman Music Library

2 West 13th Street Film Production studios.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4th floor Classrooms

OTHER OFFICES AND FACILITIES OF THE UNIVERSITY Accounting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cafeterias. . . . . . . . . . . . . . . . . . . . . . . . . 118 West 13th Street

G U

Center for New York City Affairs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Community Development Research Center. . . . . . . . . . . . . . . . . . . . . . . . .

68 Fifth Avenue

India China Institute.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

66 Fifth Avenue

International Center for Migration, Ethnicity and Citizenship. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Schwartz Center for Economic Policy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Student Development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Parsons Dean’s Office. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6th floor Parsons SPACE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2nd floor Printmaking studio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4th floor Kellen Auditorium. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ground floor Classrooms, Galleries U

63 Fifth Avenue, University Center Gimbel Library. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6th and 7th floors Tishman Auditorium. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ground floor

79 Fifth Avenue International Student Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5th floor

THE NEW SCHOOL FOR PUBLIC ENGAGEMENT. . . . . . . . . .

Tishman Environment and Design Center

79 Fifth Avenue

Transregional Center for Democratic Studies. . . . . . . . . . . . . . . . . . . . . . .

University Administration. . . . . . . . . . . . . . . . 79 Fifth Avenue

University Center. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

University Writing Center. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

AFFILIATES

EUGENE LANG COLLEGE THE NEW SCHOOL FOR LIBERAL ARTS. . . . . . . . . . . . . . .

MANNES COLLEGE THE NEW SCHOOL FOR MUSIC

Cooper Union Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cooper Square

Elmer Holmes Bobst Library. . . . . . . . . . . . . . . . Washington Square South

Cardozo Law Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Fifth Avenue

THE NEW SCHOOL FOR DRAMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . THE NEW SCHOOL FOR JAZZ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

THE NEW SCHOOL FOR SOCIAL RESEARCH. . . . . . . . .

PARSONS THE NEW SCHOOL FOR DESIGN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Beth Israel Hospital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 East 17th Street Cooper-Hewitt Museum .. . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 East 91st Street

The New School is undergoing expansion and renovation. Visit www.newschool.edu to view updates of the map. Published July 2014.

NONCREDIT REGISTR ATION

Term: FALL

Year: 14

NOCR

THE NEW SCHOOL If you have been a New School student before, enter your student ID number below. N

Student ID No.

Sex

Term first attended New School

Birthdate

Last Name

First Name

Init.

Address Street Apt. or c/o etc. City

–

Home Phone

–

Work Phone

–

State –

Zip Ext.

Please read instructions in the last two pages of the catalog. Enter your courses below. COURSE MASTER

SECT.

COURSE TITLE

SAMPLE COURSE TITLE

NONCREDIT TUITION*

$ XXX

REG. OFFICE USE REGISTERED

DATE_____________ INIT.________

$ PERSONAL DATA ENTERED

DATE_____________ INIT.________ $ Check enclosed Charge to MasterCard, Visa, Discover, AmEx Exp. Date Account No. Signature

Nonrefundable Registration Fee

Total of special fees (materials, etc.)

Total enclosed

BURSAR USE DATE____________________________

T #______________ INIT.___________

*Stated in the course description with the schedule.

Please provide all information requested on the registration form. Incomplete forms will not be processed. Fax to 212.229.5648 or mail to: New School Registrar’s Office, 72 Fifth Ave., New York, NY 10011. Note: Post Office will not deliver without correct postage. General credit students are nonmatriculated—not candidates for any New School degree. Credits for courses in this catalog are undergraduate credits. If you have not previously registered for general credit at The New School or wish help in choosing courses, consult Academic Services in the dean’s office before registering: 212.229.5615; academicservices@newschool.edu. Credits for courses taken prior to matriculation in a degree program may be a pplicable to the degree, subject to evaluation at the time of matriculation. All students are responsible for knowing the academic regulations published in this catalog. General credit registration for 9 credits or more requires prior approval and must be completed in person. Schedule an advising appointment with Academic Services: 212.229.5615; academicservices@newschool.edu.

GENER AL CREDIT ( NONDEGREE )

Term: FALL

Year: 14

NODG

THE NEW SCHOOL If you have been a New School student before, enter your student ID number below. N

Student ID No.

Sex

Term first attended New School

Birthdate

Last Name

First Name

Init.

Address Street Apt. or c/o etc. City

–

Home Phone

–

State

–

COURSE CREDITS**

TUITION*

Work Phone

Zip Ext.

Please read instructions in the last two pages of the catalog. Enter your courses below. ( For noncredit courses, enter 0 in “credits” column.) COURSE MASTER

SECT.

COURSE TITLE

SAMPLE COURSE TITLE

$ XXX

REG. OFFICE USE REGISTERED

DATE_____________ INIT.________

$ PERSONAL DATA ENTERED

DATE_____________ INIT.________ $ Check enclosed Charge to MasterCard, Visa, Discover, AmEx Exp. Date Account No. Signature

Nonrefundable Registration Fee

$ 80

Total of special fees (materials, etc.)

Total enclosed

BURSAR USE DATE____________________________ T #______________ INIT.___________

*General credit tuition is $1,170 times number of credits. (The tuition listed with each course description is the non-credit tuition.) **Credits are stated in the course description.