Continuing Education Spring 2016 The New School by The New School

Unparalleled Creativity. Relentlessly Relevant. At The New School, you won’t find run-of-the-mill classes. You’ll discover hundreds of stimulating creative outlets for every age and stage of life. This spring, we invite you to learn state-of-the-art skills, enjoy unique intellectual encounters, infuse your personal hobby with new passion, and gain career insights that will put you far ahead of the curve. Our extraordinary faculty includes some of New York City’s most accomplished visionaries. At Parsons, recently named the best art and design school in the United States, you can unleash your creativity as you master new skills. Mannes, our vibrant music conservatory in the College of Performing Arts, has opened its doors downtown! Experience our newly minted cutting-edge performance, practice, and learning spaces this spring. Take your journey with The New School through a veritable smorgasbord of scholarly delights, including courses in Media, Film & Technology; Creative Writing; Liberal Arts; Management & Entrepreneurship; and Languages.

CONTENTS 2

Flexible Program Options

Resources

Campus Map

Parsons School of Design

Digital Design

Graphic Design

Fashion Design and Fashion Business

Fine Arts, Foundation, and Photography

Interior Design, Decorative Arts, and Architecture Studies

Mannes School of Music

The Encore Program

Music Classes

Performance Ensembles

Schools of Public Engagement 55

Media, Film, and Technology

Creative Writing

Liberal Arts

108

Languages

126

Management, Leadership, and Entrepreneurship

132

Registration Information

135

University and Administrative Policies

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Flexible program options CLASSES

CERTIFICATE PROGRAMS

NONCREDIT

You know what it takes to succeed in your

Most of the courses in this bulletin can be taken on a noncredit basis. Noncredit students pay the tuition and fees listed in the course descriptions. As a noncredit student, you receive the instructor’s evaluation of any assigned coursework you complete, but no letter grades are reported.

step. Parsons, Mannes, and the Schools of Public Engagement offer certificates of completion in various fields of study. A certificate attests to successful completion of a structured program of courses designed to establish proficiency in a specific field. Add a credential that employers will notice: a certificate in some of the nation’s

Except for students in certificate programs (see

fastest-growing industries, from The New

right-hand column), the university does not

School’s well-respected programs in design,

maintain a permanent or official record of

business, and other fields.

noncredit enrollment. We can provide a noncredit record of attendance, which can be

BENEFITS

used for tuition reimbursement from your

The rigor of a degree program, but fast-tracked

employer or for your own records. This record of

and flexible for today’s working professionals

attendance must be requested during the term

Access to many of the same student services and

in which the course is taken, and there is a fee for this service. CREDIT Consider registering for general credit to explore or prepare for college-level study in a degree program in The New School’s Bachelor’s

chosen field, and you’re ready to take the next

Program for Adults and Transfer Students (newschool.edu/BPATS), Parsons’ undergraduate program, or elsewhere; qualify for a salary increase from the Board of Education (New York City or another employer); make up educational deficiencies (prerequisites for an MA, for example); fulfill a language requirement for graduate school; or advance in your career. Students interested in earning undergraduate college credits can register on a general credit basis for most courses in this bulletin, accumulating a maximum of 24 credits without matriculating. Students receive a letter grade in each course and are entitled to transcripts of record. Each student is responsible for meeting the specific requirements for credit for the course: the books to be read, the paper(s) to be written, and other criteria used for evaluation. Credits are usually transferable to 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/or degree program. Students taking courses for transfer to another

resources as traditional matriculated students Measurable growth in your area of focus Increased earning potential from adding high-value skills to your résumé Demonstrated dedication to your field from committing to a specialized program of study

CERTIFICATE PROGRAM OPTIONS ART AND DESIGN AT PARSONS

ESL + Design Fashion Business Fashion Design Fine Arts and Foundation Graphic and Digital Design Interior Design and Architecture Studies MEDIA AND WRITING

Documentary Media Studies Film Production Media Management Screenwriting MUSIC AT MANNES

Encore Program ESL + Music Mannes NEXT Diploma Program BUSINESS AND PROFESSIONAL DEVELOPMENT

Fashion Business Leadership and Change Organization Development Sustainable Strategies

school should confirm that the credits will be

LIBERAL ARTS

accepted before they register.

Harm Reduction Psychotherapy Gender and Sexuality Studies

ESL: ENGLISH AS A SECOND LANGUAGE

ESL + Design ESL + Food ESL + Music Teaching English to Speakers of Other Languages

SUMMER PROGRAMS FOR ADULTS The New School offers many options for summer intensive study, whether you’re currently enrolled in a university program at The New School or elsewhere or have long

Get started at newschool.edu/certificates.

since graduated and are looking to enrich your

REGISTERING FOR A CERTIFICATE

knowledge or master a new craft in areas

All certificate students must have their

international affairs. Join us on campus in

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.

such as art and design, writing, media, and New York, Paris, and other locations abroad. Start planning your summer adventure now at newschool.edu/summer.

Parsons certificate students do not need advisor approval prior to registration and do not need to register in person. Some certificates require an application. 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. 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 for Public Engagement students. Parsons students should file with the Parsons Continuing Education Office at 2 West 13th Street, room 506. Public Engagement certificates are conferred in January, May, and August; Parsons certificates are conferred in February, August, and October.

ONLINE The New School has always been at the forefront of online learning, and we continue to bring adult students all over the world an array of unparalleled opportunities for study with the renowned faculties of our prestigious schools. Visit newschool.edu/online to learn more.

CORPORATE AND EXECUTIVE EDUCATION Our customized open-enrollment programs are based on our design-led approach: understanding needs, identifying goals, and creating valuable takeaways and tools for impact. Programs can be customized for groups and can be delivered in New York, Paris, and other locations. Learn more at newschool.edu/cee or get in touch at execed@newschool.edu.

Resources for Continuing Education STUDENT ID CARD Noncredit students will be mailed a nonphoto paper ID card at the beginning of every semester. Most certificate students and students registered for general credit are entitled to receive The New Schoolâ&#x20AC;&#x2122;s photo ID, the newcard. Long-distance learners can also request a nonphoto version of the newcard. You can obtain your photo ID at the Campus Card Services Office in the bottom level of the University Center, 72 Fifth Avenue, New York, NY 10003.

LIBRARIES Emphasizing the social sciences, the List Center

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Library is the principal library for New School students. The University Center Library houses a

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Chelse

rich art and design collection. The Harry Scherman Library at Mannes College of Music is

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devoted to European and American classical music.

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the newcard. Noncredit students must show a

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Library services are available to all students with

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personal photo ID with their nonphoto paper ID card to use the library. Find more information at

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meatpacking district

library.newschool.edu.

WI-FI ACCESS AND TECHNOLOGY

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technology/technology-labs.

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program, visit the tech help website and access

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plug-in stations for laptops. To learn more about

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and Windows workstations, laser printers, and the options available to you as part of your

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certificate students have additional access to

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to campus wi-fi through either their New School

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All continuing education students have access

Campus Directory Johnson/ Kaplan Hall 66 W 12 St

Fanton Hall/ Welcome Center 72 Fifth Ave

13th Street Residence 118 W 13 St

20th Street Residence 300 W 20 St

Eugene Lang College 65 W 11 St

Arnhold Hall 55 W 13 St

Loeb Hall 135 E 12 St

113 University Place 113 University Pl

Stuyvesant Park 318 E 15 St

The New School for Drama 151 Bank St

Lang Annex 64 W 11 St List Center 6 E 16 St Parsons East 25 E 13 St

Sheila C. Johnson Design Center 2 W 13 St, 68 Fifth Ave, and 66 Fifth Ave

80 Fifth Avenue 80 Fifth Ave

79 Fifth Avenue 79 Fifth Ave

University Center/ Kerrey Hall 63 Fifth Ave and 65 Fifth Ave 71 Fifth Avenue 71 Fifth Ave

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PARSONS SCHOOL OF DESIGN

COURSE OFFERINGS

Digital DESIGN Digital design classes emphasize design and creativity while providing intensive technical training. Instruction is flexible and inclusive, enabling both the beginner and the advanced student to make great strides during the semester. See page 36 for details regarding prerequisites, skill levels, and lab access. Find more courses on Media Production on page 64.

Graphic and Digital Design Certificate Can be completed online, on campus, or through a combination of online and

TBA A | 5 sessions | beg. Jan. 30 | Sat 1–3:50 pm

TBA

on-campus study

X1 | 5 weeks | Mar. 7–Apr. 18

MAJOR CODE: GRDS

of HTML5. Learn the basic rules of CSS3 and

Required Courses: • Color Theory, Graphic Design I, and Digital Graphics w/Illustrator I OR Graphic/Digital Basic Core plus • Digital Imaging w/Photoshop I • Graphic Design History plus • Typography I, Digital Layout with InDesign, and one (1) digital or graphic 8

WEB DESIGN BASICS

design elective course OR three (3) digital

Create a Web presence using the basic structure how to format text, optimize images, embed video and sound, create hyperlinks, and develop effective interface design and navigation. Aspects of Web technology, such as hosting, domains, self-promotion, and content management systems (CMS), are discussed. Prerequisite: Mac Basics, Photoshop Basics, or equivalent experience. Online class requires (free online) code editors such as TextWrangler for Mac or Notepad++ for PC. 1 CREDIT PCDD 0510 $349

and/or graphic design elective courses Learn more and get started at newschool.edu/parsons-certificates.

WEB DESIGN I Frederick Murhammer A | 10 sessions | beg. Jan. 26 | T 7–9:50 pm

COMPUTING SKILLS PREPARATORY CLASSES

TBA X1 | 9 weeks | Mar. 7–May 16 Students learn how to hand-code webpages with HTML and cascading style sheets. They

Macintosh Basics Anne Finkelstein A | 1 session | Jan. 23 | Sat 10 am–3:50 pm This course is for students who have little or no experience with Macintosh Operating Systems. Proficiency with the Macintosh Operating System is necessary for most of the computer courses that follow. PCDD 0101 $175

discuss and master the elements of good Web design, the basics of user interface, and recommended standards. Toward the end of the course, each student designs a cohesive website. Prerequisite: Mac Basics or equivalent experience. Online class requires (free online) code editors such as TextWrangler for Mac or Notepad++ for PC. 2 CREDITS PCDD 1100 $699

WORDPRESS BASICS David Marcinkowski X1 | 5 weeks | Jan. 25–Feb. 29 This course is an introduction to WordPress, a powerful open-source content management system. Learn how to use and customize this

PARSONS SCHOOL OF DESIGN

system to create dynamic websites. Students are introduced to the basics of CSS, HTML, and Javascript. 1 CREDIT PCDD 1300 $349

3D MODELING FUNDAMENTALS Stuart Rentzler A | 10 sessions | beg. Jan. 27 | W 7–9:50 pm This course is an introduction to computer

Mobile Start-Up Fundamentals: Building Ideas Stu Rentzler X1 | 5 weeks | Jan. 25-Feb. 29 Part think tank and part entrepreneurial incubator, this course focuses on the steps necessary to build an idea suited for mobile

graphics for 3D modeling, animation, and 3D printing exploration. Students develop a solid understanding of the basic concepts underlying 3D software and learn how to apply concepts to create quality images and assets. Basic animation techniques are introduced, but modeling is the focus. The primary software used is Maya. Students can use either a Mac or a PC for this course. Free Autodesk software can

devices. You gain hands-on practice working

be downloaded from students.autodesk.com.

with and exploring the user experience as you

2 CREDITS

learn the concept-building capabilities of

PCDD 1153 $699

mobile platforms and hardware. Learn the right development environments—UX, UI, IDEs—and methodologies for team building and management, such as Agile, Scrum, and Sprints. Integrate UX, design, and code to meet project goals. Gain the foundation needed to work collaboratively on a start-up’s pipeline. Use this course as a stepping-stone to continue exploring your professional and creative pursuits with art, coding, UX, and project management, working collaboratively on your own project or as part of a team building a new concept. Software required: Adobe Illustrator, any version. No prior

#LearnGrowRepeat Like a Force of New: Start Your Year of Learning at The New School’s Continuing Education Expo

knowledge of Illustrator is required.

FREE Info Sessions, Pop-Up Classes, Live

A trial version can be downloaded from

Music Performances, Raffles, Giveaways,

adobe.com. In the course, you use Illustrator

and Campus Tours

to wireframe an idea. You get a coding lesson using the website JSFiddle.net; no prior knowledge of coding is necessary. PCDD 0840 $349

RESPONSIVE DESIGN FOR DIGITAL LAYOUTS Iva Son A | 5 sessions | beg. Mar. 12 | Sat 1–3:50 pm Using practices related to flexible Web design, students create designs for the Web and its various screen formats (laptops, large desktop monitors, tablets, and mobile phones) and orientation style shifts. Projects focus on producing design solutions that emphasize the principles of Web design and Web-based typography in elastic and liquid layouts. Students also experiment with designing mobile-first versus desktop-first approaches and acquire specific responsive Web development knowledge, including viewport, CSS media queries, responsive images, and cross-browser site testing. Prerequisite: basic knowledge of HTML/CSS. 1 CREDIT PCDD 0515 $349

Tuesday, January 12, 2016, 5:00–8:00 p.m. University Center, 63 Fifth Avenue, NYC The new you is waiting. Open the door to 2016 at The New School’s Continuing Education Expo. Grab some hot cider and start your journey by learning about our line-up of spring courses and programs. • Meet Continuing Education program directors and faculty in Art and Design at Parsons, Music at Mannes, Writing, Languages, Media, Management, and more. • Get one-on-one advising, in person or online. • Enjoy being serenaded by Mannes musicians. • Create, innovate, and become inspired by fun interactive activities. • Enter our contest for the chance to win prizes and tour our new University Center. • Sign up for a class and get your first round-trip ride to class for free on us! RSVP at newschool.edu/TheNewCEExpo. Digital DESIGN

ILLUSTRATOR BASICS Thomas Reed

DIGITAL GRAPHICS WITH ILLUSTRATOR I

A | 5 sessions | beg. Jan. 30 | Sat 10 am–12:50 pm

Thomas Reed

Greg Lovinski

A | 10 sessions | beg. Jan. 28 | Th 7–9:50 pm

X1 | 5 weeks | Mar. 7–Apr. 18

TBA

Learn the fundamentals of this powerful

X1 | 9 weeks | Mar. 7–May 16

vector-based illustration and graphic design

This course is for the design student who needs

program. Draw and design using the basic tools

a comprehensive and intensive introduction to

and features. Create curves, lines, and shapes to

Illustrator. Learn to draw, delineate, and design

make objects. Manipulate, copy, and color your

electronically with this standard vector-based

objects and arrange them into smooth-lined,

illustration and graphic design program. Create

clean, scalable graphics or artwork for both print

curves, lines, and shapes to make objects that

and Web. Prerequisite: Mac Basics or equivalent.

can be colored, manipulated, moved, duplicated,

Online students must have Illustrator CS or

scaled, and rotated, generating smooth-lined,

higher (Mac or Windows platform). 1 CREDIT

clean, scalable graphics or artwork for both print

PCDD 0502 $349

and the Web. Use this course to make Illustrator an integral part of your digital graphics tool kit. Prerequisite: Mac Basics, Illustrator Basics, or

PHOTOSHOP BASICS TBA

equivalent. Online students must have Illustrator CS or higher (Mac or Windows platform).

A | 5 sessions | beg. Jan. 30 | Sat 4–6:50 pm

2 CREDITS

Ken Golden

PCDD 1404 $699

X1 | 5 weeks | Jan. 25–Feb. 29 Learn the fundamentals of this digital image yourself with the intuitive interface, features,

DIGITAL LAYOUT WITH ADOBE INDESIGN

and tools. Customize palettes, control layers,

Anne Finkelstein

tweak scans, and master selections to create

A | 10 sessions | beg. Jan. 30 | Sat 10 am–12:50 pm

the look you want. Prerequisite: Mac Basics or

Angie Cohn

manipulation software application. Acquaint

equivalent. Online students must have

X1 | 9 weeks | Mar. 7–May 16

Photoshop CS or higher (Mac or Windows

In this class, students explore the fundamentals

platform). 1 CREDIT

of InDesign, including all aspects of the page

PCDD 0503 $349

layout process. Importing, creating type, and working with imagery are covered extensively. Production shortcuts for print, PDF, and the Web

DIGITAL IMAGING WITH PHOTOSHOP I Mark Kaplan

are discussed. Prerequisite: Mac Basics or equivalent. Online students must have InDesign CS or higher (Mac or Windows platform).

A | 10 sessions | beg. Jan. 25 | M 7–9:50 pm

2 CREDITS

Alisa Evdokimov

PCDD 1450 $699

X1 | 9 weeks | Jan. 25–Apr. 1 Acquire a working knowledge of this industry-

enhancement of traditional and digital photog-

Creative Editing and Workflow in Adobe Premiere Pro

raphy. Explore scanning and color correction,

Joseph Ayers

standard software, used for print, webpages, animation, presentation, video production, and

tools and layers for image compositing,

X1 | 9 weeks | Jan. 25-Apr. 1

elemental retouching, and type treatments.

Learn the aesthetics of editing as you develop

Prerequisite: Mac Basics, Photoshop Basics, or

your own professional-quality video projects.

equivalent. Online students must have

This nine-week course focuses on the essentials

Photoshop CS or higher (Mac or Windows

of production and post-production workflow,

platform). 2 CREDITS

with an emphasis on editing video and audio in

PCDD 1402 $699

Adobe Premiere Pro, an industry leading tool for film editing. Edit your own video projects,

PARSONS SCHOOL OF DESIGN

promote your business with online videos, and

with many other software packages. A wide

engage a wider audience with your work. This

array of plug-ins enable you to perform an

course teaches you media management and

impressive and ever-evolving range of functions

editing, such as color correction, effects, titles,

with Rhino. Projects help you learn the

and audio. When you have completed the

fundamentals of digital design along with skills

course, you will know how to export and post

such as turning digital models into physical

videos online to share your latest film.

objects using laser cutting, 3D printing, and

Prerequisite: basic understanding and practical

CNC milling. You develop a sense of freedom

use of computers and digital platforms.

and independence using Rhino 3D that provides

Software required: Adobe Premiere Pro, versions

a foundation for further mastery of this

5.5, 6, or Creative Cloud.

important industry software. Basic familiarity

PCDD 0810 $699

with a PC operating system is helpful but not

DIGITAL DRAFTING AND DESIGN

PCDD 1507 $699

DIGITAL SURFACE DESIGN with Adobe Illustrator and Photoshop

DIGITAL SYSTEMS using Rhino, Grasshopper, and Revit

Anette Millington

X1 | 9 weeks | Jan. 25–Apr. 1

Learn 3D architecture techniques using Rhino,

Digital production is increasingly being used in

Grasshopper, and Revit. This course is ideal if

surface, textile, and wallpaper design. If you are

you are a student designing an advanced 3D

a fashion, product, or interior design student

architectural proposal and creating its construc-

interested in digital methods or a practitioner

tion documentation. Using software employed

seeking to learn how to produce textiles or

by design and construction professionals, you

wallpaper on a small scale, this course is perfect

generate basic construction document sets,

for you. Using Adobe Illustrator and Photoshop,

model fast conceptual design proposals, and

you explore digital methods of creating

develop clear and compelling design board

geometrics and patterns as well as drawn and

presentations. An understanding of the basics

photographic image repeats. As you design

of Rhino and proficiency in Revit help you

patterns, you gain an understanding of imaging

engage with professionals in the field and with

geometry and symmetry operations, conceptu-

new strategies emerging from a BIM world.

alize a collection, and design in multiples.

Prerequisites: basic architectural representation

Course projects culminate in a pattern swatch

knowledge and basic working knowledge of PC

book that serves as a portfolio piece, one that

computers. Software required: Rhino and Revit;

can be sent to a commercial printer for output

Grasshopper is optional. You will need a PC

as a patterned fabric, wallpaper, a laser-cut, or

computer to take this course.

an etching for commercial, professional, or

PCDD 0830 $699

required. 2 CREDITS

Severino Alfonso Dunn

personal use. Prerequisite: basic Illustrator and/or Photoshop skills. Required software: Adobe Illustrator and Photoshop, Creative Suite 5 or higher. PCDD 0820 $699

AUTOCAD I Greg Smith A | 10 sessions | beg. Jan. 30 | Sat 10 am–12:50 pm For architects and interior and product

RHINO I

designers. Learn the basics, including drawing, editing, dimensioning, output, and presentation.

Greg Smith

Gain a practical understanding of AutoCAD’s

A | 10 sessions | beg. Jan. 30 | Sat 1–3:50 pm

relevance to professional practice. Take a

Learn 3D modeling techniques using Rhino

project from sketch development and produce

3D—a powerful, versatile modeling software

professional drawings. Prerequisite: basic

program applicable to design disciplines

drafting skills and familiarity with Windows, or

including architecture, sculpture, and interior,

equivalent. 2 CREDITS

furniture, product, and jewelry design. Rhino is

PCDD 1501 $699

fast, intuitive, easy to learn, and compatible

Digital DESIGN

Graphic Design Today’s graphic designers must stay attuned to the rapidly changing image market. The following courses enable students to gain the tools and skills they need to be great designers. Learn how to execute design skills digitally through our courses in digital design, starting on page 8.

Graphic and Digital Design Certificate Can be completed online, on campus, or through a combination of online and on-campus study MAJOR CODE: GRDS

and/or graphic design elective courses

GRAPHIC DESIGN I Carmile Zaino A | 12 sessions | beg. Jan. 28 | Th 7-9:30 pm

Susan Mayer B | 12 sessions | beg. Jan. 30 | Sat 1–3:30 pm

Alisa Evdokimov X1 | 9 weeks | Jan. 25–Apr. 1

TBA X2 | 9 weeks | Mar. 7–May 16 Learn design fundamentals and concept development as they relate to typography, composition, and color. Discover what makes the difference between ordinary images and powerful, effective graphics. Strengthen your design communication skills and develop your style and vision as you transform your concepts into finished designs. Online section requires access to a scanner. 2 CREDITS PCGA 1005 $699

Learn more and get started at newschool.edu/parsons-certificates.

GRAPHIC DESIGN II TBA

DESIGN STUDIOS GRAPHIC/DIGITAL DESIGN BASIC CORE Sally Herships, Etta Siegel

X1 | 9 weeks | Jan. 25-Apr. 1 Students develop their conceptual and technical skills through sessions in both a nondigital studio and a digital lab. They work on projects that incorporate research, illustrations, and graphics and represent a range of ideas—literal

A | 24 sessions | beg. Jan. 27 | W, F 7–9:50 pm

and abstract, metaphorical and symbolic.

Eduardo Ivan Rivera, Ira Robbins

Discussion of professional practices and class

B | 12 sessions | beg. Jan. 30 | Sat 10 am–12:50 pm

critiques strengthen students’ ability to present

In this introduction to visual communication

a total graphic concept. Prerequisite: Graphic

concepts and tools, you learn the fundamentals

Design I and working knowledge of Illustrator

of typography, graphic design, and layout as

and InDesign. 2 CREDITS

well as digital skills. Taught by two instructors,

PCGA 2121 $699

the class includes basic design and type exercises using Photoshop and Illustrator. Develop the essential design skills you need to produce graphics for print, advertising, corporate identity, and other media. Note: Certificate students must use the GRDS major code and follow all guidelines for certificate registration. See registration details for this certificate. PCGA 1000 $1,795

PARSONS SCHOOL OF DESIGN

More questions about a class? Get in touch! ce@newschool.edu

TYPOGRAPHY I Etta Siegel A | 12 sessions | beg. Jan. 26 | T 7–9:30 pm

Lucie Eder X1 | 9 weeks | Jan. 25-Apr. 1

materials, including merchandising, promotion, marketing, and special events. Field trips to NYC-based print production shops round out the course. 2 CREDITS PCGA 1020 $699

TBA X2 | 9 weeks | Mar. 7-May 16

evolution of the alphabet and the history and

Infographics: Understanding Data Complexity Through Storytelling

basics of typographic style (with an emphasis

Niberca Polo

An in-depth understanding of typographic concepts and methods is essential for effective visual communication. Students examine the

on 20th-century type design and application). Projects help students understand the difference between legibility and readability and develop a discerning eye and the ability to create effective and expressive type designs. The impact of technology on type design and the work of typographic innovators are discussed. Online section requires access to a scanner. 2 CREDITS PCGA 1001 $699

X1 | 9 weeks | Jan. 25-Apr. 1 In a world of massive global data collection and information flows, distilling information for readily available consumption and comprehension—especially in business contexts—is no easy task. This class looks at data documentation, analysis, and visualization as the means to understand complex information through compelling visual narratives. Using a practice-based curriculum that fosters peer-to-peer learning, the class uses social media to share

LETTERPRESS: 3D TYPOGRAPHY Steven Kennedy A | 12 sessions | beg. Jan. 27 | W 7–9:30 pm In this printmaking course, students interested in design and fine arts learn the basics of letterpress printing using lead and wood type. Students set type, create visual designs on the press, and print on the Vandercook Proofing Press, developing an in-depth knowledge of letterpress through experimentation and practice. Students work in groups to respond to visual design challenges. For the final project, each student designs and executes a printed work that builds on the skills and ideas developed in class. There will be a materials fee for paper and materials of approximately $50. 2 CREDITS PCGA 1021 $699

research, process, and final projects. You use Adobe Photoshop and Illustrator to create the final infographics. You learn the history of data visualization, practices for creating effective pieces, and the fundamentals of design and color theory, cognitive theory, and semiotics and their application to defining structure, hierarchy, and emphasis. You learn research methodologies for data collection and analysis, digital applications for data analysis, and strategies for analyzing existing data sets and collecting firsthand data. These tools are applicable to a variety of growing industries, such as finance, fashion, health, and retail. This course leads to actionable insights ready for application in business and professional contexts. Prerequisites: basic knowledge of design theory; digital skills beneficial but not required. Assignments can be created digitally or by hand. Software required: This course does not guide students to learn specific software;

PRINT PRODUCTION IN A DIGITAL WORLD Glenn Baken A | 12 sessions | beg. Jan. 27 | W 7–9:30 pm

faculty provide software tutorials for students who want to develop assignments digitally using Photoshop and Illustrator. PCGA 0810 $699

Whether you are designing a hang tag for fashion, a billboard for advertising, or a lookbook, knowing where print production fits in the digital landscape is essential for all graphic designers working today. This course is a comprehensive introduction to and exploration of the core principles of print production and scale. Classes cover the various uses of printed

For the most up-to-date course listings and to register, go to newschool.edu/ce/classes.

Graphic Design

COMMUNICATION AND PROMOTIONAL DESIGN Steven Kennedy A | 12 sessions | beg. Jan. 25 | M 7–9:30 pm Some of the most challenging and innovative designs fall into the category of promotional design. Assignments include self-promotion and client promotional pieces, including flip books, posters, announcements, brochures, stationery, and packaging. Use of original graphics, folds, structures, and die-cuts is encouraged. Whether

editing platforms as they integrate into group projects to create collaborative narrative structures. Prerequisite: Basic familiarity with Adobe Suite is helpful but not required. Software required: Students must have access to high-speed Internet, a computer, and a smartphone. We will be using a number of applications and platforms such as Hackpad, Aursma, and Twitter, which are free and available online. PCSP 0810 $699

the design is rubber-stamped on newspaper or lavishly produced, the concept is always stressed, and the sky’s the limit. Flex your

BRAND IDENTITY

creative muscles and make something

Niberca Polo

exceptional for yourself and others. Prerequisite:

X1 | 9 weeks | Mar. 7–May 16

Graphic Design I or equivalent experience.

Brand identity is much more than logo

2 CREDITS

design—it is the visual representation of a brand

PCGA 1215 $699

that communicates the company mission, vision, and culture. Students envision a product or service and develop a comprehensive brand strategy that includes research, marketing analysis, and design. Following the step-bystep design process, they create several pieces

#TheNewCE #LearnGrowRepeat

including an infographic to present their findings, a 3D prototype, a logo design (for stationery and other collateral), promotional pieces, advertising, and a manual outlining

Experiencing Transmedia: Telling Your Story Across Platforms Chloe Smolarski

strategies for applying brand identity across various platforms. All work builds to a final presentation in which students pitch their products. Prerequisite: Photoshop Basics and Illustrator Basics or the equivalent. 2 CREDITS PCGA 1207 $699

X1 | 9 weeks | Jan. 25-Apr. 1 In a rapidly changing world, the ways in which we communicate are constantly evolving.

DESIGN HISTORY

Marketing companies, filmmakers, and activists

GRAPHIC DESIGN HISTORY

are exploring new ways to communicate their

Susan Mayer

messages. This course is a hands-on online

A | 12 sessions | beg. Jan. 28 | Th 7–9:30 pm

workshop that explores the emergence of

Anna Daley

transmedia as an interdisciplinary approach to building connected experiences across both media platforms and time and space. Immerse yourself in a design thinking approach that fosters and inspires a culture of innovation, diversity, and collaboration to find emerging trends in multimedia storytelling. Using new tools like interactive storytelling, world building, and gaming frameworks, you work collaboratively and stretch your creativity in ways that apply to business and professional contexts, especially small development teams, filmmakers, and nonprofit organizations. As co-author of a transmedia experience, you use mapping, text-adventure platforms, geocaching technology, and open-source video/audio

PARSONS SCHOOL OF DESIGN

X1 | 9 weeks | Jan. 25–Apr. 1

James Reeves X2 | 9 weeks | Mar. 7–May 16 This course covers the history of graphic design from the mid-19th century through the digital revolution. Influential movements are examined, including arts and crafts, art nouveau, Dada, Bauhaus, Neue Grafik, and DIY punk. Students explore the evolution of the discipline from typesetting to lithography to digital design and investigate the relationship of the discipline to propaganda, advertising, corporate branding, and social networking. 2 CREDITS PCGA 1900 $699

BUSINESS, PROFESSIONAL PRACTICES, AND PORTFOLIO DEVELOPMENT

BUSINESS BASICS: INTELLECTUAL PROPERTY AND LICENSING

PROFESSIONAL PRACTICES: GRAPHIC DESIGN

Linda Saint Marc

TBA A | 6 sessions | beg. Jan. 26 | T 7–9:30 pm This course is an in-depth exploration of the business of graphic design and related professional practices conducted through lectures, demonstrations, research, and studio work. Whether you intend to freelance, work in a small boutique office, or design at a large corporation, this course will help you understand what to expect. The course focuses on common design problems, including pricing, estimates, invoices, client relations, and professional conduct. 1 CREDIT PCGA 2030 $349

X1 | 5 weeks | Jan. 25–Feb. 29 Protect your ideas, designs, and creative work. Gain an understanding of intellectual property law and learn to identify and protect copyright, trademark, patent, and domain rights. Learn how to use licensing to turn intellectual property into money. Explore key topics using a variety of realistic case studies and your own concepts. Examine the roles of creator, licensor, agent, and licensee. Develop your own multicategory licensing program. Sessions focus on licensing agreements, partner selection, deal negotiations, brand licensing sales tools, and royalty revenue calculations. No business experience is required. 1 CREDIT PCGA 2020 $349

GRAPHIC DESIGN PORTFOLIO Daniel Featherstone A | 6 sessions | beg. Mar. 14 | M 7–9:30 pm Through lectures, demonstrations, and studio work, you learn to build an original, effective graphic design portfolio to present to potential employers and undergraduate and graduate admission counselors. You refine existing projects and are guided in undertaking new projects to fill gaps in your portfolio. You conduct research and develop and refine your presentation skills using both digital and traditional paper portfolio formats. This class is also ideal for professionals seeking to reawaken their creativity through personal projects and new processes that result in a fresh portfolio with a creative edge. Recommended for students in the final semester of certificate requirements or equivalent experience. Bring your current portfolio (original, digital, or Web-based) to the first class. 1 CREDIT PCGA 2006 $349

Graphic Design

DESIGN FOR BUSINESS Our open-enrollment programs are based on our design-led approach: understanding needs, identifying goals, and creating valuable takeaways and tools for impact. Learn more at newschool.edu/cee or get in touch at execed@newschool.edu.

DESIGN THINKING FOR INNOVATION TBA 2 days | Date TBA Working in a volatile market involving consumer demand, intense competition, and changing technology, executives today face increasingly dynamic and complex challenges. These can open up new possibilities and opportunities that require the ability to think creatively. This program explores how design/creative thinking can generate ideas that can be translated into tangible and positive business outcomes. The program includes workshops that provide tool kits for creative thinking. Participants learn how design-led strategy and innovation can be applied to identify a need or problem, frame the issue, and develop a more holistic, innovative approach to finding the solution. Enroll at newschool.edu/cee. $2,950

DATA VISUALIZATION TBA 2 days | Date TBA This program is based on Parsons’ seminal courses on information design, information mapping, and data aesthetics. Participants learn graphic theory and the “grammar” of underlying information patterns that assist in investigating hierarchies and relationships in data structures. Students examine the role of scale, proportion, color, form, structure, motion, and composition in the process of creating effective information and data visualizations. Seeing data in a new way improves decision making and sharpens the ability to find or develop effective ways to turn content into intelligence. Using data visualization can improve both cognitive-gain results and accuracy-gain results, leading to improved workflow and analytical advantage. The knowledge gained from this course can be applied to decision making and support, rapid knowledge assessment, and general storytelling. Enroll at newschool.edu/cee. $2,950

PARSONS SCHOOL OF DESIGN

Fashion Design and Fashion Business Fashion design merges sketching and general visual skills with the power of the imagination. Courses range from the general, like design sketching, to the specialized, like costume design. Fashion business courses, which teach basic business practices in the context of fashion and design, prepare students to work in a variety of fields in the fashion industry, including marketing, retailing, and merchandising. Find more courses on Management, Leadership, and Entrepreneurship on page 126.

Fashion Business Certificate

Fashion Design Certificate MAJOR CODE: FASH

Can be completed online or through a combination of online and on-campus study

Required Courses: • Color Theory, Design Sketching I, Construction Techniques I, OR Fashion Design Basic Core plus • Construction Techniques II • Fashion Flats • Fashion History elective plus • Two (2) elective courses Learn more and get started at

newschool.edu/parsons-certificates.

MAJOR CODE: FSHB

Required Courses: • Consumer Behavior, Fashion Merchandising, The Medium of Fashion: Textiles, Worth to Westwood: Fashion from the 19th-21st Centuries, Retail Buying, and Fashion Marketing in a Global Environment plus • Two (2) elective courses Learn more and get started at

newschool.edu/parsons-certificates.

FASHION GRAPHICS STUDIOS FASHION DESIGN BASIC CORE TBA A | 24 sessions | beg. Jan. 27 | W, F 7–9:50 pm

Patricia Henry-Turner, TBA B | 12 sessions | beg. Jan. 29 | F 3:50–9:50 pm

TBA

covers basic skills and professional practices. Topics covered include form, color, and pattern; fabric selection and textiles; pattern drafting and draping; drawing from the model and the purpose of the design sketch; and fashion history and contemporary fashion. Students are

C | 12 sessions | beg. Jan. 30 | Sat 10 am–3:50 pm

expected to complete regular weekly assign-

This intensive course is aimed at those who

ments and keep a standard fashion source book

wish to engage in all aspects of the design

throughout the course. Note: Certificate

process. It provides students with a foundation

students must use the FASH major code and

in the construction and graphic skills necessary

follow all guidelines for certificate registration.

for a career in fashion design and related

See registration details for this certificate above

industries. The course is taught in two sections,

at left.

one on fashion design sketching and the other on sewing and construction methods. Each

PCFD 1000 $1,556

section is taught by a separate instructor, who

Fashion Design and Fashion Business

DESIGN SKETCHING I Lynne Levin A | 12 sessions | beg. Jan. 27 | W 7-9:30 pm

TBA B | 12 sessions | beg. Jan. 30 | Sat 10 am-12:30 pm

FASHION CONSTRUCTION STUDIOS CONSTRUCTION TECHNIQUES I

A basic course in making a designer’s sketch.

Anne-Marie Czaykowski

Using a live model, draw and render designs

A | 12 sessions | beg. Jan. 29 | F 7–9:30 pm

with an emphasis on the figure. 2 CREDITS

Evelyn Nelson

PCFD 1001 $699

B | 12 sessions | beg. Jan. 30 | Sat 1–3:30 pm Learn basic sewing, patternmaking, and draping techniques, along with basic principles of

DESIGN SKETCHING II TBA A | 12 sessions | beg. Jan. 28 | Th 7-9:30 pm This course covers advanced figure sketching, the influence of fabric textures on the design of a garment, and the choice of art medium to best

design. Topics covered include machine and hand sewing; cutting and zipper application; and slopers, skirts, bodices, collars, sleeves, and three-dimensional muslin interpretation. 2 CREDITS

PCFD 1310 $719

illustrate different types of garments and fabrics. Advanced techniques for rendering embroidery, covered. Students work on design projects with

CONSTRUCTION TECHNIQUES II

an emphasis on rendering and illustration.

Evelyn Nelson

Development of a coherent collection around

A | 12 sessions | beg. Jan. 29 | F 7–9:30 pm

fashion concepts is stressed throughout.

Anne-Marie Czaykowski

Prerequisite: Design Sketching I or equivalent.

B | 12 sessions | beg. Jan. 30 | Sat 10 am–12:30 pm

2 CREDITS

Building on the basic draping and patternmak-

PCFD 2001 $699

ing skills learned in Construction Techniques I,

knitwear, furs, and transparent fabrics are

explore intricate draping exercises to design more tailored apparel and study advanced 18

FASHION FLATS TBA A | 12 sessions | beg. Jan. 29 | F 7–9:30 pm

TBA B | 12 sessions | beg. Jan. 30 | Sat 10 am–12:30 pm

John Jay Cabuay

patternmaking applications. Make muslin tests of garments and develop patterns for stretch fabrics. Use fabric to create a finished garment. Prerequisite: Basic Core or Construction Techniques I. 2 CREDITS PCFD 1311 $719

X1 | 9 weeks | Mar. 7–May 16 Flat sketching is an essential part of garment production. It communicates details in the

SEWING

design and construction of a garment, from

Anne-Marie Czaykowski

concept to marketing. This course introduces the

A | 10 sessions | beg. Jan. 30 | Sat 1–3:50 pm

professional techniques used to create fashion

Marcia DiLiberto

flats, ranging from traditional hand sketching to

B | 10 sessions | beg. Jan. 31 | Sun 10 am–12:50 pm

the use of Adobe Illustrator to produce sketches

Learn to sew simple garments using industrial

digitally in a vector format. Prerequisite: Mac

equipment. Acquire the basic skills of cutting,

Basics or equivalent; experience with Adobe

construction, and finishing using a commercial

Illustrator or Photoshop is a plus. 2 CREDITS

pattern. Learn about fabric selection and

PCFD 2903 $699

practice hand sewing techniques. You will need a home sewing machine to complete homework assignments. 2 CREDITS PCFD 1201 $719

PARSONS SCHOOL OF DESIGN

PATTERNMAKING TBA

FABRIC SELECTION AND DESIGN STYLE

A | 10 sessions | beg. Jan. 30 | Sat 10 am–12:50 pm

Salvatore Cesarani

Learn the fundamentals of design room

A | 6 sessions | beg. Mar. 14 | M 7–9:30 pm

patternmaking using basic body slopers.

Explore fabric research and color theory before

Become familiar with all areas of basic styling,

drawing your own design. Develop color swatch

including body slopers, skirts, bodices, collars,

boards like those used by designers to present

sleeves, and dresses. Develop paper patterns

their season collections. Discuss inspiration and

and make a fabric sample that demonstrates

personal style while selecting fabric swatches.

proper fit. 2 CREDITS

As a final step, create an original finished design,

PCFD 1203 $719

sure to be a colorful addition to your portfolio. Three sessions of this course meet during

FASHION DESIGN STUDIOS

daytime hours at fiber shows and mills;

INTRODUCTION TO JEWELRY DESIGN

PCFD 1261 $349

TBA

attendance is required. 1 CREDIT

In this course, you develop technical skills and

MEDIUM OF FASHION: TEXTILES

are introduced to contemporary jewelry design

Cecilia Metheny

while designing and creating jewelry and other

A | 12 sessions | beg. Jan. 29 | F 7–9:30 pm

small-scale metal objects. You gain proficiency

Bill Brandt

A | 10 sessions | beg. Jan. 30 | Sat 10 am–12:50 pm

in the basic technical and conceptual skills

X1 | 9 weeks | Mar. 7–May 16

necessary for working with non-ferrous metals

A practical exploration of the materials,

(silver, platinum, gold, copper). You learn to use

elements, and techniques used in the modern

simple hand tools and a soldering iron and

apparel and fashion industry. Topics include

develop expertise in joining, filing, burnishing,

natural and man-made fibers, yarns, textile

and polishing metals. You become familiar with

structures such as knits and woven fabrics,

the critical language of art and design, analyzing

garment structure, practical and decorative

and discussing your work and that of fellow

trims, and surface design (printing, dyeing, and

students. A list of materials and tools will be

embellishment). Geared to students of fashion

sent before the course starts. 2 CREDITS

design and design professionals interested in

PCFD 1920 $699

understanding the “how” as well as the “why” of textiles, this course covers the components involved in the design and manufacture of apparel and accessories. 2 CREDITS PCFD 1270 $699

HAND EMBROIDERY AND APPLIQUÉ BEADING The technique of combining embroidery

CENTERING YOUR BRAND: DESIGN AND BRAND STRATEGY

appliqué and beading on fabric allows you to

Bliss Lau, Jasmine Takanikos

develop designs to create garments, scarves,

A | 3 sessions | beg. Apr. 16 | Sat 10 am–5 pm

bags, etc. Seed beads, sequins, bugle beads,

This workshop pairs design and brand strategy.

fabric appliqués, pearls, and faux gems are

It is targeted to students and working profes-

applied to a variety of fabrics. No previous

sionals who intend to launch or have a business

sewing skills are required. Bring to the first class

or brand in a creative industry. Students who

a quarter kilo of seed beads, a spool of 100

seek to develop their goals, voice, and expres-

percent cotton thread, a general-use needle, a

sion will explore their unique vision through our

needlepoint hoop (6” to 8”), a yard of solid-color

interactive, hands-on workshop-style course.

100 percent cotton fabric, and manicure

Presented in three intensive six-hour sessions

scissors. 2 CREDITS

over consecutive Saturdays: I: Exploration,

PCFD 1231 $699

Discovery & Vision; II: Strategic Direction &

Phyllis De Verteuil A | 12 sessions | beg. Jan. 26 | T 7–9:30 pm

Conceptual Development; and III: Finalizing Process. 1 CREDIT PCFD 1902 $349

Fashion Design and Fashion Business

FASHION STYLE AND HISTORY STUDIES WORTH TO WESTWOOD: FASHION FROM THE 19TH TO THE 21ST CENTURY

COSTUME DESIGN AND HISTORY Mimi Maxmen A | 12 sessions | beg. Jan. 28 | Th 7–9:30 pm An introduction to costume design and history for theater and design students, fashionistas,

Ann Frank

and vintage clothing lovers. Each student works

A | 12 sessions | beg. Jan. 25 | M 7–9:30 pm

on an individual project, designing the costumes

Aneesa Sheikh

for the main characters in a classic play. The

X1 | 9 weeks | Jan. 25–Apr. 1

goal is to produce a lookbook worthy of being

TBA

shown to a director or producer. Lectures and

X2 | 9 weeks | Mar. 7–May 16

demonstrations provide instruction in the stages

Students are introduced to Western fashion

of the design process: concept development,

dating from the middle of the 19th century to

research, character breakdowns, mood boards,

the present day. Broad thematic considerations

swatching, finished renderings, and presentation

include the nature of fashion (what it is and

boards. Fall semester history lectures cover

what it does) and its relationship to modernity,

ancient Egypt to the Baroque (1680); spring

production and consumption, art, globalization

history lectures cover 1680 to 1918. Class

and customization, and identity and the body.

exercises include weekly group mini-design

The class discusses the relationship of key

challenges. Practical topics covered include

designers, events, and movements to these

finding entry-level jobs, building a costume

broad themes, covering the work of Worth and

portfolio, designing for film, collaborating with

Westwood, the department store and dress

directors and set and lighting designers,

reform, postmodernism, and anti-fashion.

contracts, unions, and budgets. The class will

2 CREDITS

take a field trip to a professional costume shop.

PCFD 1802 $699

2 CREDITS

PCFD 1807 $699

FASHION, POP CULTURE, AND THE 20TH CENTURY Aneesa Sheikh

AMERICAN FASHION DESIGNERS

A | 6 sessions | beg. Jan. 25 | M 7–9:30 pm

Lisa Santandrea

From Victorian conflicts over the decency of

A | 6 sessions | beg. Jan. 25 | M 7–9:30 pm

women’s dress at the turn of the century to

In this course, you explore the careers of

1990s school board rulings banning certain

pioneering American designers. You will learn

“gang-related” items of clothing, fashion was a

about Claire McCardell and Bonnie Cashin, two

loaded subject throughout the 20th century.

fashion designers who revolutionized womens-

This class discusses the parallel paths of fashion

wear in the late 1940s and 1950s by introducing

and popular culture as they relate to the politics,

designer ready-to-wear. Following in their

economics, gender issues, health concerns, and

footsteps were Liz Claiborne, Anne Klein, and

high art expressions of the past century. It is

Donna Karan, who shaped workplace fashion for

geared to students interested in fashion design,

women; Geoffrey Beene and Bill Blass, who

fashion history, and cultural studies. 1 CREDIT

dressed the “ladies who lunch”; and Perry Ellis

PCFD 1804 $349

and Calvin Klein, who started out small and built American fashion empires. The class studies the professional practices of Isaac Mizrahi, who paired high and low fashion; Diane von Furstenberg, who debuted the iconic wrap dress; and Ralph Lauren, a traditionalist who began by

For the most up-to-date course listings and to register, go to newschool.edu/ce/classes.

selling neckties and ended up marketing a multifaceted lifestyle brand. Lectures, guest speakers, and a visit to the Kellen Archives at Parsons broaden your perspective on this important global industry. Parsons certificate students and students who take this course for credit will have weekly assignments. 1 CREDIT PCFD 1812 $349

PARSONS SCHOOL OF DESIGN

FASHION AND BUSINESS

complete practical and realistic assignments.

FASHION INDUSTRY PROFILE: NEW YORK CITY

PCFD 1871 $699

Anna Philips

Bring a calculator to the first class. 2 CREDITS

A | 6 sessions | beg. Jan. 28 | Th 3:50–6:20 pm

FASHION TRENDS

Delve into the business of fashion in New York

Patrick Hughes

City, one of the world’s most important global

A | 12 sessions | beg. Jan. 26 | T 7–9:30 pm

fashion capitals. This course presents an

TBA

overview of New York City’s industry structure across primary, secondary, and auxiliary markets. You explore the interrelationships between design, production, and marketing as they are practiced here. You discuss recent developments in local production, within and outside of the traditional Garment Center, and the rise of innovative fashion incubators developed for area fashion designers and craftspeople. You acquire a working vocabulary of industry terminology to employ when communicating your insights. 1 CREDIT PCFD 1813 $349

B | 12 sessions | beg. Jan. 28 | Th 7–9:30 pm

Patrick Hughes X1 | 9 weeks | Jan. 25–Apr. 1 What is the fashion news? This course examines significant cultural phenomena that shape new sensibilities in fashion. Historically based slide lectures cover the themes of revolution, music, cosmopolitanism, film, the influence of couture, memory, and the acquisition of the look. This class incorporates roundtable discussions and viewings of current collection showings from the world’s fashion capitals. 2 CREDITS PCFD 1820 $699

FASHION MERCHANDISING TBA A | 12 sessions | beg. Jan. 27 | W 7-9:30 pm

Joan Duncan X1 | 9 weeks | Jan. 25–Apr. 1

TBA X2 | 9 weeks | Mar. 7–May 16 Study the fundamentals of merchandising: market research, planning and control, and product development, promotion, and presentation. Analyze case studies outlining strategies used by manufacturers and retailers. Study the impact of consumer behavior, its relationship to forecasting, and the importance of global merchandising. 2 CREDITS PCFD 1860 $699

RETAIL BUYING Stephanie Cozzi A | 10 sessions | beg. Jan. 30 | Sat 10 am–12:50 pm

Lori Bae X1 | 9 weeks | Jan. 25–Apr. 1

TBA X2 | 9 weeks | Mar. 7–May 16 Learn to work with a retail buyer or become one yourself. This course is essential for managers, retail business owners, and manufacturer’s account representatives. Topics include open to buys, cumulative markups, shortages, vendor analysis, and stock sales. Students learn to buy or communicate with buyers on their level and

Fashion Design and Fashion Business

International Fashion Capitals

CONSUMER BEHAVIOR

Maureen Brewster

X1 | 9 weeks | Jan. 25–Apr. 1

X2 | 9 weeks | Mar. 7–May 16

As the fashion industry expands beyond the

Today’s competitive marketing climate has led

borders of the Western Hemisphere, new fashion

many companies to explore theories of

capitals are emerging all over the world. Among

consumer behavior. This course focuses on the

these, China, India, the Middle East, and Latin

profile of the consumer—psychographics and

America have distinguished themselves as

demographics—and consumer interests, with an

thriving fashion centers where couture meets

emphasis on generational marketing.

craft and tradition meets innovation. You explore

Segmented and niche markets and their

the political, economic, and cultural histories of

development are also discussed. 2 CREDITS

each industry as well as the fundamentals of

PCFD 1855 $699

Marie Johnson

design and dress practice in each region to better understand how fashion is produced and consumed in new global marketplaces. In this course, you learn about the impact of globalization on the fashion industry and international fashion producers and consumers, about local fashion media and its effects on consumer behavior, and about the relationship between fashion and national identity. Greater awareness of international fashion media and culture improves your approaches to advertising, sales, branding, and production strategies in the industry. PCFD 0810 $699

FASHION MARKETING IN A GLOBAL ENVIRONMENT TBA

FASHION ENTREPRENEURSHIP TBA A | 12 sessions | beg. Jan. 28 | Th 7–9:30 pm

Donna Berger X1 | 9 weeks | Jan. 25–Apr. 1

TBA X2 | 9 weeks | Mar. 7–May 16 Students aspiring to become entrepreneurs in the fashion industry examine the skills needed to conceive, finance, open, and operate a successful fashion business. Through collaborative research and hands-on practice, students learn what’s involved in opening a business and navigating the complexities of working with a team. Students learn to create business models and

A | 12 sessions | beg. Jan. 28 | Th 7–9:30 pm

structure legal business organizations, and they

Jeanine Polizzi

explore the details of financing and insurance.

X1 | 9 weeks | Mar. 7–May 16

2 CREDITS

This course provides a foundation in fashion

PCFD 1840 $699

marketing strategy within a global context. Students learn marketing terminology and concepts through analysis of target markets, the global marketplace, branding communication, and the development of integrated marketing programs within the fashion industry. Students investigate the theoretical and practical underpinnings of marketing design and learn to build profitable customer relationships. The class examines the process of product planning, pricing, promotion, and distribution with a focus on global resources, opportunities, and threats. Students explore the role of marketing in a global business organization, learn the components of a formal marketing plan, and gain a strategic skill set related to marketing management, financial analysis, developing markets, and innovative problem solving. 2 CREDITS PCFD 1880 $699

ONLINE RETAILING Joshua Williams X1 | 9 weeks | Jan. 25–Apr. 1

TBA X2 | 9 weeks | Mar. 7–May 16 This course introduces students to the online retailing environment and examines a variety of retail models, from the multichannel strategies of large retailers to small niche concepts. Students learn the retail terminology of the online fashion marketplace and compare Web and traditional brick-and-mortar or catalog retail formats. Special attention is paid to online consumers’ unique shopping habits, preferences, and responses to incentives. The course also examines methods of retail promotion in an interactive online environment and the importance of social media and user-generated content. Students develop a theoretical and

PARSONS SCHOOL OF DESIGN

practical understanding of online retail store design and ways to build profitable customer relationships. 2 CREDITS PCFD 1875 $699

PROFESSIONAL PRACTICES AND PORTFOLIO DEVELOPMENT PROFESSIONAL PRACTICES: FASHION Savannah Todd A | 6 sessions | beg. Jan. 27 | W 7–9:30 pm This course introduces you to working in the fashion industry, whether your focus is fashion design, illustration, textile design, buying, or merchandising. Through lectures, research, presentations by visiting professionals, and field trips, you are familiarized with current models of practice and study the various roles involved in shaping a contemporary fashion business. Whether you intend to freelance or intern, establish a small design studio, or work for a fashion company, this course helps you understand what to expect. You review common professional practices, including professional conduct, interviewing techniques, and writing a résumé, CV, and business proposal. 1 CREDIT PCFD 2010 $349

faculty profile: Melinda Wax Assistant professor of fashion design and director of Continuing Education at Parsons Melinda Wax is an artist, educator, textile designer, and milliner. She has built a career combining textile and costume design, arts administration, and wardrobe styling for film and television. She has received the coveted Milli (Milliner of the Year) award and created textile designs for clients including GAP, Hanna Andersson, L.L. Bean, Land’s End, Liz Claiborne, Pottery Barn, Talbot’s, and Target during the ten years she worked as a freelance designer. Wax’s paintings and drawings have been exhibited broadly, and her millinery work was included in Ahead of Fashion: Hats of the 20th Century, a show at the Philadelphia Museum of Art. She also served as a millinery consultant for Bard Graduate Center’s HATS, An Anthology by Stephen Jones exhibition and lectured on related topics including hat styles and the use of hats in film noir. Wax has been a visiting instructor at Pratt Institute, teaching and consulting on subjects such as design education, millinery fashion and history, design research and ethnographic research, and sourcing and styling. She has also received

FASHION PORTFOLIO

funding to support research conducted at the Museum at FIT Archives. Wax holds an MS in

David Leung

Art/Design Education from Pratt Institute, an

A | 6 sessions | beg. Jan. 29 | F 7–9:30 pm

AAS in Textile/Surface Design and Millinery

A strong portfolio is essential to success in a

Design from the Fashion Institute of

competitive industry like fashion. Learn to

Technology/SUNY, and a BFA in Fine Arts from

communicate your skills to potential employers,

the University of California, Santa Cruz. She has

whether your focus is fashion design, illustra-

also completed studies in arts administration

tion, textile design, merchandising, or buying. In

at Radcliffe College and bachelor of arts

this course, you are guided in editing work you

coursework at Atelier 17 (Paris, France). Wax

have done for school assignments or as a

teaches in Parsons’ School of Design Strategies

working professional, to build a portfolio that

(BFA in Integrated Design, BBA Strategic Design

accurately tells the story of your talent. You

and Management) and Parsons’ School of

research, edit, and refine your presentation skills

Fashion (millinery classes).

in both digital and traditional paper portfolio formats. This class is designed for students preparing a portfolio for college admission or grad school as well as professionals seeking to refresh their portfolios with personal projects using new creative processes. Recommended for students in the final semester of certificate requirements or with equivalent experience. Bring your current portfolio (originals, digital, or Web-based) to the first class. 1 CREDIT PCFD 2005 $349 See also Business Basics: Intellectual Property and Licensing, page 15.

Fashion Design and Fashion Business

FINE ARTS, FOUNDATION, AND PHOTOGRAPHY Fine arts and foundation courses provide a basis for all the art and design disciplines. Beginning artists and illustrators are introduced to essential tools and ideas, while those with more experience develop their skills and creativity in more advanced courses. Photography offers a window into the creative use of digital tools, on the street or in the studio. Find more courses on Art and Social Engagement on page 84.

Fine Arts Certificate MAJOR CODE: FINE

Required Courses:

DRAWING BASICS

• Color Theory, Drawing I, Painting I

Eileen Mullan

plus

A | 6 sessions | beg. Jan. 26 | T 7–9:30 pm

• Life Drawing

This course explores both traditional and

• Painting II

contemporary approaches to drawing with a

plus

variety of materials. Through a series of

• Three (3) elective courses

assignments with still-life arrangements and

Learn more and get started at

live models, students learn about the impor-

newschool.edu/parsons-certificates.

FOUNDATION STUDIES 24

DRAWING AND PAINTING STUDIOS

COLOR THEORY Lynne Levin

tance of seeing form and master the basic principles of drawing. Critiques and discussion help students develop analytical and evaluative skills. Instruction is one-on-one and is geared to the needs of individual students. 1 CREDIT PCFA 0401 $349

A | 12 sessions | beg. Jan. 26 | T 7–9:30 pm

Dik Liu B | 12 sessions | beg. Jan. 27 | W 7–9:30 pm

Richard Beenen C | 12 sessions | beg. Jan. 28 | Th 7–9:30 pm

Daniel McDonald

DRAWING I Pedro Cuni A | 12 sessions | beg. Jan. 25 | M 7–9:30 pm For those who have never picked up a pencil and beginners who prefer sticking to the basics. The

X1 | 9 weeks | Jan. 25–Apr. 1

class discusses form, drawing materials, line,

X2 | 9 weeks | Mar. 7–May 16

and shading. Students learn about perspective,

Discover color and its implications for designers

foreshortening, gesture, drapery, and portraiture.

and artists. Study ideas of space and the use of

The class includes some life drawing from the

color to solve spatial problems. Look at color

model. 2 CREDITS

harmony and the way colors interact, as well as color qualities and combinations. Online students

PCFA 0501 $699

must have access to a scanner. 2 CREDITS PCFA 1100 $699

DRAWING II Sonya Sklaroff A | 12 sessions | beg. Jan. 27 | W 7–9:30 pm This class is geared to students who wish to build upon basic drawing skills. Selective observation, including working from the figure, helps students develop an understanding of structure and form. Students explore composition, line quality, and spatial relationships while developing a personal form of expression.

PARSONS SCHOOL OF DESIGN

References to art history and contemporary art,

rain, we will meet at the subway entrance at the

one-on-one instruction, and demonstrations aid

southwest corner of the park.) 2 CREDITS

the learning process. Prerequisite: Drawing I or

PCFA 1436 $699

equivalent experience. 2 CREDITS PCFA 1001 $699

PAINTING I LIFE DRAWING

Sonya Sklaroff A | 12 sessions | beg. Jan. 26 | T 7–9:30 pm

Grace Burney

TBA

A | 12 sessions | beg. Jan. 26 | T 7–9:30 pm

B | 12 sessions | beg. Jan. 30 | Sat 1–3:30 pm

Discover aspects of drawing by working from

This basic painting studio begins with an

the live model. Study master drawings and

examination of the use of color, composition,

develop an understanding of structure to

spatial structure, and transition. Students work

cultivate elements of draftsmanship. 2 CREDITS

with a variety of observed sources, including the

PCFA 1010 $699

figure model, while receiving guidance on issues they are struggling with. Art history and study of contemporary art are incorporated. 2 CREDITS

LIFE PAINTING

PCFA 1401 $699

Gilda Pervin A | 12 sessions | beg. Jan. 28 | Th 7–9:30 pm Using live models as subject matter, students

PAINTING II

explore fundamental concepts of painting using

Margaret Krug

close observation of color, form, and light and

A | 12 sessions | beg. Jan. 30 | Sat 1–3:30 pm

dark to compose paintings of the human figure

Students practice painting, from direct observa-

occupying space. Both accuracy and expressive-

tion, abstract motifs for sketches and fully

ness are addressed and encouraged. This course

developed pieces created in oil and watercolor.

is recommended for students who have taken at

They explore ways to diverge from established

least one previous life drawing class. Bring vine

creative techniques to express their individual

charcoal and an 18×24 newsprint pad to the first

vision. Even “mistakes” and other surprises that

session. Limited to 16. Open to noncredit and

are part of everyday studio activity are

certificate students. Open to degree students

considered in the context of their contributions

with permission of program. 2 CREDITS

to creative practice. Students discover their own

PCFA 1411 $699

methods of engaging with painting, bringing the ancient art into the present. Prerequisite: Painting I or equivalent experience. 2 CREDITS

DRAWING IN NEW YORK CITY Michelle Greene

PCFA 2300 $699

A | 12 sessions | beg. Jan. 27 | M 12:10–2:40 pm

OIL PAINTING BASICS

This course gets you out into the city drawing at

Eileen Mullan

indoor and outdoor locations. You’ll learn how to

A | 6 sessions | beg. Jan. 27 | W 7–9:30 pm

depict a landscape or interior in an expressive

Explore color and form by painting from the live

and cohesive composition that captures value,

model and still life setups. Gain a basic under-

space, form, and movement. Beginning and

standing of the use of oil paints, media, and

advanced students draw using their own

brushes while developing painting skills and

approach while remaining aware of the

learning techniques specific to painting materials

solutions reached by successful artists through-

and the surfaces on which they are painted.

out history. Critiques and discussion help

Prerequisite: Drawing I or equivalent. 1 CREDIT

students develop analytical and evaluative skills.

PCFA 0702 $349

Instruction is one-on-one and is geared to the needs of each student. Drawing sites may include the High Line, The Met, the Central Park Zoo, and the Central Park Conservatory Garden. The first session meets at the southwest corner of Union Square Park, inside the dog run. We will draw the dogs and the Greenmarket. (In case of

FINE ARTS, FOUNDATION, AND PHOTOGRAPHY

ACRYLIC PAINTING BASICS COLLAGE Nuno Campos

Mariah Fee

A | 6 sessions | beg. Mar. 9 | W 7–9:30 pm

A | 6 sessions | beg. Jan. 30 | Sat 1–3:30 pm

In this introductory class, students learn about

Collage is the integration of painting, handmade

the properties of acrylic paint and how it behaves

surfaces, three-dimensional objects, and

on substrates such as canvas, paper, and other

photographs to create multiple layers of visual

materials. They practice controlling and mixing

meaning. It offers an ideal medium for personal

acrylics on projects ranging from ones inspired

and autobiographical work, storytelling, and

by found images to still lifes; experimentation is

visual narratives. Students develop their design

encouraged. Topics discussed include the archival

ideas and technical skills by creating color

nature of acrylic paint and artists who work

compositions using digital inkjet prints, art

primarily in acrylics. Prerequisite: Drawing I or the

papers, fabrics, and photos. Classes include

equivalent. 1 CREDIT

demonstrations of transfers from laser prints

PCFA 0703 $349

and newspapers, the use of specialty papers, binding methods, and the history of collage art. Students are encouraged to experiment with

WATERCOLOR Beverly Brodsky A | 12 sessions | beg. Jan. 29 | F 3:50–6:20 pm Beginning and advanced students explore all facets of watercolor painting and develop their

text using layers of transparencies and textures. Final projects can be scanned for use in online portfolios, on websites, and in online interactive digital graphics. 1 CREDIT PCFA 1150 $349

technical ability and creativity. A variety of styles and approaches are demonstrated, including covers subjects including landscapes, flowers,

MIXED MEDIA: CONTEMPORARY FUSION

and buildings, with an emphasis on design and

Mariah Fee

color. The development of each student’s

A | 6 sessions | beg. Mar. 12 | Sat 1–3:30 pm

personal vision is encouraged. 2 CREDITS

Unlock ways of creating unique images and

PCFA 1414 $699

expressing personal vision using mixed media.

wet-on-wet, glaze, and washes. The course

Create artwork that brings together photo

imagery and the transparent textures of paint. Juxtapose found images with art materials to connect personal content with elements from the environment. The relationship between personal expression and cultural images is explored. A variety of materials and processes can be used: water-soluble pencils, acrylic paints, inks, layers of old book pages and found text, and photo transfers. A portion of this course will take place in a digital lab. Final work can be scanned and incorporated into digital formats. A selection of mixed media practitioners will be studied and discussed, including Picasso, Rauschenberg, Hannah Hoch, the Dadaists and Surrealists, and Native American, folk, and contemporary artists. 1 CREDIT PCFA 1440 $349

#TheNewCE #LearnGrowRepeat

PARSONS SCHOOL OF DESIGN

PROJECT STUDIO Peter Garfield A | 12 sessions | beg. Jan. 27 | W 7–9:30 pm In this studio, intermediate- to advanced-level students complete self-directed projects in

the street, or set up a formal portrait, this course gives you the technical and conceptual skills you need to make a successful picture. Camera use, lighting, composition, personal vision, and point of view are discussed. You can shoot work in black and white or color using analog or digital

media including drawing, painting, sculpture

cameras. A darkroom is not provided; however, if

photo, video, and animation and create

you wish to shoot film, you can have your

interdisciplinary work. Students plan, develop,

negatives scanned for digital workflow at a

and produce a project or series of their own

commercial printer. Cameras must have manual

design with the technical and critical support of

focus and exposure controls. 2 CREDITS

the instructor. The emphasis is on articulating a

PCFA 1211 $699

personal approach to the chosen medium. This course helps you create a cohesive series of pieces, build your portfolio for graduate school, and advance your professional development. Guest artists and critics contribute to the dialogue. Bring a sample portfolio of your work (originals, digital, or Web-based), if available, to the first session. 2 CREDITS PCFA 1910 $699

NEW YORK CITY STREET PHOTOGRAPHY Arlene Collins A | 6 sessions | beg. Jan. 26 | T 3:50–6:20 pm Photograph New York City using only technique and the simplest of equipment. Learn how to use landscape, form, and existing light to master the photographic resources on hand. Each week, you explore various New York neighborhoods

PHOTOGRAPHY

with the class and capture your own striking

INTRODUCTION TO DIGITAL PHOTOGRAPHY

digital cameras, simple 35mm film cameras, and

Michael Grimaldi A | 12 sessions | beg. Jan. 27 | W 7–9:30 pm This lecture/demonstration course introduces you to the fundamentals of digital photography.

low-budget images. The use of point-and-shoot even disposable cameras is encouraged to help you develop a unique photographic vision. Beginners are welcome. Bring your camera to the first session. 1 CREDIT PCFA 1212 $349

You emerge from the class with a new sense of the power of photography and confidence in using a camera without focusing excessively on the technical details of the medium. Topics covered include different types of cameras, how to choose a camera, and how to hold the camera to ensure sharp photographs. You also learn about aperture opening (f-stop) and shutter speed in detail so that you can control the way

Exhibitions at the Sheila C. Johnson Design Center Exhibitions at the Sheila C. Johnson Design

the two elements work together to determine

Center galleries are at the forefront of

exposure, sharpness, and depth of field. You also

political and social engagement through art

explore lighting techniques, image size and

and design. This past fall 2015’s calendar

perspective as related to lens and focal length

featured StereoType, in which an

choice, depth of field and its creative potential,

international array of designers expanded

automatic features of electronic cameras, digital darkroom techniques, and accessories including tripods, flashes, and filters. Your individual creativity is stressed and your work is viewed and discussed in class. If you own a camera, bring it to the first class session. 2 CREDITS PCFA 1200 $699

the limits of typography through craft, technology, graffiti, animation, and more; a showcase of the diverse work of Parsons alumni; Pioneros, an exploration of material culture related to childhood in socialist Cuba; an exhibition by Abounaddara, an anonymous Syrian collective and winner of the Vera List Center Prize for Art and Politics,

THE PHOTOGRAPHIC PORTRAIT

proposing the right to the image; and an

Dusdin Condren

the historical and contemporary relationship

A | 12 sessions | beg. Jan. 25 | M 7–9:30 pm

between Cambodia, the United States, and

Since Leonardo da Vinci painted Mona Lisa, the

France in which student curators explored

portrait has been a favorite genre for artists and

“futurographies”—propositions that were,

photographers. Whether you choose to

never were, will never be, or could be.

photograph your family, capture strangers on

experimental traveling exhibition focused on

For more details, visit newschool.edu/sjdc.

FINE ARTS, FOUNDATION, AND PHOTOGRAPHY

AVAILABLE LIGHT PHOTOGRAPHY

clients’ requests. Online creative collaboration

Daniel Featherstone

within a group concept, to actively listen and

A | 6 sessions | beg. Jan. 28 | Th 7–9:30 pm

communicate with insight, and to introduce a

Getting great shots in extreme conditions like

personal aesthetic with a commercial sensibility.

harsh sunlight or the street at night is a

Although this course has no software require-

challenge. This course will show you how to

ments, you will be asked to research and write

work with any kind of light at any time including dim lighting and night, natural, and ambient light. Students develop their vision and technical ability as they translate light, color, and ideas

about thought processes involved in creative professions and learn new software for the creative, pre-production, and post-production

into powerful images. Special software,

phases of a photo shoot.

processes, equipment, and camera techniques

PCFA 0810 $699

and their use in creating evocative images are demonstrated and discussed. Regular assignments and critiques are an important part of the course. Students learn how to prepare images for a book produced from online sources. You must have an adjustable digital camera (not a basic point-and-shoot) and Lightroom or any version of Photoshop on your laptop or home computer for the course. Assignments must be brought to class on a USB drive. Students should bring

samples of their work to the first class. Prerequisite: Introduction to Digital Photography or equivalent. 1 CREDIT PCFA 1213 $349

teaches you to express your ideas confidently

Photography Collaboration Strategies Stephen Ang X1 | 9 weeks | Jan. 25-Apr. 1 Become proficient in online creative collaboration. This course is about effectively dealing with the project management aspects of a creative team and fostering online creative collaboration with mutual respect for other disciplines. You examine the roles, responsibilities, and strategies of four professional creative positions—director, producer, photographer, and stylist—as you navigate the process of carrying out a collaborative photo project. Join colleagues or a creative social network in building online collaboration to gain insights, develop guidelines, and master the techniques involved in preparing and carrying out a commercial photo shoot. Learn the steps of project management—producing an editorial photo concept, writing a proposal, organizing pre-production, resourcing, styling for on-set work, handling post-production, and professionally presenting creative services, thought processes, and concepts. For your final project, you create a refined visual message based on informed choices, creative team consensus, and

PARSONS SCHOOL OF DESIGN

PRINTMAKING STUDIOS INTRODUCTION TO PRINTMAKING

SILKSCREEN PRINTING Luther Davis A | 12 sessions | beg. Jan. 25 | M 7–9:30 pm Screenprinting is one of the simplest and most

Janice Loeb

direct ways to create multiple-color images.

A | 12 sessions | beg. Jan. 25 | M 7–9:30 pm

Using hand-drawn, digital, and photographic

Beginning students explore printmaking media

sources, students learn to construct images on

including etching, monotypes, and collagraphy.

almost any flat surface. All printing is water-

This workshop enables students to develop their

based. This class develops skills that can support

own personal vision. It covers conventional

other artistic techniques. 2 CREDITS

techniques and introduces students to experi-

PCFA 1802 $719 plus a $100 materials fee.

mental methods. 2 CREDITS PCFA 1800 $719 plus a $100 materials fee.

Faculty will have information on fee payment on the first day of class.

ETCHING AND ENGRAVING Mohammad Khalil A | 12 sessions | beg. Jan. 27 | W 7–9:30 pm This course introduces all forms of intaglio printing, including drypoint, engraving, aquatint, softground, and mezzotint. Color printing includes demonstrations in multicolor plates, stencil, and viscosity. Students work with halftone film and line drawings, translating them into photo-etchings, and explore printing with copper and zinc metal plates. 2 CREDITS PCFA 1801 $719 plus a $100 materials fee. Faculty will have information on fee payment on the first day of class.

WOODCUT, ETCHING, AND COLLAGRAPH Mohammad Khalil A | 12 sessions | beg. Jan. 30 | Sat 10 am–12:30 pm Study basic intaglio methods (etching, aquatint, and soft ground), relief printing (B&W and color woodcut), and experimental work with the collagraph, building a surface for printing with cardboard and other textural two-dimensional objects. Freedom and flexibility are emphasized as students learn to use drawing and cutting tools while mastering printing and registration techniques. Design, drawing, and color are stressed, and attention is given to developing each student’s personal aesthetic. Historical and modern applications of these media are related to classwork through examples of professional prints. 2 CREDITS PCFA 1806 $719 plus a $100 materials fee. Faculty will have information on fee payment on the first day of class.

FINE ARTS, FOUNDATION, AND PHOTOGRAPHY

INTERIOR DESIGN, DECORATIVE ARTS, AND ARCHITECTURE STUDIES Interior design and architecture studies courses give students an awareness of spatial organization. Decorative arts courses introduce students to antiques and furnishings and the history of interiors.

Interior Design Certificate MAJOR CODE: INTD

students must use the INTD major code and follow all guidelines for certificate registration See registration details for this certificate at left. PCID 1000 $1,556

Required Courses: • Color Theory, Basic Drafting, and Basic Interior Space Planning OR Interior Design Basic Core plus • Interior Rendering, Perspective Drawing for Interiors, and Interior Design (or Residential Interior Design) OR History of

Pamela Hersch A | 12 sessions | beg. Jan. 25 | M 7–9:30 pm

Nishan Kazazian B | 12 sessions | beg. Jan. 27 | W 7–9:30 pm

Interiors, 1400 to 1800, History of

Luben Dimcheff

Interiors, 1800 to 2000, and Antiques

C | 12 sessions | beg. Jan. 30 | Sat 10 am–12:30 pm

Connoisseurship)

Anshu Bangia

plus

X1 | 9 weeks | beg. Jan. 25–Apr. 1

• Two (2) elective courses 30

BASIC INTERIOR SPACE PLANNING

Learn more and get started at newschool.edu/parsons-certificates.

This is an introduction to planning interior spaces for students without drafting skills. Learn what it means to be an interior designer and apply conceptual approaches to interior design problems. Through sessions on color, scale and

DIGITAL DRAFTING See page 11 in the Digital Design section for

proportion, lighting, furniture arrangement, floor and wall treatments, and client psychology,

course descriptions of AutoCAD I and Rhino I.

learn to conceptualize and plan creative

INTERIOR DESIGN BASIC CORE

drawing of floor plans. Complete one interior

Marlisa Wise, Luben Dimcheff A | 24 sessions | beg. Jan. 25 | M, W 7–9:50 pm

TBA B | 12 sessions | beg. Jan. 30 | Sat 10 am–3:50 pm Learn basic drafting, rendering, and space layout

solutions for interior spaces. Master freehand design project, from beginning concept through finished visual and verbal presentation. Learn about the use of equipment, tools, and scale drawings. No previous experience in interior design is necessary. 2 CREDITS PCID 1001 $699

while studying interior materials and professional practices and methods. Explore the philosophy, art, and science of constructing interior spaces. Taught in separate studio sections by two instructors, the course begins with basic drafting and rendering exercises and the fundamentals of interior construction. Through coursework and pinups, students engage in critique and critical analysis. Students acquire a basic skill set with which to address more complex problems. Note: Certificate

PARSONS SCHOOL OF DESIGN

BASIC DRAFTING Conrad Pisarski A | 12 sessions | beg. Jan. 25 | M 7–9:30 pm

Sangjoon Hahm B | 12 sessions | beg. Jan. 26 | T 7–9:30 pm An introduction to the preparation of drawings for architectural purposes. Topics covered include identification and use of drafting equipment, drafting in scale, basic lettering, line weights, and standard notation conventions.

The emphasis is on orthographic projections

significance, materials and finishes, lighting, and

related to floor plans, elevations, and ceiling

furniture. Present your final project, complete

plans. Trade information related to the practice

with rendered drawings and a materials board.

of architectural and interior design is integrated

Prerequisite: Basic Drafting, Basic Interior Space

throughout the curriculum. Gain the skills and

Planning, or equivalent experience. 2 CREDITS

techniques necessary to express any design

PCID 1200 $699

concept graphically. Drafting tools are required. Materials cost approximately $100. 2 CREDITS PCID 1002 $699

INTERIOR RENDERING

For the most up-to-date course listings and to register, go to newschool.edu/ce/classes.

TBA A | 12 sessions | beg. Jan. 28 | Th 7–9:30 pm

Constance Johannsen B | 12 sessions | beg. Jan. 29 | F 3:50–6:20pm Learn about rendering materials, methods, and techniques. Use watercolor, marker, pencil, ink, and mixed media to learn color mixing and color theory and explore shade and shadow. Apply rendering techniques to room drawings, plans, and elevations. Make media comparisons to determine the best use for each finish on the basis of your abilities. Use what you’ve learned to create presentations using color and materials boards. 2 CREDITS PCID 1003 $699

RESIDENTIAL INTERIOR DESIGN Roger Urmson A | 12 sessions | beg. Jan. 28 | Th 7–9:30 pm Explore the possibilities of architectural design of interior space for the private home and apartment. Participate in exercises geared to finding viable and interesting solutions to design problems such as window, ceiling, doorway, floor, and wall treatments. Review drafting techniques that allow you to present projects in a professional manner. Concentrate on space planning, furniture, color, and lighting. Explore materials, methods, and professional practices.

PERSPECTIVE DRAWING FOR INTERIORS Eric Strauss A | 12 sessions | beg. Jan. 25 | M 7–9:30 pm

Prerequisite: Basic Drafting, Basic Interior Space Planning, Perspective Drawing for Interiors, or the equivalent. 2 CREDITS PCID 1205 $699

Constance Johannsen B | 12 sessions | beg. Jan. 30 | Sat 1–3:30 pm Learn the mechanical skills needed to visually communicate spatial concepts. Develop the ability to translate floor plans into threedimensional interiors by exploring the principles of one- and two-point perspective drawing. Learn about isometric views, plan and section perspective, introductory pencil rendering, and concepts of light and shadow. 2 CREDITS PCID 1005 $699

INTERIOR LIGHTING Jason Livingston A | 12 sessions | beg. Jan. 28 | Th 7–9:30 pm An introduction to theory, technique, and creative lighting concepts basic to all interiors. Study materials, color, luminaires and luminaire selection, layout, and approaches to various building types. Prerequisite: Basic Drafting or the equivalent. 2 CREDITS PCID 1140 $699

INTERIOR DESIGN TBA A | 12 sessions | beg. Jan. 25 | M 7–9:30 pm

Ferruccio Babarcich B | 12 sessions | beg. Jan. 26 | T 7–9:30 pm Explore the design process by developing a commercial or residential project in a studio environment. Begin from a concept and develop your idea into a coherent interior space, exploring issues of spatial layout and

KITCHEN AND BATH Conrad Pisarski A | 12 sessions | beg. Jan. 30 | Sat 10 am–12:30 pm Visualize your dream kitchen and bathroom, then piece it together without bumping your head on the range hood. This class explores basic planning and layout; selection of materials, cabinets, and appliances; essential services; ventilation; lighting; conveying a design idea;

INTERIOR DESIGN, DECORATIVE ARTS, AND ARCHITECTURE STUDIES

and evaluating the existing setup for remodeling. Short assignments and final projects give you practical experience. Prerequisite: Basic Drafting or equivalent experience. 2 CREDITS PCID 1212 $699

CONSTRUCTION DOCUMENTATION TBA A | 6 sessions | beg. Jan. 25 | M 7–9:30 pm This course provides an overview of construction process and related project documents.

SHOWROOMS: A DESIGN RESOURCE

Emphasis is placed on both the legal aspect of construction-related documents and the roles played by design professionals, contractors,

Charles Pavarini

owners, and others involved in the industry. You

A | 10 sessions | beg. Jan. 26 | T 3–5:30 pm

learn about construction documents, project

TBA

manuals, bid proposals, specifications, con-

B | 10 sessions | beg. Jan. 28 | Th 3-5:30 pm

tracts, submittals, and project closeout. You also

Explore some of the industry’s finest showrooms

examine standard forms and ethics. 1 CREDIT

through instructor-guided tours and lectures.

PCID 2002 $349

Bring your design and resource knowledge up-to-date. View fabrics, lighting, and furniture, as well as window, wall, and floor coverings. The first class meets at the Village campus; subsequent classes meet off campus at a variety of Manhattan locations. 2 CREDITS PCID 1730 $580

PRODUCT DESIGN FOR THE HOME

PROFESSIONAL PRACTICES AND PORTFOLIO DEVELOPMENT PROFESSIONAL PRACTICES: INTERIOR DESIGN TBA A | 6 sessions | beg. Jan. 27 | W 7–9:30 pm This course offers you an overview of the legal,

Yvette Chaparro

ethical, and financial aspects of the interior

A | 12 sessions | beg. Jan. 28 | Th 7–9:30 pm

design field. You are introduced to current

This course is a conceptual exploration of home

models of practice and study the role of

products from initial idea to final drawings,

economics, contracts, liability, licensure, and

models, and presentation, with an emphasis on

standards of practice in shaping contemporary

establishing a rigorous and individual design

interior design practice. What kind of marketing

process. Students design a product for living

and promotion is effective for your particular

(furniture, lighting) or dining (tabletop). This

work? Whether you intend to freelance, create a

semester-long project involves problem solving,

small partnership, or work in-house at a

market research, and historical study, as well as

boutique office or large company, this course

materials and manufacturing research. Field

helps you understand what to expect. You

trips and guest lectures by design professionals

review common business practices, including

reveal the realities of a career in product design.

business proposals, pricing, estimates, invoices,

2 CREDITS

client relations, interviewing techniques,

PCID 1255 $699

professional conduct, and writing CVs and résumés. 1 CREDIT PCID 2001 $349

FURNITURE DESIGN William Oberlin Students investigate all aspects of furniture

INTERIOR DESIGN PORTFOLIO

design, including materials, fabrication

TBA

techniques, form, style, drawing, and production.

A | 6 sessions | beg. Mar. 9 | W 7–9:30 pm

Emphasis is placed on scale, human factors, and

In this course, you focus on designing and

industrial application. This course also covers

producing a professional interior design

the relationship of interior space, structure, and

portfolio. The class begins by discussing the

product purpose to object design. This is not a

elements of a successful digital or traditional

studio fabrication course, although scaled

paper format portfolio. Your body of work is

prototypes may be produced. 2 CREDITS

reviewed, and any gaps are identified. You

PCID 1010 $699

undertake exercises, as needed, designed to

A | 12 sessions | beg. Jan. 25 | M 7–9:30 pm

PARSONS SCHOOL OF DESIGN

strengthen your compositional and layout skills and then strategically collect, edit, reorganize, and produce material tailored to a working interior design portfolio. Assignments that develop your presentation skills round out your preparations for entering the interior design industry. If you are preparing a portfolio for college admission or graduate school or are a working professional seeking to infuse your portfolio with new creativity, this class is intended for you. Recommended for students in the final semester of certificate requirements or equivalent experience. Bring your current portfolio (originals, digital, or Web-based) to the first class. 1 CREDIT

HISTORY OF INTERIORS, 1800 TO 2000: FROM NAPOLEON TO MICHAEL GRAVES TBA A | 12 sessions | beg. Jan. 25 | M 12:10–2:40 pm

Erica Forester X1 | 9 weeks | Jan. 25–Apr. 1 The decorative arts produced after World War II reflect the impact of the Industrial Revolution and the social and economic changes it gave rise to. In this course, you investigate furniture, ceramics, metalwork, and textiles of the modern era. Subjects covered include the arts and crafts movement, art nouveau, art deco, the Bauhaus,

PCID 2005 $349

the Victorian era in the United States and

See also Business Basics: Intellectual Property

England, 19th-century revival styles in architec-

and Licensing, page 15.

ture and the decorative arts, functionalism, and

INTERIOR DESIGN AND ARCHITECTURE: HISTORY, PRINCIPLES, AND THEORY HISTORY OF INTERIORS, 1400 TO 1800: FROM THE MEDICIS TO LOUIS XVI

the relationship between design and technology. 2 CREDITS

PCID 1801 $699

A | 12 sessions | beg. Jan. 27 | W 7–9:30 pm

#LearnGrowRepeat Like a Force of New: Start Your Year of Learning at The New School’s Continuing Education Expo

TBA

FREE Info Sessions, Pop-Up Classes, Live

X1 | 9 weeks | Mar. 7–May 16

Music Performances, Raffles, Giveaways,

In this course, you acquire a basic understand-

and Campus Tours

TBA

ing of the development of decorative arts in Europe from the 15th to the 18th century. Focusing on the cultures of Italy, France, and England, you explore objects and environments drawn from public and private life. Furniture, textiles, metalwork, glass, ceramics, interiors, and architecture are examined in relation to style and meaning, with special consideration

given to the cultural, social, and political

line-up of spring courses and programs.

contexts in which they were designed and used.

• Meet Continuing Education program

2 CREDITS

directors and faculty in Art and Design at

PCID 1800 $699

Parsons, Music at Mannes, Writing, Languages, Media, Management, and more. • Get one-on-one advising, in person or online. • Enjoy being serenaded by Mannes musicians. • Create, innovate, and become inspired by fun interactive activities. • Enter our contest for the chance to win prizes and tour our new University Center. • Sign up for a class and get your first round-trip ride to class for free on us! RSVP at newschool.edu/TheNewCEExpo.

INTERIOR DESIGN, DECORATIVE ARTS, AND ARCHITECTURE STUDIES

online learning

DECORATIVE ARTS STUDIES

classes that fit your life as well as they fit

ANTIQUES CONNOISSEURSHIP

your screen—be it mobile, desktop, tablet, or

Louise Devenish

Each semester, The New School brings you

watch. Look for the computer icon to find all of our online classes.

A | 12 sessions | beg. Jan. 28 | Th 12–2:30 pm Is it an antique or a reproduction? Learn the

Learn more about online learning at The

essential criteria for collecting and evaluating

New School at newschool.edu/online.

antique furniture. Study quality, craftsmanship, condition, and design in historical context. Learn how to judge articles in terms of excellence and

Architecture of New York John Kriskiewicz A | 12 sessions | beg. Jan. 27 | W 9:15–11:45 am New York has a compelling architectural heritage, from the Federal-style rowhouse to the modern skyscraper. Acquaint yourself with the philosophy and forces that have shaped our city.

success as works of art. Develop an eye for good design, proportion, and authenticity. Study English, French, and American pieces. Field trips include The Metropolitan Museum of Art, fine furniture galleries, and conservation studios. A guest speaker from Sotheby’s speaks on validity and criteria for collecting. 2 CREDITS PCID 1900 $699

Using the city as a classroom, physically experience New York City architecture and its urban environments. Learn to identify architectural styles and understand them in the context

DECORATIVE ARTS: NEW YORK collections

of social, economic, and technological currents.

Louise Devenish

The first class meets at Parsons’ Greenwich

A | 6 sessions | beg. Mar. 10 | Th 3–5:30 pm

Village campus; subsequent classes meet off

Take advantage of the valuable resources and

campus at various Manhattan locations.

current happenings in the New York City art

2 CREDITS

world. Tour a range of collections, special

PCID 1700 $699

exhibits, and historical homes. Glimpse the current art market through group visits to major museums and private collections in and around

HISTORY OF ANTIQUE FURNITURE Erica Forester X1 | 9 weeks | Mar. 7–May 16 This course is a survey of antique furniture styles and antique objects dating from 1400 to 1800, including the Renaissance, baroque, rococo, and early neoclassical periods in western Europe and the United States. You learn

the city. Participate in discussions of the scholarly impact of small and private collections and of current blockbuster decorative arts exhibitions inspired by major historical events, such as Henry Hudson’s 400th anniversary. There are entrance fees for exhibitions and museums, and class meetings may run over. 1 CREDIT

PCID 1907 $349

how to identify antique furniture by stylistic genre and historical style while developing a keen eye for the way past styles are reflected in modern furniture. This course is ideal for interior designers, stylists, production designers, antique collectors and sellers, product designers, and individuals interested in the decorative arts. 2 CREDITS

PCID 1915 $699

THE ART AUCTION Nicholas Dawes A | 6 sessions | beg. Mar. 11 | F 12:10–2:40 pm What is it worth? How do I get involved? Find answers to these questions and much more in this intensive study of the fascinating world of fine art auctioneering, with a focus on New York’s auction houses. The class features frequent field trips, guest speakers, a mock auction, and a weekly look at the international world of art and objects at auction. 1 CREDIT PCID 1909 $349

PARSONS SCHOOL OF DESIGN

APPRAISING AND SOURCING ART AND OBJECTS Nick Dawes X1 | 9 weeks | Jan. 25–Apr. 1

Get the latest updates and offers from Continuing Education at The New School! newschool.edu/theNewCEinfo

Whether you’re acquiring art and objects for pure enjoyment, with an eye to investment, to begin a collection, or as a profession, it’s important to make informed decisions. This course is an introduction to the professional appraisal of Western decorative arts and interior design from the 18th century to the modern era. Students learn to make critical decisions in building a private or professional collection and the fine art of the auction business. Throughout the course, you engage with the field of decorative arts and design in ways relevant to your setting, such as conducting research in online auction and sale platforms or visiting auction houses, galleries, and art and antique shows where you can network with professionals. You gain hands-on experience appraising fine and decorative arts in the commercial auction world and learn to identify and assess the value of art and objects, which prepares you for a career in the world of auction, appraising, or interior design. PCID 0810 $699

INTERIOR DESIGN, DECORATIVE ARTS, AND ARCHITECTURE STUDIES

SOFTWARE BASICS

SPACE

Software Basics classes such as Photoshop

(Summer, Pre-College Academy,

Basics and Illustrator Basics are recommended

and Continuing Education)

for beginners. These classes focus on the

Parsons SPACE offers open-enrollment programs

fundamentals of program operation. Prerequisite: Macintosh Basics (or equivalent experience).

with classes in art and design for adults with varied interests and backgrounds. A continuing education, nondegree option, these classes provide students with the training they need to

CLASS SKILL LEVELS

launch or advance careers in art and design.

Our standard-level classes go beyond the

design disciplines for students seeking a

basics of program operation; it is assumed that students are comfortable with the computer and software. The courses are recommended for users who are familiar with computers and want

Certificate programs are available in several structured course of study and a Parsons credential.

to tackle design issues. Macintosh Basics (or

PREVIOUS EXPERIENCE

equivalent experience) is a prerequisite.

Many classes are open to beginners. For

Advanced courses teach complex techniques and challenge students to solve more difficult creative problems.

courses with prerequisites (listed in the description), equivalent experience may be sufficient, as determined by an advisor in the Parsons SPACE office.

DIGITAL PREREQUISITES Prerequisites are listed at the end of each course

CLASSROOM LOCATIONS

description. Macintosh Basics (or equivalent

All classes meet at the Parsons campus in

experience) is necessary for most digital classes. We advise students to assess their computing skills realistically before selecting courses.

Greenwich Village unless otherwise noted. Room assignments are available online via Class Finder at my.newschool.edu. Room assignments are also posted on the first day

OPEN LAB ACCESS

of class in the lobby of the Sheila C. Johnson

Students enrolled in any digital design class

Street.

have limited access to the eighth and ninth floor labs of the UCC, 55 West 13th Street. Stations in

Design Center, 66 Fifth Avenue, and 2 West 13th

these classrooms are accessible primarily

DEGREE PROGRAMS AT PARSONS

Monday through Thursday, 9:00â&#x20AC;&#x201C;11:30 p.m., and

Students can take continuing education courses

weekends.

for credit and apply them later toward a

CE students registered for a digital design course

Parsons degree with approval from Parsons

can use classroom stations when classes are

Admission. For information about the degree

not in session.

programs at Parsons School of Design, visit

High-end or commercially unavailable software

newschool.edu/parsons or contact the Parsons

may have special access restrictions. Note: For students beyond the basic level, we strongly recommend the purchase of a home computer. Open lab time is generally insufficient for more complex design projects. Digital design courses are held at 55 West 13th Street; the University Center, 63 Fifth Avenue; and 6 East 16th Street. The UCC is primarily Macintosh based, with some dedicated Windows NT labs and other specialized machines.

PARSONS SCHOOL OF DESIGN

Office of Admission, 212.229.5150.

SUMMER PROGRAMS Immerse yourself in creativity this summer at The New School. Our courses and programs let you explore a range of fields including art and design, writing, drama, media and film, and international affairs. Develop a portfolio, earn university credit, or acquire new career skills. We offer summer courses on campus in NYC, at Parsons Paris, and with partners in London, Barcelona, and Berlin, so you can draw inspiration from and learn in global creative capitals.

Join usâ&#x20AC;&#x201D;we make the longest days of the year feel like the shortest.

For information on all summer programs offered at The New School, visit newschool.edu/summer.

MANNES SCHOOL OF MUSIC

COURSE OFFERINGS

The Encore Program DESIGN YOUR NEXT MUSICAL EXPERIENCE You know what you want out of your experience. We have what you need to make it happen. Our approach puts the power in your hands with the perfect mix of individualized study, social music making, and academic instruction.

DESIGN YOUR ENCORE EXPERIENCE Choose one option from each category below. LESSONS

COURSES

Ten private one-hour sessions with

Taught by distinguished Mannes faculty.

Mannes faculty

One or two hours per week—you decide!

• An instrument of your choice

• Music History and Cultural Context

• Techniques of Music

• Voice

• Composition

• Conducting

• Composition

• Vocal Studies • Music Technology and Innovation

ENSEMBLES 40

Led by accomplished music professionals,

CONCERTS AND PERFORMANCES

you’ll have the opportunity to rehearse and

Get a complimentary all-access pass to

perform in stunning new spaces at our

concerts, master classes, and studio classes

Greenwich Village campus.

with your program enrollment. See a full listing

• Mannes Community Orchestra

at events.newschool.edu.

• The New School Chorus • Chamber Music • Baroque Chamber Music • Flute Ensemble • Guitar Ensemble • NEXT Opera Scenes • Taiko Drumming Ensemble • Ensemble Piano

For the most up-to-date course listings and to register, go to newschool.edu/ce/classes.

MANNES SCHOOL OF MUSIC

PRICING $2,750 per semester (add $500 for two-hour course option)

MUSIC CLASSES Take a class and explore one of many musical topics. Our offerings include explorations of technology in music, music theory, basic and advanced instrumental and vocal skills, and much more. Our courses inspire and challenge students of all musical backgrounds and experiences.

COMPOSITION

from the minds of geniuses? Or just plain old

Learn to write, arrange, and orchestrate your

nose-to-the-grindstone hard work? Beginning

own music. Our classes help you develop a

Composition seeks to demystify the magic

musical idea into a unique composition.

behind the most abstract and complex and arguably the highest and most beautiful of all

Orchestration 1 Rudolph Palmer A | 15 sessions | beg. Jan. 26 | T 4:05–4:55 pm Skilled orchestrators are a hot commodity today; orchestration is an important and highly sought after skill. Whether your interest is in improving your compositions or in developing versatility and an edge in today’s competitive market, this course teaches you how to arrange a piece of music for performance by instrumental ensembles. Students engage in a series of exercises in order to practice and become comfortable writing music for any musical ensemble or adapting music composed in another medium. Students learn the ranges, techniques, and special devices of timpani, horn, string, and wind instruments. Students are assigned pieces to orchestrate from the standard classical repertoire. 1 CREDIT XCMP 2011 $500

art forms. Starting from the premise that music can be defined as sound organized in time, the course familiarizes you with the basic techniques of music composition, from the construction of simple melodies to the composition of more harmonically complex forms and structure. Assignments focusing on a specific compositional situation are given each week, to be written and then performed and discussed at the next week’s class. The assignments progress each week in complexity, and illustrations primarily from the 20th- and 21st-century repertoire are presented and studied as examples. The last few sessions of the course focus on a special project in which each student sets a text such as a poem for voice and piano or small ensemble. You should come away from the course with the ability to create what might come across as magic, having learned some real-world skills to make it happen. Prerequisites: ability to read and notate in treble and bass clefs; Basic Theory or its equivalent; beginning

Orchestration 2 Rudolph Palmer

Ear Training or its equivalent. 1 CREDIT XCMP 1004 $500

A | 15 sessions | beg. Jan. 26 | T 5:05–5:55 pm A continuation of Orchestration 1. Instructor permission required. Students are asked to orchestrate pieces for diverse ensembles. They learn the basic ranges and techniques of wind, brass, string, harp, and pitched and nonpitched percussion instruments. Students are assigned pieces to orchestrate from the standard classical repertoire. 1 CREDIT XCMP 2012 $500

Songwriting Wendy Griffiths A | 15 sessions | beg. Jan. 27 | W 5:05–5:55 pm This course is intended for composers or students interested in learning how to be effective in the popular songwriting genre. Orchestration is discussed, as is the business of copyrighting and working with performers. The goal for students is to hone their skill in crafting songs in many styles and for many kinds of

Beginning Composition Thomas Addison

singers. This course will focus on lyric writing, text setting and text selection, harmonic vocabulary, and accompaniment/orchestration.

A | 15 sessions | beg. Jan. 25 | M 6:05–6:55 pm

Ability to read and write music preferred.

Have you ever wondered how great music was

1 CREDIT

written? Was it pure magic, effortlessly spun

XCMP 2013 $500

MUSIC CLASSES

CONDUCTING #LearnGrowRepeat Like a Force of New: Start Your Year of Learning at The New School’s Continuing Education Expo FREE Info Sessions, Pop-Up Classes, Live Music Performances, Raffles, Giveaways, and Campus Tours

Fundamentals of Conducting 2 Rudolph Palmer A | 15 sessions | beg. Jan. 26 | T 6:05–7:20 pm This course is a continuation of Fundamentals of Conducting 1. The essence of this performanceoriented two-semester journey is to examine what a conductor’s work entails and to explore

Tuesday, January 12, 2016, 5:00–8:00 p.m.

the artistic and technical balancing act required

University Center, 63 Fifth Avenue, NYC

to succeed in this ultimate leadership profession. In the first semester, students are

The new you is waiting. Open the door to

introduced to beat patterns, cutoffs, and

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preparation beats along with the appropriate

Education Expo. Grab some hot cider and

approach to the critically important skills of

start your journey by learning about our

score analysis, preparation, solfège, and

line-up of spring courses and programs.

communication. In the second semester

• Enter our contest for the chance to win prizes and tour our new University Center. • Sign up for a class and get your first round-trip ride to class for free on us!

students apply those skills to more complex music requiring highly developed choreographic and analytical skills. A basic ability to read scores in short and full form is a necessity for both courses. Each week, students are required to come to class prepared to lead assigned orchestral and choral repertoire selected from the works of Mozart, Haydn, Mendelssohn, Bernstein, Verdi, and others. Prerequisite: Fundamentals of Conducting 1 or its equivalent. The permission of the instructor is required for this limited-enrollment class. Students continuing from the first semester are given priority. 1.5 CREDITS

XINS 2102 $750

RSVP at newschool.edu/TheNewCEExpo.

Basic Conducting Michael Adelson

Intermediate Composition Faye-Ellen Silverman

A | 15 sessions | beg. Jan. 25 | M 6:05–6:55 pm This course is designed for those who have already taken an introductory-level conducting course or who have some beginning conducting

A | 15 sessions | beg. Jan. 25 | M 7:05–7:55 pm

experience and wish to take the next step. We

Musical creation—drawing ideas from one’s

review the basic skills involved in conducting

imagination and re-working and fine-tuning

and explore them in greater depth. These include

them—can be highly rewarding. Intended for

analyzing scores, building interpretations,

students who have some experience composing,

communicating ideas through gestures,

this course is a continuation of Basic

planning rehearsals, understanding the

Composition. Students experiment with scales,

psychology of ensembles, and becoming

rhythms, and formal structures. Time is also

comfortable in the role of conductor. Using the

spent listening to music and seeing how the

class as an ensemble, you gain experience

music can serve as a model for new works. As at

putting these skills to use. The course prepares

the basic level, there are weekly assignments

you for further work in the field if you so desire.

and a final project, to be worked on during the

Music is drawn from the core orchestral and

last several weeks of the semester. Prerequisite:

operatic repertoire; we also explore 20th-

Basic Music Composition or comparable

century and contemporary music. This course is

experience in composing music. 1 CREDIT

a natural companion to Basic Score Reading

XCMP 2004 $500

(XINS 1710), but each can be taken separately as a stand-alone course. 1 CREDIT XINS 1701 $500

MANNES SCHOOL OF MUSIC

Basic Score Reading Michael Adelson A | 15 sessions | beg. Jan. 25 | M 7:05–7:55 pm This course is designed for non-majors who have some beginning experience with score reading and wish to take the next step. The fundamental text of any piece of music, the

Contact the Mannes NEXT Office at mannesnext@newschool.edu or 212.580.0210 x4802 for any course that requires placement exam scheduling.

score contains all the instructions and information the composer has provided for the performers. The ability to read a score is therefore important for any musician and is essential for conductors. We review basic

Beginning Piano Class Wendy Griffiths A | 15 sessions | beg. Jan. 25 | M 5:05–5:55 pm

concepts and explore them in greater depth.

Irina Shestakovich

These include clefs, transpositions, specifics of

B | 15 sessions | beg. Jan. 27 | W 5:05–5:55 pm

notation for each instrument, and differences

C | 15 sessions | beg. Jan. 27 | W 6:05–6:55 pm

between the scores from different periods in

This course is designed for the beginning piano

music history. Special emphasis is placed on

student with a general knowledge of music

score study as it pertains to the practical issues

reading and notation. Students learn scales,

of rehearsing and performing: identifying and

arpeggios, and chords and inversions and

analyzing phrases, interpretation, marking a

explore beginning-level repertoire. Individual

score, learning about the relationship between

progress is monitored by the professor, and

the score and the individual musicians’ parts,

repertoire and exercises appropriate to each

and understanding how a solid grasp of the

student are assigned. The class meets in a

score in its entirety allows one to prepare a

digital piano lab. Note: In order to complete

performance that is insightful, communicative,

homework assignments, students need access

and powerful. This course is a natural compan-

to a piano or keyboard. 1 CREDIT

ion to Basic Conducting (XINS 1701), but each

XINS 1001 $500

can be taken separately as a stand-alone course. 1 CREDIT XINS 1710 $500

Piano Class 1

Hugo Goldenzweig

INSTRUMENTAL STUDIES

A | 15 sessions | beg. Jan. 25 | M 4:05–4:55 pm

Piano for Non-majors

Students continue working on scales, arpeggios,

A continuation of Beginning Piano Class.

Wendy Griffiths

chords and inversions, and repertoire appropri-

A | 15 sessions | beg. Jan. 26 | T 6:05–6:55 pm

ate to their playing level. The class meets in a

Geared to the enthusiastic beginner, Piano for

digital piano lab. Prerequisite: XINS 1001, XINS

Non-majors explores keyboard layout, basic

1003, or passage of placement exam, held

finger technique, hand coordination, and

before the start of the semester. Note: In order

fundamentals of music notation. Students also

to complete homework assignments, students

learn basic music theory principles, enabling

need access to a piano or keyboard. 1 CREDIT

them to play simple tunes by ear. Enjoy some of

XINS 1010 $500

your favorite classical, folk, and popular repertoire individually and as part of a piano ensemble. The class meets in a digital piano lab. This course is intended for students who do not have music reading ability. Students who can read music should enroll in Beginning Piano. Note: In order to complete homework assignments, students need access to a piano or keyboard. 1 CREDIT XINS 1003 $500

Piano Class 2 Hugo Goldenzweig A | 15 sessions | beg. Jan. 29 | F 4:05–4:55 pm A continuation of Piano Class 1. Students continue working on scales, arpeggios, chords and inversions, and repertoire appropriate to their playing level. Prerequisite: XINS 1010 or passage of placement exam, held before the start of the semester. The class meets in a digital piano lab. Note: In order to complete homework assignments, students need access to a piano or keyboard. 1 CREDIT XINS 1015 $500

MUSIC CLASSES

Piano Class 3 Hugo Goldenzweig A | 15 sessions | beg. Jan. 29 | F 5:05–5:55 pm

interpretation. Students perform for one another in a supportive group environment. For advanced-level pianists only. Prerequisite:

A continuation of Piano Class 2. Students

permission of the instructor. 1 CREDIT

continue working on scales, arpeggios, chords

XINS 2005 $500

and inversions, and repertoire appropriate to their playing level. Prerequisite: XINS 1015 or passage of placement exam, held before the

Piano Pedagogy

start of the semester. Note: In order to complete

Zelma Bodzin

homework assignments, students need access

A | 15 sessions | beg. Jan. 26 | T 6:05–6:55 pm

to a piano or keyboard. 1 CREDIT

In this course, we examine teaching material for

XINS 2010 $500

pre-school, elementary school, high school, and adult beginners. Topics discussed include the development of good musical taste and of

Advanced Piano Performance Workshop Inessa Zaretsky A | 15 sessions | beg. Jan. 28 | Th 3:05–3:55 pm

technical skill, memorization and performance, intelligent practice, and the establishment of a sound relationship between child, teacher, and parent. 1 CREDIT XINS 3041 $500

A series of performance classes devoted to the exploration of style differentiation in works dating from the Baroque period through the

Piano Sight-Reading 2

20th century. The course covers such topics as

Inessa Zaretsky

phrasing and articulation, ornamentation,

A | 15 sessions | beg. Jan. 27 | Th 7:05–7:55 pm

legato, technical problems, and musical

A continuation of Piano Sight-Reading 1. This course offers a highly structured curriculum designed to develop basic skills for recognizing rhythms, chords, basic keyboard patterns, and keyboard topography. These skills are applied in sight-reading four-hand music, accompaniments, and solo repertory. 1 CREDIT XINS 3022 $500

Ensemble Piano: Piano Duos Zelma Bodzin A | 15 sessions | beg. Jan. 26 | T 7:05–7:55 pm In this performance-oriented class, we explore the literature for one and two pianos and ultimately present a recital. Repertoire consists of pieces that engage two to four players at two pianos. The class studies pieces like Stravinsky, Sonata for Two Pianos; Milhaud, Scaramouche Suite; Poulenc, Sonata for Two Pianos; Bizet, Carmen Fantasy (2 pianos, 8 hands). Prerequisite: at least two semesters of piano class or related experience. The class is open to instrumentalists other than pianists. 1 CREDIT XINS 2031 $500

MANNES SCHOOL OF MUSIC

The Impressionists: The Piano Music of Debussy and Ravel Hugo Goldenzweig A | 15 sessions | beg. Jan. 25 | Th 5:05–5:55 pm In this course, we study piano and chamber works, applying techniques suitable to the character of the works. We consider the influence of the Symbolists in poetry and of the impressionists in painting, as well as the traditions of the Classical and Romantic periods. Open to pianists, instrumentalists, and singers of all levels. 1 CREDIT XINS 2019 $500

MUSIC HISTORY AND APPRECIATION History of Music 2 Nicholas Betson A | 30 sessions | beg. Jan. 26 | Th 4:05–4:55 pm Do you ever wonder why music sounds the way it does? Take a look at the fascinating and complex history of music. History of Music 2 surveys the music of European courts, churches, and theaters from 1600 to 1800. Special attention is given to the development of opera from Monteverdi’s L’Orfeo to Mozart’s Le Nozze di Figaro. Lectures are supported by recorded musical examples, discussion, and analysis. 2 CREDITS

Intermediate Guitar

XMHS 1203 $1,000

Stanley Dorn A | 15 sessions | beg. Jan. 28 | Th 7:05–7:55 pm The approach in this course is two-pronged: A folk-based style is used to teach basic accompanying skills and a classical approach is used to teach note reading and the production of more complex textures. Eventually the two styles are blended as students’ ability develops and they attain a comprehensive familiarity

History of Music 4 Fredric Fehleisen A | 30 sessions | beg. Jan. 26 | Th 7:05–7:55 pm Music History 4, the final course in the sequence, is a survey of music in the 20th and early 21st centuries. Students are given listening, reading, and brief writing assignments, and

with the instrument and its potential.

there is a midterm and a final exam. 2 CREDITS

Prerequisite: Beginning Guitar or previous

XMHS 1403 $1,000

experience with guitar. 1 CREDIT XINS 1505 $500

Folk Process: American Folk Music

Jazz Piano for Pianists

Nathan Koci

William Patterson

A | 15 sessions | beg. Jan. 25 | M 8:05–8:55 pm

A | 15 sessions | beg. Jan. 25 | M 6:05–6:55 pm Designed for those with some experience in piano but with little or no jazz experience. Topics covered include jazz terminology and notation, jazz scales, chord voicings, and blues and song forms. 1 CREDIT XJZZ 2151 $500

Defining folk music is not as easy as it seems. Is folk music defined by its sound? Its instrumentation? Or is it a process by which we share, learn, and participate in music? This class is based on the latter view, exploring the oral traditions of American folk music and tracing themes, narratives, rhythms, and melodies dating from the early 20th century to the present. Folk music offers every listener the opportunity to become a performer and every performer the opportunity to become a composer and interpreter. We learn traditional American folk songs together and investigate their histories and their origins. We explore the oral tradition of sharing music and songs from our own backgrounds and look at contemporary performance culture through the lens of the folk process, examining our relationship to the music we listen to as individuals and as a community.

More questions about a class? Get in touch! ce@newschool.edu

The focus is on learning, singing, and creating songs as a class, but there will be regular performance opportunities for vocalists and instrumentalists. Familiarity with Western music notation is not required. 1 CREDIT XMHS 1250 $500 MUSIC CLASSES

Bartók’s Roots in World and Classical Music

Rev. Gary Davis: The Force behind Bob Dylan and The Grateful Dead

Allan Evans

A | 15 sessions | beg. Jan. 25 | W 6:05–6:55 pm

A | 15 sessions | beg. Jan. 27 | W 7:05–7:55 pm

A course exploring how Béla Bartók’s study of

Until British rock musicians and jazz masters

classical music was transformed by the

discovered the blues, original players remained

pioneering ethnomusicology he applied during

lost or were inaccessible beyond their communi-

visits to key sources of folk music in Hungary

ties. Our course will chart how the search for

and other countries. We examine the way

authentic founders of the blues not only led to

Bartók expanded classical music by incorporat-

the development of nearly every important

ing folk traditions to create a new musical

musical form created over the last 60 years but

language that brought both disciplines to new

uncovered remarkable active musicians who

heights. Special attention is given to his own

became influential as performers and teachers.

playing and that of his colleagues, along with

The core of this historic quest leads us to the

the field recordings he collected. Bartók’s

essential and unique Rev. Gary Davis, an

writings are also covered and are compared

influential musician who mastered blues, gospel,

with those of his contemporaries, later compos-

ragtime, and other styles to become a guiding

ers, and scholars. In addition, we look at the way

force behind the folk music revival, a model for

the composer’s contact with nature influenced

Bob Dylan, and the teacher of the Grateful

his major works. Students have access to a

Dead’s Bob Weir. We will examine his art and his

database containing more than 1,000 cylinders

life as a blind Black musician who began in the

of Bartók’s folk music recordings; assignments

oppressive South and became a religious

call for them to locate the presence of this music

philosopher who interacted with various

in his published works. The instructor has a

cultures and a master musician who still evokes

personal association with a Bartók pupil and a

awe from pupils such as Bob Weir (Grateful

colleague’s family and will guide the class in

Dead) and Taj Mahal and artists such as Eric

exploring their unique close-up views of the

Clapton and Jorma Kaukonen. The objective will

composer’s development and his art. 1 CREDIT

be to flesh out how Davis and his peers

XMHS 1106 $500

functioned on the musical, social, literary, and political levels and the way it inspired all later styles to grow from its allure and relevance. The

The Beatles Revolution Matthew Marks A | 15 sessions | beg. Jan. 25 | M 7:05–7:55 pm In this course, we examine the work of the seminal British rock group The Beatles, from their early years in Liverpool and Hamburg until their final album in 1970. Particular attention is paid to areas in which The Beatles proved

instructor, Allan Evans, is Rev. Davis’ last pupil. He will illustrate Davis’ guitar techniques, provide personal memoirs, and work with the class on transcribing and analyzing lyrics, using research methodology to follow the way social and cultural conditions of this early pioneering phase of American music continue to influence the music world. 1 CREDIT XMHS 1700 $500

groundbreaking: their songwriting ingenuity, their explorations of studio techniques with their producer George Martin, and the development of the album as a unique musical art form. We also focus on each of the musicians, examining

For the most up-to-date course listings and to register, go to newschool.edu/ce/classes.

their work with the band (and their post-Beatles careers) to understand how they came together to become arguably the most popular musical act in world history. 1 CREDIT XMHS 1509 $500

The 20th-Century Violin Concerto Nicholas Betson A | 15 sessions | beg. Jan. 26 | T 6:05–6:55 pm An introduction to key violin concertos of the 20th century (e.g., Sibelius, Berg, Bartók No. 2, Stravinsky, Shostakovich No. 1, Ligeti, and Haas). Emphasis will be given to (1) analysis of

MANNES SCHOOL OF MUSIC

musical form; (2) specific technical challenges presented by each work and their effect on the composition; (3) the relationship to the original performer of the work; (4) the relationship to other genres within the composer’s output; and (5) the relationship to more canonical 19th-century concertos for violin. 1 CREDIT XMHS 2003 $500

The Practical Art of DJing Jonathan Herbert A | 15 sessions | beg. Jan. 26 | T 8:05–8:55 pm This course is for students looking to become familiar with or deepen their understanding of the craft of DJing. Students learn the basic principles of mixing and choose their preferred equipment setup. They develop an understand-

The Secret Life of Standards

ing of the fundamental musical elements and structure of a track, the way social dynamics intersect with music, and nightclub business

Kirk Nurock

and promotion. 1 CREDIT

X1 | 8 weeks | Mar. 7–May 16

XTEK 1250 $500

Jazz and Great American Songbook classics are analyzed, revealing surprisingly nuanced layers of meaning. Compositional techniques are explored in works by Miles Davis, Hoagy Carmichael, Joni Mitchell, and others, often in relation to the lyrics. You’ll learn about melodic contour, development of motifs, and harmonic suspense, as well as lyrical plot, subtext, rhyme scheme, and strophe and about how the combination can create an intricate whole. In the process, you’ll enhance your performance and enjoyment of all such repertoire, broaden your own ability to compose and write lyrics, and develop an understanding of the roles of instrumentalists and vocalists. JAZZ 8027 $684

MUSIC TECHNOLOGY Introduction to SuperCollider Elliot Cole A | 15 sessions | beg. Jan. 28 | Th 6:35–8:15 pm This course is aimed at musicians who are curious about the musical possibilities of computer programming. Basic programming concepts are taught using SuperCollider, a free, powerful open-source language used by composers, sound artists, improvisers, and scientists the world over. Newcomers to programming are encouraged to enroll, as no knowledge of programming is assumed. A fondness for logical ideas is helpful, and a willingness to learn some mildly technical subject matter is essential. 2 CREDITS XTEK 1200 $1,000

MUSIC CLASSES

Performance Ensembles Play or sing in one of our many groups! Performing opportunities range from large ensembles, such as the Community Orchestra and the New School Chorus, to small groups, like chamber music or guitar ensemble. You’ll join a community of like-minded musicians, with a range of abilities and levels of experience.

Baroque Chamber Ensembles

Recorder Consort

Martha McGaughey

A | 15 sessions | beg. Jan. 28 | Th 4:05–4:55 pm

A | 12 sessions | beg. Jan. 25 | Meeting time varies

Students with recorder playing experience are

This course is designed for singers and instru-

invited to join this early music ensemble. The

mentalists interested in performing 17th- and

class rehearses and receives coaching on

18th-century ensemble music. The emphasis is

intermediate- to advanced-level recorder

on exploration of both familiar and unusual

repertoire. 1 CREDIT

repertoire, techniques of good ensemble playing,

XINS 1403 $500

Anita Randolfi

in-depth study of Baroque performance practice (tempo, articulation, phrasing, and ornamentation), and learning to play music of the Baroque period in a stylish and historically informed way. Participants should have at least basic sight-reading skills. There will be performance opportunities throughout the semester; concerts 48

in recent years have featured works by Bach, Handel, Telemann, Couperin, Purcell, Monteverdi, Marin Marais, and Luzzasco Luzzaschi. Instrumentalists and singers work together on pieces in small ensembles; the repertoire is

Performance Master Class Inessa Zaretsky A | 15 sessions | beg. Jan. 28 | Th 4:05–4:55 pm Perform for peers and receive coaching from Mannes faculty in a course held in a master class format. Open to all instruments and voice types. 1 CREDIT XINS 2060 $500

determined by the makeup of each ensemble. The class is open to musicians who play standard modern orchestral instruments and

Community Orchestra

also to those who play period instruments such

Rotating conductors

as the recorder, Baroque flute, or viola da

A | 15 sessions | beg. Jan. 27 | W 7:30–10 pm

gamba. Ensembles are formed with consider-

Open to all community members, faculty, staff,

ation of instrumentation, scheduling availability,

and students at Mannes or any other college of

and musical background and experience (please

The New School, the Community Orchestra is a

note that in some cases not all students can be

performance-based ensemble with space for all

accommodated). Group placement auditions are

orchestral instruments. If interested, email

held the first week of the semester. Contact

mannesnext@newschool.edu with your name

Mannes NEXT (mannesnext@newschool.edu or

and instrument. The orchestra rehearses

212.580.0210 x4802) for more information.

Wednesdays from 7:30 to 10 pm (fall and spring

1 CREDIT

semesters only) in Tishman Auditorium.

XHSP 1001 $500

1 CREDIT

XPER 1001 $20

More questions about a class? Get in touch! ce@newschool.edu

MANNES SCHOOL OF MUSIC

Flute Ensemble Faculty Profile: Judith Mendenhall Teaching and mentoring are central parts of Judith Mendenhall’s life. A strong advocate for robust wind playing, she is the chair of the Wind Department at Mannes School of Music, where she teaches flute and chamber music. Mendenhall, a flutist, has taught and appeared throughout the United States, Europe, and Asia as a recitalist, chamber player, and orchestral musician. She is the principal flutist of the American Ballet Theater Orchestra and a member of the Berkshire Bach Ensemble. She has appeared in 13 nationwide Musicians from Marlboro tours; has been a guest artist with the Cleveland, Emerson, and Mendelssohn String Quartets; and has presented solo recitals at venues including The Metropolitan Museum of Art and the 92nd Street Y in New York City and the Schubert Club in St. Paul.

Mary Barto A | 15 sessions | beg. Jan. 26 | T 7:05–8:45 pm Intermediate- through professional-level flutists—undergraduate and graduate students, nonmatriculated adults, and NEXT Diploma students—explore the extensive piccolo, C flute, alto, and bass flute repertoire of all styles and periods in a relaxed, supportive environment. No audition is necessary, just a love of the flute family and the vast array of pieces composed and arranged for this extremely popular combination. Participants are encouraged to suggest pieces they have heard and would like to play with a group. The first few weeks cover possible repertoire for the semester based on group size, skill levels, and musical preferences: trios, quartets, complete group pieces with piano, multimedia pieces. Players learn to use the flute to conduct entrances, phrasing, and cutoffs. Each class begins with warm-up selections. Group tuning is a focus. Rehearsals lead to an end-of-semester concert for family, friends, and the community. Community

Mendenhall was the principal flutist of the

outreach programs may also be arranged.

New York Chamber Symphony under Gerard

1 CREDIT

Schwarz and has performed at the Mostly

XPER 1009 $500

Mozart Festival, the Grand Teton Festival, and the Colorado Music Festival. Mendenhall was a founding member of the Music Today Ensemble under Gerard Schwarz and a founding member of the Naumburg Award–winning Aulos Wind Quintet.

Guitar Ensemble Stanley Dorn A | 15 sessions | beg. Jan. 26 | T 7:05–7:55 pm In this course, students explore the techniques of classical guitar as well as the practice of good musicianship, rhythmic accuracy, tone produc-

Chamber Music

tion, sight-reading, and phrasing through ensemble performance. In class, we read

Instructor varies

through pieces from a wide variety of periods,

A | 12 sessions | beg. Jan. 25 | Meeting time varies

focusing on stylistically appropriate perfor-

This course features small-group instrumental

mance practices and stopping, as led by the

coaching with renowned Mannes faculty,

demands of the material, to examine relevant

performance opportunities, and varied repertoire

technical issues such as left-hand slurs, barring

spanning a range of time periods and genres.

positions, and arpeggio and scale techniques.

Chamber Music at Mannes is offered in the fall,

Students must have a usable guitar (nylon

spring, and summer. Groups meet for 12

preferred) and have moderate (through 5th

sessions throughout the semester (summer

position) sight-reading facility. 1 CREDIT

scheduling is flexible). Ensembles are matched

XPER 1007 $500

on the basis of scheduling availability, musical background, and experience. All levels are encouraged to join. Group placement auditions are held the first week of the semester. Contact Mannes NEXT (mannesnext@newschool.edu or 212.580.0210 x4802) for more information. 1 CREDIT

XPER 1002 $500

Performance Ensembles

The New School Chorus Eric Dudley A | 15 sessions | beg. Jan. 26 | T 6:45–8:30 pm The New School Chorus is an exciting ensemble, open to members from the entire New School and greater New York City community. It fosters joyful communal singing and offers participants a chance to explore a range of music and singing styles from around the world—everything from Western choral masterpieces to eastern European folk singing, from classic

and back, which becomes integral to sitting, standing, walking, bending, and performing. Proficiency in reading, writing, and speaking English is needed for this small-group experiential learning course, which involves movement, performance, observation of self and others, hands-on guidance from the instructor, verbal processing, and discussion. Out-of-class requirements include weekly reading, weekly journaling, personal self-study projects, and daily practice to build new habits. 2 CREDITS XPER 2012 $1,000

American jazz and popular song to traditional music. In rehearsals, members perform both fun and educational approach to exploring the

Taiko Drumming Ensemble

sonic possibilities of the human voice. For

Alan Nunez

additional information, visit newschool.edu/

A | 15 sessions | beg. Jan. 29 | Th 7:05–8:45 pm

mannes/performance-ensembles. 1 CREDIT

The Japanese taiko, or drum, has been around

XPER 1500 $200

for millennia and is part of the culture’s origin

written works and music learned by ear using a

story. Kumi-daiko, or ensemble drumming, is a more contemporary practice. In this class,

Introduction to the Alexander Technique Cynthia Reynolds A | 15 sessions | beg. Jan. 27 | W 6:05–6:55 pm This course is a performance-oriented class for people who must use their bodies effectively: musicians, actors, and dancers. The scope of the 50

course lies beyond the release of tension or the re-education of muscular movement: It improves people’s use of their bodies in their

students learn practices and customs associated with taiko drumming, including basic patterns, striking technique, and traditional works. No previous musical experience is necessary, though experienced musicians will also gain a great deal from this class. 1 CREDIT XPER 2015 $500

TECHNIQUES OF MUSIC

daily activities. Better coordination is achieved

How to Read Music

through a dynamic balance of the head, neck,

Wendy Griffiths

and back, which becomes integral to sitting,

A | 15 sessions | beg. Jan. 27 | W 6:05–6:55 pm

standing, walking, bending, and performing.

There is an old joke among musicians (or at

Proficiency in reading, writing, and speaking

least guitarists): How do you persuade an

English is needed for this small-group experien-

electric guitarist to turn down the volume on his

tial learning course, which involves movement,

amplifier? Simple: Put written music in front of

performance, observation of self and others,

him! While many amateur musicians do very

hands-on guidance from the instructor, verbal

well with little or no knowledge of how to read

processing, and discussion. 1 CREDIT

music, a basic understanding of notation,

XPER 1012 $500

rhythm, and harmony will lead to greater enjoyment of what you are hearing and playing and will help you learn new music more quickly.

Alexander Technique Cynthia Reynolds A | 15 sessions | beg. Jan. 27 | W 4:05–5:45 pm This course is a performance-oriented class for

This course will use musical examples ranging from Bach to Billie Holiday, Beethoven to the Rolling Stones. 1 CREDIT XTOM 0001 $500

people who must use their bodies effectively: musicians, actors, and dancers. The scope of the course lies beyond the release of tension or the

Basic Theory

re-education of muscular movement: It

Thomas Addison

improves people’s use of their bodies in their

A | 30 sessions | beg. Jan. 25 | M, W 7:05–7:55 pm

daily activities. Better coordination is achieved

This course explores the fundamentals of music

through a dynamic balance of the head, neck,

theory in preparation for more advanced

MANNES SCHOOL OF MUSIC

coursework, serving as a kind of bootcamp for

passage of placement exam, held before the

the rest of the theory sequence. The goal for

start of the semester. 2 CREDITS

students is to attain an understanding of and

XTOM 1002 $1,000

fluency in standard music theory terminology and concepts, including key signatures, major and minor scales, triads, and seventh chords. Students will need Fundamentals of Music Theory by L. Poundie Burstein to complete twice-weekly homework assignments. Prerequisite: basic ability to read pitches in treble and bass clefs; students not meeting this requirement should enroll in XTOM 0001 or XTOM 0002. 2 CREDITS XTOM 0010 $1,000

Ear Training 2 Stanley Dorn A | 15 sessions | beg. Jan. 26 | T 5:05–5:55 pm A continuation of Ear Training 1A. Students explore the use of solfège to sing at sight simple diatonic melodies in treble, bass, and alto clefs and are introduced to more advanced rhythmic study. Prerequisite: XTOM 1101 or passage of placement exam, held before the start of the semester. 1 CREDIT

Basic Ear Training

XTOM 1102 $500

TBA B | 15 sessions | beg. Jan. 26 | T 7:05–7:55 pm A course that teaches beginning-level skills in sight-singing. Students work on singing major and minor scales, intervals, and simple melodies using solfège syllables. They also learn rhythmic patterns and acquire basic conducting skills. This course prepares students for Ear Training 1. Prerequisite: basic ability to read music in treble and bass clefs. 1 CREDIT XTOM 0105 $500

Dictation 2 Stanley Dorn A | 15 sessions | beg. Jan. 28 | Th 5:05–5:55 pm This course is a continuation of Dictation 1A. Students practice recognizing and transcribing melodies in a variety of meters, including simple two-voice exercises. Prerequisite: XTOM 1201 or passage of placement exam, held before the start of the semester. 1 CREDIT XTOM 1202 $500

Basic Dictation Wendy Griffiths A | 15 sessions | beg. Jan. 25 | M 6:05–6:55 pm A companion course to Basic Ear Training, Basic Dictation is designed to prepare students to write down simple melodies. The course starts with recognizing intervals and short melodic rhythmic and melodic patterns. By the end of the semester, students will be notating short melodies in one key, and will be ready for Dictation 1. 1 CREDIT XTOM 0103 $500

Theory 2 Stanley Dorn A | 30 sessions | beg. Jan. 26 | Th 6:05–6:55 pm A continuation of Theory 1A. We continue exploring the procedures of tonal music in two areas: counterpoint and harmony. Students analyze and write harmonic progressions, study common forms, set melodies, and complete figured bass using triads and seventh chords and their inversions. Rules of two-part counterpoint writing in third, fourth, and fifth species are covered. Prerequisite: XTOM 1001 or

Performance Ensembles

Theory 4 Wendy Griffiths A | 30 sessions | beg. Jan. 26 | Th 5:05–5:55 pm A continuation of Theory 3 in two areas: harmony and counterpoint. Students analyze and write four-part exercises using more advanced voice leading techniques. Diatonic modulation and chromaticism are incorporated.

focus is on sophisticated use of chromaticism and the study of forms that make use of invertible and imitative counterpoint. Prerequisite: XTOM 3001 or passage of placement exam, held before the start of the semester. Contact the Mannes NEXT Office at mannesnext@newschool.edu or 212.580.0210 x4802 for placement exam scheduling.

Rules of three-part counterpoint writing in third,

2 CREDITS

fourth, and fifth species are covered.

XTOM 3002 $1,000

Prerequisite: XTOM 2001 or passage of placement exam, held before the start of the semester. Contact the Mannes NEXT Office at

Ear Training 6

mannesnext@newschool.edu or 212.580.0210

Wendy Griffiths

x4802 for placement exam scheduling.

A | 15 sessions | beg. Jan. 25 | M 4:05–4:55 pm

2 CREDITS

A continuation of Ear Training 5. Students

XTOM 2002 $1,000

explore the use of solfège to sight-sing diatonic, chromatic, and atonal melodies in seven clefs and engage in advanced rhythmic study.

Dictation 4 Stanley Dorn A | 15 sessions | beg. Jan. 28 | Th 4:05–4:55 pm A continuation of Dictation 3. Students practice recognizing and transcribing melodies in one and two parts, using techniques including modulation and harmonic dictation. Prerequisite: XTOM 2201 or passage of

Transposition using clefs is a primary focus. Students also master singing arpeggios of triads and seventh chords. The class continues to practice score reading on keyboard. Prerequisite: XTOM 3101 or passage of placement exam, held before the start of the semester. Contact the Mannes NEXT Office at mannesnext@newschool.edu or 212.580.0210

placement exam, held before the start of each

x4802 for placement exam scheduling. 1 CREDIT

semester. Contact the Mannes NEXT Office at

XTOM 3102 $500

mannesnext@newschool.edu or 212.580.0210 x4802 for placement exam scheduling. 1 CREDIT XTOM 2202 $500

Dictation 6 Faye-Ellen Silverman A | 15 sessions | beg. Jan. 27 | W 4:05–4:55 pm

Ear Training 4 Stanley Dorn A | 15 sessions | beg. Jan. 26 | T 4:05–4:55 pm A continuation of Ear Training 3. Students explore the use of solfège to sight-sing diatonic and chromatic melodies in treble, bass, alto, tenor and soprano clefs and engage in advanced rhythmic study. Sight-singing examples are taken from classical literature.

This course is a continuation of Dictation 5. Students practice recognizing and transcribing melodies in one, two, and four parts, using techniques including modulation to more remote keys and harmonic dictation. Prerequisite: XTOM 3201 or passage of placement exam, held before the start of the semester. Contact the Mannes NEXT Office at mannesnext@newschool.edu or 212.580.0210

Prerequisite: XTOM 2101 or passage of

x4802 for placement exam scheduling. 1 CREDIT

placement exam, held before the start of the

XTOM 3202 $500

semester. Contact the Mannes NEXT Office at mannesnext@newschool.edu or 212.580.0210 x4802 for placement exam scheduling. 1 CREDIT

Schenkerian Analysis 1

XTOM 2102 $500

Robert Kosovsky A | 15 sessions | beg. Jan. 28 | Th 5:05–6:45 pm Students engage in close study of selected

Theory 6 Stanley Dorn A | 30 sessions | beg. Jan. 26 | Th 3:05–3:55 pm

pieces as a basis for the exploration of Heinrich Schenker’s ideas. Graphing techniques are introduced. Prerequisite: Theory 4 (XTOM 2002).

A continuation of material presented in Theory

2 CREDITS

5 in two areas: harmony and counterpoint. The

XTOM 3401 $1,000

MANNES SCHOOL OF MUSIC

VOCAL AND OPERA

performing, students are taught what is

Beginning Voice Class

about working with other professionals in a

required in the professional arena and learn

Barbara Hocher

performance setting. 1 CREDIT

A | 15 sessions | beg. Jan. 27 | W 6:05–6:55 pm

XVCO 2501 $500

The major objective of this class is the development of the solo voice. The emphasis is on understanding and mastering the fundamentals of effective voice production. Individually assigned solo material, group preparation of songs, warm-ups, and vocalise material are required. The course is appropriate not only for beginning singers but also for those working with voices, such as choral conductors and accompanists. 1 CREDIT XVCO 1001 $500

Performing in Musical Theater Nova Thomas A | 15 sessions | beg. Jan. 27 | W 8:05–8:55 pm In this course, students are introduced to and develop the skills necessary for meeting the vocal and stylistic demands of singing in musical theater. Students engage in fundamental vocal work and develop the ability to prepare, explore, and ultimately perform pieces

Intermediate Voice Class

from this ever-popular genre. The course emphasizes the synthesis of vocal, musical, and dramatic requirements. There are written,

Barbara Hocher

listening, and performing assignments.

A | 15 sessions | beg. Jan. 27 | W 5:05–5:55 pm

Beginners as well as more advanced singers are

In this course, students continue developing the

welcome. Prerequisite: basic (beginning) vocal

solo voice. The warm-up exercises and vocalises

and musical skills. 1 CREDIT

learned in Beginning Voice Class are augmented

XVCO 1204 $500

and practiced in each class session, and solo and group song projects are assigned for performance in class throughout the semester. Prerequisite: Beginning Voice Class. 1 CREDIT XVCO 1002 $500

Introduction to Careers in Vocal Arts Barbara Hocher A | 15 sessions | beg. Jan. 25 | M 6:05–6:55 pm The goal of this course is to give voice students an overview of career planning in the vocal arts. While the primary focus is on the performance

#TheNewCE #LearnGrowRepeat

career, there is also discussion of nonperformance possibilities within the broad arena of the vocal arts. Topics explored include undergraduate and graduate curricula, résumé and biography preparation, auditions (including repertoire choices, attire, and presentation),

Vocal Performance Workshop

international summer programs for singers, young artist programs of U.S. opera companies, grant applications, career options, and

Chris Roselli

career-potential assessment tools. Student

A | 15 sessions | beg. Jan. 29 | F 4:05–5:45 pm

projects include preparation of a résumé,

This course teaches students how to prepare

biography, and mock grant application and a

and perform all types of vocal repertoire. Song

mock audition. 1 CREDIT

selections may come from the genres of opera,

XVCO 3030 $500

oratorio, art song, and musical theater. The format of the course is performance oriented and incorporates mini–master classes and dramatic coaching. Each student presents at least one song each week. Students are expected to prepare the material with the appropriate IPA transcriptions, translations, and any other assigned notations. In addition to

Italian Diction (IPA) Peter Castaldi A | 15 sessions | beg. Jan. 28 | Th 5:05–5:55 pm In this course, students explore the fundamentals of phonetics, articulation, and pronunciation of the Italian language as applied

Performance Ensembles

to song and operatic literature. This course introduces you to basic Italian pronunciation and its application to Italian vocal literature. We use the International Phonetic Alphabet (IPA) as a basis for practicing the sounds of the Italian language. If you have never used IPA before, this course will be an excellent introduction to its practice. If you have used IPA before, this course will deepen your understanding. All study and practice of IPA will focus on its application to performance. You are required to participate in class by reciting texts and performing assigned vocal literature. Bring your joy, your curiosity, and a little bit of coraggio! 1 CREDIT

Opera Scenes Peter Castaldi, Susan Versage A | 15 sessions | beg. Jan. 25 | M 7:30–10 pm In this course, we produce staged scenes from the standard repertoire. This class offers the experienced singer an opportunity to perform larger segments of a role than would be typical in a “scenes” class. Singers who enroll in Opera Scenes are encouraged to also register for NEXT Scenes Group Coaching (XVCO 1502) in order to receive individual coaching on their scene assignments. 1 CREDIT XVCO 1035 $500

XVCO 1211 $500

NEXT Scenes Group Coaching Susan Versage A | 15 sessions | beg. Jan. 25 | T 6:05–6:55 pm

Peter Castaldi B | 15 sessions | beg. Jan. 25 | W 8:05–8:55 pm Students receive coaching on repertoire with faculty members working professionally in opera. They receive individual feedback on arias, including interpretive insights and stylistic commentary based on historical and performance practice. Faculty coaches work with singers individually and in ensemble to prepare operatic roles, arias, and song. Elements discussed include language, style, expression, harmony, intonation, and rhythm. Singers who enroll in Opera Scenes are encouraged to also register for this class in order to receive individual coaching on their scene assignments. 1 CREDIT

XVCO 1502 $500

MANNES SCHOOL OF MUSIC

MEDIA, FILM, AND TECHNOLOGY

COURSE OFFERINGS

MEDIA, FILM, AND TECHNOLOGY Step behind the camera to claim your space as a cineaste, complementing your skills with scholarship on the art of filmmaking. Become an expert on current digital technologies for the silver screen and beyond, mastering modern communication strategies to develop your personal voice and vision through traditional narrative and radically experimental media forms. Find courses on Digital Design on page 8.

are at once technology, art, entertainment, and

Certificate in Film Production

business enterprises, they need to be studied from a variety of disciplinary perspectives. The

The New School awards a certificate attesting

readings for this course reflect this multifaceted

to successful completion of a sequence of

approach and draw attention to the work of key

courses in which students master the art and

thinkers and theorists in the field. Examples are

craft of filmmaking. For more information, see

drawn primarily from the visual media of

Film and Media Production in the following

commercial film, television, advertising, video,

pages or go online to

and the Internet, although alternative media

newschool.edu/ce/filmproductioncert.

practices are also noted. Students gain an understanding of how media texts are con-

Certificate in Screenwriting The New School awards a certificate attesting to successful completion of a sequence of 56

structed, how they convey meaning, and how they shape one another in significant ways. 3 CREDITS

NCOM 3000 $650

courses in which students master the art and craft of writing for the cinema. This curriculum can be completed entirely online, on campus,

Beyond iCelebrities

or through a combination of online and

Kathleen Sweeney

on-campus courses. For more information

A | 15 weeks | Jan. 25–May 16

about the certificate program, see

Popular social networking sites have evolved

Screenwriting in the following pages or at

rapidly in the past few years, alongside

newschool.edu/ce/screenwritingcert.

Internet-savvy grassroots organizations like MoveOn.org. The course outlines the recent

MEDIA STUDIES 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 Peter Haratonik

history of MoveOn.org, Code Pink, Facebook, YouTube, and Second Life (virtual activism) and the viral nature of Internet trends. What happens when corporate entities enter social networks on the Internet? What is the link between viral marketing and social change? We consider questions about the nature of the “collective generosity” mindset inherent in millennial offerings like Wikipedia, with an eye to mapping global resource and information networks to include the most disenfranchised of

A | 15 weeks | Jan. 25–May 16

global citizens. How can the activist potential of

Students explore media history and the basic

the Internet be used to address global warming,

concepts employed in media analysis, examin-

poverty, and political injustice? 3 CREDITS

ing the history of technologies from the magic lantern to multimedia and focusing on the relationship between media and their social, political, and economic contexts. Since media

MEDIA, FILM, AND TECHNOLOGY

NCOM 3026 $650

Real TV Stuart Cohn

Reggae, Media, and Representation

A | 15 weeks | Jan. 25–May 16

Jean Oliver-Cretara

Once confined to PBS and other educational

B | 15 weeks | Jan. 25–May 16

programming, reality TV has grown into a major

Reggae originated in the island nation of

player in cable and network television. For better

Jamaica, but it is one of the most popular

or worse, shows like The Biggest Loser and

musical forms in the world and is heard in a

Jersey Shore have redefined both the TV

multitude of derivative forms in every corner of

medium and the cultural landscape. How did we

the planet. Revolutionary in spirit, reggae has

get to this point, and where is reality TV going

stood as a potent symbol of independence and

next? Who does what in the production of a

means of social critique and has informed

reality show? How can you be a part of it? In

notions of selfhood, nationhood, race, ethnicity,

addition to studying the who, what, when, and

religion, and politics. The course begins with a

where of reality TV, the class examines the

history of reggae that considers the genre in its

economics of this entertainment form, espe-

various forms (ska, rocksteady, dub, roots rock,

cially as cable TV has become the tail that wags

DJs, toasting) and its influence on popular music

the dog of the television business and a financial

worldwide. We explore the ways in which

powerhouse fueling media empires. Through

people around the world have adopted the

individual research, class discussions, and visits

genre’s gestures, attitudes, and icons as their

from media professionals, students put

own and discuss the role of media in the

themselves in the shoes of industry hopefuls as they learn how to create a series pitch and sell it to a production company or network. 3 CREDITS NCOM 3114 $650

Media, Nature, and Apocalypse Joan Schuman A | 15 weeks | Jan. 25–May 16 What can we learn from comparing media

#LearnGrowRepeat Like a Force of New: Start Your Year of Learning at The New School’s Continuing Education Expo FREE Info Sessions, Pop-Up Classes, Live Music Performances, Raffles, Giveaways, 57

and Campus Tours

coverage of environmental disasters with

Tuesday, January 12, 2016, 5:00–8:00 p.m.

fictionalized representations of such apocalyptic

University Center, 63 Fifth Avenue, NYC

scenarios? This class examines media responses to natural disasters and environmental

The new you is waiting. Open the door to

catastrophes including mainstream coverage of

2016 at The New School’s Continuing

the BP oil spill, Hurricane Katrina, and

Education Expo. Grab some hot cider and start

Superstorm Sandy as well as the historical

your journey by learning about our line-up of

Titanic sinking and global disasters in Japan, Sri

spring courses and programs.

Lanka, and Haiti. We evaluate the impact of disaster journalism alongside that of citizendriven media advocacy around climate change via Twitter, Instagram, Tumblr, and Facebook. Analysis of both the film and book versions of Cormac McCarthy’s The Road contrasts the fictional treatment of environmental apocalypse with nonfiction and other media treatments (video games, TV series, artistic projects). Assignments invite students to practice interviewing, gathering footage, and building a social network advocacy campaign around an environmental issue in their own neighborhoods. 3 CREDITS NCOM 3023 $650

• Meet Continuing Education program directors and faculty in Art and Design at Parsons, Music at Mannes, Writing, Languages, Media, Management, and more. • Get one-on-one advising, in person or online. • Enjoy being serenaded by Mannes musicians. • Create, innovate, and become inspired by fun interactive activities. • Enter our contest for the chance to win prizes and tour our new University Center. • Sign up for a class and get your first round-trip ride to class for free on us! RSVP at newschool.edu/TheNewCEExpo.

MEDIA STUDIES

international spread, adaptation, and enjoyment

poetry. You receive feedback from peers and

of reggae. Reading the critical and historical

instructors as you build your ability to commu-

literature about reggae music and studying the

nicate and effectively express ideas. Developing

reggae texts themselves (songs, films, videos,

a fundamental understanding of film studies

and images), we track its influence on and

and filmmaking enables you to add more

responses to music and cultures from the

creative, unique videos to your blogs, social

Caribbean to Britain, the United States, Latin

media, and websites. Software required:

America, Japan, Australia, and western,

Students should have a smartphone or other

southern, and eastern Africa. 3 CREDITS

tool for making videos and uploading them to

NCOM 3009 $650

the classroom. A basic editing program is also helpful. NCOM 0001 $600

Media Ethics TBA

theoretical foundation that will enable them to

Storytelling Through Podcast: Radio Documentary

identify and analyze ethical issues in the mass

Vinay Chowdhry

A | 15 sessions | beg. Jan. 27 | W 6–7:50 pm This course provides students with a solid

media. Students become familiar with scholarly

A | 10 weeks | Jan. 25–March 28

literature on media ethics, developing expert

The art of storytelling is as old as humanity

insight into current ethical issues in the media

itself and, with the explosion of social media, is

and acquiring useful tools and guidelines for

experiencing a renaissance. This course teaches

making ethical decisions. Topics covered include

you to use real-world media development

whether advertising and journalism operate

principles to publish stories in new and

under the same ethical rules, how much

innovative ways, particularly in new digital

information the mass media should provide

media channels like blogs, Facebook, Twitter,

about the private lives of public figures, and

YouTube, Snapchat, and Vine. Learn the

what the proper influence of competition and

fundamentals of development, pre-production,

the profit motive should be on the news—an

production, and post-production. Then gain the

issue of particular importance in the current era

skills and tools needed to pitch, incubate,

of increasing media conglomeration and

develop, record, and publish podcasts. In this

convergence. Other issues covered through

course, social media gives you an opportunity to

analysis and discussions of case studies are the

think creatively about storytelling, develop

role of media in society, journalists’ relationship

professional-caliber media production values,

to liberty and social justice, and freedom of the

and publish stories that can be used in a media

press. 3 CREDITS

portfolio.

NCOM 3048 $650

NCOM 0002 $600

Making Video Poetry Rebecca M. Alvin

SCREENWRITING Upon completing the core sequence of screenwriting courses, students will have a

A | 10 weeks | Jan. 25–March 28

comprehensive grounding in story, character,

Discover the creative possibilities of making

theme, action, visuals, and dialogue, as they will

videos using a cinematic and poetic approach,

have been carefully guided through the entire

even for works intended for YouTube, home

screenplay writing process.

movie screenings, or personal pleasure. Find new ways to look at video and film as poetry as you express abstract ideas through digital

Script Analysis

motion pictures. You learn primarily by creating

Gregory Takoudes

brief video snapshots and portraits that require

A | 15 sessions | beg. Jan. 25 | M 8–9:50 pm

minimal editing and acquire tools for making

Leslie McCleave

your videos more cinematic. Assignments focus

B | 15 sessions | beg. Jan. 26 | T 6–7:50 pm

on specific cinematic elements—such as sound,

Marina Shron

visuals, motion, and time—in brief (five minutes

C | 15 weeks | Jan. 25–May 16

or less) video poems that explore topics,

Whether you are a writer, a director, or a

emotions, and concepts that parallel written

producer, an understanding of story structure

MEDIA, FILM, AND TECHNOLOGY

and dramatic principles is essential. In-depth

tension, obstacles, exposition, foreshadowing,

analysis of screenplays’ storylines, characters,

and cause and effect. Writing exercises help

dialogue, images, and themes reveals a wide

students develop unique, complex characters.

range of narrative techniques and storytelling

Finally, students use their finished outlines to

styles, from Hollywood to independent and

write the first 50 pages of a draft in proper

everything in between. Students view successful

screenplay format. Weekly page requirements

films and analyze their scripts, learning how

keep them on track, while in-class reviews offer

essential information is conveyed, how story

support, guidance, and direction. Prerequisite:

elements are communicated through visual

Screenwriting 1. 3 CREDITS

means, how dramatic momentum is built with

NSRW 3820 $760

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

NSRW 2800 $760

Screenwriting 3 Mort Scharfman C | 15 weeks | Jan. 25–May 16 Permission required. Students undertake the challenging task of finishing their feature-length

Screenwriting 1: Fundamentals

screenplays. In workshop, with careful guidance by the instructor, each writer re-examines, tightens, and rewrites the outline and existing

Loren-Paul Caplin

scenes, giving close attention to structure, logic,

A | 15 sessions | beg. Jan. 25 | M 8-9:50 pm

motivation, complex character development,

Jonathan Danziger

tone, and theme. There is an emphasis on the

B | 15 sessions | beg. Jan. 26 | T 6-7:50 pm

specific problems of successful scene writing

Douglas Morse

and on development of a professional writing

C | 15 weeks | Jan. 25–May 16 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 well-known films are analyzed on video to reveal structural elements in the writing. By the

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: Screenwriting 2, with at least 50 pages of an original screenplay, complete and 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

end of the course, each student will have

beginning of the course. 3 CREDITS

developed an original idea into a detailed step

NSRW 3830 $760

outline for a feature-length screenplay and written the opening scene. Prerequisite: Script Analysis. 3 CREDITS NSRW 3810 $760

Episodic and Procedural Ian Grody

Screenwriting 2 Douglas Morse

A | 15 weeks | Jan. 25–May 16 From period dramas like Mad Men and Boardwalk Empire to fairy tale–inspired

A | 15 sessions | beg. Jan. 28 | Th 6–7:50 pm

procedurals like Grimm to musicals like Smash

Students work on finishing the first half of a

and Glee, the diversity of shows on TV today is

feature-length screenplay. They begin by

unprecedented. The industry is always innovat-

creating a detailed outline to solidify structure

ing and looking for fresh ideas. This course

and simplify the writing process. In class, writers

begins with a guided analysis of contemporary

analyze their own and one another’s stories for

network and cable pilot scripts, ranging from the

strength of imagery, clarity of underlying ideas,

serialized (Breaking Bad, Big Love, Mad Men) to

and effective use of elements such as unity,

the procedural (Grimm, Awake, Psych). Students

SCREENWRITING

examine the structures, episodic breaks, and

breaking in as a writer. Students must have a

essential elements of functional origin stories.

complete outline coming into the course.

They are challenged to identify the qualities of a

Prerequisite: Sitcom Writing 1 (NSRW 3842).

script that make it special to viewers. A

3 CREDITS

discussion of dramatic questions explored in the

NSRW 3853 $760

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 NSRW 3852 $760

Business of Screenwriting Douglas Tirola A | 15 sessions | beg. Jan. 28 | Th 8–9:50 pm Talent is only one part of being a successful screenwriter. Navigating the complicated movie industry, with its many layers of professional personnel, is another. This course explains how to find an agent and what can realistically be expected from one. Learn what is involved in working with agents, producers, production

Sitcom Writing 1

speakers include agents, producers, develop-

Gregory DePaul

ment executives, studio executives, and

A | 15 sessions | beg. Jan. 27 | W 8–9:50 pm

screenwriters from organizations such as the

One of the most popular genres on TV today,

William Morris Agency and Fox and from New

with some of the most innovative writing in any

York–based production companies who tell you

genre, the TV sitcom is no joke. This course

what it takes to do business with them. This

investigates the peculiar art of the sitcom and

course is useful for aspiring producers and

offers students the challenge of writing a script

development executives as well as screen-

for a half-hour TV comedy. Students work step

writers. 3 CREDITS

by step, developing a premise, creating an

NFLM 3454 $650

outline, writing pages, revising the draft, and 60

companies, and studio executives. Guest

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 NSRW 3842 $760

FILM STUDIES 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.

Mort Scharfman

Introduction to Cinema Studies

A | 15 weeks | Jan. 25–May 16

John Freitas

This class is modeled on a half-hour comedy

A | 15 weeks | Jan. 25–May 16

writers room and, as such, is a virtual facsimile

A survey of major theories and the critical

of the real world of sitcom writing. Students are

literature on film from the 1920s through the

guided in writing a draft spec script from

present, pairing readings with screenings and

a half-hour comedy beat outline worthy of a

discussions of a range of films. The course builds

professional writer. Students first rework a

an overall view of film theory and criticism with

completed outline, simplifying the story,

respect to the various modes of inquiry that

improving the DNA of characters, focusing and

have influenced the study of cinema, including

economizing scenes, creating mood and pacing,

structuralism, semiotics, Marxism, psycho-

and “punching up” dialogue from the blueprint

analysis, feminism, race and ethnicity studies,

draft. Next it’s on to the writing and polishing

postcolonial theory, queer theory, and cultural

stage of the script. Finally, the course presents

studies. Students also become familiar with key

an overview of the business of the sitcom, the

concepts in cinema studies, including realism,

current comedy series marketplace, and

montage, auteurism, genre, and star studies. As

Sitcom Writing 2

MEDIA, FILM, AND TECHNOLOGY

students acquire a general familiarity with the literature that defines film theory and criticism, they become better prepared to form sound judgments about their own film experiences and to speak and write about those judgments with clarity and skill. Students expand and refine their own impressions and responses to the cinema, variously incorporating and responding to the theories, key concepts, and critical approaches studied in class. 3 CREDITS NFLM 2400 $650

The Art of Film Heliodoro San Miguel A | 15 sessions | beg. Jan. 25 | M 8–9:50 pm

Rebecca Qidwai B | 15 sessions | beg. Jan. 26 | T 6-7:50 pm This course lays the foundation for understanding the practical techniques, specialized language, and unique aesthetics of motion pictures. The class considers the expressive range of cinematic language and the ways in which complex emotions and ideas are communicated to the viewer. Students analyze

Human Rights on Film

the basic elements of cinematic form as seen through essential properties of the medium,

Karen Kramer

including editing, cinematography, production

A | 15 sessions | beg. Jan. 26 | T 6–7:50 pm

design, and sound design and gain an apprecia-

Independent filmmakers around the globe

tion of film history and the influence of culture

capture human rights stories at great personal

and technology on the development of the

risk. In this course, we discuss a range of

cinema. The class also studies the filmmaking

provocative, emotionally challenging, and

process and the impact of the industry on this

important issues relating to their films. We ask:

collaborative art. Discussion of various films by

What issues of human rights are raised in each

directors including Jean-Luc Godard, Agnes

film? Are they primarily race or gender issues?

Varda, Jane Campion, Werner Herzog, Alfred

Do they involve war or dehumanization? What

Hitchcock, Orson Welles, Wong Kar-Wai,

are the cultural implications of these human

Yasujir¯ o Ozu, Ingmar Bergman, Pedro

rights issues? Do outsiders have the right to

Almodóvar, and Michelangelo Antonioni is

interfere? Most important, how do the filmmak-

supplemented by readings. Students acquire a

ers use their craft and technique to tell the

general familiarity with the range of cinematic

stories? Film screenings and discussions are

expression and become better prepared to form

supplemented by presentations by guest

sound judgments about their own film experi-

filmmakers, who take us behind the scenes.

ences and to speak and write about those

3 CREDITS

judgments with clarity and skill. 3 CREDITS

NFLM 3418 $650

NFLM 3411 $650

Alumni Profile: Elizabeth Page

Film and Censorship

Certificate in Film Production

A | 15 weeks | Jan. 25–May 16

Maya Smukler According to filmmaker John Waters, “Bad taste

Searching for hands-on training, stage and TV writer Elizabeth Page ended up at an open house for the Schools of Public Engagement, where she learned about the Certificate in Film Production offered by the School of Media Studies. As she already had

is what entertainment is all about. If someone vomits watching one of my films, it’s like getting a standing ovation.” Is there really such a thing as “appropriate” entertainment? Are there boundaries that should never be crossed? In the 1930s, the Hays Office, Hollywood’s watchdog, declared, “Wrong entertainment lowers the

a college degree, Page was pleased to learn

whole living conditions and moral ideals of a

that the program would let her pursue

race.” But who is responsible for establishing

exactly what she wanted—production

these ideals? This class considers the U.S. film

expertise. “I believe that editing teaches you

industry’s attempts at regulation, from the

how to direct and directing teaches you how

1930s Production Code to the Hollywood

to write. And when you’ve got all three, you

blacklist in the 1950s to the current ratings

can make films. The New School gave me all three—plus teaching me about lighting, cameras, and distribution strategies. In short, it made me a filmmaker.”

system. Students examine cinema’s relationship with censorship and the larger notion of moral responsibility in artistic expression. Students must view assigned films on their own. 3 CREDITS

NFLM 3471 $650

FILM STUDIES

Art (Core): Gender, Sexuality, and Cinema

Selling Your Film

MM Serra

A | 15 weeks | Jan. 25–May 16

A | 15 sessions | beg. Jan. 25 | M 8–9:50 pm

Most screenwriting classes teach the funda-

This course examines the cultural construction

mentals of putting feature film ideas on paper,

of gender and sexuality within the poetics of

from the “hero’s journey” to the three-act

cinema. We discuss gender politics through

structure. This course goes a step further,

male/female representation in both mainstream

teaching aspiring writers how to write a script

and alternative cinema, including underground

that could actually be sold to a Hollywood

and experimental media. A variety of works are

studio, production company, or independent

screened in class or viewed at home: the

producer. Students explore the film genres

documentary Blue Movies; the Mae West classic

whose scripts are the easiest to sell and learn

I’m No Angel; the 1970s hardcore feature Behind

how to come up with high-concept loglines and

the Green Door; “exploitation” films by Doris

create castable characters that could attract

Whitman and Russ Meyer; experimental works

A-level stars. The class also delves into the fine

by Barbara Rubin, Jack Smith, and Carolee

details of a screenplay that make it attractive to

Schneeman; and two contemporary boundary-

buyers: scene lengths, careful writing of dialogue

crossing films, Shortbus and Destricted.

and exposition, situations to avoid putting your

Amotz Zakai

Readings include surrealist literature, such as

characters in, and much more. 3 CREDITS

The Story of the Eye; contemporary theoretical

NFLM 3565 $650

writings by Michel Foucault, Barbara Creed, Linda Williams, Patrick Califia, and Laura Kipnis; and legal documents relating to censorship, such as the Meese Commission Report. This course counts toward the Gender Studies minor. 3 CREDITS

NFLM 3485 $650

Surrealism in Cinema Rebecca Alvin A | 15 weeks | Jan. 25–May 16 The surrealist movement in art reached its peak during the early years of filmmaking. Surrealists like Salvador Dalí and Germaine Dulac saw cinema as an excellent means of exposing a mass audience to their ideas. The films that resulted from this movement are still striking today for their complexity, atypical humor, and attack on the senses. Several recent filmmakers also bring surrealist sensibilities to their work. This course looks at the work of surrealist filmmakers past and present, including Luis Buñuel, David Lynch, Germaine Dulac, and Alejandro Jodorowsky. Students are required to view films on video outside of class; the instructor will help students locate hard-to-find films. 3 CREDITS NFLM 3436 $650

American Independent Cinema Anthony Kaufman A | 15 weeks | Jan. 25–May 16 This course begins in the wake of the most important week of the year for American independent film: the behemoth that is the Sundance Film Festival. After discussing the festival, we undertake the task of understanding the movement. Lacking the resources and recognition of its bigger Hollywood brother, the independent movement produced, and still

MEDIA, FILM, AND TECHNOLOGY

produces, works that challenge the dominant

alternative film tradition that runs parallel to

industry’s notions of what stories to tell and

Hollywood, including neorealism (with its use of

how to tell them. The result is a collection of

locations and amateurs and its hybrid of fiction

films and viewpoints as diverse as the citizenry

and documentary), the rise of the notion of the

from which they were born. This course explores

“auteur” and the idea of film as a form of

the highlights of American independent cinema

individual expression, “art cinema” and other

in works that range from the dreamlike

modernist practices, new modes of political

feminism of Maya Deren to the queer cinema of

cinema, and alternative uses of the medium of

Todd Haynes and the macho postmodernism of

digital video. This semester, a special unit on

Quentin Tarantino. Students are required to view

Japanese New Wave and contemporary

films outside of class. 3 CREDITS

Japanese cinema will correspond with the

NFLM 3424 $650

program A Tribute to Donald Richie, Part 2, presented by the Japan Society in March. Students will have an opportunity to view rare

The Art and History of Documentary Silvia Vega-Llona

prints presented by guest curators, scholars, and filmmakers in attendance. 3 CREDITS NFLM 2501 $650

A | 15 sessions | beg. Jan. 26 | T 4–5:50 pm Documentary filmmaking is a broad and diverse angers, touches, provokes, calls to action,

Cinema Auteurs 1: Jonze

shapes attitudes, and challenges assumptions.

Caryn James

This introduction to the genre of (ostensibly)

A | 5 sessions | beg. Jan. 26 | T 6–7:50 pm

nonfiction filmmaking begins with the earliest

The director Spike Jonze has been a unique voice

actuality films of the Lumière brothers and

and one of the major filmmakers of his

moves through the deployment of various

generation since his early days creating music

documentary modes and aesthetics, including

videos in the 1990s. His distinctive artistic vision

propagandistic, expositional, direct cinema,

is shaped by an affection for pop culture and a

poetic, performative, and self-reflexive explora-

playful approach. Visually, his style is smooth

tions of film truth. The course examines how

and graceful yet kinetic. His themes are in touch

changing technology, shifting social and

with society, whether he’s dealing with

political realities, and the personalities and

questions of fame and identity in Being John

talents of influential individuals have continually

Malkovich or with online culture and romance in

redefined what documentary means. Ethical as

Her. We consider the evolution of his career and

well as aesthetic issues are considered.

the importance of his work by analyzing short

Throughout the class, as we survey the art and

works and features, which students watch and

history of documentary filmmaking, we

write about outside of class and discuss in class.

supplement our viewing of various films with

In addition to exploring his videos, the course

reading, written response, and discussion.

will focus on his features: his influential first film,

3 CREDITS

Being John Malkovich (1999), and Adaptation

NFLM 3489 $650

(2002) (both written by Charlie Kaufman), his

cinematic form that variously informs, delights,

adaptation of Maurice Sendak’s children’s classic Where the Wild Things Are (2009), and

Movements in World Cinema 2 Heliodoro San Miguel A | 15 sessions | beg. Jan. 25 | M 6–7:50 pm This course surveys the key cultural and technological developments in cinema of the last 50 years, from the French New Wave (Nouvelle Vague) in the sixties to the rise of

his widely acclaimed futuristic romance, Her (2013). Students are expected to watch one film per week outside of class. Class readings include a mix of contemporary reviews and academic essays. This is one of three five-week courses on cinema auteurs that complement one another when taken sequentially. 1 CREDIT NFLM 3047 $220

digital cinema at the end of the 20th century. Although the class considers a variety of industry practices, including the evolution of American cinema from classical to new Hollywood films, the emphasis is on the

More questions about a class? Get in touch! ce@newschool.edu

FILM STUDIES

Cinema Auteurs 2: Coppola Maya Smukler A | 5 weeks | Feb. 29–Apr. 8 This course examines American director Sofia Coppola’s catalog of feature films and a selection of music videos and advertisements. Coppola’s films present a distinct aesthetic style: ethereal, while grounded in the present by pop music and culture, striking a balance

Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, and The Grand Budapest Hotel. Students are expected to watch one film per week outside of class. Class readings include a mix of contemporary reviews and academic essays. This is one of three five-week courses on cinema auteurs that complement one another when taken sequentially. 1 CREDIT NFLM 3049 $220

fashionable and the ordinary. Her films

FILM AND MEDIA PRODUCTION

construct cinematic landscapes that are both

In these courses, students learn the craft of film

beautiful and alienating, populated by charac-

and digital media production, creating sophisti-

ters grappling with loneliness, lost youth, the

cated portfolio-ready projects.

between the simple and the sublime, the

disappointments of fame, and the search for self-knowledge. As a study of contemporary authorship and filmmaking, Coppola’s work provides a unique perspective on the intersection between prestigious art house cinema and Hollywood royalty. Students are expected to watch and write about one film each week outside of class: The Virgin Suicides (2000), Lost in Translation (2003), Marie Antoinette (2006), Somewhere (2010), and The Bling Ring (2013). Class readings include a mix of contemporary reviews and academic essays. This is one of three five-week courses on cinema auteurs that complement one another when taken sequentially. 1 CREDIT 64

NFLM 3048 $220

Digital Video Production Michele Beck A | 15 sessions | beg. Jan. 26 | T 7–9:45 pm 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

Cinema Auteurs 3: Anderson Rebecca Qidwai A | 5 weeks | April 12–May 10 This course explores the work of Wes Anderson, an iconic filmmaker and popular culture figure. Though Anderson’s career spans barely two decades, he has already made a significant

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

impact on cinema and visual culture through his

software but must have a firewire drive.

use of quirky narratives, unforgettable charac-

3 CREDITS

ters, and carefully crafted mise-en-scène. His

NFLM 3700 $1,440

films speak to the longing to recapture childhood and reconstitute the fragmented family in the postwar American landscape. His symmetrical compositions and theater-inspired DIY elements such as miniaturized sets and other homemade props are perfect visual expressions of this wish to recapture childhood. Although his films are fictional, there is often an autobiographical element in his storylines, rich with analytical possibilities for students of this influential auteur. The course focuses on five of Anderson’s films: Rushmore, The Royal

MEDIA, FILM, AND TECHNOLOGY

Cinematography and Lighting John Budde A | 15 sessions | beg. Jan. 28 | Th 12:10–2:50 pm

Marcus Turner B | 15 sessions | beg. Jan. 27 | W 7–9:45 pm Students explore theoretical and practical elements of cinematography, with an emphasis on lighting and cinematographic language. While learning techniques of studio and location

lighting, students also study historical and

portfolio and/or project website. Taught on the

contemporary trends and styles. Theoretical and

Macintosh platform. 3 CREDITS

technical topics covered include operation and

NCOM 3210 $1,075

characteristics of cameras, lenses, accessory camera equipment, lighting, composition, digital compression, and exposure (in-camera tools like histograms as well as light meters); there is also some discussion of traditional film emulsion and laboratory processing. Professional techniques for altering the look of a film are demonstrated and discussed. Practical tests and scenes are shot with an eye to solving practical problems and achieving a visual strategy. 3 CREDITS NFLM 3515 $1,360

Filmmaking Studio 1 Kathleen Rugh A | 15 sessions | beg. Jan. 27 | W 7–9:45 pm

Kevin Allen B | 15 sessions | beg. Jan. 27 | W 7-9:45 pm

Melissa Friedling C | 15 sessions | beg. Jan. 28 | Th 4–6:45 pm This course is an opportunity for the serious beginner to learn the fundamentals of 16mm filmmaking, a discipline that clarifies the basic

Audio Production John Plenge

concepts and terminology of all digital formats. Students engage in a series of exercises in basic cinematography, lighting, scriptwriting,

A | 15 sessions | beg. Jan. 25 | M 4–6:45 pm

directing, and editing. Discussions emphasize

This course covers core concepts and techniques

the theoretical and practical framework of film

that equip students to work in a range of media,

language, and student work is critiqued by both

including radio, film and video, multimedia, and

the instructor and classmates. Students are

CD production. Instruction in recording, editing,

expected to crew on one another’s projects to

mixing, microphone techniques, and writing

develop production skills and gain on-set

provides production context for projects and

experience. A substantial commitment of time

prepares students for advanced work in audio

outside of class is required. Cameras and digital

and inter-media applications. Working with

editing equipment are provided, but students

analog and digital recording technologies and

will incur additional modest costs for film stock,

digital audio workstations (Macintosh comput-

developing, and supplies. By the end of the

ers and ProTools software), each student

course, students will have experienced all

produces three projects. While each project is

aspects of MOS (nonsync) filmmaking, from

aimed at building proficiency in specific

pre-production to production and post-

production skills, students also gain experience

production, and will be ready for more

in developing content and form. In-class

ambitious personal film projects at the next

listening, analysis and critique, and assigned

level of production courses. Familiarity with the

readings provide support and context for

Macintosh platform is assumed. 3 CREDITS

production work. Prerequisite: Integrated Media

NFLM 3660 $1,440

Production or permission of the instructor. 3 CREDITS

NCOM 4005 $1,440

Web Design Fundamentals

Frederick Murhammer

To realize an artistic vision in film requires an

A | 15 sessions | beg. Jan. 27 | W 7–9:45 pm

in-depth understanding of the technology,

Everyone now has a presence online, and

process, and tools. In this workshop, students

knowing how to construct and maintain a basic

explore advanced concepts and techniques in

website is a necessary skill for every profes-

film and digital media production through a

sional. In this course, students learn basic skills

series of exercises that evolve into increasingly

in Web design programming (HTML and CSS)

complex collaborative projects. Topics covered

and Web graphics by developing individual

include operation of advanced HD digital

projects. The emphasis is on front-end Web

cameras, video formats and compression, the

design and learning about different formats and

structure of a film crew and the responsibilities

platforms as well as browser compatibility. Each

of its members, lenses and lighting equipment,

student designs and builds a professional

shooting exteriors and interiors, gripping,

FILM AND MEDIA PRODUCTION

production design, field sound recording,

weeks of the course, the class examines a

pre-production planning and breakdowns, HD

variety of approaches to visual storytelling, from

workflows, and the collaborative process.

the concept to dramatic structures, character

Working as a team, students set up and shoot

development, tone, and style. Each student

several scenes in class and two scenes on

develops a script for a seven- to ten-minute film

location, rotating crew positions. The scenes are

based in or around New York City. In the second

then screened and critiqued by the class.

half of the course, students engage in a series of

Students hone their skills and work collabora-

exercises designed to help them find the right

tively to master the technical knowledge

artistic and practical approaches to their scripts

necessary to execute professional film and video

while they continue refining their stories. The

projects. Prerequisite: Filmmaking Studio 1 or

important ways in which short films differ from

Digital Video Production, or equivalent experi-

full-length features are discussed. The workshop

ence and permission of the instructor. This

ends with shot breakdowns, planning, budget-

course was formerly called Filmmaking Lab: Art,

ing, storyboarding, and location scouting.

Technology, and Tools. Do not take this course if

Prerequisite: Filmmaking Studio 1. May be taken

you have previously taken Filmmaking Lab; it is

concurrently with Film 2. This course must be

the same course. 3 CREDITS

taken before Film 4: Advanced Film Production.

NFLM 3632 $1,440

This course was formerly called Film 2: Advanced Pre-production and Development. If you have taken that course, do not take this one; it is the

Film 3: Advanced Pre-production

same course. 3 CREDITS NFLM 3670 $650

William Pace A | 15 sessions | beg. Jan. 28 | Th 8–9:50 pm advanced narrative, documentary, or experi-

Film 4: Advanced Film Production

mental film project, learning how to develop a

Timothy Sutton

visual approach to written material. In the first

A | 15 sessions | beg. Jan. 25 | M 7–9:45 pm

Student filmmakers lay the groundwork for an

Students are guided in the production (shooting) of their own narrative, documentary, or experimental films. 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 all aspects of the production process as well as some ongoing (from Film 3) aspects of preproduction, including casting, production design, scheduling, and securing a crew as well as production challenges like working with actors, communicating with a crew, sticking to a budget and adhering to a restricted shooting schedule. Students should expect to incur some personal expenses beyond the course tuition. Prerequisites: Filmmaking Studio 1, Film 2, and Film 3. Because of space limitations, enrollment priority is given to degree and film certificate students. Bring a 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 NFLM 3680 $1,440

MEDIA, FILM, AND TECHNOLOGY

Film 5: Advanced Postproduction Workshop

Non-Camera Filmmaking

John Didato

Joel Schlemowitz

A | 15 sessions | beg. Jan. 27 | W 7–9:45 pm

A | 15 sessions | beg. Jan. 28 | Th 7–10 pm

This course is an overview of the entire

In this do-it-yourself workshop, students create

post-production and finishing process for

unique handmade short films without using

students who have completed shooting a short

cameras. The course includes film screenings

film project. Class time is devoted to editing

and discussions of historical practices in

exercises, lectures, group discussions, screen-

avant-garde cinema, focusing on the pioneers of

ings, and presentations by guest film

direct animation and found footage, from Len

professionals. Topics discussed and demon-

Lye to Craig Baldwin. The adventure begins with

strated include creating rhythm; dramatic arc

the film material itself as the class creates

and character emphasis in scenes; cutting on,

images and sounds directly on blank film using

after, and before movement; match cutting;

a variety of processes, including photograms,

symbolic and thematic editing; and A&B cutting

scratching, bleaching, painting, and collage.

for documentaries. The class also explores

Students are encouraged to invent their own

sound editing and design, color correction,

tools and techniques. Next the class investi-

screening formats for festivals, standard

gates the use of found footage and art-

industry mastering options, and distribution.

historical, educational, anthropological, ethical,

Prerequisite: Film 4 or permission of the

political, and personal issues related to recycling

instructor. Students must bring their own hard

images made by others. Students have access

drive with complete film dailies ready to edit to

to a library of recycled films where they can find

the first session. This course was formerly called

images, or they can find and use their own

The Art of Editing: Finishing a Film. If you have

footage. The course requires extensive work

taken that course, do not take this one; it is the

outside of the classroom. Assignments and

same course. 3 CREDITS

critiques are geared to students’ interests and

NFLM 3690 $1,075

designed to help them complete their films by the end of the term. There is a final screening party at a local film venue. There are no

The Aesthetics of Directing Vladan Nikolic

prerequisites. No prior knowledge of filmmaking is necessary. 3 CREDITS NFLM 3520 $1,440

A | 15 sessions | beg. Jan. 29 | F 4–6:45 pm

Shimon Dotan Your challenge as a director is to realize your

Intensive: Sony, Arri, Red

vision on the screen. Designed for students who

Mariusz Cichon

are making or planning to make their own films,

A | 3 sessions | beg. Feb. 19 | F–Sun 10–5 pm

this course covers the art and craft of directing.

Independent filmmakers now have several

We analyze the work of classic and contempo-

options for high-end cameras and digital

rary directors, observing how they use the

workflows that can create motion pictures with

language of cinema. Topics covered include

a look that rivals productions made with much

framing and composition, camera angles,

larger budgets. This workshop is a hands-on

camera movement, blocking actors, visualizing

introduction to the leading professional

action, creating a sequence, script breakdown,

packages, Sony F65, Arri Alexa, and RED Epic.

and techniques for establishing character, mood,

There is discussion and demonstration of

and conflict. We explore different directing

camera operation, the advantages and

styles, such as the subjective approach of

limitations of different cameras, capture

expressionism, the pursuit of authenticity in

formats, data management (basic treatment of

realism, and the narrative conventions of

raw footage and transcoding options), and

Hollywood. Students do a script breakdown and

post-production workflow. The instructor, a

storyboard for a scene they then videotape.

digital media expert, leads the discussions and

Short scenes produced on video in class

brings the latest equipment packages for

demonstrate principles in practice. Noncredit

in-class testing. Students have an opportunity

students must bring their own camcorders; New

to shoot footage and process the data in class

School cameras are available only for credit

and, by the end of the workshop, should be able

students. 3 CREDITS

to make informed decisions about shooting and

NFLM 3510 $760

posting with these cameras and workflows on

B | 15 sessions | beg. Jan. 25 | M 7–9:45 pm

FILM AND MEDIA PRODUCTION

their own projects. Credit sudents must submit

video formats, as well as the basic functionality

a project dossier within one week of the last day

of Avid Media Composer on Macintosh

of class. 1 CREDIT

computers. Using professional footage, students

NFLM 3001 $285

learn techniques for organizing media, editing picture and sound, and outputting to various formats. This course is not intended for students

The Producer’s Role Charles Schultz A | 15 sessions | beg. Jan. 28 | Th 6–7:50 pm Once a film is in pre-production, the producer is

completing a Film 4 project. Students must have their own Mac-formatted firewire hard drive. 3 CREDITS

NFLM 4627 $1,075

responsible for providing the best possible support system. The producer must organize all implement the creative team’s artistic vision. A

Documentary Production WorkShop

producer’s duties may include legal and

Leslie McCleave

accounting work; revising the script; casting

A | 15 sessions | beg. Jan. 27 | W 7–9:45 pm

actors; finding props, wardrobe, and equipment

This course covers the essentials of shooting a

within budget; and working with the director

five- to seven-minute documentary: developing

and editor during and after the shoot. Low-

an idea, researching the topic, interviewing

budget and student filmmaking provides

subjects, creating a visual strategy, and location

invaluable experience as preparation for larger

scouting, lighting, and shooting. Creative uses of

productions, teaching students how to assess

still photographs, artwork, and stock footage are

technical materials and the skills and talents of

also explored. Students can work individually or

above- and below-the-line personnel. This

in groups. By the end of the term, each student

course tracks the producer’s role from the

or group should have a working rough cut or fine

selection of material to the delivery of the

cut edited with non-linear editing software tools

production. Students choose a project and

that students have learned to use during

spend the term developing a professional-

in-class instruction. Students have access to

quality proposal. 3 CREDITS

New School digital video cameras, but each

NFLM 3456 $650

must bring a firewire drive. 3 CREDITS

the elements, human and material, needed to

NFLM 3715 $1,440

More questions about a class? Get in touch! ce@newschool.edu

Digital Editing: Fundamentals Jeremy Brooke A | 15 sessions | beg. Jan. 26 | T 4–6:45 pm 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 post-production and nonlinear editing. Students become acquainted with workflow and HD

MEDIA, FILM, AND TECHNOLOGY

CREATIVE WRITING

COURSE OFFERINGS

CREATIVE WRITING The New School offered the first creative writing workshop in the country, pioneering a new philosophy of education. Today classes are taught using the workshop model, in which a professional writer works closely with serious-minded students who write regularly and participate actively in discussion of their own and classmates’ work. While many students take continuing education courses for pleasure and to sharpen their writing skills, some use the courses as a bridge to the ultimate pursuit of an MFA in Creative Writing. Find courses on Literature on page 99.

MASTER OF FINE ARTS IN CREATIVE WRITING

be imagined before it is made / can’t be known except / in the words of its making.” Other readings include Allen Ginsberg, Claudia

Live the writer’s life in New York City. Join a

Rankine, Fanny Howe, Pema Chodron, and the

community of diverse voices, plug into New

I Ching. Everyone is welcome; no writing or

York’s publishing world, and build a network

meditation experience is needed. 1 CREDIT

that will support you through graduation and beyond. The New School offers a Master

NWRW 3912 $250

of Fine Arts degree in creative writing. Concentrations in this two-year full-time graduate program include Fiction, Nonfiction, Poetry, and Writing for Children. Students develop their craft in workshops and literary 70

seminars led by internationally recognized faculty with close ties to New York publishing and the city’s literary scene. For more information, visit the Creative Writing program’s website, newschool.edu/ public-engagement/mfa-creative-writing.

Radical Generation Laura Cronk A | 10 sessions | beg. Feb. 25 | Th 4–5:50 pm Using experiments, tricks, prompts, and forms from masters of radical generation, we flip the usual model of the workshop to produce in class the greatest amount of writing possible in ten weeks. In contrast to traditional workshop practice, editing happens outside of class. Crossing genres, we study the methods of both

To discuss continuing education course

radically prolific writers and writers whose

offerings in writing, call 212.229.5611.

content was radical in the context of their own generations. We work to transform our writing lives from miserly and stuck to abundant and

INTENSIVES

open. Students may arrive with a project

Meditation and Writing

weekly written feedback from the instructor,

Lisa Freedman A | 5 sessions | beg. Apr. 1 | F 4–5:50 pm Limited to 12. This five-week course offers a haven for creative people in the midst of our noisy, screen-filled city. In the quiet of the Rubin Museum, we meditate and develop our ability to notice more and to stay open to all that arises. We bring attention to our breath, to the Himalayan art, to texts, and to our own words. As we practice not judging, we make room for our writing to surprise us. As poet Denise Levertov says in “Making Peace”: “peace … can’t

Creative writing

underway or begin something new. Through students work toward compiling and editing a significant final project that will be presented at a literary hotspot on the final day of the course. 2 CREDITS

NWRW 3444 $500

NEW On Location: Writing from Art at The Met and MoMA

Star Black A | 8 sessions | beg. Feb. 5 | F 10 am–3 pm

SPECIAL TOPICS Children’s Book Illustration and Writing

New York City has a long tradition of artistic

Jacquie Hann

exchange and collaboration between writers

A | 15 sessions | beg. Jan. 25 | M 8–9:50 pm

and painters and of exchange between writing

In this course, each student develops a children’s

and the visual arts. Kenneth Koch and Larry

book from an initial concept to a “dummy”

Rivers, John Ashbery and Jane Freilicher, and

ready for submission to a publisher. The class

James Schuyler and Fairfield Porter were close

explores the entire production process, including

friends and collaborators. Derek Walcott and

searching for ideas, writing a first draft, making

e. e. cummings both painted and wrote, and

sketches and character studies, editing, creating

photographers like Rudy Burckhardt docu-

finished artwork and dummies, and writing

mented friends creating art in their studios. The

cover letters and submitting a finished work to

class splits its time between The New School,

publishers. Writing assignments help students

where we share our writing, and two of the city’s

focus their ideas and build their stories.

preeminent art museums, The Metropolitan

Illustration assignments lead to creation of a

Museum of Art and MoMA. Students meet at

portfolio that can be shown to art directors.

The New School from 10:00 a.m. to 12:00 noon,

Weekly critiques help students hone their

break for lunch, and reconvene on the steps of

individual styles. 3 CREDITS

one of these museums at 1:00 p.m. We spend

NWRW 3812 $730

the remaining time exploring the collections and writing flash fiction, “ekphrastic” poems, and other creative pieces responding to art. On the final Thursday of the course, the class visits and writes at the nearby Neue Galerie, located at Fifth Avenue and 86th Street, and then, weather permitting, enjoys an outdoor reading in Central Park. 3 CREDITS NWRW 3445 $730

NEW Walking in New York: Multigenre, Multimedia Writing

Rebecca Reilly A | 15 sessions | beg. Jan. 25 | M 4–5:50 pm New York is a great walking city, and a uniquely urban form of literature has grown out of the activity of flanerie, or aimless strolling. In writing

Queer Forms: A Cross-Genre Workshop NEW

ranging from the poetic reveries of James Schuyler and Frank O’Hara to the meditations on exile of Walter Benjamin and Paul Celan, walking becomes a creative act. In this course,

Justin Sherwood

students plan and document a series of walks,

A | 10 sessions | beg. Feb. 22 | M 6–7:50 pm

creating their own literary and autobiographical

In this workshop, we approach genre as a

map of New York—a personal poetics of space.

suspect category. Studying hybrid and multi-

We create a poetics of walking, of ethnography,

genre texts by queer authors, we look to models

and of autobiography, mapping discoveries of

of creative writing that explode and exploit the

self and others through writing. These voyages

conventions of established forms: biomythogra-

and readings provide the occasion for us to

phy, lyric essays, ecopoetics, and more. Students

write a series of texts documenting our walks

craft their own weekly writing assignments with

through New York and our responses to the

an eye to genre-bending, guided by the principle

literature of flanerie. Students are also encour-

that innovative writing comes from innovative

aged to explore the intersections between

thinking. Readings include texts by Dodie

writing and other media/art forms, such as

Bellamy, CAConrad, Audre Lorde, and Juliana

performance, digital media, visual art, film, and

Spahr, as well as critical responses to these

sound, as they document the unfolding and

authors’ work. Students will generate new

creation of their own New York landscapes.

writing, though works-in-progress are welcome.

Authors read include Frank O’Hara, Joe Brainard,

This workshop is open to all students with an

James Schuyler, Walter Benjamin, Charles

interest in queerness and hybridity. 2 CREDITS

Baudelaire, Blaise Cendrars, Jean-Jacques

NWRW 3275 $500

Rousseau, and Paul Celan. 3 CREDITS NWRW 3111 $730

SPECIAL TOPICS

bougie forms of the novel and event television. Meanwhile, our fellows in the Media Studies department, in a class of their own, toil diligently through production, shooting, and editing. Our goal: a pilot season of a one-of-akind show. Screen credits to be determined. 3 CREDITS

HISTORY BEFORE IT HAPPENS,

NWRW 3888 $730

HAPPENS HERE. The New School has always been a place

Food Narratives

where education is interwoven with public

Stacey Lehman

life. Our events connect the conversations of

A | 15 sessions | beg. Jan. 26 | T 6–7:50 pm

today and tomorrow to university curricu-

Food, glorious food! Is food a source of pleasure

lum. We offer all of our students, the larger

or anxiety? What did you have for dinner last

community, and every New Yorker who

night or for breakfast this morning? How did

cares about important issues an opportunity

you decide what to eat and how to prepare it?

to witness history happening. Most events

Do you long for the food of your childhood? Do

are free and open to the public, and are

your religion and spiritual life guide your food

available online. Join the conversation at

choices? How would you describe the flavors of

events.newschool.edu.

last night’s meal to your best friend? These are the sorts of questions that trigger the most memorable writing on the subject of cuisine and gastronomy. In this course, we examine the

The Graphic Novel Ariel Schrag A | 15 sessions | beg. Jan. 26 | T 8–9:50 pm This course leads students step by step through the process of creating a short graphic novel. 72

The class begins with analysis and critique of comics and then guides students through the stages involved in creating their own projects: outline, rough sketches, penciling, lettering, inking, and editing. Student work is critiqued in class, and students hold individual meetings with the instructor. The class studies work by cartoonists Art Spiegelman, Daniel Clowes, René French, Chris Ware, Alison Bechdel, Joe Matt, Gabrielle Bell, R. Crumb, and many more. Strong drawing skills are not required, as the emphasis of the class is on storytelling. 3 CREDITS

ways writers have depicted food, cooking, and eating. We look at the many forms of food writing and talk about those we find most satisfying. The instructor guides students in their exploration of the gastronomic essay, memoirs, short stories, poetry, blog posts, recipes, and restaurant reviews. The reading list will include Horace, Sholem Aleichem, M.F.K. Fischer, Laurie Colwin, Wendell Berry, Charles Simic, Robert Sheckley, Lydia Davis, Kevin Young, and others. Prominent figures from the world of newspaper and magazine writing, both online and in print, visit the class. Students produce weekly assignments, some of which take advantage of New York City as a center of culinary activity. 3 CREDITS NWRW 3346 $730

NWRW 3521 $730

Playwriting The New School: The Pilot NEW

John Reed A | 15 sessions | beg. Jan. 29 | F 4–5:50 pm In this one-of-a-kind cooperative effort, writers conceive and manufacture a multimedia, multicultural, multi-indy pilot soap operatic event. We create a fictive world, write scripts, and launch a website with text artifacts and other extras from our “show.” Readings explore the political structures of the soap opera, from the epic forms of myth and religion to the

Creative writing

Robert Montgomery A | 15 weeks | Jan. 25–May 16 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, the 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 NWRW 3702 $730

NEW Writing the Photobook

Robert Dunn A | 15 sessions | beg. Jan. 27 | W 6–7:50 pm Are you a writer with a love of photography? A

Playwriting from Personal Experience

photographer with a story to tell? In the last decade, the world of photobooks—books of photographs analogous to short story collec-

Alice Cohen

tions or chapbooks of poems—has grown

A | 15 sessions | beg. Jan. 27 | W 8–9:50 pm

dramatically. The best photobooks go far

How do you start writing a play? In this

beyond great photos: Layout, materials,

workshop, students use personal experience as

sequence, and the creator’s vision all define the

a springboard for generating original characters,

successful work. They are characterized by, in

stories, and imagery for the stage. Basic

Lincoln Kirstein’s words (on Walker Evans),

elements of playwriting are explored through

“intention, logic, continuity, climax, sense, and

in-class writing exercises and weekly writing

perfection.” Taught by a fiction writing professor

assignments. We experiment with the possibili-

who has created and published his own

ties of dramatic storytelling, with an emphasis

photobooks, the course gives students a

on fictionalizing and transforming personal

background in the medium, shows them how to

experiences and memories. Students read their

organize their photos, and helps them get their

own work aloud and discuss it in class and also

books made. We take field trips to shoot photos,

read selections from well-known playwrights.

as well as to study classic photobooks, and

By the end of the course, students will have

guest speakers—writers, curators, artists—share

completed the first draft of a one-act play or a

their experiences and perspectives. And while

collection of very short plays. Open to all levels,

photobooks need not contain any text, students

this workshop is designed to be a safe, support-

are expected to write about their process,

ive environment for a hands-on exploration of

whether or not the writing is included in the final

playwriting. 3 CREDITS

project. Requirements and course goals: passion,

NWRW 3708 $730

curiosity, a little inspiration, and enough original photography (whether from your phone, your Leica, or your Holga throwaway) to make the

Self and Craft Betty Liu

best possible photobook. 3 CREDITS NWRW 3913 $730

A | 15 weeks | Jan. 25–May 16 This exploration of the craft of fiction and of expressive, personal nonfiction (essays, memoirs, reminiscences, humor, travel sketches)

Faculty Profile: Luis Jaramillo

balances technical concerns with awareness of how the writing process engages and transforms the writer’s self. The “process” approach to writing, which recognizes that imaginative work often discovers its true subject, style, and form in the course of several revisions, is stressed, as is a professional approach to regularly putting words on paper. The class

Luis Jaramillo is the author of The Doctor’s Wife, the winner of the Dzanc Books Short Story Collection Contest, an Oprah Book of the Week, and one of NPR’s Best Books of 2012. His work has appeared in Open City, Gamers (Soft Skull Press), Tin House

emphasizes peer feedback in an atmosphere of

magazine, H.O.W. Journal, and Red Line

mutual respect, support, and frankness. The

Blues. He is the associate chair of the

instructor also responds, separately and in

Creative Writing program at The New School,

writing, to every submitted piece and, upon

where he teaches courses in fiction and

individual request, will discuss publishing

nonfiction. He is also a co-editor of the

possibilities. Recommended for students with

journal The Inquisitive Eater: New School

some writing experience. 3 CREDITS NWRW 3518 $730

Food. Jaramillo received an undergraduate degree from Stanford and an MFA from The New School.

SPECIAL TOPICS

FUNDAMENTALS

unturned as students learn the use of the

The Mechanics of Writing

marks, em and en dashes, the colon, parenthe-

Randi Ross A | 15 weeks | Jan. 25–May 16 The study of effective English prose makes the

comma, the semicolon, apostrophes, quotation ses, 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

sentence its principal focus. In this course,

ongoing discussion. 1 CREDIT

designed to meet the needs of beginning

NWRW 1012 $250

writers, we examine the sentence, looking at syntax, the parts of speech, and other aspects of grammar. Later we look ahead to considerations

Building the Sentence

of effectiveness and style. Chapters from a

Lisa Freedman

grammar and style textbook are assigned.

A | 5 sessions | beg. Mar. 7 | M 6–7:50 pm

Students workshop short writing assignments

Noelle Kocot-Tomblin

weekly. They look at what is correct versus what is incorrect and when rules should be broken, how language changes, how context determines choices, and how these choices develop into a style. Note: Students for whom English is a foreign language should take the appropriate English as a second language course instead of this course. 3 CREDITS NWRW 1011 $730

B | 5 weeks | Apr. 4–May 8 Good writing is more than 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

For the most up-to-date course listings and to register, go to newschool.edu/ce/classes.

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 NWRW 1013 $250

Academic Writing: Short Course NEW

TBA A | 10 sessions | beg. Feb. 25 | Th 6-7:50 pm

Style and Effectiveness Lisa Freedman

Writing well is the key to success in college. This

A | 5 sessions | beg. Apr. 18 | M 6–7:50 pm

course teaches students the fundamentals of

Noelle Kocot-Tomblin

academic writing: the nature of research; the

B | 5 weeks | Apr. 4–May 8

skills of criticism, analysis, and argumentation;

It’s how you say it. In this short course, students

the process of revision; and the basics of correct

consider the elements that work together to

grammar and American English usage. Note:

create stylish and effective prose, by dissecting

Students for whom English is a foreign language

the choices every writer makes that add up to

should take ESL Academic Writing instead of

style. The class reads examples of effective

this course. 2 CREDITS

prose by best-selling authors, including Toni

NWRW 1126 $500

Cade Bambara, Garrett Hongo, and Amy Tan, and students write short pieces inspired by the readings and workshop them in class. This

Punctuation Lisa Freedman A | 5 sessions | beg. Jan. 25 | M 6–7:50 pm

Noelle Kocot-Tomblin B | 5 weeks | Jan. 25–Feb. 28 Second-guess yourself no more. This course provides a supportive structure for mastering proper punctuation. No punctuation mark is left

Creative writing

course offers a supportive environment in which to think critically about and strengthen your unique writing style. 1 CREDIT NWRW 1014 $250

Writing for Artists Rebecca Reilly

POETRY

Writing is performance. Visual artists, designers,

Beginning Poetry Workshop

musicians, writers, dancers, filmmakers,

Kathleen Ossip

actors—artists of every kind come together in a

A | 15 sessions | beg. Jan. 28 | Th 6-7:50 pm

supportive workshop environment to develop

Richard Tayson

their writing skills. Students practice the skills of

B | 15 weeks | Jan. 25–May 16

argumentation, research, and clear expression

“A poem,” said William Carlos Williams, “is a

that benefit critical pieces as well as the kinds of

small (or large) machine made of words—

writing they will produce as professional artists

efficient, with no unnecessary parts, doing

or critics in the field. In the first half of the class,

important work.” In this workshop, students

students learn the craft of critical writing, from

learn how to build verse, from the individual

the ground up—constructing one analytic essay

word through lines and stanzas to the finished,

in increments. The second part of the semester

polished poem. Poetic inspiration is explored:

is devoted to putting these skills into profes-

what activities can summon it and how to use it

sional practice, as students write artist

when it happens. Writing exercises help

statements, reviews of current work, personal

students practice basic elements of the craft,

essays, creative pieces, and more. Students read

such as line breaks, voice, and openings and

top critics in their fields as well as writers from

closings. Students read a variety of modern and

the canon particularly relevant to their own

contemporary poets, selected according to the

work. 3 CREDITS

interests and needs of the class. In every class

NWRW 1030 $730

meeting, students’ poems are read and

A | 15 sessions | beg. Jan. 25 | M 6–7:50 pm

discussed to clarify their strengths and develop students’ understanding of the process of

Tools, Not Rules: Rhetorical Grammar for Writers Joseph Salvatore

revision. 3 CREDITS NWRW 2203 $730

Not a traditional course in grammar, this class

NEW Poetry and the Creative Process

examines the most complex tool in the writer’s

Richard Tayson

tool box—the sentence. The course is guided by

A | 15 sessions | beg. Jan. 25 | M 6–7:50 pm

the belief that as writers, we need to know not

“If you can paint with a brush, you can paint

only how to use this tool but how to talk about

with words,” a teacher told Joni Mitchell when

it. The goal for students is not to memorize

she was in sixth grade. Just as language can be

grammar rules but rather to understand how

used in ways reminiscent of painting, it can also

those rules can be used to produce a wide range

be considered as having musical and visual

of rhetorical effects. In order to manipulate

qualities. Open to all levels of experience, this

those rules, writers must understand them. The

poetry workshop considers how the arts

course begins at the beginning: nouns, verbs,

influence and strengthen one another. How is

subjects, predicates, all the parts of speech.

writing a poem like composing a song, making a

A | 15 sessions | beg. Jan. 25 | M 6–7:50 pm

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

school of writing

consciously and how the decisions they make will affect readers. They come to see how words

Want to see for yourself what the writer’s

become sentences, sentences become para-

life is like? The School of Writing hosts an

graphs, and paragraphs create a cohesive

exciting series of public writing events

whole. The class reads chapters from a grammar

throughout the year, including author

and rhetoric textbook and completes practice

appearances and readings, forums, and

exercises assigned weekly. A workshop for

publishing panels.

writers of all genres, absolute beginners as well as experienced professionals, who want to better understand all the tools in the tool box. 3 CREDITS

For more information, visit the full calendar of events at newschool.edu/publicengagement/mfa-creative-writing-events.

NWRW 1119 $730

POETRY

film, designing a garment, or performing a

Students are also offered help in preparing and

monologue? We think about how poems get

submitting work for publication. Written

made and make them by harnessing various

comments are given on all work submitted, and

theories of art. We discuss student work in an

private conferences are available. For permission

atmosphere open to all forms of creativity.

to register, send ten sample pages by January 10

Student participation includes deciding on

to the instructor, c/o New School Writing

readings together from multiple creative

Program, 66 West 12th Street, room 503, New

disciplines, using all art forms as inspiration.

York, NY 10011. 3 CREDITS

3 CREDITS

NWRW 4213 $730

NWRW 3845 $730

FICTION Poetry: The Language of Music

Dave Johnson

Mechanics of Fiction: Craft, Theory, and Practice

A | 15 sessions | beg. Jan. 27 | W 8–9:50 pm

Joseph Salvatore

This study of musical poetics focuses on the

A | 15 sessions | beg. Jan. 27 | W 6–7:50 pm

buried linguistic and musical structures of

Not a traditional workshop, this course covers

poetry and on the way these structures create

the essential elements of the craft of fiction:

voice and meaning in a poem. We discuss the

character, dialogue, point of view, description,

way music serves as a muse for the poet and

and theme, as well as plot versus story, time

creates a relationship between form and

and pacing, metaphor and comparison, style

content. Some class time is devoted to close

and structure, and language and revision.

reading of established and younger poets

Examples of these elements are culled from both

representing different poetic styles and to close

canonical and contemporary works. Students

listening to the voices of poets reading from

read articles and essays by critics, theorists, and

their own work. Most class time, however, is

fiction writers, especially writers who both

devoted to examination of student writing, with

create and teach fiction writing. When covering

the goal of helping students find their own

the idea of character, for example, students read

music and voice within the poem. This course is

what Henry James has to say on the topic, as

open to poets at all levels, but beginners are

well as Virginia Woolf, Aristotle, E. M. Forster,

especially welcome. 3 CREDITS

and contemporary voices such as Wayne Booth,

NWRW 3205 $730

Alice Munro, and Francine Prose. In addition to studying the basic elements and foundational

More questions about a class? Get in touch! ce@newschool.edu

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

Making Poems: An Advanced Workshop Patricia Carlin A | 15 sessions | beg. Jan. 27 | W 4–5:50 pm

understand better not only the elements of the craft but also the vocabulary of the writing workshop. 3 CREDITS NWRW 2306 $730

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.

Creative writing

Beginning the Novel Catherine Texier A | 15 weeks | Jan. 25–May 16 In a relaxed and supportive but intellectually rigorous atmosphere, this beginner’s course explores the delicate alchemy that produces excellent fiction. In our attempt to pinpoint exactly why we feel certain works are successful, we scrutinize character, tone, point of view, setting, plot, and dialogue, with a focus on the metaphor as a resonant thematic pattern. Close

attention is paid to craft, to the necessary

developed under the instructor’s supervision,

artifice behind the art of fiction. The course is

and consideration is given to publication

taught as an interactive workshop: Students

possibilities. An editor or writer may occasion-

submit chapters from their novels-in-progress

ally visit the class to share his or her experiences

for group assessment. Most sessions include a

with students. 3 CREDITS

topic presentation and a discussion of assigned

NWRW 3303 $730

readings. Ultimately, students must internalize the skills they learn until those skills become second nature. 3 CREDITS NWRW 2304 $730

Intermediate Fiction Workshop TBA

Introduction to Fiction

A | 15 weeks | Jan. 25–May 16 This workshop is designed for students who have writing experience or life experience that

Robert Lopez

puts them beyond the beginner level. Class

A | 15 sessions | beg. Jan. 25 | M 8–9:50 pm

exercises develop writing skills and broaden

Sharon Mesmer

students’ awareness of creative possibilities.

B | 15 weeks | Jan. 25–May 16

Readings on structure and technique by

This course is intended to encourage and guide

Madison Smartt Bell and Joyce Carol Oates

students who are starting to explore the many

guide the class’s thinking and discussions.

creative possibilities fiction affords. Through

Selected works by contemporary authors,

reading assignments, writing exercises, and

coupled with interviews from the Paris Review,

discussions, we consider character develop-

encourage students to explore influences and

ment, dialogue, point of view, and significant

techniques. Student writing is workshopped

detail. Attention is also paid to recognizing good

throughout, enabling students to develop their

ideas, developing stories, finding the best

own understanding of what it means to write

structure, and honing one’s own unique voice.

fiction. Confidence and ability go hand in hand,

Most class time is spent reviewing projects by

and this course is designed to give students the

students, which are workshopped on a weekly

resources and stamina that they need to mature

basis. Readings include works by Rick Moody,

as writers. 3 CREDITS

Jhumpa Lahiri, Tim O’Brien, Lorrie Moore, and

NWRW 3338 $730

Michael Cunningham. 3 CREDITS NWRW 2301 $730

Fiction Writing Sidney Offit A | 15 sessions | beg. Jan. 26 | T 10–11:50 am 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

FICTION

The Novel Workshop Catherine Texier

How Fiction Thrills: Writing Suspense

A | 15 sessions | beg. Jan. 26 | T 6–7:50 pm

Katia Spiegelman Lief

This workshop is for students who want to

A | 15 sessions | beg. Jan. 26 | T 6–7:50 pm

develop the discipline and skills needed to write

In both literary and commercial fiction, good

a novel. Exercises keep the class writing at a

writing and compelling suspense should go

fast clip and are aimed at developing facility

hand in hand but often don’t. Instead, we get

with elements of the novel, such as character,

literary fiction that doesn’t move and suspense

story, plot, dialogue, and meaning. Students

fiction without soul. In this course, the goal is to

encounter different possibilities of form, style,

merge the two to create exciting fiction that

and subject matter through close readings of

satisfies on every level. Through work shared in

historical and contemporary novelists including

class and assigned exercises and reading, we

Charles Dickens, Jane Austen, Jean Rhys, James

explore the essentials of successful fiction

Baldwin, Joan Didion, and Lynne Tillman.

writing—how to develop story and character,

Students share their work with the class weekly,

how to write good dialogue, and how to

and the instructor provides written comments.

self-edit. Students master the techniques that

The desire to write a novel is the only prerequi-

make for can’t-put-it-down suspense. This

site. 3 CREDITS

course is open to both beginning and seasoned

NWRW 3301 $730

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.

#TheNewCE #LearnGrowRepeat

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,

Fiction Writing: Memory, Imagination, Desire

Mystic River by Dennis Lehane, and Thriller: Stories to Keep You Up All Night, edited by James Patterson. 3 CREDITS NWRW 3334 $730

Robert Dunn A | 15 sessions | beg. Jan. 28 | Th 6–7:50 pm 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 NWRW 3308 $730

Creative writing

Advanced Short Story Workshop Alexandra Shelley A | 15 sessions | beg. Jan. 27 | W 6–7:50 pm This workshop is for short story writers who already know the rules and want to break them. Through exercises and class discussion, students experiment with new voices, push the envelope of form, plumb memory, and work at taking greater emotional risks. Stories by workshop members are read before each class session to provide the author with both written critique and focused class discussion. The aim is to revise the story until it’s as good as it can be. Workshop members also give a group reading and polish at least one piece that can be submitted to magazines. Readings of stories, poetry, and drama introduce the class to contemporary writers who are not in the usual anthologies. 3 CREDITS NWRW 4321 $730

NONFICTION

This workshop is designed for writers who have

Introduction to Creative Nonfiction

transform an idea and develop it into larger

Elizabeth Carroll A | 15 weeks | Jan. 25–May 16 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

started a memoir as well as those looking to themes. Students work on short personal histories or book-length projects. Writers develop a compelling voice and point of view, creating dramatic tension and scenes with sensuous detail. Discussions include what makes a memoir publishable in today’s market and crafting an elevator pitch and cover letter with which to approach agents and editors.

in-class writing and weekly assignments,

3 CREDITS

students develop the skills to build a narrative

NWRW 3410 $730

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 considerations of the choices made by James Baldwin, Joan Didion, Natalia Ginzburg, Walter Benjamin, and other masters. 3 CREDITS NWRW 2401 $730

The Experimental Essay Robert Lopez A | 15 weeks | Jan. 25–May 16 The experimental essay trespasses on poetry, fiction, and nonfiction. It evolves from trials, impulses, longings, and risks—often culminating in a form that is both surprising and inventive. It is a genre in which, as Emerson says, “everything

Writing from Personal Experience Nancy Kelton A | 5 weeks | beg. Feb. 16 | T 4–5:50 pm 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 NWRW 3426 $250

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 Sh¯ onagon, 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, because of its ability to engage with and mimic a variety of forms and genres, the essay is the most radical, experimental, comprehensive, and inventive, as well as the most forgiving, of the literary genres. 3 CREDITS NWRW 3520 $730

Memoir Writing Candy Schulman A | 15 sessions | beg. Jan. 27 | W 6–7:50 pm

online learning

“The memoir is the novel of the 21st century,” writes Susan Cheever. This contemporary art

Each semester, The New School brings you

form holds a prominent place in today’s literary

classes that fit your life as well as they fit

world. Editors respond to voice and tone, where

your screen—be it mobile, desktop, tablet, or

writers capture the story, transport readers to

watch. Look for the computer icon to find all

another place, and convey honest feelings.

of our online classes.

Memoirs’ styles range from the humor of David Sedaris to the stark minimalism of Joan Didion and Nick Flynn, who break new boundaries.

Learn more about online learning at The New School at newschool.edu/online.

NONFICTION

Writing About the Arts

Essay Writing in a Changing World

Jerry Portwood

Madge McKeithen

A | 15 sessions | beg. Jan. 28 | Th 8–9:50 pm

A | 15 weeks | Jan. 25–May 16

If everyone’s a critic, why do we need arts

The world of writing and reading is changing

writers? This writing workshop investigates arts

rapidly, in large part because of changing

journalism—encompassing writing on theater,

technology. This writing course is designed for

screens, architecture, food, dance, opera,

students eager to use new technologies to write

fashion, music, visual arts, books, and more—

and publish personal essays, including

and what it means to be a feature writer or

autobiographical essays, arts and cultural

critic in the 21st century. We look with an

criticism, and pieces about race and ethnicity

editor’s eye at classics (think Edmund Wilson to

and social and political change. Assignments

Susan Sontag) and contemporary works

draw attention to the connections and tensions

(beyond the New Yorker). Weekly writing

between individual experience and social

assignments include first-person essays, Q&A

context. Students write five short pieces and

interviews, reviews, and blog stories, with an

two longer essays exploring questions of self,

opportunity to pitch to editors from both

voice, and audience and using online keyword

mainstream and alternative outlets. Guest

search tools provided by Facebook, Twitter,

lecturers from traditional publishing as well as

YouTube, and Flickr. Readings include George

e-publishing, from Amazon and the New York

Orwell, George Packer, James Baldwin, Nikki

Times, offer their viewpoints on what good arts

Giovanni, Orhan Pamuk, Pico Iyer, Maxine Hong

writing means to us today. Instructor Jerry

Kingston, Susan Griffin, Dave Eggers, Ian Frazier,

Portwood is currently the executive editor of

Bruce Chatwin, Alain de Botton, J.M. Coetzee,

Out magazine, the world’s leading gay lifestyle

and Herta Mueller. 3 CREDITS

and fashion magazine, working on print stories

NWRW 3345 $730

and overseeing its digital strategy, including its Popnography blog. Previously he was the editor in chief at the New York Press, the alternative newsweekly, and was the founding editor of CityArts, a weekly arts publication. 3 CREDITS 80

NWRW 3881 $730

Suspenseful Storytelling: Creating Compelling Nonfiction Jessie Sholl A | 15 sessions | beg. Jan. 26 | T 6–7:50 pm Why are some memoirs and essays almost impossible to put down? In this course, open to writers of all levels, we explore ways to create suspenseful, compelling, page-turning nonfiction. We discuss aspects of writing that help hook a reader—including dialogue, character, when to reveal crucial information, and how to bring about the correct level of uncertainty in a reader’s mind. We put these elements of craft to use in our own submissions. Each student has two opportunities to workshop an essay, chapter of a memoir-in-progress, or any other type of nonfiction in a supportive, constructive atmosphere. By the end of the course, students will have completed a compelling piece of writing that will have readers hooked. 3 CREDITS NWRW3430 $730

Creative writing

JOURNALISM AND FEATURE WRITING Journalism Basics for the Digital Era

For the most up-to-date course listings and to register, go to newschool.edu/ce/classes.

Richard Huff A | 15 weeks | Jan. 25–May 16 Writing a well-structured, accurate news or feature story that resonates in today’s multiplatform landscape is a critical skill for today’s journalists. Students interested in journalism are challenged to write on deadline clear, interesting stories suitable for a variety of media including newspapers, websites, magazines, and some forms of social media. With plenty of encouragement and insider tips, students learn how to develop news and feature story ideas, write reviews and columns, structure a story from start to finish, find sources, conduct interviews, and produce marketable pieces. Students are also introduced to the fundamental aspects of being a journalist beyond writing, such as research, tone, fact-checking, pitching to outlets to sell their work, and ethics. A selection of contemporary journalism from newspapers, magazines, and online journalism outlets is examined and critiqued on a regular basis,. There are weekly writing assignments of varied lengths on topics chosen by the students and a basic multimedia project to end the semester. 3 CREDITS NWRW 2601 $730

Writing and Reporting for the Web Matthew Melucci A | 15 weeks | Jan. 25–May 16 Print media is on the decline and may well be on the way out as readers continue flocking to the Internet to get their fill of media. What does this mean for aspiring journalists and authors? How can they prepare for the brave new world of Web reporting, blogging, and multimedia journalism and remain true to their dreams of creating great nonfiction writing? The simple truths of communicating are the same in any medium. Students practice narrative style, interviewing techniques, and anecdotal reporting. Regular exercises help them discover the Internet as a vehicle for sharing prose in powerful new ways. Topics covered include blogs, user-generated journalism, rich media, and the changing face of newspapers and magazines online. Students work in groups throughout the term, editing one another’s work and analyzing assigned readings from some of the best online sources around. All students are expected to complete one major piece of online writing by the end of the course. 3 CREDITS NWRW 3691 $730

Writing for New York City Newspapers and Magazines Susan Shapiro A | 15 sessions | beg. Jan. 25 | M 6–7:50 pm B | 15 sessions | beg. Jan. 25 | M 8–9:50 pm The New York Times, the Daily News, Newsday, the New York Post, and the 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 covered include tailoring pieces to specific columns, writing a perfect cover and pitch letter, contacting the right

New Media Journalism Richard Huff A | 15 sessions | beg. Jan. 27 | W 8–9:50 pm No longer limited to once-a-day deadlines and publications, journalists must now know how to deliver accurate news reports using a variety of media formats. Students learn to use Facebook, Twitter, and other social media to crowd-source ideas, connect with interview subjects, and break stories in real time. The emphasis in this course is on writing well-crafted stories. Projects include live-reporting an event on Twitter, creating and analyzing videos, and packaging news reports. 3 CREDITS NWRW 3615 $730

editors, and submitting the work, following up, and getting clips. Assignments are read and critiqued in class. Guest speakers include top Manhattan editors. 3 CREDITS NWRW 3601 $730

JOURNALISM AND FEATURE WRITING

LIBERAL ARTS

COURSE OFFERINGS

LIBERAL ARTS Liberal arts classes offer bold ways to better the world through critical inquiry, engagement, and expression. Here all students can study liberal arts with both scholarly rigor and intellectual freedom, exploring topics such as Arts and Social Engagement; Environmental Studies; Ethics, Power, and Justice; Food Studies; Gender and Sexuality; Global Studies; Literature, Culture, and Democracy; Psychology; and Race and Ethnicity.

ARTS AND SOCIAL ENGAGEMENT

Something Better to Come, about people who

Explore the breadth of expression and modes of

Pearl Button, on the history of genocide and

engagement that make the arts social. Courses

political repression as seen through the ocean

examine questions like: Who defines the arts?

by Chilean filmmaker Patricio Guzman; H2O

For what purposes? If imagination fuels the arts,

Mix, on responsible water management;

this pathway of courses connects imagination

Homestretch, about three homeless teenagers

and creativity to societal insight and action.

who brave Chicago’s cold winters; India’s

Find courses on Fine Arts on page 24.

Daughter, about the gang rape and murder of a

live in a garbage dump outside of Moscow; A

medical student; There’s Something Wrong with

The Human EXPERIENCE Seen Through Documentaries Toby Talbot A | 15 sessions | beg. Jan. 26 | T 12:10–2:50 pm Documentaries are living stories, and “the viewer is the participant,” wrote Roberto 84

Rossellini, who spoke of “the need to hold people up to people.” This course tests our emotional, intellectual, and ethical responses to

Aunt Diane, which investigates a fatal car crash; 12 Weddings, in which a filmmaker follows up on couples whose wedding photos he originally shot; Mother’s Wish, ten stories from different countries on motherhood; Image Before My Eyes, about Jewish life in prewar Poland; and The Decent One, which tells of the journals of Heinrich Himmler. There will be guest speakers and occasional film substitutions. NSOS 0840 $600

a range of films that address personal, communal, and universal issues. It pursues an intellectual mission as expressed by Hannah Arendt: “Each time we talk about things that can be experienced only in privacy or intimacy, we

The Art of Viewing Art: Learning from Current Exhibitions

bring them out into a sphere where they will

John Zinsser

assume a kind of reality which they never could

A | 15 sessions | beg. Jan. 28 | Th 1–2:50 pm

have had before.” Our classroom serves as a

Learn to use the city’s galleries and museums as

space of tolerance and self-reflection where

your classroom. Each week, students visit a

students can share, compare, perhaps even alter

different exhibition. Course lectures illuminate

their own perceptions by engaging with the

the exhibitions in historical context and from a

most recent documentaries on pressing human

broader cultural perspective. Guest speakers

rights issues. We look at a range of films: Let

include artists, gallery owners, curators, and art

There Be Light, renowned director John

critics. We view a mix of contemporary and

Houston’s film about postwar trauma among

historical shows and compare the artworks we

World War II veterans; A Peace Officer, about

have seen. The New York art world offers

police militarization in the United States; The

eye-opening experiences for those who know

Black Panthers: Vanguard of the Revolution,

how and where to look. This course is for

about the rise and fall of the Black Panthers in

noncredit students only; credit students must

the 1960s and 1970s; Welcome to Leita, in

which a white supremacist group attempts to

NARH 0010 $600

take over a North Dakota town; The Price We Pay, on tax avoidance; Russian Woodpecker, about the 1986 Chernobyl nuclear reactor meltdown and current political events in Russia;

Liberal arts

environment, urban context, inequality, and

#LearnGrowRepeat Like a Force of New: Start Your Year of Learning at The New School’s Continuing Education Expo

economy. It also investigates the processes of design and materialization of architecture through selected cases taken from Europe, Latin America, and East Asia. Students will actively explore expressions of architecture on different scales—such as a building, a street, a neighborhood, and a building complex (such as

FREE Info Sessions, Pop-Up Classes, Live

Rockefeller Center, Lincoln Center, Grand Central

Music Performances, Raffles, Giveaways,

Station, or the High Line)—and also learn to

and Campus Tours

understand architecture through representation.

3 CREDITS

NARH 3832 $650

Whose Heritage? Contested Cultural Sites Jennifer Scott A | 15 weeks | Jan. 25–May 16 What does “culture” mean to those who experience it and those who consume it as tourists? Can sites, objects, and their histories simultaneously belong to a local community, a nation, and all humanity? How do culturespecific museums operate in a global context? How do mainstream museums address diversity? This course is an examination of the phenomenon of cultural heritage from an anthropological perspective, pairing specific cultural sites with questions central to anthropology. We begin with sites in New York City, including the American Museum of Natural History, the National Museum of the American Indian, Ellis Island, the Museum of Chinese in the Americas, The Metropolitan Museum of Art, and Weeksville Heritage Center. We then consider the meaning of “world heritage” and “universal

Architecture as Intervention: The Power of Space NEW

Margarita Gutman A | 15 sessions | beg. Jan. 25 | M 6–7:50 pm Architecture, a complex product of many different times and cultures, has a powerful impact on people’s behavior, feelings, activities, and well-being, both for individuals and for society. Physical space is an important component of the intellectual, economic, cultural, and political life of societies. Its design and materialization are a major intervention that can modify for better or worse the lives of families, neighborhoods, cities, and also nations.

value” as defined by UNESCO and focus on some of its World Heritage sites, including Chichen-Itza in Mexico, Angkor in Cambodia, Ghana’s El Mina Slave Fort, and pharaonic and Islamic monuments in Egypt. Through our case studies, we link the local to the global, exploring the role of public memory; the representation of racial, ethnic, religious, and sexual identities; the role of archaeology in constructing national identities; indigenous ownership of material culture; performance theory in historical re-enactment; and symbolism and iconography in site marking and the marking of tragic histories, such as slavery and wars. 3 CREDITS NANT 3633 $650

This course explores architecture as intervention in a selection of contemporary and historic societies and its impact on culture, politics,

Arts and Social Engagement

Contemporary Art: participation/action/ change

America Sings: From Cole Porter to Stephen Sondheim

Paula Stuttman

Faye-Ellen Silverman

A | 15 sessions | beg. Jan. 27 | W 6–7:50 pm

A | 15 sessions | beg. Jan. 26 | T 4–5:50 pm

Contemporary art assumes many forms, but

This course explores the diverse world of

this class focuses on artists and artworks that

American popular song. We look at Irving Berlin

embrace participation and action while seeking

and his direct style of music and lyrics, designed

positive change for the individual and society.

“to reach the heart of the average American”;

Each class is devoted to the exploration of one

George Gershwin and his “fascinating rhythms”;

artist or art collective, allowing for in-depth

the sophistication of Cole Porter; Richard

understanding of the subject. Artists discussed

Rodgers, who, along with Oscar Hammerstein,

include Joseph Beuys, Martha Rosler, Yoko Ono,

created enduring works, such as South Pacific

Thomas Hirschhorn, and Suzanne Lacy.

and The King and I, that deal with cultural

Questions for consideration include: How can

clashes and bigotry; Leonard Bernstein, whose

art produce real change in the world? How do

West Side Story addresses conflicts between

we judge the success and failure of socially

teenage street gangs of different ethnic

based projects? How is our relationship to art

backgrounds; Mary Rodgers, one of the few

evolving as its definitions change? Student

successful female Broadway song composers;

assignments include a research project that

and Stephen Sondheim, mentored by

addresses the theme of community and a

Hammerstein, who incorporates classical

curatorial exercise that challenges the boundar-

techniques into his musical style and has never

ies of the traditional art exhibition. This class is

been afraid to tackle serious issues in his

a seminar; participation is required. New York’s

musicals, such as the complexity of human

thriving art scene and The New School’s Vera

relationships in his musical Company. Classes

List Center for Art and Politics serve as resources

examine the lives of these composers, what

for this class, along with selected readings,

made each one unique, and the changes in

videos, and guest speakers. 3 CREDITS

musical approach from Berlin, whose first

NARH 3733 $650

international hit, “Alexander’s Ragtime Band,” dates to 1911, to Sondheim, who is still writing today. Background readings prepare students for classroom discussions of the music. Students do not need to know how to read music for this course. 3 CREDITS NMUS 3560 $650

Simplicity in Music Sonya Mason A | 15 weeks | Jan. 25–May 16 Returning to simplicity becomes popular when life begins to feel too cluttered with artificialities and meaningless muddle or when outside forces, such as hard economic times or a catastrophic event, force us to reevaluate our own priorities and happiness. Music has long followed a pattern of returning to simplicity after periods of complexity. Composers, artists, and performers purge, renew, and grow again, which inevitably results in increased complexity and eventually begins the entire cycle again. Often this cycle is a natural progression that results from the exhaustion of ideas, but sometimes the natural flow of things is interrupted purposely by artists who feel disconnected, who feel that music no longer

Liberal arts

reflects the world from their perspective or no

fame but enormous monetary value as well.

longer gives them meaning. In this course, we

Since the first avant-garde movements, which

study six periods in music when artists

broke the boundaries of the existing art world,

dramatically shifted their style and sought

artists have also challenged these institutions

simplicity. We begin with the emergence of

and created alternatives—from the Salon des

opera in 1600, then move through Russian

Indépendants, formed in Paris in the late 19th

nationalism in the late 19th century, minimal-

century, to the independent theaters, galleries,

ism in the late 1960s, punk in the 1970s, jazz in

and communes in New York in the late 20th

the 1980s, and hip-hop in the 2000s. We

century. In the first part of the course, we

discuss whether some of these massive shifts in

discuss the recent history of the art world,

the history of music mirror our own need to

focusing not only on established institutions but

de-clutter, whether the results were sustainable

also on these counter-institutions of resistance.

and influential, and whether the audience was

Then we turn to contemporary international

somehow elevated by the philosophy behind

examples and to the alternative scene of the

the changes. This is the search for simplicity in

2000s, such as the projects that grew out of the

music. 3 CREDITS

Occupy Wall Street movement. We draw on the

NMUS 3424 $650

advantages of the online platform through group assignments and discussions, online research, and virtual tours, and combine it with

History of Collecting: Renaissance to the Present

the more traditional format of written assignments. 3 CREDITS NARH 3879 $650

Valerie Mendelson A | 15 sessions | beg. Jan. 28 | Th 6-7:50 pm This class is an overview of the history and

the end of Art

theories of collecting in the Western world. We

Timothy Quigley

examine collecting by kings and princes,

A | 15 weeks | Jan. 25–May 16

Enlightenment explorers, amateurs, women, and

In 1984, the American philosopher Arthur Danto

museum curators, with an emphasis on the

declared that art and its history had come to an

organizational logic of each collection. We look

end. Others jumped on the bandwagon,

at the structure and significance of collections in

declaring the death of modernism, narrative,

both institutional and private settings. How is

and even history itself. In the wake of the

the narrative of art history constructed around

unprecedented period of artistic production and

objects in the context of private collections and

criticism in the United States after World War II,

public museums? How did the development of

which included abstract expressionism; pop art;

the art market change the practice of collecting?

the critical writings of Clement Greenberg,

How have public and private exhibition spaces

Rosalind Krauss, and Michael Fried; and the

influenced one another, in the past and today?

postmodern critiques of the late 1960s and

We explore these questions through readings,

1970s, there seemed to be no guiding principles.

presentations, and field trips to a variety of

From now on, Danto claimed, anything could be

collections and archives. 3 CREDITS

a work of art. In this course, we critically

NARH 3762 $650

examine postwar visual culture, with an emphasis on the transition from late modern to contemporary art. Through careful study of the

Art Worlds: Museums, Art Schools, and Alternative Spaces

artists, philosophers, and critics whose work has

Agnes Szanyi

visual culture after “the end of art.” 3 CREDITS

NEW

A | 15 weeks | Jan. 25–May 16 Museums, galleries, biennials, art schools,

shaped the present discourse, we assess the meaning and implications of Danto’s thesis and consider the prospects for constructing radically new ways of understanding and experiencing NARH 2550 $650

critics, collectors, and artists themselves are part of the system we call the “art world.” They all contribute to the creation of artistic value: Artworks travel through the virtual and real spaces of these institutions building up not just

Arts and Social Engagement

Creative Justice Yana Dimitrova A | 15 sessions | beg. Jan. 26 | T 6–7:50 pm Transformative justice builds on the cultural and social assets of a community with the aim of ending all forms of violence while restoring

and mind-body healing approaches. Students review the latest research on vocal music therapy and learn techniques for both personal and professional use. Clinical case studies on the use of vocal music therapy with a variety of populations are explored. No previous voice

safety and healing relationships. The arts

training is required. 1 CREDIT

become a powerful tool in this process by

XCAH 3211 $270

generating dialogue, strengthening a sense of community, and envisioning community-based artists, cultural workers, and community

DEVELOPMENTAL TRANSFORMATIONS

activists have devised creative strategies for

Navah Steiner

interventions. In this course, we examine how

responding to institutional and interpersonal violence and trauma. How does creativity work to promote trust? How do the arts reveal social issues differently? Do the arts prompt more action? We start by looking at successful models of creative intervention and then consider the current issue of communities’ disenfranchisement by policing practices like “stop and frisk” and punitive criminal justice policies. We consider whether the very system that has had such a destabilizing impact on communities can also be depended upon to “serve and protect” those communities. How might the arts be used to intervene in this dilemma? 3 CREDITS NPUB 3621 $650 88

A | 5 sessions | beg. Apr. 18 | M 8–9:50 pm This course introduces the theory and practice of Developmental Transformations (DvT), a form of drama therapy developed by David Read Johnson. In DvT, unscripted play and improvisation are the basis for therapeutic exploration. The inner landscapes of the client are evoked through movements, sounds, gestures, and role-playing. DvT differs from other techniques in that the therapist serves not only as a facilitator but as a live-action projective object for the client. The DvT process has been described as “free association in action.” It is designed to address therapeutic problems related to encounters and intimacy, play, change, and embodiment. This ten-hour experiential minicourse presents an overview of

CREATIVE ARTS AND HEALING ART THERAPY: SPECIAL POPULATIONS

the key concepts of DvT and allows students to experience the free-associative play process in individual and group modalities. 1 CREDIT XCAH 3411 $270

Christine Alessandro A | 15 sessions | beg. Jan. 25 | M 6–7:50 pm

theoretical approaches specific to a population

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or setting are examined. Opportunities to visit

newschool.edu/theNewCEinfo

This course explores the use of art therapy in particular treatment situations. Various

art therapists at work are offered. Students are encouraged to develop interests in specific areas in preparation for fieldwork. Job search strategies, opportunities for the use of art with groups, and continuing education options in art therapy are presented. 3 CREDITS XCAH 3511 $800

TRANSFORMATIVE WRITING Sherry Reiter A | 5 sessions | beg. Mar. 7 | M 8–9:50 pm Writing is not just an art form; it is also a psychological survival tool. Transformative

THERAPEUTIC VALUE OF THE VOICE Allegra Themmen-Pigott A | 5 sessions | beg. Jan. 25 | M 8–9:50 pm This experiential course combines theories and practices from Western and Eastern psychology

Liberal arts

writing is the intentional use of writing to promote psychological development and well-being. It is also known as writing therapy, poetry therapy, journaling therapy, and bibliotherapy. In this short workshop, we explore ten principles of transformative writing. Using Dr. Sherry Reiter’s book Writing Away the

Demons as a guide, students learn to use creative expression to manage their emotions. Each session includes didactic and experiential components and features a “power poem” and one example of a writer responding to a personal crisis. Creative writing experience or creative art therapy knowledge or experience is not required. 1 CREDIT XCAH 2600 $270

MUSIC, HEALTH, AND SOUND ENVIRONMENTS John Mondanaro A | 15 sessions | beg. Jan. 27 | W 6–7:50 pm This course focuses on the use of music therapy in medical settings. Topics discussed include the role of music in stress reduction and immune system enhancement, music as anesthesia, music in childbirth, music in women’s health, and music and the brain. Classes include both

ART THERAPY WITH GROUPS

experiential and didactic components. Nonmusicians are welcome. Fieldwork opportunities in music medicine are available.

Dina Schapiro

Prerequisite: Music Therapy 1 or equivalent

A | 15 sessions | beg. Jan. 26 | T 6–7:50 pm

experience. 3 CREDITS

This course presents an experiential model of

XCAH 3210 $800

an art therapy group. Students learn while participating in and leading groups. 3 CREDITS XCAH 3510 $800

FIELDWORK Kate McIntosh

ART DIAGNOSIS

A | 15 sessions | beg. Jan. 27 | W 8–9:50 pm Fieldwork in a variety of settings is offered to

Claudia Bader

certificate students who have completed the

A | 15 sessions | beg. Jan. 26 | T 8–9:50 pm

required two psychology and four concentration

This course is an in-depth exploration of how to

courses. Students must commit to ten hours per

“read” people through their artwork. We study

week per semester (15 weeks) to complete their

elements of art and how they are used by the

fieldwork. On-site supervision is provided. A

client from both experiential and didactic

concurrent seminar at The New School focuses

perspectives. Previous experience in the art of

on clinical issues particular to certain popula-

psychology is not necessary. This course is

tions. Permission of the Creative Arts Therapy

particularly useful for clinical practitioners

coordinator is required. 3 CREDITS

interested in understanding their clients’

XCAH 3900 $800

artwork. 3 CREDITS XCAH 3515 $800

DANCE THERAPY WITH GROUPS

OBSERVATIONS OF MOVEMENT Elissa White A | 15 sessions | beg. Jan. 28 | Th 4–5:50 pm

Elissa White

Using Laban Movement Analysis, students

A | 15 sessions | beg. Jan. 27 | W 4–5:50 pm

learn about expression as it affects the mover

The healing processes in group dance therapy

and the perceiver. Gestures and postures are

and other physical activity–based therapy

viewed in relation to personality, culture, and

groups are explored. Students learn how

social context. Students learn to observe,

synchrony, education, rhythm, vitalization,

analyze, and interpret movement and nonverbal

integration, cohesion, expression, and symbol-

communication. This course is useful for mental

ism are intrinsic to a group’s evolution. They

health professionals and others who want to

also learn about and experience group

learn more about themselves and their

development within sessions and over time.

interactions. 3 CREDITS

Leadership, music, and verbal interventions

XCAH 3310 $800

are discussed in relation to group dancing. 3 CREDITS

XCAH 3313 $800

Creative Arts and healing

THEATER TECHNIQUES Randy Mulder A | 15 sessions | beg. Jan. 28 | Th 6–8:40 pm Students learn how drama therapists use theater techniques in their clinical work. 3 CREDITS

XCAH 3412 $800

Interrogating America: Anthropology of the United States Rachel Heiman A | 15 sessions | beg. Jan. 25 | M 6–7:50 pm Anthropology is often thought of as the study of foreign lands, but anthropologists have long

DRAMA THERAPY: SPECIAL POPULATIONS Barbara McKechnie A | 15 sessions | beg. Jan. 28 | Th 6–8:40pm This course focuses on drama therapy with children and adults in psychiatric, medical, and rehabilitation contexts. The approach is both didactic and experiential. 3 CREDITS XCAH 3410 $800

ETHICS, POWER, AND JUSTICE 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 anthropology, sociology, philosophy, politics, human rights, international affairs, and law. 90

focused their attention on the United States. In recent years, as public concern grows about everything from the militarization of everyday life to the mass marketing of pharmaceutical drugs, there has been a surge of anthropological studies of the United States. This course explores contemporary ethnographic studies of forms of inclusion and exclusion in the United States, ranging from race and religion to class and citizenship. We read about new technologies that are transforming financial markets and nuclear stockpiles and explore social solidarities that are reimagining the frontiers of gender and urban futures. We end by posing critical questions about the boundaries of the nation-state, with a focus on immigration law, military bases, and global clinical trials. The ethnographic texts we read explore a variety of sites and subjects: from Tennessee to tobacco farms, from Los Alamos to Latino/a youth, from California to casinos. 3 CREDITS NANT 3521 $650

Philosophy of art Timothy Quigley A | 15 weeks | Jan. 25–May 16 This course focuses on the visual arts, music, and literature. We examine the place of the arts and artists in society and the philosophical questions they raise. What is art? Is art, in general, a human good—roughly speaking, does it enhance human experience? Does art help us

beauty a necessary feature of art? Are there

Your want your degree. You’re busy. We get it.

ways to determine quality in works of art? Are

Bachelor’s Program for Adults and

there such things as truth and authenticity in

Transfer Students

create a just society? What is the relation of art to nature? What makes objects beautiful? Is

art? What is artistic expression? Is there a connection between aesthetic and moral judgment? This course will be of interest to students of philosophy, literature, visual and media studies, music, art, and literary criticism. 3 CREDITS

NPHI 2830 $650

Let us help you finish your bachelor’s degree—in New York City or online—with our flexible program designed specifically for adults and transfer students. Our program gives you the freedom to create your own area of study with the help of expert faculty advisors. Learn more at newschool.edu/ bachelorsprogram.

Liberal arts

Middle Classes: A Global Perspective Rachel Heiman A | 15 sessions | beg. Jan. 27 | W 4–5:50 pm

as normal (and think about why) and those behaviors that fall outside of any reasonable definition of normality. 3 CREDITS NSOC 3860 $650

A steady stream of media attention in the United States is devoted to the state of the middle classes. On one hand, there is concern

International Law

about the cultural and political implications of

Glynn Torres-Spelliscy

the “fragile middle class” in the United States

A | 15 weeks | Jan. 25–May 16

and the “missing middle” in Latin America. On

This course introduces the fundamental

the other hand, there is a curious fascination

concepts of international law. We consider

with (and competitive envy of) places where the

basic ideas and problems of public international

middle classes are said to be expanding,

law: What is the origin of international law? Is

particularly India and China. This course

international law really law? Who is governed

provides an analytical vocabulary and theoreti-

by international law? How are treaties

cal framework through which to engage with

interpreted? What is the relationship between

these discussions and distinguish rhetoric from

international law and domestic law? We

reality. We begin by reading theorists of class

examine the interplay between international

for their approach to those who are “between

law and international politics and the relation-

labor and capital,” ranging from Marx and

ship between international human rights,

Weber to Wright and Ehrenreich. We then turn

humanitarian law, the use of force, and

to ethnographic accounts of everyday life

international criminal prosecutions. We also

among the middle classes in sites that include

analyze the international law implications of

high-tech firms in China, malls in Buenos Aires,

the conflict in Iraq and the Hezbollah–Israel

neighborhoods in Delhi, job fairs in the United

conflict. 3 CREDITS

States, and cinema halls in Kathmandu.

NPOL 3570 $650

3 CREDITS

NANT 3690 $650

On Both Sides of the Label: A Sociology of Deviance Aleksandra Wagner A | 15 sessions | beg. Jan. 28 | Th 4–5:50 pm Think about what is implied by the notion of deviant lifestyles: crime and punishment, stigma, social control. By giving labels to those we imagine to be different from ourselves— describing women as “promiscuous” or “hysterical,” defining people as “witches” or “junkies,” calling people names like “towelhead” or “slacker”—we all categorize the social field. Putting others in undesirable categories influences both our own personal and collective behavior and the behaviors and self-identities of those we label. In defining our norms, we also create their violations and invent both the “character” of violators and their proper spaces, namely prisons, asylums, etc. In this course, students are expected to listen to people on both sides of certain labels—those described as deviants as well as those who call them deviant. This journey to and from both sides of the label enables us to examine critically the fine line between behaviors that all societies need to see

ETHICS, POWER, AND JUSTICE

Supreme Court Controversies Erica Eisinger

Notions of Power from Nietzsche to Foucault

A | 15 sessions | beg. Jan. 26 | T 4–5:50 pm

Yunus Tuncel

Can the U.S. Congress limit what corporations or

A | 15 weeks | Jan. 25–May 16

labor unions spend to influence congressional

With Nietzsche, the question of power became

and presidential elections? Can the U.S.

part of philosophical discourse. We start with

Supreme Court halt a state’s recount of the

Nietzsche’s Will to Power and his earlier texts on

votes in a presidential election? Can the U.S.

power. According to him, we are all in power, but

attorney general limit a doctor’s right to

how do we experience it? How does power

prescribe a medicine that is sometimes

manifest itself? What power relations are we

prescribed to assist a suicide in a state where

engaged in? These are questions that are raised

assisted suicide is legal? Can a police officer

throughout the course. Heidegger, one of the

search a home without a warrant if one of the

interpreters of Nietzsche’s philosophy, called the

occupants gives permission but another denies

will to power the principle of his metaphysics.

it? Can the government withhold all federal

Heidegger is studied for his insights into

funding from a school that refuses to permit the

Nietzsche. Deleuze and Foucault, on the other

military to recruit on campus because of its

hand, give different spins to the philosophy of

policy on homosexuality? We consider these

power. Deleuze looks at the question of power

issues, examining recent Supreme Court cases

from the standpoint of affects and affectivity,

and the legal and political reasoning underlying

and tries to understand power relations in this

individual justices’ decisions. 3 CREDITS

way. Foucault probes the same area by

NPOL 3635 $650

examining the dynamics of power, knowledge, and truth. We spend considerable time with Foucault’s texts and focus on his hypotheses of

Rejection of Religion: Secularism in the Modern World Luis Guzman 92

power. The course ends with an examination of the relevance of these notions of power to contemporary political issues. 3 CREDITS NPHI 3250 $650

A | 15 sessions | beg. Jan. 26 | T 6–7:50 pm This course sheds historical light on the concept of secularism as the basis for the study of

Global Justice

contemporary political points of contention,

Karsten Struhl

such as the spread of religious affairs into the

A | 15 sessions | beg. Jan. 28 | Th 6–7:50 pm

public sphere, the rise of fundamentalism, and

From Plato to John Rawls, classical political

minority rights. The class examines and

theory regards arguments concerning justice as

questions the self-image of the West as a

moral disagreements about the internal

secularist society by focusing on various

organization of a nation- or city-state. In the

criticisms of this self-understanding—and of the

age of globalization, however, there is an

notion of secularism itself. Readings include

increasing recognition that decisions made

Kant, Hegel, Carl Schmitt, Karl Lowith, Hans

within one national entity often have effects

Blumenberg, Talal Asad, and Charles Taylor.

that transcend its boundaries and that the

NREL 3700 was formerly listed as NPHI2400.

actions of transnational agents like corporations

Do not register for this course if you have

and international financial and trade institutions

previously taken NPHI2400; it is the same

significantly affect the living conditions of

course and cannot be taken twice for credit.

people around the world. There is an emerging

3 CREDITS

global institutional order whose rules are

NREL 3700 $650

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 relationship of these interpretations to different assessments and theories of globalization. We also look at

More questions about a class? Get in touch! ce@newschool.edu

the debates about global justice from the perspective of the struggles for alternative forms of globalization. 3 CREDITS NPOL 3310 $650

Liberal arts

GENDER AND SEXUALITY STUDIES This area of study presents a wide-ranging array

gender and sexuality studies certificate

of debates and research methodologies for understanding how bodies come to be defined

Whether you’re exploring graduate school

as male or female. Scientific language often

opportunities or furthering your career, the

serves to naturalize connections between

GSS Certificate offers a path to advancement.

genetic makeup and roles within the social

Students who earn the certificate go on to

world. The study of gender and sexuality in our

careers in academia, the arts, design, fashion,

program—with its attention to the larger history

public policy, government, NGOs, nonprofit

of feminism, gay and queer political move-

management, and clinical psychology or

ments, postcolonial studies, and trans

pursue advanced study.

theory—challenges commonly held beliefs about the essential nature of men and women and moves beyond a binary, male/female approach to a broader understanding of the social world. For further information, contact gsx@newschool.edu.

The program prepares its students to recognize and respond to gender-based questions such as, What is gender? How is sexuality culturally constructed? How do attitudes toward gender affect individual experience, artifact design, artistic produc-

Introduction to Performance Studies

tion, and modes of social organization?

Ricardo Montez

newschool.edu/gsscertificate.

Learn more and get started at

A | 15 sessions | beg. Jan. 28 | Th 4–5:50 pm This course offers an overview of the interdisciplinary field of performance studies as it has developed from the 1960s to the present, paying close attention to gender, sexuality, the construction of racial identity, and the politics of taste. A field of study that is often inspired by the performing arts, performance studies emphasizes critical approaches to the study of individuals as actors in society. It provides a valuable set of questions for thinking about everyday life, language, and culture as performance practice. Questions that we bring to our work include: How do we perform our identities? How do different performances illuminate the way the world functions? How do the continually shifting scripts that guide our behavior give us insight into the nature of power and the way it plays out in public? This course emphasizes critical approaches rather than the practical study of traditional drama and theater. Given the various types of media we examine—including film, visual art, and music—the course is useful to students wishing to employ a performance studies approach in the social sciences, to artists, and to those who wish to consider the social and political influence of art and media. 3 CREDITS NHUM 2035 $650

The Art of Keith Haring Ricardo Montez A | 15 sessions | beg. Jan. 26 | T 4–5:50 pm This class explores the world of Keith Haring, one of the most prolific artists of the 1980s. Inspired by Haring’s energetic engagement with New York City and his dynamic use of line, the course takes students on a journey through the exciting realms of hip-hop, downtown performance art, and queer nightlife. Andy Warhol, Brion Gysin, Grace Jones, Madonna, and Fab Five Freddy represent just a few of the inspirational figures we study. Situating Haring in a historical context, we examine the aesthetic practices and countercultural legacies that were vital to Haring’s development as an artist. In addition, students will think through multiple frameworks for understanding Haring’s art—including primitivism and pop—and critically address the formal aspects of his work. This interdisciplinary course moves beyond a traditional art-historical approach to its subject and follows Haring’s line across time and surfaces. We focus on the various ways in which Haring’s art performs in different contexts and investigate the politics of his art, particularly in regard to his negotiations with race and sexuality. 3 CREDITS NARH 3487 $650

GENDER AND SEXUALITY STUDIES

Queer New York Ricardo Montez A | 15 sessions | beg. Jan. 27 | W 4–5:50 pm This course traverses the geography of New

how difference and diversity are negotiated in a subculture that explicitly defines itself as critical of the dominant culture, through engaging with both secondary sources and primary

York City, exploring queer life from the 1960s to

documents. 3 CREDITS

the present. Through engagement with

NCST 3321 $650

literature, performance, and film, students look at experiments in the production of queer art to Dynasty Handbag’s performance of

Foundations of Gender Studies

abjection, queer art practice has transformed

Raul Rubio

and culture. From Jack Smith’s trash aesthetics

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. NCST 3300 was formerly listed as NHUM3062. Do not register for this course if you have previously taken NHUM3062; it is the same course and cannot be taken twice for credit. 3 CREDITS NCST 3300 $650

A | 15 sessions | beg. Jan. 26 | T 4-5:50 pm What does it mean to think critically about gender and sexuality in a time of cultural instability? We compare the broad topics and controversies in the social sciences and humanities that historically defined women’s studies with those that have contributed to the recent shift to the broader designation of gender studies. Important factors contributing to this shift are the influx of gay, lesbian, and transgender subjects; multicultural feminist thought; the rise of postmodernism and its critique of identity politics; and the emergence of men’s studies. In the process, students are introduced to a critical framework within which

Not in It to Lose: Negotiating Identity in Punk 94

Maxwell Tremblay A | 15 weeks | Jan. 25–May 16 Punk rock, with its musical simplicity, do-ityourself ethos, and oppositional character,

to think about gender. Central to the course is the examination of personal narratives— memoirs, autobiographies, oral histories, photographs—in relation to gender experiences and identities, politics, and social change. 3 CREDITS

NSOS 3800 $650

has given rise to a remarkably dynamic, selfreflective, and enduring subculture. However, it is often assumed that, for all its bluster, punk is merely the protest music of straight white men—exemplified by the Clash song “White Riot”—which creates problems both for its political stance and for those members of the community who do not identify as straight white men. Further, although punk may seem monochromatic, messy issues of race, gender, and sexuality have been central to punk throughout its history, from Bad Brains and the Avengers to Bikini Kill and Limp Wrist. This course, then, has two primary goals: first, to identify the mechanisms (songs, zines, etc.) by which punk has either implicitly or explicitly identified itself as white, straight, and male, and second, to think through dissident readings of punk—queer, feminist, by people of color—that shake the foundations of that assumption. The course provides a kind of test case for observing

Liberal arts

#TheNewCE #LearnGrowRepeat

PSYCHOLOGY Unlock the mysteries of the mind. Whether exploring cutting-edge work in neuropsychology and cognitive science, examining intensive

Harm Reduction Psychotherapy Certificate

studies in psychoanalytic thought, or pursuing your own Freudian analysis of individuals in

This professional certificate program offers

society, you will come away with radical new

licensed and license-eligible mental health

perspectives on the inner workings—and

and substance abuse students and practi-

incredible power—of mind and emotions and of

tioners specialized training in the theory and

humankind’s understanding of the two.

application of harm reduction psycho-

Theories of Personality

therapy. Certificate participants will gain knowledge and practical skills to enhance their credentials and further their careers in

Anna Odom

this field.

A | 15 weeks | Jan. 25–May 16

Offered in the Department of Psychology at

This course investigates the way personality

The New School for Social Research, this

can be understood from a variety of theoretical

program is recognized by the New York State

perspectives, including psychoanalytic,

Education Department’s State Board for

trait-based, biological, behavioral, cognitive,

Social Work as an approved provider of

and humanistic approaches. In addition, we

continuing education for licensed social

examine personality assessment through a

workers #0199. Participants can receive up

variety of approaches. We also explore

to 48 continuing education hours.

personality disorders, their diagnosis, and treatment. This course places emphasis not

Learn more and get started at

only on primary-source material but also on the

newschool.edu/harmreduction.

research supporting each perspective. 3 CREDITS NPSY 2401 $650

Dimensions of Narcissism Patricia Simko A | 15 sessions | beg. Jan. 28 | Th 10–11:50 am Who do you think you are? Why do you think so? The study of narcissism, which occupies center stage in psychodynamic theory today, focuses on the earliest experiences of the self, on the ways in which the image and perception of self are formed. Our concepts of self are formed early in life, through interactions with caregivers. During this time, our psychic task is to lay the groundwork for essential human experiences: a sense of belonging, a fundamental sense of safety, a healthy sense of adequacy or self-esteem. The results have dramatic implications for the emergence of personality as well as the unfolding of our unique world. The

Abnormal Psychology Warren Spielberg A | 15 sessions | beg. Jan. 27 | W 4–5:50 pm

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-IV-TR), 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. This course was formerly listed as NPSY3501. Do not take this course if you have previously taken NPSY3501; it is the same course and cannot be taken twice for credit.

emphasis in this course is on understanding the

3 CREDITS

emergence of self. The theories of object

NPSY 2501 $650

relations and narcissism are studied, with special attention to the narcissistic emotions of rage, shame, emptiness, elation, isolation, fragmentation, and loneliness. 3 CREDITS NPSY 2446 $650

PSYCHOLOGY

Research Methods I Or Dagan A | 15 sessions | beg. Jan. 25 | M 4–5:50 pm Studying and applying psychology requires learning research methods. Students learn the basics of observational, experimental, and quasi-experimental studies in psychology. Topics covered include the development of theoretically driven rationales for research studies, how to define appropriate research questions and hypotheses, internal and external validity, evaluation of bias, and the main

low-resourced and postconflict/disaster settings, and ongoing debates and controversies in the field. Special emphasis is placed on innovative resilience-based approaches to promoting recovery and well-being in populations, approaches that interface with strengthening human rights protections, peace-building, and social transformation. This multidisciplinary course draws on expertise from psychology and the social sciences, social entrepreneurship, design, media technology, journalism, and the arts. Case studies are used

research design types and features. Students

to illustrate course topics and themes. 3 CREDITS

learn how to think critically about research from

NPSY 3258 $650

both conceptual and applied perspectives. A prior course in statistics is recommended for those who have no research experience (e.g.,

Cognitive Psychology

data collection, data entry, or data analysis).

Nadia Nieves

3 CREDITS

A | 15 weeks | Jan. 25–May 16

NPSY 2701 $730

Ordinary mental activities such as recognizing a word, forgetting a phone number, and distinguishing a cup from a glass seem transparently

Developmental Psychology Catherine Mindolovich A | 15 sessions | beg. Jan. 27 | W 6–7:50 pm How do people grow and change through life, from conception to death? This course introduces the field of human developmental 96

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

simple. Examined more closely, they are complex and not easily explained. Cognitive psychology is the empirical study of long-standing questions about what we know, how we know it, and how our knowledge is structured, accessed, and used. We start with the psychology of William James, which examines how we experience thought and feeling. With that background, we explore the theory, research, and methods of contemporary cognitive psychology. We consider attention, perception, memory, the structure of knowledge, language, reasoning, problem solving, and cognitive neuroscience. 3 CREDITS NPSY 3601 $650

the field of lifespan developmental psychology. Students learn about the research methods

across the course of an individual’s life.

Mindfulness and Meditation in Psychology

3 CREDITS

Jonathan Kaplan

NPSY 3256 $650

A | 15 sessions | beg. Jan. 28 | Th 4–5:50 pm

developmental psychologists use to ask and answer questions about change and stability

Drawing from Buddhist meditation, the practice of mindfulness has found application in therapy

Global Mental Health and Psychosocial Support NEW

Jack Saul A | 15 sessions | beg. Jan. 26 | T 6–7:50 pm This course provides an introduction to the field of global mental health and psychosocial support (GMHPSS). It offers students an overview of recent advances in the field, models of clinical and community-based practices in

and research. This course is designed to familiarize students with this movement in psychology. Students learn about the historical origins of these practices and their overlap with psychology. Particular attention is paid to their incorporation into psychotherapy as well as scientific research. This course also involves an experiential component in which students practice mindfulness and meditation themselves. 3 CREDITS NPSY 3646 $650

Liberal arts

Psychology of Gender A | 15 sessions | beg. Jan. 26 | T 8–9:50 pm

Understanding and Treating Victims of Abuse

Drawing from feminist, disability, critical race,

Michele Frank

Emily Breitkopf

and queer theories (from within and outside of

A | 15 sessions | beg. Jan. 26 | T 8–9:50 pm

psychology), students explore the rich and

This course introduces students to the dynamic

varied experiences of gender and grapple with

and often controversial field of advocacy,

notions of what is “appropriate” gender

intervention, and treatment for abused children,

expression. Students are asked to consider how

ranging from the reporting of abuse to protective

psychology plays a role in conceptualizing

services to therapeutic treatment of child victims

“normal” and “abnormal” presentations of

and adult survivors. There are lectures and group

gender, in both political and public mental

discussions, and experts describe their profes-

health realms. Attention is given to the possible

sional experiences. Topics explored include the

effects on individual experiences of the body,

workings of the New York City Administration

behavior, and social perception. Students are

for Children’s Services, the identification of child

encouraged to critically examine the intersec-

abuse and the investigative process, the range of

tions of powerful social constructions such as

services in foster care, the role of the battered

race, ethnicity, ability, body size, reproductivity,

women’s shelter movement, and the realities of

age, sex, sexuality, and socioeconomic status.

working with abused children, their families,

Specific class aims include 1) asking whether

adult survivors, and child abuse offenders.

and how psychology regulates and manages

Students and practitioners in social work and

the gendered body and 2) expanding and

related fields can expect a thorough overview of

destabilizing the way gender (and the gendered

child abuse advocacy, an understanding of how

body) is traditionally discussed in psychology

human services agencies currently interact in

specifically and academia generally. This course

New York City, and valuable resources for using

counts toward the Gender Studies minor.

these agencies. This course counts toward the

3 CREDITS

Gender Studies minor. 3 CREDITS

NPSY 3841 $650

NPSY 3860 $650

Health Psychology Gina Turner A | 15 weeks | Jan. 25–May 16 This course provides an overview of the rapidly growing field of health psychology. We examine current research to gain an understanding of how biological, psychological, and social factors influence health outcomes, with a focus on chronic and life-threatening illnesses (e.g., cancer, AIDS, diabetes, hypertension, and chronic pain conditions). We explore the role of psychologists and psychological research in prevention, early detection, and adaptation to illness. Consideration is given to cultural and gender factors that influence health-related behaviors, access to and utilization of healthrelated resources, and health outcomes. 3 CREDITS

NPSY 3843 $650

PSYCHOLOGY

DO YOU SEE WHAT I SEE? THE PSYCHOLOGY OF APPEARANCE NEW

Lisa Rubin

profound impact that imprisonment has had on the lives of both inmates and guards. 3 CREDITS NLIT 2480 $650

A | 15 weeks | Jan. 25–May 16

DIGITAL HUMANITIES

Psychological science demonstrates that

Digital humanities weds technology and design

appearance matters, influencing our judgments

to the critical analysis and research valued by

of the character and well-being of others, as well

humanists. Students create and grapple with

as our sense of self. Nonetheless, “appearance

big data, visualize knowledge, and use technol-

matters” as an integrated field of psychological

ogy to imagine—and solve—research problems

inquiry is just beginning to take shape. This

that engage visual, written, and oral texts. Our

course provides an overview of key topics in

courses enable you to enhance your critical

appearance-related research in psychology,

thinking and your research, technology, and

including beauty ideals in a diverse society, body

organizational skills while developing your

image and eating problems, gender and visual

understanding of traditional humanities fields.

media, and visible differences related to illness and disability. The course highlights key research

JEWS AND THE CRUSADES

and theoretical perspectives to explore the social

Gina Walker

and clinical significance of appearance matters;

A | 15 sessions | beg. Jan. 28 | Th 6–7:50 pm

it is informed by feminist, queer, and critical

The 200 years of bitter conflict referred to as the

disability theories as well as social and evolu-

Crusades had profound and enduring global

tionary perspectives on the science of beauty

consequences that reshaped understandings of

and appearance. 3 CREDITS

destiny, identity, belief, gender, and race. In this

NPSY 3846 $650

course, we examine the origins of those international dynamics, which continue in our

HUMANITIES ACTION LAB Humanities Action Lab (HAL) classes give students the opportunity to create things, find practical applications for research, work closely 98

with faculty, and make their work visible inside and outside of The New School. Explore publicly engaged scholarship and humanities collaborations with community partners. HAL initiatives include a Digital Humanities minor, for-credit internships, a Digital Fellows program, and the

time. We begin by considering new scholarship on the Jews in medieval Europe, who from the 11th to the 13th century were caught up in cycles of ideology and popular violence. Anti-Semitism became an official force when so-called blood libels led to massacres of Jewish communities. Persecution of Muslims, as well as heretical Christian sects like the Albigensians in southern France, intensified in the same period. We read original sources, including accounts by

HAL Global Dialogues on Mass Incarceration.

individual Jews, Muslims, Western and Eastern

The Literature of Incarceration

Crusades, crusaders, and one another, as well as

NEW

Anthony Anemone A | 15 sessions | beg. Jan. 27 | W 4–5:50 pm Throughout history, prison has provided examples of the best and worst in the human experience. Alongside shocking depictions of the violence and horror of incarceration, prison literature also tells inspirational tales of courage, idealism, and self-transformation (e.g., the experiences of Martin Luther King Jr., Henry David Thoreau, and Malcolm X). Through close readings of novels, memoirs, and essays about the uses and abuses, historical and contemporary, of incarceration in Europe, Africa, Asia, and the Americas, we explore the political, moral, social, and psychological ramifications of life behind bars. As we cover topics such as violence, race, sexuality, politics, counterterrorism, censorship, and prisoners of conscience, we examine the

Liberal arts

Christians, and heretics, of encounters with the recent commentary documenting the emergence of intercommunal diplomacy, cross-cultural toleration, and surprising alliances. Readings include Thomas Asbridge, The Crusades; Francisco Bethencourt, Racisms: From the Crusades to the Twentieth Century; Robert Chazan, In the Year 1096: The First Crusade, Jewish Suffering, and the Jews Reassessing Jewish Life in Medieval Europe; Susan Edgington and Sarah Lambert, eds., Gendering the Crusades; Robert Goldenberg, The Origins of Judaism; Carole Hillenbrand, The Crusades: Islamic Perspective; Charles Mills, The Racial Contract; Simon Schama, The Story of the Jews: Finding the Words (1000 BCE–1492); Christopher Tyerman, God’s War: A New History of the Crusades; and other recent commentary on this decisive period. 3 CREDITS NCST 3505 $650

LITERATURE, CULTURE, AND DEMOCRACY

WRITING HISTORY/ RIGHTING HISTORY

As the great author Cynthia Ozick once wrote,

Terri Gordon

literature is “the public thing privately imagined,” which means reading and writing are ways for us to be our most authentic selves among others. The following courses explore written expression as a portal to knowledge of ourselves in the context of society and culture. Find courses on Creative Writing on page 70.

The Fairy Tale and Literature

A | 15 sessions | beg. Jan. 26 | T 1:50–3:30 pm In the past 30 years, a global culture of “truth telling” has emerged. Along with truth commission investigations and reports, testimonial literature has become an essential source of lived history. Survivors of serious human rights violations, including torture, terror, and disappearance, have recorded their experiences in the form of first-person narratives designed to counter the “official story.” In this course, we

Carolyn Berman

study the genre of testimonial literature by

A | 15 sessions | beg. Jan. 25 | M 4–5:50 pm

reading individual accounts in their national and

Adults need erotic literature just as children

historical contexts. What is the role of “storytell-

need fairy tales, according to Havelock Ellis. Yet

ing” in healing and reconciliation on an

fairy tales themselves have an erotic and adult

individual and national level? How important is

history. Why do children need them? What do

the truth of accounts in the genre of testimony?

they mean? How do they fill our collective

In what ways does testimony reveal hidden or

imagination with remnants of ancient history?

alternative truths? How do narratives help to

This course surveys a number of recent

reconstitute the past, preserve memory, and

approaches to the European fairy tale. We begin

make national history? We read classic

by looking for common narrative functions in a

testimonial accounts, such as I, Rigoberta

set of stories. Next we examine the fairy tale as

Menchú: An Indian Woman in Guatemala. We

a genre with a history through multiple versions

also consider the relationship between truth and

of the story of Cinderella. We also compare fairy

fiction in the works of Ariel Dorfman, Carlos

tales with short stories by Hoffmann and Poe

Cerda, and Horacio Castellanos Moya and read

and consider feminist approaches to the classic

critical texts by John Beverly, Idelber Avelar, Jean

tales. Students read tales by Perrault, Madame

Franco, and others. This is a world literature

d’Aulnoy, Mademoiselle de La Force, the

course that considers case studies from Latin

Brothers Grimm, Hans Christian Andersen, and

America and the Caribbean in the late 20th

Lewis Carroll and essays by Vladimir Propp, Jack

century. Students will have the opportunity to

Zipes, Sigmund Freud, and Maria Tatar.

make history by participating in “Writing and

3 CREDITS

Righting History,” the Project Continua

NLIT 3873 $650

Wikipedia Edit-a-Thon, or by editing oral history transcripts of AIDS activists for the United States of AIDS site. 3 CREDITS NLIT 3432 $650

For the most up-to-date course listings and to register, go to newschool.edu/ce/classes.

LITERATURE, CULTURE, AND DEMOCRACY

Authors in Exile: Nostalgia, Mourning, and Dissidence in World Literature Noelle Carruggi A | 15 weeks | Jan. 25–May 16 World literature encompasses a vast array of cultures, styles, and traditions. In this course, we explore the works of acclaimed 20th-century authors from Japan (Yasunari Kawabata), China (Eileen Chang), Vietnam (Marguerite Duras), Haiti (Marie-Célie Agnant), Morocco (Abdellatif

approach in Parallel Lives, we study several “parallel” figures, identifying the history and biography of each as well as their documented contact. We examine the ways each individual shapes an existence according to personal character, public goals, and the interplay of events and the way historians, biographers, novelists, and dramatists construct lives in their own interests. Students will have the opportunity to create a biography of any historical actor of their choice. 3 CREDITS NHIS 4364 $650

Laâbi), and Lebanon (V. Khoury-Ghata). With the exception of Kawabata, who remained in Japan but was deeply affected by the loss of tradi-

100

Anna Karenina

tional values, every one of these writers had to

Margaret Birns

face cultural, social, and political oppression

A | 15 weeks | Jan. 25–May 16

leading to exile. Thus, the goal of their writing is

Considered one of the greatest novels and

to break silence, voice dissent, or express their

written by one of the world’s most admired

struggle with a dual identity. Writing becomes a

novelists, Anna Karenina is not only a memora-

means of surviving loss and persecution. The

ble tragic love story but also a profound

material selected for this course covers an array

exploration of social, psychological, and spiritual

of literary genres (novel, short story, autofiction,

issues. In a complex novel with a cast of

and poetry). The aesthetic quality of the prose or

hundreds, we find a number of characters who

poems and the originality of each author’s

show us that, as Leo Tolstoy himself said, there

writing style reflect cultural imagery and

are many individual hearts, many kinds of love,

traditions. Students will be guided to analyze

and many ways to find happiness or despair.

the literary material in relation to literary

We explore in depth the novel’s two main

aesthetics as well as social and political context.

figures, the mysterious and enigmatic urban

3 CREDITS

socialite Anna Karenina and the good-hearted

NLIT 3604 $650

agrarian Constantin Levin, both of whom struggle with the sorrows and joys of love, marriage, and family life, as well as with moral

History, Biography, Fiction: Parallel Lives Gina Walker A | 15 sessions | beg. Jan. 28 | Th 4–5:50 pm

imperatives, existential meaning, and an increasingly turbulent society undergoing modernization. 3 CREDITS NLIT 3443 $650

This course examines the complex interaction between the claims to objectivity of history and biography and the individual perspectives written into every narrative of the past. We focus on those figures from the 15th century to the turn of the 17th century whom we believe we know the most about: queens and kings, counselors, intellectuals, artists, and rebels. To evaluate the validity of historical representations of particular women and men, we consult contemporary official chronicles and primary documents—letters, diaries, autobiographies, spies’ reports—as well as imaginative accounts from earlier times and our own. We compare later historiographies and historical fictions by Hillary Mantel and others with the most recent scholarly evidence and speculative accounts. We consider the cinematic histories and biographies of particular figures. Adopting Plutarch’s

Liberal arts

More questions about a class? Get in touch! ce@newschool.edu

NEW Reading Palestine

Major Russian Novels

Neil Gordon

A | 15 sessions | beg. Jan. 27 | W 4–5:50 pm

A | 15 sessions | beg. Jan. 26 | T 10–11:50 am

This seminar focuses on canonical works of

In this course, we study the capacity of fiction to

19th- and 20th-century Russian literature,

foster profound understanding of lived historical

including novels by Alexander Pushkin, Mikhail

experience by investigating the reality lived by

Lermontov, Nikolai Gogol, Fyodor Dostoyevsky,

Christians, Muslims, and Jews in the broad

Lev Tolstoy, and Vladimir Nabokov. We also

geographic area defined by the 1916 Sykes-

discuss some of the rich critical writing on prose

Picot agreement as “Palestine,” re-defined by the

theory that has been inspired by the Russian

Val Vinokur

War of 1948 as “Israel and the West Bank,” and

novel. 3 CREDITS

known since the Six-Day War of 1967 as “Israel

NLIT 2320 $650

and the Palestinian (or Occupied) Territories.” The course proposes that fictional accounts frequently call into question, or undermine altogether, the historical assumptions that underlie the complexities of the contemporary situation. What was the reality of life for the Yishuv, the Jews who settled in southern Ottoman Syria and Palestine during the British Mandate: a struggle for normalcy and survival or participation in a policy of colonial expansion? Was there an indigenous Palestinian culture before and during the British Mandate? What does the fiction of the period have to teach us about the reality of the 1948 and 1967 wars? Emphasis will be placed on historical fiction as an optic into the reality of the lived experience of political history. One or more nonfiction works will be used to illustrate the fluid nature of historical understanding. 3 CREDITS

NLIT 3435 $650

The Age of Enlightenment Fiore Sireci A | 15 weeks | Jan. 25–May 16 Western thinkers in the 17th and 18th centuries fiercely questioned the world around them. They engaged in an optimistic project to understand the physical universe, the formation of world societies, and the workings of the human mind. These explorations launched many of the sciences and academic disciplines as we know them today, such as psychology, progressive medicine, sociology, and modern history. “Dare to know” is how one philosopher summed up the spirit of the Enlightenment, and the course encourages this spirit of in-depth study and friendly debate. Readings include Bacon, Voltaire, Locke, Newton, Alexander Pope, Diderot, Benjamin Franklin, and Mary Shelley. 3 CREDITS

NHIS 4365 $650

LITERATURE, CULTURE, AND DEMOCRACY

RACE AND ETHNICITY STUDIES

these processes in all their complexity, bringing to bear a wide range of disciplinary perspec-

Students who pursue this area of study not

tives. Students consider, for example, how to

only examine the representations and histories

analyze the international outcry over a Danish

of human difference but also think through the

cartoonist’s depictions of the Prophet

ways in which identity establishes itself as a

Mohammed, the homophobic lyrics of

logical framework for understanding the self

Jamaican dancehall stars, and the French law

and others.

prohibiting Muslim schoolgirls from wearing headscarves. Through examples such as these,

Reading James Baldwin NEW

Tracyann Williams A | 15 sessions | beg. Jan. 28 | Th 6–7:50 pm This course offers an intensive examination of James Baldwin’s work in its own contexts and in the critical contexts in which others have read

challenging the concept of national sovereignty, posing new ethical and legal dilemmas, and leading to new models of citizenship based on cultural rather than national identity. 3 CREDITS NHUM 2030 $650

it. Baldwin is not only a powerful novelist but

FOOD STUDIES

one of the most important political essayists of

Food is about much more than what lands on

the 20th century, producing incisive scholarship,

your plate at dinnertime, existing at the

literary criticism, and analyses of contemporary

intersection of taste, culture, history, and

U.S. race relations. We examine his contribu-

sustainability. Our faculty of scholars, policy

tions to each of these fields. We also consider

activists, entrepreneurs, and scientists provide

the specific historical moments that Baldwin

the theoretical and practical tools you need to

narrates in his fiction, as well as the historical

engage in what has become a global conversa-

and cultural events that shaped the creation of

tion about food production, distribution, quality,

each novel as he wrote it. The course empha-

and safety and to understand your role in an

sizes the process of examining an individual

ever-evolving food chain.

author’s work in view of the literary, biographishaped it. 3 CREDITS

Contemporary Food Controversies

NLIT 3384 $650

Andrew Smith

cal, historical, and cultural influences that 102

the course shows how the cultural is today

A | 15 weeks | Jan. 25–May 16

INTRODUCTION TO CULTURAL ANALYSIS NEW

Frances Chiu A | 15 weeks | Jan. 25–May 16 What is culture, and how does one go about analyzing it? Why does it matter anyway? Isn’t culture largely shaped by the so-called real world of politics or economics? The belief that culture is in fact at the heart of political struggles, emerging markets, social movements, and technological change has led to a “cultural turn” across the spectrum of the humanities and social sciences and the emergence of the transdisciplinary field of cultural studies. This course introduces the analysis of culture and the diverse fields that study it, from cultural geography to cultural criminology. The emphasis is on global

Everybody eats. Yet few understand the importance of food in our lives and the decisions we make each time we eat. This class will provide an overview of the industrialization of the U.S. food system, probe problems created by the industrial food system, and examine alternatives. Is organic food better for us, or is it just a fad of the elite? Are genetically engineered products “frankenfoods,” or are they the key to feeding the planet? Does globalization destroy local culinary traditions or foster diversity? Can locally produced artisanal food ever replace industrially produced food in the world’s most heavily populated urban centers? What do we really know about the relationship between nutrition and health? This course addresses political, economic, historical, social, and cultural dimensions of food. Guest speakers enliven our discussions of these fascinating

processes, since today the cultural is a site of

topics. 3 CREDITS

transnational struggle as globalization

NFDS 2001 $650

generates new transcultural contact zones and new conflicts between local and global cultural norms. Cultural studies sets out to understand

Liberal arts

A Cultural History of Nutrition and Dieting Fa-Tai Shieh A | 15 weeks | Jan. 25–May 16 In this course, the science of nutrition is explored as a cultural and historical phenomenon. Students learn how ideas about food, health, and body image and food-related fears and disgust vary from time to time and place to place, from the ancient world through the 20th century. This class examines how the concept of nutrition itself has changed over time and how those changes have affected what societies and individuals think is fit to eat. Readings include work by Michael Pollan,

reproduction, negotiation, manipulation, and at times rejection of racial and gendered identities. Readings and discussions address how appetites are marked by gender and race, how cooking has served as a medium of female oppression and empowerment, how soul food evolved as a productive and problematic symbol of Blackness, and how identities change through distance and difference. Topics discussed include home cooking, ethnic restaurants, norms of taste and pleasure, ideal body images, migration and diaspora, and the shifting place of women and racial minorities within the food system today. 3 CREDITS NFDS 3401 $650

Rachel Laudan, Jared Diamond, and Michel Foucault. 3 CREDITS NFDS 3110 $650

Alternative Food Networks Bradley Christensen

The Science of Food, Flavors, and Farming Ann Yonetani A | 15 sessions | beg. Jan. 28 | Th 4–5:50 pm This course is for food lovers who want to learn about the biology and chemistry that turn our daily meals into more than simple sustenance. We begin by studying the chemistry of food, including basic principles of food metabolism, food pathogens, food preservation, and the chemistry of cooking. We then explore the biology of taste and smell, the role played by genetics in producing distinct food experiences for different people, and the possible link between these sensations and memory in the brain. Finally, we examine the sources of food in our society: global versus local or seasonal foods, industrial versus organic farming, and traditionally cultivated versus genetically modified crops. We consider the effects of these choices on farmers, the environment, food, taste, and nutrition. 3 CREDITS NFDS 3700 $650

Eating Identities: Food, Gender, and Race Sierra Clark A | 15 weeks | Jan. 25–May 16 This course explores how gender and race are experienced and expressed through food. It starts from the premise that food is at once political and quotidian, and that this is what gives it power. Far from being an uncomplicated activity, preparing and consuming food becomes a forum for the performance,

A | 15 weeks | Jan. 25–May 16 In recent decades, alternative practices of food production and consumption have emerged in response to concerns about the environmental and social impact of the global industrial food system. Farmer’s markets, communitysupported agriculture, food co-ops, and urban farms are examples of alternative food networks, which are place-based and socially embedded and are intended to change the way we grow, know, and get our food. In this class, we examine the history of these and other alternative food enterprises. Using critical theory, we evaluate the promise and limitations of alternative food networks as a means of creating more sustainable and just food systems. Readings are drawn from the fields of economic geography, rural sociology, community psychology, critical theory, and public health. Case studies from the popular press serve as a basis for class discussions about the practices brought together under the umbrella of alternative food networks. 3 CREDITS NFDS 3203 $650

The Sweet and the Bitter Michael Krondl A | 5 sessions | beg. Apr. 2 | Sat 11 am–12:50 pm While the liking for sweetness is undoubtedly evolutionary in origin, desserts and candies are purely cultural phenomena. This course examines the interplay of food, culture, and society from multiple perspectives, including religion and ritual, class and gender, the

FOOD STUDIES

103

connection between elite tastes and global

policy, the evolution of governance frameworks

supply chains dependent on slavery, confec-

involving local and regional planning authori-

tionery as art and as an industrial commodity,

ties, and the emerging “food federalism.”

and the effects of a high-sugar diet on

3 CREDITS

Americans’ taste and health. 1 CREDIT

NFDS 4200 $650

NFDS 2120 $220

Restaurant Ownership: From Start-Up to Profitability David Friedman

NYC Eats: Food, People, Places Cathy Kaufman A | 10 sessions | beg. Jan. 25 | M 6–7:50 pm This course examines the history of food and eating in New York City, from the days of the

A | 15 sessions/10 weeks | Jan. 25–May 16 |

Dutch and English colonies through contempo-

on-site +

rary restaurant culture. We explore markets,

Learn what it takes to be in the driver’s seat of

manufacturing, iconic foods, and public and

your own restaurant. This short course is a

private dining, focusing on issues of class,

behind-the-scenes look at the nuts and bolts of

ethnicity, immigration, labor, technology, and

running a profitable restaurant, focusing on the

culture, as well as New York’s culinary pioneers,

choices that can make a restaurant great. We

from the Delmonico brothers to David Chang.

review the most important aspects of launching

2 CREDITS

a start-up: having a solid business plan; raising

NFDS 2906 $220

capital; meeting legal requirements; and deciding whether to buy or build. From there we go on to discuss marketing, staffing, training, food and beverage costing, food storage and sanitation, and the essential financial tools. Finally, we touch on the latest trends in social network marketing and farm-to-table cuisine 104

and how they are changing restaurant operations everywhere. This class will take place partly on-site and partly online. The dates for the on-site meetings are January 29, February 26, March 18, April 22, and May 13. 3 CREDITS NFDS 2300 $440

Food History and Globalization Fabio Parasecoli A | 15 sessions | beg. Jan. 25 | M 4–5:50 pm Crops, recipes, and culinary techniques have traveled across regions and populations since the beginning of human cultures. This course focuses on the dynamics beyond these movements and the role they have played in the globalization of consumption and material culture. We examine the role that food has played in trade, territorial expansion, ecological

Case Studies in Community Food

imperialism, migrations, and other worldwide phenomena. Using cultural and political interpretive frames, the course examines cases

Thomas Forster

from around the globe. 3 CREDITS

A | 15 sessions | beg. Jan. 25 | M 6–7:50 pm

NFDS 4530 $650

Governance of the contemporary food system is complex and rapidly evolving. As cities, regions, and nations deal with concerns about safety, security, environmental impact, and climate change affecting food supply and distribution, the governance of food and farming systems is being reexamined and in some cases modified. Designed to follow other policy and food justice classes, this course is conducted in an applied studio format. After learning about basic food governance principles, practices, and models, students research and analyze food governance processes at the local, regional, and national levels, including the work of New York City community boards on food

Liberal arts

Introduction to Food Studies Shayne Figueroa A| 15 sessions | beg. Jan. 27 | T 6–7:50 pm 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. This course counts toward the Gender Studies minor. 3 CREDITS

NFDS 2050 $650

Food and the Senses Grace Choi A | 15 weeks | Jan. 25–May 16 This course offers an overview of key philosophical, sociological, and anthropological arguments about embodied knowledge through an examination of the sensory nature of food. Through readings, discussions, explorations,

Food and Emerging Technologies Stefani Bardin A | 15 sessions | beg. Jan. 27 | W 6–7:50 pm A course dedicated to examining the role of emerging media and new technology in the exploration and articulation of topics related to the food system. We look at artists, technolo-

and projects, students learn about historical constructions of the body in the Western tradition and alternatives to mind/body dualism and then analyze sensory experience and food consumption as culture, politics, and aesthetics. Readings are diverse, including selected works by Descartes, Kant, Marcel Proust, M.F.K. Fisher, and Mary Douglas. Students are required to keep a self-reflective

gists, policymakers, architects, scientists, and

journal about their coursework. 3 CREDITS

designers who use technology to explore and in

NFDS 3505 $650

many cases expose and ameliorate problems in our tightly veiled and anthropogenic food production and distribution systems. Students gain insight into how these emerging technologies and art and design practices influence our food system—the environment as well as the food we eat. Students are also tasked with investigating the issues raised in class and then creating responses to the material in actionable

#LearnGrowRepeat Like a Force of New: Start Your Year of Learning at The New School’s Continuing Education Expo

and deployable ways—analog and technology-

FREE Info Sessions, Pop-Up Classes, Live

based projects designed to address and solve

Music Performances, Raffles, Giveaways,

problems that plague our food system and by

and Campus Tours

extension to promote the health and well-being

Tuesday, January 12, 2016, 5:00–8:00 p.m.

of ourselves and the planet. 3 CREDITS

105

University Center, 63 Fifth Avenue, NYC

NFDS 3446 $650 The new you is waiting. Open the door to

Restaurant Life: Exploring the Roles and Professions in Food Service NEW

Annette Tomei

2016 at The New School’s Continuing Education Expo. Grab some hot cider and start your journey by learning about our line-up of spring courses and programs. • Meet Continuing Education program directors and faculty in Art and Design at

A | 10 sessions | beg. Jan. 28 | Th 6–7:50 pm

Parsons, Music at Mannes, Writing,

Restaurants have been a part of Western culture

Languages, Media, Management, and

for hundreds of years, but never have they been so widely celebrated or influential as they are today. Nor have the key players—chefs, sommeliers, and other food professionals—been so famous (even infamous!). In this class you learn what it means to be a chef and restaurateur, what it takes to run a four-star dining room, how the food and wine find their way to the table, and what new opportunities are emerging in the ever-changing restaurant business. 2 CREDITS NFDS 2312 $440

more. • Get one-on-one advising, in person or online. • Enjoy being serenaded by Mannes musicians. • Create, innovate, and become inspired by fun interactive activities. • Enter our contest for the chance to win prizes and tour our new University Center. • Sign up for a class and get your first round-trip ride to class for free on us! RSVP at newschool.edu/TheNewCEExpo.

FOOD STUDIES

The Global Food System Katinka Wiijsman A | 15 sessions | beg. Jan. 25 | M 4–5:50 pm What decisions, institutions, patterns, habits, and arguments structure the contemporary global food system? Why are food prices up? Why are fish stocks down? What are the effects of trade barriers? What is the origin of food aid programs? What are the social and political ramifications of patenting agricultural staples? How is the cost of labor related to low food prices? What are the long-term economic and social effects of changing global diets? To put everything in perspective, we adopt a historical approach that identifies both the malleable features and fixed contours of our food system. The goal is to understand today’s food system as a historical product and consider how the decisions we make today are shaping the food system of the future. 3 CREDITS NFDS 2230 $650

Liberal arts

LANGUAGES

COURSE OFFERINGS

LANGUAGEs The New School’s comprehensive and robust language programming includes Foreign Languages, English as a Second Language, and professional-caliber training for teachers of ESL. Understand and get ahead in our increasingly global society, travel abroad, conduct business in other countries or with NYC’s multicultural communities, and appreciate great literature or films in the original languages by learning a foreign language. Meet the worldwide demand for native or near-native English speakers trained to teach the language.

FOREIGN LANGUAGES AMERICAN SIGN LANGUAGE Level 1 TBA

In class, students are strongly encouraged to communicate using ASL only. This course is led by a deaf native signer. Prerequisite: American Sign Language Level 1 or the equivalent or permission of the instructor. 2 CREDITS NSLN 1012 $590

A | 13 sessions | beg. Feb. 9 | T 12–1:50 pm This is a beginner’s course in the system of American Sign Language (ASL), a form of communication used by thousands of deaf Americans and Canadians. ASL is an expressive, versatile, full-fledged language and not a hodgepodge of charades and hand movements. It has its own grammar, poetry, and puns. Students learn the techniques essential to basic 108

ASL conversations, including fingerspelling and facial expressions, through demonstrations and class activities, including interactive exercises and role-playing. They become familiar with the history of deaf society in the United States. There

NEW Interpreting for the Performing Arts

Jeffrey Mooney A | 13 sessions | beg. Feb. 12 | F 6–7:50 pm This course is designed for those interested in providing American Sign Language interpretation for the performing arts. Students are exposed to and trained in the process of performance interpreting, acquiring the basic skills necessary for interpreting a variety of performing arts. This course is led by a deaf native signer. Prerequisite: A background in Sign Language is recommended,

is no prerequisite for this course. 2 CREDITS

but students at all levels are welcome. 2 CREDITS

NSLN 1011 $590

NSLN 2701 $590

Level 2

ARABIC

Jeffrey Mooney

Level 2

A | 13 sessions | beg. Feb. 11 | Th 6–7:50 pm A course for people with a basic understanding of American Sign Language (ASL) who wish to acquire more sophisticated communication skills. Students develop greater conversational fluency, expand their sign vocabulary, and improve their fingerspelling ability. Practical role-playing 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.

Karam Tannous A | 15 sessions | beg. Feb. 8 | M 8–9:50 pm This is the second course of a three-semester sequence that introduces students to the fundamentals of speaking, listening, reading, and writing in Arabic. The course integrates Modern Standard Arabic (MSA) and Levantine Arabic. Students expand their vocabulary and improve their grammar skills. More complex topics of conversation are introduced as students continue learning about contemporary cultures of the Middle East. Prerequisite: Arabic Level 1, the equivalent, or permission of the instructor. 2 CREDITS

For the most up-to-date course listings and to register, go to newschool.edu/ce/classes. languages

NARB 1002 $590

Introductory Intensive 1 Iman Maiki A | 26 sessions | beg. Feb. 8 | M, W 6–7:50 pm

family, education, politics, and social change are explored. Prerequisite: intermediate-level Arabic. 2 CREDITS

NARB 3707 $590

This accelerated first course integrates Modern Standard Arabic (Fus-ha) and Levantine Arabic, introducing the Arabic alphabet and sound system along with basic conversational skills in Levantine. Students learn to engage in simple conversations and write short compositions about themselves, their families, and other familiar topics. This course is for beginners who

#TheNewCE #LearnGrowRepeat

would like to progress rapidly. 4 CREDITS NARB 1003 $1,000

Level 3 Karam Tannous A | 13 sessions | beg. Feb. 12 | F 12–1:50 pm In this third-semester course, students continue developing basic skills: listening, speaking, reading, and writing in both Modern Standard Arabic and Levantine Colloquial Arabic. They also learn about Arab cultures. Students learn new verb tenses and acquire 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. 2 CREDITS NARB 2001 $590

NEW

Egyptian Arabic

TBA A | 5 sessions | beg. Feb. 11 | Th 8–9:50 pm Egyptian Arabic, or Masri, is the most widely used Arabic dialect and is also widely understood thanks to the popularity of Egyptian cinema and music. We focus on comprehension and oral production through the use of a variety of contemporary media forms such as blogs, music videos, advertisements, comics, and film excerpts. Class time will be dedicated exclusively to communicative activities in Masri, while grammatical structures will be reviewed in the homework. 1 CREDIT NARB 2705 $250

CHINESE (MANDARIN) Level 2 Lei Ping A | 13 sessions | beg. Feb. 8 | M 6–7:50 pm This course is for students with elementary knowledge of Mandarin Chinese. Students expand their vocabulary and learn new sentence patterns in the context of practical communication. Reading and writing of Chinese characters receives increased attention as students develop their listening and speaking abilities throughout the semester. Prerequisite: Chinese Level 1, the equivalent, or permission of the instructor. 2 CREDITS

NCHM 1002 $590 109

Introductory Intensive 1 Yan Deng A | 13 sessions | beg. Feb. 13 | Sat 10 am–1:45 pm This is an accelerated course for students with little or no knowledge of Chinese. Students learn the fundamentals of speaking, listening, reading, and writing in Chinese, including tones, elementary Chinese characters (writing), vocabulary, and grammatical functions such as affirmative and negative, asking questions, and expressing past and future. The course follows a whole language approach, so students are also introduced to aspects of Chinese culture and topics of everyday conversations such as greetings, family, visiting friends, expressions of time, hobbies, shopping, and school. 4 CREDITS

Conversational Arabic

NCHM 1003 $1,000

TBA A | 13 sessions | beg. Feb. 11 | Th 6–7:50 pm This class focuses on Levantine conversation and is designed to help students communicate smoothly. Course material includes songs, films, TV shows, and articles in which topics such as

CHINESE (MANDARIN)

Conversational Chinese TBA A | 15 sessions | beg. Jan. 27 | W 6–7:50 pm This course covers a wide range of topics and is designed for students who aim to learn the Chinese language and communicate freely in

modernism and postmodernism through conventional and new media. This course is conducted entirely in Chinese. The course may be taken more than once for credit when the topic changes. Prerequisite: Chinese Intermediate 2 or the equivalent. 2 CREDITS NCHM 4718 $590

Chinese. Students learn intermediate-level vocabulary and grammar and develop their conversational skills by studying and discussing everyday topics, short news articles, and popular culture. The emphasis is on expanding

FRENCH Level 1

vocabulary and knowledge of sentence

Heidi Ziegler

structures. This class is conducted mostly in

A | 13 sessions | beg. Feb. 10 | W 4–5:50 pm

Chinese. There is no prerequisite for this course.

Noelle Carruggi

2 CREDITS

B | 13 sessions | beg. Feb. 10 | W 6–7:50 pm

NCHM 3704 $590

Alfredo Marques C | 13 sessions | beg. Feb. 11 | Th 8–9:50 pm

TBA

From Beijing to Tokyo

D | 13 sessions | beg. Feb. 13 | Sat 12–1:50 pm

Kishimoto Ichiro, Peng Zeng, and Sanae Asai

E | 13 sessions | beg. Feb. 12 | F 12–1:50 pm

A | 30 sessions | beg. Jan. 26 | T, Th 10–11:40 am This course introduces students to two East Asian languages, Japanese and Chinese. The course is divided into three sections. The first section is dedicated to introductory-level Japanese, the second section is dedicated to introductory-level Chinese, and the third 110

focuses on the basics of calligraphy of Chinese characters using brush writing, reflecting the

Sabine Landreau-Farber This is the first course of a three-term sequence that introduces the fundamentals of speaking, listening, reading, and writing in French. 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

common writing culture of the two languages.

communicative skills. 2 CREDITS

The class also includes a trip to Chinatown and

NFRN 1001 $590

Little Osaka, as well as a final project. No Japanese or Chinese language experience is required for this course. 4 CREDITS

Level 2

NFLN 1101 $1,000

Alfredo Marques A | 13 sessions | beg. Feb. 8 | M 8–9:50 pm

Sabine Landreau-Farber

Selected Topics in Chinese: Contemporary Chinese Art and Fashion NEW

Lei Ping A | 13 sessions | beg. Feb. 11 | Th 6–7:50 pm This course is designed for high-intermediateto advanced-level students who are interested in learning about Chinese contemporary art, fashion, and culture while advancing their reading, writing, and conversational skills in Mandarin Chinese. Students are introduced to major works of Chinese artists and fashion designers. Course materials are selected to build and reinforce students’ vocabulary, grammar, composition, and ability to converse on a variety of topics pertaining to Chinese

languages

B | 13 sessions | beg. Feb. 11 | Th 4–5:50 pm

Noelle Carruggi C | 13 sessions | beg. Feb. 11 | Th 6–7:50 pm This is the second course of a three-term sequence that introduces students to the fundamentals of speaking, listening, reading, and writing in French. 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. 2 CREDITS

NFRN 1002 $590

Introduction 2 Daisy Bow

Introductory Intensive 2

A | 30 sessions | beg. Jan. 25 | M, W 11:55 am–1:30 pm

Stephane Zaborowski

Partovi Sanaz

A | 13 sessions | beg. Feb. 13 | Sat 10 am–1:45 pm

B | 30 sessions | beg. Jan. 26 | T, Th 3:50–5:30 pm

This accelerated course is a continuation of

After a brief review of material covered in French

Introductory Intensive 1 and concludes the study

Introductory Intensive 1, new grammatical and

of the fundamentals of speaking, listening,

syntactical elements are introduced (pronominal

reading, and writing in French. Students continue

verbs, passe compose, imparfait, multiple

studying elementary grammar (present and

pronouns, etc.). Through in-class interactive

past tenses, expressing negation, asking

exercises, students expand their vocabulary and

questions, using pronouns). They practice by

knowledge of French culture and learn to write

conversing and writing about shopping, food,

short descriptive and narrative texts.

daily life, health, technology, and ecology.

Prerequisites: French Introduction 1, the

Students continue to learn about France and the

equivalent, or permission of the instructor.

Francophone world while building their

4 CREDITS

communicative skills. Prerequisite: French

NFRN 2547 $1,000

Introductory Intensive 1 or the equivalent. 4 CREDITS

NFRN 1004 $1,000

Introductory Intensive 1 Samuel Howell

Intermediate 2

A | 26 sessions | beg. Feb. 9 | T, Th 8–9:50 pm

Marie-Christine Massé

Alfredo Marques

A | 15 weeks | beg. Jan. 26 | T, Th 1:50–3:30 pm

B | 13 sessions | beg. Feb. 13 | Sat 10 am–1:45 pm

TBA

This is an accelerated course for beginners with

B | 15 weeks | beg. Jan. 25 | M, W 1:50–3:30 pm

little or no knowledge of French. Students learn

This is an advanced-intermediate course in

the fundamentals of speaking, listening, reading,

which students apply and polish their French

and writing in French. They acquire elementary

skills by reading and discussing short literary

grammar skills (present and past tenses,

texts. Further knowledge of the history and

pronouns), learn how to express negation and

culture of French-speaking countries is intro-

ask questions, and practice by conversing and

duced through films and magazines; this

writing about university life, friends and family,

material is also discussed in individual class

hobbies and leisure, celebrations, holidays, and

presentations. Grammar topics are studied in

travel. They learn about France and the

depth, and the organization of written composi-

Francophone world while building their

tions is emphasized. Prerequisite: French

communicative skills. 4 CREDITS

Intermediate 1, the equivalent, or permission of

NFRN 1003 $1,000

the instructor. 4 CREDITS

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NFRN2102 $1,000

Get the latest updates and offers from Continuing Education at The New School! newschool.edu/ theNewCEinfo

Level 3 Ida Kummer A | 13 sessions | beg. Feb. 10 | W 6–7:50 pm This is the last part of a three-course elementary sequence that introduces the fundamentals of speaking, listening, reading, and writing in French. 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. Students continue to learn about France and the Francophone world while building their communicative skills. Prerequisite: French Level 2 or the equivalent. 2 CREDITS NFRN 2001 $590

french

Level 4 Marie-Laure Hoffmann

by contextualized activities that reinforce principles of French grammar, vocabulary, and

A | 13 sessions | beg. Feb. 9 | T 6–7:50 pm

idioms. 1 CREDIT

Students begin intermediate-level study of

NFRN 2011 $350

French. Review and reinforcement of some of the more complex grammatical structures of the language is combined with cultural readings and

Level 5

viewings of short films and online materials.

TBA

Students refine their writing and verbal skills

A | 13 sessions | beg. Feb. 10 | W 8–9:50 pm

through brief compositions, class presentations,

This is the second course of the intermediate-

and sustained classroom conversation in French.

level French sequence. Continued review and

Prerequisite: French Level 3, French Introductory

reinforcement of complex grammatical

Intensive 2, or the equivalent. 2 CREDITS

structures of the language is combined with the

NFRN 2002 $590

study of cultural readings, short films, and online materials. Students refine their writing and verbal skills through brief compositions, class

Grammaire/ Composition I TBA A | 5 weeks | Jan. 25–Feb. 26 This one-credit workshop offers a comprehen-

presentations, and sustained conversation in French. Prerequisite: French Level 4, French Intermediate Intensive 2, or the equivalent. 2 CREDITS

NFRN 3001 $590

sive French grammar review for students who have completed one or two years of French or already acquired a foundation in French but who

Grammaire/ Composition II

wish to reinforce and expand upon what they

TBA

already know. It offers a thorough review of the

A | 5 weeks | Feb. 12–Mar. 10 | F 11 am–12:50 pm

basic points of French grammar accompanied

This one-credit workshop offers a comprehen-

the equivalent. It is meant for those who have

sive French grammar review for students who have completed two or more years of college-level French or the equivalent. It helps students improve their grammar and perfect their writing and reading skills, especially as preparation for taking advanced literature or civilization courses or studying in a Francophone country. The emphasis is on grammatical accuracy, clarity, and the appropriate use of idioms and syntax. 1 CREDIT NFRN 3011 $350

French Phonetics and Pronunciation TBA A | 5 weeks | Feb. 12–Mar. 11 | F 11 am–12:50 pm This is a quick and practical course in French pronunciation that can be taken by students after their third semester of French. One of the goals of most students of French is the acquisition of near-native pronunciation. This course will therefore focus on vowels, consonants, stress, and intonation patterns as they differ from English, and will help students enhance their oral production. 1 CREDIT NFRN 2743 $250

languages

NEW

Media

French in the

Faitha Bali A | 13 sessions | beg. Feb. 8 | M 6–7:50 pm This is a high-intermediate conversation course

GERMAN Level 1 Adelheid Ziegler A | 13 sessions | beg. Feb. 8 | M 6–7:50 pm

exploring major institutions, actors, and trends

Rainer Brueckheimer

in different branches of contemporary French

B | 13 sessions | beg. Feb. 8 | M 8–9:50 pm

language media (press, magazines, advertising,

A first course in German for those with no

radio, television, Internet). Students follow

previous knowledge of the language. Students

events in French and Francophone media and

learn basic speaking, reading, and writing skills

participate in discussions on national identity,

while discovering aspects of German culture.

globalization, food scandals, nuclear energy,

Class activities include interactive exercises and

social gaps, and other topics as they are

role-playing. Principles of grammar and syntax

debated in the media. Through analyzing and

are introduced as students become more

interpreting these topics, students improve their

comfortable with the spoken language.

speaking skills and develop strategies to discuss

2 CREDITS

contemporary political, social, and cultural

NGRM 1001 $590

topics. Prerequisite: at least two years of French. 2 CREDITS

NFRN 3718 $590

Level 2 Rainer Brueckheimer

Advanced 2: Le Cinéma québécois Marie-Christine Massé A | 15 sessions | beg. Jan. 28 | Th 6–7:50 pm Cinema in Quebec is remarkable for its creativity, vibrancy, and diversity. In this course, students are introduced to major French language films and directors from Quebec from

A | 13 sessions | beg. Feb. 11 | Th 6–7:50 pm 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 communicative skills. Prerequisite: German Level 1, the equivalent, or permission of

the Révolution Tranquille of the 1960s to today.

the instructor. 2 CREDITS

We look at films and documentaries addressing

NGRM 1002 $590

113

issues of cultural affirmation, language, separatism, American and French influence, and ethnic diversity and current political, social, and

Level 3

economic conditions in Quebec. Film viewing

TBA

will be complemented by music clips and newspaper articles. This class is conducted in French. Prerequisite: at least two years of French.

A | 13 sessions | beg. Feb. 12 | F 12–1:50 pm This course assumes familiarity with the basic grammatical structures of the German lan-

3 CREDITS

guage. It begins with a review and moves on to

NFRN 3102 $620

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 NGRM 2001 $590

NEW

Wall

Berlin After the

Maiken Kaczmar A | 5 sessions | beg. Apr. 4 | M 6–7:50 pm Berlin is a quintessentially modern city. This course explores representations of modern-day Berlin and focuses on the conflicting identities

German

and ideologies that have shaped Berlin’s history:

grammar (present, past, and future tenses of

East and West, communism and capitalism,

regular and irregular verbs; reflexive verbs; giving

German and Jew, avant-garde and reactionary.

commands; using pronouns). They practice by

Part of the course will involve developing

conversing and writing about living spaces,

strategies for reading and walking through this

stores, restaurants, sports, and movies, learning

multilayered and contradictory landscape. The

about Italian culture while building communica-

course is conducted in English while introducing

tive skills. 4 CREDITS

some basic German vocabulary related to

NITL 1003 $1,000

context and content. 1 CREDIT NGRM 1707 $250

Introduction 2 ITALIAN Level 1 Giuseppe Manca

Caterina Bertolotto A | 30 sessions | beg. Jan. 25 | M, W 1:50–3:30 pm Students expand their vocabulary, add to their knowledge of Italian grammar, and develop their conversational skills in an interactive and fun

A | 13 sessions | beg. Feb. 10 | W 6–7:50 pm

classroom atmosphere. Prerequisite: Italian

Caterina Bertolotto

Introduction 1, the equivalent, or permission of

B | 13 sessions | beg. Feb. 9 | T 4–5:50 pm

the instructor. 4 CREDITS

This is the first course of a three-term sequence

NITL 1102 $1,000

that introduces students to the fundamentals of speaking, listening, reading, and writing in Italian. 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 114

NITL 1001 $590

Level 3 Francesca Magnani A | 13 sessions | beg. Feb. 11 | Th 6–7:50 pm This is the last part of a three-course sequence that introduces the fundamentals of speaking, listening, reading, and writing in Italian. In Level 3, students complete the study of essential grammar by learning more complex structures (subjunctive, historical past tense, expressing

Level 2

hypothetical situations and obligation). They study the history of the Italian language and the

Caterina Bertolotto

geography of Italy and learn more about

A | 13 sessions | beg. Feb. 10 | W 8–9:50 pm

contemporary Italian culture while building their

This is the second course of a three-term

communicative skills. Prerequisite: Italian Level 2

sequence that introduces students to the

or the equivalent. 2 CREDITS

fundamentals of speaking, listening, reading, and

NITL 2001 $590

writing in Italian. 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. 2 CREDITS NITL 1002 $590

Selected Topics in Italian Francesca Magnani A | 13 sessions | beg. Feb. 12 | F 12–1:50 pm Study of selected topics in contemporary Italian culture or a single topic relating to films or popular culture. May be repeated for credit

Introductory Intensive 1 Giuseppe Manca

when the topic changes. Prerequisite: Italian 3, Intermediate 1, or the equivalent. 2 CREDITS NITL 3718 $590

A | 26 sessions | beg. Feb. 9 | T, Th 8–9:50 pm This is an accelerated course for beginners with little or no knowledge of Italian. Students learn the fundamentals of speaking, listening, reading, and writing in Italian. They acquire elementary

languages

For the most up-to-date course listings and to register, go to newschool.edu/ce/classes.

JAPANESE Level 1 TBA

Intermediate 2 Kazue Kurahara A | 30 sessions | beg. Jan. 25 | M, W 1:50–3:30 pm Students learn complex grammatical construc-

A | 13 sessions | beg. Feb. 8 | M 6–7:50 pm

tions, expand vocabulary and kanji knowledge,

A first course in Japanese for those with no

and continue to improve their skills, expressing

previous knowledge of the language. Students

themselves and exchanging information on a

acquire basic speaking skills and are introduced

wide range of topics. Teaching is conducted in

to reading and writing hiragana and katakana

Japanese whenever possible. Students are

while learning about Japanese culture. Class

expected to learn more kanji (Chinese charac-

activities include interactive exercises and

ters) during the semester. Prerequisite: Japanese

role-playing. Principles of grammar and syntax

Intermediate 1, the equivalent, or permission of

are introduced as students become more

the instructor. 4 CREDITS

comfortable with the spoken language. 2 CREDITS

NJPN 2102 $1,000

NJPN 1001 $590

Level 2 TBA A | 13 sessions | beg. Feb. 13 | Sat 12–1:50 pm For students with elementary knowledge of Japanese vocabulary and sentence patterns. This course reviews the basics and then introduces new grammatical and syntactical elements. Students expand their knowledge of Japanese language and culture in a setting that emphasizes communication skills. Prerequisite: Japanese Level 1, the equivalent, or permission of the instructor. 2 CREDITS NJPN 1002 $590

Selected Topics in Japanese TBA A | 13 sessions | beg. Feb. 9 | T 8–9:50 pm Beginning-advanced-level study of Japanese language and culture, designed for students with knowledge of Japanese beyond the two-year level. Students develop their language skills (reinforcing grammar, expanding vocabulary, and further mastering kanji) and gain proficiency in reading and writing at a beginning-advanced level. This course examines selected topics in contemporary culture or a single topic related to films or popular culture. May be taken more than

115

once for credit when the topic changes. Prerequisite: Japanese Intermediate Intensive 2 or the equivalent. 2 CREDITS

Introduction 2

NJPN 4718 $590

Kyoko Hincapie A | 30 sessions | beg. Jan. 26 | T, Th 10–11:40 am

Kazue Kurahara B | 30 sessions | beg. Jan. 25 | M, W 11:55 am–1:35 pm

KOREAN

already have a basic knowledge of Japanese

Introductory Intensive 1

vocabulary and sentence patterns, including

TBA

hiragana and katakana. Students develop

A | 26 sessions | beg. Feb. 8 | M, W 6–7:50 pm

familiarity with Japanese culture by studying

This is an accelerated course for beginners with

communicative contexts and strategies.

little or no knowledge of Korean. Students learn

Students are required to learn more kanji

the fundamentals of the Korean language

(Chinese characters) during the semester.

through speaking, listening, reading, and

Prerequisite: Japanese Introduction 1, the

writing, including tones, elementary Korean

equivalent, or permission of the instructor.

characters (writing), vocabulary, and grammati-

4 CREDITS

cal functions such as affirmative and negative,

NJPN 1102 $1,000

asking questions, and expressing past and

This course is designed for students who

future. The course follows a whole language approach, so students are also introduced to aspects of Korean culture and topics of everyday conversations such as greetings, family, visiting friends, expressions of time, hobbies, shopping, and school. 4 CREDITS NKRN 1003 $1,000

Korean

Level 2 Sedhee Park A | 13 sessions | beg. Feb. 12 | F 4–5:50 pm

LATIN Latin: Empire and Decay

Fundamental skills in speaking Korean are

Rama C. Madhu

reinforced. Reading and writing of Korean

A | 15 sessions | beg. Jan. 28 | Th 4–5:50 pm

characters receives added attention as

The striking parallels between Rome and the

students’ speaking abilities develop.

United States make the collapse of the Roman

Prerequisite: Korean Level 1, the equivalent, or

Republic into empire of particular relevance.

permission of the instructor. 2 CREDITS

This period of chaos and its aftermath gave rise

NKRN 1002 $590

to the greatest poets, historians, and satirists of Latin literature: Cicero, Livy, Horace, Ovid, and Petronius. In this course, intended for both

Introductory Intensive 2 NEW

Sunhee Song A | 13 split sessions | beg. Feb. 13 | Sat 10–11:50 am & 1–2:50 pm

This accelerated course is the continuation of

beginning and advanced Latin students, the class will explore this period of political decay with the goal of acquiring as much Latin as possible quickly, painlessly, and enjoyably. 3 CREDITS

NLTN 2004 $620

Introductory Intensive 1 and completes the study of the fundamentals of the Korean language. Students extend their knowledge of essential grammar, learning how to express opinions (using past and present subjunctive), and make conjectures (using the conditional and the future). They continue learning about Korean culture while developing communicative skills. Note: This intensive course meets on Saturdays and is split into two sessions: a morning session for one hour and 50 minutes, 116

followed by a break for lunch and an afternoon session for one hour and 50 minutes. Prerequisite: Korean Introductory Intensive 1 or the equivalent. 4 CREDITS

NKRN 1004 $1,000

PORTUGUESE (BRAZILIAN) Level 1 Tobias Nascimento A | 13 sessions | beg. Feb. 8 | M 6–7:50 pm 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 NPRT 1001 $590

Level 2 Tobias Nascimento A | 13 sessions | beg. Feb. 8 | M 8–9:50 pm This course, designed for students with elementary knowledge of Portuguese, begins with a review of simple grammar (present, past, and future tenses) and then introduces more complex grammatical and syntactical elements. Students expand their vocabulary and knowledge of Brazilian culture in a setting that emphasizes communicative skills. Prerequisite: Portuguese Level 1, the equivalent, or permission of the instructor. 2 CREDITS NPRT 1002 $590

languages

Portuguese for Spanish Speakers Liria Van Zandt A | 13 sessions | beg. Feb. 9 | T 8–9:50 pm This is a beginner’s Portuguese course for students

SPANISH Level 1 Victor Tirado A | 13 sessions | beg. Feb. 9 | T 6–7:50 pm

with a strong Spanish language background and

Luis Guzman

little or no knowledge of Portuguese. They learn to

B | 13 sessions | beg. Feb. 10 | W 8–9:50 pm

use their knowledge of Spanish to gain compe-

TBA

tency and confidence in speaking Portuguese.

C | 13 sessions | beg. Feb. 13 | Sat 12–1:50 pm

They learn to minimize the confusions that can

This is the first course of a sequence that

result from the similarities of the languages. The

introduces the fundamentals of speaking,

emphasis is on eliminating Spanish phonetics,

listening, reading, and writing in Spanish.

vocabulary, and sentence structure from their

Students acquire elementary grammar (present

Portuguese speech. After completing this course,

and future tenses), learn to ask questions, and

students can take Portuguese Level 3. Prerequisite:

practice by conversing and writing about family

fluency in Spanish. 2 CREDITS

members, school and leisure activities, likes and

NPRT 1700 $590

dislikes, time, and the weather. They learn about Spanish and Latin American culture while building their communicative skills. There are no

Conversational Portuguese

prerequisites for this course. 2 CREDITS NSPN 1001 $590

Rainer Brueckheimer A | 13 sessions | beg. Feb. 11 | Th 8–9:50 pm Portuguese that uses film as the basis for

Professional Spanish

learning vocabulary, strengthening oral and

Raul Rubio

written skills, and becoming more familiar with

A | 15 sessions | beg. Jan. 25 | M 4–5:50 pm

various aspects of Lusophone culture such as

This course provides intermediate-level students

the sertão (backlands), urban violence, political

with an introduction to the fundamentals of the

transitions, and women’s positionality.

Spanish language as it is used in work settings.

Prerequisite: intermediate-level Portuguese.

Emphasis is placed on the development of

2 CREDITS

communication skills through the completion of

NPRT 3707 $590

hands-on real-life activities related to a wide

This is a course for intermediate students of

NEW

117

variety of professions. Students develop projects, presentations, and a portfolio containing a

RUSSIAN

professional résumé and other items. Majors in a wide range of fields can benefit from this course.

Level 2

Prerequisite: intermediate-level Spanish. 2 CREDITS

Katia Korunsky

NSPN 3104 $620

A | 13 sessions | beg. Feb. 11 | Th 6-7:50 pm Designed for students with elementary knowledge of Russian, this course reviews simple

Level 2

elements of grammar (present, past, and future

Sonia Granillo-Ogikubo

tenses) and introduces new grammatical and

A | 13 sessions | beg. Feb. 10 | W 6–7:50 pm

syntactical elements. Students expand their

Luis Guzman

vocabulary and knowledge of Russian culture in a classroom setting that emphasizes communicative skills. Prerequisite: Russian Level 1, the equivalent, or permission of the instructor.

B | 13 weeks | Feb. 8–May 16 This is the second course of a sequence that introduces the fundamentals of speaking, listening, reading, and writing in Spanish.

2 CREDITS

Students continue using the basic grammatical

NRSN 1002 $590

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

Spanish

American culture while building communicative

are required to do presentations in Spanish.

skills. Prerequisite: Spanish Level 1. 2 CREDITS

Prerequisite: Spanish Introduction 1, the

NSPN 1002 $590

equivalent, or permission of the instructor. 4 CREDITS

Introductory Intensive 1

118

NSPN 1102 $1,000

Teresa Bell

Level 3

A | 26 sessions | beg. Feb. 8 | M, W 8–9:50 pm

Luis Guzman

TBA

A | 13 sessions | beg. Feb. 8 | M 6–7:50 pm

B | 26 sessions | beg. Feb. 13 | F 10 am–1:45 pm

This is the third course in a sequence that

This is an accelerated course for beginners with

introduces the fundamentals of speaking,

little or no knowledge of Spanish. Students learn

listening, reading, and writing in Spanish.

the fundamentals of speaking, listening,

Students build on the basic grammar learned in

reading, and writing in Spanish. They acquire a

previous courses and go on to learn the different

wide range of elementary communicative

uses of past tenses, combinations of pronouns,

competencies such as using the present, past,

and the various forms of commands while

and future tenses; expressing likes and dislikes;

learning to construct complex sentences. They

describing things; and asking questions. They

practice by conversing and writing about topics

practice conversing and writing about them-

such as celebrations, health, technology, and

selves and others, school and leisure activities,

personal relationships. As in previous courses,

time, weather, and shopping. They learn about

they continue learning about Spanish and Latin

Spanish and Latin American culture while

American cultures. Prerequisite: Spanish Level 2,

building their communicative skills. There are no

the equivalent, or permission of the instructor.

prerequisites for this course. 4 CREDITS

2 CREDITS

NSPN 1003 $1,000

NSPN 2001 $590

Introductory Intensive 2

Level 4

Luis Guillermo Galli Vilchez

A | 13 sessions | beg. Feb. 11 | Th 6–7:50 pm

A | 26 sessions | beg. Feb. 8 | M, W 8–9:50 pm

This is the last course in a sequence that

This accelerated course is the continuation of

introduces the fundamentals of speaking,

Introductory Intensive 1 and completes the

listening, reading, and writing in Spanish.

study of the fundamentals of the Spanish

Grammar instruction focuses on the uses of the

language. Students extend their knowledge of

subjunctive and expressing conditions and

essential grammar, learning how to express

hypotheses. Topics of classroom conversation

opinions (using past and present subjunctive),

and writing assignments include the environ-

and make conjectures (using the conditional

ment, city life, personal well-being, and

and the future). They continue learning about

household chores. Students continue learning

Spanish and Latin American cultures while

about Spanish and Latin American cultures.

developing communicative skills. Prerequisite:

Prerequisite: Spanish Level 3, the equivalent, or

Spanish Introductory Intensive 1 or the

permission of the instructor. 2 CREDITS

equivalent. 4 CREDITS

NSPN 2002 $590

Monica Parra Rey

NSPN 1004 $1,000

Introduction 2

Level 5 Victor Tirado

Luis Guillermo Galli Vilchez

A | 13 sessions | beg. Feb. 9 | T 8–9:50 pm

A | 30 sessions | beg. Jan. 26 | T, Th 3:50–5:30 pm

This intermediate-level course assumes

Review of basic Spanish grammar and

familiarity with basic Spanish grammar. The

introduction of more complex conversational

class reviews the most commonly used

elements. Students expand their vocabulary and

grammatical structures to build fluency.

knowledge of Spanish and Latin American

Students practice expressing themselves clearly

culture in a classroom setting that enhances

and correctly using present, past, and future

and develops communication skills. Students

tenses. They also review and practice the

languages

subjunctive, the conditional, and compound tenses. They are expected to construct complex sentences and paragraphs both in speaking and in writing, using forms including 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

NSPN 3001 $590

Conversational Spanish Luis Guillermo Galli Vilchez A | 13 sessions | beg. Feb. 10 | W 6–7:50 pm 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 in this course practice the same topics covered in Intermediate Intensive 1 and apply them in conversational situations. In addition to studying cultural topics, in this course students focus on retelling events in the past, expressing their opinions

Intermediate 2

about issues that affect their lives and those of others, describing habits in the past and

Sara Villa

comparing them with current ones, giving

A | 15 sessions | beg. Jan. 25 | M, W 1:50–3:30 pm

instructions and directions, describing different

This course is designed to advance students to

kinds of housing and finding the right room-

high-intermediate fluency. Students learn useful

mate, and talking about their future and that of

communicative skills through activities

others. Prerequisite: intermediate-level Spanish.

emphasizing oral proficiency, culture, and

2 CREDITS

grammar. Prerequisite: Spanish Intermediate 1,

NSPN 2731 $590

the equivalent, or permission of the instructor. 4 CREDITS

NSPN 2102 $1,000

Advanced 2: Women in Literary Contexts

Fair Trade in Latin America Silvia Vega-Llona A | 5 sessions | beg. Feb. 19 | F 12–1:50 pm This course explores fair trade as a successful

Sara Villa

alternative to traditional commerce models in

A | 30 sessions | beg. Jan. 25 | M, W 11:55 am–1:35 pm

Latin America. Students look at real cases of

This course offers an overview of women’s

producers in the Andes and the Amazon and

artistic production in Latin America and

examine the way fair trade improves socioeco-

considers how their “texts” intersect with,

nomic conditions by expanding gender equality

reflect, disrupt, or challenge canonical literary

and environmental protection and reducing

movements in the Hispanic tradition. The

poverty and drug trafficking in Latin America.

material to be covered ranges from short

The course is conducted in English, but students

stories, novels, poetry, and 20th-century

learn Spanish vocabulary pertaining to fair

painting to film and documentaries, all of which

trade. 1 CREDIT

reinforce students’ understanding of the

NSPN 1901 $250

119

characteristics of women’s production. Students familiarize themselves with canonical authors such as Isabel Allende, Laura Esquivel, Rosario Ferré, and Delmira Agustini and also with lesser-known authors such as Giovanna Pollarolo. Through the analysis and the close reading of these texts, students also sharpen their language skills. Prerequisite: intermediateto advanced-level Spanish. 4 CREDITS NSPN 3102 $1,000

TURKISH Introductory Intensive 1 TBA A | 13 sessions | beg. Feb. 9 | T, Th 8–9:50 pm This is a course for beginners who want to progress rapidly in learning standard Turkish. Students acquire basic speaking, reading, and writing skills while learning about Turkish culture. The emphasis is on developing communicative skills. 4 CREDITS NTRK 1003 $1,000

TURKISH

TEACHING ENGLISH TO SPEAKERS OF OTHER LANGUAGES English has become the language of international communication; command of spoken and

MASTER OF ARTS IN TEACHING ENGLISH TO SPEAKERS OF OTHER LANGUAGES

written English is important in business, the arts, and other professions all over the world. The demand for ESL courses and trained ESL

The New School offers the Master of Arts in

teachers continues to grow.

Teaching English to Speakers of Other Languages (TESOL), with concentrations in teaching and curriculum development. For more information, visit the website at newschool.edu/matesol.

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.

120

CERTIFICATE IN TEACHING ENGLISH Methods of Teaching ESL/EFL Theresa Breland A | 15 sessions | beg. Jan. 27 | W 7–9:40 pm 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

The certificate curriculum has a practical

student-centered teaching and how to plan

orientation based on theory and techniques of

lessons that integrate contextualized grammar

communicative, student-centered learning.

instruction with the teaching of vocabulary and

Students learn a variety of skills readily

the four language skills (speaking, listening,

applicable to classroom teaching and tutoring.

reading, writing). Also learn about error

Students who complete the program usually

correction and classroom management. The

find work in nonprofit immigrant support

emphasis is on communicative learning.

institutions, schools abroad, and private

Participants are required to observe at least

practice.

three hours of ESL classes and teach an ESL/EFL

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

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 NELT 3411 $1,035

application includes a writing sample and English grammar test. Applicants will be their complete application has been received.

Teaching the Sound System of English

Note: Non-native speakers of English must

Polly Merdinger

contacted for an in-person interview soon after

have a TOEFL score of at least 250 (CBT), 100

A | 4 sessions | beg. Jan. 30 | Sat 9:30 am–1 pm

(IBT), or 600 (PBT).

Enrollment limited. Permission required; call

For the application and complete program

studied, with special attention to characteristics

information, visit newschool.edu/ce/ teachingenglish.

212.229.5372. The sound system of English is that learners of English as a foreign language often find difficult. Participants learn to develop contextualized pronunciation exercises and incorporate them into an ESL syllabus. 4 CREDITS NELT 3414 $405

languages

PROFESSIONAL DEVELOPMENT: ONE-DAY WORKSHOPS

trainee to the senior executive. The themes and strategies discussed in the workshop can be further developed and applied in a variety of

Professional Development workshops are

English language teaching contexts, making

offered regularly for working ESL teachers.

them extremely useful for today’s global

Enrollment in the certificate program is not

workplace.

required. Register online at newschool.edu/esl.

NELT 0539 $125

NEW PRONUNCIATION: BEYOND THE BASICS

Polly Merdinger

X-Word Grammar for Writing

A | 1 session | Mar. 19 | Sat 10 am–4:45 pm

Tamara Kirson

In this course, you learn pedagogically impor-

A | 1 session | Apr. 16 | Sat 10 am–4:45 pm

tant pronunciation points beyond the basic ones

The strict word order of English can challenge

covered in Teaching the Sound System of

both ESOL students and native speakers. With

English. These include aspects of positional

X-Word Grammar, that sentence word order is

variation such as aspiration, flapping, glottaliza-

revealed, explained, and practiced using logical

tion, vowel length, light and dark “l,” r-coloring,

and accessible methods. ESOL students learn to

and palatalization. The emphasis is on integrat-

identify a sentence (subject–predicate) and

ing these pronunciation points into various

answer the question: Is it a sentence or a

types of ESL lessons.

fragment? When students know how to identify

NELT 0557 $125

sentences, they can construct more elaborate sentences. They can follow simple rules to combine sentences and add adverbial informa-

ESL Teaching Practicum

tion (where, when, why, and how). Students learn the seven basic sentence patterns, enabling them to add variety, relate ideas, and

Linda Pelc A | 15 sessions | beg. Jan. 25 | Sat 10 am–4:45 pm Enrollment limited. Permission required; call 212.229.5372. Following a two-day 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 Teachers, and Using Authentic Materials to Teach ESL. 3 CREDITS NELT 3416 $630

punctuate their writing to clarify meaning for their readers. In this workshop, teachers will discover key elements of X-Word Grammar. They will learn how to use X-Word Grammar to identify fragments, reveal the building blocks of sentences, and construct the seven sentence patterns. Through practice, chants, and a sentence-building game, teachers will grasp the concepts behind X-Word Grammar for writing and be able to share their knowledge with their own students. NELT 0541 $125

Teaching Business English Theresa Breland A | 1 session | Apr. 2 | Sat 10 am–4:45 pm The key to teaching English for business is content customization. Using a learner-centered approach and a variety of multicultural case studies, this workshop helps teachers develop step-by-step techniques for assessing learners’ needs and helping them meet their job performance objectives. The workshop leader presents specific lesson-planning strategies that integrate all the language skills and produce task-based results. The activities reflect the real-world workplace, involving collaboration and individual accountability and work with learners at all levels of a business, from the new

Teaching english to speakers of other languages

121

ENGLISH AS A SECOND LANGUAGE The New School offers language instruction from the low-intermediate to the advanced level for speakers of other languages. The courses are designed for students preparing for studies in the United States, professionals working in English-speaking environments, and anyone who needs to speak and write better English for personal or career purposes. Students can take individual courses or enroll in a full-time intensive certificate program, depending on their purposes.

ESL CERTIFICATES The New School awards a Certificate in English

certificate program can register for individual

as a Second Language to students who

ESL courses, but please note that The New

successfully complete a minimum of 100 hours

School will maintain permanent academic

of ESL classes. All students who complete the

records only for students enrolled in the

certificate program can expect to emerge with

certificate program.

improved fluency and independent learning skills. Grades of AP (Approved) or NA (Not Approved) are assigned for each course, and certificate students are entitled to a transcript of record. Students who choose not to enroll in the

122

Below is the class schedule for the following ESL certificate courses in Grammar, Academic Writing, Listening/Speaking, and Reading.

M, W

9–11:40 am Grammar

T, Th Writing

1:50–3:40 pm Listening/Speaking Reading

GRAMMAR

LISTENING/SPEAKING

Students learn more than just rules of

In these classes, students practice speaking

grammar; they learn how to use grammar in

and listening in a variety of informal and

speaking and writing. Grammar classes are

formal situations. They learn idiom and phrasal

lively and active, with reading, discussion,

verbs, practice difficult pronunciation patterns

videos, songs, presentations, games, and

and sounds, and develop presentation skills.

writing as well as more traditional exercises

Listening practice involves movies, YouTube

and quizzes.

videos, and lectures.

(Levels 3–6 offered)

ACADEMIC WRITING

READING

ESL writing courses take students through the

Enrollment limited. Permission required.

process of writing, from prewriting to organiz-

Students read a variety of longer and shorter

ing, drafting, and revising everything from

texts, which they are expected to talk and write

paragraphs to full-length essays. At each level,

about in detail in class, in homework assign-

students learn the sentence structure,

ments, and on quizzes. In-class activities and

vocabulary, and writing techniques that will

homework assignments help students increase

help them express themselves clearly in

their reading speed, comprehension, confi-

academic English.

dence, and enjoyment.

(Levels 3–6 offered)

languages

ESL The New School awards a Certificate in English

in grammar, conversation and listening, and

as a Second Language to students who

reading and writing. All students who complete

successfully complete a minimum of 100

the certificate program can expect to emerge

hours of ESL classes. Students work with an

with improved fluency and independent

English Language Studies advisor to build a

learning skills.

full-time curriculum (18 hours per week) based on a selection of courses at the appropriate

newschool.edu/esl

level. The classes provide intensive instruction

ESL + DESIGN The ESL + Design program of study is a

English speaking, reading, and writing and

structured set of intensive English language

foundational skills in art and design. The

(ESL) courses plus a design studio, short

program also includes short practical work-

supplemental workshops, and an orientation

shops on topics such as preparing your

to life in the United States. Those who

application to Parsons, the vocabulary of

successfully complete the program can obtain

fashion and design, and how to succeed at

a certificate of completion confirming they

Parsons.

have attained a specified level of proficiency in

newschool.edu/esl-design

ESL + MUSIC The ESL + Music Certificate is designed for

with members of the Mannes faculty

international students who wish to pursue

while improving their English language

music study at a conservatory or university in

skills in order to qualify for degree programs.

the United States but need to improve their

ESL + Music is also an opportunity to adjust

English language skills or TOEFL scores before

to university life in the United States before

applying to an undergraduate or graduate

beginning an academic program.

degree program. Students study music

newschool.edu/mannes/esl

ESL + FOOD The ESL + Food Certificate was designed by

include access to New York Cityâ&#x20AC;&#x2122;s culinary

The New School in New York City in collabo-

scene, including culinary events, and food

ration with the International Culinary Center

industry guest speakers, master chefs, and the

(ICC). The certificate program provides a

Union Square Greenmarket. Our signature

high-quality English language education for

course, Language of the Kitchen, reinforces key

students who want to attend culinary school

vocabulary of food, cooking, and preparation

at the ICC, obtain a degree in food studies at

techniques in a supportive and interactive

The New School, or choose another career path

classroom setting.

within the food industry. Program features newschool.edu/esl-food

English as a second language

123

#LearnGrowRepeat Like a Force of New: Start Your Year of Learning at The New School’s Continuing Education Expo FREE Info Sessions, Pop-Up Classes, Live Music Performances, Raffles, Giveaways, and Campus Tours Tuesday, January 12, 2016, 5:00–8:00 p.m. University Center, 63 Fifth Avenue, NYC The new you is waiting. Open the door to 2016 at The New School’s Continuing Education Expo. Grab some hot cider and start your journey by learning about our line-up of spring courses and programs. • Meet Continuing Education program directors and faculty in Art and Design at Parsons, Music at Mannes, Writing, Languages, Media, Management, and more. • Get one-on-one advising, in person or 124

online. • Enjoy being serenaded by Mannes musicians. • Create, innovate, and become inspired by fun interactive activities. • Enter our contest for the chance to win prizes and tour our new University Center. • Sign up for a class and get your first round-trip ride to class for free on us! RSVP at newschool.edu/TheNewCEExpo.

MANAGEMENT, LEADERSHIP, AND ENTREPRENEURSHIP

COURSE OFFERINGS

MANAGEMENT, LEADERSHIP, AND ENTREPRENEURSHIP The world is changing moment to moment—creating unprecedented risks and opportunities, in the commercial sector more than any other. Make your contributions count and sharpen the skills you need to successfully launch your own start-up, navigate a new nonprofit venture, or keep your business—and your career—ahead of the competition.

126

Introduction to Nonprofit Management

Introductory Finance for Management

TBA

A | 15 sessions | beg. Jan. 26 | T 6-7:50 pm

A | 15 sessions | beg. Jan. 28 | Th 6–7:50 pm

This course introduces financial statements and

Nonprofit organizations have grown in number

concepts and is designed for students with no

and importance over the last several years. In

prior knowledge of the subject. We look at how

New York City, the nonprofit sector employs

statements (profit and loss, balance sheet, cash

more people than the garment and financial

flow, income, etc.) are used in the operations of

services industries combined. This course

for-profit and not-for-profit enterprises, how

introduces the principal theories of not-for-profit

enterprises of various sizes and purposes

enterprise and the implications of various

finance their growth, and how governance

management practices for nonprofit organiza-

practices affect financial health. We look at

tions. Topics covered include the history and

return on investment and the role of stock and

scope of the nonprofit sector, variations within

bond markets in the finances of enterprises,

this sector, and management issues as they

both for-profit and not-for-profit. Case studies

TBA

pertain to nonprofits: fundraising and develop-

are used extensively. 3 CREDITS

ment, financial management, entrepreneurship,

NMGT 2133 $650

human resources management, marketing, governance and leadership advocacy, ethics, and nonprofit law. The course provides an ideal foundation for those contemplating a career in the field or seeking to become more effective board members or other volunteers. 3 CREDITS NMGT 2400 $650

Get the latest updates and offers from Continuing Education at The New School! newschool.edu/theNewCEinfo

Introduction to Management Martin Greller A | 15 sessions | beg. Jan. 25 | M 8–9:50 pm 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 NMGT 2100 $650

How to Convince with Numbers Ellen Halpern A | 15 sessions | beg. Jan. 25 | M 6–7:50 pm The Internet, libraries, and government documents can provide you with the data you need to make a convincing presentation, whether you are proposing a new project or method at your job, pitching your start-up company to potential investors, identifying the best use of your nonprofit’s funding, or

management, leadership, and entrepreneurship

supporting your research findings. Drawing on elements of statistics and research methods, students learn to 1) identify the situations where

online learning

numbers can strengthen a case, 2) find the best sources for reliable data, and 3) organize, graph,

Each semester, The New School brings you

and present information in the most compelling

classes that fit your life as well as they fit

way. This course is for those who wish to

your screen—be it mobile, desktop, tablet, or

sharpen their abilities with numbers and

watch. Look for the computer icon to find all

develop visual and graphic presentation skills

of our online classes.

using software like Excel. 3 CREDITS

Learn more about online learning at The

NMGT 2200 $650

New School at newschool.edu/online.

Arts Management: An Entrepreneurial Approach

Social Entrepreneurship

TBA

A | 15 sessions | beg. Jan. 25 | M 6–7:50 pm

Dennis Derryck

A | 15 sessions | beg. Jan. 26 | T 4–5:50 pm

Social entrepreneurship is a new field that blurs

We examine the tensions between artistic

the lines between the nonprofit and for-profit

integrity, economic viability, and stakeholder

sectors. It has emerged in response to the

benefit in arts management. Readings and case

inability of government and philanthropy to

studies foster student understanding of the

alleviate the world’s social ills, focusing on

economic and social importance of the arts.

market-based solutions to problems such as

Students also acquire practical skills—

hunger, poverty, HIV/AIDS, and global warming.

organizational, financial, strategic, and

This course examines the three primary models

promotional—applicable to day-to-day and

currently being used: nonprofits starting

long-term management of nonprofit and

for-profit ventures, for-profit companies with a

commercial ventures in the arts. The back-

social purpose, and nonprofits that approach

grounds and interests of the students enrolled

social need in new and innovative ways.

help the instructor determine which kinds of arts

Students address such questions as: What does

enterprises to emphasize: for-profit or nonprofit,

it take to be a social entrepreneur? Who are the

popular arts or fine arts, performing arts or

leaders in this sector? What determines success

visual arts. 3 CREDITS

and failure? Which is the appropriate business

NMGT 3110 $650

model for my idea? How does an organization find funding? How are corporations helping? And how does one assess the positive impact of

Public Relations: Practice and Critique

the social venture? 3 CREDITS NMGT 3030 $650

Bonnie McEwan A | 15 sessions | beg. Jan. 27 | W 4–5:50 pm public relations campaigns through traditional

The Basics of Investment

and online outlets. They also explore theories of

Aviva Ancona

human behavior that help PR specialists develop

A | 15 weeks | Jan. 25–May 16

campaigns and understand a campaign’s

Do you ever wonder what the Dow actually

effectiveness. Other readings compare public

measures? What a hedge fund is? When you

relations to propaganda campaigns and discuss

should prefer stocks to bonds? How to allocate

ethical issues related to using information to

your savings to various financial investments,

manipulate behavior. 3 CREDITS

and what difference it will make when you

NMGT 2120 $650

retire? This course covers the basics: the

Students learn practical skills for conducting

difference between financial assets and real assets, between stocks and bonds. We examine the way financial markets work, various types of financial instruments, mutual funds, the rudiments of asset allocation and its importance, and the risk/return nexus. 3 CREDITS NMGT 1300 $650

management, leadership, and entrepreneurship

127

The Big Idea: Ad Campaigns Kurt Brokaw

Introduction to Finance in Organizations

A | 15 sessions | beg. Jan. 25 | M 8–9:50 pm

Kevin McQueen

Could you invent a Marlboro cowboy, a milk

A | 10 weeks | Feb. 29–May 13

mustache, a talking E*TRADE baby, an Aflac

Start thinking like a chief financial officer. Learn

duck? How do copywriters and art directors

the basic concepts and principles you need to

come up with campaigns for the hottest viral,

improve your management skills. Excel at

stealth, 3D, and experiential media? Students

thinking with a “financial mind,” using financial

work in self-selected teams to brainstorm,

information in business decision making. We

conceptualize, write, test, and pitch campaigns

start with the basics: developing an understand-

using new media like the six-second Vine, as

ing of finance and accounting concepts and

well as traditional television and print.

learning how to interpret and analyze financial

Assignments include developing campaigns for

statements. Then we move on to the opera-

packaged goods, recording artists, and public

tional framework for financial information—

service causes. Invited guests include Eric

planning, forecasting, budgeting, capital

Weisberg, executive creative director, J. Walter

structures, and financing—and its relationship to

Thompson; Jennifer McBride, director of digital

organizational performance, strategic position-

production, J. Walter Thompson; Andrea Morin,

ing, and strategy execution. You learn how to

creative director, Possible Advertising; Matt

read and interpret financial statements used in

Miller, CEO, Association of Independent

businesses and not-for-profit organizations,

Commercial Producers; and Chris Brokaw,

employing historical and projected financial

singer/songwriter/guitarist. 3 CREDITS

data to build successful operational strategies.

NMGT 2122 $650

You come to recognize the warning signs of potential financial problems for a business or organization as you deepen your understanding

Introduction to Macroeconomics Aviva Ancona 128

A | 15 weeks | Jan. 25–May 16 This course introduces both theoretical and applied issues in macroeconomics, looking at the U.S. economy on the one hand and the global economy on the other. The course emphasizes theoretical controversies relevant to contemporary policy debates. Beginning with

of financial data and its impact on your business or organization. This course is designed for students with little or no finance experience who will be better able to manage their responsibilities with a finance perspective. Upon completion of this course, students will have an in-depth understanding of the impact of general financial knowledge on all functional areas of an organization. NMGT 0001 $500

the key principles of modern economics, we examine major questions in macroeconomic product, the possible connection between

MANAGING CREATIVE PEOPLE AND TEAMS

employment and inflation, the relationship

TBA

between saving and investment, the effects and

2 days | Date TBA

limitations of government monetary and fiscal

This program is an exploration of conceptual

policy, and business cycles. We also consider

frameworks and practical applications for

issues in the international political economy,

building and bolstering the creative culture in an

such as trade policy and its relation to current

organization. It also focuses on methods for

account deficits and the role of the International

fostering employee and executive creativity and

Monetary Fund and the World Bank in the

better managing the creative teams in an

international financial system. 3 CREDITS

organization. Recognizing that creativity can be

NECO 2002 $650

learned through techniques designed to develop

policy, including measuring the gross domestic

open-mindedness, curiosity, and an exploratory propensity, the program examines methods for

For the most up-to-date course listings and to register, go to newschool.edu/ce/classes.

generating creative solutions to problems such as brainwriting, cyberstorming, brainswarming, and starbursting. We also cover ways to change management style to enhance and employ

management, leadership, and entrepreneurship

creativity and innovation and to practically implement creative problem-solving techniques in an organization. Enroll at newschool.edu/cee. $2,950

LEADING IN THE CLOUD Michael Shober, Mike Varona 2 days | Date TBA The digital revolution has transformed work behaviors and attitudes in every industry. In this program, Parsons’ renowned faculty and world-class design thinking expertise are paired with Hyper Island’s unique facilitative methodology, creating a collaborative lab environment in which to explore such real-world issues as applying a digital mindset to improve operations, working effectively with teams and clients in person and in the cloud, digital communication best practices and tools, and future-proofing your business by adopting workplace trends. This two-day hands-on intensive learning experience provides insights, inspiration, and tools for effective leadership in the constantly changing digital landscape. Enroll at newschool.edu/cee. $2,950

management, leadership, and entrepreneurship

REGISTRATION INFORMATION & UNIVERSITY POLICIES

Registration Information ONLINE • Visit newschool.edu/ce/classes to get started. • Select your interest area. • Decide whether to register as a noncredit, credit, or certificate student. Most students take courses on a noncredit basis (the cheapest option; no grade or permanent record is kept).

think there’s a chance you might like to transfer credit for a course toward a degree or credential at a later date, we strongly urge you to take your course for credit. • Browse courses and add to your basket. • Pay by MasterCard, Visa, American Express, or

However, please bear in mind that if you

Discover. Immediately after registering for your

course, you will receive an email confirming

to apply credits retroactively if you decide

your registration.

you’d like to use them down the road. If you

• Check out.

OVER THE PHONE Before registering:

Call 212.229.5690 (noncredit only).

• Select a course.

Hours: Monday–Thursday, 8:00 am–6:00 pm,

• Note the course number and section (for example, NLIT 1000 section A).

Friday, 9:00 am–6:00 pm. Pay by MasterCard, Visa, American Express, or Discover.

• Prepare payment. Full payment is due at the time of registration.

ADDITIONAL PAYMENT AND REGISTRATION OPTIONS 132

• 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

am–5:45 pm; Friday, 10:00 am–4:45 pm (closed January 18 and February 15) Extended hours: January 19–February 12: Monday–Thursday, 9:00 am–5:45 pm; Friday, 9:00 am–4:45 pm Pay by MasterCard, Visa, American Express, or Discover; by personal check or money order payable to The New School; or with cash.

check/money order payable to The New

For questions regarding registration, email

School.

reghelp@newschool.edu.

• In person at 72 Fifth Avenue, 2nd floor Regular hours: Monday–Thursday, 10:00

More questions about a class? Email ce@newschool.edu.

ONE-ON-ONE ADVISING Have more questions about a particular class or

• Music programs:

program? Don’t wait—get in touch today! We’re

MannesNEXT@newschool.edu

eager to help you design the right path to reach your goals, whether you’re looking for a career change or seeking the next enrichment opportunity. ○Email: • General questions: ce@newschool.edu

• Media, Writing, Liberal Arts, Languages, and Management programs: NSPEStudentAffairs@newschool.edu • Corporate and Executive Education program: ExecEd@newschool.edu Phone: 212.229.5620

• Art and Design programs: ParsonsCE@newschool.edu

registration information & university policies

TUITION AND FEES NONCREDIT

debit card or cash (in person only for both),

Tuition: stated in each course description in this

personal check, credit card (MasterCard, Visa,

catalog

Discover, American Express), or wire transfer.

Materials fee: stated in course description if applicable Registration fee: $7 per term CREDIT Tuition: Schools of Public Engagement, $1,150; Parsons, $1,440; Mannes, $1,170

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/

Materials fee: stated in course description if

schedule received at the cashier (mailed to

applicable

students who register online or by fax, mail, or

University services fee: $80 per term

telephone).

CERTIFICATE

Verify the accuracy of your class schedule; you

Tuition: same as noncredit

are not registered for and will not earn credit for

Materials fee: stated in course description if applicable University services fee: $80 per term Tuition and fees are payable in full at the time of registration. Payment can be made by bank

any course that does not appear on your class schedule. You are responsible for all courses and charges that appear on the statement/schedule. Register early. The class you want might fill up or be canceled because of insufficient registration.

DEADLINES Online, telephone, and fax registrations must be

Note for Public Engagement students: Credit

submitted three business days before the class

registration for nine or more credits requires

starts. Mailed registrations for all courses must

prior approval and must be completed in person.

be posted two weeks before the class starts. If

Schedule an advising appointment with

you miss these deadlines, you can still register

Academic Services: 212.229.5615 or

in person.

academicservices@newschool.edu.

STUDENT ID NUMBER AND ID CARDS • ID number (the letter N plus 8 digits): appears

year. Hours may be extended at the beginning

on your statement/schedule. Use this number

of each semester to accommodate the demand

for future registrations and correspondence

for newcards at these times. Campus Card

with The New School.

Services is closed on Fridays during the summer.

• ID cards: Upon receipt of payment, noncredit

For more information, see newschool.edu/card/

students are mailed an ID card (without photo),

newcard-cash.

valid only for the term in which they are enrolled.

Hours

If you do not receive your ID card within two

Monday, 9:00 am–5:30 pm

weeks of registration, contact Student Financial Services at sfs@newschool.edu or 212.229.8930. All certificate and credit students can obtain a

Tuesday, 9:00 am–5:30 pm Wednesday, 9:00 am–6:00 pm Thursday, 9:00 am–5:30 pm

photo ID at Campus Card Services, 72 Fifth Avenue, lower level. The schedule at right shows the hours when Campus Card Services is open for most of the

For the most up-to-date course listings and details, go to newschool.edu/ce/classes.

registration information

133

FIND YOUR CLASS LOCATION

WITHDRAWAL/REFUND POLICY

• Online at newschool.edu/registrar: Click on

• To cancel your registration in a course, you

Class Meeting Locations at the lower right-

must formally withdraw with the Registrar’s

hand corner of the page. Room assignments

Office (online, by fax, by mail, or in person). See

can change, so check as close to your class

the table below for deadlines and refundable

start time as possible.

charges. Nonattendance does not constitute withdrawal.

• In person on the day the class starts: Room assignments are posted on the lobby screens in all classroom buildings.

•T he registration/university services fee is not refundable unless you are withdrawing because the course has been canceled or there

Some courses meet at off-site locations, as

have been changes in the course schedule or

indicated in the course description. If your course is online, instructions for logging in to your virtual classroom will be mailed to you.

instructor. •R efund processing takes approximately four weeks.

spring 2016 Add/Drop and Refund Deadlines COURSE SCHEDULE

DEADLINE TO ADD A COURSE

DEADLINE TO DROP WITH TUITION REFUND

CREDIT STUDENT WITHDRAWAL FOR GRADE OF “W”

Classroom 15 sessions (beginning Jan. 25–31)

Add on or before Feb. 7

Before Feb. 1: 100% refund

Before Apr. 18

Before Feb. 8: 80% refund Before Feb. 15: 60% refund Before Feb. 22: 50% refund Before Feb. 29: 20% refund

Classroom 134

10–15 sessions (beginning Feb. 8–14)

Add on or before Feb. 21

Before Feb. 15: 100% refund

Before May 2

Before Feb. 22: 80% refund Before Feb. 29: 60% refund Before Mar. 7: 50% refund Before Mar. 14: 20% refund

Classroom 9 sessions (beginning Jan. 25-31)

Add on or before Feb. 7

Before Feb. 1: 100% refund

Before Apr. 1

Before Feb. 9: 80% refund Before Feb. 15: 60% refund Before Feb. 22: 50% refund Before Feb. 29: 20% refund

Online 9 sessions (beginning Mar. 7-13)

Add on or before Mar. 20

Before Mar. 14: 100% refund

Before May 16

Before Mar. 21: 80% refund Before Mar. 28: 60% refund Before Apr. 4: 50% refund Before Apr. 11: 20% refund

Classroom and Online 6–9 sessions

Before 2nd session

Before 1st session (full refund)

Before 4th session

3–5 sessions

Before 2nd session

Before 1st session (full refund)

N/A

1–2 sessions

Before 1st session

Before 1st session (full refund)

N/A

registration information & university policies

University and Administrative Policies 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 Registrarâ&#x20AC;&#x2122;s Office, Student Financial Services, and other student services offices at 72 Fifth Avenue are open to assist students throughout the year. OFFICERS OF ADMINISTRATION

DEANS AND DIRECTORS

David E. Van Zandt, President

Stephanie Browner, Dean, Eugene Lang College

Tim Marshall, Provost and Chief Academic

of Liberal Arts

Officer

Richard Kessler, Dean, Mannes School of Music

Anne Adriance, Chief Marketing Officer

Martin Mueller, Executive Director, School of Jazz

Andy Atzert, Vice President for Distributed and

Pippin Parker, Director, School of Drama

Global Education

William Milberg, Dean, The New School for

Carol S. Cantrell, Senior Vice President for

Social Research

Human Resources and Labor Relations

Joel Towers, Executive Dean, Parsons School of

Lia Gartner, Vice President for Design,

Design

Construction, and Facilities Management

Mary R. Watson, Executive Dean, Schools of

Mark Gibbel, Chief Development Officer

Public Engagement

Roy P. Moskowitz, Chief Legal Officer and

Visit the website at newschool.edu for the

Secretary of the Corporation

university board of trustees as well as informa-

Anand Padmanabhan, Senior Vice President and

tion about administrative and academic offices.

Chief Information Officer Linda Abrams Reimer, Senior Vice President for

UNIVERSITY REGISTRAR

Student Services

Larry Fillian, University Registrar

Michelle Relyea, Vice President for Student

Joan Morgan, Senior Associate Registrar

Success

Jaime Allison Babic, Associate Registrar

Donald Resnick, Chief Enrollment and Success Officer

STUDENT FINANCIAL SERVICES

Bryna Sanger, Deputy Provost and Senior Vice

Barbara Garcia, Director of Student Accounts

President for Academic Affairs

Lisa Shaheen, Director of Financial Aid

Tokumbo Shobowale, Chief Operating Officer

Lauren Iannia, Associate Director of Student

Steve Stabile, Vice President for Finance and

Accounts

Business and Treasurer

Leslie King, Associate Director of Financial Aid Lisa Banfield, Associate Director of Financial Aid Lissette Gonzalez, Associate Director of Student Accounts

STUDENT ACCOUNTS AND RECORDS All registered students can access their

your tuition and fees (paid, owed, refundable), and,

current personal student information on the

if you enrolled as a credit or certificate student,

Internet through a secure connection. Go to

your grades. You can also authorize parents,

account.newschool.edu to look up your Net ID

guardians, or employers to view your student

and set or reset your password. You will need your

accounts and make payments on charges due.

New School ID number (N plus 8 digits). Once you log in, click on the Academics tab for access to up-to-date records of your student activities, including your enrollment in courses, the status of

Students are responsible for keeping their own addresses and telephone numbers current in university records. They can update this

University and AdminIstrative policies

135

information online at my.newschool.edu as

mailed to the address designated “official” in the

necessary.

student’s record and/or emailed to the student’s

Note: All university correspondence will be

email address.

TUITION AND FEES Payment to the university is the responsibility of

employer does not pay for any reason. The

the student. Liability for tuition and fees is not

student’s liability is not contingent on receiving

contingent on completing courses, receiving

grades, receiving passing grades, or completing

grades, receiving passing grades, or realization

courses.

of financial aid awards or loans. Failure to complete payment does not void your registration or charges due.

TERMS OF REIMBURSEMENT If the reimbursement will be made upon receipt

Contact Student Accounts at 212.229.8930 with

of grades: There is a participation fee of $150,

inquiries about payment of tuition and fees, or

and the student must complete both the

email myaccount@newschool.edu using your

Employer Reimbursement Deferment Form and

New School email account if you have one.

the Deferral Credit Card Payment Authorization.

Access your personal account information

(These forms can be downloaded from the website:

online at my.newschool.edu.

go to newschool.edu/student-financial-services and select Billing and Payment.) Payment of the

DEFERRAL OF PAYMENT FOR EMPLOYER REIMBURSEMENT Students expecting reimbursement from an employer or sponsor can defer payment of tuition and fees by submitting a signed authorization letter on official employer/ sponsor letterhead along with the appropriate

136

$150 participation fee and any balance of tuition and university fees not covered by the authorization letter must be made before submission of the deferment forms or along with them. Deferred charges must be paid in full by February 1 for the fall semester, June 15 for the spring semester, and August 15 for summer term.

deferral form(s) as described below. This can be

If payment is not contingent on receipt of

done by mail or fax or in person but not by

grades and The New School can bill the

email.

employer directly: There is no participation fee.

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

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 before submission of the deferment forms or along with them.

portion of charges that the employer has not

For answers to questions regarding employer

agreed to pay cannot be deferred. Certificate

reimbursement, email myaccount@newschool.edu

and nonmatriculated students must submit

or call 212.229.8930.

these forms with their registration forms. Authorization letters and forms should be faxed

TAX DEDUCTION FOR EDUCATION

to 212.229.8582; mailed to The New School,

Under certain circumstances, educational

attention Third Party Billing, 79 Fifth Avenue, 5th

expenses undertaken to maintain or improve job

floor, New York, NY 10003; or brought in person

skills are deductible for income tax purposes.

to the cashiering office at 72 Fifth Avenue, on the

Students are advised to bring this to the

second floor.

attention of their tax advisors.

Payment can be made at my.newschool.edu by ACH or credit card, or by faxing a credit card

RETURNED CHECK POLICY

authorization along with the deferral form to

All checks returned from the bank are automati-

212.229.8582. Payment of all charges is the

cally redeposited for payment. If, for any reason,

responsibility of the student. The student is

a check does not clear for payment after being

liable for any and all deferred charges that the

deposited a second time, a penalty of $30 is

registration information & university policies

charged to the student’s account. The university

enrollment, the withdrawal of the instructor, or

cannot presume that the student has withdrawn

inability to schedule appropriate instructional

from classes because the check has not cleared

space.

or has been stopped; payment and penalty remain due. Payment for the amount of the returned check and the $30 returned check fee 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. Personal checks will no longer be accepted from the student. If it becomes necessary to forward an account to a collection agency, an additional 10 percent penalty will be charged on the remaining account balance. CANCELLATIONS, REFUNDS, ADD/DROP,

If you are registered in a course that is canceled, you will be notified by telephone or email. You will be asked whether you wish to transfer to another course or you wish a full refund of tuition and fees (including registration fees). If you are a certificate student, consult with your advisor if one of your courses is canceled. WITHDRAWALS AND REFUNDS: CONTINUING EDUCATION If you wish to withdraw from a course without adding another, log in to online registration at newschool.edu/ce; click on “Classes” from the left menu; click the “Browse all noncredit classes” link; click the “Home” link; log in to your account and click “Manage Registration” to drop the course.

STATUS CHANGES

Alternatively, you can download and complete

Students are responsible for knowing university

the Noncredit Add-Drop Form or the Credit

policies regarding adding or dropping courses

Add-Drop Form, as appropriate, to transfer from

and refund of tuition and fees. The policies and

one course to another. To drop a course, you can

deadlines published in this bulletin are applica-

also download and complete the Continuing

ble to all certificate and nonmatriculated

Education Request to Drop Form, or you can

(noncredit or credit) students. Students matricu-

write a letter to the registrar stating your wish

lated in the Bachelor’s Program for Adults and

to withdraw from the course. Be sure to include

Transfer Students should consult the website

your first and last names, your New School ID

at newschool.edu/public-engagement/

number (or date of birth), and the course master

bachelors-program. Students taking courses in

number (from your course schedule-receipt).

other schools of the university should consult

Submit your signed and dated request in one of

the appropriate school or program website for

the ways listed below:

applicable policies and deadlines.

• Email the form to reghelp@newschool.edu. Please send it from the email address you

SCHEDULE AND STATUS CHANGES 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 on page 134. Transfers from one course to another and changes of status can be made online, in person, or in writing. (They cannot be made by telephone.) Any additional tuition or fees resulting from a course transfer or

provided at registration. • Fax the form to 212.229.5648. • Mail the form to The New School, Registrar’s Office, 72 Fifth Avenue, New York, NY 10011. • Bring your request in person to 72 Fifth Avenue, 2nd floor, New York City. Please note that we cannot accept requests made by telephone.

status change are payable at the time the

The following policies apply:

change is made.

• Full refund of course tuition requires advance

Public Engagement certificate students must

withdrawal. Otherwise, the refund will be

obtain advisor approval for all program changes,

prorated—see the Add/Drop table.

including withdrawals, grade of “W,” add/drop, and status changes.

• 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

REFUNDS FOR CANCELED COURSES The New School reserves the right to cancel courses or to adjust the curriculum. Courses may be canceled because of insufficient

is mailed. • The registration/university services fee is not refundable unless a student’s withdrawal is

University and AdminIstrative policies

137

due to a change of course schedule or

•F ailure to attend classes or notification to the

instructor or the course is canceled by the

instructor does not constitute official with-

university.

drawal. Failure to make or complete payment

• Withdrawals or refund requests cannot be made by telephone. • Refunds of fees paid by credit card will be processed as a credit to the same account.

does not constitute official withdrawal. •Q uestions? Email reghelp@newschool.edu or call 212.229.5620. Refund processing takes approximately four weeks.

GRADE OF “W” A student taking any course for credit can

the Add/Drop Schedule on page 134. A grade of

withdraw from the course without academic

“W” will be recorded for the course and will

penalty by filing a request for a grade of

appear on the student’s transcript. Deadlines for

“W” with the Registrar’s Office within the

refunds of tuition and fees, described in the

appropriate deadline. Deadlines are given in

same Add/Drop Schedule, will apply.

ADMISSION TO CLASS

138

The New School reserves the right to deny a

The statement/schedule is issued by the Office

person admission to or continuance in its

of Student Financial Services upon receipt of

courses of study.

payment. If you register by mail, telephone, or

All persons wishing to attend any course at The

fax, or on the Web, your statement/schedule will

New School must be properly registered.

be mailed to you. Please retain this form.

Students should be prepared to show a valid

If you have not yet received your statement/

statement/schedule to the instructor or

schedule or have forgotten or lost it, you will be

designated faculty services assistant for

admitted to the class if your name appears on

admission to any class. Possession of a current

the class roster. You can access your course

New School student ID card does not entitle the

schedule online at my.newschool.edu (you will

bearer to attend any particular course or session

need your New School student ID number).

of a course.

CAMPUS SECURITY The New School employs a security staff to

checking of ID cards at building entrances and

monitor and maintain the rights, privileges, and

will report incidents to the security staff, if and

safety of members of the university community

when they occur. The university’s latest crime

and the security of university property.

reporting statistics can be viewed online at

It is assumed that members of the community

newschool.edu/campus-safety.

will comply with security measures such as the

ADMISSION TO PUBLIC PROGRAMS Tickets to lectures, readings, concerts, and other events are available at the Box Office in the lobby of the Johnson Building, 66 West 12th Street. Visit newschool.edu/events, call 212.229.5353, or email publicprograms@ newschool.edu for more information.

Tickets can be reserved in advance with a credit card (MasterCard, Visa, Discover, American Express), and students and alumni with a valid university ID can obtain free tickets to most special events by presenting their ID at the Box Office. See page 72 to learn more about public programs this season at The New School.

registration information & university policies

OTHER UNIVERSITY POLICIES The Board of Trustees has adopted policies on

for promotional, educational, and other

Free Exchange of Ideas and Freedom of Artistic

noncommercial purposes, as well as to approve

Expression, Discriminatory Harassment, Sexual

such use by third parties with whom the

Harassment, Alcohol and Illegal Drugs, Smoking,

university may engage in joint marketing. Such

University-Wide Disciplinary Procedures, and

purposes may include print and electronic

other matters. Copies of these policies are

publications. This paragraph serves as public

available at newschool.edu/studentservices/

notice of the intent of the university to do so

rights and from the Office of Student Services.

and as a release to the university giving permission to use your image for such purposes.

ACADEMIC HONESTY The university community, in order to fulfill its

LICENSE IN WORKS TO THE UNIVERSITY

purposes, must maintain high standards of

Under The New School’s Intellectual Property

academic behavior. All members of the

Policy, the university shall have a nonexclusive,

community are expected to exhibit honesty in

royalty-free, worldwide license to use the works

their academic work. Students have a responsi-

created by its students and faculty for archival,

bility to acquaint themselves with and make use

reference, research, classroom, and other

of proper procedures for writing papers, taking

educational purposes. With regard to tangible

examinations, and doing research. The principle

works of fine art or applied art, this license will

of academic honesty is understood to apply to

attach only to stored images of such work (e.g.,

all student work, including papers, reports,

slides, videos, or digitized images) and does not

computer work, quizzes, and examinations. The

give the university a right to the tangible works

New School reserves the right to suspend or

themselves. With regard to literary, artistic, and

dismiss a student whose conduct is found to be

musical works, this license will only attach to

in conflict with the principle of academic

brief excerpts of such works for purposes of

honesty. Full information about New School

education. When using works pursuant to this

policies and procedures in case of suspected

license, the university will make reasonable

violations is available in the office of Academic

efforts to display indicia of the authorship of a

Student Services, 66 West 12th Street, room 301.

work. This license shall be presumed to arise automatically and no additional formality shall

USE OF PHOTOGRAPHS

be required. If the university wishes to acquire

The New School reserves the right to take or

rights to use a work or a reproduction or image

cause to be taken, without remuneration,

of a work for advertising, promotional, or

photographs, film, video, and other graphic

fundraising purposes, the university will

depictions of students, faculty, staff, and visitors

negotiate directly with the creator in order to obtain permission.

RECORDS, GRADES, AND ACADEMIC TRANSCRIPTS An official transcript carries the registrar’s

A noncredit record of attendance must be

signature and the New School seal. It docu-

requested from the Registrar’s Office in writing

ments a student’s permanent academic record

no later than four (4) weeks before the final

at the university. You can request your transcript

session of the course. The written request may

online at my.newschool.edu. Transcripts are not

be faxed to 212.229.5648 (credit card payment

issued for students who have outstanding debts

only), mailed, or presented in person at the

to The New School. For additional information,

Registrar’s Office. A separate record is issued for

visit newschool.edu/studentservices/registrar/

each noncredit course; the nonrefundable fee is

transcripts.

$20 per course, which must be paid with the student’s own personal check or MasterCard,

NONCREDIT RECORD OF ATTENDANCE

Visa, Discover, or American Express card; cash is

Noncredit students can request a noncredit

not accepted. The noncredit record of atten-

record of attendance during the academic term

dance is not available for any event listed in the

in which they are registered. This record

New School Bulletin without a course number or

identifies the course and verifies the student’s

for any course meeting fewer than four times.

completion of the course. It is not an academic evaluation and does not provide a course grade.

University and AdminIstrative policies

139

GRADE REPORTING

AP Approved (noncredit certificate student)

Grades are recorded for all students registered

NA Not Approved (noncredit certificate

in a course for credit or a noncredit certificate.

student)

Students must be properly registered in order to

GM Grade Not Reported for Student

attend any course or session of a course. Attendance in class and/or completion of

GRADE REVIEW POLICY

course requirements is not the equivalent of

A student can petition for review of any grade

registration and will not make a student eligible to receive academic credit or certificate approval for any course.

Before deciding to appeal a grade, the student should first request from the course instructor

Grades are normally posted within two weeks

an informal explanation of the reasons for

after a course ends. Students can view their

assigning the grade. If the student is not

grades on the Internet at my.newschool.edu. A

satisfied with the explanation or none is offered,

student ID number (printed on your statement/

the student can pursue the matter as follows:

schedule and photo ID card) is required for

1 The student submits a formal letter briefly

access.

stating objections to the assigned grade directly

I Temporary Incomplete: Indicates failure to

to the faculty member, with a copy to the

complete assigned work.

department chair or director (or if the faculty

This mark is given not automatically but only

member is the department chair, with a copy to

on the request of the student and at the

the dean).

discretion of the instructor. A Request for Grade

2 The instructor is required to respond in writing

of Incomplete Form must be completed and

to the student’s letter within one month of

signed by student and instructor. The time

receipt, also with a copy to the department

allowed for completion of the work and removal

chair or director or the dean, as appropriate.

of the “I” mark will be set by the instructor but

3 If the student is not satisfied by the faculty

can 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 incom140

within 60 days after the grade was issued.

pletes. Grades of “I” not revised in the prescribed time will be recorded as a final grade of “Z” by the Registrar’s Office.

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

W Official Withdrawal Without Academic

outstanding questions or issues, and make a

Penalty: Written request must be presented in

recommendation to the dean. The dean’s

person at the Registrar’s Office by the published

decision is final.

deadline. Z Unauthorized Withdrawal: Issued by an

CHANGE OF GRADE

instructor to a credit student who has not

Final grades are subject to revision by the

attended or not completed all required work in a

instructor with the approval of the dean’s office

course but did not officially withdraw. Faculty

for one semester following the term in which

may also determine a letter grade as opposed

the course was offered. After one semester has

to “Z” on the basis of student progress and

elapsed, all grades recorded in the Registrar’s

attendance in the course. “Z” has no impact on

Office become a permanent part of the

a student’s GPA.

academic record, and no changes are allowed.

FAMILY EDUCATIONAL RIGHTS AND PRIVACY ACT The Family Educational Rights and Privacy Act

The New School has established the following

of 1974, with which The New School complies,

student information as public or directory

was enacted to protect the privacy of education

information, which may be disclosed by the

records, to establish the right of students to

institution at its discretion: student name;

inspect and review their education records, and

major field of study; dates of attendance; full- or

to provide guidelines for correction of inaccurate

part-time enrollment status; year level; degrees

or misleading statements.

and awards received, including dean’s list; the

registration information & university policies

most recent previous educational institution

officials with legitimate educational interests. A

attended; addresses; phone numbers; photo-

school official is a person employed by the

graphs; email addresses; and date and place of

university in an administrative, supervisory,

birth.

academic or research, or support staff position

Students can request that The New School

(including law enforcement unit personnel and

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. The Family Educational Rights and Privacy Act (FERPA) affords students certain rights with respect to their education records. These rights include: The right to inspect and review the student’s education records within 45 days of the day the university receives a request for access:

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

A student should submit to the registrar, dean,

or her professional responsibilities for the

head of the academic department, or other

university.

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.

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

The right to request the amendment of the

authorities (“Federal and State Authorities”) may

student’s education records that the student

allow access to your records and PII without

believes are inaccurate, misleading, or otherwise

your consent to any third party designated by a

in violation of the student’s privacy rights under

Federal or State Authority to evaluate a

FERPA:

federal- or state-supported education program.

A student who wishes to ask the university to

The evaluation may relate to any program that

amend a record should write to the university

is “principally engaged in the provision of

official responsible for the record, clearly identify

education,” such as early childhood education

the part of the record the student wants

and job training, as well as any program that is

changed, and specify why, in the student’s

administered by an education agency or

opinion, it should be changed.

institution. Second, Federal and State Authorities

If the university decides not to amend the record

may allow access to your education records and

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. 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

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

University and AdminIstrative policies

141

other Federal or State data sources, including

requirements of FERPA. The name and address

workforce development, unemployment

of the office that administers FERPA is:

insurance, child welfare, juvenile justice, military

Family Policy Compliance Office,

service, and migrant student records systems. The right to file a complaint with the U.S. Department of Education concerning alleged failures by the university to comply with the

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

freshmen studying full-time in fall 2013 who

the persistence of undergraduate students

were still studying full-time in the same degree

pursuing degrees at this institution. This data is

programs in fall 2014). This information can be

made available to all students and prospective

found under the common data set information.

students as required by the Student Right to

Visit the Office of Institutional Research at

Know Act. During the 2014–2015 academic

newschool.edu/about/your-right-to-know for

year, the university reports the “persistence

more information.

rate” for the year 2013 (i.e., the percentage of all

INTERNATIONAL STUDENT SERVICES The New School is authorized under federal law

international students help themselves through

to enroll non–immigrant alien students.

printed handouts, orientations, workshops,

The mission of International Student Services is

and individual advice and support. Before

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 142

respect for cultures from all over the world. International Student and Scholar Services helps

registering, all international students are required to attend an orientation and check in with International Student and Scholar 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 newschool.edu/studentservices.

SERVICES FOR STUDENTS WITH DISABILITIES The Office of Student Disability Services shares

student’s needs and concerns. Students who

the university’s philosophy of encouraging all

need special accommodations, please contact

students to reach the highest levels of achieve-

Student Disability Services at 212.229.5626 or

ment and recognizing and embracing individual

studentdisability@newschool.edu.

differences. Student Disability Services assists

Students with disabilities who feel they have

students with disabilities in obtaining equal

been denied reasonable accommodation should

access to academic and programmatic services

follow the procedure provided for by the New

as required by the Americans with Disabilities

School Policy for Requesting Reasonable

Act of 1990 (ADA) and Section 504 of the

Accommodations, available on the website

Federal Rehabilitation Act of 1973. For more

at newschool.edu/student-rights-and-

information about Student Disability Services,

responsibilities and at the Office of Student

please visit newschool.edu/studentservices.

Rights and Responsibilities.

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 before 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

registration information & university policies

University and AdminIstrative policies

Classes begin January 25. Register now at newschool.edu/ce/classes.

The New School/Parsons (760-830) Volume 32, No. 2, December 2015. Published four times a year, in August, September, December, and May, by The New School, 66 W. 12th Street, New York, NY 10011. Periodicals postage paid at New York, NY, and additional mailing offices. Postmaster: Send address changes to The New School 79 Fifth Avenue, 17th floor New York, NY 10003. Photography: Jessica Bal, David Barron, Alexander Berg, Daniel A. Cherrin, James Ewing, Ben Ferrari, Michelle Claire Gevint, Don Hamerman, Bob Handelman, Matthew Mathews, David Ordovsky, Jacob Pritchard, Martin Seck, Matthew Septimus, Matthew Sussman, Marisa Wong

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Registration now open! Start exploring and save your spot today at newschool.edu/ce.