Continuing Education Spring 2014 The New School for Public Engagement by The New School

THE NEW SCHOOL Continuing Education Spring 2014 Register online at www.newschool.edu/ceregistration

THE NEW SCHOOL FOR PUBLIC ENGAGEMENT

HOW TO REGISTER

HOW TO USE THIS CATALOG

This catalog lists course offerings for the Spring 2014 term. Registration for spring courses opens December 9 and remains open throughout the term. Early registration online or by fax, telephone, or mail is strongly encouraged, as courses may fill or be canceled because of insufficient enrollment. See pages 69–71 for more information about procedures and deadlines, or call 212.229.5690. The registrar is located at 72 Fifth Avenue (corner of 13th Street), lower level, for in-person registration.

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

Note: In person registration is closed September 2, November 28–29, and all Saturdays and Sundays. Register online or by fax when the office is closed; registrations will be processed the next working day.

Finding a Subject General subjects are listed in the Table of Contents on page 81. For more information about any course, contact the department or program; telephone numbers are found on the first page of each general subject area. Interpreting the Course Description A chart on page 82 breaks down the format of the course descriptions and explains the different elements.

Online You can register through a secure online connection with payment by credit card. Go to www.newschool.edu/ceregistration and follow the instructions. Register at least three days before your course begins. You will receive an email confirming that your registration has been received. Your official Statement/Schedule will be mailed to you after payment has cleared. By Fax You can register by fax with payment by credit card using the appropriate registration form in the back of this bulletin. Fax to 212.229.5648 at least three days before your course begins. No confirmation will be faxed; your Statement/Schedule will be mailed to you.

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

By Mail Use the appropriate registration form in the back of this bulletin. Mail registration must be postmarked at least two weeks before your course begins. Your Statement/Schedule will be mailed to you. By Phone You can register as a noncredit student by telephone, with payment by credit card. Call 212.229.5690, Monday–Friday. Call at least three days before your course begins. Your Statement/Schedule will be mailed to you. In Person You can register in person at 72 Fifth Avenue (corner of 13th Street). A schedule for in-person registration is published on page 82 of this catalog.

THE NEW SCHOOL FOR PUBLIC ENGAGEMENT

SPRING 2014 COURSE BULLETIN In this catalog, discover hundreds of courses available to you at The New School. The New School, a leading private university in New York City, also offers more than 70 degree and certificate programs in art and design, liberal arts and social sciences, management and urban policy, and the performing arts. We invite you to learn about the universityâ&#x20AC;&#x2122;s undergraduate and graduate degree programs at www.newschool.edu/degreeprograms.

ACADEMIC TERM CALENDAR Spring 2014 Classroom/studio courses usually meet twice a week for 12–15 sessions beginning the week of January 27. Online courses run nine weeks, from January 27 to May 19.

Holidays New School facilities will be closed on the following dates: Martin Luther King, Jr. Day, January 20 Presidents Day, February 17 Spring Break, March 24–30

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H O L I DAYS A N D R E C E S S E S A R E H I G H L I G H T E D I N W H I T E C I R C L E S . University administrative offices will be closed December 24–January 1.

CONTENTS SPRING 2014 COURSES Social Sciences, 6 For course advising, call 212.229.5124. History, 7 Politics, Economics, and the Law, 7 Anthropology and Sociology, 8 Psychology, 9 Humanities, 12 For course advising, call 212.229.5961. Cultural Studies, 12 Art and Architecture, 13 Music, 14 Literature, 15 Philosophy, 16 Media Studies and Film, 18 For course advising, call 212.229.8903. Media Studies, 19 Film Studies, 21 Film and Media Production, 23 Film and Media Business, 27 Screenwriting, 28 The Writing Program, 31 For course advising, call 212.229.5611. Fundamentals, 31 Poetry, 32 Fiction, 33 Nonfiction, 36 Journalism and Feature Writing, 37 Special Topics, 38 Foreign Languages, 39 For course advising, call 212.229.5676. Arabic, 39 Brazilian Portuguese, 40 Chinese (Mandarin), 41 French, 41 German, 43 Italian, 44 Japanese, 44 Russian, 44 Sign Language, 45 Spanish, 45 Turkish, 46 English Language Studies, 47 For course advising, call 212.229.5372. Teaching English to Speakers of Other Languages, 47 English as a Second Language, 49

Visual and Performing Arts, 52 For course advising, call 212.229.5961. Drawing and Painting, 53 Photography, 53 Printmaking, 54 Acting and Movement, 54 Music Theory and Performance, 55 Creative Arts and Health Certificate, 56 Management and Business, 58 For course advising, call 212.229.5124. Food Studies, 60 For course advising, call 212.229.5124. Institute for Retired Professionals, 62

ABOUT THE NEW SCHOOL THE NEW SCHOOL FOR PUBLIC ENGAGEMENT, 64 Educational Programs and Services, 64 Study Options, 64 Study Online, 65 Libraries and Computing Facilities, 65 International Student Services, 66 Services for Students with Disabilities, 66 The New School Undergraduate Program, 66 THE UNIVERSITY, 67 University Administrative Policies, 68 Student Accounts and Records, 68 Tuition and Fees, 69 Cancellations, Refunds, Add/Drop, 69 Admission to Class, 71 Other University Policies, 71 Records and Grades, 72 Academic Transcripts, 72 Noncredit Record of Attendance, 72 Grades, 72 Family Educational Rights and Privacy Act, 73

INDEXES Calendar of Courses, 75 Course Master Index, 77 Subject Index, 79

REGISTRATION PROCEDURES Understanding the Course Description, 81 Before Registering, 82 Register and Pay, 82 Student ID, 83 Find Your Class, 83 Withdrawal/Refund Policy, 83 NEIGHBORHOOD MAP REGISTRATION FORMS

SPRING 2014 COURSES

SOCIAL SCIENCES

The Human Condition Seen Through Film: Contemporary Works nsOs0840

history

a 15 sessions. Tues., 12:10–2:50 p.m., beg. Jan. 28. Noncredit

Politics, economics, and the Law

tuition $650.

anthropology and sociology Psychology FOr cOurse advising, caLL 212.229.5124. w w w. n e w s c h o o l . e d u / c e / s o c i a l s c i e n c e s

The Department of Social Sciences draws on The New School’s tradition of free inquiry and its commitment to making profound ideas accessible. At a time of fierce and competing ideologies, nationally and globally, we prepare students to take their place as thoughtful citizens

Toby Talbot

Documentary film is intended to enlighten and provoke. Films in this series explore universal cultural, political, and ethical themes: economic survival, the natural environment, conflict and war, justice and dignity, family bonds, and creativity. The schedule of films changes from semester to semester. The following films are screened and discussed in class: No Place on Earth (USA); Leviathan (Great Britain); Escape Fire (USA); Slavery by Another Name USA); Detropia (USA); A Place at the Table (USA); The Waiting Room (USA); Al Otro Lado (Mexico); Presumed Guilty (Mexico); Silence in the House of God (USA); Meet the Fokkens (Netherlands); Invoking Justice (India); Foreign Parts (USA); They Came to America (USA); The Central Park Five (USA); Last Call to the Oasis (USA); First Cousin Once Removed (USA). It may sometimes be necessary to substitute a different film. (noncredit)

of the world. Our faculty of talented people from diverse

The Human Condition Seen Through Film: Contemporary Works nsOs2840

backgrounds and perspectives provides rigorous training

a 15 sessions. Tues., 12:10–2:50 p.m., beg. Jan. 28, plus online research

that integrates analysis with the latest research. Students

and discussions. Credit students only.

build the foundations for more advanced study in a variety of fields.

Toby Talbot

The same as course NSOS0840, above, but with additional online discussions and research for credit students. (3 credits) Global Cities in Focus: Berlin nsOs3510 a 15 weeks, Jan. 27 thru May 19. $650.

ONLINE

Robert von Mahs

HOW TO REGISTER OnLine

By Fax

Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the appropriate registration form in the back of this catalog.

This course examines the development of Berlin in the context of theories of global cities, emphasizing the importance of economic development, cultural and social diversity, and geopolitics in shaping metropolitan areas, past and present. We detail Berlin’s rise from a small provincial town to the capital of the German Reich and the its subsequent destruction in World War II; its relative decline and stagnation as a divided city during the Cold War; and its subsequent rebirth as the German capital following reunification. We pay particular attention to the way economic and cultural forces associated with globalization have affected Berlin’s recent development. There is an online collaboration with German students in Berlin, and students who complete this course have the option of taking a course in Berlin next summer to further their knowledge of the city. (3 credits)

By PhOne Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. By MaiL

Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins.

in PersOn Register in person at 72 Fifth Avenue, lower level. See page 82 for the schedule. For details of registration procedures and deadlines, see pages 82–83 or call 212.229.5690.

ONLINE

This logo indicates that the course is offered online. See page 65 or visit the website at www.newschool.edu/online for more information.

SOCIAL SCIENCES

HISTORY

The Arts at The New School nhis4281 a 15 sessions. Mon., 4:00-5:50 p.m., beg. Jan. 27. Noncredit

Rational to Radical Dissent nhis3861 a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650. Gina Luria Walker

The Protestant demand for the right to private judgment placed responsibility on individual Christians to interpret the scriptures according to their own reason. Recent scholarship reveals that heterodox understandings produced by such private interpretations were a pivotal force in the emergence of the freedom to dissent as a value of civil society. This course considers the tangled evolution of the right to private judgment through three historical case studies: 1) the religious wars between Catholics and Huguenots (Protestants) in 16th-century France, the consequent invention of the virtual Republic of Letters, and the influence of Huguenot skepticism on early modern liberal thought; 2) the English civil war in the next century and the role of religious intolerance in the temporary abolition of the monarchy and uneasy alternation between order and anarchy; 3) the grassroots struggles of 18th-century British rational dissenters to cast off second-class citizenship, which led to radical reinterpretations of patriotism (many supported the American colonists’ fight for independence), abolition of the slave trade, and, eventually, extension of the franchise to working-class men and even attention to the wrongs of women. (3 credits) US History in 13 Acts nhis3211 a 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $650. Julia L. Foulkes

The history of the United States is tangled and contested. Most of us learn a straightforward narrative that begins with the arrival of colonizers from Europe and ends with the current presidency, presented with a coherence that obscures the messiness and contradictions experienced by the historical actors. This cohesive story omits consideration of possibilities in the past that could have led to different outcomes. This survey course offers an alternative approach to U.S. history by organizing the subject into 13 “acts” and investigating each in depth. Each week, we use a primary document, image, or other object as a starting point for an investigation that branches out to explore the various, often contentious, interpretations it has evoked. Our subjects range from the familiar (the Constitution) to the often overlooked (a tenement house). Close reading of selected texts and examination of ongoing debates about their meaning allow us a fuller and more complex view of our national past. The course introduces analytical skills that can be applied in any field of history. (3 credits)

tuition $650. Julia L. Foulkes

The New School for Social Research opened in 1919 offering courses in the social sciences and public affairs, but it quickly became a welcoming home for music, dance, photography, theater, painting, film, and creative writing. The list of modern artists associated with The New School is long and impressive. Martha Graham danced in a studio designed for her; John Cage taught courses in sound studies (and mushrooms, his other passion); W.H. Auden taught poetry; and Berenice Abbott sent students out to photograph the city. Why did so many artists gravitate here, to a school dedicated to “social research”? What impact did this association with the arts have on the university, on American education, and on the New York City arts scene? Students conduct research in The New School’s archives to uncover the history of the interaction between the arts, education, and the city that this university has prompted and supported throughout its history. Students design research projects and work individually and collectively to build a website about the history of the arts at The New School. (3 credits)

POLITICS, ECONOMICS, AND THE LAW Supreme Court Controversies nPOL3635 a 15 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 30. Noncredit tuition $650. Erica M. Eisinger

Can the U.S. Congress limit what corporations or labor unions spend to influence congressional and presidential elections? Can the U.S. Supreme Court halt a state’s recount of the votes in a presidential election? Can the U.S. attorney general limit a doctor’s right to prescribe a medicine sometimes prescribed to assist a suicide in a state where assisted suicide is legal? Can a police officer search a home without a warrant if one of the occupants gives permission but another denies it? Can the government withhold all federal funding from a school that refuses to permit the military to recruit on campus because of its policy on homosexuality? We consider these issues, examining recent Supreme Court cases and the legal and political reasoning underlying individual justices’ decisions. (3 credits) International Law nPOL3570 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Glynn Torres-Spelliscy

This course introduces the fundamental concepts of international law. We consider basic ideas and problems involving public international law: What is the origin of international law? Is international law really law? Who is governed by international law? How are treaties interpreted? What is the relationship between international law and domestic law? We examine the interplay between international law and international politics, as well as between international human rights, humanitarian law, the use of force, and international criminal prosecutions. Case studies include the international law implications of the U.S. invasion of Iraq and the confict between Israel and Hezbollah. (3 credits)

You can register for most courses for either noncredit or general credit status. The noncredit tuition is listed as part of the course description. General credit tuition for courses in this catalog is $1,170 per credit. For information about registration options, see pages 64–65.

SOCIAL SCIENCES

ANTHROPOLOGY AND SOCIOLOGY

Introduction to Macroeconomics necO2002 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Vivette Ancona

Modern Social Theory nsOc3102

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 the key principles of modern economics, we examine major questions in macroeconomic policy, including measuring the gross domestic product, the possible connection between employment and inflation, the relationship between saving and investment, the effects and limitations of government monetary and fiscal policy, and business cycles. We also consider issues in the international political economy, such as trade policy and its relation to current account deficits and the role of the International Monetary Fund and the World Bank in the international financial system. (3 credits)

a 15 sessions. Thurs., 8:00–9:50 p.m., beg. Jan. 30. Noncredit

Entrepreneurship in Economics necO2810 a 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 30. Noncredit tuition $650.

tuition $650. Sebastian Guzman

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

Abid Raza Khan

Childhood in Crisis: Development in a Globalized World nanT3671

Theoreticians and policymakers have long viewed entrepreneurship as vital to economic progress, but it did not become part of economic modeling until the 20th century, with the work of Schumpeter. His methods gave rise to a school of thought in economics (the Austrian School) but failed to capture the attention of mainstream economists until the mid-20th century. Since then, entrepreneurship has been accepted as the fourth factor of production and a primary impetus to economic growth. This course is an attempt at incorporating entrepreneurship into economic models. We examine how innovation relates to entrepreneurship and how it has been dealt with in traditional economic theory. We develop a formal model of innovative entrepreneurship and discuss its market structure. We use data analytical techniques to show how and why innovations at the “main street” level are so important for economic development. (3 credits)

a 15 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 30. Noncredit tuition $650.

Racial Stratification necO3511 a 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $650. Darrick Hamilton

This course critically examines the causes and consequences of racial disparities as well as possible remedies. Although it has been 150 years since the emancipation of Black Americans and about 40 years since the passage of civil rights and equal employment opportunity legislation, AfricanAmericans still lag far behind whites in virtually every socioeconomic indicator. We explore the merits and limitations of various paradigms aimed at explaining these persistent disparities, especially stratification economics. In particular, we investigate racial disparities in socioeconomic indicators such as education, labor markets, and wealth. The course is divided into four parts: 1) an introduction to the biological and social construction of race and racial disparity; 2) conservative, liberal, and alternative paradigms that explain racial disparity; 3) an examination of racial disparity in education, labor markets, and wealth; and 4) policy proposals, such as affirmative action, reparations, and other measures intended to address racial disparities. (3 credits) Marxist Theory and Its Contemporary Relevance nPhi3220 a 15 sessions. Thur., 8:00–9:50 p.m., beg. Jan. 30. Noncredit tuition $650. Karsten Struhl

See page 17.

Victoria Malkin

What is childhood? What are adults’ expectations of what children can and should do, and how do these expectations compare with children’s own experience? This class explores these questions using a variety of sources, from detailed ethnographies conducted around the world to texts and films about children to policy interventions aimed at enhancing children’s welfare. Which aspects of childhood could be considered universal and anchored in biological needs and development, and which are cultural constructs? By comparing the ways childhood is experienced in different sociocultural and historical contexts, we can begin to think more critically about this period of life. More than just representatives of a developmental phase, children are agents in the world who are socialized into cultures while changing culture themselves. Childhood is both a discursive construct leading to the creation of specific types of social actors and a particular state of being (emotional, physical, biological, cultural). We conclude by examining how prevailing ideologies of childhood have shaped efforts to address children’s needs, many of which have failed in communities with radically different ideas about children’s needs and roles. This is highlighted by looking at phenomena as disturbing as child soldiers, child labor, and child mortality. (3 credits) Anthropology of Sustainability nanT3647 a 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $650. Rachel Heiman

It seems as if everywhere you turn, discussions about sustainability have taken center stage. Flipping through the Sunday New York Times, you’re likely to come across articles about sustainable development, sustainable consumerism, sustainably made jewelry, sustainable budgets, sustainable suburbs, sustainable tourism, and Sustainable South Bronx. In recent years, anthropologists have begun to examine what sustainability means in such varied contexts, to explore different visions of sustainability around the globe, and to ask critical questions about the widespread uncritical use of the term “sustainable.” This course introduces students to the anthropology of sustainability and explores sites including Siberia, rural Japan, downtown Kenosha, and sub-Saharan Africa. Readings examine recent debates about “green urbanism” as a pathway to “environmental gentrification” and discussions among members of Occupy Everywhere about whether decentralized, new media–based social movements are more sustainable than traditional movement organizations. (3 credits)

SOCIAL SCIENCES

Divided We Sprawl: Suburbs and Beyond nanT3629

PSYCHOLOGY

a 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $650. Rachel Heiman

With housing developments bordering dairy farms, office parks adjoining urban centers, and New Urbanist projects flanking strip malls, it is difficult to demarcate the suburban, the urban, and the rural. In their article “Divided We Sprawl,” Bruce Katz and Jennifer Bradley have suggested that we shed these divides and imagine ourselves as part of a metropolitan whole. At stake are not just interrelated problems of transportation, housing, education, jobs, and the environment. With frantic privacy winning out over spontaneous public life, what becomes of our ability to mingle in crowds, encounter difference, and collectively tackle societal problems? This course explores the history, culture, politics, and design of metropolitan centers from the vantage point of the suburbs. Beginning with the origin of the Anglo-American suburb in Britain and its colonies in the 18th century, we work our way up to contemporary debates over gated communities, the foreclosure crisis, and efforts to retrofit suburbia for the new millennium. We examine tensions between public and private in spaces ranging from living rooms and lawns to highways and malls. Texts include historical accounts, ethnographic descriptions, sociological commentaries, popular culture parodies, and period films. (3 credits)

Fundamentals of Psychology nPsy2001 a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650. Catherine Mindolovich

As a subject of intellectual inquiry, psychology spans the histories of many cultures, but since antiquity, psychological interpretation has revolved around recurring themes. When philosophers, naturalists, and other scholars began to divide into separate academic departments in the 19th century, psychology, with much fanfare, sought recognition as a separate discipline. Its goals were, and are, the explanation of memory, emotion, perception, consciousness, learning, motivation, personality, development, and social influence. These fundamentals of the field are the topics of this course. (3 credits) Theories of Personality nPsy3401 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Instructor to be announced

This class introduces theories of personality through readings of primary texts by major theorists. We begin by examining the groundbreaking research of Sigmund Freud and his theory of personality development and the unconscious. We then read modern Freudians, from John Bowlby and Margaret Mahler to Erik Erikson and Heinz Kohut. We look at Melanie Klein and the British Middle Group, particularly Donald Winnicott. We consider interpersonal and relational theories that stress not only the inner mind but the interactional self. We conclude with current research from feminism, sociology, and genetics. Throughout, we discuss personality as an intersection of factors including subjectivity, biological inheritance, personal history, and culture. We question the idea of a “normal” personality and study the way each theorist defines the abnormal or pathological. We also draw on cultural and clinical texts to illuminate these theories and the relevance of psychoanalysis to art and other cultural practices. (3 credits) Introduction to Neuropsychology nPsy3140 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Anna Elise Odom

The brain’s function has been an enigma throughout history, but in the last decade, great strides have been made in this area of research. In this course, we employ the psychological perspective of neuroanatomy and neurophysiology to develop an understanding of how the brain produces thought and behavior. We look at the way neural activity produces our perception of the world, our behavior, our cognition and memory, and our emotional life. We also explore how psychoactive drugs affect these processes and how neural activity produces conscious awareness and plays a role in mental illness and substance abuse. (3 credits) Research Methods 1 nPsy2701 a 15 sessions. Wed., 8:00–9:50 p.m., beg. Jan. 29. Noncredit tuition $650. Instructor to be announced

Can’t find what you want? The subject index is on page 79. An index of courses by course master ID is on page 77.

Studying and applying psychology requires learning research methods. Students learn the basics of observational, experimental, and quasiexperimental studies in psychology. Topics 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 research design types and features. Students learn how to think critically about research from both conceptual and applied perspectives. A prior course in statistics is recommended for those who have no research experience (e.g., data collection, data entry, or data analysis). (3 credits) 9

SOCIAL SCIENCES

The Psychology of Women nPsy3841

Introduction to Abnormal Psychology nPsy3501

a 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit

a 15 sessions. Mon., 4:00–5:50 p.m., beg. Jan. 27. Noncredit

tuition $650.

Lisa Rubin

Warren Spielberg

Over the past 25 years, feminists have transformed the field of psychology. Feminist psychologists have challenged how we study, what we study, and what we know about women’s lives. This course provides an overview of the growing field of the psychology of women, from the early feminist psychologists who challenged notions of women’s intellectual and emotional inferiority through their rigorous scientific research, to contemporary feminist psychologists who contend that the scientific enterprise is itself tainted by androcentric bias. We explore key areas of psychological research on women’s lives, such as theories of girls’ and women’s psychological development, the regulation and management of the female body across the lifespan and across cultures, sexuality and reproduction, mental and physical health, women and work, and violence in women’s lives. Within each of these areas, we examine how race, class, and sexuality intersect with gender in shaping women’s lived experiences. (3 credits)

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. (3 credits) Understanding and Treating Victims of Abuse nPsy3860 a 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 28. Noncredit tuition $650. Michele Frank

Cognitive Psychology nPsy3601 a 15 sessions. Mon., 4:00–5:50 p.m., beg. Jan. 27. Noncredit tuition $650. Instructor to be announced

Ordinary mental activities such as recognizing a word, forgetting a phone number, and distinguishing a cup from a glass seem transparently simple. Examined more closely, they are complex and not easily explained. Cognitive psychology is the empirical study of longstanding 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 examine 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)

This course introduces students to the dynamic and often controversial field of advocacy, intervention, and treatment for abused children, ranging from the reporting of abuse to protective services to therapeutic treatment of child victims and adult survivors. There are lectures and group discussions, and experts describe their professional experiences. Specific topics include the workings of the New York City Administration for Children’s Services, the identification of child abuse and the investigative process, the range of services in foster care, the role of the battered women’s shelter movement, and the realities of working with abused children, their families, adult survivors, and child-abuse offenders. Students and practitioners in social work and related fields can expect a thorough overview of child abuse advocacy, an examination of how human services agencies currently interact in New York City, and valuable resources for using these agencies. (3 credits)

SOCIAL SCIENCES

Dimensions of Narcissism nPsy2446

Media Psychology nPsy3820

a 15 sessions. Thurs., 10:00–11:50 a.m., beg. Jan. 30. Noncredit

a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

tuition $650.

Celesti Colds Fechter

Patricia Simko

In this course, we use psychological concepts as tools with which to examine the way our experiences with media are filtered through our minds to create knowledge and construct meaning, which informs our attitudes, behaviors, and even perceptions of reality. In an exploration of developmental issues, we consider the ways in which children’s interactions with media differ from those of adults, and note the importance of the medium of music for teens and young adults in particular. We look critically at media portrayals of Latinos, Muslims, Native Americans, African-Americans, gays and lesbians, women and men, the elderly, and people with physical or mental disabilities. We apply psychology in order to understand how the media covers the news and how politicians use media. We explore violence and sexual content in media in contrast to media-promoted pro-social behaviors, while also considering areas in which media standards have become less strict in recent years, such as the use of profanity, and areas in which standards have become stricter, such as overt expressions of racism and sexism. (3 credits)

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 and self-esteem. The results have dramatic implications for the emergence of personality as well as the unfolding of our unique world. The emphasis in this course is on gaining an understanding of the emergence of self. The theories of object relations and narcissism are studied, with special attention to the narcissistic emotions of rage, shame, emptiness, elation, isolation, fragmentation, and loneliness. (3 credits) Health Psychology nPsy3843 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Gina Turner

This course provides an overview of the rapidly growing field of health psychology. We examine current research to understand 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)

ONLINE

Mindfulness and Meditation in Psychology nPsy3646 a 15 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 30. Noncredit tuition $650. Jonathan Kaplan

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

Eating Disorders: Anorexia Nervosa, Bulimia, and Binge Eating nPsy3845

a 15 sessions. Thurs., 6:00-7:50 p.m., beg. Jan. 30. Noncredit

a 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 28. Noncredit

tuition $650.

Celesti Colds Fechter

Beatrice Kraemer

In this course, we study the historical development of psychology. Beginning with ideas about the “mind” from antiquity to the Enlightenment, we consider when and why psychology became a science. We critically examine the philosophical underpinnings and key historical events and people that shaped the discipline. There is an extensive online component. Students work in groups to design a final presentation. This is the capstone course for undergraduate degree students majoring in psychology. (3 credits)

Eating is an essential part of life. It ensures survival; it is also connected to pleasure and quality of life. Still, almost everyone has, at some point in his or her life, engaged in unusual eating patterns or experienced supposedly unusual feelings toward eating. Under what circumstances do such feelings turn into eating disorders like anorexia, bulimia nervosa, and obesity? How are these disorders defined and differentiated from merely unusual eating habits? Why do they seem to affect women more than men? Do they occur in non-Western cultures? The class examines factors that cause and sustain eating disorders, reading theories advanced from sociocultural, feminist, biological, and psychological perspectives. We then discuss the prevention, diagnosis, and treatment of these disorders. (3 credits)

History and Systems of Psychology nPsy4001

U N D E R G R A D U AT E D E G R E E P R O G R A M F O R A D U LT S The New School for Public Engagement provides an opportunity to complete your undergraduate degree at your own pace in a largely selfdesigned liberal arts program. For more information, call 212.229.5150 or visit www.newschool.edu/nspe/undergrad.

For help in interpreting course descriptions, see chart on page 81.

HUMANITIES

HUMANITIES cultural studies art and architecture Music Literature Philosophy FOr cOurse advising, caLL 212.229.5961. w w w. n e w s c h o o l . e d u / c e / h u m a n i t i e s

Great works of art, literature, and music, along with profound philosophical thought, have the capacity to bridge ages, languages, and cultures. The study of cultural works in the context of their own time and place, as well as ours,

Performing Gender: Paris in the Roaring Twenties ncsT2650 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650. Margaret Boe Birns

The Jazz Age in Paris was, in the words of Maurice Sachs, “the decade of illusion.” It was the era of dancings, le bal nègre, Mistinguett, the Charleston, Josephine Baker, and jazz; it was the era of Cocteau, Picasso, Man Ray, Kiki, and the Russian ballet; it was the era of Paul Poiret, Coco Chanel, and the flapper. This course provides a cultural overview of Paris in the Roaring Twenties, with a focus on the representation of women on stage and in literary texts. Our study includes surrealist art and literature, avantgarde film, performance art, jazz music, and cultural criticism. We examine a number of paradigms that arise in the literature of the period: the New Woman, the female phantom, the machine woman, the Black Venus. We pay close attention to both primary sources and cultural reception. Slides of art and lithographs of the period are shown. Readings include Hemingway’s A Moveable Feast, Colette’s Chèri, Breton’s Nadja, Djuna Barnes’ Nightwood, and Langston Hughes’ poetry. There is also a creative role-playing component to the course. (3 credits)

is the cornerstone of a liberal arts education. It provides

Queer Art and the Legacy of AIDS ncsT3350

crucial fuel for artists, writers, musicians, and thinkers of

a 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 29. Noncredit

all kinds, and it helps develop the kinds of skills—critical reading, attention to detail, and analytic writing—that are useful in all walks of life.

CULTURAL STUDIES Women in the Avant-Garde ncsT4146 a 15 sessions. Thurs., 1:50–3:40 p.m., beg. Jan. 30. Noncredit tuition $650. Terri Gordon-Zolov

This course examines the pivotal role of women in the European avantgarde movements of the 20th century. Although women involved in these movements have often been viewed primarily as models and muses of male contemporaries, many were creators and pioneers in their own right. In this course, we study the many ways women contributed to the 20th-century vanguard, the personal and political stakes involved in forging new territory in art and culture, the suffering that often attended their efforts, and the artistic legacies they left. Themes explored include the nexus of art and politics, sexuality and gender violence, war and madness, and suffering and creativity. We study Italian futurism, German expressionism, Dada, surrealism, and other movements at the vanguard of European culture, politics, and art. The course covers the literary genres of poetry, prose, and drama and the artistic genres of painting, photography, collage, and photomontage. We also read documents such as manifestoes and political tracts by figures including André Breton, F.T. Marinetti, Tristan Tzara, and Walter Benjamin. Writers and artists discussed include Leonora Carrington, Mina Loy, Sophie Taeuber-Arp, Claude Cahun, Hannah Höch, Frida Kahlo, and Unica Zürn. (3 credits)

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tuition $650. Ricardo Montez

This course examines the history of AIDS and HIV through responses in visual culture and performance. In particular, we look at the ways artists use visual representation and bodily performance to make necessary interventions in the public dialogue around AIDS. Working closely with Visual AIDS, an organization dedicated to preserving art related to AIDS activism, students explore artists’ archives and develop a series of projects designed to advance the work of the organization. Students conduct research on an artist and execute final collaborative projects for Visual AIDS, which may involve curating an online exhibition, publishing a zine, or designing visual materials for education and promotion. These projects will be made available to the public as a means of promoting ongoing conversations about AIDS and reminding people that the AIDS crisis is not over. (3 credits) Jews and the Crusades ncsT3505 a 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $650. Gina Luria Walker

In this course, we consider new scholarship examining the experience of the Jews in medieval Europe. From the 11th to the 13th century, European Jews 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 and heretical Christian sects like the Albigensians in Southern France intensified in the same period. We read original sources, including accounts by individual Jews, Muslims, and heretics of encounters with the Crusades, crusaders, and one another and recent commentary documenting the emergence of intercommunal diplomacy, cross-cultural toleration, and surprising alliances. Readings include Reassessing Jewish Life in Medieval Europe by Robert Chazan, God’s War: A New History of the Crusades by Christopher Tyerman, and The Crusades Through Arab Eyes by Amin Maalouf. This course was formerly listed as NHUM3505. (3 credits)

HUMANITIES

ART AND ARCHITECTURE Art and the Political: Curating the Public Conversation nPuB3781 a 15 sessions. Tues., 6:00–8:40 p.m., beg. Jan. 28. Noncredit tuition $650. Carin Kuoni

In societies such as ours, shaped by both globally networked and selforganized and transient structures, the public articulation of social, cultural, and political issues is crucial for leaders in the creative industries. It can also be considered a political act in itself. Art has come to play an increasingly important role in the public discourse around these issues. In this course, we examine traditional and current curatorial models for bringing politically engaged art into the public conversation, within both institutional and temporary frameworks. We look at how artists incorporate the political in terms of both content and practice and evaluate the influence of their work on questions of social justice. After a brief historical and theoretical introduction, we focus on the political and social issues explored in the public programs of the Vera List Center for Art and Politics. The center presents a public program every other week, ranging from lectures and panel discussions to conferences and workshops to performances. Students attend these events during the class meeting time, and afterward program participants join us for a private discussion. This course was formerly listed as NARH3781. (3 credits)

The Art of Keith Haring narh3487 a 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $650. Ricardo Montez

Students in this interdisciplinary course explore the world of Keith Haring, one of the most prolific artists of the 1980s. Drawing inspiration from Haring’s energetic engagement with New York City and his dynamic use of line, the course takes students on a journey through the realms of hip-hop, downtown performance art, and queer nightlife. Andy Warhol, Brion Gysin, Grace Jones, Madonna, and Fab Five Freddy are just a few of the inspirational figures we study. Situating Haring within a historical context, we examine the aesthetic practices and countercultural legacies that shaped Haring’s evolution as an artist. The class employs categories such as primitivism and pop to develop an understanding of Haring’s art and critically address formal aspects of his work. The course moves beyond a traditional art-historical approach to its subject and follows Haring’s line across time and surfaces. We focus on the ways Haring’s art performs in different contexts and investigate the politics of his art, particularly in relation to race and sexuality. (3 credits) Public/Art nPuB3000 a 15 sessions. Thurs., 9:00–11:40 a.m., beg. Jan. 30. Noncredit tuition $700. Gabrielle Bendiner-Viani

Methodologies in Museum Education narh3485 a 15 sessions. Fri., 11:00 a.m.–1:40 p.m., beg. Jan. 31. Noncredit tuition $700. Paula Stuttman

This course explores the history and practice of education in the art museum. Students gain an understanding of this rapidly expanding field through readings and experiential learning projects. Issues covered include the historical and theoretical foundations of museum education, integrating digital technologies into museum programming, meeting the needs of different audiences, and teaching with works of art in the museum. Working independently and collaboratively, students use both traditional and new forms of communication to develop projects for different populations. The New School Art Collection and New York City’s museums serve as resources for the class. Some classes meet off campus at museums. (4 credits) The Art of Viewing Art: Learning from Current Exhibitions narh0010 a 15 sessions. Thurs., 1:00–2:50 p.m., beg. Jan. 30. Noncredit tuition $650. John Zinsser

This course is for noncredit students only; credit students must register for NARH3010. The New York art world offers eye-opening experiences for those who know how and where to look. Learn to use the city’s galleries and museums as your classroom. Each week, students visit a different exhibition. Course lectures illuminate the exhibitions in historical context and from a broader cultural perspective. Guest speakers include artists, gallery owners, curators, and art critics. We view a mix of contemporary and historical shows and compare the artworks we have seen. (noncredit)

Public art is all around us—in the subways, in the parks, on the street. What purposes does it serve? What values does it reflect? What effects does it have on our communities, identities, and memories? This intensive course requires students to follow two parallel tracks: One track introduces the history, theories, and debates that influence the creation of public art today; the other track, developed in partnership with the New York Council for the Humanities (NYCH), trains students to promote civic engagement by facilitating conversations about issues raised by public art. The course integrates traditional academic research and writing with field-based work, which students conduct either independently or in groups. Students are expected to travel within New York City to visit designated public artworks in person and to observe at least one community conversation organized by the NYCH. (4 credits) Picturing the City: New York and the Avant-Garde narh3875 a 15 sessions. Wed., 8:00–9:50 p.m., beg. Jan. 29. Noncredit tuition $650. Matthew Guy Nichols

The first few decades of the 20th century brought dramatic changes to the physical and social landscape of New York City, including the digging of subway tunnels, the construction of skyscrapers, and waves of immigration. Many American artists asserted their modernity with paintings, photographs, and experimental films that chronicled this changing urban environment. This course examines New York cityscapes and street scenes by the Ashcan School, members of the Stieglitz circle, the Precisionists, the social realists, and artists associated with the Harlem Renaissance. An institutional context frames this survey of modern American art, including discussion of the watershed Armory Show of 1913 and the founding of the Museum of Modern Art and the Whitney Museum of American Art circa 1930. (3 credits)

The Art of Viewing Art: Learning from Current Exhibitions narh3010 a 15 sessions. Thurs., 1:00–3:50 p.m., beg. Jan. 30. Credit students only. John Zinsser

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

Is your schedule tight? There’s a list of courses by start date and time on page 75.

HUMANITIES

MUSIC

Building the Modern City: The History of Urban Planning from 1850 to 1945 nurB3331 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Emily Bills

The impact of the Industrial Revolution on the rise of the modern city inspired many architects and planners to rethink how urban spaces might be shaped to provide a more egalitarian metropolitan experience. These efforts motivated reforms in living conditions, inspired new types of transportation infrastructure, and spotlighted colliding attitudes toward urban and suburban living. This course explores such issues through a survey of the major contributions to modern city planning in Europe and the United States from about 1850 to 1945, paying particular attention to widely influential projects developed by key urban thinkers. Through discussions of lectures, posted images, and assigned readings, students become familiar with topics such as Grand Manner planning, the City Beautiful and Garden City movements, Camillo Sitte’s “artistic city,” and the modernist strategies of Le Corbusier and Frank Lloyd Wright. (3 credits)

America Sings: From Cole Porter to Stephen Sondheim nMus3560 a 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $650. Marc Peloquin

This course explores the diverse world of American song. Major composers studied include Cole Porter, George Gershwin, Irving Berlin, Leonard Bernstein, and Stephen Sondheim. We examine their lives and their individual stylistic development. The course includes frequent in-class performances by the instructor and guest vocal artists, as well as periodic use of film excerpts to highlight various songs and their composers. Critical and biographical readings provide students with the necessary foundation for a thorough examination of this extraordinary subfield of American music history. (3 credits)

Global Images of Metropolitan Futures nurB3500

Popular Dance Performed: From Musical Theater to Hip-Hop nMus2600

a 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $650.

a 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 27. Noncredit tuition $650.

Margarita Gutman

William Moulton

This course explores the way the urban future is envisaged by different disciplines in different geographies: Buenos Aires, Mumbai (Bombay), New York, and Shanghai. The course looks at these cities from the perspectives of visual culture, architecture, urban planning, art history, geography, and other social sciences. It analyzes the patterns and complexity of the international flow of visual culture related to images of the future, their agency, conditions of dissemination, and interaction with local contexts. Studying cities on different continents, the course examines how globalization affects local images and visions and is in turn affected by them. Students compare images and ideas from different cities, evaluating the content and power of these diverse images of the future and the way they influence aspects of urban life, including the built environment, culture, society, and the economy. (3 credits)

This course is a study of different forms of popular dance and how they are related to the music that supports them and the cultures from which they spring. We look at the interaction of popular music and dance forms in film and musical theater, jazz dance, and hip hop. We compare and contrast popular dance to the classical ballet and modern dance. We try to understand how the different forms of dance originated and what has made them popular. Students watch films, videos, and online content in class and on their own time, write critiques, and keep a journal. Each student is required to analyze a dance form of their choosing as a final project. There is one class outing (date to be arranged) to see a live popular dance performance. (3 credits)

HOW TO REGISTER OnLine

By Fax

Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the appropriate registration form in the back of this catalog.

Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins.

in PersOn Register in person at 72 Fifth Avenue, lower level. See page 82 for the schedule. For details of registration procedures and deadlines, see pages 82–83 or call 212.229.5690.

HUMANITIES

LITERATURE

Lyrics of Mystical Love, East and West nLiT3160 a 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $650.

Confessional Writing: Fiction and Autobiography nLiT3879

Nargis Virani

a 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $650. Carolyn Vellenga Berman

Our current confessional culture has a long literary pedigree. “Let my fellow men hear my confessions,” Jean-Jacques Rousseau wrote in his seminal autobiography, published after his death in 1788. “Let them groan at my depravities, and blush for my misdeeds.” How has a literary genre shaped by the practice of priests led us to “reality” TV? This course traces literary forms of confession through a series of best-selling autobiographies, firstperson novels, memoirs, and autobiographical fiction. We begin with Saint Augustine’s fourth-century Confessions and the 18th-century invention of autobiography. We read two Victorian masterpieces, Brontë’s Jane Eyre and Dickens’ David Copperfield, as examples of the pseudo-autobiographical novel. We also consider the popularity of the slave memoir, reading Frederick Douglass’ bestselling Narrative. Finally we turn to the genrebending confessions of a novelist of our own time, reading Jamaica Kincaid’s Annie John and “Biography of a Dress.” (3 credits) Middlemarch for the 21st Century nLiT2300 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

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Margaret Boe Birns

Middlemarch has passed the test of time; it is regarded not as just a 19th-century novel but as a novel for the ages. It is a masterpiece that has been described as a treasure house of detail, one of the few English novels written for grown-ups, and the greatest novel in the English language. Middlemarch both exemplifies Victorian realism and anticipates the psychological inwardness associated with today’s fiction. In this course, we examine Eliot’s detailed depiction of Middlemarch, a town in the English midlands undergoing social, political, religious, and economic transformation. We explore the many plots and diverse characters in a novel that ranges from comedy to tragedy to romance to political and social commentary, with an emphasis on two main characters, an idealistic doctor and an intellectual young woman. We also hear the wise and compassionate voice of George Eliot herself as it emerges in the narrative. Required text: the Norton Critical Edition of Middlemarch. (3 credits) The Bible as Literature: Historical Traditions nLiT3803 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

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Nicholas Birns

The body of literature written in Hebrew more than 2,000 years ago and variously called the Old Testament or the Hebrew Bible has played a pivotal role in many of the world’s literary traditions. We study a selection of these writings, stressing their narrative features and the way they incarnate elemental literary forms: fable, short story, romance, proverb, and disquisition. We read Israel’s traditional account of its past in Genesis (chapters 12–50) and portions of the Exodus narrative. We read of the Hebrews’ settlement in Canaan in Judges, including the rousing story of Deborah and the enigmatic and tragic tales of Jephthah and Samson. We read of the torment of Job and the wise, world-weary cynicism of Ecclesiastes. Various visual resources and commentaries facilitate our quest for the meaning of these ancient texts. (3 credits)

How can mystical experience be put into words? How did the mystic poets of various world traditions attempt to express the inexpressible? How should we read and interpret these poetic images? This course deals with these and similar questions while examining key mystical/poetic concepts such as silence, union with the divine, and human versus mystical love. The lyrics of the world-renowned mystic Rumi are used as the main text, with frequent comparisons to the writings of other prominent figures such as Saint John of the Cross, Yunus Emre, John Donne, Kabir, and Meister Eckhart. All poems read are in English or English translation. (3 credits) The Literature of Forgiveness nLiT3807 a 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $650. Terri Gordon-Zolov

Since the South African Truth and Reconciliation Commission hearings of 1996, the question of forgiveness has become central to human rights discourse. In this course, we consider global political catastrophes and their consequences through a study of 20th-century novels and memoirs. We examine the Holocaust, South African apartheid, the rule of the Chilean military junta under General Pinochet, and the Rwandan genocide. We study not only forgiveness but also related notions such as retributive and restorative justice, individual and collective responsibility, the virtues of vengeance, healing, memory, grief, compassion, shame, and silence. This is a world literature course covering African, European, and American literature: Shakespeare’s Merchant of Venice, J.M. Coetzee’s Disgrace, Philip Gourevitch’s We Wish to Inform You That Tomorrow We Will Be Killed with Our Families, Simon Wiesenthal’s The Sunflower, and Ariel Dorfman’s Death and the Maiden. We also read theoretical texts by Nietzsche, Primo Levi, Jean Améry, Desmond Tutu, Hannah Arendt, Julia Kristeva, and Wole Soyinka and view Eytan Fox’s 2004 film Walk on Water. (3 credits) Introduction to Literary Traditions nLiT2001 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

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Frances Chiu

This course surveys a wide spectrum of literature, from ancient texts to postmodern and postcolonial works. Preparing students for advanced courses in literature, it also provides a framework for considering how we became the writers and readers we are today and what new insights might be needed by the readers and writers of tomorrow. By reading the Bible in juxtaposition with the Qu’ran and the Tao Te Ching and the Homeric epics in dialogue with later works derived from them, we explore the evolution of the modern poem, short story, and drama. We examine literary tropes like metaphor, symbol, and allegory and discuss the differences between them. Organized thematically rather than chronologically, the course provides a set of basic tools with which to negotiate literary analysis without presuming a single authoritative tradition or canon, preparing students to participate in debates over the formation of the literary canon and its deconstruction. (3 credits)

ONLINE

This logo indicates that the course is offered online. See page 65 or visit the website at www.newschool.edu/online for more information.

HUMANITIES

Authors in Exile: Nostalgia, Mourning, and Dissidence in World Literature nLiT3604 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Noëlle Carruggi

We examine the work of a diverse array of literary figures whose fiction, some originally published in English and much of it in English translation, takes us to Pakistan, Sri Lanka, Nigeria, Lebanon, Mexico, and other locales. We read these texts with a critical eye focused on a number of questions: What constitutes the center and the margins of world literature? Which works are more likely to be translated than others? How does marketability figure into the overall equation of literary worth? The reading list may include Mohsin Hamid’s The Reluctant Fundamentalist, Shyam Selvadurai’s Cinnamon Gardens, Venus Khoury-Ghata’s A House at the Edge of Tears, Mohammed Nasseehu Ali’s The Prophet of Zongo Street, Chimamanda Ngozi Adichie’s For Love of Biafra, Anouar Benmalek’s Lovers of Algeria, Pura López-Colomé’s No Shelter, Kenzaburō Ōe’s Teach Us to Outgrow Our Madness, and Monique Truong’s The Book of Salt. (3 credits)

PHILOSOPHY Introduction to Philosophy 2: Modern to Contemporary nPhi2200 a 15 sessions. Thurs., 8:00–9:50 p.m., beg. Jan. 30. Noncredit tuition $650. Luis Guzmán

One of the main themes of modern Western philosophy is the question of knowledge: What can we know? What are the limits of our knowledge? How can we be certain about what we know? This course traces this quest, beginning with the representationalist view of knowledge in the early modern period (17th century) to recent language-oriented ideas about what knowledge is. Our guiding question is: What does it mean to know? We read selections from Descartes, Leibniz, Locke, Hume, Kant, Hegel, Marx, Nietzsche, and James, leading us to the 20th-century philosophers Wittgenstein, Quine, Davidson, McDowell, and Rorty. There are no prerequisites for this course, which is foundational for the study of philosophy. This course was formerly listed as NPHI3101. (3 credits)

Blood Read: The Vampire as Metaphor in Contemporary Culture nLiT3827

Critical Thinking: Informal Logic nPhi2610

a 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 27. Noncredit

a 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit

tuition $650.

Joseph Salvatore

Carolyn Colsant

The vampire, one of the 19th century’s most powerful archetypes, remains pervasive in our culture, from the cinema’s multivalent representations of the undead creature to the appropriation of this enigmatic figure by fashion, music, images, and entertainments. As the site of familiar cultural markers of gender and sexuality, the vampire’s shifting identity, from Bram Stoker’s eastern European count to the androgynous, homoerotic S&M rock star vampire of Anne Rice’s Chronicles, points to impulses the culture fears and seeks to suppress. We look at the history of the vampire legend, reading selections from Montague Summers’ The Vampire in Europe. We read Stoker’s Dracula, along with critical commentary, and examine his appropriations from Transylvanian folk myths. We then read Blood Read, a collection of critical essays edited by Joan Gordon and Veronica Hollinger that investigates the literature of the vampire and the authors who write it. We watch the films Near Dark, Nadja, The Lost Boys, The Hunger, Carmilla, Nosferatu, and Tod Browning’s 1931 classic Dracula and an episode or two of Buffy the Vampire Slayer and Angel. This investigation of the historical roots and current interpretations of the vampire myth sheds light on sexuality, consumption, power, alienation, attitudes toward illness and views of evil in contemporary society. (3 credits)

In this course, we study and apply the principles and methods that distinguish good reasoning from poor reasoning. Working with this toolkit of techniques for evaluating arguments, we examine the logic that shapes contemporary debates about politics, media, art, and science. In an activity complementing this practical exercise, we also reflect on the psychological structures that make critical thinking an essential aspect of constructive civic engagement and human well-being in general. (3 credits) Ethics: Values and Choices nPhi2501 a 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $650. Yunus Tuncel

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

HUMANITIES

Marxist Theory and Its Contemporary Relevance nPhi3220 a 15 sessions. Thurs., 8:00–9:50 p.m., beg. Jan. 30. Noncredit tuition $650. Karsten Struhl

We study the essential works of Karl Marx and Friedrich Engels, their philosophical precursors, and influential forms of Marxism in the 20th century. We consider philosophical idealism and social change, historical and dialectical materialism, modes of production, and the relationship between structure and superstructure. We then ask whether Marxist theory can explain current processes of social, political, and economic change. Perhaps most important, we try to apply Marxist theory in its many forms to pressing issues of our time, including identity, multiculturalism, raceand gender-based oppression, the ecological crisis, terrorism, war, and globalization. In addition to studying Marx and Engels, we read works by Hegel, Lukács, Gramsci, Althusser, Marcuse, Habermas, Immanuel Wallerstein, Samir Amin, and John Bellamy Foster. (3 credits) Twentieth-Century Continental Philosophy nPhi3285 a 15 sessions. Thurs., 4:00-5:50 p.m., beg. Jan. 30. Noncredit tuition $650. Timothy R. Quigley

In this introductory course, we examine the basic themes and concepts of phenomenology—consciousness, time, intentionality, and Da-sein (“human being-in-the-world”—and their relation to other philosophical practices such as analytic philosophy. We consider the adaptation by the existentialists Jean-Paul Sartre and Maurice Merleau-Ponty of the insights of Edmund Husserl and Martin Heidegger into the nature of freedom, the self, the body, and our relationship to others. The material in this course provides essential background for understanding contemporary developments in art criticism, literary theory, visual and cultural studies, perception, technology, and postmodern philosophy. (3 credits)

GIVE YOUR KIDS AN EARLY START. The new school offers exciting programs in art, design, and music for children from preschool through high school—in a supportive atmosphere that promotes creative thinking and self-discovery. – Parsons Pre-college academy offers students in grades 3–12 the opportunity to develop new skills through handson art and design projects that foster creative thinking, problem solving, and collaboration. – Mannes Preparatory combines a warm and supportive atmosphere with thorough pre-professional music training. Programs are tailored to meet the needs of pre-K through high school students—from the absolute beginner to the most proficient.

www.newschool.edu/precollege3

An Affirmative Action/Equal Opportunity Institution.

MEDIA STUDIES AND FILM

MEDIA STUDIES AND FILM Media studies Film studies

Certificate in Film Production The New School awards a certificate attesting to successful completion of a sequence of courses in which students master the art and craft of filmmaking. For more information, see page 23 or go online to www.newschool.edu/ce/filmproductioncert.

Film and Media Production The Film and Media Business

Certificate in Screenwriting

screenwriting

The New School awards a certificate attesting to successful completion of a sequence of courses in which students master the art and craft of writing for the cinema. This curriculum can be completed entirely online, on campus, or through a combination of online and on-campus courses. For more information about the certificate program, see page 28 or go online to www.newschool.edu/ce/screenwritingcert.

FOr cOurse advising, caLL 212.229.8903. w w w. n e w s c h o o l . e d u / c o n t i n u i n g - e d u c a t i o n / m e d i a - s t u d i e s - f i l m Anne Balsamo, Dean, School of Media Studies Melissa Friedling, Director of Undergraduate Studies

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

Master of Arts in Media Studies Since 1975, The New School has offered the Master of Arts in Media Studies in an innovative program that combines theoretical and practical study of media and their role in our rapidly changing world. For more information, go to www.newschool.edu/mediastudies. To speak to a counselor, call the Office of Admission at 212.229.5630 or email nsadmissions@newschool.edu. Master of Science in Media Management Expanding on its successful Media Management certificate, The New School now offers the MS in Media Management. This curriculum combines a solid foundation in managerial skills with critical analysis of media industries and their products and is designed to develop innovative thinking and entrepreneurship. For more information, visit the website at www.newschool.edu/mediastudies. To speak to a counselor, call the Office of Admission at 212.229.5630 or email nsadmissions@newschool.edu.

MEDIA STUDIES AND FILM

Graduate Certificate in Documentary Media Studies This one-year intensive course of study integrates documentary history, theory, and social practice with documentary craft. Each student completes an original short documentary video. Credits are eligible for transfer to the Master of Arts in Media Studies after admission to that program. For more information, visit the website at www.newschool.edu/docstudies, call the Office of Admission at 212.229.5630, or email nsadmissions@newschool.edu.

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 ncOM3000

Graduate Certificate in Media Management

a 15 weeks, Jan. 27 thru May 19. $650.

This 12-credit course of study provides working and aspiring media professionals with a state-of-the-art education in the principles and skills they need to become leaders in the industry. Content includes an industry overview and media economics, information technologies, leadership and competitive strategies, and corporate responsibility. Credits are eligible for transfer to the MA in Media Studies after admission to that program. For more information, visit the website at www.newschool.edu/mmp or contact the Office of Admission at 212.229.5630 or nsadmissions@newschool.edu.

Peter Haratonik

ONLINE

Students explore media history and the basic concepts employed in media analysis, spanning the history of technologies from the magic lantern to multimedia and stressing the relationship between media and their social, political, and economic contexts. Since media are at once technology, art, entertainment, and business enterprises, they need to be studied from a variety of disciplinary perspectives. The readings for this course reflect this multifaceted approach and draw attention to the work of key thinkers and theorists in the field. Examples are drawn primarily from the visual media of commercial film, television, advertising, video, and the Internet, although alternative media practices are also noted. Students gain an understanding of how media texts are constructed, how they convey meaning, and how they shape one another in significant ways. (3 credits) NEW American Media in the Age of Unreason ncOM3051 a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650. David Fractenberg

HOW TO REGISTER OnLine

By Fax

Register online with payment by American Express, MasterCard, Discover, or Visa. Visit www.newschool.edu/ceregistration. Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the appropriate registration form in the back of this catalog.

Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins.

in PersOn Register in person at 72 Fifth Avenue, lower level. See page 82 for the schedule. For details of registration procedures and deadlines, see pages 82–83 or call 212.229.5690.

An examination of the role of media in the rise of anti-intellectualism, unreason, and cynicism—a disturbing trend explored by historians, sociologists, and media critics including Richard Hofstadter, Susan Jacoby, and Jeffery Goldfarb. What impact has this trend had on the conduct of political deliberation, the quality of rhetoric, and the public’s understanding of issues and events in our democracy? What are the prospects for accommodating disparate economic and intellectual imperatives? A flourishing participatory democracy requires substantive and enlightening media coverage of issues and events; flourishing media depend on profitability, derived primarily from entertainment and amusement. What are the implications of this conflict of interest for the reinvigoration of reason and intellectualism in American society? We analyze print, radio, television, Web, and social media. Readings include essays and excerpts of works by Todd Gitlin, Neil Postman, Justin Lewis, and others. (3 credits) Media, Messages, and the Mind ncOM3470 a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650. Deanne Torbert Dunning

If anything you can put a message on is media and each of us receives between 2,000 and 4,000 messages a day, how do we take in, absorb, and respond to all that information? Through fMRI (functional magnetic resonance imaging), it is now possible to observe which parts of the brain “light up” in response to particular stimuli. The technology shows us that in “shopaholics,” shopping stimulates the same feel-good neural responses that drugs trigger in drug users. This course examines the fascinating functions of the brain and mind and the uses of this information for purposes other than medical ones, particularly by the media and in brand imaging. We look at qualia (the brain’s representations of the external world and one’s internal state) as well as the raw subjective sense conveyed through each sensory modality: visual, auditory, olfactory, tactile, and taste. We explore questions about neural information intake in relation to aesthetics, perception, opinion formation, decision making, actions and reactions, and communication. Welcome to the neurosociety. (3 credits)

MEDIA STUDIES AND FILM

New Media: Global Equalizer ncOM3465 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Movement of the Jah People: Reggae, Media, and the Representation of Difference ncOM3009 a 15 sessions. Thurs., 8:00–9:50 p.m., beg. Jan. 30. Noncredit

Melanie Beth Oliviero

New information and communication technologies are transforming the most remote and disenfranchised communities in the world’s poorest countries. This course examines the use of new communications technologies in developing countries. How do these tools enable ordinary people in developing countries to give voice to their own stories? Can new media equalize participation and access to information for people heretofore bypassed by the benefits of globalization? Mobile phones, Internet kiosks, and satellite uplinks are being adopted and adapted by resourceful and creative users throughout the developing world. Through analytic studies, samples of new media, and direct engagement with some of the users themselves, the class explores how this connectivity, both technological and human, is transforming life in developing countries. From eyewitness reporting in societies as closed as Myanmar to community action in countries undergoing political upheaval such as Kenya to public health activities in Indonesia to joint problem solving by farmers, scientists, and policymakers half a world apart, new channels of communication and crosscultural awareness are opening up within and beyond borders. (3 credits)

tuition $650. Jean Oliver-Cretara

Reggae originated on the island nation of Jamaica, but it is one of the most popular musical genres in the world and is heard in a multitude of derivative forms in every corner of the planet. Reggae’s revolutionary spirit has stood as a potent symbol of independence and social critique and has informed notions of selfhood, nationhood, race, ethnicity, religion, and politics. The course begins with a history of reggae that considers the genre in its various forms (ska, rocksteady, dub, roots rock, DJs, toasting) and its influence on popular music worldwide. We explore the ways in which people around the world have adopted the genre’s gestures, attitudes, and icons as their own and discuss the role of media in the international spread, adaptation, and enjoyment of reggae. Reading the critical and historical literature about reggae music and studying the reggae texts themselves (songs, films, videos, and images), we track its influence and responsiveness to music and cultures from the Caribbean to Britain, the United States, Latin America, Japan, Australia, and western, southern, and eastern Africa. (3 credits)

Media, Nature, and Apocalypse ncOM3023 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Joan Schuman

What can we learn from comparing media coverage of environmental disasters with fictionalized representations of such apocalyptic scenarios? This class examines media responses to natural disasters and environmental catastrophes including mainstream coverage of the BP oil spill, Hurricane Katrina, and Superstorm Sandy as well as the sinking of the Titanic and global disasters in Japan, Sri Lanka, and Haiti. We compare the impact of disaster journalism with that of citizen-driven media advocacy around climate change conducted through Twitter, Instagram, Tumblr, and Facebook. We also analyze the film and book versions of Cormac McCarthy’s The Road and contrast the fictional treatment of environmental apocalypse with that of nonfiction and of other media (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) Beyond iCelebrities: Social Networking and Social Activism ncOM3026 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Kathleen Sweeney

Popular social networking sites have evolved rapidly in the past few years, alongside Internet-savvy grassroots organizations like MoveOn.org. This course surveys the recent history of Move On, 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 “collective generosity” mindset inherent in millennial projects like Wikipedia, with an eye to mapping global resource and information networks to include the most disenfranchised of global citizens. How can the activist potential of the Internet be used to address global warming, poverty, and political injustice? (3 credits)

ONLINE

This logo indicates that the course is offered online. See page 65 or visit the website at www.newschool.edu/online for more information.

MEDIA STUDIES AND FILM

FILM STUDIES

Movements in World Cinema Part 2: 1960s to the Present nFLM2501

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.

a 15 sessions. Wed., 6:00–10:00 p.m., beg. Jan. 29; includes screening

Introduction to Cinema Studies nFLM2400 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Anthony Kaufman

Everyone appreciates film, but cinema studies is not merely movie appreciation. As an academic discipline, cinema studies explores the techniques filmmakers use to make meaning and the various frameworks within which viewers understand those meanings. This course offers an overview of the key concepts of cinematic communication and meaning: the shot and its relation to other shots in a sequence; the composition of shots; camera movement; editing; sound; mise-en-scène; and the relationship between form and content. These aesthetic concerns are grounded in theoretical approaches, including realism, genre, auteurs, stars and national cinemas, and methodologies based on ideology, psychoanalysis, feminism, and postmodernism. Students view and discuss a range of classic films (and excerpts from others), developing a cinematic vocabulary and the ability to read a film through critical analysis. Students are also encouraged to see and critique current first-run features in order to explore one another’s reactions to today’s commercial cinema. Students are required to watch one film weekly and must be prepared to discuss each film in the online discussion board. (3 credits) The Art of Film nFLM3411 a 15 sessions. Wed., 8:00–9:50 p.m., beg. Jan. 29. Noncredit tuition $650. Hélio San Miguel

A range of practical and theoretical issues related to film aesthetics are explored as we study the many ways directors combine the elements of film to produce expressive and singular works of art, striving to create the perfect balance or integration of form and content. The class considers the essential properties of the medium—mise-en-scène, cinematography, editing, and sound—as exemplified in selected motion pictures. Filmmakers discussed include Atom Egoyan, Robert Bresson, Fernando Meirelles, Jean-Luc Godard, Werner Herzog, Alfred Hitchcock, Abbas Kiarostami, Terrence Malick, Orson Welles, and Wong Kar-Wai. This course is ideal both for students who wish to learn how to analyze cinematic texts and for production-oriented students taking Filmmaking Studio or related courses. Students are required to view some films outside of class. (3 credits) Film Theory and Philosophy nFLM3493 a 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 30. Noncredit tuition $650.

series below. Noncredit tuition $650. Instructor to be announced

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 digital cinema at the end of the 20th century. Although the class considers a variety of industry practices and the evolution of American cinema from classical to new Hollywood films, the emphasis is on the alternative film tradition that runs parallel to Hollywood, including neorealism (with its use of locations and amateurs and its hybrid of fiction and documentary), the rise of the notion of the auteur and the idea of film as a form of individual expression, “art cinema” and other modernist practices, new modes of political cinema, and alternative uses of the medium of digital video. This semester’s course includes a special unit on Japanese New Wave and contemporary Japanese cinema, presented in conjunction with the Japan Society program, A Tribute to Donald Richie, part 2, at which a number of rare prints will be screened by guest curators, scholars, and filmmakers. (3 credits) World Cinema Screening Series nFLM0501 a 15 sessions. Wed., 8:00–10:00 p.m., beg. Jan. 29. Noncredit tuition $145. No single admission. Instructor to be announced

The following films are screened after a brief introduction by the instructor: The Battle of Algiers (Gillo Pontecorvo, 1966); Contempt (Jean-Luc Godard, 1963); The Pornographers (Shohie Imamura, 1966); Alice in the Cities (Wim Wenders, 1974); The Butterfly Murder (Tsu Hark, 1979); Vision (Margarethe von Trotta, 2009); Close-Up (Abbas Kiarostami, 1990); The Aura (Fabian Bielinksy, 2005); The Housemaid (Ki-Young Kim, 1960); Bleeder (Nicholas Winding Refn, 1999); Goodbye South Goodbye (Hsiao-Hsien Hou, 1996); Police, Adjective (Corneliu Porumboiu, 2009); Still Life (Zhang Ke Jia, 2006); The Ascent (Larissa Shepitko, 1977); and Sailor Suit and Machine Gun (Shinji Somai, 1981). Under unusual circumstances, there may be a substitution. (noncredit) Surrealism in Cinema nFLM3436 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Rebecca M. Alvin

The surrealist movement in art reached its peak during the early years of filmmaking. Surrealists like Salvador Dali 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 Alexandro Jodorowsky. Students are required to view films on video outside of class; the instructor will help students locate hardto-find films. (3 credits)

Sam Ishii Gonzales

This course is an in-depth introduction to canonical works of classical and contemporary film theory, from Sergei Eisenstein’s theory of montage to Andre Bazin’s ontological claims about the basis of cinematographic image to the psychoanalytical-structuralist model of spectatorship proposed by Christian Metz, Laura Mulvey, and others. Close reading of key texts is supplemented by material that helps students understand the broader intellectual currents from which these writings emerged, such as postwar European philosophy (phenomenology and existentialism) and the structuralist turn in French thought during the 1960s. Screenings complement the course readings. (3 credits)

For help in interpreting course descriptions, see chart on page 81.

MEDIA STUDIES AND FILM

This Picture Is Condemned! Controversy, Censorship, and the Movies nFLM3471 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

Art(core): Gender, Sexuality, and Cinema nFLM3485 a 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 27. Noncredit ONLINE

tuition $650.

Maya Montañez Smukler

MM Serra

According to filmmaker John Waters, “Bad taste 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 whole living conditions and moral ideals of a race.” But who is responsible for determining these ideals? This class considers the U.S. film industry’s attempts at regulation, from the 1930s Production Code to the Hollywood blacklist in the 1950s to the current ratings system. Students examine cinema’s relationship with censorship and the broader notion of moral responsibility in artistic expression. Students must view assigned films on their own. (3 credits)

This course examines the cultural construction of gender and sexuality within the poetics of cinema. We discuss gender politics through male/ female representation in both mainstream and alternative cinema, including underground and experimental media. A variety of works are screened in class or viewed at home: the documentary Blue Movies; the Mae West classic I’m No Angel; the 1970s hardcore feature Behind the Green Door; “exploitation” films by Doris Whitman and Russ Meyer; experimental works by Barbara Rubin, Jack Smith, and Carolee Schneeman; and two contemporary boundary-crossing films, Shortbus and Destricted. Readings include surrealist literature, such as The Story of the Eye; contemporary theoretical 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. (3 credits)

Vamps, Virgins, and Goddesses: Gender, Sexuality, and Nationhood in Popular Indian Cinema nFLM3492

Human Rights Issues Explored on Film nFLM3418

a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Farrah Qidwai

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

a 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $650. Karen Kramer

At great personal risk, independent filmmakers around the globe capture human rights stories that are unlikely to appear on television. We discuss films dealing with teenage prostitution in Thailand, slave labor in the Caribbean, the rights of immigrants, and other important issues. We ask: What issues of human rights are raised in each film? Are they primarily race or gender issues? Do they involve war or dehumanization? What are the cultural implications of these human rights issues? Do outsiders have the right to interfere? Most important, how do the filmmakers use their craft and technique to tell the stories? Film screenings and discussions are supplemented by presentations by guest filmmakers, who take us behind the scenes. (3 credits)

MEDIA STUDIES AND FILM

Film and Media Production

NEW The Films of Gus Van Sant nFLM3010 a 5 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $220. Farrah Qidwai

Gus Van Sant became a household name among mainstream audiences with the release in 1997 of his Academy Award–winning film, Good Will Hunting. But long before the release of this film, he was widely respected for his cinematic explorations of queer and other marginalized cultures. Van Sant’s work is informed by techniques first popularized by the French New Wave and postmodernist cinema, particularly nonlinear storytelling. His films are scathing critiques of homophobia, global capitalism, and the role of mass media in postmodern society. Students are expected to watch one film each week outside of class, including My Own Private Idaho, Drugstore Cowboy, To Die For, and Milk. Consideration of the films draws on critical readings in queer theory, American studies, gender studies, and film theory. This is one of three five-week courses on world cinema auteurs that complement one another when taken sequentially. (1 credit) NEW The Films of John Waters nFLM3030 a 5 weeks, March 4 thru April 8. Noncredit tuition $220.

ONLINE

Farrah Qidwai

John Waters is a wildly inventive American cult filmmaker, writer, artist, and pop culture celebrity. Waters began making films in the 1960s, but his work first received recognition from the No Wave Cinema and Cinema of Transgression movements centered in lower Manhattan in the 1970s. His films explore gender, sexuality, class, and race in America, particularly the social legacies of the sexual revolution. They are well-known for featuring counter-hegemonic personalities like Divine and Patty Hearst and were important in creating the narrative of queer subculture. Students are expected to watch one film each week outside of class: Hairspray, Cry Baby, Cecil B. Demented, and A Dirty Shame. Consideration of the films draws on critical readings in queer theory, American studies, gender studies, and film theory in order to contextualize Waters’ cinematic oeuvre within the shifting terrain of postwar American sexual politics. This is one of three fiveweek courses on world cinema auteurs that complement one another when taken sequentially. (1 credit) NEW The Films of Pedro Almodovar nFLM3040 a 5 sessions. Tues., 6:00–7:50 p.m., beg. April 15. Noncredit tuition $220. Farrah Qidwai

This course explores the work of Pedro Almodovar, a celebrated figure in contemporary Spanish and international cinema. Almodovar emerged from the post-Franco 1970s avant-garde art movement known as La Movida Madrileña. His films offered a lens on a society in transition, reflecting the modernization sweeping through Spain’s society, economy, and politics. His earlier, lesser-known films have cult status, but his later works have been widely embraced by international audiences. Almodovar explores gender, sexuality, religion, and marginality and has experimented with genres ranging from the melodrama to neo-noir. Students are expected to watch one film each week outside of class: Women on the Verge of a Nervous Breakdown, Bad Education, Law of Desire, Tie Me Up! Tie Me Down!, and Volver. Consideration of the films draws on critical readings in queer theory, American studies, gender studies, and film theory. This is one of three fiveweek courses on world cinema auteurs that complement one another when taken sequentially. (1 credit)

In these courses, students can study motion picture arts and sciences and learn the craft of film and digital media production, creating sophisticated portfolio-ready projects. All courses can be taken individually for undergraduate credit or on a noncredit basis. Students can earn a certificate in film production (see below) or take production courses as part of an undergraduate degree program of study. For information about degree programs, call the Office of Admission at 212.229.5630 or email nsadmissions@newschool.edu. NEW SCHOOL FILM SHOWS Students have opportunities to exhibit their works-in-progress at open screenings and industry panels held several times a year. For more information or to enter a project, call 212.229.8903 or visit www.newschool.edu/continuing-education/film-production-certificate.

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

Can’t find what you want? The subject index is on page 79. An index of courses by course master ID is on page 77.

MEDIA STUDIES AND FILM

Fundamentals of Web Design ndig3210

ePub: Electronic Publishing and Design for Smart Media ncOM3007

a 15 sessions. Wed., 7:00–9:45 p.m., beg. Jan. 29. Noncredit

a 5 sessions. Mon., 7:00–9:40 p.m., beg. Jan. 27. Noncredit tuition $360.

tuition $1,075.

David Arcos

Fred Murhammer

With the proliferation of tablets and other handheld mobile devices, electronic publishing has become a multi-billion-dollar business and is fast taking over the traditional print publishing market. Anyone considering a career in communication design or publishing should acquire the skills to design for interactive (“smart”) media. This workshop offers simple but effective tools for understanding and creating e-books and interactive magazines and catalogs for tablets, e-readers, and smartphones. We use free shareware to develop test outputs with different media devices and troubleshoot designs. Students are introduced to new standards in software design and development and strategies for marketing and promoting their ePubs. By the end of the course, they should be able to create interactive content in SWF (and Adobe Flash) and Interactive PDF and export it to any platform. No previous technical experience is required, but familiarity with the Adobe Creative Suite, especially InDesign and Photoshop, is recommended. This course is taught on the Macintosh platform. (1 credit)

Almost everyone now has a presence online, and knowing how to construct and maintain a basic website is a necessary skill for every professional. In this course, students learn basic skills in Web design programming (HTML and CSS) and Web graphics by developing individual projects. The emphasis is on front-end Web design and learning about different formats and platforms as well as browser compatibility. Each student designs and builds a professional portfolio and/or project website. Taught on the Macintosh platform. (3 credits) NEW Fundamentals of Web Interactivity ncOM3020 a 5 sessions. Mon., 7:00–9:40 p.m., beg. March 3. Noncredit tuition $360. Fred Murhammer

All HTML pages now use JavaScript, an object-oriented scripting language designed for the Web, to enable interactivity with end users. JQuery is a feature-rich JavaScript library of effects that greatly simplifies JavaScript programming. This workshop introduction to JavaScript and JQuery builds on skills developed in Fundamentals of Web Design. Students learn to manipulate browser behaviors and to control HTML objects. Topics include image rollovers, validating forms, show/hide content, image slide shows, and drop-down navigation menus. By the end of the course, each student will have added various interactive features to a personal website. Prerequisite: Fundamentals of Web Design or equivalent experience with HTML. This course is taught on the Macintosh platform. (1 credit) NEW Fundamentals of Web Animation ncOM3060 a 5 sessions. Mon., 7:00–9:40 p.m., beg. April 14. Noncredit tuition $360. Fred Murhammer

Ever since Apple decided not to support Flash animation in its iOS, designers and developers have needed a new way to create Web animation that uses nonproprietary software and is HTML 5–compliant. Edge Animate meets this need, enabling developers to build Web pages that include animated HTML objects and imported graphic content. Motion and interactivity can also be added to existing Web pages with Edge. Smartphones and tablets (iOS and Android) as well as recent versions of desktop browsers like Chrome, Safari, Firefox, and Internet Explorer 9+ all support Edge. It is an easily mastered, intuitive tool. By the end of the course, students will have designed, created, and published an animated interactive sequence using Edge Animate scripting. Prerequisite: Fundamentals of Web Interactivity or equivalent experience with Javascript. This course is taught on the Macintosh platform. (1 credit)

Is your schedule tight? There’s a list of courses by start date and time on page 75.

Audio Production ndig4005 a 15 sessions. Tues., 4:00–6:45 p.m., beg. Jan. 28. Noncredit tuition $1,440. John Plenge

Students conceive and create their own audio projects. The course emphasizes core concepts and skills that equip students to work across media, whether radio, film or video, multimedia, or CD production. Recording, editing, mixing, microphone techniques, and writing skills provide production context for projects and prepare students for advanced work in audio and inter-media applications. Working with analog and digital recording technologies and digital audio workstations (Macintosh computers and ProTools software), each student produces three projects. While each project is aimed at building proficiency in specific production skills, students also gain experience in developing content and form. In-class listening, analysis, and critique and assigned readings provide support and context for production work. Prerequisite: Integrated Media Production or permission of the instructor. (3 credits) Developing Ideas for Film nFLM3500 a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650. John Freitas

In developing an idea for a film, you need to address three primary questions: What are you going to film? How are you going to film it? How are you going to structure the material? In this course, each student develops a concept for a five-minute non-sync-sound film (which could be produced in the Filmmaking Studio course) exploring these questions before production begins. The course covers Pre-Production details—initial concept, synopsis, treatment, script, storyboards, shot list, scheduling, location scouting, and cost—through class and instructor analysis of each student’s idea. Through screenings and analysis of classic movie scenes, the class explores the cinematic choices available to filmmakers, with a focus on subsequent application and decisions about character and story development, narration and dialogue, visual composition and camera placement, jump cuts, continuity, montage, camera movement, and lighting. This course is recommended for students planning to take Filmmaking Studio 1. (3 credits)

MEDIA STUDIES AND FILM

a 15 sessions. Tues., 7:00–9:45 p.m., beg. Jan. 28. Noncredit

Digital Video Production nFLM3700

Community, Collaboration, Change: A Production Workshop nFLM3441

tuition $1,440.

a 15 sessions. Tues., 4:00–6:45 p.m., beg. Jan. 28. Noncredit

Michele D. Beck

tuition $1,440.

With digital cameras and computer editing equipment widely accessible, the possibility of creating engaging, professional-quality moving images is within virtually everyone’s reach. Digital video is an exciting and powerful medium of expression, but knowing how to use the tools isn’t enough to enable you to create a coherent and articulate video project. This course can help artists in any genre create works that are both technically and conceptually sound. Students work toward this goal by learning digital video editing and using it to experience the power of editing as creative expression. They are also introduced to production techniques, including the use of the digital camera, storyboarding, and basic lighting and sound. Several short video projects are completed during the term. There are no prerequisites, but familiarity with the Macintosh is assumed. Students have access to New School digital video cameras and editing software but must have a 250 Gb or higher Mac-formatted external hard drive (firewire, Thunderbolt, or USB 3). (3 credits)

Marcus Turner

Digital Editing: Fundamentals nFLM4627 a 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $1,075. Jeremy Brooke

Affordable and professional desktop editing software has given all filmmakers an economical and time-efficient way to edit their films using the same tools as the pros. Creating transitions, filters, titles, layered audio, and multiple versions has never been simpler, but knowing the tools is not enough. An understanding of editing conventions and the aesthetics of montage, continuity, and pacing is equally important. In this workshop, students learn both. Through lectures, demonstrations, and hands-on exercises, the course offers a conceptual and technical introduction to postproduction and nonlinear editing. Students become acquainted with workflow and HD video formats, as well as the basic functionality of Avid | Media Composer on Macintosh computers. Using their own preexisting footage, students learn techniques for organizing media, editing picture and sound, and outputting to various formats. This course is not intended for students completing a Film 4 project. Bring digital video footage ready to edit and a 250 Gb or higher Mac-formatted external hard drive (firewire, Thunderbolt, or USB 3). (3 credits) Documentary Production Workshop nFLM3715 a 15 sessions. Wed., 7:00–9:45 p.m., beg. Jan. 29. Noncredit tuition $1,440.

In this collaborative digital production course, students apply skeptical inquiry and critical thinking in organized opposition to various forms of political, economic, and social oppression. Students create new media and use it to engage the public and to effect social change. They examine the work of grassroots organizations such as the NYC Anti-Bullying Meetup Group, INCITE!, the Committee Against Anti-Asian Violence, the Occupy movement, Common Ground, Sista II Sista, and Critical Resistance and consider how media can be used to fulfill their missions. Students work in teams with these organizations to research, conceptualize, and design an effective media challenge to a particular form of oppression. Modes of response may include documentaries, testimonials, public service announcements, multimedia installations, and Web-based media. As part of their research, students evaluate historical movements—Martin Luther King, Jr.’s Montgomery Improvement Association, the women’s rights movement of the 1970s, and the Zapatista revolution in southern Mexico— to determine which media strategies worked and which didn’t. Prerequisite: Integrated Media Production or an equivalent course. (3 credits) Filmmaking Studio 1 nFLM3660 a 15 sessions. Wed., 7:00–10:00 p.m., beg. Jan. 29. Noncredit tuition $1,440. Jeremy Brooke

B 15 sessions. Thurs., 4:00–6:45 p.m., beg. Jan. 30. Noncredit tuition $1,440. Melissa Friedling

This course is an opportunity for the serious beginner to learn the fundamentals of 16mm filmmaking. Students engage in a series of exercises in basic cinematography, lighting, scriptwriting, directing, and editing. Discussions emphasize the theoretical and practical framework of film language, and student work is critiqued by both the instructor and classmates. Students are expected to crew on one another’s projects to develop production skills and gain on-set experience. A substantial commitment of time outside of class is required. Cameras and digital editing equipment are provided, but students will incur additional modest costs for film stock, developing, and supplies. By the end of the course, students will have experienced all aspects of MOS (nonsync) filmmaking, from PreProduction to production and postproduction, and will be ready for more ambitious personal film projects at the next level of production courses. Familiarity with the Macintosh platform is assumed. (3 credits)

Michele D. Beck

Documentary is experiencing a resurgence in popularity as filmmakers rediscover the powerful impact of real stories and the possibilities of innovation using documentary techniques. This course covers the essentials of shooting a five- to seven-minute documentary film: developing an idea, researching the topic, interviewing subjects, creating a visual strategy, scouting for a location, lighting, shooting, and editing. Creative uses of still photographs, artwork, and stock footage are explored. Throughout, conceptual aspects of documentary storytelling are discussed along with production techniques. Students gain competence in the use of digital cameras and computer-driven digital editing on current nonlinear editing software (Adobe Premiere, Final Cut Pro, or Avid). In the course of the term, students, working individually or in groups, create a working cut of an original documentary short. Students have access to New School digital video cameras, but each must bring a firewire drive. (3 credits) For help in interpreting course descriptions, see chart on page 81.

MEDIA STUDIES AND FILM

Film 2: Intermediate Filmmaking Lab nFLM3632

Film 4: Advanced Film Production nFLM3680

a 15 sessions. Tues., 12:10–2:50 p.m., beg. Jan. 28. Noncredit

a 15 sessions. Mon., 7:00–10:00 p.m., beg. Jan. 27. Noncredit

tuition $1,440.

Jeremy Brooke

Marcus Turner

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

Students are guided in shooting their own narrative, documentary, or experimental films using HD digital video or 16mm film. All students in the class crew on one another’s productions as a way of practicing the teamwork that is part of filmmaking and in order to maximize the learning experience. The course covers pre-production (budgeting, casting, scheduling, locations, permits, releases, film stocks), directing (including script analysis and rehearsals), camera and lighting (with professional equipment like the Arriflex SR camera and Mole-Richardson and Lowel lights), sound (use of professional microphones and digital sound recorders), and editing (synching dailies and an editing approach). Students should expect to incur some personal expenses beyond the course tuition. Prerequisites: Filmmaking Studio 1 and Film 2 or permission of the instructor. 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) Film 5: Advanced Postproduction Workshop nFLM3690

Film 3: Advanced Pre-Production nFLM3670

a 15 sessions. Wed., 7:00–9:45 p.m., beg. Jan. 29. Noncredit

a 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit

tuition $1,075.

tuition $760.

Flavia D. Fontes

William Pace

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

Student filmmakers learn how to lay the groundwork for an advanced narrative, documentary, or experimental film or digital motion picture project. They learn to develop a visual approach to written material. In the first weeks of the course, the class examines a variety of approaches to visual storytelling, from the concept to dramatic structures, character development, tone, and style. Each student develops a script for a seven- to ten-minute film based in or around New York City. In the second half of the course, students engage in a series of exercises designed to help them find the right artistic and practical approaches to their scripts while they continue refining their stories. The important ways in which short films differ from fulllength features are discussed. The workshop ends with shot breakdowns, planning, storyboarding, and location scouting. Prerequisite: Filmmaking Studio 1 or equivalent experience. This course must be taken before Film 4: Advanced Film Production. 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 same course. (3 credits)

The Aesthetics of Directing nFLM3510 a 15 sessions. Fri., 4:00–6:45 p.m., beg. Jan. 31. Noncredit tuition $760. Vladan A. Nikolic

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

MEDIA STUDIES AND FILM

Cinematography and Lighting nFLM3515

FILM AND MEDIA BUSINESS

a 15 sessions. Thurs., 12:10–2:50 p.m., beg. Jan. 30. Noncredit tuition $1,360. John Budde

Students explore theoretical and practical elements of cinematography, with an emphasis on lighting. While learning techniques of studio and location lighting, students also study historical and contemporary trends and styles. Theoretical topics include exposure, color theory, and filters. Professional techniques for altering the look of a film are demonstrated and discussed. Practical tests and scenes are shot with color and black & white film stocks and digital video. Students explore similarities and differences between film and digital formats, particularly in framing, contrast, and exposure. Film Production certificate students should take this course before Film 3: Advanced Pre-Production; it can be taken concurrently with Film 2: Intermediate Filmmaking Lab. (3 credits) Advanced Digital Production Techniques Intensive: Sony, Arri, RED nFLM3001 a 3 sessions. Fri. thru Sun., 12:00–6:00 p.m., beg. Feb. 7. Noncredit tuition $285. Mariusz Cichon

Independent filmmakers now have several options for high-end cameras and digital workflows that can create motion pictures with a look that rivals productions made with much larger budgets. This workshop is a hands-on introduction to the leading professional packages of Sony F65, Arri Alexa, and RED Epic. There is discussion and demonstration of camera operation, the advantages and limitations of different cameras, capture formats, data management (basic treatment of raw footage and transcoding options), and postproduction workflow. The instructor, a digital media expert, leads the discussions and brings the latest equipment packages for in-class testing. Students have an opportunity to shoot footage and process the data in class and, by the end of the workshop, should be able to make informed decisions about shooting and posting with these cameras and workflows on their own projects. Credit sudents must submit a project dossier within one week of the last day of class. (1 credit) Recycled Images and Non-Camera Filmmaking nFLM3520 a 15 sessions. Thurs., 7:00–10:00 p.m., beg. Jan. 30. Noncredit tuition $1,440. Joel Schlemowitz

In this do-it-yourself workshop, students create unique handmade short films without using cameras. The course includes film screenings and discussions of historical practices in avant-garde cinema, focusing on the pioneers of direct animation and found footage, from Len Lye to Craig Baldwin. The adventure begins with the film material itself as the class creates images and sounds directly on blank film using a variety of processes, including photograms, scratching, bleaching, painting, and collage. Students are encouraged to invent their own tools and techniques. Next the class investigates the use of found footage and the art-historical, educational, anthropological, ethical, political, and personal issues relating to recycling images made by others. Students have access to a library of recycled films where they can find images, or they can find and use their own footage. The course requires extensive work outside of the classroom. Assignments and critiques are geared to students’ interests and 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 prerequisites, and no prior knowledge of filmmaking is necessary. (3 credits)

New technologies and changes in production and distribution models have profoundly affected the film and media production business. Our courses provide information and tools to help aspiring professionals navigate these constantly changing waters. Students taking film and media production courses, as well as those interested in careers in media management, are strongly encouraged to take courses in this area. The Producer’s Role nFLM3456 a 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 30. Noncredit tuition $650. Chiz Schultz

Once a film is in Pre-Production, the producer is responsible for providing the best possible support system. The producer must organize all the elements, human and material, needed to implement the creative team’s artistic vision. A producer’s duties may include legal and accounting work; revising the script; casting actors; finding props, wardrobe, and equipment within budget; and working with the director and editor during and after the shoot. Low-budget and student filmmaking provides invaluable experience as preparation for larger productions, teaching students how to assess technical materials and the skills and talents of above- and belowthe-line personnel. This course tracks the producer’s role from the selection of material to the delivery of the production. Students choose a project and spend the term developing a professional-quality proposal. (3 credits) Real TV: The Business of Nonfiction Television ncOM3114 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Stuart Cohn

Once confined to PBS and other educational programming, reality TV has grown into a major player in cable and network television. For better or worse, shows like The Biggest Loser and Jersey Shore have redefined both the TV medium and the cultural landscape. How did we get to this point, and where is reality TV going next? Who does what in the production of a reality show? How can you be a part of it? In addition to studying the who, what, when, and where of reality TV, the class examines the economics of this entertainment form, especially as cable TV has become the tail that wags the dog of the television business and a financial powerhouse fueling media empires. Through individual research, class discussions, and visits from media professionals, students put 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) The Business of Screenwriting nFLM3454 a 15 sessions. Thurs., 8:00–9:50 p.m., beg. Jan. 30. Noncredit tuition $650. Douglas Tirola

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 companies, and studio executives. Guest speakers include agents, producers, development executives, studio executives, and screenwriters from organizations such as the William Morris Agency and Fox and from New York–based production companies, who tell you what it takes to do business with them. This course is useful for aspiring producers and development executives as well as screenwriters. (3 credits)

MEDIA STUDIES AND FILM

SCREENWRITING

What Buyers Want: Writing Scripts that Sell nFLM3565 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Amotz Zakai

Most screenwriting classes teach the fundamentals of putting feature film ideas on paper, from the “hero’s journey” to the three-act structure. This course goes a step further, teaching aspiring writers how to write a script that could actually be sold to a Hollywood studio, production company, or independent producer. Students explore the film genres whose scripts are the easiest to sell and learn how to come up with high-concept loglines and create castable characters that could attract A-level stars. The class also delves into the fine details of creating a screenplay that is attractive to buyers, discussing scene lengths, dialogue and exposition, situations to avoid putting your characters in, and much more. (3 credits)

Students can take screenwriting courses for undergraduate credit or on a noncredit basis. For those interested in a structured program of study, The New School offers a certificate (see below). The certificate curriculum has been cooperatively designed by our distinguished faculty to create a cohesive program for the serious student. Upon completing the core sequence of screenwriting courses, students have a comprehensive grounding in story, character, theme, action, visuals, and dialogue, as they have been carefully guided through the entire screenplay writing process. Early registration is strongly advised. In order to ensure the quality of each course, enrollment is strictly limited. If a desired course is filled, call 212.229.8903 for advising. Certificate in Screenwriting The New School awards a Certificate in Screenwriting for successful completion of six approved courses. The certificate program is open to committed students with or without previous experience. There is no formal admission process, but students will need the permission of the instructor or a School of Media Studies advisor to register for Screenwriting 2 and 3. Upon completion of the sequence of courses, students should have a professional-quality screenplay ready for the marketplace. Four required courses must be taken sequentially: • Script Analysis • Screenwriting 1: Fundamentals • Screenwriting 2: Writing the Screenplay • Screenwriting 3: Finishing the First Draft Students select two courses from the Film Studies or Media and Film Business curriculum to complete the certificate program. The program can be completed in four academic terms (including summer term), but a longer course of study is acceptable.

MEDIA STUDIES AND FILM

Certificate approval for each course is based on attendance and participation, comprehension of ideas and techniques, and quality of the final project. General policies governing New School certificate programs are described in the Educational Programs and Services section of this catalog (see Table of Contents). For more information and program advising, call 212.229.8903. (International students should call 212.229.5630 for important admission information.) Online Certificate in Screenwriting All four required courses and selected electives are offered online, so that students can now complete the Certificate in Screenwriting entirely online or combine on-campus and online study. Visit www.online.newschool.edu for more information about our distance learning environment. Script Analysis nsrW2800 a 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 30. Noncredit tuition $760.

Screenwriting 2: Writing the Screenplay nsrW3820 a 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 30. Noncredit tuition $760. Douglas Morse

B 15 weeks, Jan. 27 thru May 19. Noncredit tuition $760. Mort Scharfman

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

Deirdre L. Fishel

Screenwriting 3: Finishing the First Draft nsrW3830

B 15 sessions. Fri., 4:00–5:50 p.m., beg. Jan. 31. Noncredit tuition $760.

a 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 27. Noncredit tuition $760.

Shimon Dotan

c 15 weeks, Jan. 27 thru May 19. Noncredit tuition $760.

ONLINE

Leslie McCleave

Whether you are a writer, a director, or a producer, an understanding of story structure and dramatic principles is essential. In-depth analysis of a screenplay’s storyline, characters, dialogue, images, and theme reveals a wide range of narrative techniques and storytelling styles, from Hollywood to independent and everything in between. Students view successful films and analyze their scripts, learning how essential information is conveyed, how story elements are communicated through visual means, how dramatic momentum is built with cause and effect, and what makes a character credible and complex. Students end the term with the ability to analyze any film script and apply that knowledge to their own screenwriting. (3 credits) Screenwriting 1: Fundamentals nsrW3810 a 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $760.

Deirdre L. Fishel

Permission required. Students undertake the challenging task of finishing their feature-length screenplays. In workshop, with careful guidance from the instructor, each writer re-examines, tightens, and rewrites the outline and existing scenes, giving close attention to structure, logic, motivation, complex character development, tone, and theme. There is an emphasis on the specific problems of successful scene writing and on development of a professional writing style that makes for a compelling presentation on the page. Successful screenplays are studied as examples. The goal for each student is to finish the term with a polished and professional first draft. Prerequisite: at least 50 pages of an original screenplay, properly formatted. Students can attend this course in person or online. Students on campus participate in lectures and workshops. Online students access the same lectures and participate in asynchronous workshops. Students are encouraged to choose one mode of attendance and notify the instructor at the beginning of the course. (3 credits) Screenwriting 4: Rewrite and Polish nsrW3831

Loren-Paul Caplin

a 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 27. Noncredit tuition $760.

B 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $760.

William Pace

Jonathan R. Danziger

c 15 weeks, Jan. 27 thru May 19. Noncredit tuition $760.

ONLINE

Marina Shron

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 end of the course, each student will have developed an original idea into a detailed step outline for a feature-length screenplay and written the opening scene. Prerequisite: Script Analysis. (3 credits)

Just when you think your screenplay is completed, the rewriting process begins. The focus of this course is improving the first draft, polishing the material for submission to potential agents, producers, directors, or production companies. The emphasis is on practical principles for rewriting, clarifying dramatic structure, and sharpening dialogue. You also learn how to listen and respond to script notes, collect information on screenplay contests, and navigate the screenplay marketplace. (3 credits)

Is your schedule tight? There’s a list of courses by start date and time on page 75.

MEDIA STUDIES AND FILM

Episodics and Procedurals: Crafting the Original One-Hour Pilot nsrW3852 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $760.

ONLINE

Ian Grody

FINISH YOUR BACHELOR’S DEGREE AT THE NEW SCHOOL The new school for Public engagement undergraduate programs are designed specifically for transfer students and working adults. We also offer a dual-degree bachelor’s/master’s option. – choose from a wide range of day, evening, and online courses. – Transfer up to 84 credits. – get credit for prior learning. – apply for scholarships and financial aid.

www.newschool.edu/nspe/undergrad

From period dramas like Mad Men and Boardwalk Empire to fairy tale– inspired procedurals like Grimm to musicals like Smash and Glee, the diversity of shows on TV today is unprecedented. The industry is always innovating and looking for fresh ideas. This course begins with a guided analysis of contemporary network and cable pilot scripts, ranging from the serialized (Breaking Bad, Big Love, Mad Men) to the procedural (Grimm, Awake, Psych). Students examine the structures, episodic breaks, and essential elements of functional origin stories. They are challenged to identify the qualities of a script that make it special to viewers. A discussion of dramatic questions explored in the course of a series or season and of unique selling points follows. Each student devises a five- to ten-page treatment or pitch document describing an idea for an original series, including character breakdowns, a pilot synopsis and brief outline of the first season, a description of episode structure (A and B stories), and a statement of theme and tone. After these have been reviewed, students go on to write the first and second acts of their original scripts. (3 credits) Sitcom Writing 1 nsrW3842 a 15 sessions. Wed., 8:00–9:50 p.m., beg. Jan. 29. Noncredit tuition $760. Doug DePaul

One of the most popular genres on TV today, with some of the most innovative writing in any genre, the TV sitcom is no joke. This course investigates the peculiar art of the sitcom and offers students the challenge of writing a half-hour TV comedy script. Students work step by step, developing a premise, creating an outline, writing pages, revising the draft, and critiquing the script in the classroom workshop. After careful analysis of 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). Students also learn about the business of the sitcom and are prepared for professional work. This course was formerly caled TV Sitcom Writing. If you have taken that course, do not take this one; it is the same course. (3 credits)

Sitcom Writing 2: Writing a Full Script nsrW3853 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $760.

ONLINE

Mort Scharfman

An Affirmative Action/Equal Opportunity Institution.

Modeled on a sitcom writers’ room, this course is a guide to writing a draft spec script worthy of a professional writer from a half-hour comedy beat outline. Students begin by reworking a complete outline, simplifying the story, improving characters’ DNA, focusing and tightening scenes, developing mood and pacing, and “punching up” dialogue from the blueprint draft. Next they write and polish their scripts. The final part of the course is an overview of the sitcom business and the current comedy series marketplace, with tips for breaking in as a writer. Students must have a complete outline for an original sitcom at the beginning of the course. Prerequisite: Sitcom Writing 1 (previously TV Sitcom Writing) or permission of the instructor. (3 credits)

ONLINE

This logo indicates that the course is offered online. See page 65 or visit the website at www.newschool.edu/online for more information.

THE WRITING PROGRAM

THE WRITING PROGRAM Fundamentals Poetry Fiction nonfiction Journalism and Feature Writing special Topics FOr cOurse advising, caLL 212.229.5611. w w w. n e w s c h o o l . e d u / c e / w r i t i n g p r o g r a m

Master of Fine Arts in Creative Writing The New School offers the Master of Fine Arts in Creative Writing with concentrations in fiction, nonfiction, poetry, arts writing, and writing for children. For more information, visit www.newschool.edu/writing or call the Office of Admission at 212.229.5630. The Leonard and Louise Riggio Honors Program: Writing and Democracy The Riggio program is a sequence of writing workshops and close reading seminars for students matriculated in undergraduate degree programs. Tuition assistance is provided for students admitted to the honors program. For more information, visit www.newschool.edu/riggio.

Luis Jaramillo, Interim Director Laura Cronk, Associate Director

SUMMER WRITERS COLONY

The New School has been a vital forum for writing since 1931, when Gorham Munson, a member of the Stieglitz circle, on impulse initiated a workshop in creative writing. Through eight decades of innovation, the New School writing faculty has included a diverse who’s who of American novelists, poets, and essayists, including Robert Frost, W. H. Auden, Robert Lowell, Amiri Baraka, Frank O’Hara, Kenneth Koch, Stanley Kunitz, Kay Boyle, May Sarton, Marguerite Young, Richard Yates, Edward Hoagland, Anatole Broyard, Carolyn Kizer, Bernadette Mayer, Pearl London, David Markson, and Gilbert Sorrentino. The New School offers a wide variety of writing workshops and events. Our writing instructors are all published writers and experienced teachers, and many of our students go on to publish their work or enter prestigious graduate writing

3 weeks, June 2–19, 2014 Discover the writer’s life in New York City. This intensive three-week program provides a challenging yet supportive atmosphere in which to embark on a new writing project or develop a work-in-progress. Workshop instructors guide discussion of student work and provide detailed written feedback. Literary salons bring notable writers into conversation with the students and faculty of the colony. In supplemental sessions, students try their hand at everything from experimental fiction to children’s writing to walking poems created during a literary tour of Greenwich Village. The Summer Writers Colony community also gathers for celebratory readings of student and faculty work. Courses meet from noon to 8:00 p.m., Monday through Thursday. Mornings and weekends are reserved for regular writing practice. Creditseeking students can earn 6 credits. The Writers Colony is also open to noncredit students. Credit tuition: $6,780 for 6 credits ($1,130 per credit). Noncredit tuition: $4,340 (Note: No academic records are kept for noncredit students.) To register or for more information: Call the School of Writing at 212.229.5611, visit www.newschool.edu/summerwriters, or email summerwriters@newschool.edu. Early registration is advised, as workshops and salons fill quickly. University housing is available.

programs. The workshop method of teaching writing involves a professional writer working closely with serious-minded students who write regularly and participate actively in class discussion of their own and classmates’ work. Instead of lecturing at length, the writer-teacher provides guidance by focusing on student manuscripts. The writers who teach here establish a supportive yet challenging atmosphere. Enrollment is limited, so early registration for the course of your choice is recommended. If you have not had a college course in composition, you are encouraged to enroll in one of the Fundamentals courses before taking any other workshop.

FUNDAMENTALS These courses are for students who are native or near-native speakers of English. For courses in English as a second language, see pages XXXtk. Building the Sentence nWrW1013 a 5 sessions. Mon., 6:00–7:50 p.m., beg. March 10. Noncredit tuition $250. Lisa Freedman

B 5 weeks, March 3 thru April 13. Noncredit tuition $250.

ONLINE

Noelle Kocot-Tomblin

Good writing is the sum of its verbs, and every writer who wants his or her words on the page to be taken seriously must master certain skills. In this short course, students focus on two essential components of composition that trip up even seasoned writers: verb use and syntax. Exercises illustrate the correct use of the past and future tenses and the conditional as well as common mistakes in subject-verb agreement. The class then addresses the rules of English syntax, or word order. Students practice these skills in short original pieces that are workshopped in class. (1 credit)

THE WRITING PROGRAM

POETRY

Punctuation nWrW1012 a 5 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $250. Noelle Kocot-Tomblin

B 5 weeks, Jan. 27 thru March 2. Noncredit tuition $250.

Beginning Poetry Workshop nWrW2203 ONLINE

Lisa Freedman

Second-guess yourself no more. This course provides students with a supportive structure for mastering proper punctuation. No punctuation mark is left unturned as students learn the use of commas, semicolons, apostrophes, quotation marks, em and en dashes, colons, parentheses, ellipses, question marks, and exclamation points. Each week, students write short essays in which they practice punctuation. Everyone in the class gives and receives feedback as part of the ongoing discussion. (1 credit) Style and Effectiveness nWrW1014 a 5 sessions. Mon., 6:00–7:50 p.m., beg. April 21. Noncredit tuition $250. Lisa Freedman

B 5 weeks, April 14 thru May 19. Noncredit tuition $250.

ONLINE

Noelle Kocot-Tomblin

It’s how you say it. In this short course, students consider the elements that work together to create stylish and effective prose, by dissecting the choices every writer makes that add up to style. The class reads examples of effective prose by best-selling authors, including Toni Cade Bambara, Garrett Hongo, and Amy Tan, then write short pieces inspired by the readings and workshop them in class. This course offers a supportive environment in which to think critically about and strengthen your unique writing style. (1 credit) Tools, Not Rules: Rhetorical Grammar for Writers nWrW1119 a 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $730. Joseph Salvatore

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

a 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 30. Noncredit tuition $730. Kathleen Ossip

B 15 weeks, Jan. 27 thru May 19. Noncredit tuition $730. Richard Tayson

“A poem,” said William Carlos Williams, “is a small (or large) machine made of words—efficient, with no unnecessary parts, doing important work.” In this workshop, students learn how to build verse, from the individual word through lines and stanzas to the finished, polished poem. Poetic inspiration is explored: what activities can summon it and how to use it when it happens. Writing exercises help students practice basic elements of the craft, such as line breaks, voice, and openings and closings. Students read a variety of modern and contemporary poets, selected according to the interests and needs of the class. In every class meeting, students’ poems are read and discussed to clarify their strengths and develop students’ understanding of the process of revision. (3 credits) Poetry: The Language of Music nWrW3205 a 15 sessions. Wed., 8:00–9:50 p.m., beg. Jan. 29. Noncredit tuition $730. Dave Johnson

This study of musical poetics focuses on the buried linguistic and musical structures of poetry and on the way these structures create voice and meaning in a poem. We discuss the way music serves as a muse for the poet and creates a relationship between form and content. Some class time is devoted to close reading of established and younger poets representing different poetic styles, and to close listening to the voices of poets reading from their own work. Most class time, however, is devoted to examination of student writing, with the goal of helping students find their own music and voice within the poem. This course is open to poets at all levels, but beginners are especially welcome. (3 credits) From Silence to Poem nWrW3204 a 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $730. Richard Tayson

Beginning and advanced writers work on dismantling silences in their lives and generating poems from personal experience. We work to open hidden places within ourselves. The heretical Gospel According to Thomas says, “If you do not bring forth that which is within you, that which is within you will destroy you. If you bring forth that which is within you, that which is within you will save you.” This notion informs our work together, enabling the writer to follow the poem’s impulse in order to break old habits and write something challenging and difficult. (3 credits)

Academic Writing nWrW1104 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $730.

ONLINE

Margaret Stanek Fiore

Writing well is essential to success in college. This course teaches students the foundations of academic writing: the nature of research; the skills of criticism, analysis, and argumentation; the process of revision; and the basics of correct grammar and American English usage. Note: Students for whom English is a foreign language should take ESL Academic Writing instead of this course. (3 credits)

ONLINE

THE WRITING PROGRAM

Making Poems: An Advanced Workshop nWrW4213

FICTION

a 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $730. Patricia L. Carlin

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. They are offered help in preparing and submitting work for publication. Written comments are given on all work submitted, and private conferences are available. For permission to register, send ten sample pages by January 10 to the instructor, c/o New School Writing Program, 66 West 12th Street, room 503, New York, NY 10011. (3 credits)

Introduction to Fiction nWrW2301 a 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 27. Noncredit tuition $730. Robert Lopez

B 15 weeks, Jan. 27 thru May 19. Noncredit tuition $730.

ONLINE

Jessie Sholl

This course is intended to encourage and guide students who are starting to explore the many creative possibilities fiction affords. Through reading assignments, writing exercises, and discussions, we consider character development, dialogue, point of view, and significant detail. Attention is also paid to recognizing good ideas, developing stories, finding the best structure, and honing one’s own unique voice. The majority of class time is spent reviewing projects by students, which are workshopped on a weekly basis. Readings include works by Rick Moody, Jhumpa Lahiri, Tim O’Brien, Lorrie Moore, and Michael Cunningham. (3 credits)

THE WRITING PROGRAM

Mechanics of Fiction: Craft, Theory, and Practice nWrW2306

The Novel Workshop nWrW3301

a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $730.

a 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $730.

Joseph Salvatore

Catherine Texier

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

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

Fiction Writing nWrW3303 a 15 sessions. Tues., 10:00–11:50 a.m., beg. Jan. 28. Noncredit tuition $730. Sidney Offit

This course acquaints students with aspects of fiction-writing technique. It is designed for students trying to develop a project or find the approach with which they can best express themselves. The instructor discusses viewpoint, mood, characterization, dialogue, plot, and story. Readings from the works of Joyce, Hemingway, Sterne, and D. H. Lawrence demonstrate these elements. During the early weeks, the instructor may give assignments to help students explore their own experiences for realization in a short story or novel. Students may be asked to write a scene depicting a child-parent relationship or to create a dialogue between characters one of whom wants something from the other. Experiments in various styles are encouraged. Work is read aloud and examined. Promising projects are developed under the instructor’s supervision, and consideration is given to publication possibilities. An editor or writer may occasionally visit the class to share his or her experiences with students. (3 credits) Beginning the Novel nWrW2304 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $730.

ONLINE

Catherine Texier

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 artifice behind the art of fiction. The course is taught as an interactive workshop: Students submit chapters from their novels-in-progress for group assessment. Most sessions include a topic presentation and a discussion of assigned readings. Ultimately, students must internalize the skills they learn until those skills become second nature. (3 credits)

For help in interpreting course descriptions, see chart on page 81.

Intermediate Fiction Workshop nWrW3338 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $730.

ONLINE

Sharon Mesmer

This workshop is designed for students who have writing experience or life experience that puts them beyond the beginner level. Class exercises develop writing skills and broaden students’ awareness of creative possibilities. Readings on structure and technique by Madison Smartt Bell and Joyce Carol Oates offer a guide for thinking and discussions. Selected works by contemporary authors, coupled with interviews from the Paris Review, encourage students to explore influences and techniques. Student writing is workshopped throughout, enabling students to develop their own understanding of what it means to write fiction. Confidence and ability go hand in hand, and this course is designed to give students the resources and stamina that they need to mature as writers. (3 credits) Fiction Writing: Memory, Imagination, Desire nWrW3308 a 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 30. Noncredit tuition $730. B 15 weeks, Jan. 27 thru May 19. Noncredit tuition $730.

ONLINE

Robert G. Dunn

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

THE WRITING PROGRAM

Advanced Fiction Writing: Revise and Polish nWrW4310

Accidental Realities: Fiction nWrW3311

a 15 sessions. Thurs., 8:00–9:50 p.m., beg. Jan. 30. Noncredit tuition $730.

a 15 sessions. Thurs., 6:00-7:50 p.m., beg. Jan. 30. Noncredit tuition $730.

John Reed

Sharon M. Mesmer

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

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

Advanced Short Story Workshop nWrW4321 a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $730. Alexandra Shelley

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 prior to 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 How Fiction Thrills: Writing Suspense nWrW3334 a 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $730. Katia Spiegelman Lief

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

U N D E R G R A D U AT E D E G R E E P R O G R A M F O R A D U LT S Can’t find what you want? The subject index is on page 79. An index of courses by course master ID is on page 77.

The New School for Public Engagement provides an opportunity to complete your undergraduate degree at your own pace in a largely selfdesigned liberal arts program. For more information, call 212.229.5150 or visit www.newschool.edu/nspe/undergrad.

THE WRITING PROGRAM

NONFICTION

Writing Your Personal Story nWrW3426

Introduction to Creative Nonfiction nWrW2401

Nancy Kelton

a 5 sessions. Wed., 4:00–5:50 p.m., beg. Feb. 19. Noncredit tuition $250. a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $730.

ONLINE

Liz Mechem

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

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) Memoir Writing nWrW3410 a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $730. Candy Schulman

The Essay in a Changing World nWrW3345 a 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 30. Noncredit tuition $730. Madge McKeithen

The world of writing and reading is changing rapidly, in large part because of evolving technology. This writing course is designed for students eager to use new technologies to write and publish personal essays, including autobiographical essays, arts and cultural criticism, and pieces about race and ethnicity and social and political change. Assignments draw attention to the connections and tensions between individual experience and social context. Students write five short pieces and two longer essays exploring questions of self, voice, and audience and using online key word search tools provided by Facebook, Twitter, YouTube, and Flickr. Readings include George Orwell, George Packer, James Baldwin, Nikki Giovanni, Orhan Pamuk, Pico Iyer, Maxine Hong Kingston, Susan Griffin, Dave Eggers, Ian Frazier, Bruce Chatwin, Alain de Botton, J.M. Coetzee, and Herta Mueller. (3 credits)

“The memoir is the novel of the 21st century,” writes Susan Cheever. This is a workshop for writers who have started a memoir and those looking to develop an idea into a memoir. Students can work on short, self-contained personal histories or on book-length projects. The emphasis is on developing a compelling voice and learning how to create dramatic tension and set scenes with sensory detail. The class also discusses what makes a memoir publishable and fruitful ways of working with agents and editors. (3 credits)

The Experimental Essay nWrW3520 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $730.

ONLINE

Robert Lopez

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 is admissible, philosophy, ethics, divinity, criticism, poetry, humor, fun, mimicry, anecdotes, jokes, ventriloquism.” We read a variety of experimental essays, spanning different time periods and cultures. Paying close attention to form as well as content, we study contemporary essayists including Susan Sontag, Anne Carson, Joe Wenderoth, and Annie Dillard. We also delve into the history of the essay by reading Seneca, Sei Shōnagon, Montaigne, Pessoa, Barthes, and others. Students write several experimental essays of their own, 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 literary genres. (3 credits)

ONLINE

This logo indicates that the course is offered online. See page 65 or visit the website at www.newschool.edu/online for more information.

THE WRITING PROGRAM

JOURNALISM AND FEATURE WRITING

Writing for New York City Newspapers and Magazines nWrW3601 a 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $730.

Journalism Basics nWrW2601 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $730.

ONLINE

Richard M. Huff

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

B 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 27. Noncredit tuition $730. Susan B. Shapiro

The New York Times, Daily News, Newsday, New York Post, and Wall Street Journal all use freelance writers for profiles, features, reviews, news stories, humor, and editorials. So do New York Magazine, the Village Voice, Time Out New York, and the New Yorker. Taught by a writer whose work has appeared in more than 100 publications, this course reveals the secrets of breaking in. Topics include tailoring pieces to specific columns, writing a perfect cover and pitch letter, contacting the right editors, submitting the work, following up, and getting clips. Assignments are read and critiqued in class. Speakers include top Manhattan editors. (3 credits).

New Media Journalism nWrW3615 a 15 sessions. Wed., 8:00–9:50 p.m., beg. Jan. 29. Noncredit tuition $730. Richard M. Huff

No longer limited to once-a-day deadlines and publications, journalists are now required to know how to deliver accurate news reports using a variety of media formats. Students learn to use Facebook, Twitter, and other social media to crowdsource ideas, connect with interview subjects, and break stories in real time. The emphasis is on writing well-crafted stories. Projects include live reporting an event on Twitter, creating and analyzing videos, and packaging news reports. (3 credits) Writing and Reporting for the Web nWrW3691 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $730.

ONLINE

Matthew P. Melucci

Print media is on the decline and may well be on the way out, but readers continue to flock 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 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)

THE WRITING PROGRAM

SPECIAL TOPICS

Playwriting from Personal Experience nWrW3708 a 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 28. Noncredit tuition $730.

Self and Craft: A Creative Writing Workshop nWrW3518

Alice Eve Cohen

a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $730. Elaine Edelman

This exploration of the craft of fiction and of expressive, personal nonfiction (essays, memoirs, reminiscences, humor, travel sketches) balances technical concerns with awareness of how the writing process engages and transforms the writer’s self. 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. Class sessions emphasize peer feedback in an atmosphere of mutual respect, support, and frankness. The instructor also responds, separately and in writing, to every submitted piece and, upon individual request, will discuss publishing possibilities. Recommended for students with some writing experience. (3 credits)

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

Children’s Book Illustration and Writing nWrW3812 a 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 27. Noncredit tuition $730. Jacquie Hann

In this course, each student develops a children’s book from an initial concept to a “dummy” ready for submission to a publisher. The class explores the entire production process, including searching for ideas, writing a first draft, making sketches and character studies, editing, creating finished artwork and dummies, and writing cover letters and submitting a finished work to publishers. Writing assignments help students focus their ideas and build their stories. Illustration assignments lead to creation of a portfolio that can be shown to art directors. Weekly critiques help students hone their individual styles. (3 credits) The Graphic Novel nWrW3521 a 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 28. Noncredit tuition $730. Ariel Schrag

This course leads students step by step through the process of creating a short graphic novel. The course 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, Renée 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)

HOW TO REGISTER OnLine

By Fax

Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the appropriate registration form in the back of this catalog.

Playwriting nWrW3702 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $730.

ONLINE

Robert S. Montgomery

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

Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins.

in PersOn Register in person at 72 Fifth Avenue, lower level. See page 82 for the schedule. For details of registration procedures and deadlines, see pages 82–83 or call 212.229.5690.

FOREIGN LANGUAGES

FOREIGN LANGUAGES arabic

Japanese

Brazilian Portuguese

russian

chinese (Mandarin)

sign Language

French

spanish

german

Turkish

italian

FOr cOurse advising, caLL 212.229.5676. w w w. n e w s c h o o l . e d u / f o r e i g n l a n g u a g e s Marie-Christine Massé, Chair

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

Choosing the Proper Course With some exceptions, foreign languages are taught at The New School in a five-course sequence, designated as Levels 1 through 5. Each level corresponds to one academic term of study. Levels 1, 2, and 3 are introductory stages of language learning; Levels 4 and 5 are intermediate stages. Beyond that, a variety of content-based courses are offered for students who have attained an advanced degree of fluency in a language. Those who wish to learn at an accelerated pace can opt for an Intensive course. These courses provide the equivalent of one and a half or two levels of study in one term and carry double the credit points. Reading courses are designed for graduate students preparing for their reading exams and anyone who wishes to read texts in another language and is not concerned about listening and speaking. On the Go workshops are weekend immersion workshops designed for travelers, offering 14 hours of intensive contextual instruction over three days. Self-Placement Test Proper placement is important to successful learning of a foreign language. When choosing a course level, keep in mind your previous experience with the language you wish to study, whether high school and college courses, extended stays in a country where the language is spoken, and/or frequent contact at home or work with speakers of the language. The New School offers self-placement tests for most languages, so if you think you might be beyond Level 1, take the self-placement exam for the level at which you would like to start. The exam can be taken in 15–20 minutes and can be obtained from the Foreign Languages office at 64 West 11th Street, ground floor, or by calling 212.229.5676 or emailing foreignlanguages@newschool.edu. Return the completed exam to the Department of Foreign Languages for scoring; the results will be reported to you by email, telephone, or mail in accordance with your request. If no examination is available, the office staff can help you make an appointment for in-person placement advising.

Learning a Foreign Language at The New School New School foreign language courses are designed to help you develop linguistic proficiency and cultural awareness. Most of the modern language instructors are native speakers. All courses are designed to introduce the language in its cultural context. Enrollment in any class in limited, and lively classroom interaction between students and instructors and among students themselves is expected at every level of instruction. F O R E I G N L A N G U A G E S I N F O R M AT I O N S E S S I O N

ARABIC Hani Alam, Iman Maiki, Karam Tannous Nargis Virani, Coordinator

For an explanation of Arabic course levels and their equivalents at other institutions, contact the Foreign Languages office at 212.229.5676 or foreignlanguages@newschool.edu.

Thursday, January 16, 6:00–8:00 p.m., 66 West 12th Street, room 510.

Arabic on the Go: Level 1 narB0804 a 3 days. Fri. thru Sun., Feb. 28, March 1 & 2. Noncredit tuition $350.

Arabic on the Go: Level 2 narB0805 a 3 days. Fri. thru Sun., May 2, 3 & 4. Noncredit tuition $350.

Before traveling to the Middle East, stop at The New School for a weekend immersion in Arabic. Make rapid progress learning to converse in Levantine Arabic. Master common situations, such as asking for directions, handling currency, ordering in restaurants, and shopping. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of Arabic. Since the focus of this course is conversation, phonetic transliterations are used. Each workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.– 5:00 p.m. (with a one-hour lunch break); and Sunday, 10:30 a.m.–3:00 p.m., for a total of 14 hours of instruction. (noncredit)

FOREIGN LANGUAGES

Introductory Intensive narB1003

BRAZILIAN PORTUGUESE

a 26 sessions. Mon. & Wed., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $1,000.

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 Arabic. 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 would like to progress rapidly. (4 credits)

Tobias C. Nascimento, Liria M. Van Zandt

Portuguese on the Go: Level 1 nPrT0804 a 3 days. Fri. thru Sun., Feb. 28, March 1 & 2. Noncredit tuition $350.

Portuguese on the Go: Level 2 nPrT0805 a 3 days. Fri. thru Sun., May 2, 3 & 4. Noncredit tuition $350.

Level 2 narB1002 a 13 sessions. Mon., 8:00–9:50 p.m., beg. Feb. 10. Noncredit tuition $590.

In this second-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 the cultures of the Arab world. Students expand their vocabulary and develop grammar skills and the ability to describe a variety of people, places, and simple events. Prerequisite: Arabic Level 1, the equivalent, or permission of the instructor. (2 credits)

Before traveling to Brazil, stop at The New School for a weekend immersion in the Brazilian Portuguese language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Portuguese. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language. Each workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–5:00 p.m. (with a one-hour lunch break); Sunday, 10:30 a.m.–3:00 p.m., for a total of 14 hours of instruction. (noncredit) Introductory Intensive nPrT1003 a 26 sessions. Tues. & Thurs., 6:00–7:50 p.m., beg. Feb. 11. Noncredit

Level 4 narB2002 a 13 sessions. Mon., 8:00–9:50 p.m., beg. Feb. 10. Noncredit tuition $590.

Students in this last course of the introductory sequence continue to hone their Arabic language skills, in both Modern Standard Arabic and Levantine Colloquial Arabic. The emphasis is on improving speaking and on developing reading and listening proficiency. Students continue to engage in conversation, discuss and write about topics, and refine their grammar skills. Prerequisite: Arabic Level 3, the equivalent, or permission of the instructor. (2 credits)

tuition $1,000.

This is an accelerated course for highly motivated beginners who wish to progress rapidly in learning Brazilian Portuguese. Students acquire basic speaking, reading, and writing skills while learning about Brazilian culture. The emphasis is on developing communication skills. (4 credits) Level 2 nPrT1002 a 13 sessions. Tues., 8:00–9:50 p.m., beg. Feb. 11. Noncredit tuition $590.

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 communication skills. Prerequisite: Portuguese Level 1, the equivalent, or permission of the instructor. (2 credits) Portuguese for Spanish Speakers nPrT1700 a 13 sessions. Thurs., 8:00–9:50 p.m., beg. Feb. 13. Noncredit tuition $590.

This is a beginner’s Portuguese course for students with a strong Spanish language background and little or no knowledge of Portuguese. They learn to use their knowledge of Spanish to gain competency and confidence in speaking Portuguese. They learn to minimize the confusions that can result from the similarities of the languages. The emphasis is on eliminating Spanish phonetics, vocabulary, and sentence structure from their Portuguese speech. After completing this course, students can take Portuguese Level 3. Prerequisite: fluency in Spanish. (2 credits) NEW Brazil: From the World Cup to the Olympics nPrT2708 a 13 sessions. Thurs., 8:00–9:50 p.m., beg. Feb. 13. Noncredit tuition $590.

Can’t find what you want? The subject index is on page 79. An index of courses by course master ID is on page 77.

In this intermediate-level conversation course, students practice speaking Portuguese and build fluency while learning about Brazilian culture. Topics discussed include the upcoming 2014 World Cup and 2016 Olympics; Brazilian food, music, and dance; and uniquely Brazilian cultural customs such as Carnaval. Prerequisite: Portuguese Level 3 or equivalent education or experience. (2 credits)

FOREIGN LANGUAGES

CHINESE (MANDARIN)

FRENCH

Judy (Yan) Deng, Li Duan, Yiqi Zhang

Noëlle Carruggi, Xiaofu Ding, Marie-Laure Hoffmann, Samuel Howell, Ida Kummer, Sabine Landreau-Farber, Florence Leclerc-Dickler, Alfredo Marques, Stephane Zaborowski

Lei Ping, Coordinator

Chinese on the Go: Level 1 nchM0804 a 3 days. Fri. thru Sun., Feb. 28, March 1 & 2. Noncredit tuition $350.

Chinese on the Go: Level 2 nchM0805 a 3 days. Fri. thru Sun., May 2, 3 & 4. Noncredit tuition $350.

Before traveling to China or another country where Mandarin Chinese is commonly spoken, stop at The New School for a weekend immersion in the Chinese language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Chinese. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language. Each workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–5:00 p.m. (with a one-hour lunch break); and Sunday, 10:30 a.m.–3:00 p.m., for a total of 14 hours of instruction. (noncredit) Introductory Intensive nchM1003 a 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Feb. 15. Noncredit tuition $1,000.

This is an accelerated course for beginners with little or no knowledge of Chinese. Students learn the fundamentals of the Chinese language through speaking, listening, reading, and writing, 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 introduced to aspects of Chinese culture and topics of everyday conversation such as greetings, family, visiting friends, expressions of time, hobbies, shopping, and school. (4 credits)

Marie-Christine Massé, Coordinator

French on the Go: Level 1 nFrn0804 a 3 days. Fri. thru Sun., Feb. 28, March 1 & 2. Noncredit tuition $350.

French on the Go: Level 2 nFrn0805 a 3 days. Fri. thru Sun., May 2, 3 & 4. Noncredit tuition $350.

French on the Go: Level 3 nFrn0806 a 3 days. Fri. thru Sun., Feb. 28, March 1 & 2. Noncredit tuition $350.

French on the Go: Level 4 nFrn0807 a 3 days. Fri. thru Sun., May 2, 3 & 4. Noncredit tuition $350.

Before traveling to France or another country where French is commonly spoken, stop at The New School for a weekend immersion in the French language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in French. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language; Level 3 is an intermediate-level course for students with a good working knowledge of French; Level 4 is an advanced course. Each workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–5:00 p.m. (with a one-hour lunch break); and Sunday, 10:30 a.m.–3:00 p.m., for a total of 14 hours of instruction. (noncredit) Introductory Intensive 1 nFrn1003 a 26 sessions. Tues. & Thurs., 8:00–9:50 p.m., beg. Feb. 11. Noncredit tuition $1,000.

B 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Feb. 15. Noncredit

Level 2 nchM1002 a 13 sessions. Mon., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $590.

This is the second course of a three-semester elementary sequence that introduces students to the fundamentals of Mandarin Chinese through speaking, listening, reading, and writing. The goal of Level 2 is for students to continue learning introductory-level vocabulary and sentence patterns in communicative contexts and to develop a solid foundation in pronunciation and tones. Students develop their ability to carry on simple conversations on a range of topics, such as hobbies and visiting friends, and to make appointments in Chinese. Simplified characters are used in the course. Prerequisite: Chinese Level 1, the equivalent, or permission of the instructor. (2 credits) Level 4 nchM2002 a 13 sessions. Mon., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $590.

This is the first course of an intermediate-level sequence that introduces students to the fundamentals of Mandarin Chinese through speaking, listening, reading, and writing. The goal of Level 4 is for students to build intermediate-level vocabulary and sentence patterns in communicative contexts. Students expand their ability to carry on conversations on everyday topics, such as weather and dining, and to ask for directions in Chinese. Simplified characters are used in the course. Prerequisite: Chinese Level 3, the equivalent, or permission of the instructor. (2 credits)

tuition $1,000.

This is an accelerated course for beginners with little or no knowledge of French. Students learn the fundamentals of the French language through speaking, listening, reading, and writing. They acquire elementary grammar (present and past tenses, expressing negation, asking questions, using pronouns) and practice by conversing and writing about university life, friends and family, hobbies and leisure, celebrations, holidays, and travel. They acquire knowledge of France and the Francophone world while developing their communicative skills. (4 credits) Introductory Intensive 2 nFrn1004 a 26 sessions. Tues. & Thurs., 6:00–7:50 p.m., beg. Feb. 11. Noncredit tuition $1,000.

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

FOREIGN LANGUAGES

Level 1 nFrn1001

Level 3 nFrn2001

a 13 sessions. Wed., 4:00–5:50 p.m., beg. Feb. 12. Noncredit

a 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 12. Noncredit

tuition $590.

B 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 12. Noncredit

This is the last part of a three-course elementary sequence that introduces the fundamentals of the French language through speaking, listening, reading, and writing. Students conclude their study of elementary grammar (the conditional mood, reflexive verbs, and relative pronouns) and practice by communicating about shopping, food, daily life, health, technology, and ecology. While enhancing their communicative skills, students continue to learn about France and the Francophone world. Prerequisite: French Level 2 or the equivalent. (2 credits)

tuition $590.

c 13 sessions. Thurs., 8:00–9:50 p.m., beg. Feb. 13. Noncredit tuition $590.

d 13 sessions. Sat., 12:00–1:50 p.m., beg. Feb. 15. Noncredit tuition $590.

This is the first part of a three-course sequence that introduces the fundamentals of the French language through speaking, listening, reading, and writing. Students acquire elementary grammar (present tense, expressing negation, asking questions) and practice by conversing and writing about university life, hobbies, friends, and family. They acquire knowledge of France and the Francophone world while developing their communicative skills. (2 credits) Level 2 nFrn1002 a 13 sessions. Mon., 8:00–9:50 p.m., beg. Feb. 10. Noncredit tuition $590.

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

This is the second part of a three-course sequence that introduces the fundamentals of the French language through speaking, listening, reading, and writing. Students continue studying elementary grammar (irregular present tenses, past tense, pronoun use) and practice by conversing and writing about leisure, celebrations, holidays, and travel. They continue to learn about France and the Francophone world. Prerequisite: French Level 1 or the equivalent. (2 credits)

Level 4 nFrn2002 a 13 sessions. Wed., 8:00–9:50 p.m., beg. Feb. 12. Noncredit tuition $590.

Students begin intermediate-level study of French. Review and reinforcement of some of the more complex grammatical structures of the language is combined with cultural readings and viewings of short films and online materials. Students refine their writing and verbal skills through brief compositions, class presentations, and sustained classroom conversation in French. Prerequisite: French Level 3, French Introductory Intensive 2, or the equivalent. (2 credits) Food Culture: French Style nFrn3737 a 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $620.

Students learn about Mediterranean food traditions and culture, in particular those of southern France, from historical, political, and economic as well as culinary perspectives. The class explores the historical development and contemporary worldwide diffusion of the Mediterranean diet; regional food production and distribution; dishes and ingredients; and changing patterns of food consumption, their connections with tradition, and the impact of globalization. This course is conducted in French. Prerequisite: French Level 4 or the equivalent or permission of the instructor. (3 credits)

FOREIGN LANGUAGES

Rendez-Vous en Francais nFrn3714 a 13 sessions. Thurs., 6:00-7:50 p.m., beg. Feb. 13. Noncredit tuition $590.

This course focuses on the dynamics of everyday speech, formal and informal. Students practice listening and speaking through structured dialogues, oral presentations, and topical conversations. The course materials include various media (newspapers, magazines, movies, etc.) selected to build vocabulary and encourage students to speak spontaneously on a variety of topics. Prerequisite: French Level 5 or the equivalent or permission of the instructor. This course is conducted entirely in French. (2 credits)

GERMAN Rainer L. Brueckheimer, Miranda Emre, Alan Paddle, Adelheid Ziegler

Level 1 ngrM1001 a 13 sessions. Mon., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $590.

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

A first course in German for those with no previous knowledge of the language. Students learn basic speaking, reading, and writing skills while discovering aspects of German culture. Class activities include interactive exercises and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language. (2 credits) Level 2 ngrM1002 a 13 sessions. Wed., 8:00–9:50 p.m., beg. Feb. 12. Noncredit tuition $590.

Designed for students with elementary knowledge of German, this course reviews simple grammar and introduces more complex grammatical and syntactical elements of the language. Students expand their vocabulary and knowledge of German culture in a context that emphasizes communication skills. Prerequisite: German Level 1, the equivalent, or permission of the instructor. (2 credits) Intermediate Intensive ngrM2003 a 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Feb. 15. Noncredit tuition $1,000.

This is a sequel to the accelerated introductory course. Familiarity with basic grammatical structures is assumed. Students read cultural texts and acquire the knowledge to meet most practical writing needs (brief descriptive paragraphs, simple letters, summaries of day-to-day activities). Special attention is given to improving students’ ability to understand spoken German and to hold sustained conversations. Prerequisite: German Introductory Intensive, German Level 2, the equivalent, or permission of the instructor. (4 credits) German Conversation ngrM2702 a 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 12. Noncredit tuition $590.

Students who have mastered the fundamentals of German vocabulary and grammar develop their conversational skills in this class by reading and discussing short texts and viewing and discussing movies. The emphasis is on expanding vocabulary and using more complex sentence structures. This class is conducted entirely in German. Prerequisite: German Level 3, the equivalent, or permission of the instructor. (2 credits)

Is your schedule tight? There’s a list of courses by start date and time on page 75.

FOREIGN LANGUAGES

ITALIAN Caterina Bertolotto, Monica M. London, Francesca Magnani, Giuseppe Manca

Italian on the Go: Level 1 niTL0804 a 3 days. Fri. thru Sun., Feb. 28, March 1 & 2. Noncredit tuition $350.

Italian on the Go: Level 2 niTL0805 a 3 days. Fri. thru Sun., May 2, 3 & 4. Noncredit tuition $350.

Italian on the Go: Level 3 niTL0806

Level 3 niTL2001 a 13 sessions. Tues., 6:00–7:50 p.m., beg. Feb. 11. Noncredit tuition $590.

This is the last part of a three-course sequence that introduces the fundamentals of the Italian language through speaking, listening, reading, and writing. In Level 3, students complete the study of essential grammar by learning more complex structures (subjunctive, historical past tense, expressing hypothetical situations and obligation). Students acquire knowledge of the history of the Italian language and the geography of Italy and learn more about contemporary Italian culture while enhancing their communicative skills. Prerequisite: Italian Level 2 or the equivalent. (2 credits)

a 3 days. Fri. thru Sun., Feb. 28, March 1 & 2. Noncredit tuition $350.

Italian on the Go: Level 4 niTL0807 a 3 days. Fri. thru Sun., May 2, 3 & 4. Noncredit tuition $350.

Before traveling to Italy, stop at The New School for a weekend immersion in the Italian language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Italian. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language; Level 3 is an intermediate-level course for students with a good working knowledge of Italian; Level 4 is an advanced course. Each workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–5:00 p.m. (with a onehour lunch break); and Sunday, 10:30 a.m.–3:00 p.m., for a total of 14 hours of instruction. (noncredit) Introductory Intensive niTL1003 a 26 sessions. Tues. & Thurs., 8:00–9:50 p.m., beg. Feb. 11. Noncredit tuition $1,000.

This is an accelerated course for beginners with little or no knowledge of Italian. Students learn the fundamentals of the Italian language through speaking, listening, reading, and writing. They acquire elementary grammar (present and past and future tenses of regular and irregular verbs, reflexive verbs, giving commands, using pronouns). They practice by conversing and writing about living spaces, stores, restaurants, sports, and movies, learning about Italian culture while building communicative skills. (4 credits)

JAPANESE Tomoyo Kamimura, Coordinator

Japanese on the Go: Level 1 nJPn0804 a 3 days. Fri. thru Sun., Feb. 28, March 1 & 2. Noncredit tuition $350.

Japanese on the Go: Level 2 nJPn0805 a 3 days. Fri. thru Sun., May 2, 3 & 4. Noncredit tuition $350.

Before traveling to Japan, stop at The New School for a weekend immersion in the Japanese language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Japanese. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language. Each workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–5:00 p.m. (with a one-hour lunch break); and Sunday, 10:30 a.m.–3:00 p.m., for a total of 14 hours of instruction. (noncredit)

RUSSIAN Irina Belodedova, Ekaterina Korsounskaia

Level 1 niTL1001 a 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 12. Noncredit tuition $590.

This is the first course of a three-term sequence that introduces the fundamentals of the Italian language through speaking, listening, reading, and writing. Students learn elementary grammar (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 enhancing their communicative skills. (2 credits) Level 2 niTL1002 a 13 sessions. Wed., 8:00–9:50 p.m., beg. Feb. 12. Noncredit tuition $590.

This is the second part of a three-course sequence that introduces the fundamentals of the Italian language through speaking, listening, reading, and writing. In Level 2, students continue to study elementary grammar (present, past, and future tenses; giving commands; using pronouns) and practice by conversing and writing about living spaces, shopping, restaurants, sports, and movies). Students continue to learn about Italian culture while enhancing their communicative skills. Prerequisite: Italian Level 1 or the equivalent. (2 credits)

Level 2 nrsn1002 a 13 sessions. Mon., 8:00–9:50 p.m., beg. Feb. 10. Noncredit tuition $590.

Designed for students with elementary knowledge of Russian, this course reviews simple elements of grammar (present, past, and future tenses) and introduces new grammatical and syntactical elements. Students expand their vocabulary and knowledge of Russian culture in a classroom setting that emphasizes communication skills. Prerequisite: Russian Level 1, the equivalent, or permission of the instructor. (2 credits) Level 4 nrsn2002 a 13 sessions. Mon., 8:00–9:50p.m., beg. Feb. 10. Noncredit tuition $590.

Students begin intermediate-level study of Russian. A systematic review of grammar is combined with cultural readings. Students acquire the knowledge to meet most practical writing needs (brief descriptive paragraphs, simple letters, and summaries of day-to-day activities). Enhancement of communication skills through sustained conversation in Russian is emphasized. Prerequisite: Russian Level 3, the equivalent, or permission of the instructor. (2 credits)

FOREIGN LANGUAGES

SIGN LANGUAGE

SPANISH

Gabriel Grayson, Jeffrey M. Mooney

Teresa A. Bell, Ernesto Fedukovitch, Luis Galli, Sonia Granillo-Ogikubo, Luis Guzmán, Rodolfo Long, Ronald Sarcos, Victor M. Tirado

Introduction to Sign Language nsLn1001

Sara Villa, Coordinator

a 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 12. Noncredit tuition $590.

Spanish on the Go: Level 1 nsPn0804

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

a 3 days. Fri. thru Sun., Feb. 28, March 1 & 2. Noncredit tuition $350.

American Sign Language: Level 1 nsLn1011 a 13 sessions. Thurs., 6:00–7:50 p.m., beg. Feb. 13. Noncredit tuition $590.

This is a beginner’s course on 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 ASL conversations, including finger spelling and facial expressions, through demonstrations and class activities, including interactive exercises and roleplaying. They become familiar with the history of deaf society in the United States. This course is led by a deaf native signer. There is no prerequisite for this course. (2 credits)

Spanish on the Go: Level 2 nsPn0805 a 3 days. Fri. thru Sun., May 2, 3 & 4. Noncredit tuition $350.

Spanish on the Go: Level 3 nsPn0806 a 3 days. Fri. thru Sun., Feb. 28, March 1 & 2. Noncredit tuition $350.

Spanish on the Go: Level 4 nsPn0807 a 3 days. Fri. thru Sun., May 2, 3 & 4. Noncredit tuition $350.

Before traveling to Spain or Latin America, stop at The New School for a weekend immersion in the Spanish language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Spanish. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language; Level 3 is an intermediate-level course for students with a good working knowledge of Spanish; Level 4 is an advanced course. Each workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–5:00 p.m. (with a one-hour lunch break); and Sunday, 10:30 a.m.–3:00 p.m., for a total of 14 hours of instruction. (noncredit) Introductory Intensive 1 nsPn1003 a 26 sessions. Mon. & Wed., 8:00–9:50 p.m., beg. Feb. 10. Noncredit tuition $1,000.

B 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Feb. 15. Noncredit

American Sign Language as an Art Form nsLn1703 a 13 sessions. Tues., 6:00–7:50 p.m., beg. Feb. 11. Noncredit tuition $590.

Theater, concerts, festivals, and Broadway have opened their stages to American Sign Language (ASL) interpreters. The interpretation of music and lyrics in ASL is an art form that requires special awareness and training. This class focuses on the difference between “conversational” ASL and ASL techniques used to express lyrics set to rhyme and music. The course includes a history and discussion of deaf performers in theater, movies, and television. Some knowledge of ASL is desirable, but this course will benefit anyone wishing to build self-confidence and improve their communication skills. (2 credits)

tuition $1,000.

This accelerated course is for beginners with little or no knowledge of Spanish. Students learn the fundamentals of the Spanish language through speaking, listening, reading, and writing. They acquire a range of basic communicative competencies, such as the ability to use present, past, and future tenses; to express likes and dislikes; to describe things; and to ask questions. They practice by conversing and writing about themselves and others, school and leisure activities, time, weather, and shopping. They learn about Spanish and Latin American cultures while developing communication skills. (4 credits) Introductory Intensive 2 nsPn1004 a 26 sessions. Mon. & Wed., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $1,000.

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

For help in interpreting course descriptions, see chart on page 81.

FOREIGN LANGUAGES

Level 1 nsPn1001

NEW Amores de Telenovela nsPn2730

a 13 sessions. Tues., 6:00–7:50 p.m., beg. Feb. 11. Noncredit

a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit

tuition $590.

tuition $620.

B 13 sessions. Wed., 8:00–9:50 p.m., beg. Feb. 12. Noncredit

This is an intermediate-level conversation course. Students are introduced to Latin American culture through its most representative and best-known TV product, the telenovela, which dramatizes characters and themes such as love and sex, work, drug addiction, discrimination, and immigration. Students watch archived selections from major TV networks from Mexico (Televisa), Brazil (O Globo), and Venezuela (Venevision International) and recent U.S. telenovelas distributed through Univision. They learn to identify the key elements of a story and discuss what the scripts reveal about the values and prejudices of Latino communities. At the end of the course, they are encouraged to write an outline in Spanish of a pilot for a telenovela. Prerequisite: Spanish Level 4 or the equivalent or permission of the instructor. (3 credits)

tuition $590.

c 13 sessions. Sat., 12:00–1:50 p.m., beg. Feb. 15. Noncredit tuition $590.

This is the first course in a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Students acquire elementary grammar (present and future tenses, descriptions, likes and dislikes, asking questions) and practice by conversing and writing about various topics, such as family, school and leisure activities, time, and weather. They learn about Spanish and Latin American cultures while enhancing their communicative skills. (2 credits) Level 2 nsPn1002 a 13 sessions. Tues., 8:00–9:50 p.m., beg. Feb. 11. Noncredit tuition $590.

TURKISH

B 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 12. Noncredit tuition $590.

This is the second course in a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Students continue using the basic grammar learned in Level 1 and learn new grammatical forms such as past tenses, pronouns, reflexive constructions, and demonstratives. They converse and write about various topics, including food, daily routines, shopping, seasons, and travel. They continue learning about Spanish and Latin American cultures. Prerequisite: Spanish Level 1, the equivalent, or permission of the instructor. (2 credits) Level 3 nsPn2001 a 13 sessions. Mon., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $590.

This is the third course in a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Students build on the basic grammar learned in previous courses and go on to learn the different uses of past tenses, combinations of pronouns, and the various forms of commands while learning to construct complex sentences. They practice by conversing and writing about topics such as celebrations, health, technology, and personal relationships. They continue learning about Spanish and Latin American cultures. Prerequisite: Spanish Level 2, the equivalent, or permission of the instructor. (2 credits) Level 4 nsPn2002 a 13 sessions. Tues., 8:00–9:50 p.m., beg. Feb. 11. Noncredit tuition $590.

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

Turkish Introductory Intensive nTrK1003 a 26 sessions. Tues. & Thurs., 8:00–9:50 p.m., beg. Feb. 11. Noncredit tuition $1,000.

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 communication skills. (4 credits)

ENGLISH LANGUAGE STUDIES

ENGLISH LANGUAGE STUDIES Teaching english to speakers of Other Languages english as a second Language FOr cOurse advising, caLL 212.229.5372. w w w. n e w s c h o o l . e d u / c e / e n g l i s h l a n g u a g e s t u d i e s Gabriel Diaz Maggioli, Chair Caitlin Morgan, Director

English has become the language of international communication; command of spoken and written English is important in business, the arts, and other professions

Prospective students must apply online to the Department of English Language Studies. The application includes a writing sample and English grammar test. Applicants will be contacted for an in-person interview soon after their complete application has been received. Note: Non-native speakers of English must have a TOEFL score of at least 250 (CBT), 100 (IBT), or 600 (PBT). For the application and complete program information, go online to www.newschool.edu/continuing-education/teaching-english-certification. For more information, call 212.229.5372, email elsc@newschool.edu, or visit the Department of English Language Studies at 68 Fifth Avenue, mezzanine. Required Curriculum: The certificate is awarded for successful completion of the program of study outlined below. Courses need not be taken in the order listed unless a prerequisite is indicated in the course description. The courses can be taken for undergraduate credit or on a noncredit basis, but if you are not enrolling for undergraduate credit, you must register as a certificate student. Certificate approval cannot be awarded for any course retroactively.

all over the world. The demand for ESL courses and

• Methods and Techniques of Teaching ESL/EFL

trained ESL teachers continues to grow. The mission of

• English Grammar for ESL Teachers

English Language Studies at The New School is to address this demand by offering high-quality courses in English

• Teaching the Sound System of English • Using Authentic Materials to Teach ESL • ESL Teaching Practicum

language instruction and teacher training.

Noncredit students receive grades of AP (Approved) or NA (Not Approved) in each course and can obtain transcripts. Credit students must earn grades of C+ or better in all the courses.

TEACHING ENGLISH TO SPEAKERS OF OTHER LANGUAGES

For general rules governing all New School certificate programs, consult the Educational Programs and Services section of this catalog (see Table of Contents).

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

C E R T I F I C AT E I N T E A C H I N G E N G L I S H I N F O R M AT I O N SESSION Thursday, December 12, 6:00–8:00 p.m., Dorothy Hirshon Suite, 55 West 13th Street, 2nd floor Learn more about ESL/EFL teaching as a career and The New School’s Certificate in Teaching English. No reservations are necessary, but call 212.229.5372 or email elsc@newschool.edu and let us know if you plan to attend.

Methods and Techniques of Teaching ESL/EFL neLT3411 Master of Arts in Teaching English to Speakers of Other Languages

a 15 sessions. Wed., 7:00–9:45 p.m., beg. Jan. 29. Noncredit tuition $1,035.

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

Theresa M. Breland

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 succesful completion of a five-course training program in teaching English to speakers of other languages. The certificate curriculum has a practical orientation based on theory and techniques of communicative, student-centered learning. Students learn a variety of skills readily applicable to classroom teaching and tutoring. Students who complete the program usually find work in nonprofit immigrant support institutions, schools abroad, and private practice. Note, however, that The New School’s Certificate in Teaching English does not certify the holder to teach ESL in public or registered proprietary schools in New York State.

Enrollment limited. Permission required; call 212.229.5372. This course is open to those interested in or currently teaching English as a second or foreign language. Learn the basics of student-centered teaching and how to plan lessons that integrate contextualized grammar instruction with the teaching of vocabulary and four language skills (speaking, listening, reading, writing). Also learn about error correction and classroom management. The emphasis is on communicative learning. Participants are required to observe at least three hours of ESL classes and teach an ESL/EFL class for a minimum of 20 hours during the semester. Participants must find their own teaching positions; call 212.229.5372 or email elsc@newschool.edu for a list of possible teaching sites. (4 credits)

ENGLISH LANGUAGE STUDIES

Teaching the Sound System of English neLT3414

Professional Development

a 4 sessions. Sat., 9:30 a.m.–1:00 p.m., beg. March 1. Noncredit tuition $405. Polly Merdinger

Enrollment limited. Permission required; call 212.229.5372. The sound system of English is studied, with special attention to characteristics 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. (1 credit)

Professional development workshops are offered regularly for working ESL teachers. Students who complete any three professional workshops can obtain a certificate. Email elsc.newschool.edu to request a certificate. Teaching True Beginners neLT0535 a 3 sessions. Fri., 6:00–7:50 p.m., beg. Feb. 21. Noncredit tuition $125. Moira Taylor

ESL Teaching Practicum neLT3416 a 13 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28, plus 30 hours of teaching individually arranged. Noncredit tuition $630. Timothy Bredl

Enrollment limited. Permission required; call 212.229.5372. Certificate students who have completed the prerequisites teach an ESL class for at least 30 cumulative hours. Prerequisites: Methods and Techniques of Teaching ESL/EFL, English Grammar for ESL Teachers, and Using Authentic Materials to Teach ESL. Certificate students who are ready to take the practicum must notify the English Language Studies office during the registration period for the preceding academic term. The teaching component is at an off-site location to be arranged. (3 credits)

Teaching true beginners involves structure and scaffolding. This course explores concrete ways to deal with the struggles faced by Level 1 learners of the English language. Participants learn how to simplify teaching activities to make them both inviting and effective and encourage English language learners to communicate more clearly and expressively. (noncredit) X-Word Grammar for Teaching Writing neLT0541 a 1 session. Sat., 10:00 a.m.–4:45 p.m., April 5. Noncredit tuition $125. Tamara Kirson

The strict word order of English can challenge both ESOL students and native speakers, so it is helpful to be able to identify a trunk (subjectpredicate) in a sentence. X-word grammar is a foolproof way for students to answer the question: Is it a trunk or a fragment? Once ESOL students know how to identify trunks, they can construct more elaborate sentences by following simple rules to combine trunks and add adverbial information (where, when, why, and how). Students then learn the seven basic sentence patterns, enabling them to add variety, relate ideas, and punctuate their writing in a way that clarifies meaning for their readers. In this workshop, teachers learn how to use X-word grammar to reveal the building blocks of sentences and the four sentence constructions, identify fragments, and construct the seven types of sentences. (noncredit) Teaching Survival English to New Immigrants neLT0540 a 1 session. Sat., 10:00 a.m.–4:45 p.m., April 12. Noncredit tuition $125. Linda Pelc

This workshop is designed to support professional and volunteer teachers of ESOL to immigrants with lower-level English language skills. The focus is on content that individuals need to master for their personal, neighborhood, occupational, and public interactions. Units and lessons are built around such topics as family, housing, health, finding work, shopping, and community services. A variety of listening–speaking and reading–writing activities are presented and discussed. (noncredit) Teaching Business English neLT0539 a 1 session. Sat., 10:00 a.m.–4:45 p.m., April 19. Noncredit tuition $125. Theresa M. Breland

Can’t find what you want? The subject index is on page 79. An index of courses by course master ID is on page 77.

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 trainee to the senior executive. The themes and strategies discussed in the workshop can be further developed and applied in a variety of English language teaching contexts, making them extremely useful for today’s global workplace. (noncredit)

ENGLISH LANGUAGE STUDIES

ENGLISH AS A SECOND LANGUAGE Yeghia Aslanian, Theresa M. Breland, Andrea de Toledo, Jessica Dukes, Joan Durk, Richard Humphreys, Tamara Kirson, Darleen Lev, Jaclyn Lovell, Patrick Mull, Cristina Patterson, Delis M. Pitt, Dolly Setton, Cathy Shikler

Placement Advising: All students must see an English Language Studies advisor for testing and placement at the appropriate level before they register. Call 212.229.5372 or email elsc@newschool.edu. Study Options in English as a Second Language Individual Classes: Students who do not need a visa can take classes from four to 18 hours per week. Certificate: A Certificate in English as a Second Language can be awarded to those who successfully complete a minimum of 100 hours of ESL coursework. All students who enroll as certificate students can obtain a transcript of the courses they have taken even if they do not complete 100 hours of coursework. Policies governing all New School certificate programs are stated in the Educational Programs and Services section of this catalog (see the Table of Contents). Note: The registration fee for certificate students is $80 per semester. Intensive Study: The Department of English Language Studies has developed a unique program for intensive study of English as a second language. A full-time curriculum (18 hours per week) is designed for each student, made up of courses at an appropriate level chosen from those offered in this catalog. Selected New School lectures, film screenings, concerts, and other events are free of charge to students enrolled in the ESL Intensive Study program. 12-week intensive program: tuition $4,880 Part 1 begins September 9; Part 2 begins October 28.

Grammar of Written English 5, Part 1 nesL0501 a 12 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Jan. 27. Noncredit tuition $720.

Grammar of Written English 5, Part 2 nesL0502 a 12 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. March 12. Noncredit tuition $720.

Enrollment limited. Permission required. High-intermediate and advanced students review the basics and explore complex points of grammar in written English while improving their general command of the language. Call 212.229.5372 for required placement advising. (noncredit) Grammar of Written English 6, Part 1 nesL0601 a 12 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Jan. 27. Noncredit tuition $720.

Grammar of Written English 6, Part 2 nesL0602 a 12 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. March 12. Noncredit tuition $720.

Enrollment limited. Permission required. High-intermediate and advanced students review the basics and explore complex points of grammar in written English while improving their general command of the language. Call 212.229.5372 for required placement advising. (noncredit) Writing in English 3, Part 1 nesL0311 a 12 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Jan. 28. Noncredit tuition $720.

Writing in English 3, Part 2 nesL0312 a 12 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. March 13. Noncredit tuition $720.

English Grammar 3, Part 1 nesL0301 a 12 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Jan. 27. Noncredit tuition $720.

English Grammar 3, Part 2 nesL0302 a 12 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. March 12. Noncredit tuition $720.

Enrollment limited. Permission required. Practice in basic English language skills and grammar for low-intermediate to intermediate students. Call 212.229.5372 for required placement advising. (noncredit)

Enrollment limited. Permission required. Students at the low-intermediate to intermediate level work on writing paragraphs and build to writing essays consisting of an effective introduction, well-developed body paragraphs, and a solid concluding paragraph. They learn how to write evaluative essays, compare-and-contrast essays, and argumentative essays. Students revise their work and develop skills used by successful writers. The instructor covers specific points of grammar and addresses grammatical problems revealed in students’ writing. Call 212.229.5372 for required placement advising. (noncredit) Writing in English 4, Part 1 nesL0411

Grammar of Written English 4, Part 1 nesL0401 a 12 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Jan. 27. Noncredit

a 12 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Jan. 28. Noncredit tuition $720.

tuition $720.

Writing in English 4, Part 2 nesL0412

Grammar of Written English 4, Part 2 nesL0402

a 12 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. March 13.

a 12 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. March 12. Noncredit tuition $720.

Enrollment limited. Permission required. A high-intermediate course focusing on the grammar, structure, and usage of written English. Call 212.229.5372 for required placement advising. (noncredit)

Noncredit tuition $720.

Enrollment limited. Permission required. Students at the high-intermediate level work on writing five-paragraph essays consisting of an effective introduction, well-developed body paragraphs, and a solid concluding paragraph. Students write personal narratives, summary-response essays, argumentative essays, critiques, analytical essays, and compare-and-contrast essays. They learn how to revise their work and develop other skills used by successful writers. The instructor covers specific points of grammar and addresses grammatical problems revealed in students’ writing. Call 212.229.5372 for required placement advising. (noncredit)

ENGLISH LANGUAGE STUDIES

Writing in English 5, Part 1 nesL0511

Conversation and Listening 3, Part 1 nesL0321

a 12 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Jan. 28. Noncredit

a 12 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Jan. 27. Noncredit

tuition $720.

tuition $500.

Writing in English 5, Part 2 nesL0512

Conversation and Listening 3, Part 2 nesL0322

a 12 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Jan. 2. Noncredit

a 12 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. March 12. Noncredit

tuition $720.

tuition $500.

Enrollment limited. Permission required. Advanced-level students practice formulating a thesis, organizing their ideas into paragraphs, writing topic and concluding sentences, including specific examples from a variety of sources, and developing a unique writing voice. Projects include compareand-contrast essays, analytical essays, argumentative essays, summaryresponse essays, persuasive essays, and critiques. Students learn how to revise their work and develop other skills used by successful writers. The instructor covers specific points of grammar and addresses grammatical problems revealed in students’ writing. Call 212.229.5372 for required placement advising. (noncredit)

Enrollment limited. Permission required. Low-intermediate to intermediate students practice speaking and listening in a variety of informal and formal situations. Problems with grammar, vocabulary, and pronunciation are addressed. Call 212.229.5372 for required placement advising. (noncredit)

Academic Writing 6, Part 1 nesL0611 a 12 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Jan. 28. Noncredit tuition $720.

Academic Writing 6, Part 2 nesL0612 a 12 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. March 13. Noncredit tuition $720.

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

Listening/Speaking 4: New York Life, Part 1 nesL0421 a 12 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Jan. 27. Noncredit tuition $500.

Listening/Speaking 4: New York Life, Part 2 nesL0422 a 12 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. March 12. Noncredit tuition $500.

Enrollment limited. Permission required. High-intermediate and advanced students learn to recognize the key elements and supporting details in various examples of authentic spoken English such as movies, interviews, live discussions, and television programs. They develop successful listening strategies and speaking skills. Problems with the grammar of spoken English, vocabulary, and pronunciation are addressed as they come up. Call 212.229.5372 for required placement advising. (noncredit)

ENGLISH LANGUAGE STUDIES

Listening/Speaking 5: Thinking Critically, Part 1 nesL0521

Reading and Discussion 5: Self and Identity, Part 1 nesL0531

a 12 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Jan. 27. Noncredit

a 12 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Jan. 28. Noncredit

tuition $500.

Listening/Speaking 5: Thinking Critically, Part 2 nesL0522

Reading and Discussion 5: Self and Identity, Part 2 nesL0532

a 12 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. March 12. Noncredit

a 12 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. March 13. Noncredit

tuition $500.

Enrollment limited. Permission required. Students read and discuss fiction and nonfiction. Formal and structural issues are explored, and reading strategies and vocabulary are developed. The emphasis, however, is on developing language skillls through discussions of personal reactions to the readings. Call 212.229.5372 for required placement advising. (noncredit) Topics in Culture and Society 6, Part 1 nesL0631

Listening in the Real World 6, Part 1 nesL0621

a 12 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Jan. 28. Noncredit tuition $500.

a 12 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Jan. 27. Noncredit tuition $500.

Topics in Culture and Society 6, Part 2 nesL0632

Listening in the Real World 6, Part 2 nesL0622 a 12 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. March 12. Noncredit tuition $500.

Enrollment limited. Permission required. Students practice advanced listening points, using authentic materials, such as news broadcasts, films, and documentaries. Pronunciation and presentation skills are emphasized. Problems with grammar and vocabulary are addressed as they come up. Call 212.229.5372 for required placement advising. (noncredit) Reading and Vocabulary 3, Part 1 nesL0331 a 12 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Jan. 28. Noncredit tuition $500.

Reading and Vocabulary 3, Part 2 nesL0332 a 12 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. March 13. Noncredit tuition $500.

Enrollment limited. Permission required. Practice in reading with emphasis on building vocabulary for students at the low-intermediate to intermediate levels. Call 212.229.5372 for required placement advising. (noncredit) Exploring Literature 4, Part 1 nesL0431 a 12 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Jan. 28. Noncredit tuition $500.

Exploring Literature 4, Part 2 nesL0432 a 12 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. March 13. Noncredit tuition $500.

a 12 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. March 13. Noncredit tuition $500.

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

ESL + Design Certificate Parsons The New School for Design and the Department of English Language Studies together offer the ESL + Design Certificate program. This pre-enrollment program is for international students who plan to attend an art or design college in the United States but need to improve their scores on the Test of English as a Foreign Language (TOEFL) or wish to refresh their English language skills and adjust to university life in the United States before beginning art and design studies. The certificate program of study is based on a structured set of intensive English language (ESL) courses and incorporates design studio classes, short workshops, and an orientation to life in the United States. English language courses cover grammar, academic reading and writing, and listening and speaking. Students who test at the high-intermediate level (Level 6) are eligible to take the Design and Language Studio course instead of Listening/Speaking 6. ESL + Design students are eligible to enter the United States on a student visa and have access to university facilities and services such as student housing (separate application and fees), tutoring at the University Learning Center, Health Services, a New School email account, and library privileges. Dates: 12 weeks (two 6-week sessions), January 27–April 18. Admission: Download the application form and instructions from the website, www.newschool.edu/continuing-education/esl-design-certificate. If you have questions about the application, contact the English Language Studies Center by email at elsc@newschool.edu or by telephone at 212.229.5372. Tuition and Fees ESL + Design core (Grammar, Writing, Listening/Speaking, and Reading): $4,880 ESL + Design core with Design and Language Studio (not for credit) instead of Listening/Speaking: $5,278 ESL + Design core with Design and Language Studio (for credit) instead of Listening/Speaking: $7,810

For help in interpreting course descriptions, see chart on page 81.

ENGLISH LANGUAGE STUDIES

ESL + Music Certificate The Extension Division of Mannes College The New School for Music and the Department of English Language Studies together offer the ESL + Music Certificate. This pre-enrollment program is designed for individuals who need to raise their scores on the Test of English as a Foreign Language in order to be admitted to a music school in the United States or another English-speaking country or who wish to adjust to university life in the United States before starting a college music program.

VISUAL AND PERFORMING ARTS drawing and Painting Photography Music Theory and Performance acting and Movement creative arts and health certificate

The program of study consists of a structured set of intensive English language courses along with private music lessons with members of the Mannes College faculty, a Techniques of Music course, and performance seminars. The time a student will need to earn the certificate is flexible— from one to four academic terms (approximately three months to two years), depending on his or her level of proficiency in English.

FOr cOurse advising, caLL 212.229.5961. w w w. n e w s c h o o l . e d u / c e / v i s u a l a n d p e r f o r m i n g a r t s

ESL + Music students are entitled to enter the United States on an F1 student visa eligibility based on full-time enrollment. Students who complete the program receive a certificate of completion, which specifies the number of hours of study in English as a second language taken in each semester of study. Permanent academic records are kept, and students can obtain a transcript of their courses.

center of modern culture in which adults could learn

ESL + Music students are eligible to live in university housing and have access to many of the other services and academic resources of The New School, including health services, an email account, practice rooms, library and computing services, tutoring, and free admission to Mannes College concerts and recitals and other university events.

followed, The New School has supported and been enriched

Admission

the creative arts has continued, and today The New School

Application to the ESL + Music Certificate program is through the Mannes College Extension Division. For complete information and to apply, go online to www.newschool.edu/mannes/eslm-certificate. To speak to a counselor, email mannesextension@newschool.edu (make “ESL + Music” the subject of your email), call 212.580.0210 x4802, or visit the Extension office at 150 West 85th Street in New York City (check office hours on the website; no appointment is necessary).

offers a wide range of courses in the arts for students at

Daniel Hill, Ricardo Montez, Coordinators

The New School’s founders sought to establish a “dynamic to appreciate new art forms, or even become artists themselves” (Rutkoff and Scott, New School: A History of the New School for Social Research). In the decades that by many modern pioneers of American fine arts, theater, and dance. This commitment to teaching and nurturing

all levels.

HOW TO REGISTER OnLine

By Fax

Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the appropriate registration form in the back of this catalog.

Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins.

in PersOn Register in person at 72 Fifth Avenue, lower level. See page 82 for the schedule. For details of registration procedures and deadlines, see pages 82–83 or call 212.229.5690.

VISUAL AND PERFORMING ARTS

DRAWING AND PAINTING

PHOTOGRAPHY

Beginning Drawing narT1204

Since Berenice Abbott’s classes in the 1930s, The New School has been at the forefront of photography education and experimentation. The tradition continues in our current program of workshops and lectures, taught by working professionals.

a 15 sessions. Tues., 4:00–6:45 p.m., beg. Jan. 28. Noncredit tuition $650. Michelle Greene

This course explores both traditional and contemporary approaches to making drawings with a variety of materials. Through a series of assignments with still-life arrangements and live models, students develop awareness of the importance of seeing while learning basic principles of drawing. Bring an 18”×24” drawing pad, soft vine charcoal, and a kneaded eraser to the first session. (3 credits) Drawing at the Metropolitan Museum narT1210 a 15 sessions. Wed., 12:10–2:50 p.m., beg. Jan. 29. Noncredit tuition $650. Margrit Lewczuk

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

Introduction to Photography 1: Technical Foundation nPhg0001 a 12 sessions. Wed., 7:00–8:50 p.m., beg. Jan. 29. Noncredit tuition $520. Michael Grimaldi

This course is for noncredit students only. Credit students must register for NPHG1000, below. This lecture/demonstration course for beginners covers the fundamentals of digital photography. The goal is to give students a sense of the power of photography and confidence in using a camera without bogging them down in excessive technical detail. Topics include different types of cameras, how to choose a camera, and how to hold the camera to ensure sharp photographs. Aperture opening (f-stop) and shutter speed are explained in detail so that students learn how the two work together to control exposure, sharpness, and depth. There is also discussion of lighting techniques; control of image size and perspective by choice of lens and focal length; creative application of depth-of-field; how and when to use automatic features of electronic cameras; accessories such as tripods, flashes, and filters; and the digital darkroom. Shooting assignments are supported by assigned technical readings. Individual creativity is stressed, and students’ work is viewed and discussed in class. All topics are handled informally, and open discussion and questions are encouraged. If you own a camera, bring it to the first class session. (noncredit)

Beginning Painting: Short Course narT1302

Introduction to Photography 1: Technical Foundation nPhg1000

a 6 sessions. Sun., 11:00 a.m.–1:40 p.m., beg. Feb. 9. Noncredit

a 15 sessions. Wed., 7:00–9:45 p.m., beg. Jan. 29. Credit students only.

tuition $330.

Michael Grimaldi

Avron Soyer

This course meets concurrently with NPHG0001 and then resumes for credit students after a short break. The last three sessions are devoted to critique of student work. If you own a camera, bring it to the first class session. (3 credits)

Limited to 18. This course assumes no previous painting experience. Students are introduced to fine art materials, with demonstrations of their uses and proper care; colors, including setting up the palette, mixing colors, contrasting warm and cool colors, and realistic and abstract uses of color; beginning a painting; working from still life and live models; and fundamentals of composition and design, including proportion. Bring to the first session an 11”×14” canvas pad, a disposable palette, acrylic gloss medium, a jar, a tube of white and a tube of black acrylic paint, and #2 and #3 brushes. (1 credits) Life Painting narT2307 a 15 sessions. Thurs., 7:00–9:45 p.m., beg. Jan. 30. Noncredit tuition $650. Gilda Pervin

Limited to 18. Using the live model as a subject, we explore the fundamental concepts of painting the human figure. Closely observed color, convincing tonal structure, and proficiency in describing the figure as a form occupying space are stressed. Issues such as composition, value, and anatomy are addressed through demonstration and discussion, citing historical and contemporary references. It is assumed that students have taken at least one previous life drawing course. Bring vine charcoal and an 18”×24” newsprint pad to the first session. Prerequisite: A beginning drawing or beginning painting course (NART1204, NART1205, NART1208, NART1217) or permission of the instructor. (3 credits)

Using Your Digital SLR nPhg0013 a 1 session. Sat., 10:00 a.m.–5:00 p.m., April 26. Noncredit tuition $230. George Schaub

Limited to 15. While digital single lens reflex cameras have many of the same photographic functions and features as film SLRs, they present different challenges on the digital side. These include choosing the proper file format and resolution, white balance, color space, exposure compensation, saturation, and contrast controls. Students spend the first part of this workshop in the classroom examining these features and learning how to control them in order to make informed choices when shooting in the field. Presentations and hands-on exercises familiarize students with the functions of their digital cameras and use of the RAW file format. The second half of the workshop covers downloading and backing up image files, processing RAW image file format, and various options for image editing software. Basic understanding of photography, SLR camera controls, and computers is assumed. Bring your digital SLR camera to class. (noncredit)

VISUAL AND PERFORMING ARTS

Point of Departure nPhg2014

ACTING AND MOVEMENT

a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650. Seth Greenwald

Limited to 18. Once you’ve mastered the fundamental skills required to make a photograph, how do you develop your aesthetic and conceptual abilities? Technique is only one part of the equation when you’re setting out to build a strong body of work. This class offers you the opportunity to create a focused photographic essay while receiving critical feedback in a supportive environment. Students are guided in composing a proposal that describes a project to be developed over the course of the semester. Through group analysis and historical examples, students identify stylistic options that will help them realize their goals as photographers. Prerequisite: Introduction to Photography 1 or equivalent experience. Bring samples of your prints or digital files to the first session for review. (3 credits) A Visual Diary nPhg2025 a 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $650. Karen Bell

Limited to 18. Keeping a journal is a ritual for many people. Discovery, selfrevelation, and recording time and place are common reasons for writing a diary. In this course, students use a camera to visually track aspects of their own lives: daily routines, special events, family, home, neighborhood, work. Through weekly critiques and group discussion, the class works together to edit each student’s set of photographs into a cohesive visual commentary. Examples of written and visual diaries are read or shown and discussed. Photographic techniques and composition are discussed as tools for advancing visual ideas. Any format—black & white, color, digital, Polaroid—is acceptable, as long as you take photos daily. Prerequisite: Introduction to Photography 1: Technical Foundation or equivalent experience. Bring samples of your recent photographs to the first session for review (prints, slides, or a thumb drive). (3 credits)

Printmaking These courses are offered at Parsons The New School for Design as part of that division’s continuing education Arts and Foundation curriculum. Note: Registration policies and deadlines and credit tuition rates for these classes may differ from those for the other courses in this bulletin. For more information and to register, visit www.newschool.edu/parsons/ce or call 212.229.8933. Introduction to Printmaking PcFa1800 a 12 sessions. Mon., 7:00–9:30 p.m., beg. Jan. 27. Noncredit

The New School offers a noncompetitive curriculum that specializes in the requirements of beginning and intermediate students. The faculty includes professional performers, directors, teachers, and lecturers who bring experience, talent, and a range of aesthetic perspectives to a highly supportive program. Special clothing or footwear, if required, is discussed at the first class meeting. Call 212.229.5961 for course advising. Introduction to Acting nacT2300 a 15 sessions. Tues., 8:00–10:40 p.m., beg. Jan. 28. Noncredit tuition $650. Andrew Palmer

The beginning actor is introduced to a wide variety of physical and vocal exercises, techniques for freeing spontaneous personal feelings, and the process of bringing all these elements together with detailed work on text material. Emphasis is placed on developing the ability to sustain attention and highly concentrated energy. Every effort is made to give maximum attention to the individual development of each student. (3 credits) Acting for Film and Television nacT3313 a 15 sessions. Mon., 7:00–9:40 p.m., beg. Jan. 27. Noncredit tuition $650. Mark Stolzenberg

This course for beginning and experienced actors is devoted to the particular art of acting for the camera: how to relate to the lens, blocking and movement, important differences between film acting and stage acting, film audition techniques, working with sides and copy, and tricks of the trade that can help actors be more believable and interesting on screen. The course considers the demands of serious film roles, commercials, monologues, and scene study. Students work in front of the camera and can immediately review their own performances. (3 credits) Comedy: Heroes, Jokers, and the Rest nacT3332 a 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 27. Noncredit tuition $650. Richard Hollman

Comedy involves the mutual and sympathetic exploitation of one person?s emotions by another. Improvisational comedy training is essential for performers and writers. It is also used extensively in corporate team building and as a means of developing public speaking skills. In this course, students learn to create comedic scenes using a variety of acting techniques, including the Meisner technique of repetition and improvisation, to generate truthful emotional responses. Students take the stage to create comedic performances in a series of exercises that build on one another. (3 credits)

tuition $719. Janice Loeb

Scene Study for Actors nacT3319 a 15 sessions. Fri., 4:00–6:40 p.m., beg. Jan. 31. Noncredit tuition $650.

Silkscreen Printing PcFa1802 a 12 sessions. Mon., 7:00–9:30 p.m., beg. Jan. 27. Noncredit tuition $719. Luther Davis

B 12 sessions. Fri., 7:00–9:30 p.m., beg. Jan. 31. Noncredit tuition $719. Amy Pryor

Stephen A. Michaels

Students realize a complete dramatic scene: situation, character, behavior, and event. All stages of scene development are explored, including script interpretation, action and intent, use of the actor’s personal experience, interaction with other players, and identifying and overcoming individual performance problems. Characterization is also discussed. The class begins with simple contemporary scenes (American realism from the 1950s on) and advances to more complex scenes from Ibsen, Chekhov, Strindberg, and Shakespeare as well as material from the American cinema. (3 credits)

VISUAL AND PERFORMING ARTS

Theater Improvisation nacT3331

MUSIC THEORY AND PERFORMANCE

a 15 sessions. Mon., 7:00–9:40 p.m., beg. Jan. 27. Noncredit tuition $650. John Charles Murphy

This course is designed for students of theater, film, and television acting but is open to all who want to develop extemporaneous movement and speaking skills. It provides experience in character study, spontaneity, physicality, presence, and scene development and collaboration, incorporating these skills into improvisational exercises. Beginning with their own personae, students create characters, building situations and environments from physical choices. Movement becomes the basis from which feelings and thoughts arise, permitting the action to evolve authentically from moment to moment. Each session includes warm-up improvs, theater games, scene setups, sketch work, and specific tasks designed to develop character. The final session may be open to an invited public. Previous performance experience is helpful. Wear loose, comfortable clothes. (3 credits)

Students who are interested in learning to sing or play an instrument or who are studying music theory or composition can take courses offered by the Extension Division of Mannes College The New School for Music. Listed below are just a few courses from the continuing education curriculum of Mannes. See all the Mannes continuing education courses and register online at www.newschool.edu/mannes/ce. Note: Registration policies and tuition for these courses may differ from those for other courses in this bulletin. For more information, call Mannes Extension at 212.580.0210 x4802. Folk Process: American Folk Music xMhs1250 a 15 sessions. Mon., 8:05–8:55 p.m., beg. Jan. 27. Noncredit tuition $480. Nathan Koci

The Alexander Technique ndrF1301 a 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 27. Noncredit tuition $605. Cynthia Reynolds

The Alexander Technique enables you to develop dynamic posture, improve coordination, move with greater efficiency and self-awareness, and avoid unnecessary tension, especially in the neck, shoulders, and back. This highly respected method is widely practiced by professional performers and athletes. It is just as helpful to people in sedentary occupations and anyone with physical problems related to motion, posture, or tension. No shoes are worn in class. (2 credits)

Performing in Music Theater xvcO1204 a 15 sessions. Wed., 8:05–8:55 p.m., beg. Jan. 30. Noncredit tuition $480 Nova Thomas

Creative Uses of Sound xcMP2500 a 15 sessions. Thurs., 5:05–5:55 p.m., beg. Jan. 30. Noncredit tuition $480. Jascha Narveson

Chamber Music xPer1102 a 12 sessions. Day and time scheduled by group, beg. Feb. 18. Noncredit tuition $480.

Music since 1980 xMhs1204 a 15 sessions. Tues., 7:05–7:55 p.m., beg. Jan. 28. Noncredit tuition $480. Faye-Ellen Silverman

VISUAL AND PERFORMING ARTS

CREATIVE ARTS AND HEALTH CERTIFICATE FOr cOurse advising, caLL 212.229.5567.

For a complete description, visit the website: www.newschool.edu/public-engagement/creative-arts-and-health-certificate. Louise Montello, Coordinator

This career training program for college graduates and current undergraduates is about integrating modalities of music, drama, visual arts, and dance/movement into the practice of therapy and social work in clinical settings and community services. The certificate program in Creative Arts and Health is didactic and experiential, grounded in the latest developments in psychology and mind-body healing. It is designed as preparation for advanced education as a licensed therapist and as general career development for human services professionals. The faculty includes experienced practitioners in creative arts therapies and related fields. The Certificate in Creative Arts and Health is awarded for successful completion of nine courses as outlined below, culminating in a clinical fieldwork experience.

Training in Art Therapy 2 ncaT3101 a 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $680. Christine Alessandro

Enrollment limited. The use of art therapy implies that the creative process can help resolve emotional conflicts and foster self-awareness and personal growth. We cover definitions and theories of various illnesses and present child and adult case studies. Students are encouraged to undertake individual projects and exercises using various art materials and art therapy techniques that might be applicable to particular cases. This course equips trainees with technical knowledge, gives them practical experience, and prepares them for internships and professional work. Prerequisite: Training in Art Therapy 1 or equivalent experience. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits) Art Diagnosis 1 ncaT3110 a 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 28. Noncredit

• T ake two required psychology courses: Theories of Personality and Abnormal Psychology. (Both are prerequisites for the clinical fieldwork.)

tuition $680.

• C hoose a track: Art Therapy, Music Therapy, Drama Therapy, or Dance/Movement Therapy. Take four courses in your track, including the introductory training course (parts 1 and 2, if set up in two parts).

Enrollment limited. This course is an in-depth exploration of the way the unconscious communicates through art. Using didactic and experiential techniques, the class studies elements of art—choice of materials, color, space, form, line, focal points, and symbolism—and the way they are used by the artist. Students learn to distinguish characteristics of different diagnostic categories, identify the developmental level of the artist, and detect indicators of organic problems and sexual abuse in art. Students also become familiar with several assessment tools. The course is particularly useful for clinical practitioners interested in understanding their clients through their artwork. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

• T ake two elective courses from one or two of the other three tracks. Students are required to take courses in modalities other than their chosen track to ensure a well-rounded learning experience. • T ake Creative Arts and Health Fieldwork: a minimum of 150 hours in a clinical facility under professional supervision with a concurrent seminar at The New School. The New School certificate attests to completion of the defined program of study. It is not a professional certification or license. Professional credentials are awarded only by the several art therapies associations. The program is designed to be a two-year, part-time course of study, but this can be adjusted according to individual needs. General policies governing all New School certificate programs apply (see the Table of Contents in this catalog). All courses must be taken at The New School for Public Engagement. Most students take the Creative Arts and Health program on a noncredit basis. However, all courses are offered for undergraduate credit, and students who plan to apply these courses to a degree program at this or another college or university must register for credit. Noncredit certificate students and credit students have the same responsibilities and are treated the same way in every course. The Creative Arts and Health certificate program is open to anyone who has completed at least 30 college credits, preferably including courses in psychology and/or social work and in one or more of the four creative fields defined for the program: art, dance, drama, and music. (Applicants who have professional experience in the arts may be allowed to enter the program with fewer than 30 credits and take academic courses at The New School concurrently with their Creative Arts and Health courses.) Contact the program office to obtain the application instructions, or visit the website and use the Apply button. The deadline to submit an application is three weeks prior to the first day of classes of the term in which you wish to start taking courses. Please direct all questions about eligibility and admission procedures to the coordinator. Call 212.229.5567 or email catinfo@newschool.edu. People not enrolled in the certificate program may be permitted to take individual courses if space is available. Contact the program office for permission to register. Be aware that certificate status will not be assigned to any course retroactively.

Claudia Bader

Art Therapy with Groups ncaT3102 a 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $680. Dina Schapiro

Enrollment limited. Students learn to apply art therapy techniques in group and family therapy settings and develop a vocabulary of interventions using a variety of art materials. The class is introduced to several key group and family therapy models applicable with different populations and to the language appropriate for clinical work. The therapeutic applications are understood through a variety of experiential processes, demonstrations, and case studies. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

VISUAL AND PERFORMING ARTS

Music as the Way ncaT3307

Drama Therapy: Special Populations ncaT3507

a 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit

a 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 30. Noncredit

tuition $680.

Louise Montello

Barbara McKechnie

Enrollment limited. This intensive music therapy training offers a number of clinically tested exercises that can help clients reclaim their essential musical intelligence, the innate ability to use music/sound as a source of healing and self-transformation. Through a systematic musical journey that traverses the five levels of consciousness—body, breath/energy, mind, imagination/ intellect, and bliss—students learn to use music to reduce stress, expand creativity, enhance their clinical practice, and achieve radiant health and wholeness. Each student keeps a music-sound awareness journal to frame the process. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

Enrollment limited. This course examines various clinical populations from the perspectives of pathology, sociocultural values and norms, developmental behavior, and the specific challenges they bring to the drama therapy setting. Populations discussed include children, adolescents, elderly people, and adults with post-traumatic stress disorder, schizophrenia, affective disorder, and substance abuse. Therapeutic goals, evaluation of play potential, dimensions of the institutional setting, and drama therapy methods are explored for each population. Coursework includes a case study presentation and development of a drama therapy treatment plan. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

Music: Health and the Sound Environment ncaT3301 a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit

Developmental Transformations ncaT3410

tuition $680.

a 5 sessions. Tues., 8:00–9:50 p.m., beg. March 4. Noncredit

John Mondanaro

tuition $220.

Enrollment limited. This course focuses on the use of music therapy in medical settings. Topics 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 experiential and didactic components. Nonmusicians are welcome. Fieldwork opportunities in music medicine are available. Prerequisite: Music Therapy 1 or equivalent experience. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

Jennifer Wilson

Therapeutic Value of the Voice ncaT3560 a 5 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 28. Noncredit tuition $220. Allegra Themmen-Pigott

Enrollment limited. This experiential course combines theories and practices from Western and Eastern psychology 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 training is required. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (1 credit) Theater Techniques in Drama Therapy ncaT3502 a 15 sessions. Thurs., 8:00–9:50 p.m., beg. Jan. 30. Noncredit tuition $680. Randy Mulder

Enrollment limited. Students explore a variety of theatrical techniques and learn to use them as therapeutic tools. Since drama therapy enters into the realm of present embodied narrative, it is important that practitioners train not only as sensitive therapists but as creative artists and dramatists as well. Readings include the dramatic theories of Grotowski, Adler, Brook, and Artaud; the psychological theories of Klein, Winnicott, Kernberg, and Linehan; and the writings of drama therapists Landy, Moreno, and Johnson. Each session consists of experiential exercises followed by discussion. At the conclusion of the course, the class mounts a dramatic performance. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

Enrollment limited. 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 gives an overview of the key concepts of DvT and allows students to experience the free-associative play process in individual and group modalities. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (1 credit) Looking at Movement: Observations of Personality, Style, and Culture ncaT3549 a 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $680. Elissa Q. White

Enrollment limited. Using Laban Movement Analysis, students learn about expression as it affects the mover and the perceiver. Gestures and postures are viewed in relation to personality, culture, and social context. Students learn to observe, analyze, and interpret movement and nonverbal communication. This course is useful for mental health professionals and others who want to learn more about themselves and their interactions. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

VISUAL AND PERFORMING ARTS

Dance/Movement Therapy with Groups ncaT3530 a 15 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 30. Noncredit tuition $680. Elissa Q. White

Enrollment limited. The healing process in group dance therapy and in other physical activity–based therapy groups is explored. Students become aware of the importance of synchrony, education, rhythm, vitalization, integration, cohesion, expression, and symbolism to a group’s evolution. They also learn about and experience group development within a session and over time. Leadership, music, and verbal interventions are discussed in relation to group dancing. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (3 credits)

MANAGEMENT AND BUSINESS FOr cOurse advising, caLL 212.229.5124. w w w. n e w s c h o o l . e d u / c e / m a n a g e m e n t a n d b u s i n e s s Vivette Ancona, Coordinator

The Management and Business curriculum teaches business practices and enables students to develop an in-depth understanding of the way social and economic forces affect today’s businesses and nonprofit organizations. Whether your interest is in acquiring or

Transformative Writing ncaT3420

polishing job-related skills, positioning yourself for a new

a 5 sessions. Tues., 8:00–9:50 p.m., beg. April 8. Noncredit tuition $220.

career, opening your own business, or supporting your work

Sherry Reiter

with nonprofits or in the arts, The New School can help you

Writing is not just an art form; it is also a psychological survival tool. Transformative 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. Certificate students must register in person with a certificate registration form signed by the program coordinator. To make an advising appointment, call 212.229.5567 or email CATinfo@newschool.edu. (1 credit)

acquire the skills necessary to adapt to an ever-changing environment. Introduction to Business Management nMgT2100 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Richard Walton

This is a skill-building course for people whose job responsibilities or career interests require knowledge of basic management principles. We study concepts of business 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)

Creative Arts and Health Fieldwork ncaT3900 a Seminar meets 4 times: Tues., 4:00–5:50 p.m., Feb. 4, March 4, April 8 & May 6. 150 hours of fieldwork is individually arranged. Noncredit tuition $795. Melissa McIntosh

Limited to 12. Permission required; call 212.229.5567 to arrange a placement interview. Clinical fieldwork in a variety of settings is offered to certificate students who have completed the two required psychology and four concentration courses. Students work in a clinical facility under the supervision of a certified arts therapist for at least 150 hours. They attend a concurrent seminar at The New School on clinical issues relevant to specific populations. (3 credits)

Can’t find what you want? The subject index is on page 79. An index of courses by course master ID is on page 77.

Introduction to Nonprofit Management nMgT2400 a 15 sessions. Mon., 4:00–5:50 p.m., beg. Jan. 27. Noncredit tuition $650. Instructor to be announced

Nonprofit organizations have grown in number and importance over the last several years. In New York City, the nonprofit sector employs more people than the garment and financial services industries combined. This course introduces the principal theories of not-for-profit enterprise and the implications of various management practices for nonprofit organizations. Topics include the history and scope of the nonprofit sector, variations within this sector, and management issues as they pertain to nonprofits: fundraising and development, financial management, entrepreneurship, 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)

MANAGEMENT AND BUSINESS

Introductory Finance for Management nMgT2133 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

Growing a Small Business nMgT3140 ONLINE

a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit

Vivette Ancona

tuition $650.

This course introduces financial statements and concepts. It is designed for students with no prior knowledge of the subject. They learn how statements (profit and loss, balance sheet, cash flow, income, etc.) are used in the operations of for-profit and not-for profit enterprises, how enterprises of various sizes and purposes finance their growth, and how governance practices affect the financial health of companies. The importance of return on investment and the role of stock and bond markets in the finances of forprofit and not-for-profit enterprises are emphasized. Case studies are used extensively. (3 credits)

Alejandro Crawford

Arts Management: An Entrepreneurial Approach nMgT3110 a 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 28. Noncredit

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

tuition $650.

Public Relations: Practice and Critique nMgT2120

Instructor to be announced

a 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 29. Noncredit

We examine the tensions between artistic integrity, economic viability, and stakeholder benefit in arts management. Readings and case studies foster student understanding of the economic and social importance of the arts. Students also acquire practical skills—organizational, financial, strategic, and promotional—applicable to day-to-day and long-term management of nonprofit and commercial ventures in the arts. The backgrounds and interests of the students enrolled help the instructor determine which kinds of arts enterprises to emphasize: for-profit or nonprofit, popular arts or fine arts, performing arts or visual arts. (3 credits)

tuition $650. Bonnie McEwan

Students learn practical skills for conducting public relations campaigns through traditional and online outlets. They also explore theories of human behavior that help PR specialists develop campaigns and understand a campaign’s effectiveness. Other readings compare public relations with propaganda campaigns and examine ethical issues arising from the use of information to manipulate behavior. (3 credits)

All About Advertising nMgT2119 a 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 27. Noncredit tuition $650. Kurt Brokaw

Advertising is changing before our eyes. This course explores mobile media, social networks, viral and experiential campaigns, and user-generated, stealth, and guerrilla marketing. We define psychographics, in-your-face appeals, behavioral targeting, and extreme imagery and language, as well as the new advertising paradigms of Facebook, Twitter, and mobile device applications. This course features guest lectures from professionals in the field. Invited guests include LGBT activist Daryl Presgraves of GLSEN; Matt Miller, CEO of the Association of Independent Commercial Producers (AICP); Sarah Wehrli, account director at Greenpoint Entertainment (Omnicon); and Anna-Kate Roche (Eugene Lang College ’08), copywriter on Apple at the Media Arts Lab of TBWA/Chiat-Day. (3 credits) How to Convince with Numbers nMgT2200 a 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $650. Ellen Halpern

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 startup company to potential investors, selecting the best use of your nonprofit’s funding, or supporting your research findings. Drawing on statistics and research methods, students learn to 1) identify situations where numbers can strengthen a case, 2) find the best sources for reliable data, and 3) organize, graph, and present information in the most compelling way. This course is for those who wish to improve their ability to use numbers and develop visual and graphical presentation skills using software like Excel. (3 credits) For help in interpreting course descriptions, see chart on page 81.

FOOD STUDIES

Food and the Senses nFds3505 a 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 28. Noncredit

FOr cOurse advising, caLL 212.229.5124. w w w. n e w s c h o o l . e d u / c e / f o o d s t u d i e s

tuition $650. Stefani Bardin

Fabio Parasecoli, Coordinator

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

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, 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 and include selected writings of Descartes, Kant, Marcel Proust, M.F.K. Fisher, and Mary Douglas. Students are required to keep a self-reflective journal about their coursework. (3 credits)

need to engage in what has become a global conversation about food production, distribution, quality, and safety and

Eating Identities: Food, Gender, and Race in the Media nFds3401

to promote positive change in your local food chain.

a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650. Stefani Bardin

A Cultural History of Nutrition and Dieting nFds3110 a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

ONLINE

Fa-Tai Shieh

In this course, the science of nutrition is explored as a cultural and historical phenomenon. Students learn how ideas about food and health, body image, fears, and disgust differ in different times and places. Beginning with the ancient world and continuing through the 20th century, the 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, Rachel Laudan, Jared Diamond, and Michel Foucault. (3 credits)

This course examines how food-related representations establish, question, reinforce, reproduce, or overturn cultural assumptions about gender, race, and class relations. Students study the representation of food in media including advertisements, TV shows, cookbooks, travel brochures, magazines, blogs, and videos. Drawing on this critical analysis, the class identifies and discusses elements and themes connected with eating that shape the way gender and race are perceived, negotiated, and embodied in popular culture. (3 credits) The Science of Food, Flavors, and Farming nFds3700 a 15 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 30. Noncredit tuition $650. Ann Yonetani

Culinary Luminaries nFds2110 a 10 weeks, March 3 thru May 19. Noncredit tuition $440.

ONLINE

Andrew F. Smith

This course is devoted to the life and work of distinguished culinary professionals of the recent past and the present who have changed the way we eat and drink. We examine the lives and legacies of food culture luminaries including James Beard, Julia Child, Craig Claiborne, M.F.K. Fisher, and Robert Mondavi. The course is based on the ongoing Culinary Luminaries series of public programs at The New School. (2 credits)

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)

Food Cultures of the Mediterranean World nFds3400 a 15 sessions. Mon., 4:00–5:50 p.m., beg. Jan. 27. Noncredit tuition $650. Fabio Parasecoli

Students learn about Mediterranean food culture and traditions, particularly those of Italy and southern France, from historical, political, and economic as well as culinary perspectives. The class explores the historical development and contemporary worldwide diffusion of the Mediterranean diet; regional food production and distribution; dishes and ingredients; and changing patterns of food consumption, their connections with tradition, and the impact of globalization. (3 credits)

Is your schedule tight? There’s a list of courses by start date and time on page 75.

Restaurant Ownership: From Startup to Profitability nFds2300 a 10 sessions. Sat., 10:00–11:50 a.m., beg. Feb. 22. Noncredit tuition $440. David Friedman

Learn what it takes to be in the driver’s seat of your own restaurant. This short course is a behind-the-scenes look at the nuts and bolts of running a profitable restaurant, focusing on the choices that can make a restaurant great. We review the most important aspects of a startup: having a solid business plan; raising 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 and how they are changing restaurant operations everywhere. (2 credits)

FOOD STUDIES

The Sweet and the Bitter nFds2120

Alternative Food Networks nFds3203

a 5 sessions. Sat., 11:00 a.m.–12:50 p.m., beg. April 5. Noncredit

a 15 weeks, Jan. 27 thru May 19. Noncredit tuition $650.

tuition $220.

Bradley Christensen

Michael Krondl

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, socially embedded, and 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)

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 aspects of society including religion and ritual, class and gender, the connection between elite tastes and global supply chains dependent on slavery, confectionery as art and as an industrial commodity, and the effects of a high-sugar diet on Americans’ taste and health. (1 credit) Contemporary Food Controversies nFds2001 a 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650. Andrew F. Smith

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 increase diversity? Can locally produced artisanal food ever replace industrial 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 topics. (3 credits)

ONLINE

NEW Food and New York City: Feeding the City—From Street Carts to Whole Foods nFds2905 a 5 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $220. Andrew Smith

This course examines New York’s food distribution system from its origins to the present. We look at groceries, supermarkets, street food, school food, and home delivery services. We also discuss alternative models such as CSAs and food co-ops. The course ends with an exploration of future alternative distribution systems. (1 credit)

NEW Frontiers in Food Systems Resilience nFds4200

NEW Food and New York City: Entertaining the City—From Oyster Houses to Trendy Restaurants nFds2906

a 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 28. Noncredit

a 5 sessions. Tues., 6:00–7:50 p.m., beg. March 4. Noncredit

tuition $650.

tuition $220.

Thomas Forster

Instructor to be announced

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 the supply and distribution of food, 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 policy, the evolution of governance frameworks involving local and regional planning authorities, and the emerging “food federalism.” (3 credits)

This course examines the history of dining out in New York City. We focus on haute cuisine, from Delmonico’s to the latest trendy restaurants; drinking establishments, from saloons to chic wine bars; and inexpensive eateries, from oyster bars to food trucks. We also discuss prominent chefs of the past and the present, such as Charles Ranhofer and Lidia Bastianich. (1 credit)

INSTITUTE FOR RETIRED PROFESSIONALS

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

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

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

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

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

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ABOUT ABOUT THETHE NEWNEW SCHOOL SCHOOL The new school The new for general school for studies Public engagement Programs and services educationaleducational Programs and services The university Policies university administration administrative Policies Other divisions of the university www.newschool.edu/public-engagement

www.newschool.edu/

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

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

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

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

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

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

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

Study Online www.newschool.edu/online

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

Libraries and Computing Facilities The Raymond Fogelman Library has relocated to 55 West 13th Street. Emphasizing the social sciences, the Fogelman Library is the principal library for New School students. The Adam and Sophie Gimbel Library on the second floor of the Sheila Johnson Design Center (enter at 2 West 13th Street) has a rich art and design collection. The Harry Scherman Library at Mannes College The New School for Music, 150 West 85th Street, is devoted to European and American classical music. Reference services and instruction in library resources and technologies are available at all libraries. For further information about library services and procedures, consult with the reference librarians on duty in the libraries or visit library.newschool.edu. In order to visit the libraries, a student must present a valid New School ID card. Students taking courses for credit or certificate and members of the IRP are entitled to a photo ID. Noncredit students receive a New School ID without photo valid for the duration of their course(s) and must show a personal photo ID with their New School ID to use the library. Many library services are available online at library.newschool.edu. Computing Facilities All students matriculated in certificate programs have access to the Academic Computing Center, with Windows workstations and printers, and the University Computing Center, with Macintosh and Windows workstations, laser printers, and plug-in stations for laptops. Computing centers are part of the Arnhold Hall Multimedia Laboratory at 55 West 13th Street. Nonmatriculated students have only limited access to these facilities, which is described in the tech help and access directories on the website: www.newschool.edu/information-technology. 65

ABOUT THE NEW SCHOOL

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

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

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

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

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

The New School for Public Engagement bachelor’s degree in liberal arts requires satisfactory completion of 120 credits. The Bachelor of Arts degree requires a minimum of 90 credits in the liberal arts and sciences. For the Bachelor of Science degree, a student must complete a minimum of 60 credits in the liberal arts and sciences. The liberal arts and sciences, as defined by the New School Bachelor’s Program, correspond generally to the following chapters of the New School Bulletin: Social Sciences Humanities Media Studies and Film Screenwriting

Writing Foreign Languages English Language Studies Food Studies

Bachelor of Arts students may elect to include up to 30 credits, and Bachelor of Science students up to 60 credits, in non-liberal arts areas of study, again corresponding roughly to sections of the New School for Public Engagement Bulletin, such as Management and Business, Visual and Performing Arts, Media and Film Production, and Film and Media Business. New School for Public Engagement Undergraduate Program students may also take university undergraduate courses in Environmental Studies and Global Studies. (Note: The New School also offers the BFA degree in Musical Theater to graduates of the American Musical and Dramatic Academy integrated program. Contact the Office of Admission, 212.229.5630, for information about the AMDA program.) Complete information about admission and degree requirements, financial aid, course offerings, facilities and student services is published in the New School for Public Engagement Bulletin, available as a PDF on the website at www.newschool.edu/nspe/undergrad. Admission Matt Morgan, Assistant Director of Undergraduate Admission

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

ABOUT THE NEW SCHOOL

THE UNIVERSITY www.newschool.edu

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

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

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

ABOUT THE NEW SCHOOL

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

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

Labor Relations Lia Gartner, FAIA, LEED AP, Vice President for Design, Construction and Facilities Management Roy P. Moskowitz, General Counsel and Vice President for Legal Affairs Linda Abrams Reimer, Senior Vice President for Student Services Donald Resnick, Senior Vice President for Enrollment and Career Services Bryna Sanger, Deputy Provost and Senior Vice President for Academic Affairs Steve Stabile, Vice President for Finance and Business and Treasurer Peter Taback, Vice President for Communications and External Affairs

Deans and Directors Stephanie Browner, Dean, Eugene Lang College

The New School for Liberal Arts

Richard Kessler, Dean, Mannes College The New School for Music Martin Mueller, Executive Director, The New School for Jazz and

Contemporary Music

Pippin Parker, Director, The New School for Drama William Milberg, Dean, The New School for Social Research David Scobey, Executive Dean, The New School for Public Engagement Joel Towers, Executive Dean, Parsons The New School for Design

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

UNIVERSITY ADMINISTRATIVE POLICIES University Registrar Jennifer Simmons, Associate Registrar

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

The administrative policies of The New School are designed to expedite enrollment in our courses and make our facilities and services accessible to all. The registrar’s office, Student Financial Services, and other student services offices at 72 Fifth Avenue are open to assist students throughout the year. For registration procedures and deadlines, see pages 102–103. Policies as stated in the following pages apply to certificate and nonmatriculated (noncredit/nondegree) students at The New School for General Studies. Students interested in undergraduate degrees offered by The New School for General Studies or courses, programs, and degrees offered by The New School for Social Research, Parsons The New School for Design, Milano The New School for Management and Urban Policy, Mannes College The New School for Music, The New School for Jazz and Contemporary Music, Eugene Lang College The New School for Liberal Arts, and The New School for Drama should consult the appropriate school’s website or catalog for tuition and fees as well as other administrative and academic information. Visit www.newschool.edu.

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

ABOUT THE NEW SCHOOL

Students are responsible for keeping their own addresses and telephone numbers current in university records. They can update this information online at my.newschool.edu as necessary. Note: All university correspondence will be mailed to the address designated “official” in the student’s record and/or emailed to the student’s email address. For family educational rights and privacy policies, see page 73.

Tuition and Fees

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

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

Tuition and Fees: Continuing Education Student Status

Tuition

Materials Fees, etc.

University Services Fees

Noncredit

Stated in each course description in this catalog

Stated in course description if applicable

Registration fee: $7 per term

Undergraduate General Credit

$1,170 per credit

Same as above

$80 per term

Noncredit Certificate

The noncredit tuition

Same as above

$80 per term

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

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

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

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

ABOUT THE NEW SCHOOL

Schedule and Status Changes

Grade of “W”

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

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

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

Spring 2014 Add/Drop and Refund Deadlines

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

Classroom Courses: Standard Semester This schedule applies to courses starting January 27–February 2 or February 10–16 and meeting for 10 or more weeks.

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

Schedule

Deadline to add or change status

Deadlines for tuition refunds

Credit student withdrawal for grade of “W”

Classroom 10 or more weeks beg. Jan. 27– Feb. 2

Before Feb. 7

Before Jan. 27, 100% refund Before Feb. 3, 90% Before Feb. 10, 80% Before Feb. 17, 70% Before Feb. 25, 60%

Before Mar. 17

Classroom 10 or more weeks beg. Feb. 10–16

Before Feb. 25

Before Feb. 10, 100% refund Before Feb. 17, 90% Before Feb. 25, 80% Before Mar. 4, 70% Before Mar. 11, 60%

Before Mar. 31

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

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

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

Online Courses

• By fax to 212.229.5648

Online

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

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

• In person at 72 Fifth Ave., Lower Level (see office hours on page 83) The following policies apply. • Full refund of course tuition requires advance withdrawal. Otherwise the refund will be pro-rated—see the Add/Drop table at right. • Refunds are computed from the date and time the written notice is received in the Registrar’s Office, or the date of the postmark if the notice is mailed. • The registration/university services fee is not refundable unless a student’s withdrawal is due to a change of course schedule or instructor or the course is canceled by the university. • Withdrawals or refund requests may not be made by telephone. • Refunds of fees paid by credit card will be processed as a credit to that same account. • Failure to attend classes or notification to the instructor does not constitute official withdrawal. Failure to make or complete payment does not constitute official withdrawal.

Classroom Courses on Other Schedules This schedule applies only to classroom courses starting between February 3–9 or after February 16. Schedule

Deadline to add or change status

Deadline for tuition refunds (tuition charged)

Credit student withdrawal for grade of “W”

10 or more sessions beg. after Feb. 16

Before 3rd session

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

Between 4th & 7th sessions

6–9 sessions

Before 2nd session

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

Between 3rd & 4th sessions

3–5 sessions

Before 2nd session

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

Not applicable

1–2 sessions

Before 1st session

Before 1st session (full refund)

Not applicable

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

Refund processing takes approximately four weeks.

ABOUT THE NEW SCHOOL

Admission to Class

Other University Policies

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

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

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

Academic Honesty

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

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

Student ID Card

Use of Photographs

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

Upon receipt of payment, noncredit students are mailed a New School ID card (without photo) valid only for the academic term in which they are enrolled. Please carry this ID whenever you come to The New School and be prepared to show it to security staff on request. If you do not receive your ID card within two weeks of registration, contact Student Financial Services at sfs@newschool.edu or 212.229.8930. All students taking courses for credit or certificate and members of the IRP are entitled to a student photo ID card. New students should obtain the photo ID as soon as they complete payment or payment arrangements. See the last page of this bulletin for Photo ID office location and hours. If your photo ID has been lost or stolen, call the Campus Card Services Office, 212.229.5660 x4472, to check if the card has been returned. There is a fee to replace a lost or stolen ID card. If you withdraw from your courses, The New School may terminate your student privileges, including access to university buildings and resources. Campus Security The New School employs a security staff to monitor and maintain the rights, privileges, and safety of members of the university community and the security of university property. It is assumed that members of the community will comply with security measures such as the checking of ID cards at building entrances and will report incidents to the security staff, if and when they occur. The universityâ&#x20AC;&#x2122;s latest crime reporting statistics can be viewed at www.newschool.edu/security.

The New School reserves the right to take or cause to be taken, without remuneration, photographs, film, video, and other graphic depictions of students, faculty, staff, and visitors for promotional, educational, and other non-commercial purposes, as well as to approve such use by third parties with whom the university may engage in joint marketing. Such purposes may include print and electronic publications. This paragraph serves as public notice of the intent of the university to do so and as a release to the university giving permission to use your image for such purposes. License in Works to the University Under The New Schoolâ&#x20AC;&#x2122;s Intellectual Property Policy, the university shall have a non-exclusive, royalty-free, worldwide license to use the works created by its students and faculty for archival, reference, research, classroom, and other educational purposes. With regard to tangible works of fine art or applied art, this license will attach only to stored images of such work (e.g., slides, videos, or digitized images) and does not give the university a right to the tangible works themselves. With regard to literary, artistic, and musical works, this license will only attach to brief excerpts of such works for purposes of education. When using works pursuant to this license, the university will make reasonable efforts to display indicia of the authorship of a work. This license shall be presumed to arise automatically and no additional formality shall be required. If the university wishes to acquire rights to use a work or a reproduction or image of a work for advertising, promotional or fund-raising purposes, the university will negotiate directly with the creator in order to obtain permission.

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

ABOUT THE NEW SCHOOL

RECORDS AND GRADES

Grade Descriptions A

4.0

C+

2.3

A–

3.7

2.0

B+

3.3

C–

1.7

3.0

1.0

B–

2.7

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

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

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

Grade Reporting

Approved (noncredit certificate student)

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

Not Approved (noncredit certificate student)

Grade Not Reported for Student

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

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

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

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

ABOUT THE NEW SCHOOL

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

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

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

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

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

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

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

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

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

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

The Student Right to Know Act The New School discloses information about the persistence of undergraduate students pursuing degrees at this institution. This data is made available to all students and prospective students as required by the Student Right to Know Act. During the 2013–2014 academic year, the university reports the “persistence rate” for the year 2012 (i.e., the percentage of all freshmen studying full time in fall 2012 who were still studying full time in the same degree programs in fall 2013). This information can be found under the common data set information. Visit the Office of Institutional Research at www.newschool.edu/admin/oir for more information.

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

INDEXES calendar of courses course Master index

CALENDAR OF COURSES

Punctuation, 32 Academic Writing, 32 Beg Poetry Workshop, 32 Intro Fiction, 33 Beginning the Novel, 34 Interm Fiction Workshop, 34 Fiction Writing: Memory, Imagination, 34 Intro Creative Nonfiction, 36 The Experimental Essay, 36 Journalism Basics, 37 Writing & Reporting for the Web, 37 Playwriting, 38 Intro Business Management, 58 Intro. Finance for Management, 59 Cultural History of Nutrition, 60 Eating Identities, 60 Alternative Food Networks, 61

This index lists courses by beginning date and hour. Most courses meet once a week at the same hour, but please consult course descriptions for complete details before you register.

Monday, January 27 9:00

1:50

4:00

6:00

7:00

8:00

ESL 3: English Grammar Part 1, 49 ESL 4: Grammar of Written English Part 1, 49 ESL 5: Grammar of Written English Part 1, 49 ESL 6: Grammar of Written English Part 1, 49 ESL 3: Conversation & Listening Part 1, 50 ESL 4: Listening/Speaking Part 1, 50 ESL 5: Listening/Speaking Part 1, 51 ESL 6: Listening in the Real World Part 1, 51 Arts at The New School, 7 Cognitive Psychology, 10 Alexander Technique, 55 Intro. to Nonprofit Management, 58 Food Cultures of the Mediterranean, 60 Images of Metropolitan Futures, 14 Blood Read: Vampire as Metaphor, 16 Screenwriting 1, 29 Punctuation, 32 From Silence to Poem, 32 Novel Workshop, 34 Writing for NYC Newspapers, 37 Training in Art Therapy 2, 56 Convince with Numbers, 59 E-Publishing for Smart Media, 24 Film 4: Adv Film Production, 26 Acting for Film & TV, 54 Theater Improvisation, 55 Intro Abnormal Psychology, 10 Popular Dance Performed, 14 Art(core): Sexuality & Cinema, 22 Screenwriting 3, 29 Screenwriting 4, 29 Intro Fiction, 33 Writing for NYC Newspapers, 37 Childrenâ&#x20AC;&#x2122;s Book Illustration & Writing, 38 Comedy, 55 All About Advertising, 59

Tuesday, January 28 9:00

10:00 12:10 1:50

4:00

6:00

Going online January 27 Global Cities in Focus: Berlin, 6 International Law, 7 Intro to Macroeconomics, 8 Theories of Personality, 9 Intro Neuropsychology, 9 Health Psychology, 11 Media Psychology, 11 Paris in the Roaring Twenties, 12 Building the Modern City, 14 Middlemarch for the 21st Century, 15 The Bible as Literature, 15 Intro to Literary Traditions, 15 Authors in Exile, 16 Intro Media Studies, 19 New Media: Global Equalizer, 20 Media, Nature, & Apocalypse, 20 Social Networking & Activism, 20 Intro Cinema Studies, 21 Surrealism in Cinema, 21 Censorship & the Movies, 22 Gender & Sexuality in Indian Cinema, 22 Business of Nonfiction TV, 27 Writing Scripts that Sell, 28 Script Analysis, 29 Screenwriting 1, 29 Screenwriting 2, 29 Crafting the One-Hour Pilot, 30 Sitcom Writing 2, 30

7:00 8:00

ESL 3: Writing in English Part 1, 49 ESL 4: Writing in English Part 1, 49 ESL 5: Writing in English Part 1, 50 ESL 6: Academic Writing Part 1, 50 Fiction Writing, 34 Human Condition in Film, 6 Film 2: Interm Filmmaking, 26 ESL 3: Reading & Vocabulary Part 1, 51 ESL 4: Exploring Literature Part 1, 51 ESL 5: Reading/Discussion Part 1, 51 ESL 6: Topics in Culture & Society Part 1, 51 U.S. History in 13 Acts, 7 Eating Disorders, 11 Art of Keith Haring, 13 America Sings, 14 Confessional Writing, 15 Literature of Forgiveness, 15 Audio Production, 24 Digital Editing: Fundamentals, 25 Production Workshop, 25 Beginning Drawing, 53 Art Therapy with Groups, 56 Psychology of Women, 10 Art & the Political, 13 Lyrics of Mystical Love, 15 Informal Logic, 16 Human Rights Explored on Film, 22 Films of Gus Van Sant, 23 Film 3: Adv Pre-Production, 26 Screenwriting 1, 29 Rhetorical Grammar for Writers, 32 Writing Suspense, 35 ESL Teaching Practicum, 48 Visual Diary, 54 Music as the Way, 57 Food Systems Resilience, 61 Digital Video Production, 25 Understanding Victims of Abuse, 10 Graphic Novel, 38 Playwriting from Experience, 38 Intro Acting, 54 Art Diagnosis 1, 56 Therapeutic Value of the Voice, 57 Arts Management, 59 Food & the Senses, 60

6:00

7:00

8:00

Public Relations, 59 Rational to Radical Dissent, 7 Fundamentals of Psychology, 9 Media in the Age of Unreason, 19 Media, Messages, & Mind, 19 Movements in World Cinema 2, 21 Developing Ideas for Film, 24 Mechanics of Fiction, 34 Adv Short Story Workshop, 35 Memoir Writing, 36 Self and Craft, 38 Amores de Telenovela, 46 Photography: Point of Departure, 54 Music: Health & Sound, 57 Growing a Small Business, 59 Contemporary Food Controversies, 61 Food & NYC: Feeding the City, 61 Fundamentals of Web Design, 24 Documentary Production Workshop, 25 Filmmaking Studio 1, 25 Film 5: Adv Postproduction, 26 Methods of Teaching ESL/EFL, 47 Intro Photography 1, 53 Psychology Research Methods, 9 New York & the Avant-Garde, 13 Art of Film, 21 World Cinema Screening Series, 21 Sitcom Writing 1, 30 Poetry: Language of Music, 32 New Media Journalism, 37

Thursday, January 30 9:00 10:00 12:10 1:00 1:50 4:00

6:00

7:00 8:00

Public/Art, 13 Dimensions of Narcissism, 11 Cinematography & Lighting, 27 The Art of Viewing Art, 13 Women in the Avant-Garde, 12 Supreme Court Controversies, 7 Childhood in Crisis, 8 Mindfulness & Meditation, 11 20th-Century Philosophy, 17 Filmmaking Studio 1, 25 Dance Therapy with Groups, 58 Science of Food, 60 Entrepreneurship in Economics, 8 History & Systems of Psychology, 11 Film Theory, 21 The Producerâ&#x20AC;&#x2122;s Role, 27 Script Analysis, 29 Screenwriting 2, 29 Beg Poetry Workshop, 32 Fiction Writing: Memory, Imagination, 34 Accidental Realities: Fiction, 35 Essay in a Changing World, 36 Drama Therapy: Special Populations, 57 Non-Camera Filmmaking, 27 Life Painting, 53 Modern Social Theory, 8 Intro Philosophy 2, 16 Marxist Theory & Its Relevance, 17 Reggae & Representation, 20 Business of Screenwriting, 27 Adv Fiction Writing, 35 Techniques in Drama Therapy, 57

Wednesday, January 29

Friday, January 31

12:10 4:00

11:00 4:00

Drawing at the Met Museum, 53 Economics of Racial Stratification, 8 Anthropology of Sustainability, 8 Queer Art & AIDS, 12 Jews and the Crusades, 12 Ethics, 16 Making Poems: Adv Workshop, 33 Food Culture: French Style, 42 Looking at Movement, 57

Methodologies in Museum Education, 13 Aesthetics of Directing, 26 Script Analysis, 29 Scene Study for Actors, 55

Tuesday, February 4 4:00

Creative Arts & Health Fieldwork, 58

CALENDAR OF COURSES Friday, February 7 12:00

Chinese on the Go: Level 1, 41 French on the Go: Level 1, 41 French on the Go: Level 3, 41 Italian on the Go: Level 1, 44 Italian on the Go: Level 3, 44 Japanese on the Go: Level 1, 44 Spanish on the Go: Level 1, 45 Spanish on the Go: Level 3, 45

Adv Production: Sony, Arri, RED, 27

Sunday, February 9 11:00

Beginning Painting: Short Course, 53

Monday, February 10 6:00

8:00

Arabic Intro Intensive, 40 Chinese Level 2, 41 Chinese Level 4, 41 German Level 1, 43 Spanish Intro Intensive 2, 46 Spanish Level 3, 46 Arabic Level 2, 40 Arabic Level 4, 40 French Level 2, 42 Russian Level 2, 44 Russian Level 4, 44 Spanish Intro Intensive 1, 45

Saturday, March 1 9:30

Teaching the Sound System of English, 48

Monday, March 3

7:00

Films of John Waters, 23 Building the Sentence, 31 Culinary Luminaries, 60 Fundamentals of Web Interactivity, 24

Tuesday, March 4

Tuesday, February 11

6:00 8:00

6:00

Monday, March 10

8:00

Portuguese Intro Intensive, 40 French Intro Intensive 2, 41 Italian Level 3, 44 Sign Language as Art Form, 45 Spanish Level 1, 46 Portuguese Level 2, 40 French Intro Intensive 1, 41 Italian Intro Intensive, 44 Spanish Level 2, 46 Spanish Level 4, 46 Turkish Intro Intensive, 46

6:00