Continuing Education Spring 2015 The New School for Public Engagement by The New School

THE NEW SCHOOL FOR PUBLIC ENGAGEMENT

THE NEW SCHOOL Continuing Education Spring 2015 Term January 26

HOW TO REGISTER

HOW TO USE THIS CATALOG

This catalog lists course offerings for the Spring 2015 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 75–76 for more information about procedures and deadlines, or call 212.229.5690. Go to the registrar, located at 72 Fifth Avenue, 4th floor (corner of 13th Street), for in-person registration.

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

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

Finding a Subject General subjects are listed in the Table of Contents on page 3. For more information about any course, contact the department or program; telephone numbers are found on the first page of each general subject area. Interpreting the Course Description A chart on page 74 breaks down the format of the course descriptions and explains the different elements.

USEFUL CONTACT INFORMATION General Information ...................... nspeinfo@newschool.edu 212.229.5615 Registration Office ...................................... 212.229.5690 Box Office ................................................... 212.229.5488 Student Financial Services........................... 212.229.8930 Admission Office (bachelor’s and graduate programs) ......... 212.229.5150

By Mail

Alumni Office .............................................. 212.229.5662

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.

Press Contact ............................................. 212.229.5151

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

New School Dean’s Office ............................ 212.229.5615 New School Switchboard ............................. 212.229.5600

THE NEW SCHOOL FOR PUBLIC ENGAGEMENT

SPRING 2015 COURSE BULLETIN In this catalog, discover hundreds of courses available to you at The New School. A leading private university in New York City, The New School also offers more than 135 degree and certificate programs in art and design, the liberal arts and social sciences, management and urban policy, and the performing arts. We invite you to learn about the universityâ&#x20AC;&#x2122;s undergraduate and graduate degree programs at www.newschool.edu/degreeprograms.

ACADEMIC TERM CALENDAR Spring 2015 Classroom/studio courses usually meet twice a week for 12–15 sessions beginning the week of January 26. Online courses run nine weeks, from January 26 to May 18.

Holidays New School facilities will be closed. Presidents’ Day, February 16 Spring Break, March 23–29

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CONTENTS

SPRING 2015 COURSES Arts and Social Engagement, 6 Ethics, Power, and Justice, 9 Gender and Sexuality, 12 Literary and Cultural Studies, 14 For course advising, call 212.229.5124. Race and Ethnicity, 16 Psychology, 17 Management and Entrepreneurship, 20 For course advising, call 212.229.5124. Media Studies and Film, 22 For course advising, call 212.229.8903. Media Studies, 23 Film Studies, 25 Film and Media Production, 27 Film and Media Business, 31 Screenwriting, 32 Food Studies, 34 For course advising, call 212.229.5124. The Writing Program, 36 For course advising, call 212.229.5611. Intensives, 37 Fundamentals, 38 Poetry, 39 Fiction, 40 Nonfiction, 41 Journalism and Feature Writing, 42 Special Topics, 43

ABOUT THE NEW SCHOOL Foreign Languages, 45 For course advising, call 212.229.5676. American Sign Language, 45 Arabic, 46 Chinese (Mandarin), 46 French, 47 German, 49 Italian, 49 Japanese, 50 Korean, 51 Latin, 51 Portuguese (Brazilian), 51 Russian, 52 Spanish, 52 Turkish, 54 Yiddish, 54 English Language Studies, 54 For course advising, call 212.229.5372. Teaching English to Speakers of Other Languages, 55 Grammar of English, 56 Listening/Speaking, 56 Writing, 57 Reading, 57 ESL + Design Certificate, 58 ESL + Music Certificate, 58 Creative Arts and Health Certificate, 59 For course advising, call 212.229.5567. Institute for Retired Professionals, 62

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 for Public Engagement Undergraduate Program, 66 THE UNIVERSITY, 67 University Administrative Policies, 68 Student Accounts and Records, 66 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

REGISTRATION PROCEDURES Understanding the Course Description, 74 Before Registering, 75 Register and Pay, 75 Student ID, 76 Find Your Class, 76 Withdrawal/Refund Policy, 76 NEIGHBORHOOD MAP REGISTRATION FORMS

SPRING 2015 COURSES

ARTS AND SOCIAL ENGAGEMENT

The Art of Viewing Art NARH0010

The arts have been a mainstay of the curriculum at

A 15 sessions. Thurs., 1:00–2:50 p.m., beg. Jan. 29. Noncredit tuition $600.

The New School throughout its history. As a center of

John Zinsser

modernism in the first half of the 20th century, The New School offered courses in choreography, musical composition, and photography. The school connected the arts to the wider world: Many of the events and courses offered helped advance criticism and theory of new

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

artistic genres, tied artistic innovation to contemporary political and social issues, and promoted the arts as a

Human Condition: Contemporary Works NSOS0840

means by which to understand and contribute to society.

A 15 sessions. Tues., 12:10–2:50 p.m., beg. Jan. 27. Noncredit tuition $600.

The following pathway of courses carries forward this

Toby Talbot

tradition, exploring the breadth of expression and modes of

“It’s easier to look the other way and not cover the issue,” says an investigative reporter in a documentary film. Cinema is a machine that generates empathy, and this course explores the lives of individuals and communities engaged in the struggle for truth and justice as well as their commitment to breaking cycles of violence and inhumanity. One filmmaker states the mission: “The function of memory is not simply to record past events but to stimulate conscience.” This course investigates the ability of documentaries to do just that. Scheduled films for this semester are In Comparison, Freedom Rider, Tales of the Grim Reaper, Merchants of Doubt, The Price We Pay, The Great Invisible, The Decent One, The Children of Chabanne, The Love of Silence, Seymour: An Introduction to Passion, My Architect, Courting Justice, Concerning Violence, We Come as Friends, and A Whisper to a Roar. (noncredit)

engagement that make the arts social. Courses examine questions like: Who defines the arts? For what purposes? For how long? If imagination fuels the arts, this pathway of courses connects imagination and creativity to societal insight and action. These courses prepare students for advanced study or careers in arts education, creative arts therapy, arts management, urban studies, conflict mediation, journalism, and community organizing. For further information, contact ase@newschool.edu.

Made for The New School: Investigating Ten Site-Specific Art Commissions in The New School Art Collection NARH2204 A 5 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $220. Silvia Rocciolo and Erik Stark

From the historic 1931 José Clemente Orozco fresco cycle to the recent commission for the new University Center, the ten site-specific works in The New School Art Collection are focal points that reflect identity and aspirations. They span 80 years of a rich, lively, inspired, contentious, and mutable happening called The New School. Often hard-won and intently negotiated, the site-specific commissions serve as markers of the university’s physical, aesthetic, philosophical, and political landscape. How did these works come into being, and why did they matter to us when they were conceived? How are meaning and value shaped by these commissioned works, the spaces they inhabit (both architecturally and institutionally), the intended audience, and the community of viewers they serve? And how are their relevance and meaning mediated through time and curatorial, institutional and cultural intervention? Do these works still matter to us? Are they relevant cultural or institutional milestones? Expand your visual literacy and delve into a deep investigation and close reading of these site-specific commissions with the curators of the New School Art Collection. Visit the works firsthand and explore through critical discussion, observation, research, and selected readings the rich and layered histories these works reveal, not only from art-historical, institutional, and curatorial vantage points but from the wider cultural, social, and political contexts in which these works have taken form. (1 credit)

ARTS AND SOCIAL ENGAGEMENT

Public/Art NPUB3000

Impressions of Modernity NARH3369

A 15 sessions. Fri., 12:10–2:50 p.m., beg. Jan. 30. Noncredit tuition $650.

A 15 weeks. Jan. 26 thru May 18. Noncredit tuition $650.

Gabrielle Bendiner-Viani

This course explores the visual culture of 19th-century Europe, concentrating on depictions of modernity in painting, sculpture, and photography. Using the rapidly changing city of Paris and its artists as emblematic of the modern, the course addresses the major art movements of the period, some of which had echoes in the history of music. Topics include Jacques-Louis David and the art of the French Revolution, Romanticism and resistance in works by artists including Eugène Delacroix, the impact of photography on art and perception, and the allure of the new grand boulevards that were built in Paris in this period. Students learn to think critically about art in relation to the new markets, institutions, and criticism that shaped the artistic movements of that time. (3 credits)

Valerie Mendelson

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) NYC: Past Present Future NSOS3501 A 15 weeks. Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

Julia Foulkes

New York City exists as both a physical and a mental place—a dense concrete maze and a blowsy personality. In this course, we examine the contours of this phenomenon by looking at the city across time. We explore historical moments, investigating the intertwining forces of politics, economics, social struggles, and artistic and cultural production and the role those forces play in planning for the city’s future. We examine the making, planning, and governing of New York and the way the city is constructed through its representation in art, film, literature, and dance. We look at familiar figures, places, and phenomena in relation to their often lesser-known antecedents: What of Seneca Village remains in Central Park? What would Boss Tweed tell Michael Bloomberg about governing? Should Coney Island be preserved? Drawing on the vast array of Internet resources on New York City, the class learns what it is that makes New York a “beautiful catastrophe,” as Le Corbusier called it. (3 credits)

Warhol 2015 NARH3465 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650. Paula Stuttman

Andy Warhol died in 1987, but he remains present in contemporary culture. He is quoted in news broadcasts, referenced in commercials, made affordable at your local gift shop, and emulated by artists. This class explores Warhol in his entirety—from his childhood and early success as a commercial artist to his enduring influence on current art world practices, including the legacy of his defining performance of a late-20th-century artist. Through a variety of materials—including texts, interviews, films, reviews, and videos – students form an understanding of the world Warhol came from, the times he lived through, the work he made, and his continued relevance to our present moment. The final assignment is a curatorial project that offers a new perspective on Warhol for 2015. This course is a seminar; participation is required. (3 credits) Philosophy and Moral Imagination NPHI3571 A 15 sessions. Mon., 4:00–5:50 p.m., beg. Jan. 26. Noncredit tuition $650. Timothy Quigley

Philosophy and Moral Imagination explores the ways in which responsive and thoughtful engagement with literary fiction and the visual arts can enhance philosophical and moral understanding of ourselves and others. Our approach builds on the work of philosophers such as Martha Nussbaum, Cora Diamond, and Iris Murdoch, who in turn draw from Aristotle, the Stoics, Wittgenstein, and Henry James. Artists and writers such as Teju Cole, Katherine Mansfield, John Berger, Kara Walker, Jeff Wall, Zoe Leonard, Pedro Almodóvar, and Colm Toíbín provide some of our source material. (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.

ARTS AND SOCIAL ENGAGEMENT

Creative Justice NPUB3621

Whose Heritage? NANT3633

A 9 sessions. (WINTER SESSION) Mon. thru Fri., Jan. 12–15; Tues.–Fri., Jan. 20–23, 4:30–9:30 p.m. Noncredit tuition $600.

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

Piper Anderson

What does “culture” mean to those who produce it and those who consume it as tourists? Can sites, objects, and their histories simultaneously belong to a local community, a nation, and all humanity? How do culture-specific museums operate in a global context? How do mainstream museums address diversity? This course is an examination of the phenomenon of cultural heritage from an anthropological perspective, pairing specific cultural sites with questions central to anthropology. We begin with sites in New York City, including the American Museum of Natural History, the National Museum of the American Indian, Ellis Island, the Museum of Chinese in the Americas, the Metropolitan Museum of Art, and Weeksville Heritage Center. We then consider the meaning of “world heritage” and “universal value” as defined by UNESCO and focus on some of its World Heritage sites, including Chichén-Itzá in Mexico, Angkor Wat in Cambodia, Ghana’s El Mina Slave Fort, and Pharaonic and Islamic monuments in Egypt. Through our case studies, we link the local to the global, exploring the role of public memory; the representation of racial, ethnic, religious, and sexual identities; the role of archaeology in constructing national identities; indigenous ownership of material culture; performance theory in historical re-enactment; and symbolism and iconography in site marking and the marking of tragic histories, such as slavery and wars. You will be expected to visit heritage and museum sites in your area to complete course assignments. (3 credits)

The transformative justice movement builds on the cultural and social assets of a community to end all forms of violence while restoring safety and healing relationships. The arts are a powerful tool in this process, generating dialogue, strengthening a sense of community, and envisioning social change. In this intensive course, we examine how artists, cultural workers, and community activists have found ways to collaboratively respond to pressing social concerns. How does creativity work to promote trust? How do the arts reveal social issues differently? Do the arts prompt more action? We start by looking at successful models of creative intervention and then consider the current issue of communities that have been disenfranchised by policing practices like stop and frisk and punitive criminal justice policies. We consider whether the very system that has had such a destabilizing impact on a community can also be depended upon to preserve and protect that community. How might the arts intervene in this dilemma? By the conclusion of this intensive course, we will have built a proposal for a community art project that engages stakeholders from the design process to the execution of the creative work. There will be a public presentation of the proposal to the New School community so that work can continue after the course is over. (3 credits)

ONLINE

Jennifer Scott

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

20th-Century Composers NMUS3740

ETHICS, POWER, AND JUSTICE

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

Ethics, power, and justice are overlapping concepts that

Marc Peloquin

structure the way we operate in the world—and try

In 1913, audience members booed Stravinsky’s Rite of Spring, unprepared for his innovative score. Sixty years later, thanks to the groundbreaking work of Stravinsky and other composers, audiences were able to immediately appreciate Philip Glass’ Einstein on the Beach. This course is a journey through the compositional styles of the last century, with particular attention to Stravinsky, Schoenberg, Cage, Zappa, Glass, Sondheim, and Laurie Anderson. Through recordings and demonstrations on the piano, the class examines how these composers expanded our musical vocabulary and taught us new ways to listen. To offer a broader cultural framework, two class sessions focusing on the architecture of the same period are taught online by the instructor of NARH3861. (3 credits)

to change it. Since its founding, The New School has maintained that education advances justice and that it is necessary to critique power and use it for the greater good. The New School put those ideals into action in 1933 with the establishment of the University in Exile, which provided refuge for intellectuals facing persecution by the fascist regimes of Europe. But these ideals are often at odds with the realities of modern nation-state systems, global practices of production and consumption, and international politics. Studying ethics alongside power and justice allows us to consider the conditions necessary for the freedom of all members of society. This area of study explores the question of whether just societies are possible and, if so, how we might work toward them. These courses prepare students for a diverse range of careers in human rights, political activism, law, and government as well as graduate study in philosophy, politics, human rights, international affairs, and law. BA/MA options can be pursued in graduate programs in Anthropology, Historical Studies, International Affairs, Politics, Liberal Studies, Philosophy, and Sociology. For more information, contact Terri Gordon, chair, at epj@newschool.edu.

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course, you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the a ppropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 75 for the schedule. For details of registration procedures and deadlines, see pages 75–76 or call 212.229.5690.

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

Ethics, Power, and Justice: An Introduction NHUM2100

From Sitting In to Occupying: Theories and Practices of Social Movements NSOC3231

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

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

Terri Gordon

Sheena Nahm

This course is designed to introduce you to a new area of the NSPE Liberal Arts curriculum: Ethics, Power, and Justice. The interlocking concepts of ethics, power, and justice are crucial to our understanding of the world and the ways we might intervene in the social and political landscape. In this course, you become familiar with the lexicon of ethics and consider some of the most complex social and political situations of the 20th and 21st centuries. The course is structured around a series of case studies, each of which focuses on one central issue in human rights. The case studies will vary from year to year. The course opens with a theoretical section aimed at familiarizing students with the lexicon of ethics. In this section, you are introduced to the fields of normative and applied ethics, studying the works of Kant, Hume, Bentham, Weber, Dewey, Foucault, Carol Gilligan, and others. Case studies are drawn from the diverse fields of sociology, anthropology, law, human rights, urban studies, and political science. The course is designed to enable you to recognize complex social and political realities of the contemporary era and consider ways to create just societies in a global and interconnected world. (3 credits)

Why, when, and how do groups mobilize to act against social injustice and for social change? Until the mid-20th century, scholars viewed collective action as irrational outbursts that grew out of frustration. After the emergence of the civil rights, feminist, and peace movements of the 1960s, sociologists began to explain social movements by recognizing their strategy and purpose. In this course, we analyze theories that examine different aspects of social movements: political and economic reform, democratization, networks, civil society, collective identities, cultural change, and emotions. We discuss contemporary cases and explore the way these movements struggle at the local and global levels for social change. We also examine how media and technology have contributed to shifts in mobilization. (3 credits) Reformation to Revolution: Mapping Discovery, Empire, and Dissent NHIS3313 A 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 27. Noncredit tuition $650. Gina Walker

Critical Thinking NPHI2610 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

Joshua Pineda

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. We complement this practical exercise by reflecting on the psychological structures that make critical thinking an essential aspect of constructive civic engagement and human wellbeing in general. (3 credits) New York City Activists NHIS3002 A 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 27. Noncredit tuition $650.

This course is about the dynamic coming together of global exploration, cultural encounters, and the rise of the right to dissent in the early modern period. We begin by examining traditional accounts of the global flow of information and fantasy through maps and other texts that fueled adventures and ambitions, especially the revolution in cartography in the 15th century away from symbolic Christian cosmology to mathematical mapping made possible by Islamic inventions. We consider the effects of this revolution on traders, trade routes, international competition, cultural collaborations, and stereotypes of masters and slaves. We make use of cutting-edge multimedia resources, in combination with alternative narratives, to explore the new field of “continental history” expressed in period maps, accurate and imaginary, that helped motivate Britain, France, Spain, Russia, and Holland to identify, penetrate, claim, and occupy territories to build their empires. Finally, we consider how the spread and manipulation of information and disinformation by empire builders for their own purposes encouraged the religious and philosophical dissent that erupted in Enlightenment revolutions. (3 credits)

Claire Potter

How do we capture the history of late-20th-century grassroots radical movements and make it relevant to the contemporary public? This course delves into New York City’s recent past, focusing on radical feminism; racial, health, and economic justice movements; and gay, lesbian, bisexual, and transgender rights groups. There is an emphasis on the opportunities and responsibilities attendant on researching and writing about living subjects. We ask what it means to write the history of an event or phenomenon the consequences of which cannot yet be fully evaluated because it is not yet complete. We also ask what it means to produce a history that is not “written” but rather performed, exhibited, enacted as a policy agenda, or produced through visual or digital media. This course is project based: Students help produce and revise a Web-based archive as part of a New School pilot civic engagement initiative to make historical materials at the New York Public Library more available to the general public. Each student creates a final project in digital format. Ideally, some projects will be published on one of our partner websites. This course should be of interest to humanists, journalists, novelists, and nonfiction writers as well as social scientists. (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.

Anthropology of Home NANT3423 A 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $650. Rachel Heiman

When we think of home, we typically envision spaces, sentiments, and relationships that are deeply personal, familiar, and familial. Yet these seemingly private spaces are also key sites through which we become national subjects and cultural citizens with specific gendered, classed, and culturally infused desires. How might we understand the relationship between domestic design, national anxieties, and intimate lives? This course provides students with an introduction to the anthropology of home and explores sites that include living rooms in Hungary, dining rooms in Egypt, cramped quarters in Algeria, service entrances in Rio, and dens in New Jersey. Our readings examine topics that range from how kitchens and drawing rooms in Punjab have replaced national spaces of personal transformation to the ways that love and marriage in China have been recast amid the rise of homeownership. Final projects enable students to write about an aspect of home of their own choosing. (3 credits)

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

Blogging 3: Critical Approaches NHUM3611

The Politics of Learning NPOL3482

A 5 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $220.

A 15 sessions. Mon., 4:00–5:50 p.m., beg. Jan 26. Noncredit tuition $650.

Claire Potter

Blogging, like other new and old media, requires critical approaches and methods, whether you are a reader, a writer, or a commenter. This course examines the many writing styles, platform designs, and literary practices employed in blogging. A particular blogging platform, or design, may support some kinds of creative practices well but not others. We look at the different possibilities offered by short-form and long-form blogging, as well as media forms, such as memes, that rely mostly on visual imagery to make arguments and attract and retain an audience. Topics include the invention of online language, the nature of truth and “truthiness,” theories of Internet freedom, and the emergence of narratives across a community of bloggers. You may bring a blog to the class as a work-in-progress or work on class project(s) coordinated by the instructor. You may also wish to use this class to design a digital platform for a capstone or independent study project. (1 credit) Comparative Constitutional Law NPOL3620 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

Glynn Torres-Spelliscy

This course introduces you to different ways modern democracies have organized themselves and sought to address common questions. The way a nation chooses to structure and limit its government’s power is often a function of the cultural, social, and legal history of the society itself. You begin by exploring the nature of comparative constitutional law and the role of constitutional courts in defining individual rights. Next you analyze the various constitutional court decisions on fundamental rights such as privacy, equality, and freedom of speech and religion. Finally, you focus on abortion, sexual orientation, defamation, and hate speech, and religion in public schools. (3 credits) Supreme Court Controversies NPOL3635 A 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan 28. Noncredit tuition $650. Erica 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 that is 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)

Nancy Barnes

We are living through bleak times in American education. Teachers and public schools are blamed for complex social problems; standardization, high-stakes testing and privatization initiatives dominate the debates. In this seminar, you explore diverse educational projects that defy these pressures: urban school reform involving social justice curricula, untracked classrooms, and inquiry learning; culturally distinctive school systems in the context of globalization, as in Myanmar, Japan, and Finland; college in prison in a time of mass incarceration; and the pros and cons of digital learning. Learning and teaching are central activities in all of our lives, both in and outside of school. You reflect on your own educational choices while investigating possibilities observed in the world around you. You are also challenged to discover—and write about—the assumptions informing your thinking about learning. How do you believe people learn best? What kinds of educational communities and practices would be ideal? Can you imagine meaningful work as an educator? How is change in education related to social change? Illustrative readings include Sylvia Ashton-Warner, Kathy Boudin, Amy Chua, Cathy Davidson, John Dewey, Paulo Freire, Deborah Meier, and Mike Rose. (3 credits) Theological Foundations of the Political NPHI3084 A 15 sessions. Mon., 4:00–5:50 p.m., beg. Jan. 26. Noncredit tuition $650. Bernard Flynn

Carl Schmitt said that all major political concepts are secularizations of theological notions. One of Claude Lefort’s major articles is entitled “The Permanence of the Theologico-Political?” This course focuses on the notion of the Theological-Political. Drawing from the works of Ernest Kantorowicz, Quentin Skinner, and Remy Brague, it begins with pre-modern Europe, where one finds the direct grounding of political legitimacy in theological doctrines. Next, drawing on the works of the social contract theorists, particularly that of Hobbes, you consider the uncoupling of this direct relationship. Then you examine the work of the theorists of secularization and their critics, including Karl Lowith and Hans Blumenberg. After this, you explore new articulations of the political-theological in the 20th century in the form of political messianism (with and without a messiah) in the works of Walter Benjamin, Jacques Derrida and others. A different notion of the relationship between the political and the theological is considered in the philosophy of Claude Lefort. The course concludes with a reflection on the debate concerning the relationship between religion and politics in the United States today. (3 credits)

For help in interpreting course descriptions, see chart on page 74.

GENDER AND SEXUALITY

Critical Trans Theory and Politics NSOS3142

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

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650. Che Gossett

Exploring the contemporary moment of trans culture, media representation, and the consolidation of transgender studies into a formalized discipline, this course offers an overview of foundational trans theory, ranging from hallmark texts on gender and social construction such as Judith Butler’s Gender Trouble to more recent work on trans embodiment and phenomenology such as Gayle Salamon’s Assuming a Body. This course will also examine trans feminist of color politics and theory, including those articulated by the 1970s collective Radical Queens and by Sylvia Rivera at the 1973 Pride March, as well as those evidenced in more recent media representations by trans women of color such as Janet Mock’s girls like us campaign. This course also considers how structural violence and material struggles shape trans theory and knowledge production of trans subjects. (3 credits) Not in It to Lose: Negotiating Identity in Punk NCST3321

of the social world. For further information, contact

A 15 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $650.

gsx@newschool.edu.

Maxwell Tremblay

Introduction to Performance Studies NHUM2035 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $650. Alex Pittman

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

ONLINE

Punk rock, with its musical simplicity, do-it-yourself ethos and oppositional character, has given rise to a remarkably dynamic, self-reflective, and enduring subculture. However, it is often assumed that for all its bluster, punk is merely the protest music of straight white men—exemplified by the Clash song “White Riot”—which creates problems both for its political stance and for those members of the community who do not identify as such. Further, although punk seems monochromatic, messy issues of race, gender, and sexuality have been central to punk throughout its history, from Bad Brains and the Avengers to Bikini Kill and Limp Wrist. This course, then, has two primary goals: first, to identify the mechanisms (songs, zines, etc.) by which punk has either implicitly or explicitly identified itself as white, straight, and male, and second, to think through dissident readings of punk—queer, feminist, by people of color—that shake the foundations of that assumption. The course provides a kind of test case in observing how difference and diversity are negotiated in a subculture that explicitly defines itself as critical of the dominant culture, through engaging with both secondary sources and primary documents. (3 credits)

Performing Gender NCST2650 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

Anne Margaret Daniel

The Jazz Age in Paris was, in the words of Maurice Sachs, “the decade of illusion.” It was the era of dancings, le bal negre, 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 onstage 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 Cheri, Breton’s Nadja, Djuna Barnes’ Nightwood, and Langston Hughes’ poetry. There is a creative role-playing component to the course. (3 credits)

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

GENDER AND SEXUALITY

Underworld Archives: Queer Ephemera, Performance, and Time NCST3500

Queer Aesthetics: Visual Art NCST3506

A 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan 26. Noncredit tuition $650.

Ricardo Montez

Joshua Lubin-Levy

Today, the word “archive” seems to crop up everywhere, and we have been witness to a wide range of artists and thinkers engaging with conceptions of the archive in varied and fruitful ways. This work has proven particularly useful not only in attending to histories that are known but also in addressing those histories and experiences that have been lost or overlooked, the events, people, and things excluded from canonical archives. As a practice, archiving accounts for some of the richest questions we might pose in relation to ephemeral practices, from performance art to performances of everyday life. In this course, we think through the structure and function of the archive as a concept and consider how archives and the archival might be rethought in order to better attend to a range of ephemeral or fleeting sites of study. Together we look at a wide range of examples, from live performances to public protests, from marginalized histories to the documentation of marginal desires, sexualities, and selves. With a focus on queer and feminist perspectives, the course also offers guidance in looking at the different ways the “archive” is handled, drawing on concrete examples found throughout New York City. The goal of class participants is to rethink the concept of the archive, choose archival content of interest, and develop ways of producing and sharing those archives. Toward this end, students conduct a semester-long research project on a site in New York City and execute a final archival project. Sites of interest may include nightclubs, experimental theater, visual artist archives, and community activist organizations. (3 credits) Queer Aesthetics: Film NCST3504 A 5 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $220. Ricardo Montez

This course is part of a series of one-credit courses that consider the question: What is a queer aesthetic? We approach this question through a sustained engagement with art practice, form, and political content in 20th- and 21st-century film. In the 1990s, filmmakers like Todd Haynes, Tom Kalin, and Rose Troché became part of a movement that B. Ruby Rich dubbed New Queer Cinema. Informed in part by AIDS activism and the development of queer theory, these filmmakers played with the conventions of cinema and popular film in order to fashion something of a queer political worldview and subjectivity. Beginning from this movement, we look at a larger history of queer cinema, exploring possible influences on these filmmakers and those who continue to produce work in the legacy of new queer cinema. Rather than presume queerness as synonymous with homosexuality, we consider queerness in relation to larger questions of anti-normativity. Filmmakers on the syllabus include Kenneth Anger, Andy Warhol, Barbara Hammer, Richard Fung, Jack Smith, Ryan Trecartin, and Jibz Cameron. (1 credit) Queer Aesthetics: Performance NCST3507 A 5 sessions. Wed., 4:00–5:50 p.m., beg. March 4. Noncredit tuition $220.

A 5 sessions. Wed., 4:00–5:50 p.m., beg. April 15. Noncredit tuition $220.

This course is part of a series of one-credit courses that consider the question: What is a queer aesthetic? We approach this question through a sustained engagement with art practice, form, and political content in 20th- and 21st-century visual art. From Andy Warhol’s silkscreens to Glenn Ligon’s play with image and text, the visual art we study is discussed in relation to sexual identity, the politics of gender, and minority interventions in the public sphere. Rather than presume queerness as synonymous with homosexuality, we consider queerness in relation to larger questions of anti-normativity. Other artists on the syllabus include Tracy Emin, Rosson Crow, Robert Mapplethorpe, and Felix Gonzales-Torres. (1 credit) Labels, Categories, Names NANT3655 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 26. Noncredit tuition $650. Rachel Heiman

More than 70 years ago, anthropologist Ruth Benedict made a declaration that was radical for its time: Behaviors that many Americans considered abnormal, such as homosexuality or entering a trance state, were regarded as normal elsewhere; therefore, these so-called abnormalities are not caused by individual psychological or biological “problems” but are, rather, the products of a society’s system of defining and classifying behaviors. We read anthropologists, autobiographers, and other social theorists who explore the extraordinary power of labels, categories, and names to include and to exclude, to create people in their image and to be shaped by the same people, and to be both politically problematic and politically useful. We also ponder the underlying question: Must we categorize phenomena in order to think about them? Readings include Foucault’s Herculine Barbin: Being the Recently Discovered Memoirs of a 19th-Century French Hermaphrodite and Dominguez’s White by Definition: Social Classification in Creole Louisiana. (3 credits) Social Dimensions of Shame NSOC3855 A 15 sessions. Thurs., 2:00–3:50 p.m., beg. Jan. 29. Noncredit tuition $650. Aleksandra Wagner

Defined as both a psychological condition and a form of control, shame, an eminently social affect, presents a powerful lens for the investigation of social reality. One of the central forces in socialization, shame operates in arenas ranging from family to religion, politics, and law, as a reaction to the disapproving eye of an important Other. We consider how shame and shaming organize and regulate even those cultures commonly seen as guilt cultures (modern, Western, ours). We examine the dynamics that cause shame to be seen as itself deeply shameful, in need of correction and concealment. Our goal is to understand shame and its effects, from conformity to violence, in order to position them as a force capable of restructuring our relations to ourselves, as bodily, historical, and political beings, and to our communities. (3 credits)

Ricardo Montez

This course is part of a series of one-credit courses that consider the question: What is a queer aesthetic? We approach this question through a sustained engagement with art practice, form, and political content in 20th- and 21st-century performance. The artists and performances included on the syllabus are considered in relation to questions of embodiment, liveness, and the production of something like queer time. Rather than presume queerness as synonymous with homosexuality, we consider queerness in relation to a larger questions of anti-normativity. Artists on the syllabus include Jack Smith, Carmelita Tropicana, Dynasty Handbag, Charles Ludlam, and Young Jean Lee. (1 credit)

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

LITERARY AND CULTURAL STUDIES FOR COURSE ADVISING, CALL 212.229.5124

Val Vinokur, Chair

The New School has attracted some of the most important literary and cultural figures of the 20th and 21st century. Courses in this area focus on the role played by the verbal arts in shaping and interrogating culture and society. Our view of literature includes all uses of language—speech, poetry, storytelling, scripted performance, narrative, and writing. We read English language works and literature in translation, employing approaches to culture and society drawn from humanistic inquiry and the modern social sciences. For further information, contact lcs@newschool.edu.

Fiction, Culture, Criticism NCST2000 A 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $650. Carolyn Berman

The Nigerian writer Chinua Achebe famously asked whether a novel which “depersonalizes a portion of the human race, can be called a great work of art. My answer is: No, it cannot.” In Achebe’s view, novels like Joseph Conrad’s Heart of Darkness have fostered the “dehumanization of Africa and Africans.” We examine Achebe’s claims, first by reading Heart of Darkness alongside Achebe’s own novel Things Fall Apart, and then by surveying subsequent fiction and essays by Edward Said (Culture and Imperialism) and James Clifford (The Predicament of Culture), along with biographical and historical contexts. Our primary purpose is not to sit idly by, however, but to venture out into this contested field. We use each essay as a model for our own writing practices, as we develop arguments, revise our work, generate new ideas, and learn how to get the most from peer reviews. As an introductory course to the curricular area in Literary and Cultural Studies, the class provides a case study in conceptions of “culture” and its critique in fields ranging from the study of written and oral traditions to the modern social sciences. (3 credits)

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

Contemporary Crime and Punishment NHUM3160 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

Love in French Literature NLIT3424 ONLINE

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

Yunus Tuncel

Noelle Carruggi

In this interdisciplinary course, we read Dostoyevsky, Nietzsche, Freud, and Foucault. Dostoyevsky’s novel Crime and Punishment raises many questions about crime in all its complexities, the personality of the criminal, his or her state of mind after committing a crime, punishment, and the relation of crime and punishment to redemption and love. In On the Genealogy of Morals, Nietzsche looks at crime from the standpoint of culture, values, and civilization; he dissects modern culture and locates the origins of sin/crime and punishment within the broader context of our value system. Freud, in Civilization and Its Discontents, examines crime as it relates to the unconscious and the topography of the psyche: What is the psychic condition of someone who commits a crime or punishes another for a crime? Our last author, Foucault, in Discipline and Punish, investigates the topic from the perspective of institutions in a historical context and in relation to the interplay of power, knowledge, and truth. We assess the ways in which all four thinkers agree and disagree, while reflecting on the contemporary relevance of their perceptions. (3 credits)

The greatness of French classical literature lies in its treatment of human passions, as Albert Camus proclaimed. In this course, we study masterpieces illustrating various aspects of love and literary expression through the centuries. Passionate love, whether platonic or overtly sexual, is an enduring theme in French literature, from the 17th-century novel The Princess of Clèves to Duras’ The Lover and Ernaux’s Simple Passion. We begin with classic works by the 17th-century tragedians Corneille (El Cid) and Racine (Phaedra). We then read texts from a variety of literary genres: the psychological novel, the epistolary novel, the realistic novel, satire, auto-fiction, and the autobiographical journal. In all passion, there is an element of revolt against convention, and the protagonists we encounter in our journey through the human soul and psyche take a stand against the mores of their era. (3 credits)

Power of the Book NHIS3338

Anthony Anemone

A 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan 27. Noncredit tuition $650. Gina Walker

The explosive power of the printed book in the early modern period foreshadows the turbulent digital revolution in our time. We track the struggles over successive technologies of communication—from ancient orality to the emergence of writing, the evolution of movable clay type in China c. 1041, and Johannes Gutenberg’s invention of the printing press with replaceable/moveable wooden or metal letters in 1436–1440, an innovation that inaugurated mass literacy. We investigate the revolutionary effects of “the book in the Renaissance,” culminating in the fierce public reactions to publication of Martin Luther’s Protestant Bible in German (1522), the opening salvo in the translation war between Catholics and their Reformation critics over who could produce the most authoritative Christian text. Theological dissent was quickly deployed for international political, economic, and territorial advantage. The Religious Wars in France, followed by the English Civil Wars, produced a flood of proposals about God’s intentions for the world that, in turn, stimulated a vigorous debate about the right to private judgment as the foundation of human freedom. We investigate the dramatic twists and turns of international textual conflict that produced two towering works: John Milton’s magisterial Paradise Lost (first published in 1667), and Lucy Hutchinson’s Order and Disorder (1679), the first epic written in English by a woman and one misattributed to a man for 400 years. We consider a variety of contributions to the great debate over human versus divine law. We conclude with a sampling of utopian works that link print with the radical idea of separation of church and state: Phillis Wheatley’s poetry, the Declaration of Independence, Thomas Paine’s Rights of Man, and Olympe de Gouges’ Declaration of the Rights of Woman. We ask whether there are lessons to be learned from the history of print for our digital age. (3 credits)

Nabokov’s Lolita NLIT3447 A 5 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $220.

This mini-course is devoted to one of the most famous, influential, and controversial American novels of the 20th century, Vladimir Nabokov’s Lolita. In addition to closely reading the novel, we also read about and discuss the following issues: the novel’s place in Nabokov’s oeuvre and in contemporary American literature, literary censorship and the notion of the obscene in literature, and the rise of postmodern fiction. Finally, we screen and discuss adaptations of the novel for the cinema by Stanley Kubrick and Adrian Lyne. (1 credit) Chekhov and Modern Theater NLIT3448 A 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 27. Noncredit tuition $650. Anthony Anemone

In addition to reading Chekhov’s four full-length plays, we read closely, discuss, and analyze representative works by the major European creators of the Modern Theater—Ibsen, Strindberg, Brecht, Pirandello, Beckett, Stoppard, and others. Our discussions are informed by secondary readings in the history of the theater, from realism and naturalism to symbolism, agitprop theater, and the Theater of the Absurd. Over the course of the semester, we observe the creation and development of recognizable modern language and sensibility on the stage. (3 credits) Psychoanalysis: Urban Experience NSOC3715 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650. Aleksandra Wagner

It has been said that Sigmund Freud sought privacy on the Ringstrasse— that is, not in the quiet of his consulting room but on the street, the place of incidents and accidents. We trace the social history of psychoanalysis in parallel with the histories of two cities commonly associated with it: fin-de-siècle Vienna and “delirious” New York. Shifts in urban experience produced dramatic changes in the sensibility of the cosmopolitan bourgeoisie, transforming them from confident, self-possessed individuals to people suffering from “reminiscences,” from flaneurs to hysterics. In this course, we explore the development of psychoanalysis and the materialist histories and economies that render the psychoanalytic enterprise tangible, that created the intimate rooms in which psychoanalysis makes its appearance. Readings and discussions include literature on the sociology of space and history of psychoanalysis, diagnostic manuals, and personal diaries. Students are expected to develop group research projects. (3 credits)

RACE AND ETHNICITY

Literary Laurels NLIT3801

RACE AND ETHNICITY

A 15 sessions. Fri., 12:00–1:50 p.m., beg. Jan. 30. Noncredit tuition $650.

Since its founding, The New School has been at the

Margaret Boe Birns

forefront of intellectual debates concerning the study and

This course features recent recipients of prestigious national and global literary awards, including the Nobel Prize, Impac Award, Pulitzer Price, Prix Goncourt, Booker Prize, Pen-Hemingway Award, National Book Critics Circle Award, and MacArthur Award. This is an opportunity to explore the best in postmodern literature in a global context, including major authors from the United States, Canada, Nigeria, Ireland, Senegal, France, Spain, England, and the Netherlands. Settings range from the court of Henry VIII to the North Korea of Kim Jong Il, the battlefields of Iraq, the Paris art scene, and a Dallas Cowboys football game, as well as that country of the mind known as the future. Readings address major serious historical, social, and psychological issues and have been specially chosen for their fearlessness, their honesty, and their ability to both broaden thinking and deepen feeling. Readings include Ben Fountain; Billy Lynn, Lost Halftime Walk; Kevin Powers, The Yellow Birds; Chimamanda Ngozi Adichie, Americanah; Marie Ndaye, Three Strong Women; Adam Johnson, The Orphan Master’s Son; Michel Houellebecq, The Map and the Territory; Kevin Barry, The City of Bohane; Herman Koch, The Dinner; Javier Mara, The Infatuations; Hilary Mantel, Bring Up the Bodies; and selected stories from Alice Munro’s Dear Life and George Saunders’ Tenth of December. (3 credits) Isaac Babel: A “Soviet Tolstoy” NLIT4205 A 15 sessions. Wed., 2:00–3:50 p.m., beg. Jan 28. Noncredit tuition $650.

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

Val Vinokur

Isaac Babel writes in the same tone about the stars and gonorrhea, Viktor Shklovsky once observed. This seminar explores the work of Odessan author Isaac Babel (1894–1940), the Russian Jewish master of the short story. The course includes close readings of his texts, with attention to his contexts and legacy beyond Russian letters. Students also engage with an exhibit on Babel and the Odessa painter Yefim Ladyzhensky at the Center for Jewish History. Prerequisite: prior coursework in literature. This course fulfills the “single-text/ author requirement” for literary studies majors at Eugene Lang College and is recommended for students preparing for graduate study in Liberal Studies, Jewish Studies, or Comparative Literature. (3 credits)

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the appropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 75 for the schedule. For details of registration procedures and deadlines, see pages 75–76 or call 212.229.5690.

PSYCHOLOGY

Passing: (Re)Constructing Identity NHUM3031

PSYCHOLOGY

A 10 sessions. Thurs., 6:00–7:50 p.m., beg. March 5. Noncredit tuition $440.

The rigorous curriculum of the Psychology program provides

Tracyann Williams

students with a comprehensive view of the contemporary

“Passing,” a term traditionally used to refer to fair-skinned Blacks’ posing as whites, is in fact part of a broader cultural phenomenon that has its origins in the pursuit of the American Dream. For the sake of economic comforts, racially, ethnically, and sexually diverse individuals submerge certain aspects of their identities in order to “pass” into the community of “whiteness.” Passing comes with obvious advantages, but, for some, it entails great personal sacrifice. We read Helen Fremont’s memoir detailing the ethnic (and religious) journey taken by her parents, Nella Larsen’s multilayered novel Passing, and Diane Wood Middlebrook’s biography of gender-crossing jazz musician Billy Tipton. We question how particular individuals become white, while whiteness remains unattainable by others. We draw on Whiteness Studies, an interdisciplinary field that decenters hegemonic markers connected to white dominance. Through this lens, we explore the racial, ethnic, and sexual biases embedded in our culture that impel some individuals to reinvent themselves as the other. In the 21st century, when these biases are supposedly less potent, we test that assumption by examining passing in contemporary society. (2 credits) Identity and Social Theory NSOC3502 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $650.

field of psychological science while encouraging critical reflection on current trends and movements in the field. Whether exploring cutting-edge work in neuropsychology and cognitive science, examining intensive studies in psychoanalytic thought, or contemplating culturally constructed understandings of the individual in society, students develop an appreciation for the breadth and depth of the field. Courses in research methods and statistics train students to critically evaluate psychological research and texts and serve as essential preparation for graduate study. Degree-seeking students who are interested in pursuing a psychology major can find information at www.newschool.edu/public-engagement/ba-psychology.

Aleksandra Wagner

Fundamentals of Psychology NPSY2001

Social theory, both classical and contemporary, has always wrestled with the issue of identity, seeking to interpret and explain the social processes and political struggles by means of which individual and collective identities are construed. Since the dawn of modernity, human identity—who we are as individual and collective beings—has not been viewed as a fixed, stable, or ascribed position. We begin with a discussion of self-identity in late modernity and then explore three theoretical frameworks within which identity is examined as a social and cultural construction. We analyze the conceptualizations of class and status in classical social theory; we discuss theories of collective action that elaborate on the production of collective identities within different social movements; and we examine feminist thought as it addresses the categories of women and gender and the complexities of identity politics. (3 credits)

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 28. 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 NPSY2401

Science Fiction NLIT3530

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

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

Anna Odom

Ricardo Montez

The development of science fiction as a literary genre is closely connected to the history of colonialism and anthropological projects documenting contact with so-called “primitive cultures.” We examine literary and filmic narratives involving other worlds, bodies, and technologies within this historical legacy. In particular, we discuss how science fiction writers explore systems of oppression while imagining new possibilities for political transformation. (3 credits)

ONLINE

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)

PSYCHOLOGY

Psychology of Dreams NPSY2444 A 15 sessions. Thurs., 10:00–11:50 a.m., beg. Jan. 29. Noncredit tuition $650. Patricia Simko

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

Abnormal Psychology NPSY2501 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

Mallorie Gordon

Using a multitheoretical model of psychopathology, students explore basic contemporary and historical conceptions of abnormal behavior. They are introduced to the current classification system of mental disorders, the Diagnostic and Statistical Manual (DSM-IV-TR), and consider its strengths and weaknesses in an increasingly complex field. Psychodynamic, cognitive, humanistic, and sociocultural approaches to major Axis I and Axis II disorders are presented. The class employs critical thinking to examine current controversies over classification, assessment, and treatment of mental illness. This course was formerly listed as NPSY3501. Do not take this course if you have previously taken NPSY3501; it is the same course and cannot be taken twice for credit. (3 credits) Research Methods I NPSY2701 A 15 sessions. Wed., 8:00–9:50 p.m., beg. Jan. 28. Noncredit tuition $650. Jonathan De Pierro

–– Outpatient and inpatient treatment programs

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)

–– Substance abuse treatment centers

Cognitive Psychology NPSY3601

–– Psychiatric hospitals

–– Public health and advocacy agencies –– Harm reduction centers –– Private practice

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

An Affirmative Action/Equal Opportunity Institution.

Dreams are our subconscious attempt to reconcile our inner and outer worlds. Dreams are triggered by many needs—to resolve a problem, to gratify a wish, to relive an event, to give expression to suppressed emotions. What all dreams have in common is the depth of their message, for dreams come from the most profound part of the self. In dreaming, we explore that mysterious place; we evolve and become. The class studies the history of dream theory, with a focus on psychoanalytic theories of dream formation and analysis (Freud, Jung, Erikson, Kohut, etc.). We also explore the creative expression of the self through dream interpretation and work together on understanding ourselves and growing through our dreams. (3 credits)

A 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 27. Noncredit tuition $650. Martin Fagin

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)

PSYCHOLOGY

Treating Victims of Abuse NPSY3860

Psychology of War and Peace NPSY3825

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

A 15 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $650.

Michele Frank

Warren Spielberg

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 understanding of how human services agencies currently interact in New York City, and valuable resources for using these agencies. (3 credits)

Co-existence studies emerges from a number of psychological disciplines: social psychology, psychoanalysis, political psychology, and communication studies. It is predicated on the view that psychological insecurity is the source of identity-based conflicts. Theoretical underpinnings for this course derive from critical psychology (Holzkamp and the Frankfurt School), cultural historical theory (Vygotsky), liberation psychology (Martín-Baró), and social identity theory (Mead). We investigate the notion of “intractable conflicts” (Bar-Tal), psychoanalytic approaches to mass conflict resolution (Volkan, Spielberg) and the use of dialogue to create new forms of knowledge in the service of conflict transformation (Yankelovitch, Habermas). We pay close attention to the roles of trauma and traditional masculinity in the origin and maintenance of intractable conflicts. We also teach practical skills of dialogue, mediation, and other techniques of conflict resolution, including educational interventions designed to reduce racial/ethnic hostilities. Students have opportunities to meet leaders in the field of co-existence studies and to get involved with both domestic and international NGOs in the New York area. (3 credits)

Mindfulness and Meditation NPSY3646 A 15 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 29. 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) Media Psychology NPSY3820 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

Emily Breitkopf

Throughout this course we investigate how psychologists have theorized media over the past several decades to help construct the field of media psychology. We explore the relationship between psychology, media, and technologies through a critical framework, taking into account intersecting issues of race, ethnicity, class, gender, sexuality, and dis/ability. Our readings examine debates regarding the psychological impacts of media engagement across the lifespan and the uses of media for psychological inquiry. The course incorporates readings from related fields such as feminist psychology and media studies to help students engage in critical dialogue throughout the semester. The topics covered include the hypersexualization of girls and women, media representations of trans* people, impacts of youth media making, and grieving on Facebook. This course counts toward the Gender Studies minor. (3 credits)

Psychology of Gender NPSY3841 A 15 sessions. Mon., 4:00–5:50 p.m., beg. Jan. 26. Noncredit tuition $650. Jessica Joseph

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) Health Psychology NPSY3843 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 26. Noncredit tuition $650. 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 health-related resources, and health outcomes. (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 For help in interpreting course descriptions, see chart on page 74.

The New School for Public Engagement provides an opportunity to complete your undergraduate degree at your own pace in a largely selfdesigned liberal arts program. For more information, call 212.229.5630 or visit www.newschool.edu/nspe/undergrad.

MANAGEMENT AND ENTREPRENEURSHIP

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

The Management and Entrepreneurship curriculum teaches organizational practices and enables students to develop an in-depth understanding of the effects of social and economic forces on today’s businesses, not-for-profits, and other organizations. Whether your interest is in acquiring or polishing job-related skills, positioning yourself for a new career, launching your own start-up, or supporting can help you develop the skills necessary to adapt to an ever-changing environment. The Basics of Investment NMGT1300 ONLINE

Aviva Ancona

Did you ever wonder what the Dow actually measures? What a hedge fund is? When you should prefer stocks to bonds? How to allocate your savings to various financial investments, and what difference it will make when you retire? This course covers the basics: the difference between financial assets and real assets, between stocks and bonds. It explains how financial markets work, various types of financial instruments, mutual funds, the rudiments of asset allocation and its importance, and the risk/return nexus. (3 credits)

ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the a ppropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 75 for the schedule. For details of registration procedures and deadlines, see pages 75–76 or call 212.229.5690.

ONLINE

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) Introduction to Management NMGT2100

your work with nonprofits or in the arts, The New School

HOW TO REGISTER

A 15 weeks, beg. Jan. 26. Noncredit tuition $650. Aviva Ancona

Vivette Ancona, Coordinator

A 15 weeks, beg. Jan. 26. Noncredit tuition $650.

Macroeconomics NECO2002

A 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 26. Noncredit tuition $650. Martin Greller

This is a skill-building course for people whose job responsibilities or career interests require knowledge of basic management principles. We study concepts of organization, communication, decision making, planning, motivating, group dynamics, leadership, and change. Examples of common day-to-day management and supervisory problems provide realistic case studies. (3 credits) All About Advertising NMGT2119 A 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 26. 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 guerilla marketing. We define psychographics, in-your-face appeals, behavioral targeting, and extreme imagery and language, as well as the newer advertising paradigms of Facebook, Twitter, and mobile device applications. This course features discussions with guest professionals in the field. Invited guests include Eric Weisberg, executive creative director of J. Walter Thompson; Carrie Wiltse, vice president of advertising sales, NBC-TV; Daryl Presgraves, director of communications, Gay, Lesbian, Straight Education Network; and Anna-Kate Roche (Lang ’08), associate creative director, fcbDraft, Chicago. (3 credits) Public Relations NMGT2120 A 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 28. Noncredit 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. Readings compare public relations with propaganda campaigns and discuss ethical issues involved in using information to manipulate behavior. (3 credits)

MANAGEMENT AND ENTREPRENEURSHIP

Finance for Management NMGT2133

Arts Management NMGT3110

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

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

Kevin McQueen

William White

This course introduces financial statements and concepts and is designed for students with no knowledge of the subject. We look at how statements (profit and loss, balance sheet, cash flow, income statements, 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 financial health. We look at return on investment and the role of stock and bond markets in the finances of enterprises, both for-profit and not-forprofit. Case studies will be used extensively. (3 credits)

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)

How to Convince with Numbers NMGT2200 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 26. 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 elements of statistics and research methods, students learn to 1) identify the situations in which 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 sharpen their abilities with numbers and develop visual and graphical presentation skills using software like Excel. (3 credits) Introduction to Nonprofit Management NMGT2400 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650. David Eng

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 kinds of volunteers. (3 credits) Social Entrepreneurship NMGT3030 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 26. Noncredit tuition $650. Dennis Derryck

Social entrepreneurship is a new field that blurs the lines between the nonprofit and for-profit sectors. It has emerged in response to the inability of government and philanthropy to alleviate the world’s social ills, focusing on market-based solutions to problems such as hunger, poverty, HIV/AIDS, and global warming. This course examines the three primary models currently being used: nonprofits starting for-profit ventures, for-profit companies with a social purpose, and nonprofits that approach social need in new and innovative ways. Students address such questions as: What does it take to be a social entrepreneur? Who are the leaders in this sector? What determines success and failure? Which is the appropriate business model for my idea? How does an organization find funding? How are corporations helping? And how does one assess the positive impact of the social venture? (3 credits)

MEDIA STUDIES AND FILM

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

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

Film and Media Business

Certificate in Screenwriting

Screenwriting

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

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

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

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

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

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

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 A 15 weeks , Jan. 26 thru May 18. Noncredit tuition $650. Peter Haratonik

Students explore media history and the basic concepts employed in media analysis, spanning the history of technologies from the magic lantern to multimedia and stressing the relationship between media and their social, political, and economic contexts. Since media are at once technology, art, entertainment, and business enterprises, they need to be studied from a variety of disciplinary perspectives. The readings for this course reflect this multifaceted approach and draw attention to the work of key thinkers and theorists in the field. Examples are drawn primarily from the visual media— 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) Reggae, Media, and Representation NCOM3009 A 15 weeks, Jan. 28 thru May 13. Noncredit tuition $650. Jean Oliver-Cretara

Reggae originated on the island nation of Jamaica, but it is one of the most popular musical forms 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 on 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. 26 thru May 18. Noncredit tuition $650. 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 historical Titanic sinking and global disasters in Japan, Sri Lanka and Haiti. We evaluate the impact of disaster journalism alongside that of citizen-driven media advocacy around climate change via Twitter, Instagram, Tumblr, and Facebook. Analysis of both the film and book versions of Cormac McCarthy’s The Road contrasts the fictional treatment of environmental apocalypse with nonfiction and other media treatments (video games, TV series, artistic projects). Assignments invite students to practice interviewing, gathering footage, and building a social network advocacy campaign centering on an environmental issue in their own neighborhoods. (3 credits) For help in interpreting course descriptions, see chart on page 74.

MEDIA STUDIES AND FILM

Culture Wars and American Media NCOM3024

Real TV NCOM3114

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $650.

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

David Fractenberg

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)

In this course, we analyze the way mass communication media—including television, the Internet, newspapers, and magazines—have covered cultural conflicts involving religion and the consequences of such coverage (or lack of coverage) for democratic and personal decision making in both the public and the private domains. Despite the widely held belief in the “wall of separation” between church and state, religion has always influenced American politics. We examine in depth the role of religion in American politics and, equally important, the role of the media in at times edifying us about and at times distorting this complex relationship. (3 credits) New Media: Global Equalizer? NCOM3465 A 15 weeks, Jan. 28 thru May 13. Noncredit tuition $650. Melanie 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 communication 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 cross-cultural awareness are opening up within and beyond borders. (3 credits) Beyond iCelebrities NCOM3026 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650. Kathleen Sweeney

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

Stuart Cohn

Media, Messages, and the Mind NCOM3470 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $650. Deanne 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

FILM STUDIES These courses enable students to analyze film and related screen media from a variety of perspectives and appreciate cinema art and its history in a global context. Students learn to make surer and sounder judgments about their own film experiences and to speak and write about those judgments with clarity and skill. The Art of Film NFLM3411 A 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 26. Noncredit tuition $650. B 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $650. Sam-Ishii Gonzales

This course lays the foundation for understanding the practical techniques, specialized language, and unique aesthetics of motion pictures. We consider the expressive range of cinematic language and the ways in which complex emotions and ideas are communicated to the viewer. Students analyze the basic elements of cinematic form as seen through essential properties of the medium—including editing, cinematography, production design, and sound design—and gain an appreciation of film history and the impact of culture and technology on the development of the cinema. The filmmaking process and the impact of the industry on this collaborative art are also studied. We discuss films by directors including Jean-Luc Godard, Agnes Varda, Jane Campion, Werner Herzog, Alfred Hitchcock, Orson Welles, Wong Kar-Wai, Yasujirō Ozu, Ingmar Bergman, Pedro Almodóvar, Michelangelo Antonioni, and many others. Film viewings are supplemented by readings. Students acquire a general familiarity with the range of cinematic expression and become better prepared to form surer and sounder judgments about their own film experiences and to speak and write about those judgments with greater clarity and skill. (3 credits) Introduction to Cinema Studies NFLM2400 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650. Silvia Vega-Llona

A survey of major theories and the critical literature on film from the 1920s through the present. The course builds an overall view of film theory and criticism with respect to the various modes of inquiry that have affected the study of cinema including structuralism, semiotics, Marxism, psychoanalysis, feminism, race and ethnicity studies, postcolonial theory, queer theory, and cultural studies. Students also become familiar with key concepts in cinema studies including realism, montage, auteurism, genre, and star studies. As students acquire a general familiarity with the literature that defines film theory and criticism, they are prepared to form surer and sounder judgments about their own film experiences and to speak and write about those judgments with greater clarity and skill. Pairing readings with screenings and discussions about a range of films, the course helps students expand and refine their own impressions and responses to the cinema, variously incorporating and responding to the theories, key concepts, and critical approaches studied in class. (3 credits)

ONLINE

Movements in World Cinema NFLM2501 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 26. Noncredit tuition $650. Heliodoro San Miguel

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, including 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, a special unit on Japanese New Wave and contemporary Japanese cinema will correspond with the program A Tribute to Donald Richie Part 2 presented by the Japan Society in March. Students will have an opportunity to view rare prints presented by guest curators, scholars, and filmmakers in attendance. (3 credits) Films of Kathryn Bigelow NFLM3044 A 5 weeks, Jan. 27 thru Feb. 24. Noncredit tuition $220.

ONLINE

Maya Smukler

In this course, you explore the major works of American film director Kathryn Bigelow. Bigelow’s films are concerned with protagonists whose humanity and compassion as individuals come into conflict with the violence of the larger community. A versatile director, she situates her character studies in a variety of genres: vampire, Westerns, police dramas, science fiction, and the contemporary war film. In 2010, Bigelow became the first woman to win an Academy Award for Best Director, an honor that both burdens and bolsters her legacy as an American filmmaker. Her body of work presents a study of cinematic genres, representations of controversial topical issues, and gender politics within Hollywood. You are expected to watch and write about one film each week outside of class: Near Dark (1987), Blue Steel (1989), Strange Days (1995), The Hurt Locker (2009), and Zero Dark Thirty (2012). Class readings include contemporary reviews and essays by film historians and scholars. This is one of three five-week courses on cinema auteurs that complement one another when taken sequentially. (1 credit) Films of Jane Campion NFLM3045 A 5 sessions. Tues., 6:00–7:50 p.m., beg. March 2. Noncredit tuition $220. Caryn James

Explore the major works of New Zealand screenwriter, producer, and director Jane Campion. You are expected to watch and write about one film each week outside of class: Sweetie (1989), An Angel at My Table (1990), The Piano (1993), Portrait of a Lady (1996), and the TV serial Top of the Lake (2013). Class readings include writings and essays by film historians and scholars. This is one of three five-week courses on cinema auteurs that complement one another when taken sequentially. (1 credit)

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

The Films of Mira Nair NFLM3402 A 5 weeks, April 14 thru May 12. Noncredit tuition $220.

American Independent Cinema NFLM3424 ONLINE

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650,

Rebecca Qidwai

Anthony Kaufman

This course explores the work of Mira Nair, an influential figure in international and American cinema. Nair first emerged in the late 1970s as a documentary filmmaker working in the cinéma vérité style. Although her repertoire has expanded to include the dramatic feature-length films she is better known for, her work has remained true to its cinéma vérité roots, using naturalistic techniques to reveal universal truths. Nair typically presents her themes through the exploration of nation, race, class, gender, and sexuality in the postcolonial context of diaspora and exile. We begin by briefly exploring Nair’s documentary work before focusing on four of her narrative feature films: Salaam Bombay!, Mississippi Masala, Monsoon Wedding, and Vanity Fair. Analysis is supported by readings that draw upon psychoanalysis, feminist film theory, history, and postcolonial studies. This is one of a series of short courses on contemporary auteurs that can be taken individually but are designed to complement one another when taken together. (1 credit)

This course begins in the wake of the most important week of the year for American independent film: the behemoth that is the Sundance Film Festival. After discussing the festival, we undertake the task of understanding the movement. Lacking the resources and recognition of its bigger Hollywood brother, the independent movement produced, and still produces, works that challenge the dominant industry’s notions of what stories to tell and how to tell them. The result is a collection of films and viewpoints as diverse as the citizenry from which they were born. This course explores the highlights of American independent cinema in works that range from the dreamlike feminism of Maya Deren to the queer cinema of Todd Haynes and the macho postmodernism of Quentin Tarantino. Students are required to view films outside of class. (3 credits)

New York Cinema History NFLM3046 A 15 sessions. Fri., 4:00–5:50 p.m., beg. Jan. 30. Noncredit tuition $650. Alexandra Kelly and Veronica Parades

This course delves into the deep but somewhat forgotten history of the early American film industry based in New York City boroughs. Meeting regularly at off-campus sites, you explore the remaining traces of the Vitagraph Film Studios that were built around 1907 in the Midwood section of Brooklyn. Now a yeshiva, the facilities are no longer widely regarded by the current local community as part of the neighborhood’s cultural history. Area experts and film preservationists—including guests from Urban Memory Project, City Lore, the Vitaphone Project, the Museum of Modern Art, and the New York Public Library—share their research and expertise as you conduct research on picture archives and films produced in the neighborhood. The culmination of the workshop will be 1) a student-curated and -produced public screening of Vitagraph films for the Midwood community, with workshop participants providing commentary and context, and 2) the production of a Midwood film history walking tour mobile app designed by workshop participants. Most class sessions will meet at the Brooklyn location. (3 credits) Human Rights on Film NFLM3418 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $650. Karen Kramer

Independent filmmakers around the globe capture human rights stories at great personal risk. We discuss films dealing with a range of provocative, emotionally challenging, and 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)

Surrealism in Cinema NFLM3436 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

Rebecca Alvin

The surrealist movement in art reached its peak during the early years of filmmaking. Surrealists like Salvador Dalí and Germaine Dulac saw cinema as an excellent means of exposing a mass audience to their ideas. The films that resulted from this movement are still striking today for their complexity, atypical humor, and attack on the senses. Several recent filmmakers also bring surrealist sensibilities to their work. This course looks at the work of surrealist filmmakers past and present, including Luis Buñuel, David Lynch, Germaine Dulac, and Alexandro Jodorowsky. You are required to view films on video outside of class; the instructor will help you locate hard-to-find films. (3 credits) Comparative Directors: David Cronenberg and David Lynch NFLM3047 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $650. Sam-Ishii Gonzales

This class will survey the films of two contemporary auteurs, each of whom has created a remarkable body of work over the past 45 years. Although their films can be said to share a number of obsessions and themes, the approach of each to these obsessions and themes is quite distinct. Both directors are interested in psychology and psychopathology, in the creative/destructive powers of the human imagination, and the role that art and technology can play in shaping and re-shaping the human sensorium, but they approach these issues from two entirely different vantage points. Whereas Cronenberg approaches his work in a clinical, detached manner, Lynch attempts to break down the barrier between screen and spectator. This is what makes Cronenberg’s work more akin to science fiction and what makes Lynch’s more akin to horror; at the same time, each transforms these interests in such a way as to develop his own idiosyncratic style, a style that evades simple generic classifications. Along with viewing a number of the directors’ films, we read several theoretical and literary texts, including Franz Kafka’s short story “The Metamorphosis,” a work that is cited by both filmmakers as a key early influence. Classroom screenings include Eraserhead (Lynch, 1977), Videodrome (Cronenberg, 1983), Blue Velvet (Lynch, 1986), Dead Ringers (Cronenberg, 1988), Twin Peaks: Fire Walk with Me (Lynch, 1992), Crash (Cronenberg, 1996) and Inland Empire (Lynch, 2006). Participation and attendance at both lectures and screenings are required. (3 credits)

MEDIA STUDIES AND FILM

FILM AND MEDIA PRODUCTION

Film and Censorship NFLM3471 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

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

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

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Maya Smukler

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 larger notion of moral responsibility in artistic expression. Students must view assigned films on their own. (3 credits) Art(core) NFLM3485 A 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 26. Noncredit tuition $650.

Certificate in Film Production The New School awards a Certificate in Film Production for the successful completion of eight courses that guide the student through the contemporary art and craft of filmmaking using both traditional 16mm film and HD digital technologies. The courses explore all creative aspects of filmmaking and professional development in the film industry. A sequence of three production courses guides each student through the completion of a personal film project. These courses are complemented by workshops and seminars in which students explore aesthetic aspects of film and digital production, including directing, cinematography, screenwriting, and business. The certificate program is open to committed students at any level of experience. There is no formal admission process except for students who require a visa to enter the United States. For certificate program advising, call 212.229.8903. Prospective certificate students who are not U.S. citizens or permanent residents should call 212.229.5630 for important admission and visa information. Students studying full-time can complete the certificate in four academic terms. Students have the opportunity to submit their finished films for the annual New School Invitational Film Show.

Mary Serra

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 boundarycrossing 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) The Art of Documentary NFLM3489 A 15 sessions. Tues., 4:00–5:50 p.m., beg. Jan. 27. Noncredit tuition $650.

Six required courses must be taken sequentially or concurrently, as indicated:

Silvia Vega-Llona

• The Art of Film

In this course, students gain an in-depth understanding of how the field of documentary film has been divided into a handful of broadly understood formal approaches, which developed in rough historical succession: montage and propaganda, poetic forms, narrated exposition, fly-on-the-wall, participatory and performative. As each approach, or mode, was developed, it enjoyed its day in the sun. Today, all are essentially up for grabs, filmmakers picking and choosing which method(s) works best for their project at hand. Why did they emerge when they did, and what—if any—is the preferred mode of the present? Do these different approaches signify different degrees of “truth” versus “manipulation”? These historical, formal, and ethical questions are discussed in the context of close viewing of some of the great examples in each genre, as well as assigned readings—a combination of filmmakers’ and scholarly writings. Students will also have the opportunity to gain direct experience with a few of the primary documentary modes through a number of optional hands-on exercises. The course thus provides a working familiarity with the body of theory that has developed for more than a century of documentary filmmaking and offers a good foundation for the student wishing to embark on further academic research or his/her own documentary project. (3 credits)

• Filmmaking Studio 1 (can be taken concurrently with The Art of Film) • Film 2: Intermediate Filmmaking Lab • Film 3: Advanced Preproduction (can be taken concurrently with Film 2) • Film 4: Advanced Film Production • Film 5: Advanced Postproduction and Editing The two additional courses are electives from our extensive curriculum in Film Studies, Film and Media Production, Media and Film Business, and Screenwriting. Certificate approval is based on attendance and participation, comprehension of theories and techniques, and final projects. General policies governing New School certificate programs are described in the Educational Programs and Services section of this catalog (see Table of Contents).

MEDIA STUDIES AND FILM

Web Design Fundamentals NCOM3210

Audio Production NCOM4005

A 15 sessions. Wed., 7:00–9:45 p.m., beg. Jan. 28. Noncredit tuition $1,075.

A 15 sessions. Mon., 4:00–6:45 p.m., beg. Jan. 26. Noncredit tuition $1,440.

Frederick Murhammer

John Plenge

Nearly everyone has an online presence, and knowing how to construct and maintain a basic website is a necessary skill for every professional. In this course, you learn basic skills in Web design programming (HTML and CSS) and Web graphics by developing individual projects. The curriculum emphasizes front-end Web design and learning about different formats and platforms as well as browser compatibility. You design and build your own professional portfolio and/or project website. Taught on the Macintosh platform. (3 credits)

In this course, 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)

Web Interactivity and Animation NCOM3020 A 10 sessions. Mon., 7:00–9:45 p.m., beg. Jan. 26. Noncredit tuition $720. Frederick Murhammer

This course guides you through a two-part exploration of Web interactivity, first using JavaScript and jQuery and then creating animations using Adobe’s Edge Animate software. In the first part of this course, you learn common interactive effects including image rollovers, validating forms, show/hide content, and image slide shows. The scripting covered in the first part of this course prepares you for the second part, on Web animation. You design HTML 5–compliant and nonproprietary animations using timeline-based interface and adding custom art, simple triggers, and actions to control animation behavior along with creating interactives. (2 credits)

Intensive: Sony, Arri, Red NFLM3001 A 3 sessions. Fri., Sat. & Sun., 12:00–6:00 p.m., beg. Feb. 20. 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) Digital Video Production NFLM3700

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the a ppropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 75 for the schedule. For details of registration procedures and deadlines, see pages 75–76 or call 212.229.5690.

A 15 sessions. Tues. 7:00–9:45 p.m., beg. Jan. 27. Noncredit tuition $1,440. Michele Beck

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

MEDIA STUDIES AND FILM

Documentary Production Workshop NFLM3715

Filmmaking Studio 1 NFLM3660

A 15 sessions. Wed., 7:00–9:45 p.m., beg. Jan. 28. Noncredit tuition $1,440.

Michele Beck

Kathleen Rugh

This course covers the essentials of shooting a five- to seven-minute documentary: developing an idea, researching the topic, interviewing subjects, creating a visual strategy, and location scouting, lighting, and shooting. Creative uses of still photographs, artwork, and stock footage are also explored. Students may work individually or in groups. By the end of the term, each student or group should have a working rough cut or fine cut edited with non-linear editing software tools that students learn to use in class. Students have access to New School digital video cameras, but each must bring a firewire drive. (3 credits)

B 15 sessions. Thurs., 4:00–6:45 p.m., beg. Jan. 29. Noncredit tuition $1,440.

Digital Editing: Fundamentals NFLM4627 A 15 sessions. Tues., 4:00–6:45 p.m., beg. Jan. 27. 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 exact same tools as the pros. Creating transitions, filters, titles, layered audio, and multiple versions has never been simpler, but knowing the tools is not enough. An understanding of editing conventions and the aesthetics of montage, continuity, and pacing is equally important. In this workshop, students learn both. Through lectures, demonstrations, and hands-on exercises, the course offers a conceptual and technical introduction to postproduction and nonlinear editing. Students become acquainted with workflow and HD video formats, as well as the basic functionality of Avid Media Composer on Macintosh computers. Students learn techniques for organizing media, editing picture and sound, and outputting to various formats. This course is not intended for students completing a Film 4 project. Bring digital video footage ready to edit and a firewire drive to the first session. (3 credits)

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)

MEDIA STUDIES AND FILM

Film 2: Intermediate Lab NFLM3632

Film 5: Advanced Postproduction Workshop NFLM3690

A 15 sessions. Tues., 12:10–2:55 p.m., beg. Jan. 27. Noncredit tuition $1,440.

A 15 sessions. Wed., 7:00–9:45 p.m., beg. Jan. 28. Noncredit tuition $1,075.

B 15 sessions. Mon., 7:00–9:45 p.m., beg. Jan. 26. Noncredit tuition $1,440. Jeremy Brooke

To realize an artistic vision in film requires an in-depth understanding of the technology, process, and tools. In this workshop, students explore advanced concepts and techniques in film and digital media production through a series of exercises that evolve into increasingly complex collaborative projects. Topics include operation of advanced HD digital cameras video formats, the structure of a film crew and the responsibilities of its members, lenses and lighting equipment, shooting exteriors and interiors, gripping, production design, field sound recording, preproduction planning and breakdowns, film and HD workflows, and the collaborative process. Working as a team, students set up and shoot several scenes in class and two scenes on location using 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 professional film and video projects. Prerequisite: Filmmaking Studio 1 or 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) Film 3: Advanced Pre-Production NFLM3670 A 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 27. Noncredit tuition $650. William Pace

Student filmmakers learn how to lay the groundwork for an advanced narrative, documentary, or experimental film or digital motion picture project. 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 a visual strategy and develop practical approaches to shooting their scripts while they continue refining their stories. The important ways in which short films differ from full-length features are discussed. The workshop ends with shot breakdowns, planning, storyboarding, and location scouting. Prerequisite: Filmmaking Studio 1. This course must be taken before Film 4: Advanced Film Production. This course was formerly called Film 2: Advanced Preproduction and Development. If you have taken that course, do not take this one; it is the same course. (3 credits) Film 4: Advanced Film Production NFLM3680 A 15 sessions. Mon., 7:00–9:45 p.m., beg. Jan. 26. Noncredit tuition $1,440. Timothy Sutton

Students are guided in shooting their own advanced 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. Students entering this class must have completed script and preproduction planning in Film 3. Topics covered include aspects of directing, producing, working with crews, and troubleshooting on location. Students should expect to incur some personal expenses beyond the course tuition. Prerequisites: Filmmaking Studio 1, Film 2, and Film 3. Bring your seven- to ten-page script to the first class meeting. 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)

John Didato

This course is an overview of the entire postproduction and finishing process for students who have completed shooting a short film project. Class time is devoted to editing exercises, lectures, group discussions, screenings, and presentations by guest film professionals. Topics discussed and demonstrated include creating rhythm; dramatic arc and character emphasis in scenes; cutting on, after, and before movement; match cutting; symbolic and thematic editing; and A&B cutting for documentaries. The class also explores sound editing and design, color correction, screening formats for festivals, standard industry mastering options, and distribution. Prerequisite: Film 4 or permission of the instructor. Students must bring their own hard drive with complete film dailies to the first session 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) The Aesthetics of Directing NFLM3510 A 15 sessions. Fri., 4:00–6:45 p.m., beg. Jan. 30. Noncredit tuition $760. Vladan 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

FILM AND MEDIA BUSINESS

Selling Your Film NFLM3565 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

New technologies and changes in production and distribution models have profoundly affected the film and media production business. Our courses provide information and tools to help aspiring professionals navigate these constantly changing waters. Students taking film and media production courses, as well as those interested in careers in media management, are strongly encouraged to take courses in this area. Business of Screenwriting NFLM3454 A 15 sessions. Thurs., 8:00–9:50 p.m., beg. Jan. 29. 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 a screenplay that make it attractive to buyers: scene lengths, careful writing of dialogue and exposition, situations to avoid putting your characters in, and much more. (3 credits)

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) Cinema and Lighting: Film and Digital NFLM3515 A 15 sessions. Thurs. 12:10–2:50 p.m., beg. Jan. 29. Noncredit tuition $1,360. John Budde B 15 sessions. Wed., 7:00–9:45 p.m., beg. Jan. 28. Noncredit tuition $1,360.

The Producer’s Role NFLM3456 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650. Charles H. Schultz

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

C 15 sessions. Fri. 7:00–9:45 p.m., beg. Jan. 30. Noncredit tuition $1,360.

Real TV NCOM3114

Marcus Turner

Stuart Cohn

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. (3 credits)

Non-Camera Filmmaking NFLM3520 A 15 sessions. Thurs., 7:00–10:00 p.m., beg. Jan. 29. 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. No prior knowledge of filmmaking is necessary. (3 credits)

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

MEDIA STUDIES AND FILM

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

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

Script Analysis NSRW2800 A 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 26. Noncredit tuition $760. Gregory Takoudes B 15 sessions. Tues., 6:00-7:50 p.m., beg. Jan. 27. Noncredit tuition $760. Deirdre Fishel C 15 weeks, Jan. 26 thru May 18. 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., 8:00–9:50 p.m., beg. Jan. 26. Noncredit tuition $760. Loren-Paul Caplin B 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $760. Jonathan Danziger C 15 weeks, Jan. 26 thru May 18. 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 wellknown films are analyzed on video to reveal structural elements in the writing. By the end of the course, each student will have developed an original idea into a detailed step outline for a feature-length screenplay and written the opening scene. Prerequisite: Script Analysis. (3 credits) Screenwriting 2 NSRW3820 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $760.

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.

Leslie McCleave B 15 weeks, Jan. 26 thru May 18. Noncredit tuition $760.

ONLINE

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. (3 credits)

For help in interpreting course descriptions, see chart on page 74.

MEDIA STUDIES AND FILM

Screenwriting 3 NSRW3830

Episodic and Procedural NSRW3852

A 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 26. Noncredit tuition $760.

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $760.

Deirdre 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, paying 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: Screenwriting 2, with at least 50 pages of an original screenplay complete and properly formatted. (Students can attend this course in person or online. Students on campus participate in lectures and workshops. Online students access the same lectures and participate in asynchronous workshops. Students are encouraged to choose one mode of attendance and notify the instructor at the beginning of the course.) (3 credits)

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

Rewrite and Polish NSRW3831

Sitcom Writing 2 NSRW3853

A 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 26. Noncredit tuition $760.

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $760.

William Pace

This class is modeled on a half-hour comedy writers’ room and, as such, is a virtual facsimile of the real world of sitcom writing. This class will guide students in the ways of writing a draft spec script from a half-hour comedy beat outline worthy of a professional writer. First reworking a completed outline, simplifying the story, improving the DNA of characters, focusing and economizing scenes, creating mood and pacing, and “punching up” dialogue from the blueprint draft. Next it’s on to the writing and polishing stage of the script. The final part of the course is an overview of the business of the sitcom and the current comedy series marketplace and tips for breaking in as a writer. Students must have a complete outline coming into the course. Prerequisite: Sitcom Writing (NSRW3842). (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) Sitcom Writing 1 NSRW3842 A 15 sessions. Wed., 8:00–9:50 p.m., beg. Jan. 28. Noncredit tuition $760.

ONLINE

Ian Grody

ONLINE

Mort Scharfman

Gregory 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 script for a half-hour TV comedy. Students work step by step, developing a premise, creating an outline, writing pages, revising the draft, and critiquing the script in the classroom workshop. After analyzing a number of current and past televised sitcoms, students complete a script for an existing half-hour comedy (from a selection approved by the instructor). They also learn about the business of the sitcom and are prepared for professional work. (3 credits)

MEDIA STUDIES AND FILM

FOOD STUDIES

The Sweet and the Bitter NFDS2120 A 5 sessions. Sat., 11:00 a.m.–12:50 p.m., beg. April 11. Noncredit tuition $220.

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

Michael Krondl

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

While the liking for sweetness is undoubtedly evolutionary in origin, desserts and candies are purely cultural phenomena. This course examines the interplay of food, culture, and society from multiple perspectives, including religion and ritual, class and gender, the 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 American taste and health. (1 credit)

faculty of scholars, policy activists, entrepreneurs, and scientists provide the theoretical and practical tools you

Restaurant Ownership NFDS2300

need to engage in what has become a global conversation

A 5 sessions. Sat., 10:00–11:50 a.m., beg. Feb. 21. Noncredit tuition $220.

about food production, distribution, quality, and safety and

David Friedman

to promote positive change in your local food chain.

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. (1 credit)

Contemporary Food Controversies NFDS2001 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $650. Andrew Smith

Everybody eats. Yet few understand the importance of food in our lives and the decisions we make each time we eat. This course provides an overview of the industrialization of the U.S. food system; we then investigate 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 industrially produced food in the world’s most heavily populated urban centers? What do we really know about the relationship between nutrition and health? This course addresses political, economic, historical, social, and cultural dimensions of food. Guest speakers enliven our discussions of these fascinating topics. (3 credits) Introduction to Food Studies NFDS2050

Andrew Smith

In this course, we examine New York’s food distribution system from its origins to the present. We look at groceries, supermarkets, street food, school food, Fresh Direct, etc. We also investigate current alternative models such as CSAs and food co-ops. The course ends with an exploration of the city’s future alternative distribution systems. (1 credit)

A 5 sessions. Tues., 6:00–7:50 p.m., beg. March 10. Noncredit tuition $220.

Grace Choi

In this course, we explore the connections between food, culture, and society, looking at the role of food in the construction of personal and collective identity in terms of body, race and ethnicity, class, gender, nationality, and social movements. We also examine cultural aspects of food politics, paying particular attention to the United States but also considering globalization and international flows of people, goods, ideas, and technologies. The course introduces analytical approaches and methods that are widely used in the growing research field of food studies. (3 credits)

Cathy Kaufman

This course looks at how New Yorkers have dined out. It focuses on such topics as haute cuisine, from Delmonico’s to the hottest trendy restaurant; drinking establishments, from saloons to chic wine bars; inexpensive eateries, from oyster bars to food trucks; and prominent chefs, from Charles Ranhofer to Lidia Bastianich. (1 credit) Cultural History of Nutrition NFDS3110 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

Culinary Luminaries NFDS2110 ONLINE

Andrew 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 such as James Beard, Julia Child, Craig Claiborne, M.F.K. Fisher, and Robert Mondavi. We explore their impact on American cuisine and the culinary arts at the global level through audiovisual material, readings, and discussion. This course is based on the ongoing Culinary Luminaries series of public programs at the New School. (2 credits)

A 5 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $220.

Food and NYC: Entertaining the City NFDS2906

A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $650.

A 10 weeks, March 2 thru May 15. Noncredit tuition $440.

Food and NYC: Feeding the City—From Street Carts to Whole Foods NFDS2905

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, health, body images, fears, and disgust vary from place to place and evolve over time, 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)

FOOD STUDIES

Alternative Food Networks NFDS3203 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

Bradley Christensen

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)

EARN A DEGREE IN FOOD STUDIES.

Food and Emerging Technologies NFDS3446 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $650. Stefani Bardin

In this course, you explore the role of emerging media and new technology in fostering a critical understanding of the food system’s many dimensions. You examine the work of artists, technologists, policymakers, architects, scientists and designers who utilize technology to explore and in many cases expose and address issues within our veiled anthropogenic food production and distribution systems. You gain insight into how emerging technologies and art and design practices affect the present-day food system, the environment, and food itself. You are challenged with investigating the issues raised in class and then creating responses to the material in actionable and deployable ways— analog and technology-based projects designed to address and solve problems that plague our food system and, by extension, the health and well-being of ourselves and the planet. (3 credits)

The BA and BS degree programs in Food Studies—offered through the Bachelor’s Program for Adults and Transfer Students at The New School—are your pathway to a career or graduate study in areas including –– Food policy research and advocacy –– Environmentally sustainable agriculture –– Food marketing and distribution –– Business administration for governments and NGOs –– Culinary journalism

The Science of Food NFDS3700 A 15 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $650. Ann Yonetani

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)

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

Eating Identities: Food, Gender, and Race NFDS3401 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $650.

ONLINE

Sierra Clark

In this course, you examine how food-related representations establish, challenge, reinforce, reproduce, or overturn cultural assumptions about gender, race, and class relations. Drawing on this critical analysis, you identify and discuss elements and themes connected to eating that shape the way gender and race are perceived, negotiated, and embodied in popular culture. (3 credits) An Affirmative Action/Equal Opportunity Institution.

FOOD STUDIES

Feeding Cities: Policies and Governance NFDS4200

THE WRITING PROGRAM

A 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 26. Noncredit tuition $650.

Intensives

Thomas Forster

Fundamentals

Governance of the contemporary food system is complex and rapidly evolving. As cities, regions, and nations deal with concerns over safety, security, environmental impact, and the effects of climate change on food supply and distribution, the governance of food and farming systems is being reexamined and, in some cases, modified. Designed to follow other policy and food justice classes, this course is conducted in an applied-studio format. After learning about basic food governance principles, practices, and models, you research and analyze food governance processes at the local, regional, and national levels. Your study includes 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) Food History and Globalization NFDS4530 A 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $650. Fabio Parasecoli

Crops, recipes, and culinary techniques have traveled across regions and populations since the beginning of human cultures. In this course, you focus on the dynamics that exist beyond these movements and the role they have played in the globalization of consumption and material culture. You explore the role food has played in trade, territorial expansion, ecological imperialism, migrations, and other worldwide phenomena. Using cultural and political interpretive frames, you examine case studies from around the world. (3 credits)

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

Luis Jaramillo, Director Laura Cronk, Associate Director

Students come to The New School from across the United States and around the world to live the writer’s life in New York City. To study at The New School is to join a prestigious community of writers who are experimenting and evolving together.

THE WRITING PROGRAM

The New School offered one of the first creative writing

INTENSIVES

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

Meditation and Writing at the Rubin NWRW3912 A 5 sessions. Fri., 4:00–5:50 p.m., beg. April 3. Noncredit tuition $250. Lisa Freedman

Limited to 12. This five-week course offers a haven for creative people in the midst of our noisy, screen-filled city. In the quiet of the Rubin Museum, we meditate and develop the ability to notice more and to stay open to whatever comes up. We bring attention to our breath, to the Himalayan art, to texts, and to our own words. We practice not judging so that we can surprise ourselves in our writing. As poet Denise Levertov says in “Making Peace”: “peace … can’t be imagined before it is made / can’t be known except / in the words of its making.” Our readings include Allen Ginsberg, Fanny Howe, Pema Chodron, the I Ching, and more. Everyone is welcome; no writing or meditating experience is needed. This course meets at the Rubin Museum, 150 West 17th Street. (1 credit) Radical Generation NWRW3444 A 10 sessions. Thurs., 6:00–7:50 p.m., beg. Feb. 12. Noncredit tuition $500. Laura Cronk

Using experiments, tricks, prompts, and forms from masters of radical generation, we flip the usual model of the workshop to produce, in class, the maximum amount of writing possible in ten weeks. The course differs from traditional workshops in that editing happens outside of class. Embracing a range of genres, we study the methods of both radically prolific writers and writers whose content was radical in the context of their own generations. We work to transform our writing lives from miserly and stuck to abundant and open. Students may arrive with a project underway or begin something new. With weekly written feedback from the instructor, students work toward compiling and editing a significant final project to be presented at a literary hotspot on the final day of the course. (2 credits) Writing from NYC Street Art NWRW3914

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

A 1 session. Sat., 11:00 a.m.–5:30 p.m., April 4. Noncredit tuition $730. Star Black

Street art and hip-hop originated in the Bronx and together became a global influence, even playing an essential role in the fall of the Berlin Wall. They continue to mirror the population’s direct needs and opinions in a city where there are as many opinions as there are people. This course sets out to visit the neighborhoods and sites where street art emerged: Harlem and The Studio Museum of Harlem, the East Village, the Lower East Side, Williamsburg, Bushwick, gallery walls in Chelsea. We carry cellphone cameras and document what’s new, then write poems, prose poems, or flash fiction inspired by the photos taken during the class excursions. Students create a final project containing both their photographs and original writing. We convene at The New School to share work as it progresses. Students build in a “coffee shop budget” for breaks during class excursions. (3 credits)

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

THE WRITING PROGRAM

FUNDAMENTALS

Style and Effectiveness NWRW1014 A 5 sessions. Mon., 6:00–7:50 p.m., beg. April 20. Noncredit tuition $250.

Punctuation NWRW1012

Lisa Freedman

A 5 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 26. Noncredit tuition $250.

B 5 weeks, April 20 thru May 18. Noncredit tuition $250.

Lisa Freedman

Noelle Kocot-Tomblin

B 5 weeks, Jan. 26 thru Feb. 23. Noncredit tuition $250.

ONLINE

Noelle Kocot-Tomblin

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

It’s how you say it. In this short course, students consider the elements that work together to create stylish and effective prose, by dissecting the choices every writer makes that add up to style. The class reads examples of effective prose by best-selling authors, including Toni Cade Bambara, Garrett Hongo, and Amy Tan, and students write short pieces inspired by the readings and workshop them in class. This course offers a supportive environment in which to think critically about and strengthen your unique writing style. (1 credit) Writing for Artists NWRW1030 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 26. Noncredit tuition $730.

Building the Sentence NWRW1013 A 5 sessions. Mon., 6:00–7:50 p.m., beg. March 9. Noncredit tuition $250. Lisa Freedman B 5 weeks, March 9 thru April 6. 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)

Rebecca Reilly

Writing is performance. Visual artists, designers, musicians, writers, dancers, filmmakers, actors, artists of every kind come together in a supportive workshop environment to develop their writing skills. Students practice the skills of argumentation, research, and clarity of expression that benefit critical pieces as well as the kinds of writing they will likely have to produce as professional artists or critics in the field. In the first half of the class, students learn the craft of critical writing, from the ground up, constructing one analytic essay in increments. The second part of the semester is devoted to putting these skills into professional practice, as students write artist statements, reviews of current work, personal essays, creative pieces, and more. Students read top critics in their fields as well as writers from the canon particularly relevant to their own work. (3 credits) Academic Writing NWRW1104 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $730. B 15 weeks, Jan. 26 thru May 18. Noncredit tuition $730.

ONLINE

Margaret Fiore

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the a ppropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 75 for the schedule. For details of registration procedures and deadlines, see pages 75–76 or call 212.229.5690.

Writing well is the key 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) Mechanics of Writing NWRW1011 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $730.

ONLINE

Randi Ross

The study of effective English prose makes the sentence its principal focus. In this course, designed to meet the needs of beginning writers, we examine the sentence, looking at syntax, the parts of speech, and other aspects of grammar. Later we look ahead to considerations of effectiveness and style. Chapters from a grammar and style textbook are assigned. Students workshop short writing assignments weekly. They look at what is correct versus what is incorrect and when rules should be broken, how language changes, how context determines choices, and how these choices develop into a style. Note: Students for whom English is a foreign language should take the relevant English as a second language course instead of this course. (3 credits)

THE WRITING PROGRAM

POETRY

Making Poems: An Advanced Workshop NWRW4213 A 15 sessions. Wed., 4:00–5:50 p.m., beg. Jan. 28. Noncredit tuition $730.

Beginning Poetry Workshop NWRW2203

Patricia Carlin

A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $730. Rebecca Reilly B 15 weeks, Jan. 26 thru May 18. Noncredit tuition $730.

ONLINE

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)

Permission required. Good poets borrow; great poets steal. Poetry in English is a storehouse we can raid at will. The focus in this workshop for experienced writers is discussion of student poems, but we also explore ways to make creative use of other poems, from the most recent innovations to the poetry of the Middle Ages. Each week, suggested assignments, illustrated by a wide range of models, serve as jumping-off points from which to explore. Every strong poem is experimental. Students try old forms, invent new ones, and learn to see how “failure” can provide the basis for their best work. Students are also offered help in preparing and submitting work for publication. Written comments are given on all work submitted, and private conferences are available. For permission to register, send ten sample pages by January 5th to the instructor, c/o New School Writing Program, 66 West 12th Street, room 503, New York, NY 10011. (3 credits)

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

Beginning and advanced writers work on dismantling silences in their lives and generating poems from personal experience. We work in a safe, functional community to open hidden places within ourselves. The heretical Gospel According to Thomas says, “If you do not bring forth that which is within you, that which is within you will destroy you. If you bring forth that which is within you, that which is within you will save you.” This notion informs our work together, enabling the writer to follow the poem’s impulse in order to break old habits and write something challenging and difficult. (3 credits) Poetry: The Language of Music NWRW3205 A 15 sessions. Wed, 8:00–9:50 p.m., beg. Jan 28. 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)

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

FICTION

Fiction: Memory, Imagination NWRW3308 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $730.

Beginning the Novel NWRW2304

B 15 weeks, Jan. 26 thru May 18. Noncredit tuition $730.

A 15 weeks, Jan. 26 thru May 18.Noncredit tuition $730.

ONLINE

Robert Dunn

Catherine Texier

Fiction Writing NWRW3303

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)

A 15 sessions. Tues., 10:00–11:50 a.m., beg. Jan. 27. Noncredit tuition $730.

Advanced Fiction: Revise and Polish NWRW4310

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-inprogress 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)

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)

A 15 sessions. Thurs., 8:00–9:50 p.m., beg. Jan. 29. Noncredit tuition $730. Douglas Martin

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)

Intermediate Fiction NWRW3338 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $730.

ONLINE

Robert Lopez

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 guide the thinking and discussions of the class. 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) Novel Workshop NWRW3301 A 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 26. Noncredit tuition $730. Catherine Texier

This workshop is for students who want to develop the discipline and skills needed to write a novel. Exercises keep the class writing at a fast clip and are aimed at developing facility with elements of the novel, such as character, story, plot, dialogue, and meaning. Students encounter different possibilities of form, style, and subject matter through close readings of historical and contemporary novelists including Charles Dickens, Jane Austen, Jean Rhys, James Baldwin, Joan Didion, and Lynne Tillman. Students share their work with the class weekly, and the instructor provides written comments. The desire to write a novel is the only prerequisite. (3 credits) 40

For help in interpreting course descriptions, see chart on page 74.

THE WRITING PROGRAM

NONFICTION Introduction to Creative Nonfiction NWRW2401 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $730.

Essays in a Changing World NWRW3345 A 15 sessions. Thurs., 6:00–7:50 p.m., beg. Jan. 29. Noncredit tuition $730. Madge McKeithen

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)

The world of writing and reading is changing rapidly, in large part because of changing 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)

Writing Your Personal Story NWRW3426

The Experimental Essay NWRW3520

A 5 sessions. Tues., 4:00–5:50 p.m., beg. Feb. 17. Noncredit tuition $250.

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $730.

Nancy Kelton

Robert Lopez

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)

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, which are read and discussed in class. We also talk about experimental essays in the context of current literary publishing. Our aim is to discover how, because of its ability to engage with and mimic a variety of forms and genres, the essay is the most radical, experimental, comprehensive, and inventive, as well as the most forgiving, of the literary genres. (3 credits)

Elizabeth Carroll

Writing Memoirs NWRW3410 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $730. Candy Schulman

“The memoir is the novel of the 21st century,” writes Susan Cheever. This contemporary art form holds a prominent place in today’s literary world. Editors respond to voice and tone, where writers capture the story, transport readers to another place, and convey honest feelings. Memoirs range from the humorous style of David Sedaris to the stark minimalism of Joan Didion and Nick Flynn, who break new boundaries. This workshop is designed for writers who have started a memoir as well as those looking to transform and cultivate an idea into larger themes. Students work on short personal histories or booklength projects. Writers develop a compelling voice and point of view, creating dramatic tension and scenes with sensual detail. Discussions include what makes a memoir publishable in today’s market and crafting an elevator pitch and cover letter with which to approach agents and editors. (3 credits)

Writing About the Arts NWRW3881 A 15 sessions. Thurs., 8:00–9:50 p.m., beg. Jan. 29. Noncredit tuition $730. Jerry Portwood

This course is a writing workshop that also serves as an introduction to the exciting and varied field of criticism in the arts. In this class, students read essays and reviews by figures such as Roland Barthes, Joan Didion, Manny Farber, Hal Foster, Sasha Frere-Jones, John Kelsey, Anthony Lane, Greil Marcus, Susan Sontag, Amy Taubin, Lynne Tillman, and Edmund Wilson— taking into particular consideration both historical and periodical contexts and exploring the changing role of criticism within culture at large. Bi-weekly writing assignments of short reviews, as well as of essay-length texts, give students the opportunity to use both past and contemporary models of writing as departure points for new engagements with criticism today. (3 credits)

THE WRITING PROGRAM

JOURNALISM AND FEATURE WRITING

Writing and Reporting for the Web NWRW3691 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $730.

Journalism Basics NWRW2601

Matthew Melucci

A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $730.

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)

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 still be 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)

Writing for NYC Newspapers and Magazines NWRW3601

New Media Journalism NWRW3615

A 15 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 26. Noncredit tuition $730.

A 15 sessions. Wed., 8:00–9:50 p.m., beg. Jan 28. Noncredit tuition $730.

B 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 26. Noncredit tuition $730.

Richard Huff

Susan 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, and submitting the work, following up, and getting clips. Assignments are read and critiqued in class. Speakers include top Manhattan editors. (3 credits)

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 livereporting an event on Twitter, creating and analyzing videos, and packaging news reports. (3 credits)

THE WRITING PROGRAM

SPECIAL TOPICS

Playwriting NWRW3702 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $730.

Children’s Book Illustration and Writing NWRW3812

Robert Montgomery

A 15 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 26. Noncredit tuition $730.

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)

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)

Playwriting from Personal Experience NWRW3708 A 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan 27. Noncredit tuition $730. Alice Cohen

Graphic Novel NWRW3521 A 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 27. 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, René French, Chris Ware, Alison Bechdel, Joe Matt, Gabrielle Bell, R. Crumb, and many more. Strong drawing skills are not required, as the emphasis of the class is on storytelling. (3 credits)

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) The New School: The Soap Opera NWRW3888 A 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan 28. Noncredit tuition $730.

Food Narratives NWRW3346

John Reed

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

In this one-of-a-kind cooperative effort with Media Studies, writers fashion and manufacture a multi-media, multicultural, multi-indy soap operatic event. We create a fictive world, write scripts, and launch a website with text artifacts and other extras from our “show.” Readings explore the political structures of the soap opera, from the epic forms of myth and religion to the bougie forms of the novel and event television. Meanwhile, our fellows in the media department, in a class of their own, toil diligently through production, shooting, and editing. Our goal: a whole season of the show. Screen credits to be determined. (3 credits)

Stacey Lehman

Food, glorious food! Is food a source of pleasure or anxiety? What did you have for dinner last night or for breakfast this morning? How did you decide what to eat and how to prepare it? Do you long for the food of your childhood? Does your religion and spiritual life guide your food choices? How would you describe the flavors of last night’s meal to your best friend? These are the sorts of questions that trigger the most memorable writing on the subject of cuisine and gastronomy. In this course, we examine the ways writers have depicted food, cooking, and eating. We look at the many forms of food writing and talk about those we find most satisfying. The instructor guides students in their exploration of the gastronomic essay, memoirs, short stories, poetry, blog posts, recipes, and restaurant reviews. The reading list includes Horace, Sholom Aleichem, M.F.K. Fisher, Laurie Colwin, Wendell Berry, Charles Simic, Robert Sheckley, Lydia Davis, Kevin Young, and others. Prominent figures from the world of newspaper and magazine writing, both online and in print, visit the class. Students produce weekly assignments, some of which take advantage of New York City as a center of culinary activity. (3 credits)

Self and Craft: Creative Writing NWRW3518 A 15 weeks, Jan. 26 thru May 18. Noncredit tuition $730.

ONLINE

Betty Liu

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)

THE WRITING PROGRAM

FOREIGN LANGUAGES American Sign Language Korean Arabic

Latin

Chinese (Mandarin)

Portuguese (Brazilian)

French

Russian

German

Spanish

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

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

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

FOREIGN LANGUAGES

AMERICAN SIGN LANGUAGE Introduction to Sign Language NSLN1001 A 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 11. Noncredit tuition $590. Gabriel Gryszka

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) American Sign Language Level 1 NSLN1011 A 13 sessions. Thurs., 6:00-7:50 p.m., beg. Feb. 12. Noncredit tuition $590. Jeffrey Mooney

This is a beginner’s course in the system of American Sign Language (ASL), a form of communication used by thousands of deaf Americans and Canadians. ASL is an expressive, versatile, full-fledged language and not a hodgepodge of charades and hand movements. It has its own grammar, poetry, and puns. Students learn the techniques essential to basic ASL conversations, including finger spelling and facial expressions, through demonstrations and class activities, including interactive exercises and role-playing. They become familiar with the history of deaf society in the United States. This course is led by a deaf native signer. There is no prerequisite for this course. (2 credits)

American Sign Language Level 3 NSLN2011 A 13 sessions. Tues., 6:00-7:50 p.m., beg. Feb. 10. Noncredit tuition $590. Jeffrey Mooney

This course is a continuation of ASL 2. Language functions and increasingly difficult grammatical structures will be learned in the contexts of everyday interactions and social relationships. While Levels 1 and 2 emphasized personal information, things that are present, and concrete items, Level 3 progresses to impersonal information and things that are not present. Students will role-play situations which predict everyday Deaf-hearing encounters while continuing to develop cultural awareness and cross-cultural adjustment skills. Students will read and view Deaf literature genres of storytelling, poetry, and drama. Students will also investigate career opportunities associated with American Sign Language and Deaf Culture. Prerequisite: ASL Level 2 or permission of the instructor. (2 credits) American Sign Language as Art Form NSLN1703 A 13 sessions. Fri., 6:00–7:50 p.m., beg. Feb. 13. Noncredit tuition $590. Instructor to be announced

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 his or her communication skills. (2 credits)

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the a ppropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 75 for the schedule. For details of registration procedures and deadlines, see pages 75–76 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.

FOREIGN LANGUAGES

ARABIC

CHINESE (MANDARIN)

Arabic Level 2 NARB1002

Chinese Level 2 NCHM1002

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

A 13 sessions. Mon., 6:00–7:50 p.m., beg. Feb. 9. Noncredit tuition $590.

Karam Tannous

This course is for students with elementary knowledge of Mandarin Chinese. Students expand their vocabulary and learn new sentence patterns in the context of practical communication. Reading and writing of Chinese characters receives increased attention as students develop their listening and speaking abilities throughout the semester. Prerequisite: Chinese Level 1, the equivalent, or permission of the instructor. (2 credits)

Students who have completed Level 1 expand their vocabulary and improve their grammar skills. More complex topics of conversation are introduced. Arabic is the main medium of instruction. Prerequisite: Arabic Level 1, the equivalent, or permission of the instructor. (2 credits) Arabic Introductory Intensive 1 NARB1003 A 26 sessions. Mon. & Wed., 6:00–7:50 p.m., beg. Feb. 9. Noncredit tuition $1,000. Iman Maiki

This accelerated first course integrates Modern Standard Arabic (Fus-ha) and Levantine Arabic, introducing the Arabic alphabet and sound system along with basic conversational skills in Levantine. Students learn to engage in simple conversations and write short compositions about themselves, their families, and other familiar topics. This course is for beginners who would like to progress rapidly. (4 credits) Arabic on the Go: Level 1 NARB1804 A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. Feb. 28. Noncredit tuition $350.

Yan Deng

Chinese Introductory Intensive NCHM1003 A 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Feb. 14. Noncredit tuition $1,000. Yan Deng

This is an accelerated course for beginners with no or little 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 also 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) Business Chinese Level 1 NCHM1701

Arabic on the Go: Level 2 NARB1805

A 13 weeks, Feb. 9 thru May 18. Noncredit tuition $590.

A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. April 25. Noncredit tuition $350.

Peng Zeng

Instructor to be announced

Before traveling to the Middle East, stop at The New School for a weekend immersion in Levantine Arabic. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Levantine Arabic. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language. No prior knowledge of Modern Standard Arabic is required. Since the focus of this course is conversation, phonetic transliterations are used. The workshop meets consecutive Saturdays and Sundays, 10:00 a.m.–2:30 p.m. (1 credit) Intermediate Arabic Bridge NARB2011 A 13 sessions. Thurs., 6:00–7:50 p.m., beg. Feb. 12. Noncredit tuition $590. Instructor to be announced

This intermediate course is aimed at those who have a Modern Standard Arabic background and who would like to gain fluency in the spoken dialects (Levantine, Egyptian), as well as students with knowledge of spoken Arabic, such as heritage speakers, who wish to become more familiar with formal Arabic. The goals of the course are to solidify understanding of the basic rules of Arabic grammar, to expand vocabulary, and to increase oral proficiency in a wide variety of topics and settings. Speaking, listening, reading, and writing activities are based on authentic reading and listening materials. Throughout the course, students learn to bridge the gap between formal and spoken Arabic. Prerequisite: three semesters of Arabic or the equivalent. (2 credits)

ONLINE

This course is designed for students with no or very limited prior knowledge of Chinese who are interested in learning the fundamentals of Chinese from a business perspective. It aims to teach students how to communicate in a business setting. Students will be able to how to listen, speak, read and write introductory level Chinese language in professional business activities and scenarios, such as introduction, travel, meeting, and business etiquette. Communicative competence and intercultural awareness are emphasized. (2 credits) Chinese Level 4 NCHM2002 A 13 sessions. Mon., 6:00–7:50 p.m., beg. Feb. 9. Noncredit tuition $590. Instructor to be announced

This course centers on developing communicative competence and a deeper understanding of Chinese language and culture. Upon completion of the course, students should be able to 1) listen and speak using intermediate-level grammar and vocabulary in context; 2) read and write longer paragraphs and essays in Chinese characters; and 3) understand important aspects of Chinese culture, lifestyles, and sociocultural conventions. Prerequisite: Chinese Level 3 or the equivalent or permission of the instructor. (2 credits)

FOREIGN LANGUAGES

FRENCH French Level 1 NFRN1001 A 13 sessions. Wed., 4:00–5:50 p.m., beg. Feb. 11. Noncredit tuition $590. Sabine Landreau-Farber B 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 11. Noncredit tuition $590. Instructor to be announced C 13 sessions. Thurs., 8:00–9:50 p.m., beg. Feb. 12. Noncredit tuition $590. Muriel Placet-Kouassi D 13 sessions. Sat., 12:00–1:50 p.m., beg. Feb. 14. Noncredit tuition $590. Instructor to be announced

This is the first course of a three-term sequence that introduces the fundamentals of the French language through speaking, listening, reading, and writing. Students acquire elementary grammar (present tense), learn to express negation and ask questions, and practice by conversing and writing about university life, hobbies, friends, and family. They learn about France and the Francophone world while building their communicative skills. (2 credits) French Level 2 NFRN1002

French Introductory Intensive 2 NFRN1004 A 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Feb. 14. Noncredit tuition $1,000. Stephane Zaborowski

This accelerated course is a continuation of Introductory Intensive and concludes the study of the fundamentals of the French language through speaking, listening, reading, and writing. Students continue to study elementary grammar (present and past tenses, expressing negation, asking questions, and using pronouns). They practice by conversing and writing about shopping, food, daily life, health, technology, and ecology. Students continue to learn about France and the Francophone world while enhancing their communicative skills. Prerequisite: French Introductory Intensive 1 or the equivalent. (4 credits) French for Study Abroad NFRN1105 A 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Feb 14. Noncredit tuition $1,000. Instructor to be announced

Are you a motivated student interested in study abroad but lacking French language skills? This course is designed to help you speak French in a relatively short time. Over 15 weeks, you acquire the necessary tools to communicate in French in a variety of daily situations and activities. Although the emphasis is on conversation, you also develop your listening, reading, and writing skills through activities based on your specific interests and needs in preparation for your time abroad. (4 credits)

A 13 sessions. Mon., 8:00–9:50 p.m., beg. Feb. 9. Noncredit tuition $590. Alfredo Marques

French Reading: Arts and Humanities NFRN1501

B 13 sessions. Thurs., 4:00–5:50 p.m., beg. Feb. 12. Noncredit tuition $590.

A 13 sessions. Fri., 12:00–1:50 p.m., beg. Feb. 13. Noncredit tuition $590.

Sabine Landreau-Farber

Steven Gendell

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

This French reading course is intended for graduate students who have little or no knowledge of French and who are preparing for the reading exam in Art History–Decorative Arts, as well as others who would like to acquire basic reading skills while studying texts in French arts and humanities. The course covers essential grammar and structure, with a primary focus on comprehension of a wide variety of texts in French through translation with and without a dictionary. Note: This course is a hybrid course: Some sessions are held onsite and some are held online. The first class is held on-site. (noncredit)

Instructor to be announced

This is the second course of a three-term sequence that introduces students to the fundamentals of the French language through speaking, listening, reading, and writing. They continue to study elementary grammar (irregular present tenses, past tense, pronouns) and practice by conversing and writing about leisure, celebrations, holidays, and travel. They continue to learn about French and Francophone cultures. (2 credits) French Introductory Intensive 1 NFRN1003 A 26 sessions. Tues. & Thurs., 8:00–9:50 p.m., beg. Feb. 10. Noncredit tuition $1,000. Samuel Howell B 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Feb 14. Noncredit tuition $1,000. Alfredo Marques

This is an accelerated course for beginners with little or no knowledge of French. Students learn the fundamentals of the French language through speaking, listening, reading, and writing. They acquire elementary grammar skills (present and past tenses, pronouns), learn how to express negation and ask questions, and practice by conversing and writing about university life, friends and family, hobbies and leisure, celebrations, holidays, and travel. They learn about France and the Francophone world while building their communicative skills. (4 credits) U N D E R G R A D U AT E D E G R E E P R O G R A M F O R A D U LT S The New School for Public Engagement provides an opportunity to complete your undergraduate degree at your own pace in a largely selfdesigned liberal arts program. For more information, call 212.229.5630 or visit www.newschool.edu/nspe/undergrad.

FOREIGN LANGUAGES

French on the Go: Level 1 NFRN1804

Grammaire/Composition I NFRN2011

A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. Feb. 28. Noncredit tuition $350.

A 13 weeks, Feb. 9–Mar. 13 Noncredit tuition $350.

Instructor to be announced

This one-credit workshop offers a comprehensive French grammar review for students who have completed one or two years of French or the equivalent. It is meant for those who have already acquired a foundation in French but need to review and expand upon what they already know. The course offers a thorough review of basic points of French grammar, accompanied by contextualized activities that review principles of French grammar, vocabulary, and idioms. (1 credit)

French on the Go: Level 2 NFRN1805 A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. April 25. Noncredit tuition $350. Instructor to be announced

French on the Go: Level 3 NFRN1806 A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. Feb. 28. Noncredit tuition $350. Instructor to be announced

French on the Go: Level 4 NFRN1807 A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. April 25. Noncredit tuition $350. Instructor to be announced

Before traveling to France or another country where French is commonly spoken, stop at The New School for an 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 consecutive Saturdays and Sundays, 10:00 a.m.–2:30 p.m. (1 credits)

ONLINE

Instructor to be announced

French Level 5 NFRN3001 A 13 sessions. Wed., 8:00–9:50 p.m., beg. Feb. 11. Noncredit tuition $590. Fatiha Bali

This course is the second part of the intermediate-level French sequence. Continued review and reinforcement of complex grammatical structures of the language are combined with the study of cultural readings, short films, and online materials. Students refine their writing and verbal skills through brief compositions, class presentations, and sustained conversation in French. Prerequisite: French Level 4, French Intermediate Intensive 1, or the equivalent. (2 credits) Grammaire/Composition II NFRN3011 A 13 weeks, March 30–May 1. Noncredit tuition $350.

ONLINE

Instructor to be announced

French Level 3 NFRN2001

This one-credit workshop offers a comprehensive French grammar review for students who have completed two or more years of college-level French or the equivalent. It helps students improve their grammar and perfect their writing and reading skills, especially as preparation for taking advanced literature or civilization courses or studying in a francophone country. Emphasis is placed on grammatical accuracy, clarity, and appropriate use of idioms and syntax. (1 credit)

A 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 11. Noncredit tuition $590.

Eau là là: French Perfume and Culture NFRN3721

Fatiha Bali

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. Students continue to learn about France and the Francophone world while enhancing their communicative skills. Prerequisite: French Level 2 or the equivalent. (2 credits) French Level 4 NFRN2002 A 13 sessions. Tues., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $590. Marie-Laur Hoffmann

Students begin intermediate-level study of French. Review and reinforcement of some of the more complex grammatical structures of the language are combined with cultural readings and viewings of short films and online materials. Students refine their writing and verbal skills through brief compositions, class presentations, and sustained classroom conversation in French. Prerequisite: French Level 3, French Introductory Intensive 2, or the equivalent. (2 credits)

A 13 sessions. Mon., 6:00–7:50 p.m., beg. Jan. 26. Noncredit tuition $620. Daisy Bow

In this course, students explore perfume and French culture from sociological, economic, historical, literary and olfactory perspectives, with particular emphasis on how France came to dominate the luxury fragrance market and influence global tastes. We learn about the history of perfume and discuss it in relation to consumer behavior, market trends, tradition, and memory. Using an “olfactory textbook” composed of small samples of legendary French perfumes, students also learn to identify major perfume styles and specific ingredients and how to talk and write about the world around them through the language of perfume and perfumery. This course is conducted entirely in French. Prerequisite: French Intermediate Intensive 2, French Level 5, or the equivalent. (3 credits) Rendez-vous en Français NFRN3714 A 13 sessions. Tues., 8:00–9:50 p.m., beg. Feb. 10. Noncredit tuition $590. Instructor to be announced

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)

FOREIGN LANGUAGES

GERMAN

ITALIAN

German Level 1 NGRM1001

Italian Level 1 NITL1001

A 13 sessions. Mon., 6:00–7:50 p.m., beg. Feb. 9. Noncredit tuition $590. Adelheid Ziegler

A 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 11. Noncredit tuition $590.

B 13 sessions. Thurs., 8:00–9:50 p.m., beg. Feb. 12. Noncredit tuition $590.

B 13 sessions. Tues., 4:00–5:50 p.m., beg. Feb. 10. Noncredit tuition $590.

Rainer Brueckheimer

Giuseppe Manca

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)

This is the first course of a three-term sequence that introduces students to the fundamentals of the Italian language through speaking, listening, reading, and writing. Students acquire elementary grammar skills (present and past tenses of regular and irregular verbs) and practice by conversing and writing about themselves, friends, family, hobbies, and university and professional life. They learn about Italian culture while building their communicative skills. (2 credits)

German Level 2 NGRM1002 A 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 11. Noncredit tuition $590. Instructor to be announced

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) German Introductory Intensive 2 NGRM2003 A 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Feb. 14. Noncredit tuition $1,000. Rainer Brueckheimer

This course is a sequel to the accelerated introductory class. Familiarity with basic grammatical structures is assumed. You read cultural texts and acquire the knowledge needed to meet most practical writing needs (brief descriptive paragraphs, simple letters, summaries of day-to-day activities). Special attention is given to improving your 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. 11. Noncredit tuition $590. Adelheid Ziegler

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)

Italian Level 2 NITL1002 A 13 sessions. Wed., 8:00–9:50 p.m., beg. Feb. 11. Noncredit tuition $590. Francesca Magnani

This is the second course of a three-term sequence that introduces students to the fundamentals of the Italian language through speaking, listening, reading, and writing. Students acquire elementary grammar (present and past tense of regular and irregular verbs) and practice by conversing and writing about themselves, friends, family, hobbies, and university and professional life. They learn about Italian culture while building their communicative skills. (2 credits) Italian Introductory Intensive NITL1003 A 13 sessions. Tues. & Thurs., 8:00–9:50 p.m., beg. Feb 10. Noncredit tuition $1,000. Caterina Bertolotto

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) Italian on the Go: Level 1 NITL1804 A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. Feb. 28. Noncredit tuition $350. Instructor to be announced

Italian on the Go: Level 2 NITL1805 A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. April 25. Noncredit tuition $350. Instructor to be announced

Before traveling to Italy, stop at The New School for an 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. Each workshop meets consecutive Saturdays and Sundays, 10:00 a.m.–2:30 p.m. (1 credits)

For help in interpreting course descriptions, see chart on page 74.

FOREIGN LANGUAGES

Assaggi di Cultura Italiana 2 NITL3717 A 13 sessions. Tues., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $590. Francesca Magnani

This intermediate-level conversation course offers a taste of various topics in Italian culture, society and customs. Speaking strategies and grammar structures are reviewed, explored and developed through readings and discussions of art, cinema, music, news. We will also interview “real Italians” and point out at Italian events in the City during the duration of the course. Students are welcome, encouraged and required to actively participate and bring their own Italian experience to share with the class. Prerequisite: at least 3 semesters of Italian Language. (2 credits)

HOW TO REGISTER ONLINE Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. BY FAX Register by fax with payment by American Express, MasterCard, Discover, or Visa. Fax 212.229.5648. Use the a ppropriate registration form in the back of this catalog. BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins. IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 75 for the schedule. For details of registration procedures and deadlines, see pages 75–76 or call 212.229.5690.

JAPANESE Japanese Introductory Intensive NJPN1004 A 26 sessions. Tues. & Thurs., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $1,000. Kazue Kurahara

This accelerated course is a continuation of Introductory Intensive and concludes the study of the fundamentals of the Japanese language through speaking, listening, reading, and writing. Students continue their study of elementary grammar (present and past tenses, expressing negation, asking questions, and using pronouns) and learn to communicate about university life, friends and family, hobbies and leisure, celebrations, holidays, and travel. Students acquire knowledge of France and the Francophone world while enhancing their communicative skills. Prerequisite: Japanese Introductory Intensive 1 or the equivalent. (4 credits)

FOREIGN LANGUAGES

KOREAN

LATIN

Korean Level 2 NKRN1002

Latin: Empire and Decay NLTN2004

A 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 11. Noncredit tuition $590.

A 15 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $620.

Instructor to be announced

Rama C. Madhu

B 13 sessions. Fri., 4:00–5:50 p.m., beg. Feb. 13. Noncredit tuition $590.

The strong parallels between Rome and the United States make the collapse of the Roman republic into empire of particular relevance. This period of chaos and its aftermath gave rise to the greatest poets, historians, and satirists of Latin literature: Cicero, Livy, Horace, Ovid, and Petronius. In this course, intended for both beginning and advanced Latin students, students will move through this period of power and political decay with the goal of acquiring as much Latin as quickly, painlessly, and enjoyably as possible. (3 credits)

Instructor to be announced

Fundamental skills in speaking Korean are reinforced. Reading and writing of Korean characters receives added attention as students’ speaking abilities develop. Prerequisite: Korean Level 1, the equivalent, or permission of the instructor. (2 credits) Korean on the Go: Level 1 NKRN1804 A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. Feb. 28. Noncredit tuition $350. Instructor to be announced

PORTUGUESE (BRAZILIAN) Brazilian Portuguese Level 2 NPRT1002

Korean on the Go: Level 2 NKRN1805

A 13 sessions. Tues., 8:00–9:50 p.m., beg. Feb. 10. Noncredit tuition $590.

A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. April 25. Noncredit tuition $350.

Tobias Nascimento

Instructor to be announced

Before traveling to Korea, stop at The New School for an immersion in the Korean language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Korean. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language. Each workshop meets consecutive Saturdays and Sundays, 10:00 a.m.–2:30 p.m. (1 credit)

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) Brazilian Portuguese Introductory Intensive NPRT1003 A 26 sessions. Tues. & Thurs., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $1,000. Tobias Nascimento

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) Portuguese for Spanish Speakers NPRT1700 A 13 sessions. Thurs., 8:00–9:50 p.m., beg. Feb. 12. Noncredit tuition $590. Liria Van Zandt

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)

FOREIGN LANGUAGES

RUSSIAN

SPANISH

Russian 2 NRSN1002

Spanish 1 NSPN1001

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

A 13 sessions. Tues., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $590.

Ekaterina Korsounskaia

Victor Tirado

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)

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

Russian on the Go: Level 1 NRSN1804 A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. Feb. 28. Noncredit tuition $350 Instructor to be announced

Before traveling to Russia, stop at The New School for a weekend immersion in the Russian language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Russian. Level 1 is for complete beginners. Each workshop meets consecutive Saturdays and Sundays, 10:00 a.m.–2:30 p.m. (1 credit)

Ernesto Fedukovitch C 13 sessions. Sat., 12:00–1:50 p.m., beg. Feb. 14. Noncredit tuition $590. Instructor to be announced

This is the first course of a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Students acquire elementary grammar (present and future tenses), learn to ask questions, and practice by conversing and writing about family members, school and leisure activities, likes and dislikes, time, and weather. They learn about Spanish and Latin American culture while building their communicative skills. (2 credits) Spanish 2 NSPN1002 A 13 sessions. Wed., 6:00–7:50 p.m., beg. Feb. 11. Noncredit tuition $590. Sonia Granillo-Ogikubo B 13 weeks, Feb. 9 thru May 18. Noncredit tuition $590. Instructor to be announced

This is the second course of a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Students continue using the basic grammatical structures learned in Level 1 and learn new ones, such as past tenses, pronouns, reflexive constructions, and demonstratives. They practice by conversing and writing about topics such as food, daily routines, shopping, seasons, and travel. They continue learning about Spanish and Latin American culture while building their communicative skills. (2 credits)

ENGLISH LANGUAGE STUDIES

Spanish Introductory Intensive 1 NSPN1003

Spanish Level 3 NSPN2001

A 26 sessions. Mon. & Wed., 8:00–9:50 p.m., beg. Feb. 9. Noncredit tuition $1,000.

A 13 sessions. Mon., 6:00–7:50 p.m., beg. Feb. 9. Noncredit tuition $590.

Teresa Bell

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

B 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Feb. 14. Noncredit tuition $1,000. Instructor to be announced

This is an accelerated course for beginners with little or no knowledge of Spanish. Students learn the fundamentals of the Spanish language through speaking, listening, reading, and writing. They acquire a wide range of elementary communicative competencies, such as using the present, past, and future tenses; expressing likes and dislikes; describing things; and asking questions. They practice conversing and writing about themselves and others, school and leisure activities, time, weather, and shopping. They learn about Spanish and Latin American culture while building their communicative skills. (4 credits)

Rodolfo Long

Spanish Level 4 NSPN2002 A 13 sessions. Thurs., 6:00–7:50 p.m., beg. Feb. 12. Noncredit tuition $590.

Spanish Introductory Intensive 2 NSPN1004

Instructor to be announced

A 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Feb. 14. Noncredit tuition $1,000.

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

Rodolfo Long

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) Spanish on the Go: Level 1 NSPN1804 A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. Feb. 28. Noncredit tuition $350. Instructor to be announced

Spanish on the Go: Level 2 NSPN1805 A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. April 25. Noncredit tuition $350. Instructor to be announced

Spanish on the Go: Level 3 NSPN1806

Spanish Level 5 NSPN3001 A 13 sessions. Tues., 8:00–9:50 p.m., beg. Feb. 10. Noncredit tuition $590. Victor Tirado

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

A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. Feb. 28. Noncredit tuition $350.

Latinoamérica bajo lupa NSPN3733

Instructor to be announced

A 15 sessions. Tues., 6:00–7:50 p.m., beg. Feb. 10. Noncredit tuition $620. Ernesto Fedukovitch

Spanish on the Go: Level 4 NSPN1807 A 4 sessions. Sat. & Sun., 10:00 a.m.–2:30 p.m., beg. April 25. Noncredit tuition $350. Instructor to be announced

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 consecutive Saturdays and Sundays, 10:00 a.m.–2:30 p.m. (1 credit)

Latin America is passing through an extraordinary period of political, social and economic changes, and this course is designed to explore them and to dispel outdated notions surrounding the complex reality of this region today. We take a thematic approach, covering such topics as (in)equality, gender and gender violence, education, the environment and conservation, public health, economic organization, political shifts, migrations, and demographic trends. Development of grammatical competencies and vocabulary are addressed throughout the course in a systematic way. In addition to providing students with a relevant, content-driven upper-level course in Spanish, this course fulfills a need many high-intermediate to advanced students have as they prepare to travel in the summer to Latin America to work on projects with NGOs, foundations, or other organizations. (3 credits)

FOREIGN LANGUAGES

TURKISH Turkish Introductory Intensive NTRK1003 A 26 sessions. Tues. & Thurs., 8:00–9:50 p.m., beg. Feb. 10. Noncredit tuition $1,000. Instructor to be announced

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

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

English has become the language of international

YIDDISH

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

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

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

all over the world. The demand for ESL courses and trained ESL teachers continues to grow. The mission of English Language Studies at The New School is to address this demand by offering high-quality courses in English language instruction and teacher training.

IN PERSON Register in person at 72 Fifth Avenue, 4th floor. See page 75 for the schedule. For details of registration procedures and deadlines, see pages 75–76 or call 212.229.5690.

ENGLISH LANGUAGE STUDIES

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

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

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

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

Noncredit students receive grades of AP (Approved) or NA (Not Approved) in each course; credit students must earn grades of C+ or better for certificate approval.

Teaching Business English NELT0539 A 1 session. Sat., 10:00 a.m.–4:45 p.m., April 25. Noncredit tuition $125. Theresa Breland

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, 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) Teaching Survival English to New Immigrants NELT0540 A 1 session. Sat., 10:00 a.m.–4:45 p.m., April 18. 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 of the class 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) X-Word Grammar for Writing NELT0541 A 1 session. Sat., 10:00 a.m.–4:45 p.m., May 2. 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 (subject-predicate) 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) Methods of Teaching ESL/EFL NELT3411 A 15 sessions. Wed., 7:00–9:45 p.m., beg. Jan. 28. Noncredit tuition $1,035. Theresa Breland

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

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

ENGLISH LANGUAGE STUDIES

Teaching the Sound System of English NELT3414 A 4 sessions. Sat., 9:30 a.m.–1:00 p.m., beg. Jan. 31. 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 credits) ESL Teaching Practicum NELT3416 A 13 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 27. Noncredit tuition $630. Linda Pelc

LISTENING/SPEAKING Listening/Speaking 3 NESL0320 A 24 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Jan. 26. Noncredit tuition $1,000.

Enrollment limited. Permission required. Low-intermediate to intermediate students practice speaking and listening in a variety of informal and formal situations. Problems with grammar, vocabulary, and pronunciation are addressed. Call 212.229.5372 for required placement advising. (noncredit) Listening/Speaking 4: New York Life NESL0420 A 24 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Jan. 26. Noncredit tuition $1,000.

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

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

GRAMMAR OF ENGLISH

Listening/Speaking 5: Thinking Critically NESL0520

Grammar of English 3 NESL0300 A 24 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Jan. 26. Noncredit tuition $1,140.

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

A 24 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Jan. 26. Noncredit tuition $1,000.

Grammar of English 4 NESL0400 A 24 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Jan. 26. Noncredit tuition $1,140.

Enrollment limited. Permission required. A high-intermediate-level course focusing on the grammar, structure, and usage of written English. Call 212.229.5372 for required placement advising. (noncredit) Grammar of English 5 NESL0500 A 24 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Jan. 26. Noncredit tuition $1,140.

Enrollment limited. Permission required. Low-advanced-level students review the basics and explore the more complex points of grammar in written English while improving their general command of the language. Call 212.229.5372 for required placement advising. (noncredit) Grammar of English 6 NESL0600 A 24 sessions. Mon. & Wed., 9:00–11:40 a.m., beg. Jan. 26. Noncredit tuition $1,140.

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

Listening/Speaking 6: Advanced Workshop NESL0620 A 24 sessions. Mon. & Wed., 1:50–3:40 p.m., beg. Jan. 26. Noncredit tuition $1,000.

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

ENGLISH LANGUAGE STUDIES

WRITING

READING

Academic Writing 3 NESL0310

Reading 3 NESL0330

A 24 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Jan. 27. Noncredit tuition $1,140.

A 24 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Jan. 27. Noncredit tuition $1,000.

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. Specific grammar points are covered based on problems revealed in the students’ writing or as otherwise determined by the instructor. Call 212.229.5372 for required placement advising. (noncredit)

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)

Academic Writing 4 NESL0410 A 24 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Jan. 27. Noncredit tuition $1,140.

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

Reading 4: American Experience NESL0430 A 24 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Jan. 27. Noncredit tuition $1,000.

Students examine the American experience by reading a variety of fiction and nonfiction texts that relate to topics such as communication, the education system, the workplace, and family life. They explore American culture and values, often through images, becoming more aware of their own cultural values, behaviors, and beliefs. Students discuss, write, and present on issues in the readings. Vocabulary skill building is emphasized. Call 212.229.5372 for required placement advising. (noncredit) Reading 5: Self and Identity NESL0530 A 24 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Jan. 27. Noncredit tuition $1,000.

Academic Writing 5 NESL0510

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

A 24 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Jan. 27. Noncredit tuition $1,140.

Reading 6: Topics in Culture NESL0630

Enrollment limited. Permission required. Advanced-level students practice formulating a thesis, organizing their ideas into paragraphs, writing topic and concluding sentences, including specific examples from a variety of sources, and developing a personal writing voice. Projects include compare- andcontrast essays, analytical essays, argumentative essays, summary-response essays, persuasive essays, and critiques. Students learn how to revise their work and develop other skills used by successful writers. Specific points of grammar are covered in addition to those that arise in student writing. Call 212.229.5372 for required placement advising. (noncredit)

A 24 sessions. Tues. & Thurs., 1:50–3:40 p.m., beg. Jan. 27. Noncredit tuition $1,000.

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

Academic Writing 6 NESL0610 A 24 sessions. Tues. & Thurs., 9:00–11:40 a.m., beg. Jan. 27. Noncredit tuition $1,140.

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

FOOD STUDIES

ESL + DESIGN CERTIFICATE

ESL + MUSIC CERTIFICATE

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

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

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

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

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

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

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

The Creative Arts and Health certificate program is currently accepting only students who are matriculated in a degree program at The New School. For a complete description, visit the website: www.newschool.edu/publicengagement/creative-arts-and-health-certificate. This career training program for college graduates and current undergraduates is about integrating modalities of music, drama, visual arts, and dance/ movement into the practice of therapy and social work in clinical settings and community services. The certificate program in Creative Arts and Health is didactic and experiential, grounded in the latest developments in psychology and mind-body healing. It is designed as preparation for advanced education as a licensed therapist and as general career development for human services professionals. The faculty includes experienced practitioners in creative arts therapies and related fields. The Certificate in Creative Arts and Health is awarded for successful completion of nine courses as outlined below, culminating in a clinical fieldwork experience. • Take two required psychology courses: Theories of Personality and Abnormal Psychology. (Both are prerequisites for the clinical fieldwork.) • Choose a track: Art Therapy, Music Therapy, Drama Therapy, or Dance/Movement Therapy. Take four courses in your track, including the introductory training course (parts 1 and 2, if set up in two parts). • Take two elective courses from one or two of the three other tracks. Students are required to take courses in modalities other than their chosen track to ensure a well-rounded learning experience. • Take Creative Arts and Health Fieldwork: a minimum of 150 hours in a clinical facility under professional supervision with a concurrent seminar at The New School. The New School certificate attests to completion of the defined program of study. It is not a professional certification or license. Professional credentials are awarded only by the several art therapies associations. The program is designed as a two-year, part-time course of study, but this can be adjusted according to individual needs. General policies governing all New School certificate programs apply (see the Table of Contents in this catalog). All courses must be taken at The New School for Public Engagement. 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.)

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. Art Therapy 2 NCAT3101 A 15 sessions. Mon., 6:00-7:50 p.m., beg. Jan. 26. 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 Therapy with Groups NCAT3102 A 15 sessions. Tues., 6:00–7:50 p.m., beg. Jan. 27. 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. Students come to understand the therapeutic applications 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) Art Diagnosis 1 NCAT3110 A 15 sessions. Tues., 8:00–9:50 p.m., beg. Jan. 27. Noncredit tuition $680. Claudia Bader

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)

Contact the program office to obtain the application instructions, or visit the website and use the Apply button. The deadline to submit an application is three weeks before the first day of classes of the term in which you wish to start taking courses. Please direct all questions about eligibility and admission procedures to the coordinator. Call 212.229.5567 or email catinfo@newschool.edu. For help in interpreting course descriptions, see chart on page 74.

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

Music, Health, and Sound Environment NCAT3301

Theater Techniques NCAT3502

A 15 sessions. Wed., 6:00–7:50 p.m., beg. Jan. 28. Noncredit tuition $680.

A 15 sessions. Thurs., 8:00-9:50 p.m., beg. 1/29/2015. Noncredit tuition $680

John Mondanaro

Randolph Mulder

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. This course used to be called “Training in Music Therapy.” 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. 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)

Developmental Transformations NCAT3410 A 5 sessions. Mon., 8:00–9:50 p.m., beg. April 20. Noncredit tuition $220. Jennifer Wilson

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)

Drama Therapy: Special Populations NCAT3507 A 15 sessions. Thurs., 6:00-7:50 p.m., beg. 1/29/2015. Noncredit tuition $680 Barbara McKechnie

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)

Transformative Writing NCAT3420

Dance Therapy with Groups NCAT3530

A 5 sessions. Mon., 8:00–9:50 p.m., beg. Jan. 26. Noncredit tuition $220.

A 15 sessions. Wed., 4:00-5:50 p.m., beg. 1/28/2015. Noncredit tuition $680

Sherry Reiter

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)

Elissa 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) Observations of Movement NCAT3549 A 15 sessions. Thurs., 4:00–5:50 p.m., beg. Jan. 29. Noncredit tuition $680. Elissa 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)

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

Therapeutic Value of the Voice NCAT3560 A 5 sessions. Mon., 8:00–9:50 p.m., beg. March 9. 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 credits) Creative Arts and Health Fieldwork NCAT3900 A 4 sessions. Tues., 4:00–5:50 p.m., beg. Feb. 3. Noncredit tuition $795. Dina Schapiro

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 upon completion of 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 that focuses on clinical issues relevant to specific populations. (3 credits)

INSTITUTE FOR RETIRED PROFESSIONALS

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

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

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

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

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

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

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

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

www.newschool.edu/

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

The New School was founded in 1919 as a center for “discussion, instruction, and counseling for mature men and women.” It became America’s first university for adults. Over the years, it has grown into an urban university enrolling more than 10,000 students in undergraduate and graduate degree programs. The New School for Public Engagement, the founding division of the university, has never neglected its o riginal mission. It continues to serve the intellectual, cultural, artistic, and professional needs and interests of adult students. The curriculum published in this bulletin offers an enormous range of opportunities for intellectual inquiry and skills development. Certain values inform the process of preparing a curriculum each term. These were articulated in a statement of purpose prepared by a University Commission on Continuing Education in the spring of 1984: “The New School does not set any limits to its p rograms in regard to subject matter. Whatever seriously interests persons of mature intelligence properly falls within the province of the school. History and philosophy, the social and behavioral sciences, literature and art, the natural and b iological sciences, e ducation, and ethics naturally take up a significant part of the New School curriculum, since these are the fields in which the forces of culture and change are most significantly active, and in which human beings, their institutions, and their products are directly studied. The centrality of the liberal arts is maintained and strengthened in every possible way, but not to the exclusion of o ther educational programs that serve a legitimate need for mature adults in a mature community.” Some of the finest minds of the 20th century developed unique courses at The New School. W.E.B. DuBois taught the first course on race and African-American culture offered at a university; Karen Horney and Sandor Ferenczi introduced the insights and conflicts of psychoanalysis; Charles Abrams was the first to explore the complex issues of urban housing; the first university course on the history of film was taught at this institution; and in the early sixties, Gerda Lerner offered the first university course in women’s studies. Over the years, lectures, s eminars, and courses have examined most of the important national and international issues of our time. To this day, many talented teachers and professionals choose The New School as a place to introduce new courses and explore new ideas. The New School maintains its tradition of educational innovation and keeps its place on the cutting edge of intellectual and creative life in New York City. Accreditation The New School and its degree programs are fully a ccredited by the Commission on Higher Education of the Middle States Association of Colleges and Secondary Schools. Its credits and degrees are r ecognized and accepted by other accredited colleges, universities, and professional schools throughout the United States. The New School, a privately supported institution, is chartered as a u niversity by the Regents of the State of New York. 64

Board of Governors of The New School for Public Engagement Anthony J. Mannarino, Chair George C. Biddle Hans Brenninkmeyer James-Keith (JK) Brown Gwenn L. Carr Christopher J. Castano John A. Catsimatidis Marian Lapsley Cross Susan U. Halpern, Esq. Jeffrey J. Hodgman Joan L. Jacobson Alan Jenkins Eugene J. Keilin

Gail S. Landis Robert A. Levinson Bevis Longstreth Victor Navasky Lawrence H. Parks, Jr. Julien J. Studley Monsignor Kevin Sullivan Paul A. Travis Judith Zarin Honorary Members

The Honorable David N. Dinkins Lewis H. Lapham

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

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

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

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

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

Study Online www.newschool.edu/online

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

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

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

THE NEW SCHOOL FOR PUBLIC ENGAGEMENT UNDERGRADUATE PROGRAM www.newschool.edu/nspe/undergrad 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 s tudents who are committed to completing their undergraduate education with a solid foundation in the liberal arts. Within a set of broad guidelines and working closely with a f aculty advisor, each student chooses courses that make sense for his or her personal goals. Students can attend part- or full-time, on campus, online, or by combining on-site and online courses.

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

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

ABOUT THE NEW SCHOOL

THE UNIVERSITY www.newschool.edu

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

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

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

ABOUT THE NEW SCHOOL

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

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

Relations

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

Management

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

Affairs

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

Deans and Directors Stephanie Browner, Dean, Eugene Lang College

The New School for Liberal Arts

Contemporary Music

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

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

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

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

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

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

ABOUT THE NEW SCHOOL

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

Tuition and Fees

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

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

Tuition and Fees: Continuing Education Student Status

Tuition

Materials Fees, etc.

University Services Fees

Noncredit

Stated in each course description in this catalog

Stated in course description if applicable

Registration fee: $7 per term

Undergraduate General Credit

$1,170 per credit

Same as above

$80 per term

Noncredit Certificate

The noncredit tuition

Same as above

$80 per term

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

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

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

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

ABOUT THE NEW SCHOOL

Schedule and Status Changes

Grade of “W”

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

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

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

Spring 2015 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 26–February 1 or February 9–15 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. 26– Feb. 1

Before Feb. 9

Before Jan. 26, 100% refund Before Feb. 2, 90% Before Feb. 9, 80% Before Feb. 16, 70% Before Feb. 24, 60%

Before Mar. 16

Classroom 10 or more weeks beg. Feb. 9–15

Before Feb. 24

Before Feb. 9, 100% refund Before Feb. 16, 90% Before Feb. 24, 80% Before Mar. 3, 70% Before Mar. 10, 60%

Before Mar. 30

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. email to reghelp@newschool.edu using the same email address you • By provided upon registration.

Online Courses

• By fax to 212.229.5648

Online

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

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

• In person at 72 Fifth Ave., 4th floor The following policies apply. • Full refund of course tuition requires advance withdrawal. Otherwise the refund will be pro-rated—see the Add/Drop table at right. • Refunds are computed from the date and time the written notice is received in the Registrar’s Office, or the date of the postmark if the notice is mailed. • The registration/university services fee is not refundable unless a student’s withdrawal is due to a change of course schedule or instructor or the course is canceled by the university. • Withdrawals or refund requests may not be made by telephone. • Refunds of fees paid by credit card will be processed as a credit to that same account. to attend classes or notification to the instructor does not • Failure 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 2–8 or after Feb 15. 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. 15

Before 3rd session

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

Between 4th & 7th sessions

6–9 sessions

Before 2nd session

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

Between 3rd & 4th sessions

3–5 sessions

Before 2nd session

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

Not applicable

1–2 sessions

Before 1st session

Before 1st session (full refund)

Not applicable

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

Refund processing takes approximately four weeks.

ABOUT THE NEW SCHOOL

Admission to Class

Other University Policies

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

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

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

Academic Honesty

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

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

Student ID Card

Use of Photographs

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

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

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

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

ABOUT THE NEW SCHOOL

RECORDS AND GRADES

Grade Descriptions A

4.0

C+

2.3

A–

3.7

2.0

B+

3.3

C–

1.7

3.0

1.0

B–

2.7

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

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

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

Grade Reporting

Approved (noncredit certificate student)

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

Not Approved (noncredit certificate student)

Grade Not Reported for Student

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

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

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

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

ABOUT THE NEW SCHOOL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Section letter

Date of first class session

Days and hours of class sessions

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

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

Limited enrollment: Register early if enrollment is limited.

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

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

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

ONLINE

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

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

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

REGISTRATION INFORMATION FOR CONTINUING EDUCATION STUDENTS

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

Tuition and Fees: Continuing Education Student Status

Tuition

University Services Fees

Lab, Materials, etc. Fees

Noncredit

Printed in each course description in this bulletin

Registration fee: $7 per term

Printed in course description if applicable

$1,170 per credit

$80 per term

General Credit (Nondegree)

Same as above

Register and Pay • Online Register at www.newschool.edu/ce. Pay by MasterCard, Visa, American Express, or Discover. Immediately after registering for your course you will receive an email confirming your registration. • By phone at 212.229.5690 (noncredit only) Hours: Monday–Thursday, 8:00 a.m.–6:00 p.m., Friday, 9:00 a.m.–6:00 p.m. Pay by MasterCard, Visa, American Express, or Discover. • By fax to 212.229.5648 Use the detachable registration forms in the back of this bulletin. Pay by MasterCard, Visa, American Express, or Discover. • By mail to The New School, Registrar’s Office, 79 Fifth Avenue, New York, NY 10003 Use the detachable registration forms in the back of this bulletin. Pay by MasterCard, Visa, American Express, or Discover, or by personal check/money order payable to The New School. • In person at 72 Fifth Avenue, 4th floor Regular hours: Monday–Thursday, 10:00 a.m.–5:45 p.m. Friday, 10:00 a.m.– 4:45 p.m. (closed January 19) Extended hours: Jan. 20–23: Tuesday–Thursday, 9:00 a.m.–5:45 p.m. Friday, 9:00 a.m.–4:45 p.m Jan. 26–Feb. 13: Monday–Thursday, 9:00 a.m.–6:00 p.m. Friday, 9:00 a.m.–4:45 p.m.

Noncredit Certificate

The noncredit tuition

$80 per term

Same as above

Pay by MasterCard, Visa, American Express, or Discover; by personal check or money order payable to The New School; or with cash. For questions regarding registration, email reghelp@newschool.edu.

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

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

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

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

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

Spring 2015 Add/Drop and Refund Deadlines Classroom Courses: Standard Semester This schedule applies to courses starting January 26–February 1 or February 9–15 and meeting for 10 or more weeks. Schedule

Deadline to add or change status

Deadlines for tuition refunds

Credit student withdrawal for grade of “W”

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

Classroom 10 or more weeks beg. Jan. 26– Feb. 1

Before Feb. 9

Before Jan. 26, 100% refund Before Feb. 2, 90% Before Feb. 9, 80% Before Feb. 16, 70% Before Feb. 24, 60%

Before Mar. 16

Before Feb. 24

Find Your Class Location

Classroom 10 or more weeks beg. Feb. 9–15

Before Feb. 9, 100% refund Before Feb. 16, 90% Before Feb. 24, 80% Before Mar. 3, 70% Before Mar. 10, 60%

Before Mar. 30

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

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

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

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

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

Online Courses Online

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

Classroom Courses on Other Schedules This schedule applies only to classroom courses starting between February 2–8 or after Feb 15. 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. 15

Before 3rd session

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

Between 4th & 7th sessions

6–9 sessions

Before 2nd session

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

Between 3rd & 4th sessions

3–5 sessions

Before 2nd session

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

Not applicable

1–2 sessions

Before 1st session

Before 1st session (full refund)

Not applicable

Mannes

17TH ST.

(150 West 85th Street)

Goldmark Practice Center

16TH ST.

(37 West 65th Street)

79 Fifth Avenue

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

UNION SQUARE and GREENWICH VILLAGE AREA

6th Ave. – 14th St. Subway (F,L, M)

The New School For Drama

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

14TH ST.

80 Fifth Avenue Fanton Hall/Welcome Center

Arnhold Hall

G G

(72 Fifth ( YOU AREAvenue) HERE )

FIFTH AVE.

(151 Bank Street)

UNION SQUARE

UNION SQUARE W.

15TH ST.

71 Fifth Avenue

Kerrey Hall Residence (65 Fifth Avenue)

University Center (63 Fifth Avenue) U E

(55 West 13th Street)

Parsons East (25 East 13th Street)

13TH ST.

Sheila C. Johnson Design Center

Johnson Center Annex

(68 Fifth Avenue) 12TH ST.

(66 West 12th Street)

113 University Place

(2 West 13th Street, 66 Fifth Avenue)

Alvin Johnson/J.M. Kaplan Hall

AY BROADW

UNIVERSITY PLACE

SEVENTH AVE.

SIXTH AVE.

Eugene Lang College Building

(65 West 11th Street)

Lang Annex

11TH ST.

(64 West 11th Street)

UNION SQUARE and GREENWICH VILLAGE AREA

The New School Campus Map CONTINUING EDUCATION OFFICES AND FACILITIES A

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

64 West 11th Street

6 East 16th Street Innovation Center...................................................................6th floor List Center Library..................................................................8th floor Media Studies and Film office.. . . . . . . . . . . . . . . . . . . . . . . . . . . 16th floor Classrooms

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

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

72 Fifth Avenue International Student Services...............................................3rd floor IT Central Service Desk and Card Services.......................... lower level Registrar...............................................................................2nd floor Student Financial Services....................................................2nd floor Office of Admission

55 West 13th Street Media Laboratories.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8th, 9th floors Theresa Lang Community and Student Center. . . . . . . . . . . . . . 2nd floor Classrooms

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

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

68 Fifth Avenue

66 Fifth Avenue

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

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

66 West 12th Street

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

79 Fifth Avenue

OTHER OFFICES AND FACILITIES OF THE UNIVERSITY Accounting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Cafeterias. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .B. . . D. .

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

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

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

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

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

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

Tishman Environment and Design Center

79 Fifth Avenue

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

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

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

University Learning Center.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Media Studies and Film office.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16th floor

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

AFFILIATES B

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

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

MANNES COLLEGE THE NEW SCHOOL FOR MUSIC

THE NEW SCHOOL FOR DRAMA . . . . . . . . . . . . . . . . . . . . . . . . . . .U.

THE NEW SCHOOL FOR JAZZ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .I .

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

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

Beth Israel Hospital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 East 17th Street Cooper-Hewitt Museum .. . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 East 91st Street Cooper Union Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cooper Square Elmer Holmes Bobst Library. . . . . . . . . . . . . . . . Washington Square South The New School is undergoing expansion and renovation. Visit www.newschool.edu to view updates of the map. Published December 2014.

NONCREDIT REGISTR ATION

Term: SPRING

Year: 15

NOCR

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

Student ID No.

Sex

Term first attended New School

Birthdate

Last Name

First Name

Init.

Address Street Apt. or c/o etc. City

–

Home Phone

–

Work Phone

–

State –

Zip Ext.

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

SECT.

COURSE TITLE

SAMPLE COURSE TITLE

NONCREDIT TUITION*

$ XXX

REG. OFFICE USE REGISTERED

DATE_____________ INIT.________

$ PERSONAL DATA ENTERED

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

Nonrefundable Registration Fee

Total of special fees (materials, etc.)

Total enclosed

BURSAR USE DATE____________________________

T #______________ INIT.___________

*Stated in the course description with the schedule.

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

GENER AL CREDIT ( NONDEGREE )

Term: SPRING

Year: 15

NODG

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

Student ID No.

Sex

Term first attended New School

Birthdate

Last Name

First Name

Init.

Address Street Apt. or c/o etc. City

–

Home Phone

–

State

–

COURSE CREDITS**

TUITION*

Work Phone

Zip Ext.

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

SECT.

COURSE TITLE

SAMPLE COURSE TITLE

$ XXX

REG. OFFICE USE REGISTERED

DATE_____________ INIT.________

$ PERSONAL DATA ENTERED

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

Nonrefundable Registration Fee

$ 80

Total of special fees (materials, etc.)

Total enclosed

BURSAR USE DATE____________________________ T #______________ INIT.___________

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