the new school continuing education

Transcription

THE NEW
SCHOOL
CONTINUING
EDUCATION
COURSE BULLETIN
/Fall
2010
WWW.NEWSCHOOL.EDU/REGISTERTODAY
/Highlights/
14/
32/
16/
40/
26/
48/
The Resource Curse
Piracy and Banditry
Fathers and Sons
30/
Media Ecologies
Video as Activism
Screenwriting for the Web
Introduction to the
New Journalism
57/
Tibetan Language and Culture
HOW
HOW
TOTO
REGISTER
REGISTER
HOW
HOW
TOTO
USE
USE
THIS
THIS
CATALOG
CATALOG
ThisThis
catalog
catalog
listslists
course
course
offerings
offerings
for the
for Fall
the Fall
2010
2010
term.
term.
Registration
Registration
for fall
for courses
fall courses
opens
opens
July July
6 and
6 and
remains
remains
openopen
throughout
throughout
the term.
the term.
EarlyEarly
registration
registration
online
online
or byorfax,
by fax,
telephone,
telephone,
or mail
or mail
is strongly
is strongly
encouraged,
encouraged,
as courses
as courses
may may
fill orfillbeorcanceled
be canceled
because
because
of insufficient
of insufficient
enrollment.
enrollment.
See See
pages
pages
103–104
103–104
for for
moremore
information
information
about
about
procedures
procedures
and and
deadlines,
deadlines,
or call
or call
212.229.5690.
212.229.5690.
The The
registrar
registrar
is located
is located
at 72
atFifth
72 Fifth
Avenue
Avenue
(corner
(corner
of 13th
of 13th
Street),
Street),
lower
lower
level,
level,
for in-person
for in-person
registration.
registration.
The The
catalog
catalog
includes
includes
several
several
features
features
designed
designed
to help
to help
you you
use use
it effectively.
it effectively.
Finding
Finding
a Subject
a Subject
General
General
subjects
subjects
are listed
are listed
in the
in Table
the Table
of Contents
of Contents
on page
on page
3. 3.
There
There
is a is
detailed
a detailed
subject
subject
indexindex
beginning
beginning
on page
on page
100.100.
There
There
are biographical
are biographical
notes
notes
for most
for most
teachers
teachers
beginning
beginning
on page
on page
86. 86.
For more
For more
information
information
about
about
any course,
any course,
contact
contact
the department
the department
or or
program;
program;
telephone
telephone
numbers
numbers
are found
are found
on the
on first
the first
pagepage
of each
of each
Note:Note:
Registration
Registration
is closed
is closed
Fridays
Fridays
through
through
August
August
13, September
13, September
6 6 general
general
subject
subject
area.area.
(Labor
(Labor
Day),Day),
and and
all Saturdays
all Saturdays
and and
Sundays.
Sundays.
Register
Register
online
online
or byorfax
by fax
whenwhen
the office
the office
is closed;
is closed;
registrations
registrations
will be
willprocessed
be processed
the next
the next
Planning
Planning
a Schedule
a Schedule
working
working
day. day.
The The
Calendar
Calendar
of Courses,
of Courses,
beginning
beginning
on page
on page
95, lists
95, lists
everyevery
course
course
in order
in order
by start
by start
datedate
and and
time.time.
The The
academic
academic
termterm
calendar
calendar
is is
Online
Online
on page
on page
2. 2.
You You
can can
register
register
through
through
a secure
a secure
online
online
connection
connection
with with
payment
payment
by credit
by credit
card.card.
Go to
Gowww.newschool.edu/register
to www.newschool.edu/register
and and
follow
follow
the the Finding
Finding
a Course
a Course
Description
Description
instructions.
instructions.
Register
Register
at least
at least
threethree
daysdays
before
before
your your
course
course
begins.
begins. There
There
is anisindex
an index
of courses
of courses
in order
in order
by Course
by Course
Master
Master
ID beginning
ID beginning
You You
will receive
will receive
an email
an email
confirming
confirming
that that
your your
registration
registration
has has
beenbeen on page
on page
98. 98.
received.
received.
YourYour
official
official
Statement/Schedule
Statement/Schedule
will be
willmailed
be mailed
to you
to after
you after
payment
payment
has has
cleared.
cleared.
Interpreting
Interpreting
the Course
the Course
Description
Description
A chart
A chart
on page
on page
102 102
breaks
breaks
downdown
the format
the format
of the
of course
the course
By Fax
By Fax
descriptions
descriptions
and and
explains
explains
the different
the different
elements.
elements.
You You
can can
register
register
by fax
by with
fax with
payment
payment
by credit
by credit
cardcard
usingusing
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appropriate
appropriate
registration
registration
formform
in the
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of this
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bulletin.
bulletin.
Fax to
Fax to
212.229.5648
212.229.5648
at least
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threethree
daysdays
before
before
your your
course
course
begins.
begins.
No confirmation
No confirmation
will be
willfaxed;
be faxed;
your your
Statement/Schedule
Statement/Schedule
will be
will be
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General
Information
Information
212.229.5615
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mailed
mailed
to you.
to you.
212.229.5690
Registration
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USEFUL
USEFUL
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NUMBERS
NUMBERS
By Mail
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formform
in the
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of this
of this
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bulletin.
MailMail
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mustmust
be postmarked
be postmarked
at least
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two two
weeks
weeks
before
before
your your
course
course
begins.
begins.
YourYour
Statement/Schedule
Statement/Schedule
will be
willmailed
be mailed
to you.
to you.
By Phone
By Phone
You You
can can
register
register
as aas
noncredit
a noncredit
student
student
by telephone,
by telephone,
with with
payment
payment
by credit
by credit
card.card.
Call Call
212.229.5690,
212.229.5690,
Monday–Friday.
Monday–Friday.
Call Call
at least
at least
threethree
daysdays
before
before
your your
course
course
begins.
begins.
YourYour
Statement/Schedule
Statement/Schedule
will will
be mailed
be mailed
to you.
to you.
In Person
In Person
You You
can can
register
register
in person
in person
at 72atFifth
72 Fifth
Avenue
Avenue
(corner
(corner
of 13th
of 13th
Street).
Street).
A schedule
A schedule
for in-person
for in-person
registration
registration
is published
is published
on on
pagepage
103 103
of this
of this
catalog.
catalog.
The New
The New
School,
School,
(USPS
(USPS
382-140),
382-140),
Volume
Volume
68, Number
68, Number
1, July
1, 2010
July 2010
Published
Published
four times
four times
a year,
a year,
in July,
in July,
August,
August,
December,
December,
and April,
and April,
by by
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The New
School,
School,
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FALL 2010
COURSE BULLETIN
In this catalog, discover hundreds of courses available to you at The New School.
The New School, a leading private university in New York City, also offers more
than 70 degree and certificate programs in art and design, liberal arts and social
sciences, management and urban policy, and the performing arts. We invite you
to learn about the university’s undergraduate and graduate degree programs at
www.newschool.edu/degreeprograms.
Academic Term Calendar
Fall 2010
The fall semester begins the week of August 30. Many courses
in foreign languages and English as a second language start two
weeks later. With very few exceptions, online courses run 15
weeks beginning August 30.
Holidays
New School facilities will be closed.
Labor Day Weekend, September 4–6
Rosh Hashana, September 8 (eve)–9
Yom Kippur, September 17 (eve)–18
Thanksgiving Weekend, November 24–28
Winter Recess, December 21–January 21, 2010
A u
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H oli d ays an d recesses are hi g hli g hte d in white circles .
University administrative offices will be closed on Fridays through August 7.
CONTENTS
Message from the Dean, 4
fall 2010 Public Programs, 5
fall 2010 COURSES
Social Sciences, 12
For course advising, call 212.229.5124.
History, 12
Politics, Economics, and Law, 14
Anthropology and Sociology, 16
Psychology, 17
Humanities, 20
Art and Music, 20
Cultural Studies, 23
Literature, 24
Philosophy and Religion, 28
Media Studies and Film, 29
Media Studies, 29
Film Studies, 33
Film and Media Business, 38
Screenwriting, 39
Writing, 41
Fundamentals, 41
Poetry, 43
Fiction, 44
Nonfiction, 47
Journalism and Feature Writing, 48
Special Topics, 49
Foreign Languages, 51
Arabic, 51
Chinese (Mandarin), 52
Classical Languages, 52
French, 52
German, 53
Hebrew, 54
Italian, 54
Japanese, 54
Korean, 55
Portuguese (Brazilian), 55
Russian, 55
Sign Language, 56
Spanish, 56
Tibetan, 57
English Language Studies, 58
Teaching English to Speakers of Other
Languages, 58
English as a Second Language, 60
Visual and Performing Arts, 62
Visual Arts, 62
Photography, 64
Acting and Movement, 65
Creative Arts Therapy, 67
Management and Business, 69
BIOGRAPHICAL NOTES AND INDEXES
Biographical Notes, 85
Calendar of Courses, 95
Faculty Index, 97
Course Master Index, 98
Subject Index, 100
REGISTRATION PROCEDURES
Understanding the Course Description, 102
Before Registering, 103
Register and Pay, 103
Student ID, 104
Find Your Class, 104
Withdrawal/Refund Policy, 104
NEIGHBORHOOD MAP, inside back cover
Food Studies, 70
Institute for Retired Professionals, 72
ABOUT THE NEW SCHOOL
The New School for
General Studies, 74
Educational Programs and Services, 74
Study Options, 74
Certificate Programs, 75
Study Online, 75
Libraries and Computing Facilities, 75
International Student Services, 76
Services for Students with Disabilities, 76
Bachelor’s Degree Program, 76
THE UNIVERSITY, 77
University Administrative Policies, 78
Student Accounts, 78
Tuition and Fees, 78
Cancellations, Refunds, Add/Drop, 79
Admission to Class, 81
Other University Policies, 81
Records, Grades, and Transcripts, 82
Noncredit Record of Attendance, 82
Grades, 82
Academic Transcripts, 82
Family Educational Rights and Privacy Act, 83
Registration Forms
A MESSAGE
FROM THE Associate DEAN
The founding division of the university now known as The New School
was originally called The New School for Social Research. This name
reflected the founders’ belief in the promise of the emerging social
sciences—psychology, anthropology, and sociology—to offer solutions
to the pressing problems of the early 20th century. But The New School
quickly embraced the arts, especially emerging modern art forms, with the
same faith in their ability to illuminate and improve the human condition.
Modern dance, film, and photography were added to our curriculum and
our public programs in the 1920s and 1930s. The evolution of The New
School as a university took another step in this direction in the 1970s
and 1980s, with the acquisition of Parsons School of Design and Mannes
College of Music.
As you browse the fall 2010 bulletin, you’ll find many fascinating new
approaches to social research in the social science disciplines as well as
newer disciplines like media studies. You’ll also find evidence of our
unfaltering commitment to the arts as social research, as in this year’s
John McDonald Moore lecture (page 8) and courses like The Song Hunter
(page 31).
Our sister divisions, Parsons and Mannes, have their own continuing
education courses. To see what they have to offer this fall, visit
www.newschool.edu/parsons and www.newschool.edu/mannes and request
their continuing education bulletins or follow the links for online course
lists and registration.
I’ll see you this fall at The New School.
Almaz Zelleke, Associate Dean for Academic Affairs
4
S P R I N G 2 0 0 9 p u b l i c programs
HISTORY POLITICS ECONOMICS RELIGION LITERATURE SOCIOLOGY ART
PSYCHOLOGY MUSIC ANTHROPOLOGY PHILOSOPHY LAW MEDIA FILM
WRITING LANGUAGES ENGLISH PHOTOGRAPHY ACTING DANCE BUSINESS
COOKING HISTORY POLITICS ECONOMICS RELIGION LITERATURE SOCIOLOGY
ART PSYCHOLOGY MUSIC ANTHROPOLOGY PHILOSOPHY LAW MEDIA FILM
FALL 2010
PUBLIC PROGRAMS
www. newschool . edu / publicprograms
For event updates, visit www.newschool.edu/publicprograms.
Tickets for Public Programs
Unless otherwise indicated, tickets are available at the New School box office in
the lobby of the Johnson/Kaplan Building, 66 West 12th Street. Box office hours
are Monday–Thursday, 4:00–7:00 p.m., and Friday, 3:00–6:00 p.m., beginning
August 30. For events scheduled at other times, the box office will open one hour
before the event.
Tickets can be purchased in person at the box office or with a credit card by
calling 212.229.5488. Most events are FREE to students and New School alumni
with valid ID.
For more information or special needs requests, call 212.229.5353 or email
[email protected].
55
fa l l 2 0 1 0 p u b l i c programs
How Obscene Is This!
The Decency Clause Turns 20
Best American Poetry 2010
Wednesday, September 15 Survival vs. Autonomy: Public Funding of the
Arts, Free Speech, and Self Censorship
7:00 p.m. Admission free
Wednesday, September 22 From Obscenity to Decency: What Offends
Us Now?
David Lehman, series editor of The Best American Poetry and poetry
coordinator of the New School’s MFA program, joins Amy Gerstler,
guest editor of the 2010 volume, to present poets and poems from the
23rd edition of the acclaimed annual anthology. Among those taking part
are John Ashbery (who will read James Schuyler’s poem in addition to
his own), Mark Bibbins, Lynn Emanuel, Elaine Equi, Jill Alexander
Essbaum, Kimiko Hahn, Gerald Stern, and Terence Winch. Sponsored
by the Writing Program.
Both 6:30 p.m. Admission free
Tishman Auditorium, 66 West 12th Street
The Decency Clause is a requirement that all projects submitted for
funding to the National Endowment for the Arts conform to “common
standards of decency.” The legacy of this requirement is the subject of two
panel discussions. This first examines the reasons why some organizations
have decided to forfeit potential of NEA funding rather than submit their
projects for potential censorship. Panelists come from both sides: artists
and groups that prefer autonomy to government funding and those that
continue to seek support from the NEA. The second looks at changing
attitudes towards notions of the offensive and inappropriate with an eye
toward redefinition and brings artists whose work provoked the culture wars
20 years ago together with some who deal with taboo topics today. Speakers
to be announced. Cosponsored by the Vera List Center for Art and Politics
and the National Coalition Against Censorship with funding from the
Crosscurrents Foundation.
Thursday, September 23
Fridays @ One
3 afternoon events
1:00 p.m. Admission free but rsvp required to [email protected] or
212.229.5682
Theresa Lang Center, Arnhold Hall, 55 West 13th Street, 2nd floor.
The Institute for Retired Professionals presents this program of free events
on timely topics for IRP members, friends, and all members of the New
School community.
Riggio Forum
September 24 Cabaret and American Music
Old Weird America:
Music as Democratic Speech
The cabaret has been a singular force in the preservation of the Great
American Songbook. Join Donald Smith, executive director of the Mabel
Mercer Foundation, and cabaret legends KT Sullivan and Steve Ross
(accompanied on piano by James Followell) for this program of songs and
appreciation.
4 evenings of readings and discussion
6:30 p.m. $5; free to students and New School faculty, staff, and alumni
with ID
As a part of his course Old Weird America: Music as Democratic Speech,
Distinguished Visiting Professor Greil Marcus curates and hosts a series
of events that accent the rich intersections of writing, music, and cultural
criticism.
Wednesday, September 22 Mary E. Davis
The author of Ballet Russes Style and Classic Chic: Music, Fashion and
Modernism discusses the fashion magazine influence on American musical
culture. Malcolm Klein Reading Room, 66 West 12th Street, room 510.
Wednesday, October 13 Walter Mosley
The leading American writer of crime fiction, author, most recently, of The
Long Fall and Known to Evil, which references the way American life has
changed and has resisted change under the presidency of Barack Obama. Wednesday, November 3 Luc Sante
The author of Folk Photography, The American Real-Photo Postcard
1905–1930, Kill All Your Darlings: Pieces 1990–2005, and other books,
essays, and articles on photography, crime, and American music and folklore.
Wollman Hall, 65 West 11th Street (enter at 66 West 12th Street)
Friday, November 5 At Home in New York
Historian Barry Lewis, specializes in 19th and 20th century architecture
and recently co-hosted PBS televised walking tours of New York with David
Hartman. In this presentation, he discusses the processes that moved New
York’s middle class from cookie-cutter brownstones to hi-rise apartment
buildings as the homogeneous Victorian society yielded to the diverse
ethnicities in the 20th century.
Friday, November 12 Thoughts on Performer Longevity in the World of
Music and Opera
Classical music audiences are known for passionate devotion to their favorite
composers, performers, and conductors, keeping many artists active far into
their senior years (think of Verdi, Toscanini, Domingo). This phenomenon is
explored by journalist Fred Plotkin, author of Opera 101: A Complete Guide
to Learning and Loving Opera and Classical Music 101: A Complete Guide to
Learning and Loving Classical Music.
Fridays @ One is supported by a bequest in memory of Estelle Tolkin.
Sponsored by the Institute for Retired Professionals. Wednesday, December 8 Mary Gaitskill
The author of Don’t Cry: Stories, Two Girls, Fat and Thin, Bad Behavior
(including the story “Secretary” on which the film of the same name was
based), Because They Wanted To, and a novel, Veronica. Malcolm Klein
Reading Room, 66 West 12th Street, room 510.
Riggio Forum events are presented by the Len and Louise Riggio Writing
and Democracy Initiative at The New School. For more information, visit
www.newschool.edu/riggio.
6
Visit www.newschool.edu/publicprograms for event
updates.
Rattapallax Magazine 10th Anniversary
Cave Canem at The New School
Friday, September 24
Readings and discussions presented by Cave Canem Foundation
Theresa Lang Center, Arnhold Hall, 55 West 13th Street, 2nd floor
The 10th anniversary of Rattapallax heralds a new phase in the magazine’s
history: it is now published only online. This celebration features readings
by Edward Hirsch, author of The Living Fire: New and Selected Poems and
winner of the National Book Critics Circle Award; Eileen Myles, author of
The Importance of Being Iceland; Edwin Torres, author of In the Function of
External Circumstances; Rachel Zucker, author of Museum of Accidents; and
poet and translator Idra Novy, author of The Next Country. There is also a
screening of short poetry-based films from recent Cannes, Sundance, and
Berlin festivals. Hosted by Rattapallax editor Flavia Rocha. Sponsored by
the Writing Program.
Monday, October 11 Cave Canem Legacy Conversation: Steve Cannon
Loot: Some Things Are Buried for a Reason
The author of Groove, Bang and Jive Around,
founder of A Gathering of the Tribes. Moderated by
Tracie Morris, author of two collections of poems,
Intermission and Chap-T-her Woman.
Tuesday, November 30 Poets on Craft: Kazim Ali
and Lyrae Van Clief-Stefanon
Kazim Ali is the author of Far Mosque, The Fortieth
Day, and other collections and a novel, Quinn’s
Passage. Lyrae Van Clief-Stefanon is the author
of Open Interval, Black Swan, and co-author (with E. Alexander) of the
chapbook Poems in Conversation and a Conversation. Moderated by Camille
Rankine, program and communications coordinator of the Cave Canem
Foundation. Sponsored by the Writing Program.
Film screening: Wednesday, September 29
Loot is a feature documentary about two veterans of World War II, guided
by an amateur treasure hunter, who cross the globe searching for looted
treasure they buried 60 years before. It becomes a story about fathers
and sons, war, and secrets of history that bleed into the present. Q&A
with director Darius Marder follows the screening. Cosponsored by the
Department of Media Studies and Film and the Institute for Retired
Professionals.
Re-Mixed and Re-Mastered: Defining and
Distributing the Black Image in the Era of
Globalization
Food Justice: A New Social Movement
Takes Root
Thursday, October 14
Wollman Hall, 65 West 11th Street, 5th floor (enter at 66 West 12th Street)
Robert Gottlieb, director of the Urban and Environmental Policy Institute
at Occidental College, discusses the increasing disconnect between food and
culture that has resulted from our industrialized food system, the inequities
this creates, and the rising resistance movement. He is the author of a dozen
books, including most recently Food Justice (with Anupama Joshi), and a
long-time social/environmental activist and historian of social movements.
Cosponsored by the Tishman Environment and Design Center and the Food
Studies program.
Three-day Conference: October 1–3
Friday, 6:00–10:00 p.m.; Saturday, 11:00 a.m.–8:00 p.m.; Sunday,
12:00–6:00 p.m.
General admission: $50 before Sept. 27; after Sept. 27, $75 or $35 per day
or $60 for two days ($25 per day for college faculty with ID). Admission free
for all college students and New School faculty, staff, and alumni with ID.
Theresa Lang Center, 55 West 13th Street, 2nd floor
Traveling around the world, physically and virtually, we see that media
content about people of color is still mostly based on narrow “Hollywood”
concepts, but with the breakup of topdown distribution and the emergence
of multidimensional communication, the media landscape is changing. In
this new world, how can media makers create content that challenges the
dominant narrative and maintains cultural relevance and, perhaps more
important, create their own modes of distribution that honor authentic
voices and reach mass audiences. Panels and workshops with international
media makers, critics, and scholars speak to issues both inside and outside
the mainstream. Activities include screenings of recently completed works
and works-in-progress across formats, case studies, and DIY distribution
workshops. Organized by New School faculty members including Michelle
Materre and Sean Jacobs and alumni including Jennifer Carr MacArthur
and Rucyl Mills. For the latest information, visit, www.borderlinemedia.net and www.creativelyspeaking.tv. Cosponsored by the Department of Media
Studies and Film, Creatively Speaking, and Borderline Media. Get tickets at the box office at 66 West 12th Street.
See page 5 for ticket and box office information.
7
The Schneider Concerts at The New School
Sunday afternoon concerts
The 5th John McDonald Moore Memorial Lecture
Peter L. Galison
Subscriptions: $82 for seven concerts; $70 for five concerts
Wednesday, October 20
General admission: $17.50; seniors 65 and older, $15; standby for students
30 and younger with school ID, $5.
6:30 p.m. $8, free to students and New School faculty, staff, and alumni
with ID
Calder String Quartet (photo: Tyler Baye)
Founded in 1957 by
violinist and conductor
Alexander Schneider. Such
luminaries Peter Serkin,
the Guarneri String
Quartet, and TASHI made
their New York debuts here
in this series, and Yefim
Bronfman, Yo-Yo Ma, and
Murray Perahia performed
here early in their careers.
What rising stars will
you discover during the
2010-2011 season?
October 17, 2:00 p.m. Zodiac Trio with cellist Yves Dharamraj plays
Milhaud, Brahms, Bacri, Bartok
November 14, 2:00 p.m. Calder String Quartet plays Ravel, Dvorak,
Beethoven
December 5, 2:00 p.m. Old City String Quartet (New York debut) plays
Haydn, Debussy, Mendelssohn
January 30, 2:00 p.m. Midnight Winds (New York debut) plays Barber,
Beethoven, Hindemith
February 27, 2:00 p.m. Vuilliani String Quartet (New York debut) with violist
Ida Kavafian plays Haydn, Mendelssohn, Dvorak
Historian, philosopher and
filmmaker Peter L. Galison is
Joseph Pellegrino University
Professor and Director of the
Collection of Historical Scientific
Instruments in the Department of
the History of Science at Harvard.
He is author of Image & Logic: A
Film still from Secrecy, 2008, directed
Material Culture of Microphysics
by Peter Galison and Robb Moss
(1998) and Einstein’s Clocks
and Poincaré’s Maps: Empires of
Time (2003), and the producer of two films, The Ultimate Weapon: The
H-Bomb Dilemma (2000) and Secrecy (2008). In 1997, Galison was named a
MacArthur Foundation Fellow; in 1999, he was a winner of the Max Planck
Prize given by the Max Planck Gesellschaft and Humboldt Stiftung. This
lecture series honors John McDonald Moore’s contribution to The New
School’s intellectual life. Moore taught art history and criticism from 1968
until his death in 1999. His classes were famously popular for bringing to
students the vision of an artist who is also a scholar. Sponsored by the Vera
List Center for Art and Politics.
Freud, Secularism, and Jewish History
Monday, October 25
March 27, 2:00 p.m. Hugo Wolf Quartet plays Mozart, Webern,
Beethoven
5:30 p.m. Admission free; RSVP required to [email protected]
or 212.229.5353.
April 10, 2:00 p.m. Atos Piano Trio plays Dvorak, Rachmaninov,
Beethoven
Theresa Lang Center, Arnhold Hall, 55 West 13th Street, 2nd floor
To buy advance series tickets and for more information, call 212.229.5873
or visit www.newschool.edu/concerts. To buy individual tickets, contact
212.229.5488 or [email protected].
The Vera List Center for Art and Politics
The Vera List Center is a catalyst for discourse on the role of the arts in
society and their relationship to the social and political climates in
which they are created. The center organizes public programs that
respond to the pressing social and political issues of our time as
articulated by the academic community and visual and performing
artists. Its activities enhance The New School’s educational mission by
bringing together scholars and students, the people of New York City,
and national and international audiences in exploring new possibilities
for civic engagement. Every year, the Vera List Center identifies a topic
as a theme for its programs for that year. Previous years’ themes were
Homeland, followed by Considering Forgiveness, the Public Domain,
Agency, and Branding Democracy. In 2010-2011, the theme is
Speculating on Change. For more information, contact Director Carin
Kuoni at [email protected] or visit www.newschool.edu/vlc.
8
As the inventor of psychoanalysis, a prominent secularist, and an essayist
on human nature and modern life, Freud was incontestably one of the
most influential thinkers of modern times, but what is the place of this
avowed atheist and his work in Jewish secular history? Freud himself wrote
a secular history of the Jewish people; to what effect? These topics and
Freud’s impact on American culture are discussed by David Aberbach,
author of Surviving Trauma: Loss, Literature, and Psychoanalysis and Turning
Points in Jewish Intellectual History; Andrew R. Heinze, author of Jews
and the American Soul and Adapting to Abundance: Jewish Immigrants, Mass
Consumption, and the Search for American Identity. Moderated by Richard
J. Bernstein, author of Freud and the Legacy of Moses. Presented by the
Jewish Cultural Studies program.
Women Writers of the Diaspora
Thursday, October 28
6:30 p.m. Admission free; RSVP required to [email protected] or
212.229.5615.
Malcolm Klein Reading Room, 66 West 12th Street, room 510
This ongoing series of readings celebrates
literature written by women across the African
diaspora. Professor Tiphanie Yanique is a fiction
writer, poet and essayist, the winner of a Pushcart
Prize, the Kore Press Fiction Prize, an Academy of
American Poets Prize, a Fulbright Scholarship for
writing, and the Boston Review Fiction Prize. Her
work can be found in the Best African American
Fiction, Transition Magazine, American Short
Fiction, London Magazine, Prism International,
Tiphanie Yanique
Callaloo, and other journals and anthologies. She
has had residencies with Bread Loaf, Callaloo,
Squaw Valley, and the Cropper Foundation for Caribbean Writers. Yanique is
from the Virgin Islands and lives most of the year in Brooklyn.
American Poet Reading and
Publication Party
Saturday, October 30
Wollman Hall, 65 West 11th Street, 5th floor (enter at 66 West 12th Street)
Join the Academy of American Poets in celebrating the fall 2010 issue of
American Poet, the journal of the Academy of American Poets. Contributors
Julie Carr, Prageeta Sharma, and Wayne Koestenbaum read from their
work. Issues of American Poet #39 will be available for $5. Sponsored by the
Writing Program.
Riggio Forum
The Fate of Fresh Water
Monday, November 1
6:30 p.m. $5; free to students and New School faculty, staff, and alumni with ID
Malcolm Klein Reading Room, 66 West 12th Street, room 510
Academy of American Poets Awards 2010
Friday, October 29
Join us for an evening of readings and a celebration of contemporary
poetry as the Academy of American Poets honors this year’s recipients
of the most prestigious poetry awards in the United States. Featuring
readings and presentations by Carl Adamshick, Galway Kinnell, Stephen
Kessler, Khaled Mattawa, and others. A reception follows the ceremony.
Cosponsored by the Academy of American Poets and the Writing Program.
Alex Prud’homme is the author, most recently, of Clean, Clear, and Cold:
The Fate of Fresh Water in the Twenty-First Century. He has written for
Business Month, Time, and People. In 2006, Knopf published My Life in
France, coauthored with Julia Child, on which the recent film Julie and Julia
is partly based. Moderated by Luis Jaramillo, associate chair of the Writing
Program. Fine Cuts
Friday, November 5,
7:00 p.m. Admission free and open to the public
Discussions of Contemporary Poetry
Daylong colloquium: Saturday, October 30
Fine Cuts is a public exhibition of short film and video works produced by
students as part of their coursework over the past year in Media Studies and
Film. The screenings are followed by a Q&A led by faculty members and a
public reception.
10:00 a.m.-4:00 p.m. General admission, $60 at the door; free to New
School students, faculty, staff, and alumni with valid ID; students from other
schools with ID, $35 at the door.
Some of the most acclaimed poets of our time offer their personal
reflections on the state of poetry today. Participants include Victor
Hernández Cruz, Rita Dove, Lyn Hejinian, Edward Hirsch, Galway
Kinnell, Naomi Shihab Nye, Sharon Olds, Ron Padgett, Marie Ponsot,
Carl Phillips, Robert Pinsky, Kay Ryan, Gerald Stern, and C.K.
Williams. Cosponsored by the Academy of American Poets and the New
School Writing Program
9
The Fourth Annual AICA/USA Distinguished Critic Lecture
Holland Cotter, Art Critic: So What?
10th Anniversary of Brooklyn Rail
Monday, November 29
Thursday, November 11
6:30 p.m. $8; free to AICA members and New School students, faculty,
staff, and alumni with ID (advance tickets strongly recommended).
In awarding New York Times art critic Holland Cotter the 2009 Pulitzer
Prize for Criticism, the Pulitzer Committee noted his “acute observation,
luminous writing [and] dramatic story telling.” In this lecture, the critic,
well known for the range and deep humanity of his concerns, addresses
his roundabout route to art criticism, his response to the dominant model
of criticism, his sense of the increasing limitations of that model, and the
ways he imagines it could be changed and extended. Presented by the
International Association of Art Critics (AICA Association Internationale
des Critiques d’Art) in collaboration with the Vera List Center for Art
and Politics. National Book Awards Reading 2010
Join the editors and founders of the Brooklyn Rail and celebrate a decade of
electric, eclectic journalism: contributing editors William Cole and Heather
Rogers, theater editor Emily DeVoti, editor Theodore Hamm, music editor
Dave Mandl, film editor David N. Meyer, and books editor John Reed.
Started as a broadsheet in 1998, the Brooklyn Rail became a monthly in the
fall of 2000. Each issue features political and literary essays, art criticism,
interviews, and original fiction and poetry, as well as film, music, dance,
theater, and book reviews. Hosted by Robert Polito, director of the Writing
Program.
The 14th Annual Mixed Messages
Media Showcase
Friday, December 3 thru Wednesday, December 8
Tuesday, November 16
Short Audio, Film, Video: Friday, 7:00–9:00 p.m.
7:00 p.m. $10 for all
Gallery Exhibition: Friday & Monday thru Wednesday, 12:00–6:00 p.m.
On the eve of the National Book Awards ceremony, The New School is
pleased to host a reading with the 2010 finalists in the categories of Poetry,
Fiction, Nonfiction, and Young People’s Literature. Twenty distinguished
authors share excerpts from their works. Cosponsored by the National Book
Foundation and the New School Writing Program.
Aronson Galleries, Sheila C. Johnson Design Center, 66 Fifth Avenue
Vogue’ology
Admission free
The Department of Media Studies and Film presents its annual graduate
student showcase, outstanding student work from recent academic terms
selected by a panel of distinguished jurors. Mixed Messages celebrates the
commitment of the Media Studies program to theory and practice encompassing all forms of media. The Friday evening show is followed by a public
reception. The gallery show features installations, web-based projects, and
print/works on paper.
Panel discussion. Thursday, November 18
6:30 p.m. $8; free to students and New School faculty, staff, and alumni
with ID.
Join Robert Sember, 2009–2010 Vera List Center Fellow and
representatives of New York City’s House/Ballroom community and the
sound art collective Ultra-red for a discussion of themes that will guide
the development of a House/Ballroom archive and advocacy-service
organization. House/Ballroom is an artistic community of transgender and
queer African American and Latino/a men and women whose performance
form, vogue, challenges class, gender, and racial identities. This event
opens a free exhibition, Vogue’ology, on view at the Aronson Galleries of
the Sheila C. Johnson Design Center, 66 Fifth Avenue, from November
17–30. Gallery hours are 12:00–6:00 p.m., Monday thru Friday.
10
Heather Monroe Memorial Lecture
Louis Rosen on Jazz:
From the Club to the Concert Hall
Lecture-Performance. Thursday, December 9
12:30 p.m. Admission free; RSVP required to [email protected] or
212.229.5682.
Heather Monroe was an active and dedicated member of the New School’s
Institute for Retired Professionals (IRP). She helped the nearly 50-year-old
institution become a stronger active learning community during the years
of her membership. Upon her death in 2009 she left a bequest to The New
School. The university decided that the best way to honor this amazing
woman was through music, which was very important in her life. For the
initial memorial lecture, Louis Rosen, Heather’s music teacher at the 92nd
St Y, offers a lecture-performance devoted to the history of jazz. This event
is supported by gifts and bequests from the family and friends of Heather
Monroe. Cosponsored by the Institute for Retired Professionals and The
New School for Jazz and Contemporary Music.
FALL 2010 courses
Social Sciences
Social Sciences
History
History
Politics, Economics, and the Law
NEW Quantifying the World: The History of
Measurement NHIS3854
Anthropology and Sociology
A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 31. $620.
Psychology
Hector Vera
F o r c o u r se a d v i s i n g , c all 2 1 2 . 2 2 9 . 5 1 2 4 .
Gustav Peebles, Chair
The Department of Social Sciences draws on The New
School’s tradition of free inquiry and its commitment to
making profound ideas accessible. During a time of fierce
and competing ideologies, nationally and globally, we
prepare students to take their place as thoughtful citizens
of the world. Our faculty of talented people from diverse
Measurement, the translation of particular qualities of objects and persons
into quantifiable standards, is ubiquitous in modern life. We compulsively
measure the mass and proportions of our bodies, our working hours and
vacation days, the value of objects and personal services, the populations
of towns and continents, the calories in meals, and the life expectancies
of people. What is the origin of this impulse to count, measure, and
quantify everything? This course traces the uses and abuses of measurement
in history, emphasizing the origins of modern instruments, standards,
practices, and scientific disciplines related to measurement and the social
and economic realities that shaped their development. Topics include the
decimal metric system and the French Revolution, money and modern
capitalism, the clock and industrial work, statistics and colonial rule, and
opinion surveys and democracy. (3 credits)
backgrounds and perspectives provides rigorous training
NEW History and Biography, 1400–1800 NHIS4364
that integrates analysis with the latest research. Students
build the foundations for more advanced study in a variety
Gina Luria Walker
of fields.
Op e n H o u s e N i gh t at Th e N e w S c h o o l
Tuesday, August 17, 6:00–8:00 p.m., 66 West 12th Street
To learn more about our social science courses, come to our open
house and speak to members of our faculty and staff. No reservation is
necessary, but if you need more information, call 212.229.5615.
The Human Condition Seen Through Film NSOS0841
Note: Credit students must register for NSOS2841, below.
Toby Talbot
Documentary film is intended to enlighten and provoke. Films in this series
explore universal cultural, political, and ethical themes: economic survival,
the natural environment, conflict and war, justice and dignity, family
bonds, and creativity. We discuss these themes in class. Scheduled films:
Burden of Dreams (USA), Grizzly Man (USA), Which Way Home? (China),
Burning the Future (USA), Nenette (France), Budrus (USA), Rabbit a la
Berlin (Germany), The Oath (USA), The Good Soldier (USA), Inheritance
(Germany), Best Boy (USA), Burning the Future (USA), Let’s Make Money
(Austria), Rough Aunties (Great Britain), Word Is Out (USA), and Fast,
Cheap, and Out of Control (USA). There may be substitutes for certain
films. (noncredit)
A 15 sessions. Tues., 12:00–2:45 p.m., beg. Aug. 31; plus online
discussion group. Credit students only.
Toby Talbot
Same course as NSOS0840 with additional online discussions and research
projects for credit students. (3 credits)
12
This course examines the complex interaction between the claims of history
to objectivity and the individual perspectives written into every narrative of
the past. We focus on figures from the 15th century to the turn of the 17th
century whom we believe we know the most about, including queens and
kings, counselors, intellectuals, artists, and rebels. To evaluate the validity of
historical judgments of particular women and men, we consult contemporary
official chronicles and primary documents (letters, diaries, autobiographies,
spies’ reports) as well as imaginative accounts from earlier times and our
own. We compare later historiographies, such as the representations of
the queens Mary Stuart and Elizabeth Tudor by David Hume, Catharine
Macaulay, Jane Austen, Lucy Aikin, Agnes Strickland, Mary Hays, and
Lytton Strachey. We compare dramatic portraits of kings in Marlowe’s
Edward III and Shakespeare’s history plays with recent scholarly biographies.
We read historical fictions by Philippa Gregory and Hillary Mantel’s Wolf
Hall. We consider the cinematic histories and biographies of particular
figures. Novelist Philippa Gregory offers an online lecture followed by a live
question-and-answer session. Students are encouraged to write their own
biographies of any historical actors they find interesting. (3 credits)
NEW Decolonization NHIS3412
A 15 sessions. Thurs., 4:00–5:50 p.m., beg. Sept. 2. $620.
Jordan Somers
This course is a critical engagement with the history of decolonization.
What is imperialism? What constitutes colonialism? What is the relationship
between colonizer and colonized? What is the relationship between violence
and nationalism? Is there a tension between the “nation” and the “nationstate”? What is the relationship between economics and colonialism? We
read texts from across the spectrum of the social sciences and history, study
primary documents from participants in the processes of colonialism and
decolonization, and look at works of literature and film relevant to the
subject. We examine the roles played by both imperial and subject nations
in the process of decolonization as well as the geopolitical roles played by
the United States and the Soviet Union. We end with a discussion of the
aftermath of the 20th century, attempting to assess the current situation of
postcoloniality. (3 credits)
Social Sciences
Encounters Between Christianity and Islam: Europe from 700
to 1700 NHIS3308
A 15 weeks, Aug. 30 thru Dec. 20. $620.
American History 2: From Reconstruction to the Present NHIS3206
ON L INE
Mark Wilson
Aware of medieval Crusades and recent conflicts between the West and the
Muslim world, people today often imagine the early history of EuropeanMuslim interaction as one characterized by harsh words and harsher
violence. In fact, war and blood are only part of the story of the contact
between Christendom and the Muslim world, a story that involves constant
interactions between thriving and evolving cultures that embraced mutual
benefit as readily as conflict. Bustling trade, philosophical exchanges,
ethnic and social diffusion, artistic collaboration and inspiration, alliances
and diplomacy, and invective and war were all part of the rich and fluid
relationship between these joint heirs of the Roman Mediterranean. Students
in this course examine the first millennium of European-Muslim encounters
to gain an appreciation of these complex interrelationships. (3 credits)
The Making of the British Empire, 1688–1815 NHIS3334
ON L INE
Fiore Sireci
How did Britain become one of the largest and most powerful empires in
history? How did ideas born in the English Civil War inspire the American
Revolution? This course focuses on the crucial period when Britain was
consolidated as a political entity and began to export its ideas around the
world. We look at the evolution of political and military power in England,
including the rule of Cromwell and the emergence of the powerful new
position of prime minister in the early Georgian period, as well as the
philosophical underpinnings of the modern conception of nationhood, such
as Adam Smith’s ideas about financial management. We end by examining
Britain’s role in the age of revolution—the battle with America over
independence, radical and conservative reactions to the French Revolution,
and the long struggle that ended in the defeat of Napoleon. (3 credits)
Stanley Feldstein
Why has the Reconstruction period (1865–1872) been called “America’s
shame”? How did the Jim Crow system evolve? How did social Darwinism
come to influence foreign policy, immigration laws, and industrialization?
Was FDR responsible for the disaster at Pearl Harbor? How did the
Red Scare of the fifties reshape public opinion? Did the United States
have any right to be in Vietnam? This course surveys U.S. history from
Reconstruction following the Civil War to the aftermath of the Vietnam
War. Among the topics discussed are the New South and the evolution
of racism; industrialization, immigration, and urbanization; the closing
of the frontier, agrarian protest, and the Progressive movement; the
emergence of the United States as a world power; the Great War and the
Roaring Twenties; the Great Depression and World War II; the balance
of terror known as the Cold War; and the major events of the national
administrations since Kennedy. (3 credits)
The Origins of Secular Society: A Jewish Intellectual
History NHUM3502
A 15 weeks, Aug. 31 thru Dec. 20; plus supplemental on-campus
meetings Tues., 6:00–7:00 p.m., dates to be arranged. $620.
ON L INE
Gina Luria Walker
See page 23. (3 credits)
Comparative Religions NREL2001
Laura S. Smith
How to register
OnLineRegister online at www.newschool.edu/register with
payment by MasterCard, Visa, American Express, or
Discover.
By FaxRegister by fax with payment by MasterCard, Visa,
American Express, or Discover. Fax 212.229.5648.
Use the appropriate registration form in the back of
this catalog.
By PhoneNoncredit students can register by telephone, with
payment by MasterCard, Visa, American Express,
or Discover. Call 212.229.5690, Monday–Friday,
9:30 a.m.–5:00 p.m.
By MailUse 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 PersonRegister in person at 72 Fifth Avenue (corner of 13th
Street) on the main floor. See page 103 for the schedule.
See pages 103–104 for details about registration procedures and
deadlines, or call 212.229.5690.
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
$1,055 per credit point. For information about registration options,
see pages 74–75.
13
Social Sciences
Politics, Economics, and the Law
NEW The Resource Curse NPOL3384
Amanda Zadorian
The Modern Nation-State and Its Challenges NPOL3202
A 15 weeks, Aug. 30 thru Dec. 20. $620. ON L INE
Benjamin Nienass
What are nations, states, and civil societies? To what extent are these
political forms interrelated and representative of modernity? How did
they emerge, and with what consequences, in different parts of the world?
This course addresses these questions in a critical survey of the origins,
development, and prospects of the modern nation-state in comparative
historical perspective. We examine its emergence in Europe and subsequent
transformations in the Americas, Africa, and Asia. We analyze the methods
used by modern states to establish their sovereignty over territories, markets,
and societies; the ways various nationalisms tried to incorporate groups
historically subordinated on the basis of class, gender, language, ethnicity,
or region; the reasons these groups sometimes resisted such attempts; and
the manner in which civil societies emerged as spaces of liberty, power, and
exclusion vis-à-vis the modern state. Using diverse theoretical approaches,
we analyze the way globalization, localization, and transnationalism are
reshaping the prospects of states and civil societies in different regions of the
world today. (3 credits)
NEW Power and Participatory Public Policy NPOL3186
Andrew Friedman
Public policy has traditionally been shaped by elected officials,
administrative agencies, and lobbyists hired by the privileged. The role of
low-income people and traditionally oppressed communities in shaping
public policy is often hidden. Yet innovative public policies, particularly ones
that benefit low-income and oppressed communities, are often introduced
by organizations led by these groups. This course explores how grassroots
groups influence public policy. It is taught by a founder of a leading
New York City organization that promotes economic justice, equity, and
opportunity through community and electoral organizing and strategic
policy advocacy. (3 credits)
The observation that countries with rich natural resource endowments,
particularly of oil and other minerals, tend to grow more slowly, succumb
to civil war more often, and have more authoritarian governments has
sparked a great deal of research and influenced development policy. This
course focuses on the impact of natural resource wealth on political
outcomes. Does a political “resource curse” exist, and is it inevitable? Does
the type of resource matter? Can institutions of ownership, exploitation,
and transparency be designed to improve outcomes? What is the role of the
international community in both causing and combating the curse? We pay
particular attention to the interplay of academic research and development
policy on this issue. Statistical and theoretical analyses are complemented
by case studies of countries including Russia, Indonesia, Venezuela, Angola,
and Gabon. (3 credits)
Supreme Court Controversies NPOL3635
Erica M. Eisinger
Can the U.S. Congress limit what corporations or labor unions may spend
to influence congressional and presidential elections? Can the U.S. Supreme
Court stop 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)
NEW Race and Ethnicity in Latin America: Alternative Notions of
Selfhood and Nationhood NPOL3204
A 15 sessions. Wed., 8:00–9:50 p.m., beg. Sept. 1. $620.
Carlos Forment
NEW Making Political Judgments: History, Morality,
Power NPOL3404
Sanjay Ruparelia
As citizens, we recognize that an essential feature of political life is the
exercise of judgment. We make judgments on a daily basis about what to do
and how to achieve our aims. We also assess the reasoning of others, both
those who rule and others whose judgments may affect our interests. Indeed,
many of our daily conversations, and much of what we read and hear and see
in the media, concern the question of judgment. What is political judgment?
How should we balance moral considerations, historical knowledge, and
the realities of power in making political judgments? What distinguishes
individuals who possess good political judgment? Under what conditions
does it matter? Is good political judgment an inherent talent of a few, or can
it be developed by everyone? We address such questions by examining the
theory and practice of judgment in politics. In the first part of the course,
we assess and compare the writings of key thinkers who focused on the
distinctiveness, necessity, and difficulty of judgment in politics: Aristotle,
Machiavelli, Lenin, Max Weber, Hannah Arendt, and Isaiah Berlin. In
the second part, we analyze a range of historical events by evaluating the
political judgments of significant actors in the context of war, revolution,
economic crisis, regime transitions, democratic processes, and everyday
politics. (3 credits)
14
This course explores the role of ethnicity and race in the formation of
selfhood and nationhood across Latin America, emphasizing how they have
been lived and understood from the late colonial period to the present. At
the beginning of the term, the class discusses alternative narratives of the
structuring of public life and selfhood in racial, ethnic, and national terms.
During the remaining weeks, we examine how the three categories of race,
ethnicity, and nationhood became essential elements of public life and
selfhood in Latin America. Examples are taken from Brazil, Mexico, Cuba,
Peru, El Salvador, and Guatemala. (3 credits)
Modern Political Philosophy NPHI2125
Karsten Struhl
Social Sciences
Iran: History, Politics, People NPOL3217
Introduction to Microeconomics NECO2004
ON L INE
ON L INE
Farideh Koohi-Kamali
Raphaele Chappe
Iran is the land of the Persian Empire, the site of Persepolis; it is the
birthplace of Cyrus the Great, Ibn Sina (Avicenna), and Rumi. It is the
land of Shia Islam and the site of one of the most influential revolutions
of the 20th century, which transformed the Middle East and, arguably,
the world. It is a country rich in oil, yet its people endure economic
difficulties. Iran was a friend but is now a foe of the United States. Women
are stoned to death for adultery, yet the female population represents more
than 60 percent of university students and cosmetic surgery is among the
best in the region. Iran has one of the largest, best-educated, and most
secularized and westernized middle classes, yet its people live under an
authoritarian religious regime. What do we know about this complex and
intriguing country? This course sheds light on Iran, past and present,
through books, academic journals, newspaper articles, literature, feature
film, and documentaries as well as museum exhibitions and personal
narratives. (3 credits)
This course introduces the principles of microeconomics and shows how
microeconomic analysis and techniques can be employed in problem solving.
We begin with the basics of supply (firms) and demand (consumers) and
examine the logic of consumers’ choices and firms’ decisions regarding
output and pricing policies. We next study market structures, technological
innovations, market failures, and public policies. Finally, we introduce the
analysis of labor markets, income distribution, and poverty. Throughout, we
discuss case studies, such as the Microsoft antitrust case, deregulation of the
telecom industry, and the debate about the effects of increasing the national
minimum wage. (3 credits)
NEW Gender in Asia: Women and Men, Femininity and
Masculinity in Asian Cultures NPOL3597
Yumiko Mikanagi
This course examines the ways gender is constructed in Asian countries
including China, Japan, and South Korea, exploring how the construction
of gender in any context affects and is affected by social, political,
and economic conditions. We begin by investigating the way political
science, especially international affairs, under-theorizes gender despite its
signal importance in global affairs. We consider the concept of gender
itself, studying foundational Western theories and applying them to our
discussions of the similarities and differences between approaches to gender
in the West and Asia. We question whether ideas about men/women and
masculinity/femininity within Asian cultures require modification. We
compare film and television from the United States and Japan. We seek to
understand gender not as an abstraction but as an observable influence on
our everyday lives. (3 credits)
Global Political Economy NECO3270
Jonathan Cogliano
This course explores power and structure in the global economy in historical
perspective, including the development of the labor process under capitalism;
the economics and politics of international trade, foreign investment, and
transnational corporations; the idea of economic development; and the
functions of military power. We examine the changing role of the state,
international institutions, and private corporate interests in shaping the
character of global economic development, including issues of modernization
and dependency. We also focus on the influence of various global economic
arrangements on international cooperation, war, and peace. Historical topics
include the rise of capitalism in Europe; colonialism, imperialism, and the
growth of the global economy; causes and consequences of social change
and economic crises; and the roots of contemporary neoliberalism and
globalization. (3 credits)
15
Social Sciences
Anthropology and Sociology
NEW Piracy and Banditry: Lawlessness in the Era of
Globalization NSOC3778
NEW Family Values: Statistics for the Social Sciences NSOC3006
A 15 sessions. Mon., 6:00–7:50 p.m., beg. Aug. 30. $620.
Elizabeth Ziff
Our world is saturated with statistical information; we are bombarded with
facts and figures from all areas of society on a daily basis. Learning how
statistics are generated and how data is analyzed is important for everyone
from quantitative researchers to consumers. This course is an introduction
to statistical analysis. Students learn the underlying theory of statistics and
the mechanics of hypothesis testing, z-tests and t-tests, ANOVA, and linear
regression. This term, we practice statistical analysis through an exploration
of the institution of the family in contemporary society. How many different
family structures are prevalent in society? Does the model of the nuclear
family still represent the norm? How should we create family policy?
Using both primary and secondary statistical sources, we investigate these
questions, considering how the family unit interacts with outside institutions
in the political, legal, medical, and cultural spheres. Knowledge of basic
algebra is recommended. (3 credits)
Gema Santamaria Balmeceda
This course examines contemporary expressions of criminality that pose
difficult challenges to social and legal order both locally and globally. The
class analyzes them through two tropes or figures of speech that occur
frequently in conceptual and historical studies of criminal and illegal
activities: pirate and bandit. In light of present global configurations,
characterized by dynamic yet heavily policed borders, we concentrate on
nomadic or transnational forms of criminality that challenge political
demarcations. These forms also illuminate the paradoxical intersection of
neoliberal discourses on globalization, openness, and transnationality with
discourses on securitization, control, and criminality. What alternative kinds
of economic regulation have been introduced in response to acts of piracy
and banditry? Can we envision economic criminality that also embodies
political resistance? What is the difference between the telluric bandit
and the nomadic pirate? The course is intended to help students develop a
critical understanding of the politics of criminalization and an awareness
of the challenges that boundless forms of criminality represent to common
conceptions of sovereignty, citizenship, and rights. (3 credits)
NEW Documenting Culture: Anthropology in Practice NANT3101
Social Dimensions of Shame NSOC3855
Gustav Peebles
This course introduces students to the real practice of anthropological work:
ethnographic research and writing. The course is organized chronologically,
starting with early classic ethnographies, then moving through theoretical,
methodological, and ethical critiques of ethnography, and finally surveying a
range of new ethnographies. (3 credits)
Aleksandra Wagner
NEW Minorities and Economic Life: From Taxi Drivers to
Goldsmiths NANT3662
ON L INE
Leilah Vevaina
This course explores the spaces and places of minority groups in the
economic life of nations. We begin by defining “minority” and briefly
discussing theoretical approaches to minorities. Mainly, though, the
course focuses on case studies of the trajectories of minorities, including
elites, women, and disadvantaged groups, in particular societies and the
contributions or perceived contributions of each group to the “wealth” of
the nation. The first case studies are from the United States, an immigrant
society that includes many minorities and is marked historically by the
institution of African slavery and poor relations with its native populations.
We then examine the situation of minorities in the economic life of India,
South Africa, and Germany, where different historical experiences of
inclusion and exclusion have led to dramatically different ways of judging
the contributions of their minorities. (3 credits)
ON L INE
16
This logo indicates that the course is offered online. See page
75 or visit the website at www.online.newschool.edu for more
information.
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
subterfuge. Our goal is to understand shame and its effects, from conformity
to violence, 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)
Urban Spaces: Sociological Perspectives NSOC3670
ON L INE
Jürgen von Mahs
Sociologists approach the question of what constitutes urban spaces from
a variety of perspectives. We examine a number of theoretical frameworks
that can help us understand how urban spaces are constituted by political,
economic, and social processes operating on multiple interconnected
scales, from global to local. Specifically, we examine how functionalist,
structuralist, poststructuralist, and postmodern approaches conceptualize
the relationships between broad social processes, urban spaces, and people’s
daily lives in cities. We pay particular attention to the way race, class, and
gender inequalities shape the social and spatial organization of cities. We
explore contemporary debates concerning types of spaces including ghettos,
barrios, ethnic neighborhoods, skid rows, gentrified spaces, tourist areas,
industrial wastelands, and suburbs. (3 credits)
Social Sciences
Psychology
NEW Interrogating America: Anthropology of the
United States NANT3521
Fundamentals of Psychology NPSY2001
Rachel Heiman
Anthropology is often thought to involve the study of foreign peoples, but
many anthropologists have focused their attention on their own countries.
In recent years, there has been a surge of anthropological studies of the
United States. This course explores contemporary ethnographic studies on
forms of inclusion and exclusion in the United States based on race, religion,
class, and citizenship. We read about new technologies that are transforming
financial markets and nuclear stockpiles. We explore social solidarities that
are reimagining gendered frontiers and urban futures. We end by posing
critical questions about the boundaries of the nation-state with a focus on
immigration law, military bases, and global clinical trials. Our ethnographic
texts take many places and groups as their subjects, from Tennessee to
tobacco farms, from Los Alamos to Latino/a youth, from California to
casinos. (3 credits)
Urban Homelessness: Civic Engagement and Activism in the
City NSOC3786
Kristin Nelson
B 15 weeks, Aug. 30 thru Dec. 20. $620.
ON L INE
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)
Original Sources: Landmark Studies in the History of
Psychology NPSY3045
ON L INE
Jürgen von Mahs
We study the multifaceted problem of the urban homeless through
service learning, which involves field experience within an academic
framework—working with homeless service and advocacy organizations
in New York City. Online coursework includes discussion of the nature,
extent, and causes of as well as social and policy responses to homelessness.
Students are also required to volunteer on site with one of two New York
City-based homeless service and advocacy organizations—the Coalition for
the Homeless and Women in Need—performing assigned tasks (evening
volunteer opportunities are available). The course challenges common
stereotypes about homeless people, promotes understanding of the challenges
and constraints homeless service providers face, and helps students
think about the problems in creative, innovative, and unconventional
ways. (3 credits)
A 15 sessions. Tues., 12:00–2:45 p.m., beg. Aug. 31; plus online
discussion group. Credit students only.
Toby Talbot
ON L INE
Celesti Colds Fechter
Although there is variation in psychologists’ must-read lists, a few classics
are always cited: “oldies but goodies” such as Milgram’s study on obedience
and Zimbardo’s prison simulation, which have attained star status and, a
generation after they were conducted, continue to inform us about human
behavior. We read Bandura, Ross, and Ross’s frequently cited study of
children’s imitation of violent behavior; Freud’s very engaging “Little Hans”
case study, Watson’s somewhat troubling “Little Albert” case study; and
Harlow’s good mother-bad mother “monkey love” study. We read Steele
and Aronson on stereotype threat and Glick and Fiske on benevolent
sexism. Along the way, we examine the ethical dimensions of psychological
experimentation and discuss whether some of the studies we read could or
should be carried out today. (3 credits)
Theories of Personality NPSY3401
Jamieson Webster
This course introduces theories of personality through primary texts. It
begins with the groundbreaking research of Sigmund Freud and his theories
of sexual development and the unconscious. The class moves on to the
modern Freudians, from Otto Fenichel and Wilhelm Reich to Margaret
Mahler and Erik Erikson, and then to Melanie Klein and the British Middle
Group—Donald Winnicott, Wilfred Bion, and others. Interpersonal and
relational theories, which emphasize not the inner mind but the interactional
self, are considered next. The course concludes with contemporary
perspectives on gender, feminism, language, existentialism, and behaviorism.
Throughout, personality is discussed as an intersection of factors including
biology, development, and culture. Students are asked to question the
definition of a “normal” personality in studying how each theorist situates
the abnormal or pathological. We draw on cultural and clinical texts to
illuminate the abstract theories and examine the role of psychoanalysis in
shaping the current Western understanding of the self. (3 credits)
Psychoanalysis and the Secular Subject NHUM3503
Aleksandra Wagner
There are biographical notes for most teachers beginning on page 86.
17
Social Sciences
Introduction to Neuropsychology NPSY3140
Introduction to Social Psychology NPSY3301
ON L INE
Anna Elise Odom
Kate Jassin
The brain’s function has been an enigma throughout history, but in the
last decade, great strides have been made in this area of research. In this
course, we employ the psychological perspective of neuroanatomy and
neurophysiology to develop an understanding of how the brain produces
thought and behavior. We look at the way neural activity produces our
perception of the world, our behavior, our cognition and memory, and our
emotional life. We also explore how psychoactive drugs affect these processes
and how neural activity produces conscious awareness and plays a role in
mental illness and substance abuse. (3 credits)
How much of a role does social influence play in our lives? How do we
form certain stereotypes? This course focuses on the construction of social
reality in the minds of individuals and the influence of social contexts on
cognition and behavior. Through a series of lectures, films, demonstrations,
and small-group discussions, students are introduced to the perspectives and
research methods of social psychology. They also learn to analyze the social
situations and events encountered in everyday life. Topics include social
cognition; self-perception and self-esteem; perception of others, attitudes,
and persuasion; stereotypes, prejudice, and discrimination; intergroup
conflict, obedience, and conformity; aggression and altruism; and human
relationships and attraction. Students learn how social contexts influence
cognition and behavior and how individuals participate in the construction
of social realities. (3 credits)
Developmental Psychology NPSY3256
Allison Mitchell
How do people grow and change throughout life, from conception to
death? This course introduces students to the field of human developmental
psychology. Among the topics addressed are characteristics and capacities of
the infant, infant-parent attachment and interaction, cognitive development,
emotion regulation, social cognition, family and peer relationships, morality,
and aging. The class considers both biological and cultural influences
on development as well as issues in the field of life-span developmental
psychology. Students learn about the research methods developmental
psychologists use to ask and answer questions about change and stability
across the course of life. (3 credits)
The Psychology of Attachment: Parent and Child NPSY3213
Harry Lewis
This course explores pioneering scientific research in child development,
particularly the models developed by John Bowlby and Daniel N. Stern.
Bowlby’s theories of attachment, separation, and loss in childhood are
reviewed and placed in the context of current child development research
projects in biology, anthropology, and psychology. Special attention is paid
to Stern’s ongoing work in mother-child attunement and to key attachment
theorists like Mary Ainsworth, Melvin Konner, Margaret Mahler, Harry
Harlow, L. Alan Strowfe, Marshal Klaus, and John Kennell. (3 credits)
Introduction to Abnormal Psychology NPSY3501
Bella Grossman
Through a data-driven model for normal development, students explore
basic concepts of psychopathology and contemporary approaches to
diagnosis and clinical interventions. We study the works of seminal theorists,
including Sigmund Freud, as well as more recent approaches emphasized in
The Harvard Guide to Psychiatry. Students are introduced to the Diagnostic
and Statistical Manual and consider its uses and drawbacks in an increasingly
complex field. (3 credits)
U n d e r g r ad u a t e D e g r e e P r o g r am f o r A d u l t s
The New School Bachelor’s Program provides an opportunity for students
to complete undergraduate degrees at their own pace in a largely selfdesigned liberal arts program. For more information, call 212.229.5630.
18
NEW Cultural Psychology: New York City Through Immigrant
Eyes NPSY3347
Laura Stephens
For years, psychological research was shaped by a belief in universality that
effectively ignored the impact of culture. Recently culture has received more
serious consideration in psychological theory. Psychologists have begun to
examine cultural influences on moral development, cognition, and memory
and to reconsider basic tenets of the scientific method, including the
generalization of research findings. New York City’s multicultural landscape
provides a rich field for investigating fundamental theories of social,
cultural, and developmental psychology employing this refreshing new
perspective. This course is an opportunity to see and experience this city of
immigrants through a psychological lens. (3 credits)
NEW Political Psychology: Mass Killings, Reconciliation,
Forgiveness, and Altruism NPSY3836
ON L INE
Gerda Lederer
This course brings together students from the University of Salzburg in
Austria and The New School to study some of the most urgent problems
confronting the world today. Guided by the insights of political psychology,
students investigate cases of mass violence and reconciliation. Political
psychology promotes an interdisciplinary understanding of political
processes and human relationships, drawing on the disciplines of psychology
and political science as well as the methods of sociology, history, economics,
and anthropology. Students use this perspective to research the origins of
violence and aggression and of altruism and reconciliation through their
manifestations in the 20th and 21st centuries. The class also compares
cultural perceptions of these phenomena in Austria and the United States.
The language of instruction is English, but required literature and films are
usually available in both German and English. (3 credits)
Social Sciences
The Psychology of Men NPSY3844
Introduction to Visual Perception NPSY3816
Warren E. Spielberg
Clarissa Slesar
Men grapple with identity, work, fatherhood, and the heroic male ideal.
Men and boys lead statistics for violent crimes, suicide, early mortality,
school failure, learning disabilities, and a host of psychiatric maladies. This
course considers the complexities of male psychology, beginning with the
neurobiology of, and psychoanalytic perspectives on, male development
through the life cycle. We move on to examine the historical origin of the
traditional male role model in Western civilization and contrast it to models
in other parts of the world, incorporating more recent feminist critiques. We
pay special attention to boyhood in the United States, including issues of
sexuality, race, and violence. We conclude by considering various treatment
models used in psychotherapy to address the particular psychological
problems of men. (3 credits)
Why do we see what we see? This course introduces the fundamentals
of visual perception and examines the major contributions to the field
throughout its history and their relevance to the world in which we live. We
discuss the questions that the pioneers in the field addressed: How do we
perceive shape, color, distance, size, and light? Are we born able to perceive,
or do we learn how? What does it mean to pay attention, and what do we
perceive when we are not paying attention? We examine various visual
illusions and perceptual phenomena and discuss how and why they work.
Students are introduced to current research in visual perception and are
encouraged to develop their own investigative questions and the methods
with which to answer them. (3 credits)
Evolutionary Psychology NPSY3870
A 15 sessions. Thurs., 10:00–11:50 a.m., beg. Sept. 2. $620.
The Psychology of Creativity NPSY3839
ON L INE
Gina Turner
Evolutionary theory suggests that the behavior of animals, including
humans, is shaped by biological drives like survival and reproduction.
These drives influence the way we interact on both the personal and the
cultural levels. In addition, culture itself has imperatives that exert pressures
on human behavior. Evolutionary psychology looks at how the culture we
live in can be as much of an factor in human development as the genes we
receive from our parents. In this course, we look at milestones in the human
lifespan (including parent-child relationships, family interactions, mate
choice, illness, and social interactions such as friendship and violence) and
possible explanations from an evolutionary perspective. (3 credits)
Psychological Testing: Theory, Practice, and Potential NPSY3740
ON L INE
Allison Splaun
Since its inception, psychological testing has grown increasingly popular and
important. Tests on personality factors, adaptive and emotional functioning,
intelligence, academic and professional achievement, skills and interests for
career choices, health and well-being, and relationships flood the market.
Companies and organizations assess current and potential employees for
selection and development purposes; laypersons seek insights into themselves
as a basis for self-enhancement and life decisions; mental health care and
clinical professionals collect information to decide on and tailor therapeutic
treatments. This course introduces students to theory, practice, and ethical
issues related to psychological testing. We discuss the differences among
subjective, objective, and projective methods and review the most important
and popular tests. Concepts such as reliability, validity, and norms are
explained as prerequisites for understanding assessment and interpreting
test scores. We discuss cases and reports, and students gain experience by
administering tests in class. (3 credits)
Patricia Simko
Creativity is both a central goal and a vexing challenge for most of us. We
struggle with our inner thoughts as we strive to put forward the best possible
image of ourselves. Our most challenging creation is our own self, a work-inprogress that is never completed. In this class, we examine the literature on
creativity, including classic and psychoanalytic theories of creativity, and
explore exercises for moving beyond our own limitations to become our best
self. The course involves reading, exercises, and life experiments to lead to
both a cognitive and an experiential understanding of the creative nature of
the self. (3 credits)
Introduction to Social Work NPSY3850
Michele Frank
This course introduces students to the challenges and goals of social
work and to the history of social welfare. We focus on the essentials of
therapeutic practice with individuals, couples, groups, and the community.
We explore the skills needed in working with a range of cases, from the
high-functioning private practice client to the crisis-oriented disturbed
patient. We study the range of work settings for social workers, from private
clinical practice to mental health settings, such as child welfare, health care,
gerontology, and justice and corrections, as well as policy and international
work. We also review the career trajectory for social workers, from entering
graduate school to beginning professional practice. Assignments include
exercises that simulate therapeutic encounters. (3 credits)
Creative Arts Therapy Certificate
This curriculum prepares students for various careers in the human services
professions. The certificate is awarded for completion of nine courses,
including an internship. See page 67.
Can't find what you want? The subject index begins on page 100.
There is an index of courses by course master ID beginning on page 98.
19
H U M A NI T IE S
Humanities
Special Art in Special Places NARH0720
Art and Music
A 6 sessions. Tues., 1:30–3:30 p.m., beg. Oct. 5; meets alternate weeks.
$275.
Cultural Studies
Elaine R. Werblud
Literature
Philosophy and Religion
Carolyn Vellenga Berman, Chair
Great works of art, literature, and music, along with
profound philosophical thought, have the capacity to bridge
ages, languages, and cultures. The study of cultural works
in the context of their own times and places, as well as
ours, is the cornerstone of a liberal arts education. It
provides crucial fuel for artists, writers, musicians, and
thinkers of all kinds, and it helps develop the kinds of
skills—critical reading, attention to detail, and analytic
writing—that are useful in all walks of life.
This course introduces students to the artist’s art world. The class visits
exhibitions, studios, workshops, private collections, and works in public
sites. What are the issues facing contemporary artists? What obstacles and
benefits do the latest technological advances present? What is involved in
mounting an exhibition? What is the relationship between artist and gallery?
Visiting artists discuss these and other art world concerns. A list of sites to
be visited is distributed at the first session. (noncredit)
Survey of Western Art 1 NARH2002
Matthew Guy Nichols
This course examines the history of Western art and architecture from
antiquity through the 14th century, providing a broad understanding
of visual expression through the ages and a solid foundation for more
specialized study. Beginning with ancient Egypt, we explore the artistic
achievements of many cultures, including ancient Greece and Rome,
Byzantium, and medieval Europe. Students gain essential skills for analyzing
fine art and architecture, as well as insights into the social and political
climate of each place and period. Slide-illustrated lectures are supplemented
by weekly readings. Students produce written projects in which they analyze
works in the Metropolitan Museum of Art. (3 credits)
To learn more about our humanities courses, come to our open house
and speak to members of our faculty and staff. No reservation is
Art and Music
Art and Architecture
The Art of Viewing Art: Learning from Current
Exhibitions NARH0010
Note: Credit students must register for NARH3010, below.
John Zinsser
Learn to use the city’s galleries and museums as your classroom. Each week,
students are assigned to visit a different exhibition. The lecture that follows
investigates that show’s meanings both in its art historical context and
from a more broadly 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 shown. The wide array of art
exhibitions and shows in New York are richly rewarding for those who know
how and where to look. (noncredit)
The Art of Viewing Art: Learning from Current
Exhibitions NARH3010
A 15 sessions. Thurs., 1:00–3:50 p.m., beg. Sept. 2. Credit students only.
John Zinsser
Same as NARH0010, but class sessions continue one hour longer for credit
students. (3 credits)
20
Chinese Art and Culture NARH3504
Instructor to be announced
This course examines major characteristics of Chinese art and material
culture from the Neolithic period to the present. Topics include the
relationship between art and state power during the Shang-Zhou period; the
influence of ancestral veneration on early dynastic artifacts; the impact of
Buddhism on art and architecture from the fifth to the tenth century; early
painting, the art of calligraphy, and the technology of ceramics; Chinese
conceptions of nature, Song and Yuan landscape painting, and Ming garden
culture; the influence of imperial patronage on aesthetics in the 14th to the
18th century; the changing role of the artist during the late imperial period;
westernization and traditionalism in the late 19th to the early 20th century;
art and politics in Communist China; and contemporary art in the era of
globalization. Lectures are supplemented by field trips to museums and
galleries. (3 credits)
Nineteenth-Century Art: Painting the Interior NARH3369
Valerie Mendelson
This course explores the culture of the interior space in 19th-century France,
concentrating on paintings of interiors by Degas, Caillebotte, Cassatt, and
Morisot. Students examine these masterpieces in the context provided by
period texts on interiority, home design, collecting, and fashion. From the
rebuilding of Paris in the Second Empire to the marketing of interior design
in the art nouveau period, the interior space was a locus of changing notions
of privacy, gender, and psychology. Case studies include Dornac’s series of
photographs Nos Contemporains chez eux, Caillebotte’s Floor Scrapers and
class structure, Degas’ Billiard Room and private collection, and Morisot’s
visions of domesticity. The class considers how the development of new
markets, institutions, and art criticism shaped the visual culture revealed in
these works of art. Some general knowledge of 19th-century art and French
culture is useful but not required. (3 credits)
H U M A NI T IE S
Music
Art of the 1960s and 1970s NARH3729
Paula Stuttman
Music Around the World NMUS3520
The roots of contemporary art are found in the art movements of the 1960s
and 1970s. We examine this time period through lectures, images, films,
and readings. Pop, minimalism, conceptual art, fluxus, and performance
art are some of the topics covered in this course. Artists discussed include
Andy Warhol, Joseph Beuys, Yoko Ono, Carolee Schneemann, and Marina
Abramovic. New York’s thriving art scene and The New School’s own
art collection serve as resources. The final assignment is a proposal for a
curatorial project of the student’s own design. (3 credits)
Ways of Looking: Interpreting Cities and Spaces NARH2800
Margarita Gutman
To fully experience and understand city life, one must see the richness of
urban shapes and spaces. This foundational course examines cities and
spaces through the prism of the eye, focusing on the interpretation of visual
representations of change and continuity in the context of urban history
and urban theories. Through images, graphics, maps, photos, films, and
paintings, the layers of shapes, spaces, cultures, functions, and symbols
condensed in the contemporary city are explored. Visual examples are found
in Barcelona, Mexico City, and New York City. In consultation with the
instructor, students, working individually and in groups, select themes and
approaches in different cities, applying categories of urban analysis and
visual representation to understand the historic origins of contemporary
urban challenges and expectations for the future. Students learn to recognize
categories of visual representation and analyze landscapes, infrastructures,
and architecture. (3 credits)
The Insecure Metropolis: (Re)Constructing the Modern City from
Haussmann to the World Trade Center NARH3871
ON L INE
Emily Bills
This course explores how the built spaces of the modern metropolis have
been linked to various experiences and expressions of anxiety, alienation, and
control. We begin by tracing early interpretations of the industrial city as
labyrinthine and fragmented, a locus of both discovery and invisibility that
provoked radically new, but also conservatively historicist, incursions into
the city fabric. Examples include Baron Haussmann’s surgical reorganization
of central Paris as a gesture of both antirevolutionary sentiment and hygienic
intervention; postwar reconstructions in Europe, with reference to Alois
Riegl’s seminal essay on monuments as markers in the city, as agents of
memory and national identity; and the debates surrounding the increasing
privatization of place and civic resistance. We conclude by reviewing the
history of the World Trade Center site and architectural, political, and
ideological issues surrounding its reconstruction. (3 credits)
Aesthetics: An Introduction to the Philosophy of Art NPHI2830
Todd Kesselman
Mexico: Arte y Cultura NSPN3723
Cristina Ross
Conducted in Spanish. See page 57. (2 credits)
Joseph Di Ponio
This course examines the role of music in a variety of cultures in regions
including Africa, Indonesia, Japan, and South America. The history of
music is linked to the larger social history of these places, and the role of
music in a given culture is intimately linked to other social and religious
practices. It is thus crucial to understand music not only in terms of stylistic
differences but as a cultural practice. Culture is represented through music
in many ways, as music is a reflection of collective as well as personal beliefs.
How are social conceptions of love and courting, spirituality and religion,
politics, power and war, and medicine and healing expressed through
music? How does musical expression relate to beliefs and social norms in
a society? How do the elements of melody, harmony, rhythm, timbre, and
texture come into play? Students read the writings of both well-known and
less prominent ethnomusicologists who have explored these ideas. The class
listens to and views audio and visual recordings of music making from a
variety of world cultures. The objective is to provide students with a deeper
understanding of the construction of the world’s music and the meanings it
conveys. (3 credits)
Music in the Age of Romanticism NMUS3515
Marc Peloquin
This course is designed for students who want in-depth exposure to
masterworks from one of the richest periods of music history. The years
following Beethoven’s death in 1827 saw a rapid development of new
techniques and styles, which soon came to dominate the music world. We
examine these developments and study the Romantic composers whose
contributions changed the course of music. Beethoven’s Ninth Symphony,
Brahms’ A German Requiem, Chopin’s Nocturnes, Berlioz’s Symphonie
Fantastique, and Verdi’s Aida are some of the works we discuss. This course
includes performances by the teacher as well as guest artists. The goal is for
students to develop the skills that make listening to the Romantic repertoire
a richly rewarding experience. (3 credits)
How to register
Discover.
this catalog.
9:30 a.m.–5:00 p.m.
21
H U M A NI T IE S
The Golden Age of American Popular Song NMUS3562
Rock Opera NMUS3570
John E. Halsey
Sonya Mason
The great American popular composers of the 20th century (Irving Berlin,
Jerome Kern, Cole Porter, George Gershwin, Richard Rodgers, Harold
Arlen), along with outstanding lyricists such as Lorenz Hart, Ira Gershwin,
Johnny Mercer, and Dorothy Fields, produced a body of songs that are
still thrilling to hear and fully deserving of the label “classics.” This course
examines the music of the most fertile period in American song, roughly
1920–1960, and the cultural context from which it emerged. This was a time
when popular music and “good” music overlapped—when Broadway, jazz,
Hollywood, and Tin Pan Alley intermingled and influenced one another. It
was also the period when the modern urban lifestyle came into being, when
crosscurrents from different social classes and ethnicities sparked a wave of
creativity unique in American cultural history. Lectures and discussions are
supplemented by recordings, videos, guest speakers, and performers. When
possible, class excursions to concerts and cabarets are arranged. (3 credits)
When The Who’s Tommy burst on the scene in 1969, first as an album with
a complex storyline and 24 interconnecting songs, later as a stage and movie
musical, it was regarded as a milestone in rock history. How has the genre
fared since? What defines a rock opera? What makes a good rock opera?
Is there a blurring of the lines between a rock opera and a concept album
and even a rock musical? This course traces rock opera’s development; its
relationship to opera and rock; its complex themes of religion, nihilism,
stardom, truth, gender, hedonism, love, personal loss, and violence; and
the musical elements that hold these stories together. We investigate this
fascinating subject by examining musicals and films including Jesus Christ
Superstar, Quadrophenia, Rocky Horror Picture Show, and Hedwig and the
Angry Inch, and artists such as Tim Rice and Andrew Lloyd Webber, The
Beatles, Pink Floyd, David Bowie, Frank Zappa, and Prince. (3 credits)
Music from Abstract Expressionism to New Wave NMUS3565
Jean Oliver-Cretara
Ryan Dohoney
This course explores the cultural intersections of music, visual art, and
performance in New York City in the second half of the 20th century.
Through music, the class undertakes an interdisciplinary study of
experimental and avant-garde communities in the period 1945–1990.
These communities were at the forefront of experimental music, abstract
art, modern dance, improvisation, assemblage art, performance, and
theatricality, as well as punk and new wave. Students examine expressive
practices through critical engagement with case studies in multimedia
performance, enhanced by readings that situate them historically, socially,
and politically. Artists studied include John Cage, Merce Cunningham,
Morton Feldman, Meredith Monk, Joan La Barbara, Julius Eastman,
Laurie Anderson, Philip Glass, Robert Wilson, Arthur Russell, George
Lewis, Kathy Acker, Richard Foreman, David Wojnarowicz, and Peter
Gordon. (3 credits)
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Music as Communication NCOM3050
The Song Hunter: Documenting Music in America NCOM3056
Suzanne Snider
H U M A NI T IE S
Cultural Studies
Paris-Berlin Express: Twentieth-Century Cultural
Encounters NHUM3046
The Origins of Secular Society: A Jewish Intellectual
History NHUM3502
Terri Gordon-Zolov
A 15 weeks, Aug. 30 thru Dec. 20; plus supplemental on-campus
meetings Tues., 6:00–7:00 p.m., dates to be arranged. $620.
ON L INE
Gina Luria Walker
How did secular pluralism evolve? What experiences fostered early European
multicultural toleration? Did the need to tolerate others’ perspectives emerge
out of particular historical crises? We respond to these questions with an
alternative narrative to traditional Western intellectual history—how in
times of great persecution some Jewish thinkers advanced a contingent
appreciation for religious and cultural differences as a matter of expedience
or, in some cases, from secular conviction. One inadvertent outcome of
some of these reactions was the positing of a critical distance from religion
altogether. We look at several historical contexts in the history of toleration
to identify idiosyncratic reactions by certain Jewish thinkers and actors,
including the differences between women’s and men’s responses. Readings
include selections from works by Moses ben Maimon (Maimonides)
(1135–1204), Menahem ben Solomon Ha-Me’iri (1249–1316), Jean Bodin
(1529/1530–1596), Glueckel of Hameln (1646–1724), Solomon Maimon
(1753–1800), Baruch Spinoza (1632–1677), Hertha Ayrton, née Marks
(1854–1923), and modern commentators on the history of toleration and
Jewish intellectual history. This course is online with supplementary meetings
at The New School; students who cannot come to campus may take it exclusively
online. (3 credits)
Fictions of Diaspora NHUM3151
Tracyann F. Williams
This course examines the literatures created out of the experiences of African
people in diaspora from the 18th century to the present. We concentrate
on responses to the Atlantic slave trade, also known as the Middle Passage.
By considering the symbolic and literal meanings embedded in the Middle
Passage, we analyze the slave trade, colonialism, postcolonialism, and
neocolonialism as a shared cultural heritage in texts from Africa, Britain,
and the Americas. We reflect on the historical effects of the forced migration
out of Africa and enrich our understanding of Black diasporic literature with
visual texts, film, and music. (3 credits)
Like Louise Brooks’ Lulu, the prototypical femme fatale, the seductive cities
of Paris and Berlin continually exerted power over artists and writers in the
20th century. Caught in an obsessive love-hate relationship, France and
Germany engaged in a dialectic marked by fiery aggression and mistrust on
the one hand and mutual fascination and attraction on the other. We explore
the explosive ongoing cultural exchanges between these two nations as they
struggled with both their individual identities and their collective European
identity. This course takes us on a journey from the dreamlike Paris of the
surrealists to the nightmarish Berlin of the expressionists, from the home
front to the trenches, from futuristic visions to present realities. (3 credits)
NEW Psychoanalysis and the Secular Subject NHUM3503
Aleksandra Wagner
“How did it happen that none of the godly ever devised psychoanalysis,
and that one had to wait for a godless Jew?” Sigmund Freud famously
asked in a letter to an early associate. This question has been interpreted
in different ways: as Freud’s response to the Viennese crisis of modernity,
as an element of his relationship with his Jewish identity, and as a sign of
the alignment of his atheism with his attempt to construct psychoanalysis
as a secular, scientific project. This course explores the complex dialogue
between psychoanalysis and the process of secularization on both sides of
the Atlantic. We focus first on the psychoanalytic pioneers in Vienna and
Berlin in the first decades of the 20th century and then on the American
context that shaped the formation of “a new kind of Diaspora,” as Anna
Freud called the forced emigration of Jewish psychoanalysts from Europe.
Our investigation is grounded in the premise that the notion of the secular
needs to be rethought and recontextualized. The question of psychoanalysis
as a “Jewish science” is posed in relation to the works of Freud and his
most cogent interpreters and to the works of European psychoanalysts who
emigrated to the United States: Erich Fromm, Frieda Fromm-Reichmann,
Theodor Reik, Heinz Hartmann, and Hans Loewald. (3 credits)
The Experience of Spectacle in Contemporary Society NHUM3107
Yunus Tuncel
We look at the phenomenon of spectacle from diverse but interrelated
perspectives and try to understand what is at work in our “spectacular
experiences.” As we read from authors such as Kant, Nietzsche, Heidegger,
Artaud, and Debord, we try to understand what spectacle is, its dynamics,
and its sign language. Is spectacle what a culture considers worthy of
collective representation? If so, how does an artistic spectacle such as
film differ from other types of spectacles such as sports? As we pose these
questions and others, we examine various pertinent issues: imagination
(the beautiful and the sublime), ecstasy-participation, technology, feelings
and catharsis (violence and discharge of emotions), the unconscious and
transference (individual and collective), and alienation. The course is
designed to be interactive; our readings are blended with our everyday
experiences of spectacle. We view multimedia works and film and discuss
them in light of the theories covered in class. (3 credits)
Is your schedule tight? There's a list of courses by start date and time
on page 95.
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H U M A NI T IE S
Literature
Uncovering the Real NHUM3034
Steven Milowitz
Simple questions of subjectivity and bias and complex philosophical
questions about the nature of reality make any attempt to identify truth
problematic. The current fascination with the real—reality television,
political nonfiction and documentary, memorial making, memoir—reflects
not merely our voyeurism and craving for gossip but our deeper longing for
clarity, our need to make sense of our world and of ourselves. We investigate
how writers (Truman Capote, Alice Sebold, Philip Roth, Dave Eggers, James
Bradley, Lauren Slater), photographers (Weegee, Robert Adams, Robert
Capa, August Sander), journalists (Janet Malcolm, Anthony Lewis, A.M.
Rosenthal, Anna Quindlen), filmmakers (Michael Moore, Ken Burns), and
architects (Maya Lin, James Ingo Freed) attempt to order and re-order their
worlds. We evaluate their methodologies and skills, uncovering, finally, how
they have represented and how they have altered the reality they set out to
reveal. (3 credits)
Gender and Popular Culture NHUM3152
How is gender defined and replicated by the media? How much can we
define “masculine” and “feminine” without the ideas of the popular media?
By grounding our conversation in sociological theories of identity as well
as critical feminist and race theories, we examine how popular culture
shapes our perceptions of what is masculine and feminine. Maintaining a
contemporary focus, we also consider the historical context of trends in our
perceptions of gender identity. Topics may include television, movies, music,
rituals, advertising, and sports. (3 credits)
Cinema and Ideology NFLM3433
ON L INE
Marina Shron
Literary Traditions
Introduction to Literary Traditions NLIT2001
Nicholas Birns
This course surveys a wide spectrum of literature, from ancient texts to
postmodern and postcolonial works. In addition to preparing students for
advanced courses in literature, it provides a framework for considering how
we became the writers and readers we are today and how we might generate
the insights we’ll need to become the readers and writers of tomorrow.
Reading the Bible in juxtaposition with the Qu’ran and the Tao Te Ching
and the Homeric epics in dialogue with later works derived from them,
we examine the evolution of the modern poem, short story, and drama.
We discuss common literary tropes like metaphor, symbol, and allegory
and examine the differences between them. Organized thematically rather
than chronologically, this course provides a basic set of tools with which to
conduct literary analysis without presuming a single authoritative tradition
or canon. It prepares students to participate in debates over the formation of
the literary canon and its deconstruction. (3 credits)
Ten Plays That Shook the World NLIT3802
Justus Rosenberg
The plays analyzed and discussed in this course are considered milestones in
the history of theater because of their innovative use of language, form, and
thematic treatment and the insights they provide into the human soul. They
all test our aesthetic, intellectual, and emotional boundaries, leading us to
reflect on the nature of love, ambition, loneliness, and self-righteousness,
and they ultimately deal with the universality of the human condition. We
begin in the classical period, reading Sophocles’ Antigone and Euripides’ The
Trojan Women. We move on to the Renaissance and the Enlightenment,
reading Shakespeare’s Hamlet and Goethe’s Faust. Continuing into
European modernism, we read Chekhov’s Uncle Vanya, Ibsen’s A Doll’s
House, and Strindberg’s Dance of Death. Finally, we examine the radical
currents in Brecht’s Mother Courage, Ionesco’s The Bald Soprano, and
Beckett’s Waiting for Godot. (3 credits)
Major American Writers of the Nineteenth Century NLIT3315
Jane J. Benardete
This course explores a selection of essays, short stories, poems, and novels
by Emerson, Thoreau, Poe, Hawthorne, Melville, Whitman, Dickinson,
Crane, Jewett, and Wharton—as well as two larger works, The Adventures
of Huckleberry Finn by Mark Twain and Daisy Miller by Henry James.
The historical and social contexts of American transcendentalism and
Romanticism, the rise of realism, the impact of the Civil War, and the
literary expression of feminist issues are considered. All the readings are
included in The Norton Anthology of American Literature. (3 credits)
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H U M A NI T IE S
Great Victorian Novels NLIT3229
Modern and Contemporary British Drama NLIT3267
ON L INE
Abigail Burnham Bloom
Anne Margaret Daniel
England’s Victorian Age ushered in an era of change and creativity. We
examine the greatest novels of the greatest writers as works of creative
fiction, as reflections of their times, and as universally acknowledged
masterpieces. We observe how the concerns of the age (industrialization, the
past, religion, science, the place of women, and colonialism) were explored
within the novel and how these novels differ from those written in the
18th and 20th centuries. Readings include Jane Eyre, Vanity Fair, Great
Expectations, and Heart of Darkness. We read these works and study and
discuss their history and critical reception. (3 credits)
Ever since an Irishman named Oscar Wilde electrified West End stages
in 1891, British drama has reveled in a variety and vitality not seen since
Shakespeare’s day. This course focuses on British playwrights of the 20th
and 21st centuries, from Wilde to Bennett. We read greatest hits (Waiting
for Godot, Cloud 9) as well as new and lesser-known plays (The History Boys,
4.48 Psychosis). There is an acting component to this course, along with close
reading and performance analysis of the plays and class visits by actors and
directors who have worked on them. (3 credits)
Twentieth-Century French Literature NLIT3421
The Southern Gothic NLIT3547
Noëlle Carruggi
Joshua A. Gaylord
This course takes us on an exciting journey through French literature, from
the 1940s to the 1990s. We study a variety of literary genres: essays, novels,
short stories, auto-fiction, plays, and poetry. Analyzing texts from a literary
perspective, we also consider the ethics and aesthetics of each author within
the historical, social, and political contexts (“entre-deux guerres,” World War
II, postwar culture). Topics for discussion include the French Resistance,
colonialism in Algeria, social class boundaries, existentialism, and the
philosophy of the Absurd. We read Camus’ The Stranger (1942), Sartre’s
The Flies (1943), Duras’ The War: A Memoir (1985), Boris Vian’s Poems
(1954), and Ernaux’s A Woman’s Story (1990). Knowledge of French is not
required. (3 credits)
As an artistic genre, the Southern gothic has been America’s contribution
to the sinister heart of darkness that looms grandly over certain corners of
European literature. Within its secret histories, incestuous romances, fallen
nobilities, and inhuman violence, we see the Southern tradition of a courtly
aristocracy crumbling from its foundations, a culture of decaying façades
and hidden horrors. Examining some of the most famous and infamous
Southern gothic novels, this course explores the history and development of
the genre. What distinguishes the Southern gothic from gothic literature in
general? What is the relationship between these texts and the history and
culture of the American South? How has the genre evolved, if at all? What
stylistic innovations does it embody? And, to borrow from Conrad, why
are we so fascinated with these abominations? We read William Faulkner,
Flannery O’Connor, Cormac McCarthy, Toni Morrison, Truman Capote,
Tennessee Williams, Edgar Allan Poe, Eudora Welty, and Poppy Z.
Brite. (3 credits)
ON L INE
Contemporary Stories and Novellas from the Non-Western
World NLIT3603
Justus Rosenberg
Beat Poetry NLIT3369
Walter R. Holland
We go “on the road” again with the Beat poets, exploring such seminal
works as Ginsberg’s “Howl” and moving from the raucous scene of the San
Francisco renaissance to the infamous “Beat Hotel” in Paris. Selected poems
by Gregory Corso, Lawrence Ferlinghetti, LeRoi Jones, Brother Antonious,
Gary Snyder, Philip Lamantia, Denise Levertov, Philip Whalen, Anne
Waldman, and Lew Welch accompany us along the way. We look at the
autobiographical interests of the Beat poets and their influences, from jazz
to French symbolism, as well as their sense of primal nakedness of the mind
and Zen-Tantric Buddhist-Hindu-erotic mysticism, anarchistic Marxism,
and hallucinogenic visions. (3 credits)
ON L INE
Significant short works by some of the most distinguished writers outside
the United States and Europe are examined for their intrinsic literary merits
and the accuracy with which they portray sociopolitical conditions, spiritual
belief systems, and attitudes toward women in their countries. Through
discussions and short analytical papers, students explore such questions as:
To what extent do these writers rely on indigenous literary traditions? How
much have they been affected by Western artistic models and developments
and by competing religions and ideologies? Authors read include Assia
Djebar, Nawal El Saadawi, Ousmane Sembène, Ngugi wa Thiong’o, Chinua
Achebe, Naguib Mahfouz, R.K. Narayan, Anita Desai, Nadine Gordimer,
Mahmoud Darwish, Mahasveta Devi, Tayeb Salih, Cheng Naishan, and
Salman Rushdie. (3 credits)
information.
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H U M A NI T IE S
Topics and Authors
Masters of Narrative: Balzac, Poe, Dickens NLIT3582
NEW Fathers and Sons NLIT3449
Carolyn Vellenga Berman
“There is a radical error, I think, in the usual mode of constructing a
story,” Edgar Allan Poe wrote in 1846. “I prefer commencing with the
consideration of an effect.” This course considers how three 19th-century
writers produced literary effects that continue to haunt us today. We begin
with Poe’s “The Raven” and his essay on composition. Next we consider
Poe’s mysterious tales, including the devastating “Fall of the House of
Usher,” alongside Charles Dickens’ view of the United States in American
Notes. We then read Honoré de Balzac’s early works, including the novella
The Girl with the Golden Eyes and his provocative Physiology of Marriage.
These preliminary readings pave the way for Dickens’ novel Bleak House and
Balzac’s Cousin Bette. Memorable scenes of familial tragedy occur in these
works, from the family ripped apart in Bleak House to the sister rising from
the dead to claim her brother in the “Fall of the House of Usher” to the
illustrious household ruined by the vengeful Cousin Bette. We ask what is
at stake in these narratives of familial loss and how they shape their readers’
experiences. (3 credits)
Terri Gordon-Zolov
In Totem and Taboo (1913), Sigmund Freud imagined a founding patriarchal
myth: In order to usurp the power of their father, a band of brothers kill him
and ingest his body in a totemic meal. Freud’s work sets the stage for a host
of modern European literary works dealing with parricide, filicide, sacrifice,
rebellion, and revolt. This course takes up the motif, considering father-son
dynamics on the psychic, social, and political levels. Through our analysis of
these dynamics, we interrogate foundational myths, patriarchal structures,
and generational struggles. Why is violence a common feature of father-son
texts? To what extent have the father-son paradigms shaped internal
psychological states and external political realities? What counternarratives
exist? We read and discuss Sophocles’ Oedipus Rex, Turgenev’s Fathers and
Sons, Dostoyevsky’s The Brothers Karamazov, Proust’s Sodom and Gomorrah,
and short stories by Kafka. Nonfiction works read include Kierkegaard’s
Fear and Trembling, Kafka’s “Letter to His Father,” and Proust’s “Filial
Sentiments of a Parricide.” (3 credits)
A 6 sessions. Thurs., 8:00–9:50 p.m., beg. Nov. 4. $275.
Ladies of the Night: Women, Romance, and the Gothic
Novel NLIT3857
Andrew Rubenfeld
ON L INE
Frances Chiu
Modern feminist critics are apt to dismiss the gothic novel, complaining
that it portrays women as victims, frightened and powerless. Eighteenthcentury critics, however, were of a different mind. As they saw it, such
novels encouraged women to become “frisky”—in other words, too active
for their own good. This course examines pre-Romantic and early Victorian
gothic novels in their immediate social and political contexts. Why were
female novelists seemingly fixated on the arbitrary father, the dark castle,
the coerced marriage, and the brave virginal heroine? To what extent did
these writers conceive of their fiction of suspense and horror as a medium
of cultural critique? How did they envision its potential as an agent of
empowerment? How did they negotiate masculine norms of behavior? The
readings for this class include the so-called grandfather of the gothic novel,
Horace Walpole’s Castle of Otranto (1764); the first known female-authored
gothic, Clara Reeve’s Old English Baron (1778), and excerpts from her
Progress of Romance (1785); Ann Radcliffe’s Romance of the Forest (1791);
Matthew Lewis’ Monk (1796); Charlotte Dacre’s Zofloya (1798); Mary
Shelley’s Frankenstein; and Charlotte Bronte’s Jane Eyre. (3 credits)
see pages 74–75.
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Nineteenth-Century American Nature Writing NLIT3335
The modern environmental movement in the United States has its roots
in the rich tradition of American nature writing, beginning in colonial
times with naturalists such as William Bartram. We follow the 1804–1806
expedition of Meriwether Lewis and William Clark, who noted in their
journals their wonder at the topography, plants, animals, and native
inhabitants of the vast continent. John James Audubon shared this
admiration, especially for birds, recording them in both words and paint.
This exploration of nature continues among the Hudson River School artists
and the transcendentalist philosophers. We examine Ralph Waldo Emerson’s
seminal essay “Nature” and its impact on works by two of his disciples—
Walt Whitman’s account of his physical and spiritual recovery at Timber
Creek in Specimen Days and Henry Thoreau’s descriptions of his excursions
in The Maine Woods. We conclude with John Muir’s account of his 1869 stay
in Yosemite, My First Summer in the Sierra. (1 credit)
Mark Twain and American Humor NLIT3331
A 6 sessions. Thurs., 6:00–7:50 p.m., beg. Nov. 4. $275.
Andrew Rubenfeld
The works of Mark Twain, in addition to their intrinsic aesthetic merits,
offer rich commentary on 19th-century American culture. American humor,
not far removed from its folkloric origins, is integral to Twain’s writing.
We begin by considering the practical joke of “The Celebrated Jumping
Frog” and the outlandish burlesque and social commentary of Roughing
It. We then enter into Twain’s Mississippi River writings from the period
of his greatest literary success. Old Times on the Mississippi describes Sam
Clemens’ days as a cub pilot, and Twain further mines his youth for Tom
Sawyer, an idyllic celebration of childhood (and a subtle, ironic depiction of
the American dream), and for Huckleberry Finn, a poignant search for moral
certainty in a corrupt world. Episodes of rollicking humor carry much of
the narrative in all three works, but the comedy grows darker and the satire
sharper in each successive work. Finally we read Pudd’nhead Wilson, not an
unequivocal literary success, which openly reveals the author’s darkening
view of Americans in particular and the human race in general. (1 credit)
H U M A NI T IE S
Narratives of Black Women NLIT3898
Gorgeous Coarse Prayers: Eight Women Poets and Their
Worlds NLIT3889
Studying the period from slavery to the Harlem Renaissance, we explore the
history of Black women in the United States through their narratives. We
consider the contexts for these works: the historical realities and subsequent
symbolic use of Africa and the significance of work, health, community, and
sexuality. To experience the complexities and richness of women’s narratives,
we read a variety of texts—chronicles, fictions, visual representations—that
illuminate differing perspectives of the past. Our aim is to achieve a deeper
understanding of the roots of Black women’s experience in the 19th and
early 20th centuries. (3 credits)
Sharon M. Mesmer
Literature of Empire NLIT3863
Herbert L. Sussman
The question of empire has acquired a new urgency at a time when the
United States is regarded by many as an imperial power. To gain perspective,
we read literature of empire from the 19th to the mid-20th century,
when Western European states ruled vast territories in Africa, India, and
Asia; from the postwar period, when nations liberated themselves from
colonial rule; and from the current period. We read works by colonizers
and colonized people and discuss the effects of subjugation and racism,
the transformation of the colonizers by the colonized, the tensions of
independence, and present-day cultures shaped by a colonial past. Readings
include Joseph Conrad, Heart of Darkness; Chinua Achebe, Things Fall
Apart; Rudyard Kipling, The Man Who Would Be King; E.M. Forster,
A Passage to India; J. M. Coetzee, Disgrace; V.S. Naipaul, A Bend in the
River; Graham Greene, The Quiet American; Jhumpa Lahiri, Interpreter
of Maladies, and Moshin Hamid, The Reluctant Fundamentalist. We also
consider films, including Zulu and Apocalypse Now. (3 credits)
Anna Karenina NLIT3443
ON L INE
Margaret Boe Birns
Considered one of the greatest novels and written by one of the world’s most
admired novelists, Anna Karenina is not only a memorable tragic love story
but also a profound exploration of social, psychological, and spiritual issues.
In a complex novel with a cast of hundreds, we find a number of characters
who show us that, as Leo Tolstoy himself said, there are many individual
hearts, many kinds of love, and many ways to find happiness or despair. We
explore in depth the novel’s two main figures, the mysterious and enigmatic
urban socialite Anna Karenina and the good-hearted agrarian Constantin
Levin, both of whom struggle with the sorrows and joys of love, marriage,
and family life, as well as with moral imperatives, existential meaning, and
an increasingly turbulent society undergoing modernization. (3 credits)
ON L INE
Daily life offers a rich and difficult intersection of dream, despair, horror,
grace, and continuous revelation. How have contemporary women poets
responded to these simultaneities? How have they responded to larger
issues such as violence, war, and oppression as mothers, wives, sisters,
lovers, and widows? What genderless personae have they adopted in order
to avoid being identified with those roles? Close readings of their works,
as well as critical pieces by and about them, provide views into their
individual phenomenal worlds. We read and discuss one poet each week:
Diane Wakoski’s emotive surrealism; the sonic wordplay of Jayne Cortez;
Susan Howe’s experimentation with the possibilities of narrative form;
Gwendolyn Brooks’ traditional (but never conventional) use of rhyme and
stanzaic considerations; Barbara Guest’s oblique, painterly landscapes; Anne
Waldman’s oracular chants; Alice Notley’s concern with the role of personal/
universal storyteller; and Tracie Morris’ visions of the new millennium,
informed by the slam and spoken word movements. We examine the
interesting and conflicting roles of male poets in the lives of some of these
women poets—where they are denied, where they are accepted, and how
they appear transformed in the work. Online conferencing with some of the
poets is available. (3 credits)
The American Novel Now NLIT3397
Margaret Boe Birns
This course is devoted to major new American novels by both emerging
authors and established favorites. The readings are chosen for their diverse
narrative strategies, their psychological acuity, and their insightful readings
of American society. We engage topics such as Philippe Petit’s tightrope walk
between the Twin Towers, the legendary Collyer brothers, the midwestern
heartland, contemporary financial meltdowns, global warming, foreign
wars, the border patrol between Canada and the United States, the dying
towns of postindustrial America, and New York City’s theaters and subway.
Sometimes comic and sometimes tragic, our readings examine such matters
as the nature of love, identity, success, happiness, and morality, and address
both the spirit of the times and things of the spirit. We read E.L. Doctorow,
Homer and Langley; Jayne Anne Phillips, Lark and Termite; Colum McCann,
Let the Great World Spin; Valerie Martin, The Confessions of Edward Day;
John Wray, Lowboy; Adam Hassler, Union Atlantic; Philipp Meyer, American
Rust; Lorrie Moore, A Gate at the Stairs; Michelle Huneven, Blame; Jim
Lynch, Border Songs; Dan Chaon, Await Your Reply; Paul Harding, Tinkers;
and Michael Thomas, Man Gone Down. (3 credits)
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H U M A NI T IE S
Philosophy and Religion
Ethics: Values and Choices NPHI2501
ON L INE
Critical Thinking and Informal Logic NPHI2610
Bea Banu
Ethical questions arise every day of our lives. We are often frustrated and
discouraged because ethics is not a science. Even philosophical opinions
vary. Skepticism, relativism, and extreme individualism get in the way of
achieving moral certainty and doing what is right. Yet we continue to search
for goodness. In this course, we confront these difficulties head-on. First we
consider two philosophical accounts of the basis for moral decision making,
Kant’s ethics of duty and Mill’s and Singer’s ethics of usefulness. Then we
think philosophically about specific ethical problems and moral dilemmas,
mostly concerning issues of life and death. (3 credits)
Alexei Procyshyn
Using source material from philosophy and other fields, we study the
principles and methods that distinguish good reasoning from poor
reasoning. We cover the basic concepts of validity, truth, induction, and
deduction and learn to recognize, criticize, and avoid common fallacies.
Through frequent exercises and analytical writing assignments, students
master the skills required to construct sound and persuasive arguments. This
course is foundational for students of the liberal arts. (3 credits)
Introduction to Philosophy NPHI3100
Luis Guzmán
This course surveys the history of Western philosophy from the pre-Socratic
era to the early modern period. Students are introduced to classic
philosophical questions: What is truth? beauty? justice? What are the
essential components of a good life? What are the roles of reason and the
passions? While examining these questions, we also consider how philosophy
has been practiced and how philosophical exercises and reflection take
the philosopher beyond purely theoretical concerns. Students interested
in thinking about reality, the nature of knowledge, and human values
will benefit from this class, a fundamental course for anyone interested in
philosophy. Readings include selections from Plato, Aristotle, Augustine,
and Machiavelli. (3 credits)
Introduction to the Philosophy of Nietzsche NPHI3240
ON L INE
Yunus Tuncel
We study the central themes of Nietzsche’s writings: the Apollonian and the
Dionysian in his reinterpretation of ancient Greek culture and his notions
of history, moral feelings (pity, revenge, selfless love), the eternal return, the
overman, and the will to power. These themes are explored both within the
context of Nietzsche’s philosophical projects, such as his critique of morality,
and in relation to contemporary problems such as bigotry, fanaticism, and
systematic injustices. We also study his thoughts on philosophy, art, religion,
science, language, soul, and body within the context of his notion of culture.
What is the role of art in culture? How are science and art related? We pose
these questions with Nietzsche and attempt to understand how his life and
thought have influenced our era. (3 credits)
Aesthetics: An Introduction to the Philosophy of Art NPHI2830
Twentieth-Century Continental Philosophy: Phenomenology,
Existentialism, Deconstructionism NPHI3285
Todd Kesselman
Bernard C. Flynn
In this course, we explore various theories that have emerged about the
arts and nature through the ages, focusing on the visual arts, music, and
literature. We talk about the place of the arts and artists in society and
the philosophical questions that always arise: What is the relation of art
to nature? What makes objects beautiful? Is beauty a necessary feature of
art? Are there ways to determine quality in works of art? Is there such a
thing as truth and authenticity in art? What is artistic expression? Is there a
connection, as some suggest, between aesthetic and moral judgment? This
course should be of interest to students of philosophy, literature, visual and
media studies, music, and art and literary criticism. (3 credits)
In this course, we examine the basic themes and concepts of phenomenology
developed by Edmund Husserl and Martin Heidegger—consciousness,
time, being-in-the-world, intentionality, and Dasein. We also discover how
the insights of Husserl and Heidegger into the nature of freedom, the self,
the body, and our relationship to others were adapted by existentialists
Jean-Paul Sartre and Maurice Merleau-Ponty. The material covered provides
essential background for understanding contemporary developments in
art and literary theory and criticism, cultural critique, technology, and
philosophy. (3 credits)
Modern Political Philosophy NPHI2125
Karsten Struhl
This course is an introduction to theories that have shaped our thinking
about power, authority, and justice in modern liberal societies. We examine
the meanings and moral foundations of rights; the idea of a social contract;
state sovereignty and individual autonomy; competing conceptions of human
nature; the role of reason, nature, and natural law in politics; the concepts
of justice, liberty, equality, and democracy; and the emerging tensions
between the nation-state and the forces of globalization. Students critically
analyze primary texts by Hobbes, Locke, Rousseau, Kant, Mill, and selected
contemporary theorists. The relevance of these thinkers and their theories
to contemporary social and political issues is a theme throughout the
course. (3 credits)
28
Comparative Religions NREL2001
Laura S. Smith
This is an introductory survey of major Eastern and Western religions,
including Judaism, Christianity, Islam, Hinduism, Buddhism, tantric cults,
Taoism, Confucianism, Shinto, and aboriginal and shamanic traditions.
We pay special attention to the cultural and historical context in which
each religion originated and the worldview it articulates. Among the topics
explored are problems inherent in the comparative enterprise, definitions of
religion, the history of the study of religion in the West, and cross-cultural
themes such as myth and symbol, salvation and enlightenment, religious
leaders, ritual, sacred scriptures, and meditative paths. (3 credits)
M E D I A S T U D IE S
Media Studies and Film
Media Studies
Film Studies
The Film and Media Business
Screenwriting
Peter Haratonik, Chair
Vladan Nikolic, Director of Undergraduate Studies
At The New School, you can study the media as a scholar as
well as learning how to create it. Digital technologies were
integrated into our curriculum more than a decade ago, and
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 [email protected].
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 [email protected].
we still teach traditional filmmaking. We update our courses
all the time to reflect the rapidly changing fields of film and
media studies and production. Our mission is to help people
understand and analyze modern communication and realize
their unique personal visions in narrative, experimental, and
inter-media forms. Courses can be taken for undergraduate
Media Studies
These courses enable students who wish to advance in almost any area of
this wide-ranging field—from documentary to Web-based projects, sites,
digital design, and multimedia—to integrate media history, theory, and
research with production work.
credit or on a noncredit basis.
N e w S c h o o l M e d i a Sh o w s
To learn more about our media studies and film courses, come to
the open house and speak to members of our faculty and staff.
No reservation is necessary, but if you need more information, call
212.229.8903.
Students have opportunities several times a year to exhibit their worksin-progress at open screenings and industry panels held. For information
or to enter a project, visit www.newschool.edu/mediastudies/film or call
212.229.8903.
Introduction to Media Studies NCOM3000
A 15 sessions. Tues., 6:00–7:50 p.m., beg. Aug. 31. Credit students only.
Certificate in Film Production
Natasha Chuk
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 Production in the following
pages or at www.newschool.edu/mediastudies/film.
Students explore media history and the basic concepts employed in media
analysis, spanning the history of technologies from the magic lantern to
multimedia and stressing the relationship between media and their social,
political, and economic contexts. Since media are at once technology, art,
entertainment, and business enterprises, they need to be studied from a
variety of disciplinary perspectives. The readings for this course reflect this
multifaceted approach and draw attention to the work of key thinkers and
theorists in the field. Examples are drawn primarily from the visual media
of commercial film, television, advertising, video, and the Internet, although
alternative media practices are also noted. Students gain an understanding
of how media texts are constructed and how they convey meaning and shape
one another in significant ways. (3 credits)
Certificate in 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/mediastudies/screenwriting.
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
[email protected].
29
NEW Media Ecologies: Content, Frames, Filters NCOM3057
ON L INE
NEW Crossover Media: The Convergence of Film and
Television NFLM3018
Joan Schuman
Given that any environment is a complex message system that imposes ways
of thinking and behaving, what are our chances of survival in a mediated
environment in which we face our own environmental destruction? Sifting
through messages that saturate today’s postliterate culture, we focus
on the media around us, including those in danger of extinction. Our
explorations span a range of media and environmental issues to ask what
power lies behind the media product and influences what we see, hear, and
read. We investigate the ways ownership and partisanship influence both
media content and citizen-driven media reforms. Delving into coverage
of environmental issues in their own localities and more broadly across
the genres of disaster journalism, nature writing, and the environmental
press, students launch their own media practice, conducting interviews and
research, writing scripts, and designing blogs. Conceptual scholarship guides
students through comparisons of contemporary blogs and the 18th-century
pamphlets of Tom Paine; explorations of dystopic environmental fiction
accessed in various forms (for example, Cormac McCarthy’s The Road in
print, on Kindle, and on film). For a culminating project in any format,
students explore an environmental issue in their own backyards and the
media spin on that issue. (3 credits)
Maya Montañez Smukler
Film and television have always been inextricably linked. Although they
are often seen as fierce competitors, their relationship has also been
characterized by symbiotic business deals, mutually inspired creative
innovation, and shared interpretation of culture through the platform of
mass media. This course uses the historical artistic and economic synergy
between the cinema and broadcast industries to evaluate technological
advancements, aesthetic innovations, and production cultures within a
social context. Students examine the interplay of film and television by
considering historical markers: the so-called golden age of television, the first
broadcasting of feature films, and the rise of cable networks. They study the
advent of new media formats that have revolutionized both industries’ means
of production, distribution, and exhibition. Weekly case studies include
examples of genre (re)appropriation (Western, melodrama, crime drama,
soap opera, war drama) and narrative development (feature film, music
video, movie of the week, serial programming). This course includes an
extensive online component in addition to classroom sessions. (3 credits)
Imaging: Communication in the Era of the Brand NCOM3112
Whose Story Is It? Media in Developing Countries NCOM3022
ON L INE
ON L INE
Melanie Beth Oliviero
Technology has brought people around the world closer than ever. We
learn about countries and peoples in regions formerly remote and closed to
external observers. But what exactly do we know? From whose perspective
is the story told? This course contrasts foreign coverage of life in African,
Asian, Latin American, and Eurasian countries with local reporting. We
explore the print and broadcast media in countries consciously building
more democratic states. We address the legal and legislative environments
that foster the development of independent media, as well as the
self-censorship that too many reporters and editors practice. We examine
patterns of coverage, from imitating CNN and the BBC to promoting
indigenous voices. We look for the cutting edge of local reporting, in which
standard journalistic methods are amalgamated with traditional storytelling
techniques. (3 credits)
Deanne Torbert Dunning
In our culture, controlling image is essential for success. It’s what makes us
want to buy a brand or vote for a candidate. This course explores the power
of imaging and the ways a marketable personality (for a product, service,
organization, or individual) is defined, developed, and communicated.
Topics covered include strategies for balancing the emotional and the
rational aspects of a message, finding a position with “soul,” and using
research to full advantage. We explore the way imaging practice is shaped
by the exploding world of media and the way imaging affects the corporate
bottom line. Video and audio presentations and case studies help students
understand the imaging process and acquire the know-how to evaluate
and use it. This course is designed for current or aspiring corporate
communicators, brand and marketing managers, graphic designers, media
and advertising professionals, and anyone interested in promoting a product,
service, or organization, whether for-profit or not-for-profit. (3 credits)
Politics, Democracy, and the Media NCOM3012
David Fractenberg
Politics, the media, and democracy variously complement and clash with
one another in contemporary U.S. society. This course addresses the fate
of reasoned discourse, which is the crux of democracy, in light of the
persistence of negative campaigning. Special attention is given to analysis of
campaign speeches, appeals, and ads as mediated by television, radio, and
print. How are the determinants of these private media compatible with
and antithetical to the flourishing of a democratic system? We examine
ideological controversies and claims and counterclaims of biased and
inaccurate reporting of candidates’ positions and personal conduct. We
analyze the rhetoric of landmark political speeches, appeals, and ads since
the inception of television and assess the 2008 presidential campaign in
terms of rhetorical strategies, the ethics of persuasion, and the nature of
media coverage. (3 credits)
30
Interdisciplinary Media and Contemporary Society NCOM3040
Fake News, Politics, and Popular Culture NCOM3219
ON L INE
Laurie Halsey Brown
Karen Kramer
Students are introduced to the past, present, and future of media and
the relationship between video, film, and digital media in the context of
contemporary society. The class discusses the theory and historical practice
of these media, with an emphasis on their connection to society as viewed
through the lens of global pop culture. The class is discussion and research
based: Students view media (video, television, film, net.art) and post short
essays for discussion. Each student creates a final work in the form of a Web
project or term paper. (3 credits)
When it comes to politics, current events, and other important information,
who gives us the truth, and how is the message disseminated? Is it
mainstream broadcast and cable news or “fake news” from the late-night
talk shows, Hollywood movies or independent documentaries? To find the
truth in news, documentary media, and reality-based media, the viewer
must be able to distinguish fiction and propaganda from reality. In this
course, different media are analyzed to reveal the methods by which real
documentary material can be manipulated to create fake news. Clips
from government propaganda films (U.S. and foreign), Hollywood films,
independent documentaries, and conventional and unconventional news
programs are viewed and discussed. Alternative modes of getting out the
news are also explored, including traditional media such as song (calypso,
folk, and rap) and the new online media represented by YouTube and
blogs. (3 credits)
Music as Communication NCOM3050
Jean Oliver-Cretara
In his 1977 book, Noise: The Political Economy of Music, Jacques Attali
describes music as “a way of perceiving the world” that serves both
communicative and organizing functions within societies. In comparison
with other forms of discourse, which must often present credible evidence
to support their claims, music seems to have a fairly simple appeal. In Bob
Marley’s words, “When it hits you, you feel okay.” We examine the social
organizing functions of music through a series of queries: Is music fuel
for political action, a distraction, or both? How does it relate to local and
national identities? What is a protest song (from Lennon to Public Enemy)?
Is popular music organizing us not only socially but economically? Through
readings of theorists from Theodor Adorno to Tricia Rose, consideration
of artists like Public Enemy and Banda Macho of Mexico, and viewing of
films like the cult classic Rockers, students explore these questions and others
in order to draw their own conclusions about just how much of our lives is
dictated by the beat that goes on. (3 credits)
The Song Hunter: Documenting Music in America NCOM3056
Writing Across Media NCOM3241
ON L INE
Carol Dix
Professional writers produce copy for a variety of media: They write
top-of-the-line stories for local, national, and global newspapers; features
for national, regional, and special-interest magazines; copy for corporate
publications, such as newsletters, house magazines, company brochures,
and annual reports; PR, such as press releases and press briefings; copy for
direct-mail campaigns and advertising; promotional materials for sales and,
in the nonprofit sector, fundraising campaigns; and copy for nonprint media
such as radio, TV, and multimedia, including the Internet. This writer’s
workshop is open to beginners as well as those with various kinds of writing
experience. Students experiment with writing in different styles and share
their writing for class discussion. They come away from the workshop with a
range of practical writing experience that can be readily adapted to different
kinds of media. (3 credits)
Suzanne Snider
A course for those interested in oral history, radio documentary, and
ethnomusicology. We study song hunting and radio balladry in America
with an eye (ear) to the future of these forms and practices. We begin with
the history of song hunting in the United States, starting with John Lomax’s
cowboy songs and prison music and moving on to Appalachian song hunters
and folklorists. We then turn to ethnomusicologists collecting modern
prison music today. Students engage in critical reading and listening and the
practice of song hunting through local fieldwork. Interrogating notions of
America and folk music in churches and bars, on street corners, and at other
sites of students’ choosing, we study the historical tensions between famed
song collectors to position ourselves aesthetically and morally. Our own field
recordings can serve as homage or corrective to the work done by folklorists
who came before. (3 credits)
ON L INE
Social Media Mashup NCOM3305
ON L INE
Josephine Dorado
Over the past two decades, the practice of collaboration has been redefined
by technologies that enable people to communicate and share environments
across the globe. Social networking, blogging and vlogging, wikis, instant
messaging, webcasting, and gaming environments are just a few of the
methods available. We live in a world of ever-expanding networks, and
the ways we process and “mash up” the sounds, images, multimedia, and
data reflect the evolving interconnectedness of our interactions. The very
process of participation has evolved with the advent of these technologies,
profoundly affecting business practices, education, creative processes,
community life, and democratic citizenship. We have moved as a society
from isolated, passive taking in of information to active engagement
with others in reshaping the world. We are a participatory culture. This
course introduces the concept of social media and the mashup process
as collaborative cultural exchange. While studying remix culture and
collaborative process, students develop a variety of projects that involve
mashing up media using Web-based techniques of media creation, editing,
sharing, and online presentation. The result is a series of vignettes reflecting
the distributed nature of our natural dynamic and bringing us together in
cohesive cultural fusion. (3 credits)
information.
31
Hero(ine)s NCOM3450
Digital Video Production NFLM3700
A 15 sessions. Tues., 6:00–8:40 p.m., beg. Aug. 31. $1,380.
Kathleen Sweeney
Adele Ray
Since the mid-nineties, superheroes of various ages and genders have
proliferated in popular culture. X-Men, Spiderman, Buffy the Vampire
Slayer, Hayao Miyazaki’s animé shoju girls—hero(ine)s with supernatural
powers have evolved along with digital technology. What relevance does the
profusion of superhero icons have to global culture and millennial identity?
In this course, projected images and icons from art history, film, television,
and the Internet serve as a springboard for analysis of the shifting definitions
of the heroic in pop mythology. Japanese manga and American comic books
are explored. The class compares these with the tabloids’ adulatory treatment
of supermodels and superstars and with real news coverage of everyday acts
of heroism and discuss the notion of the hero in the wake of 9/11. Students
create a sketchbook or journal in response to these themes and have the
option of producing a final critical essay or a multimedia project in video,
photographic, sound installation, or comic book form. (3 credits)
With digital cameras and computer editing equipment widely accessible,
the possibility of creating engaging, professional-quality moving images is
within virtually everyone’s reach. This is an exciting and powerful form
of expression, but knowing how to use the tools isn’t enough to allow 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 Final Cut Pro and
using it to experience the power of editing as creative expression. They are
also introduced to production skills, including 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 but must have a firewire drive. (3 credits)
The Experience of Spectacle in Contemporary Society NHUM3107
A 15 sessions. Wed., 6:00–8:40 p.m., beg. Sept. 1. $1,380.
Leslie McCleave
Yunus Tuncel
Students learn the essentials of shooting a five- to seven-minute
documentary. They learn how to develop an idea, research the topic,
interview subjects, and create a visual strategy and master basic skills of
location scouting, lighting, and shooting. They also explore the use of still
photographs, artwork, and stock footage. Students may work individually
or in groups and by the end of the term should have a working rough cut or
fine cut edited with Final Cut Pro. Students have access to New School digital
video cameras but must have a firewire drive. (3 credits)
Uncovering the Real NHUM3034
Steven Milowitz
Gender and Popular Culture NHUM3152
Media Production
Integrated Media Production NFLM3516
Lauren Petty
Students intending to take a sequence of courses in film, video, photography,
or screenwriting should consider taking this survey of the creative process
in a variety of media. We explore the fundamentals of production in each
medium and the ways the disciplines intersect and build upon one another.
Students write short scripts and complete exercises with stills, audio, and
video; these assignments are complemented by readings, screenings, and class
discussions. With each discipline, our focus is on the creative process, the art
and craft, with reference to history, theory, and current developments. We
investigate techniques and technologies, perception, composition, aesthetics,
light and color, sound, and narrative and nonnarrative storytelling. The
overview of major developments in time-based media helps students
understand current trends, while the exercises enable them to explore their
own creativity using diverse media. Students have access to a simple digital
video camera, or they may use their own. (3 credits)
Documentary Production Workshop NFLM3715
NEW Video as Activism: Effecting Change NFLM3722
A 15 sessions. Thurs., 6:00–8:40 p.m., beg. Sept. 2. $1,380.
Michele D. Beck
As the lines between video art, documentary, journalism, and activism
continue to blur, video has become a potent tool for media makers and
activists seeking to document social conditions and crises involving
human rights, abuses of power, bigotry, and nepotism and other forms
of corruption. It is a direct way to disseminate information and call for
action and change. This course begins by surveying films made by social
activists and identifying how their structures and styles support activist
intentions. Working from these examples, students develop their own styles
and begin producing their own activist film projects. They learn how to
define and maintain clear and specific project goals; practice good research
and interview techniques; shoot compelling footage; edit to create effective
sequences; and move an audience to action. Films studied include Errol
Morris’ Thin Blue Line, Michael Moore’s Sicko, Scott Hamilton Kennedy’s
The Garden, Robert Kenner’s Food, Inc., and Chris Marker’s The Last
Bolshevik. The course also considers activist sites such as www.witness.org
and the use of the Internet as a tool to rally support. Students work
individually or in groups on a five- to seven-minute video. (3 credits)
see pages 74–75.
32
Introduction to Digital Design NDIG3200
Film Studies
A 15 sessions. Tues., 6:00–8:40 p.m., beg. Aug. 31. $1,030.
Ira Robbins
Digital design is now ubiquitous, applied to all kinds of commercial, fine
art, and personal work. This course covers the principles of electronic
graphic design, typography, and color theory. Students produce projects
using photographs, text, and drawn elements such as logos, creating
designs that have visual impact and convey intended meaning. Technical
instruction covers Adobe Photoshop and Illustrator tools and capabilities,
publishing with Adobe Acrobat, and formatting files for the Internet and
DVD. Prerequisite: Using the Mac or equivalent experience. Taught on the
Macintosh platform. (3 credits)
All film courses may be taken individually for undergraduate credit or
on a noncredit basis, or 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 [email protected].
N e w S c h o o l F i lm Sh o w s
Students have opportunities several times a year to exhibit their worksin-progress at open screenings and industry panels. For information or
to enter a project, visit www.newschool.edu/mediastudies/film or call
212.229.8903.
Fundamentals of Web Design NDIG3210
A 15 sessions. Mon., 6:00–8:40 p.m., beg. Aug. 30. $1,030.
Certificate in Film Production
David Arcos
The New School awards a Certificate in Film Production for the successful
completion of a sequence of eight courses that guide the student through
the contemporary art and craft of filmmaking using traditional 16mm film
and digital technologies. Taught by our faculty of experienced teachers and
working professionals, the courses explore all creative aspects of filmmaking
and professional development in the film industry. The certificate program
is designed for the committed student at any level of experience and can be
completed in four academic terms. Students have the opportunity to submit
their finished films for the annual New School Invitational Film Show.
B 15 sessions. Wed., 6:00–8:40 p.m., beg. Sept. 1. $1,030.
Fred Murhammer
Following a survey and critique of several common approaches to website
design, students begin mapping the architecture and collecting content for
a simple website of their own. They create individual projects using basic
HTML coding, tables, and frames. Students also learn about the differences
between file formats and platforms and about browser compatibility. Taught
on the Macintosh platform. (3 credits)
Digital Motion Design NDIG4003
Thomas Reed
Limited to 14. How often do we see only a still image on screen?
Photographs, illustrations, and text are often multilayered, moving in many
directions. Like special effects for still graphics, animating techniques
enhance designs and provide additional meaning when applied with
knowledge and skill. Technical instruction concentrates on Adobe After
Effects and Flash and covers basic concepts and techniques such as masking,
compositing, key frame animation, special effects, and 3D space. Special
attention is given to producing individual projects for integration into
websites and stand-alone presentation on DVD. Prerequisite: Introduction
to Digital Design or instructor permission. Taught on the Macintosh
platform. (3 credits)
The sequence consists of four production courses using 16mm film and/
or digital media leading to completion of a final film project. Production
courses are complemented by classes in which students can explore
technical and aesthetic aspects of film and digital production and a range
of cinematic practices, including directing, cinematography, screenwriting,
acting, and producing.
The following courses must be taken either sequentially or concurrently, as
indicated:
• The Art of Film
• Filmmaking Studio 1 (concurrently with The Art of Film)
• Cinematography and Lighting: Film and Digital
•Film 2: Advanced Preproduction and Development (concurrently with
Cinematography)
• Film 3: Advanced Film Production
• Film 4: The Art of Film Editing
Two elective courses from the following list complete the certificate
curriculum: Script Analysis, Developing Ideas for Film, The Aesthetics of
Directing, Audio Production, and Independent Filmmaking A–Z.
There is no formal admission process for the certificate program, but
students must enroll for certificate status when registering and pay the
certificate registration fee—certificate approval cannot be awarded for any
course retroactively. Students must obtain written permission from the film
production coordinator or the instructor before registering for advancedlevel courses. General policies governing New School certificate programs
are described in the Educational Programs and Services section of this
catalog (see Table of Contents). To make an appointment for advising, call
212.229.8903. (International students must also call 212.229.5630.)
F i lm P r o d u c t i o n a n d S c r e e n w r i t i n g C e r t i f i c at e s
Op e n H o u s e
Tuesday, August 17, 6:00 p.m., 66 West 12th Street
For help in interpreting course descriptions, see chart on page 102.
This information session provides an overview of each certificate
program and an opportunity to ask questions. No reservation is
necessary; for more information, call 212.229.8903.
33
A 15 sessions. Mon., 6:00–10:00 p.m., beg. Aug. 30. $620; includes
Introduction to Cinema Studies NFLM2400
Movements in World Cinema, Part 1: The Emergence of an
Art Form NFLM2500
screening series below.
John Freitas
Michelle Materre
Some scholars have suggested that because it’s so easy to enjoy movies, there
is no such thing as “film illiteracy.” Yet literacy has many levels. In applying
a literary analysis of narrative, characterization, and symbolism to film,
we often neglect the cinema’s own language—the techniques filmmakers
use to communicate with viewers. This course introduces basic concepts
of cinematic communication: the shot and its relation to other shots in
a sequence; the composition of shots, camera movement, editing, sound,
and light that make up the design of a film; and the relationship between
form and content. The aesthetic concerns are grounded in theoretical
approaches: gestalt, formalist, realist, auteurist, semiotic, psychoanalytical,
and feminist. Theory is understood as a richer and more exhilarating way
of experiencing the movies. The class views and discusses a range of classic
films (and excerpts from others) as students develop a cinematic vocabulary
and the ability to read a film through critical analysis. Students also critique
first-run features and explore one another’s reactions to today’s commercial
cinema. (3 credits)
Like film theory, film history embraces many perspectives. Like all art
forms, motion pictures are influenced by a number of factors: aesthetic,
technological, economic, social, and political. Part 1 of this two-part course
is an overview of the major events and movements in world cinema from
film’s beginnings to the 1960s. We study films about American society
before, during, and after slavery; films about postcolonial Africa, India, and
Asia; and pre-Marxist films from Latin America. Key questions include:
Does the cinematic point of view shape one’s perspective on history? Can
film be used effectively to promote dialogue, discourse, and intercultural
awareness? Should filmmakers use film for social commentary? What impact
does the globalization of society have on cinematic representation? Excerpts
and full-length films are discussed. Students are required to view some films
outside of class. (3 credits)
ON L INE
NEW A Universe Revealed: Contemporary Asian Cinema NFLM3484
A 15 sessions. Thurs., 6:00–10:00 p.m., beg. Sept. 2. $620; includes
Cinema Studies Screening Series NFLM0400
A 15 sessions. Mon., 8:00–10:00 p.m., beg. Aug. 30. $140. No single
admission.
John Freitas
The following films are screened: Rear Window (Hitchcock, 1954), Battleship
Potemkin (Eisenstein, 1925), The Bicycle Thief (De Sica, 1948), Reservoir
Dogs (Tarantino, 1992), The Thin Blue Line (Morris, 1987), The Maltese
Falcon (Huston, 1941), Chinatown (Polanski, 1974), Do the Right Thing (Lee,
1989), Some Like It Hot (Wilder, 1959), Joint Security Area (Wook, 2000),
Die Hard (McTiernan, 1988), Psycho (Hitchcock, 1960), Cleo from 5 to 7
(Varda, 1961), Peeping Tom (Powell, 1960), and The Matrix (Wachowski,
1999). (noncredit)
The Art of Film NFLM3411
Hélio San Miguel
We explore a range of practical and theoretical issues related to film
aesthetics as we study the numerous ways directors can combine the elements
of film to produce expressive and singular works of art, striving to create
the perfect balance or integration of form and content. Students consider
the essential properties of the medium—mise-en-scène, cinematography,
editing, sound—as exemplified in selected motion pictures. Filmmakers
discussed include Atom Egoyan, Robert Bresson, Fernando Meirelles,
Jean-Luc Godard, Werner Herzog, Alfred Hitchcock, Abbas Kiarostami,
Terrence Malick, Orson Welles, and Wong Kar Wai. This course is ideal
both for students who wish to learn how to analyze cinematic texts and for
production-oriented students taking Filmmaking Studio or related courses.
Students are required to view some films outside class. (3 credits)
34
screening series below.
David N. Meyer
Asia leads the world in cinematic innovation. Fascinating productions
regularly emerge from east Asian countries, forming an almost crosscontinental cinema, at a time when new approaches to cinematic narrative
are making national modes of cinema obsolete. Much of the best of this
Asian cinema slips past audiences in the United States, playing for a week at
art houses or going straight to DVD. In this course, we study the way film
cultures as divergent as those of Japan, Thailand, Korea, and Hong Kong
are experimenting with similar themes and visual and narrative approaches.
Topics include Hong Kong cinema of the 1980s and 1990s, which won
renown first for genre pictures and later for art films, and how it informs
the current pan-Asian styles; how Japanese films made a comeback with
singular voices and compelling narrative styles; the influence of Taiwanese
art-house films; the pastiche of Asian and European film concepts and styles
in Korean films; the recent trends of surreal, martial arts, and art films
from Thailand; and cinematic trends in mainland China, such as the Sixth
Generation filmmakers. (3 credits)
Contemporary Asian Cinema Screening Series NFLM0484
A 14 sessions. Thurs., 8:00–10:00 p.m., beg. Sept. 2. $140. No single
admission.
David N. Meyer
Films viewed include In the Mood for Love (Hong Kong, Wong Kar Wai,
2000), Memories of Murder (South Korea, Joon-ho Bong, 2003), Pulse
(Japan, Kiyoshi Kurosawa, 2001), Still Life (China, Jia Zhang-ke, 2006),
Tears of the Black Tiger (Thailand, Wisit Sasanatieng, 2000), Goodbye, South,
Goodbye (Taiwan, Hsiao-hsien Hou, 1996), Exiled (Hong Kong, Johnnie
To, 2006), Old Boy (South Korea, Chan-wook Park, 2003), Help Me Eros
(Taiwan, Kang-sheng Lee, 2007), The Wayward Cloud (Taiwan, Tsai Ming
Liang, 2005), Host (South Korea, Joon-ho Bong, 2006), Syndromes and
a Century (Thailand, Apichatpong Weerasethakul, 2006), Exodus (Hong
Kong, Pang Ho Cheung, 2007), and Sukiyaki Western Django (Japan,
Takashi Miike, 2007). (noncredit)
NEW Comedy on Screen NFLM3488
Surrealism in Cinema NFLM3436
ON L INE
ON L INE
Lily Alexander
Rebecca M. Alvin
This course introduces theories of comedy, laughter, and the carnivalesque
through acclaimed comedies of world cinema. We explore comedy in the
context of film history, media studies, cultural theory and critique, symbolic
anthropology, semiotics, and genre theory. Topics include the cultural roots
of comedy and specific features of comedy in different historical eras and
national cultures. We consider the development of comedy as a dramatic
form through the influence of Aristophanes, Shakespeare, Cervantes,
Molière, and Gogol and discuss comedy as a vehicle for addressing cultural
and political controversies. We study the impact on film of commedia del
l’arte, the “theatre of the marionettes,” machine age comedy, postmodern
irony, and debates over transcultural laughter in the age of globalization.
The types of comedy explored include silent, physical, eccentric, slapstick,
screwball, musical/romantic, tragic farce, dark comedy, satire, comedy of
the absurd, and parody. Screenings and discussions feature films by Buster
Keaton, Harold Lloyd, Charles Chaplin, Jacques Tati, William Wyler, Billy
Wilder, Federico Fellini, Pietro Germi, Woody Allen, Jean Tacchella, Dusan
Makavejev, Eldar Ryazanov, Terry Gilliam, Tim Burton, Mike Nevell,
Bruno Barreto, P.G. Hogan, Ang Lee, Jean-Pierre Jeunet, and the Coen
Brothers. (3 credits)
The surrealist movement in art reached its peak during the early years of
filmmaking. Surrealists like Salvador Dali and Germaine Dulac saw cinema
as an excellent means of exposing a mass audience to their ideas. The films
that resulted from this movement are still striking today for their complexity,
atypical humor, and attack on the senses. Several recent filmmakers also
bring surrealist sensibilities to their work. This course looks at the work of
surrealist filmmakers past and present, including Luis Buñuel, David Lynch,
Germaine Dulac, and Alexandro Jodorowsky. Students are required to
view films on video outside of class; the instructor will help students locate
hard-to-find films. (3 credits)
The Anatomy of Horror Films NFLM3430
MM Serra
Filmmakers working in the horror genre foreground and manipulate a
culture’s collective fears. This course is a political survey of horror films
that reveal a direct relationship to the social unconscious. We begin
with several classics: The Cabinet of Dr. Caligari, Nosferatu, King Kong,
Frankenstein, and The Bride of Frankenstein. We then examine several
contemporary examples of newly identified subgenres, such as rape-revenge,
splatter, and slasher films. Readings from Georges Bataille, William Everson,
Stephen King, Judith Butler, and Carol Clover help us explore and expand
on the concepts of terror and gender as we discuss the horror film in relation
to themes like performativity, identification, and female and cross-dressing
serial killers. (3 credits)
NEW Third Cinema and Beyond NFLM3490
Martin Roberts
In opposition both to the commercial cinema of Hollywood and European
art cinema, the Latin American proponents of what became known as
Third Cinema conceived of film as a vital tool in the struggle for political,
economic, and social justice. Their writings and films had a major impact
on filmmaking in sub-Saharan Africa and Asia and on certain Western
documentary filmmakers. This course considers the new conceptions
of filmmaking that emerged in the wake of the liberation struggles and
independence movements of the 1950s, such as the Cuban revolution and
the decolonization of the former European dependencies throughout Africa
and Asia. Through study of the manifestos and other writings of Latin
American and African filmmakers and of the films they produced over the
decades since 1960, we examine the objectives and assess the achievements of
these movements, including Third Cinema and Brazil’s Cinema Novo. We
also consider their legacy in contemporary political documentaries and the
use of the Internet as a distribution medium by today’s video activists. This
course is for anyone interested in political documentary or transnational
resistance movements or engaged in media activism. (3 credits)
NEW The Art of Documentary NFLM3489
Susan Hamovitch
Cinema and Ideology NFLM3433
ON L INE
Marina Shron
From Eisenstein and Buñuel to Godard and Pasolini, ideology has defined
both the content and the language of cinema. Film, more than any other
medium, blurs and almost erases the line between ideological and aesthetic
elements. The visual power of cinema and its mass character have made
it a perfect instrument of propaganda, capable of imposing on the viewer
either a particular ideological framework (as in the Soviet Union and Nazi
Germany) or an ideological void (Hollywood and commercial culture).
We examine the relationship between cinema and political thought in the
20th century—one that is full of contradictions. We discuss the ideological
basis of major cinematic movements from the 1920s through the 1980s,
including Dada and surrealism, French New Wave, and Italian neorealism,
as well as ideological dimensions in the work of great filmmakers like
Orson Welles, Jean-Luc Godard, Rainer Werner Fassbinder, and Stanley
Kubrick. (3 credits)
This course provides a working knowledge of the theory that has developed
around documentary filmmaking. The field of documentary film is divided
into a handful of broadly understood formal approaches that emerged
in roughly historical succession: montage and its cousin, the propaganda
documentary; the poetic, often masterfully narrated documentary; the news
report; new versions of argument; 1960s cinema verité and its supposed
purism; and, more recently, performative documentary. Today these
documentary modes are up for grabs—filmmakers pick and choose the
approaches best suited to each project. Why did these styles emerge when
they did? Which, if any, is the preferred approach today? Do these modes
signify different degrees of truth versus manipulation? Aren’t these modes
essentially the same? These questions are discussed in the context of close
viewing of some of the best examples in each genre and close study of the
filmmakers’ writings, as well as textbook readings. Through a series of
hands-on exercises involving a mix of video, stills, and writing, students gain
direct experience with each of the primary documentary modes, establishing
a strong foundation for documentary work of their own. (3 credits)
Note: Credit students must register for NSOS2841, below.
Toby Talbot
See page 12. (noncredit)
35
Film Production
Film 2: Advanced Preproduction and Development NFLM3670
In all these courses, students learn the art and craft of film and digital video
production and make short films and videos. For more information, visit
www.newschool.edu/mediastudies/film or call 212.229.5899.
Developing Ideas for Film NFLM3500
John Freitas
In developing an idea for any film, you need to address three primary
questions: What are you going to film? How are you going to film it?
How are you going to structure the material? In this course, each student
develops a concept for a five-minute non-sync-sound film (which could
be produced in the Filmmaking Studio course), exploring these questions
before production begins. Through class and instructor analysis of each
student’s idea, the course covers preproduction details: initial concept,
synopsis, treatment, script, storyboards, shot list, scheduling, location
scouting, and cost. Through screenings and analysis of classic movie scenes,
the class explores the cinematic choices available to filmmakers, with a focus
on subsequent application, decisions about character and story development,
narration and dialogue, visual composition and camera placement, jump
cuts, continuity, montage, camera movement, and lighting. Recommended
for students planning to take Filmmaking Studio 1. (3 credits)
The Aesthetics of Directing NFLM3510
A 15 sessions. Fri., 2:30–5:30 p.m., beg. Sept. 3. $750.
Shimon Dotan
Limited to 15. 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 have their
own camcorders. (3 credits)
Dianne Bellino
Student filmmakers learn how to lay the groundwork for an advanced
narrative, documentary, or experimental film or digital motion picture
project. A variety of approaches to visual storytelling are examined from
the concept to dramatic structures, character development, tone, and style.
Each student develops a script for a seven- to ten-minute project based in or
around New York City. In the second half of the course, a series of exercises
helps students find the right artistic and practical approaches to their scripts
while they continue to refine their stories. They learn to develop a visual
approach to written material. The important ways in which short films differ
from full-length features are considered, and the workshop ends with shot
breakdowns, planning, storyboarding, and location scouting. Prerequisite:
Filmmaking Studio 1 or equivalent experience. This course must be taken
before Film 3: Advanced Film Production. Class meets in Studio N400,
66 Fifth Avenue. (3 credits)
Film 3: Advanced Film Production NFLM3680
A 15 sessions. Mon., 6:00–9:00 p.m., beg. Aug. 30. $1,680.
Jeremy Brooke
Personal interview and permission required. An opportunity for the
experienced student to shoot his or her own advanced film (narrative,
documentary, or experimental) using 16mm film or HD digital video.
All students in the class crew on one another’s productions to practice the
kind of teamwork that is part of filmmaking and to maximize the learning
experience. Topics include preproduction (budgeting, casting, scheduling,
locations, permits, releases, film stocks), directing (including script analysis
and rehearsals), camera and lighting (with professional equipment like
the Arriflex SR camera and Mole-Richardson and Lowel lights), sound
(use of professional microphones and digital sound recorders), and editing
(synching dailies and an editing approach). Students should expect to incur
expenses beyond tuition. Prerequisites: Filmmaking Studio 1 and Film 2:
Advanced Preproduction and Development. Bring a seven- to ten-page
script to the first session. Because of space limitations, enrollment priority
is given to degree and film certificate students. To make an appointment
for an interview, call 212.229.5899. Class meets in Studio N400, 66 Fifth
Avenue. (3 credits)
Film 4: The Art of Film Editing NFLM3690
Flavia D. Fontes
Filmmaking Studio 1 NFLM3660
Jeremy Brooke
B 15 sessions. Thurs., 6:00–9:00 p.m., beg. Sept. 2. $1,380.
Melissa Friedling
This course is an opportunity for the serious beginner to learn the
fundamentals of 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 state-of-the-art digital editing equipment (Final Cut
Pro) 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. To see sample
expense budgets, visit www.newschool.edu/mediastudies/film. (3 credits)
36
Students ready to complete an advanced film project study the art and learn
the techniques of film editing using Final Cut Pro. All students edit their
own projects, from narrative films to documentaries, experimental films,
and hybrid pieces, so editing experiences may vary greatly. Class time is
devoted to editing exercises, lectures, group discussions, and screenings.
Topics discussed and demonstrated in class include creating rhythm;
dramatic arcs 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 basics of sound editing
and design, screening formats for festivals, and standard industry mastering
options. (3 credits)
Cinematography and Lighting: Film and Digital NFLM3515
Directing Actors for Film and Television NFLM3316
John Budde
Laura Morgan
In this workshop 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 to alter the look of a film are demonstrated
and discussed. Practical tests and scenes are shot using 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. Recommended for students planning to take Film 3:
Advanced Film Production. (3 credits)
Limited to 16. This intensive workshop explores every stage of working
with actors, from the initial conception of the character to final editing
for performance. Each stage of directing is described in a step-by-step
process that enables directors to work with actors trained in a variety of
ways. Weekly lectures introduce the general techniques of directing and the
diverse working methods of outstanding directors. As their main project,
students select, analyze, cast, and rehearse a dramatic scene from a published
screenplay. Professional actors from the New York community perform
the roles. Scenes are presented in class, critiqued, and performed again to
demonstrate techniques and principles discussed in lectures. The workshop
nature of the course enables students to learn from classmates’ experiences.
Reading and research on techniques used by students’ favorite directors
augment the experience. (3 credits)
The Innovative Camera: Experiments in 16mm
Filmmaking NFLM3631
Joel Schlemowitz
This course explores the 16mm Bolex camera’s wide-ranging image-making
possibilities. Using techniques that date back to the birth of cinema and
the trick films of Georges Méliès, students learn to create in-camera effects
and “ready-made” projects that go straight from the camera to the screen.
Assignments alternate between the technical and the thematic. Shooting
techniques (such as double exposure, matte shots, optical distortion, single
frame and time exposure, and hand developing) are explored in class; outside
of class, students create short projects based on themes (such as cine-portrait,
“camera roll,” and image-sound interaction). Historical background is
provided through screenings of films by Georges Méliès, Hans Richter,
Marie Menken, Stan Brakhage, Rose Lowder, Bruce Bailey, Jim Hubbard,
and Rosalind Schneider. Necessary camera and editing equipment is
provided. Students will incur personal costs for film stock, developing, and
supplies but can expect to spend less than in regular filmmaking courses.
Each student is expected to generate three completed projects, one of
which will be selected for a final screening. No previous film experience is
required. (3 credits)
Introduction to Visual Perception NPSY3816
Clarissa Slesar
Acting for Film and Television NACT3313
Mark Stolzenberg
37
The Film and Media Business
The Business of Screenwriting NFLM3454
New technologies and changes in production and distribution models have
profoundly affected the film and media production business. Our courses
provide information and tools that help aspiring professionals navigate these
constantly changing waters. Students taking film and media production
courses, as well as those interested in careers in media management, are
strongly encouraged to take courses in this area.
The Business of Hollywood NFLM3473
ON L INE
Amotz Zakai
Theodore Roosevelt said, “Far better to dare mighty things, to win glorious
triumphs, even though checkered by failure, than to take rank with those
poor spirits who neither enjoy much nor suffer much.” Deal making
in Hollywood involves both risk and reward. Rather than listening to
instructors lecturing for hours on how negotiations work and movies are put
together, students in this course actually participate in hypothetical business
scenarios. The unique role-playing structure is designed to provide a glimpse
of the real-world machinations of Hollywood deal making. Every student
controls his or her learning curve: Pay attention, and you’ll learn from your
mistakes; fall asleep at the wheel, and you’ll quickly stand out to the world.
The course provides essential business knowledge for aspiring filmmakers
and executives entering the film business. Readings and lectures supplement
the primary role-playing exercise. (3 credits)
Music in the Media Business NFLM3483
Josh Rabinowitz
The music industry, once dominated by record labels, now consists of
multifaceted and interconnected global businesses having little to do with
records or CDs. The significance of other kinds of media in this rapidly
changing business continues to grow, with distribution models migrating
from the album and the music video to the downloadable single, the
“everything” deal, and even the ringtone. This course offers an insider’s
overview of the music business and its relationships with the media as a
whole. We survey the experiences of industry professionals, examine case
studies, and explore potential new directions for this complicated industry—
changes that we, as music makers and consumers, might use to our
advantage. Industry professionals join us as guest speakers. (3 credits)
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)
The Media Business Now NCOM3247
Michael Weiskopf
Ben H. Bagdikian writes in his book The New Media Monopoly, “In
1983 there were 50 dominant media corporations; today there are five.
These five corporations decide what most citizens will—or will not—
learn.” How do independent media properties survive in the current
landscape of consolidation and corporate dominance? How do business
and political interests influence the packaging and selling of both news
and entertainment? We examine the dynamics of media by analyzing
how television, magazine, newspaper, and film distribution businesses are
currently structured and how they have changed. The course emphasizes
the basic economics of the communication business and the relationship
between content and distribution in a business context. Readings, guest
speakers, and creation of a hypothetical start-up provide students with a
broad understanding of the current media environment. This course is
useful to anyone interested in launching a media career, creating a media
property, or understanding how the media business works. (3 credits)
Successful Internet Marketing NMGT2117
All About Advertising NMGT2119
The Producer’s Role NFLM3456
Kurt Brokaw
Chiz 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, 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, enabling students to learn to assess
technical materials as well as the skills and talents of above- and belowthe-line personnel. This course tracks the producer’s role from the selection
of material to the delivery of the production. Students choose a project and
spend the term developing a professional-quality proposal. (3 credits)
38
Screenwriting
Script Analysis NSRW2800
Students may 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 screenwriting 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.
Douglas Morse
Early registration is strongly advised. In order to ensure the quality of
each course, enrollment is strictly limited. If a desired course is filled, call
212.229.8903 to find out about additional classes that might still be open or
to be placed on the waiting list.
Certificate in Screenwriting
The New School awards a Certificate in Screenwriting for successful
completion of six approved courses. The certificate program is open to the
committed student at any level of experience. There is no formal admission
process, but students need written permission of the instructor or the
Department of Media Studies and Film to register for Screenwriting 2 and
3. Upon completion, participants should have a professional 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
B 15 sessions. Thurs., 8:00–9:50 p.m., beg. Sept. 2. $730.
Loren-Paul Caplin
C 15 weeks, Aug. 30 thru Dec. 20. $730.
ON L INE
Sarba Das
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
Jonathan R. Danziger
B 15 sessions. Thurs., 6:00–7:50 p.m., beg. Sept. 2. $730.
Loren-Paul Caplin
ON L INE
Marina Shron
Certificate approval is based on students’ attendance and participation,
comprehension of theories and techniques, and final projects. General
policies governing New School certificate programs are described in the
Educational Programs and Services section of this catalog (see Table of
Contents). For more information and program advising, call 212.229.8903.
(International students must call 212.229.5630 for important admission
information.)
This course for the beginning screenwriter introduces the tools, vocabulary,
and techniques used to tell a screen story and put an original idea into
outline form. Assignments illustrate basic three-act structure, economical use
of dialogue, visual storytelling elements, development of complex characters,
revelation of background information, and effective use of dramatic tension.
Students become familiar with screenwriting terminology as scenes from
well-known films are analyzed on video to reveal structural elements in
the writing. By the end of the course, each student will have developed an
original idea into a detailed step outline for a feature-length screenplay and
written the opening scene. It is strongly recommended that students take
Script Analysis before registering for Screenwriting 1. (3 credits)
Online Certificate in Screenwriting
Screenwriting 2: Writing the Screenplay NSRW3820
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.
Douglas Morse
Students select two courses from the Film Studies curriculum to complete
the certificate program. The certificate program can be finished in as little
as one year, but a longer course of study is acceptable.
F i lm P r o d u c t i o n a n d S c r e e n w r i t i n g C e r t i f i c at e s
Op e n H o u s e
Tuesday, August 17, 6:00 p.m., 66 West 12th Street
This information session offers an overview of each certificate program
and an opportunity to ask questions. No reservation is necessary; for
more information, call 212.229.8903.
ON L INE
ON L INE
Deirdre L. Fishel
Limited to 12. 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: Students must have an outline and the
first ten pages of a screenplay in order to register. (3 credits)
information.
39
Screenwriting 3: Finishing the First Draft NSRW3830
Writing a Micro-Budget Feature NSRW3850
William Pace
Mort Scharfman
Students undertake the challenging task of finishing a screenplay. With
careful guidance, each student re-examines, tightens, and rewrites the
outline and existing scenes in a workshop setting. Attention is given to
structure, logic, motivation, complex character development, tone, and
theme. There is an emphasis on problems of scene writing and development
of a professional writing style so as to make a compelling presentation on
the page. The class examines successful produced screenplays as examples.
The goal is for students to finish with a polished, professional first draft.
Prerequisite: Students must have at least 50 pages of a screenplay, properly
formatted, in order to register. (3 credits)
Getting a first screenplay sold is difficult given today’s competitive
marketplace and astronomical production budgets. Nevertheless, year after
year, while Hollywood grinds out big-budget formula blockbusters, aspiring
screenwriters with no money or screen credits find ways to bring their stories
to the screen and start their careers. Digital cameras and postproduction
software make it possible to produce a film on an extremely low budget,
but only a compelling story and characters make a low- or no-budget film
engaging. Learn how to write a screenplay that could be developed for a few
thousand dollars or less into a film capable of captivating audiences and
competing for festival acclaim and commercial success. (3 credits)
NEW Screenwriting for the Web NSRW3837
Playwriting NWRW3702
ON L INE
William Pace
Robert S. Montgomery
Episodic shows were previously the exclusive domain of the major TV
studios, but with the bandwidth capabilities of the Internet constantly
increasing, the barriers to independent video series have come down.
Worldwide distribution at the click of a mouse button is available for any
writer-creator of a series. Web series such as LonelyGirl15, Ask a Ninja, and
Liam Sullivan’s Kelly videos demonstrate the popularity of this new format;
their creators, formerly unpaid amateurs, are now successful professionals.
This course begins with a review of the essentials of visual dramatic
storytelling and an examination of produced Web shows to provide students
with an understanding of what works and what doesn’t work in this new
medium. Students become familiar with the unique demands of writing
narratives that extend over a number of “webisodes” with a short running
time. Each student writes a series proposal, a series “bible,” an outline
for a first-season run, and several opening webisode scripts. Production,
uploading, and marketing of Web series are discussed. (3 credits)
Writing for Television NSRW3844
ON L INE
Mort Scharfman
Limited to 14. Students hone their skills in comedic or dramatic writing for
television in the half-hour- or hour-long format. Simulating an on-the-show
environment, we play with the experience of writing with a show’s staff, as
well as pursuing individual exercises and projects. The workshop covers all
facets of writing for the small screen, with viewings of exemplary shows,
writing exercises, and analyses of student works-in-progress. (3 credits)
How to register
Discover.
this catalog.
9:30 a.m.–5:00 p.m.
40
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T H E W R I T IN G P R O G R A M
The Writing Program
Fundamentals
Poetry
Fiction
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, and writing for children. For
more information, visit www.newschool.edu/writing or call the Office of
Admission at 212.229.5630.
Nonfiction
Journalism and Feature Writing
Special Topics
Robert Polito, Chair
Luis Jaramillo, Associate Chair
Fundamentals
These courses are for students who are native or near-native speakers
of English. For English as a Second Language, see courses
NESL0401–NESL0612.
The Mechanics of Writing NWRW1011
The New School has been a vital forum for writing since
1931, when Gorham Munson, a member of the Stieglitz
Liz Meachem
circle, on impulse initiated a workshop in creative writing.
In the early 1950s, critic Maxwell Geismar stated that
B 15 sessions. Wed., 4:00–5:50 p.m., beg. Sept. 1. $700.
Jane Tainow Feder
ON L INE
“The New School has become the richest center of new
Noelle Kocot-Tomblin
fiction among all our colleges and universities.” Our writing
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, including grammar, the parts of speech, and other components
of syntax. 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 issues of “correct”
versus “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 Writing
in English (NESL0311–NESL0511) instead of this course. (3 credits)
instructors are all published writers and experienced
teachers, and many of our students go on to publish or
enter graduate writing programs.
To learn more about the Writing Program, come to our open house and
speak to members of our faculty and staff. No reservation is necessary,
but if you need more information, call 212.229.5615.
The New School offers a wide variety of writing workshops and events. The
workshop method of teaching writing involves a professional writer working
closely with serious-minded students who are willing to write regularly and
participate actively in class discussion of their own and classmates’ work.
Instead of lecturing extensively, the writer-teacher provides guidance by
focusing on student manuscripts. The writers who teach here try to establish
a supportive yet demanding atmosphere. Enrollment is limited, so early
registration is recommended for the course of your choice.
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.
Academic Writing NWRW1104
ON L INE
Margaret Stanek Fiore
Writing well is the key to success in college, and this course teaches students
the foundations of academic writing: the nature of research; 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 (see course
NESL0611) instead of this course. (3 credits)
Note: Manuscripts submitted as writing samples for courses requiring
permission to register will not be returned; students should retain their own
copies of all work submitted. Please include a telephone number and email
address with your submission.
The Leonard and Louise Riggio Honors Program: Writing
and Democracy
A program 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.
ON L INE
75 or visit the website at www.newschool.edu/online for more
information.
41
Tools, Not Rules: Rhetorical Grammar for Writers NWRW1119
Essentials: The Lyric Essay NWRW1113
Joseph Salvatore
Rebecca Reilly
Not a traditional course in grammar, this class examines the most complex
tool in the writer’s tool box—the sentence. The course is guided by the
belief that as writers, we need to know not only how to use this tool but
how to talk about it. The goal for students is not to memorize grammar
rules but rather to understand how those rules can be used to produce a
wide range of rhetorical effects. In order to manipulate those rules, writers
must understand them. The course begins at the beginning: nouns, verbs,
subjects, predicates, all the parts of speech. Students then learn to analyze
sentences in both what they read and what they write; they learn not only
what syntax is but how to control it consciously and how the decisions they
make will affect readers. They come to see how words become sentences,
sentences become paragraphs, and paragraphs create a cohesive whole. The
class reads chapters from a grammar and rhetoric textbook and completes
practice exercises assigned weekly. A great workshop for writers of all
genres, absolute beginners as well as experienced professionals, who want to
understand better all the tools in the tool box. (3 credits)
Ralph Waldo Emerson once wrote, “I will essay myself to be.” The word
“essay” is used here in its original sense: to go forth and attempt something.
The writer goes forth to explore and discover what he or she thinks,
rather than simply stating an opinion already held. In this fundamentals
course, students work on developing academic voice and style through a
combination of creative and academic writing. The course begins with an
exploration of the lyric essay. Existing between poetry and prose, the lyric
essay traverses the boundaries of genre, often combining the immediacy and
heightened language of poetry with the narrative and descriptive powers
of prose. Students write a series of short lyric essays designed to develop
style and expression. The second part of the course is devoted to a literary
research paper. Students apply the lessons of the lyric essay and learn how to
bring the conviction of creative writing to the rigor and clarity of academic
writing. (3 credits)
NEW What’s Creative About the Academic Essay? NWRW1122
ON L INE
Lisa Freedman
Gaining knowledge, by definition, involves moving from the known to
the unknown. In this course, pre-writing exercises, writing prompts, and
structured essay assignments help students become comfortable with
reaching beyond the known in a well-researched and well-supported
expository essay. The class reads Peter Elbow, Kenneth Bruffee, and Marie
Ponsot for ideas about how to approach academic writing and Susan
Sontag, Chris Hedges, and Adam Gopnik for models of clear, engaging
analysis and persuasion. Students also learn how to use online databases
to conduct research. This course is for those who are intimidated by the
academic essay or anyone wishing to find a compelling critical voice for
self-expression. (3 credits)
NEW How Art Transforms the World NWRW1121
Jim Savio
Does art have the power to transform a moment of pain and suffering into
something beautiful and sublime? What is the source of that power? Why do
the Greek tragedies please us? Why do we find a statue of a mother cradling
the body of her crucified son inspiring? This course examines these kinds of
questions as it sharpens students’ ability to connect ideas and analyze and
write about art. In this course, we examine the long tradition of art as the
observer (and critic and supporter) of history’s triumphs and failures—from
the oldest cave paintings and tragic dramas to the most recent provocative
texts, photographs, films, and art exhibitions. Students become familiar with
the languages of the arts. The texts for this class include paintings, drawings,
poetry, etchings, sculpture, fiction, film, photography, and music. Students
complete short writing assignments weekly in response to written and visual
texts and deliver oral presentations in class. This course is intended as a
foundation for critical thinking, seeing, and writing; no previous course in
art history or criticism is required. (3 credits)
see pages 74–75.
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Writing for Style NWRW1108
Randi Ross
This workshop is devoted to the techniques (sometimes erroneously thought
to be innate talent) that make a piece of writing flow and hold the reader’s
interest. A hands-on approach helps beginning writers learn to craft their
work so that it reads as smoothly as they envision it. Topics include creating
leads that command interest; developing a plot without foundering; making
graceful and unobtrusive transitions; choosing settings, characters, and
details that develop the theme; meeting minimum-length requirements when
there’s nothing more to say; and perfecting the art of ruthless self-editing.
Students write short essays and short fiction for review and study the short
essays and short fiction of well-known writers. (3 credits)
Poetry
Rendering the Ordinary Extraordinary: A Poetry
Workshop NWRW3203
Beginning Poetry Workshop NWRW2203
Rebecca Reilly
Richard Tayson
ON L INE
ON L INE
Kathleen Ossip
“A poem,” said William Carlos Williams, “is a small (or large) machine made
of words—efficient, with no unnecessary parts, doing important work.” In
this workshop, students learn how to build verse, from the individual word
through lines and stanzas to the finished, polished poem. Poetic inspiration
is explored: what activities can summon it and how to use it when it
happens. Writing exercises help students practice basic elements of the craft,
such as line breaks, voice, and openings and closings. Students read a variety
of modern and contemporary poets, selected according to the interests and
needs of the class. 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)
Great poems often render what is considered ordinary extraordinary. Neruda
wrote an ode to his socks; in Whitman’s “Song of Myself,” a child asks,
“What is the grass? Fetching it to me with full hands; / How could I answer
the child? I do not know what it is more / than he.” In this course, we
discuss one another’s work, addressing the relationships between our visions
of the everyday world and the images that inhabit our poems. How do we
learn to elaborate on the most ordinary of objects or situations? How do
we learn to see the extraordinary in the commonplace? We read Whitman,
Bishop, Stevens, Ashbery, O’Hara, and Schuyler. The Mexican poet Octavio
Paz has said, “The purpose of poetry is to restore to mankind the possibility
to wonder.” This class is open to writers at all levels. (3 credits)
Poetry Lab NWRW3229
Miranda Field
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 one aspect of 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 is nothing if it is not experiment with language,” wrote Wallace
Stevens. This workshop is for those who want to build their poetic tool
boxes, break out of predictable habits of style, and open their creative minds.
Exercises and prompts generate lab material—writing made to be played
and experimented with. A wide range of ideas for stretching the possibilities
of expression are applied, including exercises devised by Bernadette Mayer
and methods associated with the French experimentalist group Oulipo. As
students explore others’ innovative poems, they begin inventing their own
devices, forms, and anti-forms. Throughout the semester, students read
and discuss published work by both lesser-known and famous poets and
workshop poems arising from their own experiments. All poems submitted
receive written feedback from the instructor. Previous poetry workshop
experience is recommended but not required. (3 credits)
Poetry: The Language of Music NWRW3205
Catching Fire: A Poetry Workshop NWRW3260
From Silence to Poem NWRW3204
ON L INE
Richard Tayson
Dave Johnson
Kathleen Ossip
This study of musical poetics focuses on the buried linguistic and musical
structures of poetry and on the ways 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. A certain amount
of class time is devoted to close reading of established and younger poets
representing many different poetic styles and to close listening to the voices
of poets reading from their own work. Most class time, however, is devoted
to examination of student writing, with the goal of helping students find
their own music and voice within the poem. This course is open to poets at
all levels, but beginners are especially welcome. (3 credits)
The basics are in place. You feel you have some control over your poems.
Now you’re inspired to push further and tackle the key elements of line,
diction, form, tone, and more. You also want your subject matter to emerge
clearer, deeper, and more striking. In this intermediate workshop, we focus
on ways to increase the impact of your poems, examining and practicing
more advanced elements of craft and content. Each week, we read and
discuss contemporary poems, trolling for techniques and strategies to make
your poems stronger and, ultimately, more publishable. (3 credits)
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Making Poems: An Advanced Workshop NWRW4213
Fiction
Patricia L. Carlin
Mechanics of Fiction: Craft, Theory, and Practice NWRW2306
Permission required. “Good poets borrow; great poets steal.” Poetry in
English is a storehouse we can raid at will. The focus in this workshop for
experienced writers is discussion of student poems, but we also explore ways
to make creative use of other poems, from the most recent innovations to
the poetry of the Middle Ages. Each week, suggested assignments, illustrated
by a wide range of models, serve as jumping-off points from which to
explore. Every strong poem is experimental. Students try old forms, invent
new ones, and learn to see how “failure” can provide the basis for their best
work. Students are also offered help in preparing and submitting work for
publication. Written comments are given on all work submitted, and private
conferences are available. For permission to register, send ten sample pages by
August 1 to the instructor, c/o New School Writing Program, 66 West 12th
Street, room 503, New York, NY 10011. (3 credits)
Poetry Master Class NWRW4223
A 6 sessions. Tues. & Thurs., 8:00–10:30 p.m., beg. Sept. 14. $405.
Marie Ponsot
Limited to 8. Permission required. Poets are skilled, of course. The skills
that can be practiced in a group are few but crucial. Assignments in this
workshop enable students to enjoy and exploit these essential opposites:
abstract/concrete, inference/observation, structure/fluency. We work on new
poems in the light of this practice. For permission to register, send ten sample
pages by August 1 to the instructor, c/o New School Writing Program, 66 West
12th Street, room 503, New York, NY 10011. (1 credit)
Joseph Salvatore
Not a traditional workshop, this course covers the essential elements of the
craft of fiction: character, dialogue, point of view, description, and theme, as
well as plot versus story, time and pacing, metaphor and comparison, style
and structure, and language and revision. Examples of these elements are
culled from both canonical and contemporary works. Students read articles
and essays by critics, theorists, and fiction writers, especially writers who
both create and teach fiction writing. When covering the idea of character,
for example, students read what Henry James has to say on the topic, as well
as Virginia Woolf, Aristotle, E.M. Forster, and contemporary voices such as
Wayne Booth, Alice Munro, and Francine Prose. In addition to studying the
basic elements and foundational theories, students undertake several short
creative writing exercises that build on the lessons. This course is designed as
an introduction for students who wish to take or are taking a fiction writing
workshop and want to understand better not only the elements of the craft
but also the vocabulary of the writing workshop. (3 credits)
Beginning Fiction NWRW2305
Elizabeth V. Brown
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Jessie Sholl
This course begins with short writing exercises designed to jump-start
creative thinking and to explore fiction basics: character, dialogue, plot,
point of view, and imagery. Students then submit longer pieces to be
discussed in a workshop setting, which are reviewed with particular
attention to technique, style, and narrative structure. Readings include
works by James Baldwin, Joan Didion, Mavis Gallant, Virginia Woolf, and
Paul Bowles. (3 credits)
Beginning the Novel NWRW2304
ON L INE
Catherine Texier
How to register
Discover.
this catalog.
9:30 a.m.–5:00 p.m.
In a relaxed and supportive but intellectually rigorous atmosphere, this
beginner’s course explores the delicate alchemy that produces excellent
fiction. In our attempt to pinpoint exactly why we feel certain works are
successful, we scrutinize character, tone, point of view, setting, plot, and
dialogue, with a focus on the metaphor as a resonant thematic pattern. Close
attention is paid to craft, to the necessary artifice behind the art of fiction.
The course is taught as an interactive workshop: Students submit chapters
from their novels-in-progress for group assessment. Most sessions include a
topic presentation and a discussion of assigned readings. Ultimately, students
must internalize the skills they learn until those skills become second
nature. (3 credits)
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The Novel Workshop NWRW3301
The Great American Short Story NWRW3327
Luis Jaramillo
Alexandra Shelley
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)
This is a workshop for story writers of all levels. Because the short story
is just that—short—each element of this miniature world is crucial.
Discussions and writing exercises focus on such aspects of the craft as
creating characters who can be picked out of a crowded room, making
dialogue sizzle, using settings that appeal to all of the senses, and taking
emotional risks. To observe these techniques, each week we look under
the hood of a short story by a contemporary writer to see how it operates.
Pieces by workshop members are read beforehand by fellow students and
the instructor who provide the authors with both written critique and useful
class discussion. The goal: attaining the ability to write and hone stories
until they work and understanding why they do. (3 credits)
Voice Lessons: Short Story Workshop NWRW3314
ON L INE
Elise Juska
Sarcastic, soothing, bitter, bold—the voice in writing is as dynamic as the
voice in speaking. In this workshop, students are encouraged to exercise that
vocal range through writing, reading, and experimenting with short fiction.
The majority of class time is devoted to group discussions of the students’
own stories, read in advance and given detailed written and verbal feedback
by the instructor. Supplementary readings include the cadences and nuances
of Junot Diaz, Lorrie Moore, Chris Adrian, Dorothy Allison, and Jamaica
Kincaid. We approach these exemplary stories as writers, looking for what
makes their authors’ voices sing on the page. Students also analyze stories
from the inside out by trying on diverse forms and styles. Expect generous
feedback, an atmosphere of support, a spirit of discovery. The workshop is
open to beginning short story writers as well as those with experience in
writing short fiction. (3 credits)
Fiction Writing NWRW3303
A 15 sessions. Tues., 10:00–11:50 a.m., beg. Aug. 31. $700.
Sidney Offit
This course emphasizes aspects of fiction-writing technique. It is designed
for students trying to develop a project or find the approach by 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)
45
Accidental Realities: Writing Experimental Fiction NWRW3311
Fiction Writing: Creating a Compelling Narrative NWRW3315
Sharon M. Mesmer
Carol Goodman
Cut-ups, collage, use of dream images, and heightened language are often
the provenance of poetry. In this class, experimentation with words and text
is applied to the writing of fiction. Building upon pre-existing narratives,
stories, or characters—or creating them—students learn to produce an
exploded prose that opens up new avenues for creation and interpretation.
Model readings—Woolf ’s Mrs. Dalloway, Bataille’s The Impossible, and
Cisneros’ House on Mango Street—are paired with writing assignments
(the events of one day, an obsession, vignettes of childhood) and in-class
writings (cut-ups, “exquisite corpses”) to provide new ideas and methods for
composing fiction. (3 credits)
What keeps the reader engaged in the story? How does voice pull us into
the fictional world? How can atmosphere enhance the narrative? What
marks the difference between a story that is merely serviceable and one we
can’t put down? This is a class for fiction writers who want to learn how to
create a compelling narrative. We look at the basic elements of storytelling—
characterization, point of view, description, and dialogue—and examine the
way these elements work together to create mystery and tension. Student
work is critiqued in a supportive and constructive workshop environment.
Outside readings illustrate issues of craft that arise as students get to know
one another’s work. Guest speakers from the publishing industry discuss
what they look for in assessing works of fiction. (3 credits)
How Fiction Thrills: Writing Suspense NWRW3334
Fiction Writing: Memory, Imagination, Desire NWRW3308
Katia Spiegelman Lief
Whether literary or commercial fiction, good writing and compelling
suspense should go hand in hand but often don’t. Instead, we get literary
fiction that doesn’t move and suspense fiction without soul. In this course,
the goal is to merge the two to create exciting fiction that satisfies on every
level. Through work shared in class and assigned exercises and reading,
we explore the essentials of successful fiction writing—story and character
development, how to write good dialogue, and how to self-edit. Students
master the techniques that make for can’t-put-it-down suspense. This course
is open to both beginning and seasoned fiction writers, whether of stories
or novels, who wish to explore the crossover territory where the commercial
thriller meets literature. The goal is for each student to finish a knockout
story or the outline and first chapter of a novel. The suggested reading list
includes The Collector by John Fowles, Saturday by Ian McEwan, Strangers
on a Train by Patricia Highsmith, The Spy Who Came in from the Cold
by John Le Carré, The Poet by Michael Connelly, Mystic River by Dennis
Lehane, and Thriller: Stories to Keep You Up All Night, edited by James
Patterson. (3 credits)
Robert G. Dunn
Intermediate Fiction Workshop NWRW3338
John Reed
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 class’s thinking and discussions. Selected works by
contemporary authors, coupled with interviews from the Paris Review,
encourage students to explore influences and techniques. Student writing
is workshopped throughout, enabling students to develop their own
understanding of what it means to write fiction. Confidence and ability go
hand in hand, and this course is designed to give students the resources and
stamina that they need to mature as writers. (3 credits)
46
ON L INE
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 nonetheless made clear. We discuss students’ stories as well as
classics by authors such as Chekhov and Joyce. Assignments are given to
students who need a gentle goad. Each story is individually critiqued, and
marketing advice is given. Professional writers and editors may join us on
occasion. (3 credits)
Advanced Fiction Workshop: Building Full, Real
Characters NWRW4329
Nahid Rachlin
We analyze a few published stories, but class sessions are devoted mainly to
student work—stories or chapters of novels—which we read and comment
on. All criticism is serious but constructive. We point out strengths as well as
weaknesses in plot, viewpoint, character, structure, and dialogue and make
suggestions. Character development—creating complex, real people within
the plot context—is emphasized. Throughout the course, there is discussion
about how to get an agent and a publisher. For students with writing
experience. (3 credits)
Nonfiction
Micro Memoirs NWRW3418
ON L INE
People and Places NWRW0402
Roberta Allen
Writing can be an imaginative process of self-discovery, an opportunity to
see yourself from new angles and perspectives. By responding instantly and
imaginatively to in-class exercises that use verbal and visual cues, you can
find your voice and the material that moves you. These writing exercises
serve as first drafts, to be reworked at home and then discussed in class.
You learn how to focus and choose relevant details, how to create tension by
compression, how to inform by unexpected means, and how to shape your
material into a unique short personal essay form without sacrificing facts or
losing the honesty in your writing. Experimentation is encouraged. A variety
of authors are read. (3 credits)
William Zinsser
The purpose of this course is to help you to write about your life: a memoir
or a family history or a less formal recollection of people and places and
experiences that were important to you. No finished writing is expected.
The emphasis is on process, selection, reduction, organization, intuition,
attitude, voice, and tone. (noncredit)
Introduction to Creative Nonfiction NWRW2401
The Personal Essay NWRW3423
Anthony S. Calypso
ON L INE
Lisa Freedman
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. The reading list includes works by Gay
Talese, George Orwell, and Katherine Boo, as well as essays from The Art of
the Personal Essay: An Anthology from the Classical Era to the Present, edited
by Phillip Lopate. (3 credits)
Finding Your Voice in Nonfiction NWRW3403
Candy Schulman
“Fiction is obliged to stick to possibilities—fact is not,” wrote Mark Twain.
His words have even more resonance now, when actual events often seem
less believable than those in novels. Contemporary nonfiction has limitless
possibilities, as demonstrated by writers like Joan Didion, John McPhee,
Anna Quindlen, Russell Baker, and E.B. White. Today’s nonfiction writer
has the challenge and responsibility of closely observing our complex world,
translating everyday experiences into creative prose full of insight and
provocative ideas. This workshop focuses on essays, memoirs, narratives,
humor, and satire. Students develop their own voices and styles, learning to
use examples and anecdotes and incorporating dialogue and other fiction
techniques. Submission of work for publication is discussed, and marketing
suggestions are made for work deemed publishable. In this workshop,
designed for serious beginners and experienced writers, students establish
writing discipline, choose their own assignments, and receive supportive
critiques from their peers. (3 credits)
Madge McKeithen
This is a workshop for those particularly interested in writing essays using
skills and tools often associated with other genres and art forms. Writers
with comic or poetic sensibilities and an interest in the aesthetic value of
surprise are encouraged to enroll. We read two essays weekly—one by a
humorist, one by a poet—and discuss their strengths separately and in
juxtaposition. Students also write weekly, and their work is reviewed in
a supportive workshop setting. Guest authors visit, and publications and
presses are discussed. We read from Woody Allen, Jonathan Ames, Margaret
Atwood, Max Beerbohm, Robert Benchley, Wendell Berry, Charles
Bukowski, Anne Carson, Annie Dillard, Nora Ephron, Louise Gluck, Ian
Frazier, Robert Hass, Edward Hirsch, Fran Lebowitz, David Lehman, Steve
Martin, Czeslaw Milosz, Montaigne, Naomi Shihab Nye, David Rakoff,
Adrienne Rich, Mark Rudman, May Sarton, David Shields, David Sedaris,
Floyd Skloot, Tom Sleigh, Jon Stewart, James Thurber, Sarah Vowell, and
Adam Zagajewski. (3 credits)
Literary Nonfiction: Art in the Everyday NWRW3405
ON L INE
Chris Pastore
Students explore selected forms of creative nonfiction: the personal essay,
reportage, biography, travel writing, food writing, profile, memoir, and
linked fragments. The use of dialogue, setting, characterization, plot,
and narrative voice is emphasized. The discipline of writing regularly is
encouraged and supported through the assignment of short weekly exercises.
Students are also assigned longer pieces that are workshopped in class.
Discussions about the forms, techniques, and history of nonfiction are
supplemented by readings from work by Joan Didion, V.S. Naipaul, Jamaica
Kincaid, W.G. Sebald, Sherman Alexie, and Abigail Thomas. (3 credits)
Writing from Personal Experience NWRW3508
Nancy Kelton
This workshop is for students who wish to turn their life experiences into
prose for themselves, for publication, or both. The emphasis is on getting
started, finding one’s voice, developing ideas, establishing disciplined
habits, and exploring writing problems as they arise. All kinds of prose are
welcome: autobiography, essays, articles, reminiscences, and humorous or
serious sketches. Assignments are given, and student work is read aloud and
critiqued. Marketing suggestions are given. (3 credits)
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The Nonfiction Book NWRW4402
Journalism and Feature Writing
Jeffrey Hogrefe
Journalism Basics NWRW2601
This is a flexible, open course for students who have begun to write
seriously and would like close guidance as they work on a nonfiction book.
Instruction is tailored to students at different levels. Beginning writers
are expected to introduce or propose a book-length project by the end of
the course. Those who have already started a book project submit their
manuscripts for weekly peer review. In-class instruction, group discussions,
and private consultations help each student develop a mature nonfiction
voice. Students learn to follow their instincts as writers and acquire the
critical distance necessary to assess their own material. Taking a leaf
from Saul Bellow, who once observed that “writing is reading elevated to
emulation,” the course balances textual analysis with formal instruction
in the major forms of nonfiction: biography, memoir, metanarrative, and
reportage. Assigned readings include excerpts from novels by Virginia Woolf,
Don DeLillo, Thomas Pynchon, and Toni Morrison and nonfiction authors
such as Roland Barthes, Joan Didion, Luc Sante, Lucy Grealy, Hilton Als,
David Foster Wallace, and Susan Orlean. (3 credits)
ON L INE
Richard M. Huff
Writing a well-structured, high-quality newspaper or magazine story is
not easy. Students interested in journalism are challenged to write clear,
evocative, and compelling prose with exercises, assignments and deadlines,
specific tips, and plenty of encouragement. Students examine contemporary
newspaper and magazine writing, including stories in the New York Times,
Newsday, and the Washington Post, as well as a variety of Pulitzer Prizewinning 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)
Introduction to the New Journalism NWRW3619
Betty Ming Liu
Journalism will always be about who, what, where, when, and why, but
there’s no doubt that the Internet offers 21st-century writers exciting and
creative new ways to find readers. Online tools like Facebook, Twitter,
Google, and blogs are transforming the way journalists research, write,
pitch, and publish stories. In this hands-on workshop, students learn
basic principles of old-fashioned journalism while experimenting with
new Internet tools and the new forms they produce. Students practice
interviewing, writing pitch letters, and writing features. The class meets in
a computer lab so that students and instructor can explore the new media
together. (3 credits)
NEW Breaking Into Women’s Magazines and Websites NWRW3620
Sherry A. Amatenstein
How to register
Discover.
this catalog.
9:30 a.m.–5:00 p.m.
48
This lively and practical workshop is designed to help women and men
turn their personal experience into magazine articles. The class practices
writing clear, concise essays; reads and critiques articles from print and
Web publications; and learns the business of freelance writing. Learn
about common types of magazine articles, the mistakes most often made
by beginning writers, and how to catch an editor’s eye with a blog. Guests
include editors from top women’s magazines and websites eager to find
talented new writers. (3 credits)
Writing for New York City Newspapers and Magazines NWRW3601
B 15 sessions. Mon., 8:00–9:50 p.m., beg. Aug. 30. $700.
Susan B. Shapiro
The New York Times, Daily News, Newsday, New York Post, and Wall Street
Journal all use freelance writers for profiles, features, reviews, news stories,
humor, and editorials. So do New York Magazine, the Village Voice, Time
Out New York, and the New Yorker. Taught by a writer whose work has
appeared in more than 100 publications, this course reveals the secrets of
breaking in. Topics include tailoring pieces to specific columns, writing a
perfect cover and pitch letter, contacting the right editors, and submitting
the work, following up, and getting clips. Assignments are read and critiqued
in class. Speakers include top Manhattan editors. (3 credits)
F O R EI G N L A N G U A G E S
NEW Freelance Feature Writing NWRW3621
Special Topics
Rachel M. Aydt
Transformations: Writing Personally NWRW3515
This course begins with a review of the basics of journalism, such as writing
strong leads, finding a compelling story structure, and the importance of
accuracy and the legal aspects of reporting. We focus on developing unique
story ideas geared to specific magazines and Web-based publications. We
examine both print and Web markets to determine which publications are
open to freelancers and which sections of those publications farm work out.
Students work on writing headlines, leads, and copy. Emphasis is placed on
interviewing and research skills. Students workshop all assignments in class.
They are encouraged to submit their articles to magazines and newspapers
and work to perfect their query letters for that purpose. Throughout the
course, we examine the structure of current award-winning print pieces and
critique them in class. (3 credits)
Arts and Entertainment Journalism NWRW3611
Matthew P. Melucci
This course teaches aspiring writers and journalists the art of composing
music, theater, or movie reviews, features, news stories, and opinion pieces
for print and online media. Whether your first love is attending live rock
shows or catching the latest indie movie or Broadway play, this course takes
you through the sometimes difficult process of gathering the facts and
interviews necessary to piece together stories about artists and events to sell
to entertainment magazines and other media sources. The class works on
structure, coherence, and style, as well as voice. What goes into landing an
interview with a top artist or celebrity? How do you get the backstage access
that will give your feature story the color it deserves? How do you let go of
being a fan and let the journalist out? (3 credits)
Elaine Edelman
A writer’s basic material is the distinct way he or she experiences the world.
It is the source of personal essays, memoirs, reminiscences, travel sketches,
humor, and autobiographical fiction. In this workshop, seasoned writers
continue works-in-progress while practiced newcomers and writers who
are blocked or changing genres use assignments to discover their most
vital subjects, their native writing talents, and ways to develop both. The
goal for students is to develop expressive freedom and gain insight into the
creative process while mastering the skills of revision that transform personal
experiences into writing that moves readers. Class time is devoted to
constructive feedback on student work, organized around common concerns
to allow students to learn from one another’s struggles and triumphs. The
instructor suggests readings to meet individual needs and responds in
written detail to every submitted piece. Recommended for students with
some writing experience. (3 credits)
NEW Experimental Writing NWRW3531
ON L INE
Robert Lopez
This workshop is for writers who want to try something different and
work in multiple genres. As Samuel Beckett wrote, “To find a form that
accommodates the mess, that is the task of the artist now.” The mess is
the whole of our modern world: How do we harness it into form? Writers
address this question by challenging conventions, experimenting with and
blurring the lines between prose and poetry. Students are encouraged to
work on fiction that looks like poetry, poems that read like plays or fiction,
and plays that incorporate all genres. Students discuss and critique one
another’s work along with works by writers like David Markson, Lydia
Davis, James Tate, Sandra Cisneros, Will Eno, and Carole Maso. (3 credits)
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Writing for Children
Dramatic Writing
Children’s Book Illustration and Writing NWRW3812
Playwriting NWRW3702
Jacquie Hann
Robert S. Montgomery
In this course, each student develops a children’s book from an initial
concept to a dummy that is 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 to be shown to art directors. Weekly critiques inspire students to
hone their individual concepts and styles. (3 credits)
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)
Playwriting from Personal Experience NWRW3708
Writing for Young Adults NWRW3808
ON L INE
ON L INE
Carolyn MacCullough
Do you remember reading a particularly good book when you were a
teenager, one that stayed with you into adulthood? Young adult or teen
literature is one of today’s fastest-growing book markets. We examine all
aspects of writing for young adults, including suitable subject matter, plot
structure, mood, tone, and authentic voice. We study a variety of books
written for young adults, including The Catcher in the Rye by J.D. Salinger
and Catalyst by Laurie Halse Singer, to learn what makes this genre at
its best so powerful, even timeless. In-class and at-home writing exercises
are assigned to spark creativity and tap previously undiscovered sources
of inspiration. A suggested reading list is distributed, and one session is
devoted to different approaches to getting published. Both beginning and
experienced writers are welcome. As Flannery O’Connor said, “If you
survive childhood you have enough material to write about for the rest of
your life.” (3 credits)
Alice Eve Cohen
How do you start writing a play? In this workshop, students use personal
experience as a springboard for generating original characters, stories, and
imagery for the stage. Basic elements of playwriting are explored through
in-class writing exercises and weekly writing assignments. We experiment
with the possibilities of dramatic storytelling, with an emphasis on
fictionalizing and transforming personal experiences and memories. Students
read their own work aloud and discuss it in class and 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)
Writing for Children: How to Jump-Start Your Book NWRW3809
Michele Spirn
Have you ever wanted to write a children’s book? Are you working on a
children’s book manuscript? Are you interested in exploring the increasingly
popular world of writing for children? If so, this course is for you. Each
week we spend time writing in class, critiquing writing projects, developing
ideas, and exploring what’s happening in the field. We also read and analyze
currently popular children’s books to gain insight into trends and successful
writing techniques. (3 credits)
on page 95.
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Foreign Languages
Arabic
Japanese
Chinese (Mandarin)
Korean
Classical Languages: Latin
Portuguese (Brazilian)
FrenchRussian
German
Sign Language
Hebrew
Spanish
Italian
Tibetan
Self-Placement Test
Please contact the Foreign Languages department early in the registration
process to ensure proper placement. When choosing a course level, keep in
mind your previous experience with the language you wish to study: high
school and college courses, extended stays in a country where the language is
spoken, frequent contact at home or work with speakers of the language. To
assist you in finding the level that best suits your needs, self-placement tests
are available for most languages. If you think you might be beyond Level 1,
take the self-placement exam for the level at which you would like to start.
The exam can be taken in 15–20 minutes and can be obtained from the
Department of Foreign Languages, 64 West 11th Street, ground floor, or by
calling 212.229.5676 or emailing [email protected] (we would
be happy to email, mail, or fax the self-placement exam to you). Return the
completed exam to the Department of Foreign Languages for scoring; the
results will be emailed, mailed, faxed, or telephoned per your request.
Anthony Anemone, Chair
Florence Leclerc-Dickler, Associate Chair
Foreign language study is for anyone who wishes to better
understand and appreciate our increasingly globalized
society. The New School has been successfully teaching
foreign languages for decades to people who travel abroad,
who conduct business in other countries or engage with
Arabic
Iman Issa, Iman Maiki, Karam Tannous
For an explanation of Arabic course levels and their equivalents at other
institutions, contact the Foreign Languages office at 212.229.5676 or
[email protected].
New York City’s multicultural communities, who wish
Level 1 NARB1001
to appreciate great literature or films in the original
A 13 sessions. Mon., 6:00–7:50 p.m., beg. Sept. 13. $590.
languages, or whose scholarly pursuits mandate facility
B 13 sessions. Tues., 8:00–9:50 p.m., beg. Sept. 14. $590.
with other languages.
This first course in Modern Standard Arabic introduces students to
Arabic letters and sounds. Students learn to engage in basic conversation
about who they are, what they do, where they are from, and other simple
topics. (2 credits)
Are you thinking about learning a new language or sharpening existing
skills in a foreign language? Whether you’re interested in foreign
language study for pleasure, career, or academic purposes, come to
our open house and talk to the faculty and staff of the Department of
Foreign Languages about our courses and methods. No reservation is
Learning a Foreign Language at The New School
TAKE UP A NEW LANGUAGE
IN ONE WEEKEND
New School foreign language courses are designed to help you achieve
linguistic independence in the language you have chosen to study. Most
modern language instructors are native speakers, and all courses are designed
to introduce students to a language in its cultural context. The emphasis
is on interaction in class between students and instructor and among the
students themselves.
14 HOURS OF INSTRUCTION,
FRIDAY THROUGH SUNDAY
Choosing the Proper Course
With some exceptions (such as the Graduate Reading courses and Arabic),
foreign languages are taught in a six-term course sequence, designated as
Levels 1 through 6. Each level corresponds to one semester of study. Levels
1 and 2 represent introductory stages of language learning; Levels 3 and 4,
intermediate stages; and Levels 5 and 6, advanced.
Students who wish to study a foreign language at an accelerated pace may
opt for an Intensive course. Intensive courses provide the equivalent of a
semester and a half of study in one term.
ON THE GO
On the Go workshops are designed for busy people who wish to
acquire the basics of a foreign language (or refresh and expand
their knowledge) before traveling abroad, whether for personal
or professional purposes.
In just one weekend, learn how to ask for directions, handle
currency, shop, order in restaurants, and deal with other
common situations.
French, Spanish, Italian, Portuguese, Japanese, and Chinese
Courses will be offered over two weekends next fall: October 29–31
and December 3–5. For more information, call the Department
of Foreign Languages at 212.229.5676.
51
Level 2 NARB1002
Classical Languages
A 13 sessions. Tues., 8:00–9:50 p.m., beg. Sept. 14. $590.
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. (2 credits)
Level 3 NARB2001
In this third-semester course, students continue developing basic skills:
listening, speaking, reading, writing, and cultural studies. Students learn
new verb tenses and acquire the ability to narrate events and describe places
and people. Simple Arabic texts are introduced. (2 credits)
Rama C. Madhu, Samuel B. Seigle
Latin Level 1 NLTN1001
Designed for graduate students preparing for the reading examination and
others who wish to read Latin texts, this beginning course covers essential
grammar and provides practice in reading and translation. Readings are
from the classical Roman authors. This course meets the needs of those who
have never studied Latin before and those who need to review fundamentals
of the language. (2 credits)
Levantine Arabic: Colloquial 1 NARB3704
This course in spoken Arabic, open to students who have completed at least
one year of Modern Standard Arabic, is an opportunity to acquire basic
conversational skills in colloquial Arabic, the language of daily use, in this
case Levantine Arabic, the dialect spoken in Palestine, Syria, Lebanon, and
Jordan. The course assumes knowledge of the Arabic alphabet, which is used
along with phonetic transliterations of the Levantine colloquial. (2 credits)
French
Julia Anderson, Noëlle Carruggi, Samuel Howell, Ida Kummer, Sabine
Landreau-Farber, Florence Leclerc-Dickler, Alfredo Marques, Philippe-Gérard
Montanari, Justin Trificana, Stephane Zaborowski
Christine Luneau-Lipton, Coordinator
French on the Go, Level 1 NFRN0804
Chinese (Mandarin)
Yan Deng, Jia-xuan Zhang
A 3 days. Fri. thru Sun., Oct. 29, 30 & 31. $350.
B 3 days. Fri. thru Sun., Dec. 3, 4 & 5. $350.
NEW Chinese on the Go, Level 1 NCHM0804
A 3 days. Fri. thru Sun., Dec. 3, 4 & 5. $350.
Before traveling to China or another country where Mandarin Chinese is
commonly spoken, stop at The New School for a weekend immersion in the
Chinese language. Master common situations such as asking for directions,
handling currency, ordering in restaurants, and shopping. Make rapid
progress learning to converse in Chinese. Level 1 is for complete beginners;
Level 2 is for students familiar with basic elements of the language. Each
workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–6:00 p.m.
(with a one-hour lunch break); and Sunday, 10:30 a.m.–2:00 p.m., for a total
of 14 hours of instruction. (noncredit)
Level 1 NCHM1001
A 13 sessions. Sat., 12:00–1:50 p.m., beg. Sept. 11. $590.
B 13 sessions. Mon., 6:00–7:50 p.m., beg. Sept. 13. $590.
Students with little or no knowledge of Chinese develop the ability to
carry on simple conversations about a variety of topics. While the course
emphasizes listening and speaking, reading and writing of Chinese
characters is also introduced. All communication skills are taught in cultural
contexts. (2 credits)
B 3 days. Fri. thru Sun., beg. Dec. 3, 4 & 5. $350.
Before traveling to France or another country where French is commonly
spoken, stop at The New School for a weekend immersion in the French
language. Master common situations such as asking for directions,
handling currency, ordering in restaurants, and shopping. Make rapid
progress learning to converse in French. Level 1 is for complete beginners;
Level 2 is for students familiar with basic elements of the language;
Level 3 is an intermediate-level course for students with a good working
knowledge of French; Level 4 is an advanced course. Each workshop meets
Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–6:00 p.m. (with a one-hour
lunch break); and Sunday, 10:30 a.m.–2:00 p.m., for a total of 14 hours of
instruction. (noncredit)
Introductory Intensive NFRN1003
A 13 sessions. Sat., 10:00 a.m.–1:45 p.m., beg. Sept. 11. $1,000.
Level 2 NCHM1002
B 26 sessions. Tues. & Thurs., 8:00–9:50 p.m., beg. Sept. 14. $1,000.
This is a course for beginners who want to progress rapidly in learning
French. Students acquire basic speaking, reading, and writing skills
while learning about French culture. The emphasis is on developing
communication skills. (4 credits)
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 receive increased attention as students develop their listening and
speaking ability throughout the course. (2 credits)
52
Intermediate Intensive NFRN2003
Rendez-vous en Français NFRN3714
Familiarity with basic grammatical structures is assumed. Students read
literary and cultural texts and acquire the knowledge to meet most practical
writing needs (brief descriptive paragraphs, simple letters, summaries of
day-to-day activities). Special attention is given to improving students’ ability
to understand spoken French and hold sustained conversations. (4 credits)
This course focuses on the dynamics of everyday speech, both 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) selected to build
vocabulary and encourage students to speak spontaneously on a range of
topics. Designed for students who have completed Level 5 or the equivalent,
this course is conducted entirely in French. (2 credits)
Level 1 NFRN1001
A 13 sessions. Sat., 10:00–11:50 a.m., beg. Sept. 11. $590.
B 13 sessions. Mon., 6:00–7:50 p.m., beg. Sept. 13. $590.
C 13 sessions. Mon., 8:00–9:50 p.m., beg. Sept. 13. $590.
D 13 sessions. Wed., 8:00–9:50 p.m., beg. Sept. 15. $590.
A first course in French for those with no previous knowledge of the
language. Students master basic speaking, reading, and writing skills while
learning about French culture. Class activities include interactive exercises
and role-playing. Principles of grammar and syntax are introduced as
students become more comfortable with the spoken language. (2 credits)
Level 2 NFRN1002
German
Rainer L. Brueckheimer, Adelheid Ziegler
Introductory Intensive NGRM1003
German. Students acquire basic speaking, reading, and writing skills
while learning about German culture. The emphasis is on developing
Students with elementary knowledge of French first review simple elements
of speech (present and simple future tenses) and then are introduced to more
complex grammatical and syntactical elements (past tenses, object pronouns,
etc.). Students expand their vocabulary and knowledge of French culture in a
setting that emphasizes communication skills. (2 credits)
Level 3 NFRN2001
This intermediate-level course assumes familiarity with the basic structures
of the French language. The course begins with a review and moves on to
cover more complex grammatical forms, such as the present conditional and
multiple pronouns. Special attention is given to improving students’ ability
to understand spoken French and converse in French on a variety of topics
pertaining to different times and places. (2 credits)
Level 4 NFRN2002
Level 1 NGRM1001
A first course in German for individuals with no previous knowledge of the
language. Students learn basic speaking, reading, and writing skills while
discovering aspects of German culture. Class activities include interactive
exercises and role-playing. Principles of grammar and syntax are introduced
as students become more comfortable with the spoken language. (2 credits)
Level 2 NGRM1002
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. (2 credits)
Intermediate-level study of French continues in this course. Systematic
review and reinforcement of the grammatical structures of the language is
combined with literary and cultural readings. Students refine their writing
and verbal skills through brief compositions, class presentations, and
sustained conversation in French. (2 credits)
Level 5 NFRN3001
Level 3 NGRM2001
This intermediate-level course assumes familiarity with the basic
grammatical structures of the German language. It begins with a review
and moves on to cover more complex grammatical forms. Special attention
is paid to improving students’ ability to understand spoken German and
converse on topics pertaining to different times and places. (2 credits)
Students hone their ability to speak, read, and write in French. They
learn to communicate in situations such as one might encounter living in
a French-speaking country and develop the ability to participate fully in
conversations. Attention is also paid to writing skills, and students practice
writing cohesive summaries and narratives in French using a range of past,
present, and future tenses. (2 credits)
Level 4 NGRM2002
Intermediate-level study of German is continued. A systematic review of
grammar is combined with literary and cultural readings. Students acquire
the knowledge to meet most practical writing needs (brief descriptive
paragraphs, simple letters, summaries of day-to-day activities). The emphasis
is on enhancement of listening and speaking skills through sustained
conversation in German. (2 credits)
53
Hebrew
Level 3 NITL2001
Moshe Ariel
of the Italian language. It begins with a review and then covers more
complex grammatical forms, such as the conditional and the historical
past. Special attention is given to improving students’ ability to understand
spoken Italian and converse on a number of topics pertaining to different
times and places. (2 credits)
Level 1 NHBW1001
A first course in modern Hebrew for those with no previous knowledge
of the language. Students learn the Hebrew alphabet and acquire basic
speaking, reading, and writing skills while learning about Israeli 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)
Italian
Assaggi di Cultura Italiana NITL3714
This intermediate-level course offers students a taste of various topics in
Italian culture and society. Speaking strategies and skills are developed
through readings and discussions in Italian about art, cinema, music,
theater, and literature, as well as interesting news events in Italy. Prerequisite:
at least three semesters of college-level Italian or permission of the
instructor. (2 credits)
Caterina Bertolotto, Carmelina Cartei, Monica London, Francesca Magnani,
Giuseppe Manca, Stefano L. Vaccara
Florence Leclerc-Dickler, Coordinator
Japanese
Italian on the Go, Level 1 NITL0804
Trevor Corson, Taeko Horiko, Ichiro Kishimoto, Satomi Li
Tomoyo Kamimura, Coordinator
Italian on the Go, Level 2 NITL0805
Japanese on the Go, Level 1 NJPN0804
Before traveling to Italy, stop at The New School for a weekend immersion
in the Italian language. Master common situations such as asking for
directions, handling currency, ordering in restaurants, and shopping.
Make rapid progress learning to converse in Italian. Level 1 is for complete
beginners; Level 2 is for students familiar with basic elements of the
language. Each workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00
a.m.–6:00 p.m. (with a one-hour lunch break); and Sunday, 10:30 a.m.–2:00
p.m., for a total of 14 hours of instruction. (noncredit)
Level 1 NITL1001
Japanese on the Go, Level 2 NJPN0805
Before traveling to Japan, stop at The New School for a weekend immersion
in the Japanese language. Master common situations such as asking for
directions, handling currency, ordering in restaurants, and shopping. Make
rapid progress learning to converse in Japanese. Level 1 is for complete
A first course in Italian for those with no previous knowledge of the
language. Students acquire basic speaking, reading, and writing skills while
learning about Italian culture. Class activities include interactive exercises
Level 2 NITL1002
Level 1 NJPN1001
A first course in Japanese for those with no previous knowledge of the
language. Students acquire basic speaking skills and are introduced to
reading and writing hiragana and katakana while learning about Japanese
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)
For students with elementary knowledge of Italian. This second-term course
reviews simple grammar and introduces more complex grammatical and
syntactical elements. Students expand their vocabulary and knowledge
of Italian culture in a classroom setting that emphasizes communication
skills. (2 credits)
54
NEW Sushi, Buddhas, and Erotica: Japanese Cultural
Phenomena NJPN3701
Trevor Corson
Taught by a bestselling author and media commentator, this course explores
Japanese language and culture through three of Japan’s most notable and
curious phenomena: food, religion, and erotica. It is designed for students
who wish to deepen their knowledge of Japan while acquiring specialized
cultural vocabulary to complement their basic Japanese speaking, listening,
and reading skills. The course introduces the culinary secrets and history of
sushi, the traditions and practice of magical Buddhism, and the surprising
ubiquity of Japanese erotica, past and present. Materials include selections
from popular books, comics, and videos. This class is conducted in English
and Japanese. Prerequisite: elementary ability to read and converse in
Japanese. (2 credits)
Korean
Seon Jeong Lee
Level 1 NKRN1001
A 13 sessions. Sat., 12:00–1:50 p.m., beg. Sept. 11. $590.
A beginning course in the national language of Korea. The emphasis is
on learning to speak Korean. Reading and writing of Korean characters
is introduced. All communication skills are taught in a cultural
context. (2 credits)
Level 2 NPRT1002
Designed for students with elementary knowledge of Portuguese, this course
first reviews 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. (2 credits)
Level 3 NPRT2001
This intermediate-level course is designed for students familiar with the
basic grammatical structures of Portuguese. The course begins with a review
of these structures and moves on to more complex grammatical forms
such as the subjunctive mood and relative pronouns. Particular attention is
given to developing students’ ability to understand spoken Portuguese and
converse on topics pertaining to different times and places. (2 credits)
Portuguese for Spanish Speakers NPRT1700
This is a beginner’s Portuguese course for students with a strong Spanishlanguage 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. (2 credits)
Russian
Portuguese (Brazilian)
Irina Belodedova, Halyna Lemekh
Tobias C. Nascimento, Liria M. Van Zandt
Level 1 NRSN1001
NEW Portuguese on the Go, Level 1 NPRT0804
Portuguese on the Go, Level 2 NPRT0805
Before traveling to Brazil, stop at The New School for a weekend immersion
in Brazilian Portuguese. Master common situations such as asking for
directions, handling currency, ordering in restaurants, and shopping. Make
rapid progress learning to converse in Portuguese. Level 1 is for complete
Level 1 NPRT1001
A first course in Russian for those with no previous knowledge of the
language. Students acquire basic speaking, reading, and writing skills,
including the Cyrillic alphabet, while learning about Russian culture.
Class activities include interactive exercises and role-playing. Principles of
grammar and syntax are introduced as students become more comfortable
with the spoken language. (2 credits)
Level 2 NRSN1002
Designed for students with elementary knowledge of Russian, this course
reviews simple elements of grammar (present, past, and future tenses) and
introduces more complex grammatical and syntactical elements. Students
expand their vocabulary and knowledge of Russian culture in a classroom
setting that emphasizes communication skills. (2 credits)
A first course in Portuguese for those with no previous knowledge of the
learning about Brazilian culture. Class activities include interactive exercises
Level 4 NRSN2002
Intermediate-level study of Russian continues. A systematic review of
grammar is combined with literary and cultural readings. Students acquire
the knowledge to meet most practical writing needs (brief descriptive
paragraphs, simple letters, and summaries of day-to-day activities).
Enhancement of communication skills through sustained conversation in
Russian is emphasized. (2 credits)
55
Sign Language
Spanish
Gabriel Grayson, Jeffrey M. Mooney
Teresa A. Bell, Ernesto Fedukovitch, Sonia Granillo-Ogikubo, Luis Guzmán,
Rodolfo Long, Arlene Padilla, Cristina Ross, Victor M. Tirado, Guillermo
Vallejo-Rodriguez
Introduction to Sign Language NSLN1001
The totally visual language of deaf people is 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, fingerspelling, 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 beginner’s course exploring the system known as American Sign Language
(ASL), a form of communication used by thousands of deaf Americans and
Canadians. ASL is a richly expressive, versatile full-fledged language—not a
hodgepodge of charades and finger spelling—with its own grammar, poetry,
and puns. Students master the techniques essential to ASL conversations,
including finger spelling and facial expressions. Through demonstrations
and class activities, including interactive exercises and role-playing, students
gain familiarity with ASL at a beginner’s level, along with a general
understanding of the history of deaf society in the United States. This
course is led by a deaf native signer. There is no prerequisite. (2 credits)
American Sign Language, Level 2 NSLN1012
Luis Galli, Coordinator
Spanish on the Go, Level 1 NSPN0804
A 3 days. Fri. thru Sun., 6:00–9:00 p.m., Oct. 29, 30 & 31. $350.
B 3 days. Fri. thru Sun., 6:00–9:00 p.m., Dec. 3, 4 & 5. $350.
Before traveling to Spain or Latin America, stop at The New School for a
weekend immersion in the Spanish language. Master common situations
such as asking for directions, handling currency, ordering in restaurants, and
shopping. Make rapid progress learning to converse in Spanish. Level 1 is
for complete beginners; Level 2 is for students familiar with basic elements
of the language; Level 3 is an intermediate-level course for students with a
good working knowledge of Spanish; Level 4 is an advanced course. Each
workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–6:00 p.m.
(with a one-hour lunch break); and Sunday, 10:30 a.m.–2:00 p.m., for a total
of 14 hours of instruction. (noncredit)
A course for people with basic understanding of American Sign Language
(ASL) who wish to acquire more sophisticated communication skills.
Guided by a deaf native signer, students develop greater conversational
fluency, expand their sign vocabulary, and improve their fingerspelling
ability. Practical role-playing exercises and individual presentations of ASL
face, hand, and body language give them the tools to communicate with
the deaf and hard of hearing in a variety of social and professional settings.
Assignments take students into the deaf community. In class, students are
strongly encouraged to participate using ASL only. Prerequisite: American
Sign Language, Level 1 or the equivalent. (2 credits)
Introductory Intensive NSPN1003
B 26 sessions. Tues. & Thurs., 6:00–7:50 p.m., beg. Sept. 14. $1,000.
Spanish. Students acquire basic speaking, reading, and writing skills while
learning about Spanish and Latin American cultures. The emphasis is on
developing communication skills. (4 credits)
Intermediate Intensive NSPN2003
American Sign Language as an Art Form NSLN1703
Familiarity with basic grammatical structures is assumed. Particular
attention is given to improving students’ ability to understand spoken
Spanish and hold sustained conversations. Literary and other cultural texts
are read in Spanish, and students acquire the knowledge necessary for simple
practical writing about past, present, and future events and activities (brief
descriptive paragraphs, simple notes and letters). (4 credits)
Summer theater, concerts, festivals, and Broadway have all 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. The 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 confidence and improve their
Level 1 NSPN1001
B 13 sessions. Tues., 8:00–9:50 p.m., beg. Sept. 14. $590.
C 13 sessions. Wed., 6:00–7:50 p.m., beg. Sept. 15. $590.
A first course in Spanish for those with no previous knowledge of the
learning about Spanish and Latin American cultures. Class activities include
interactive exercises to introduce principles of grammar. (2 credits)
56
Level 2 NSPN1002
Tibetan
NEW Tibetan Language and Culture NTBN1003
For students with elementary knowledge of Spanish. This course
first reviews simple grammar (present, past, and future tenses) and
then introduces more complex grammatical and syntactical elements.
Students expand their vocabulary and knowledge of Spanish and Latin
American cultures in a classroom setting that emphasizes communication
skills. (2 credits)
A 26 sessions. Tues. & Thurs., 4:00–5:50 p.m., beg. Sept. 14. $1,000.
Level 3 NSPN2001
of the Spanish language. The course begins with a review and moves on to
cover more complex grammatical forms, such as the subjunctive mood and
multiple pronouns. Special attention is given to improving students’ ability
to understand spoken Spanish and converse in Spanish on a variety of topics
pertaining to different times and places. (2 credits)
Michael Sheehy
Students study the structures of Tibetan grammar and syntax and become
familiar with the fundamental forms of conversational and literary
expression. Particular attention is given to reading classical literary Tibetan
as the key to the vast treasury of Tibetan Buddhist written culture.
Contextualizing the Tibetan language, readings are drawn from poetry,
biography, and contemplative literature. In class, students concentrate on
developing pronunciation skills, mastering important technical Tibetan
Buddhist terminology, and practicing methods of translation. Several
sessions are conducted on the gallery floors of the Rubin Museum of Art.
No prior knowledge of the Tibetan language is required. (4 credits)
Level 4 NSPN2002
This fourth course advances students toward high-intermediate fluency.
Through communicative activities and content-based materials, students
improve their oral and written expression in areas such as proposing
hypotheses, supporting opinions, and engaging in dialogue about the
cultures of Spain and Latin America. (2 credits)
Level 5 NSPN3001
An advanced course in which students hone their skills in speaking, reading,
and writing Spanish. They practice communicating in situations such as
one might commonly encounter living in a Spanish-speaking country and
develop the ability to participate fully in conversations. They also practice
writing coherent summaries and narratives in Spanish, using past, present,
and future tenses. (2 credits)
Mexico: Arte y Cultura NSPN3723
Cristina Ross
This course, conducted entirely in Spanish, introduces students to Mexican
art, covering the period from 1900 to the present, including mural and easel
painting, photography, sculpture, folk arts, and architecture. In the process,
they obtain a general but dynamic vision of Mexican historical development.
Through lectures, discussions, readings, and collaborative work, students
practice speaking Spanish. There is a class field trip to view Mexican art on
display in New York City. Prerequisite: Spanish Level 5 or permission of the
department (call 212.229.5676). (2 credits)
57
e n g l i sh l a n guag e stud i e s
English Language Studies
Teaching English to Speakers of Other Languages
English as a Second Language
Sean Conley, Chair
Required Curriculum: The certificate is awarded for successful completion
of the program of study outlined below. This program can be completed
in two academic terms, depending on the availability of classes. Courses
need not be taken in the order listed unless a prerequisite is indicated in the
course description. The courses can be taken for undergraduate credit or on
a noncredit basis, but if you are not enrolling for undergraduate credit, you
must register as a certificate student. Certificate approval cannot be awarded
for any course retroactively.
• Methods and Techniques of Teaching ESL/EFL
English has become the language of international
• English Grammar for ESL Teachers
communication; command of spoken and written English
• Teaching the Sound System of English
is important in business, the arts, and other professions
all over the world. The demand for ESL courses and
trained ESL teachers continues to grow. The mission of
English Language Studies at The New School is to address
this demand by offering high-quality courses in English
language instruction and teacher training.
• Using Authentic Materials to Teach ESL
• ESL Teaching Practicum
Noncredit students receive grades of AP (Approved) or NA (Not Approved)
in each course and can obtain transcripts. Credit students must earn grades
of C+ or better in all the courses.
For general rules governing all New School certificate programs, consult
the Educational Programs and Services section of this catalog (see Table of
Contents).
C e r t i f i c at e i n T e a c h i n g E n gl i s h Op e n H o u s e
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 (MA 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 [email protected].
Learn more about ESL/EFL teaching as a career and The New School’s
Certificate in Teaching English. Members of the staff are present to
answer your questions. Reservations are not necessary, but please
email [email protected] or call 212.229.5372 and let us know if you
plan to attend.
Methods and Techniques of Teaching ESL/EFL NELT3411
Theresa M. 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 [email protected] for a list of
possible teaching sites. (4 credits)
Certificate in Teaching English to Speakers of Other Languages
The New School offers a five-course certificate for aspiring or working ESL
teachers for whom a master’s degree is inappropriate or impractical. The
certificate curriculum stresses communicative, student-centered learning
and has a practical orientation. Participants are introduced to a variety
of methods and techniques readily applicable to classroom teaching. This
program does not certify teachers to teach ESL in New York public or proprietary
schools.
Prospective students should apply online to the Department of English
Language Studies. The application includes a writing sample and a grammar
test. Once the application materials have been received and reviewed,
applicants will be contacted for an in-person interview. 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 to www.newschool.edu/english. For more information,
contact English Language Studies, 68 Fifth Avenue, New York, NY 10011;
212.229.5372; email [email protected].
58
see pages 74–75.
English Grammar for ESL Teachers NELT3412
Professional Development
Delis M. Pitt
Enrollment limited. Permission required; call 212.229.5372. This course is
designed to improve formal understanding of English grammar to facilitate
teaching the language. (3 credits)
Professional development workshops are offered regularly for working ESL
teachers and others interested in the field. Enrollment in the Certificate in
Teaching English to Speakers of Other Languages program is not required.
Teaching Writing NELT3415
Teaching the Sound System of English NELT3414
A 4 sessions. Sat., 9:30 a.m.–1:00 p.m., beg. Oct. 23. $385.
A 4 sessions. Sat., 9:30 a.m.–1:00 p.m., beg. Sept. 25. $385.
Jacqueline B. Smith
Polly Merdinger
Study in detail several methods for helping ESL students improve their
writing in English. The emphasis is on teaching organizational and editing
skills and developing effective techniques for correcting errors. (1 credit)
Enrollment limited. Permission required; call 212.229.5372. The sound system
of English is studied, with special attention to characteristics that learners
of English as a foreign language often find difficult. Participants learn to
develop contextualized pronunciation exercises and incorporate them into an
ESL syllabus. (1 credit)
ESL/EFL Teaching One-on-One NELT0443
A 3 sessions. Fri., 6:00–7:50 p.m., beg. Nov. 5. $120.
Using Authentic Materials to Teach ESL NELT3432
A 4 sessions. Sat., 2:00–5:30 p.m., beg. Oct. 30. $385.
Linda Pelc
Enrollment limited. Permission required; call 212.229.5372. This course
presents techniques for choosing and using appropriate TV and radio
broadcasts, films, cassette tapes, newspapers, magazines, brochures, flyers,
and other media. Participants learn how to prepare teaching exercises
that incorporate these kinds of materials, and, as time permits, the class
experiments with them. (1 credit)
Susan Cafetz
This course gives students ideas for techniques and activities specific to
one-on-one teaching and tutoring. (noncredit)
Working with Images in the Language Classroom NELT0533
A 6 weeks, Oct. 11 thru Nov. 19. $400.
ON L INE
Ben Goldstein
This course focuses on images as a key resource in the learning and teaching
of English, celebrating all the facets of the learning process and proposing
tasks designed to motivate learners. (noncredit)
ESL Teaching Practicum NELT3416
A 13 sessions. Wed., 6:00–7:50 p.m., beg. Sept. 15, plus classroom
teaching individually arranged. $605.
Timothy Bredl
Enrollment limited. Permission required; call 212.229.5372. Certificate
students who have completed the prerequisites teach an ESL class for at least
30 cumulative hours. Prerequisites: Methods and Techniques of Teaching
ESL/EFL, English Grammar for ESL Teachers, and Using Authentic
Materials to Teach ESL. Students who are ready to do the practicum
must notify the English Language Studies Center one term in advance;
notification should be made during the registration period for the preceding
academic term. The teaching component takes place at off-site locations
arranged by each student. (3 credits)
Job Interviewing Skills for English Language Teachers NELT0442
A 1 session. Fri., 6:00–9:00 p.m., Dec. 3. $30.
Jiro Adachi, Caitlin Morgan
Permission required; call 212.229.5372. A frank and open discussion about
the dos and don’ts of interviewing for a job as a teacher of English as a
second or foreign language. Note: This workshop does not deal with job
hunting. (noncredit)
ON L INE
information.
59
English as a Second Language
Grammar of Written English 5, Part 1 NESL0501
A 12 sessions. Mon. & Wed., 10:00 a.m.–12:40 p.m., beg. Sept. 13. $690.
Yeghia Aslanian, Theresa M. Breland, Jesse Day, Thom Garvey, Richard
Humphreys, Patrick Mull, Cristina Patterson, Delis M. Pitt, Barbara Sarapata,
Jacqueline B. Smith
A 12 sessions. Mon. & Wed., 10:00 a.m.–12:40 p.m., beg. Nov. 1. $690.
Placement Advising: All students must see an English Language Studies
advisor for testing and placement at the appropriate level before they register.
Call 212.229.5372 or email [email protected].
Study Options in English as a Second Language
Individual Classes: Students who do not need a visa can take classes from
four to 18 hours per week.
Certificate: A Certificate in English as a Second Language can be awarded
to those who successfully complete a minimum of 100 hours of ESL
coursework. All students who enroll as certificate students can obtain a
transcript of the courses they have taken, even if they do not complete 100
hours of coursework. Policies governing all New School certificate programs
are stated in the Educational Programs and Services section of this catalog
(see the Table of Contents). Note: The registration fee for certificate students
is $60 per semester.
Intensive Study: The Department of English Language Studies has
developed a unique program for intensive study of English as a second
language. A full-time curriculum (18 hours per week) is designed for each
student based on a selection of courses at an appropriate level chosen from
those offered in this catalog. Selected New School lectures, film screenings,
concerts, and other events are free of charge to students enrolled in the ESL
Intensive Study program.
• 12-week intensive program: Tuition $4,680. Begins September 13.
•6-week intensive programs: Tuition $2,340 each. Part 1 begins September
13; Part 2 begins November 1.
Enrollment limited. Permission required. High-intermediate and 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)
Writing in English 3, Part 1 NESL0311
A 12 sessions. Tues. & Thurs., 10:00 a.m.–12:40 p.m., beg. Sept. 14.
$690.
A 12 sessions. Tues. & Thurs., 10:00 a.m.–12:40 p.m., beg. Nov. 2. $690.
Enrollment limited. Permission required. Students at the low-intermediate to
intermediate level work on writing paragraphs and build to writing essays
consisting of a good 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 in addition to those arising in student writing. Call
212.229.5372 for required placement advising. (noncredit)
English Grammar 3, Part 1 NESL0301
$690.
English Grammar 3, Part 2 NESL0302
Enrollment limited. Permission required. Students at the high-intermediate
level work on writing five-paragraph essays consisting of a good
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 points of grammar are covered in addition to
those arising in student writing. Call 212.229.5372 for required placement
advising. (noncredit)
Enrollment limited. Permission required. Practice in basic English language
skills and grammar for low-intermediate to intermediate students. Call
Enrollment limited. Permission required. A high-intermediate course focusing
on the grammar, structure, and usage of written English. Call 212.229.5372
for required placement advising. (noncredit)
60
Listening in the Real World 6, Part 1 NESL0621
A 12 sessions. Mon. & Wed., 2:00–3:50 p.m., beg. Sept. 13. $480.
$690.
Listening in the Real World 6, Part 2 NESL0622
A 12 sessions. Mon. & Wed., 2:00–3:50 p.m., beg. Nov. 1. $480.
Enrollment limited. Permission required. Students practice advanced listening
points, focusing on the use of authentic materials, such as news broadcasts,
films, and documentaries. Pronunciation and presentation skills are
emphasized. Problems with grammar and vocabulary are addressed as they
come up. Call 212.229.5372 for required placement advising. (noncredit)
Enrollment limited. Permission required. Advanced 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 compareand-contrast essays, analytical essays, argumentative essays, summaryresponse essays, persuasive essays, and critiques. Students learn how to revise
their own work and develop other skills used by successful writers. Specific
points of grammar are covered in addition to those arising in student
writing. Call 212.229.5372 for required placement advising. (noncredit)
Reading and Vocabulary 3, Part 1 NESL0331
Reading and Vocabulary 3, Part 2 NESL0332
A 12 sessions. Tues. & Thurs., 2:00–3:50 p.m., beg. Nov. 2. $480.
Academic Writing 6, Part 1 NESL0611
$690.
Enrollment limited. Permission required. Practice in reading with emphasis on
building vocabulary for students at low-intermediate to intermediate levels.
Call 212.229.5372 for required placement advising. (noncredit)
Academic Writing 6, Part 2 NESL0612
Exploring Literature 4, Part 1 NESL0431
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
Exploring Literature 4, Part 2 NESL0432
Reading/Discussion 5: Self and Identity, Part 1 NESL0531
Reading/Discussion 5: Self and Identity, Part 2 NESL0532
Conversation and Listening 3, Part 1 NESL0321
Conversation and Listening 3, Part 2 NESL0322
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, Part 1 NESL0421
Listening/Speaking 4: New York Life, Part 2 NESL0422
Listening/Speaking 5: Thinking Critically, Part 1 NESL0521
Listening/Speaking 5: Thinking Critically, Part 2 NESL0522
Enrollment limited. Permission required. High-intermediate and advanced
students learn to recognize the key elements and supporting details in
various examples of authentic spoken English such as movies, interviews,
live discussions, and television programs. They develop successful listening
strategies and speaking skills. Problems with the grammar of spoken
English, vocabulary, and pronunciation are reviewed as they come up. Call
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
building language skills by speaking about reactions to the readings. Call
Topics in Culture and Society 6, Part 1 NESL0631
Topics in Culture and Society 6, Part 2 NESL0632
Enrollment limited. Permission required. In this reading and discussion
class, students explore current issues from various cultural perspectives.
Among the topics discussed are individualism, competition, materialism,
and attitudes toward change. Call 212.229.5372 for required placement
Institutional TOEFL Exam NESL0574
A 1 session. Fri., 10:00 a.m.–12:30 p.m., Nov. 5. $25.
Jacqueline B. Smith
Permission required. Students currently enrolled in any division of The New
School can register to take this version of the TOEFL examination. Note:
Test scores are reported only to the students who take the examination and
can be used to meet TOEFL requirements only at this university. Transcripts
will not be sent to any other institution. To register or for more information,
contact the Department of English Language Studies: [email protected]
or 212.229.5372. Registration must be completed at least one month in
advance. (noncredit)
61
v i sua l a n d p e rf o rm i n g arts
Visual and Performing Arts
Visual Arts
Photography
Acting and Movement
Mimi Wlodarczyk, Coordinator
The New School’s founders sought to establish a “dynamic
Beginning Drawing NART1204
Michelle Greene
Limited to 18. This course explores both traditional and contemporary
approaches to making drawings with a variety of materials. Through a series
of assignments with still-life arrangements and live models, students learn
the importance of seeing as well as the basic principles of drawing. Bring
an 18"×24" drawing pad, soft vine charcoal, and a kneaded eraser to the first
session. (3 credits)
Beginning Drawing: Short Course NART1205
center of modern culture in which adults could learn
Susan Cottle
to appreciate new art forms, or even become artists
B 6 sessions. Wed., 6:00–8:40 p.m., beg. Nov. 3. $315.
themselves.” In the decades that followed, The New
School has supported and been enriched by many modern
pioneers of American fine arts, theater, and dance. This
commitment to teaching and nurturing the creative arts
has continued, and today The New School offers a wide
range of courses in the arts for students at all levels.
Nuno Campos
Limited to 18. This course explores both traditional and contemporary
approaches to making drawings with a variety of materials. Through a series
of assignments with still-life arrangements and live models, students learn
the importance of seeing as well as the basic principles of drawing. Bring
an 18"×24" drawing pad, soft vine charcoal, and a kneaded eraser to the first
session. (1 credit)
Beginning Painting NART1301
Nuno Campos
To find out more about our visual and performing arts courses, come
to our open house and speak to members of our faculty and staff.
No reservation is necessary, but if you need more information, call
212.229.5615.
Limited to 18. This course assumes no previous painting experience.
Students are introduced to fine art materials, with demonstrations of
their uses and proper care; colors, including setting up the palette, mixing
colors, contrasting warm and cool colors, and realistic and abstract uses of
color; beginning a painting; working from still life and live models; and
fundamentals of composition and design, including proportion. Group and
individual instruction is provided. Bring to the first session an 18"×24" canvas
pad; one tube of titanium white; one tube of dark paint (oil or acrylic); Gamsol
mineral spirits for oils; #1, #3, #8, and #12 flat brushes; a palette knife; an
11"×14" minimum palette or metal cookie sheet; a coffee can; and an absorbent
rag. (3 credits)
Visual Arts
Note: For class locations, check in the lobby of 66 West 12th Street, where
on-campus room assignments are always posted. Off-campus meeting
locations are listed in the course descriptions.
Tuition does not include art supplies, which, if not stated in the course
description, are discussed during the first session. For more information,
class locations, directions, or advising, call 212.229.5615.
Fundamentals of Composition and Design NART1201
Gilda Pervin
Students learn to create drawings and paintings by arranging lines, forms,
colors, textures, and lights and darks on paper and canvas. They then
learn to recognize what makes one arrangement of these elements exciting
and another dull, one forceful and another static. This course emphasizes
learning to see and applying one's vision to the creation of expressive
and personal works of art. Materials include charcoal, pencil, ink, paint,
paper and canvas. This course is appropriate for both beginners and
more advanced students. A list of art supplies is distributed at the first
session. (3 credits)
Beginning Painting: Short Course NART1302
Betty Tompkins
Limited to 18. This course assumes no previous painting experience.
Students are introduced to fine art materials, with demonstrations of
their uses and proper care; colors, including setting up the palette, mixing
colors, contrasting warm and cool colors, and realistic and abstract uses
of color; beginning a painting; working from still life and live models;
and fundamentals of composition and design, including proportion. Bring
to the first session an 11"×14" canvas pad, a disposable palette, acrylic gloss
medium, a jar, a tube of white and a tube of black acrylic paint, and #2 and #3
brushes. (1 credit)
62
Beginning Painting and Drawing: Short Course NART1305
Project Studio NART3304
A 6 sessions. Sun., 11:00 a.m.–1:40 p.m., beg. Sept. 12. $315.
B 6 sessions. Sun., 11:00 a.m.–1:40 p.m., beg. Oct. 31. $315.
Peter Garfield
Avron Soyer
Limited to 15. This studio offers intermediate to advanced students the
opportunity to complete self-directed projects (drawing, painting, or mixed
media). Rather than receiving class assignments, students plan, develop, and
produce a project or series of their own design. Build your portfolio, create a
coherent series of drawings, or paint a monumental canvas with the technical,
historical, and critical support of the instructor. Guest artists and critics
contribute to the dialogue. The emphasis is on articulating a personal approach
to the chosen medium. May be taken for credit more than once. Bring a sample
portfolio of your work (on slides or CD), if available, to the first session. (3 credits)
Limited to 18. Working from still-life arrangements and live models,
beginners learn fundamental skills of perspective, light and shade, and
three-dimensional form. Principles of design and color are also discussed
in context. Individual instruction is offered according to each student's
needs. Freedom of expression is encouraged throughout, and any medium
(watercolors, pastels, oils, pen and ink, etc.) may be used. Bring to the first
session an 18"×24" pad of drawing paper; 5B, 2B, and 2H charcoal pencils; and
a kneaded eraser. (1 credit)
Drawing at the Metropolitan Museum NART1210
A 15 sessions. Wed., 10:00 a.m.–12:40 p.m., beg. Sept. 1. $620.
Printmaking
Margrit Lewczuk
Limited to 12. Beginning students learn how to draw using the collection
of the Metropolitan Museum of Art as subject matter. Working from a
different artwork or artifact each week, the course covers the fundamental
principles and techniques of drawing, including basic gestural studies,
learning how to see form, and experimenting with different kinds of mark
making and materials. The setting and the small size of the class allow for
instruction geared to the specific needs of individual students. Bring an
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)
Life Drawing NART1217
A 15 sessions. Sun., 2:00–4:40 p.m., beg. Sept. 12. $620.
Margrit Lewczuk
Limited to 18. For students with some drawing experience. Working from the
live model, this class focuses on exercises that teach how to "draw what you
see, not what you know." Developing a feeling for the expressiveness of line
and form, students learn to use value, mass, and movement to capture the
human figure. They also begin to understand how light and dark create form
and to use the relationships of those elements to build strong compositions.
Bring vine charcoal and an 18"×24" newsprint pad to the first session. (3 credits)
These courses are offered at Parsons The New School for Design as part of
that division’s continuing education Arts and Foundation curriculum. For
more information and to register, visit www.newschool.edu/parsons/ce or
call 212.229.8933.
Introduction to Printmaking PCFA1800
Janice Loeb
Etching and Engraving PCFA1801
Mohammad Khalil
Silkscreen Printing PCFA1802
Luther Davis
B 12 sessions. Sat., 10:00 a.m.–12:30 p.m., beg. Sept. 25. $688.
Painting Materials and Techniques: Short Course NART2312
Woodcut, Etching, and Collagraph PCFA1804
A 7 sessions. Tues., 6:00–8:40 p.m., beg. Nov. 2. $315.
A 12 sessions. Sat., 10:00 a.m.–12:30 p.m., beg. Sept. 25. $688.
Betty Tompkins
Mohammad Khalil
Limited to 18. An opportunity to further explore formal, technical, and
stylistic concerns introduced in Beginning Painting. Through studio
assignments, discussions, group critiques, readings, and museum visits,
students find the techniques and materials that allow them to best express
their ideas. Students receive individualized instruction to assist them in
developing a personal approach. Bring the painting materials of your choice
to the first session, including a paper or canvas pad, palette, and brushes. If you
bring oil paints, also bring Gamsol mineral spirits. (1 credit)
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Photography
Photographic Self-Portrait NPHG2013
Since Berenice Abbott’s classes in the 1930s, The New School has been at
the forefront of photography education and experimentation. The tradition
continues in our current program of workshops and lectures, taught by
working professionals. Recommended sequence of courses for beginners:
Introduction to Photography 1 and 2.
Class locations are posted in the lobby at 66 West 12th Street. For placement
advising, call 212.229.5615.
Introduction to Photography 1: Technical Foundation NPHG0001
Seth Greenwald
Limited to 15. It is not uncommon for photographers to complain that “it
has all been done before.” What subject remains that is new and uncharted
territory? Our own selves, of course! In this workshop, students photograph
themselves, using these exercises to challenge the usual lazy solutions to
technical problems and to work on thinking conceptually. Along with
weekly shooting assignments, the class studies interesting examples of
self-portraiture from throughout the history of the medium. This workshop
is designed to strengthen your relationship to your own process using any
camera format and traditional or digital materials. (3 credits)
Note: Credit students must register for NPHG1000, below.
Michael Grimaldi
This lecture/demonstration course for beginners covers the fundamentals of
both film and digital photography. The goal is to give students a sense of the
power of photography and confidence in using a camera without bogging
them down in excessive technical detail. Topics include types of cameras,
how to choose a camera, color and black & white film, photo processing,
and how to hold the camera to ensure sharp photographs. Aperture opening
(f-stop) and shutter speed are explained in detail so that students learn how
the two work together to control exposure, sharpness, and depth. There is
also discussion of lighting techniques; control of image size and perspective
by choice of lens and focal length; creative application of depth-of-field;
how and when to use automatic features of electronic cameras; accessories
such as tripods, flashes, and filters; and both the digital and the traditional
darkroom. Shooting assignments are supported by assigned technical
readings. Individual creativity is stressed, and students’ work is viewed and
discussed in class. All topics are handled informally, and open discussion
and questions are encouraged. If you own a camera, bring it to the first class
session. (noncredit)
Professional Practices in Photography NPHG1015
Tod Bryant
Limited to 18. Designed for both beginning and advanced photography
students, this course provides a framework in which to define and develop
a professional practice. The course addresses the needs of those whose
goal is to make fine art photography as well as those who want to do
commercial photography, including photojournalism, fashion photography,
and advertising. In addition to getting technical and aesthetic advice on
their work, students receive guidance on launching a professional career,
in areas such as portfolio presentation, approaching galleries, and getting
an agent. Relevant topics in the history and theory of photography are also
discussed. Students are expected to complete five projects and present them
for critique. The projects and critiques are supplemented by slide lectures,
readings, and field trips to galleries and museums. Prerequisite: Introduction
to Photography 1 or equivalent experience. (3 credits)
Shadows, Textures, Reflections: Seeing the Light in New York
City NPHG3005
Introduction to Photography 1: Technical Foundation NPHG1000
A 6 sessions. Fri., 10:00 a.m.–2:30 p.m., beg. Sept. 3. $620.
A 15 sessions. Wed., 6:00–8:50 p.m., beg. Sept. 1. Credit students only.
Margo Moss
Michael Grimaldi
Limited to 15. Photograph patterns, colors, and shapes on location in New
York. In each session, the class shoots together on location in a different
cityscape, ranging from the geometries of the South Street Seaport to the
natural beauty of parks and gardens. Students learn to see deeply in order to
create a celebration of the city as a landscape of fascinating neighborhoods.
Each student has the opportunity to present a photographic statement about
New York City. We shoot color slide film for the purpose of critique. The
first session meets at The New School. Bring your camera. (2 credits)
This class meets concurrently with NPHG0001, then resumes as a smaller
discussion group after a ten-minute break. The last three sessions are
devoted to critique of student projects. (3 credits)
Introduction to Photography 2: The Practice of
Photography NPHG1020
Adam Fernandez
Limited to 18. Students are introduced to advanced photographic techniques
and ideas. Lab sessions focus on both film and digital practices and
include in-class demonstrations of the zone system, flash photography,
and Photoshop. Through lectures, weekly critiques, and readings, students
advance their knowledge of aesthetics, refine their photographic vision, and
deepen their understanding of the history of photography. The four biweekly
shooting assignments are designed to help students develop their ideas and
techniques. Each student is also expected to undertake a self-defined term
project. There is no restriction on formats or camera types. Prerequisite:
Introduction to Photography 1 or equivalent experience. Bring your camera
and examples of your work to the first session. (3 credits)
on page 95.
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Point-and-Shoot in the Field NPHG1013
Acting and Movement
A 6 sessions. Sun., 11:00 a.m.–3:30 p.m., beg. Sept. 12. $620.
Margo Moss
Limited to 15. Photograph New York using only technique and the simplest
of equipment. Learn how to use landscape, form, and existing light to
master the photographic resources on hand. Each week, the class explores
various New York neighborhoods and captures striking images on a low
budget. Students are encouraged to use point-and-shoot digital cameras,
simple 35mm film cameras, and even disposable cameras to develop a
unique photographic vision. Beginners are welcome. Bring your camera to the
first session. (2 credits)
The New School offers a noncompetitive curriculum that specializes in
the requirements of beginning and intermediate students. The faculty
includes professional performers, directors, teachers, and lecturers who bring
experience, talent, and a range of aesthetic outlooks to a highly supportive
program. Special clothing or footwear, if required, is discussed at the first
class meeting. Call 212.229.5615 for course advising.
Stand-Up Comedy Workshop NACT0304
A 6 sessions. Mon., 8:00–9:50 p.m., beg. Oct. 4. $315.
Using Your Digital SLR NPHG0013
A 1 session. Sat., 10:00 a.m.–5:00 p.m., Nov. 6. $220.
George Schaub
Limited to 15. While digital single-lens reflex cameras have many of the same
photographic functions and features as film SLRs, they present different
challenges on the digital side. These include choosing the proper file
format and resolution, white balance, color space, exposure compensation,
saturation, and contrast controls. Students spend the first part of this course
in the classroom examining these features and learning how to control them
in order to make informed choices when shooting in the field. Presentations
and hands-on exercises familiarize students with the functions of their
digital cameras and use of the Raw file format. The second half of the day
is devoted to computer lab work and covers downloading images, processing
Raw file format, and organizing images in “albums.” Adobe Photoshop
tools for processing digital images are introduced. Basic knowledge of
photography, SLR camera controls, and computers is assumed. This course is
taught on the Mac platform. Bring your digital SLR camera to class. (noncredit)
Scott Blakeman
Learn the art of writing, producing, and performing comic monologues.
The underlying premise is learning by doing—students perform their
own material regularly in front of the class, which critiques each piece for
content, style, and delivery. Improvisational techniques and traditional
modes of comedy performance are emphasized to help students develop
individual writing styles and strong stage personas. The course is designed
to culminate with each student giving an actual audition at one of New
York’s leading comedy clubs. Class discussion is also devoted to the tough
emotional realities of the stand-up comedian’s life onstage and the tough
economic realities of that life offstage. (noncredit)
Introduction to Acting NACT2300
Andrew Palmer
The beginning actor is introduced to a wide variety of physical and vocal
exercises, techniques for freeing spontaneous personal feelings, and the
process of bringing all these elements together with detailed work on text
material. Emphasis is placed on developing the ability to sustain attention
and highly concentrated energy. Every effort is made to give maximum
attention to the individual development of each student. (3 credits)
Acting for Film and Television NACT3313
Mark Stolzenberg
How to register
Discover.
this catalog.
This course, for beginning and experienced actors, is devoted to the
particular art of acting for the camera. Subjects covered include how to
relate to the lens, blocking and movement, important differences between
film acting and stage acting, film audition techniques, working with sides
and copy, and tricks of the trade that make actors more believable and
interesting on screen. The course considers the demands of serious film
roles, commercials, monologues, and scene study. Students work in front of
the camera and can immediately review their own performances. (3 credits)
9:30 a.m.–5:00 p.m.
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Acting for the Stage NACT3339
Pilates: The Mat NDRF1303
John Charles Murphy
Pamela Pardi
This course exposes actors and nonactors to the principal elements of
onstage performance. Students express themselves while having fun. The
eclectic approach covers the essentials of acting and directing and technical
aspects of building a performance. Using the techniques of Stanislavsky, M.
Chekhov, and Lecoq, students develop an understanding of the expressive
potential of body and voice. Through class exercises that build awareness
and listening and observation skills, students learn how to create a scene or
tell a story. Classwork also includes exercises for relaxing, focusing attention,
economy of movement, the neutral mask, and sense memory. Applications
to acting for film and television and the use of these techniques to improve
everyday communication skills are also taught. Using the skills learned in
the course, students experience the process of building a character using
monologues, soliloquies, or scene work or create an original sketch. Extensive
individual coaching culminates in the creation of scenes and theater pieces.
Prerequisite: Scene Study or an equivalent acting course. (3 credits)
B 12 sessions. Sat., 12:00–1:50 p.m., beg. Sept. 25. $580.
Solo Theater NACT3325
Alice Eve Cohen
Solo theater, with ancient roots in traditional storytelling, is experiencing a
renaissance that is taking it from downtown clubs to Broadway. This highly
personal genre encompasses storytelling, multicharacter comic monologues,
and mixed-media performance art. In this course, each student works on the
script of a solo one-act or a collection of short solo pieces. Equal attention is
given to writing and performing. In-class writing and improvisation exercises
help students find their own voices. Basic elements of drama and storytelling
are taught, but students may work in nontraditional narrative styles.
Participants are encouraged to form partnerships to direct one another’s
work. The work of well-known artists like Anna Deavere Smith and John
Leguizamo is discussed, as are performance venues and opportunities in
New York City. (3 credits)
Meli Zinberg
Limited to 12. An introduction to the series of exercises brought to the
United States by Joseph Hubertus Pilates in the 1920s and disseminated
by his protégé, Romana Kryzanowska. It’s not the individual exercises but
the entire sequence that has kept the Pilates method popular for 85 years.
Especially valued by professional dancers and athletes, Pilates mat work
strengthens core muscles while increasing flexibility by applying principles
of “control, centering, concentration, precision, breath, and flow.” Wear a
leotard and footless tights or other appropriate comfortable clothing. No shoes are
worn in class. (2 credits)
Tai Chi Chuan: General Principles of Body Movement NDRF1200
Robert Ante
Limited to 12. Invented in China at the end of the Ming dynasty and much
refined thereafter, tai chi chuan has gained widespread popularity and
recognition as the perfect exercise program for people of all ages. Research
indicates that tai chi can play a significant therapeutic role in promoting
relaxation and rehabilitation. The movements are both slow, without sudden
or strenuous exertion, and precise, graceful, and powerful. They cultivate
poise and grace, relax and tone muscles, and reduce nervous strain, leading
to spiritual as well as physical relaxation. All the movements revolve about
a unified principle of body motion that can be applied at every moment of
daily life. Consistent practice is the key to proficiency in both the martial
and the health aspects of tai chi chuan. (2 credits)
The Alexander Technique NDRF1301
Cynthia Reynolds
Hatha Yoga NDRF1302
A 12 sessions. Fri., 10:00–11:50 a.m., beg. Sept. 24. $580.
Leslie Daly
B 12 sessions. Sat., 4:00–5:50 p.m., beg. Sept. 25. $580.
Thembi Costa
Limited to 12. Explore the postures (asanas) and breathing practices
(pranayama) of hatha yoga, designed to strengthen the cardiovascular
system and stimulate energy centers (chakras) in the body. Students progress
through a series of movements and exercises that promote flexibility and
muscle tone in all areas of the body. Emphasis is placed on developing
awareness of the spine and proper breathing, which supplies the body with
greater amounts of oxygen than it normally receives, allowing the muscles
to work more efficiently and resulting in improved circulation and increased
stamina and vitality. Daily practice is encouraged. Wear a leotard and
footless tights or other appropriate comfortable clothing. No shoes are worn in
class. (2 credits)
Limited to 12. The Alexander Technique enables you to develop
dynamic posture, improve coordination, move with greater efficiency
and self-awareness, and avoid unnecessary tension, especially in the
neck, shoulders, and back. This highly respected technique, well
known to professional performers and athletes, is very helpful to people
with movement, postural, or tension problems and those in sedentary
occupations. Wear a leotard and footless tights or other appropriate comfortable
clothing. No shoes are worn in class. (2 credits)
see pages 74–75.
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Training in Art Therapy 1 NCAT3100
Louise Montello, Coordinator
Makiko Young
Creative arts therapists are licensed psychotherapists specially trained to use
the arts within the therapeutic relationship to promote health and healing in
mentally, physically, and emotionally challenged patients.
Enrollment limited. This course examines the theoretical models that provide
the foundation for the use of art in therapeutic situations. The history of
the profession is outlined. Case studies and artwork are presented in class
to illustrate assessment and treatment. Students develop the ability to
understand, interpret, and respond to symbolism from their own work, their
patients, and the world around them. (3 credits)
This certificate program prepares students to work in human services
through a curriculum integrating music, drama, dance, and visual arts into
the practice of psychotherapy. Courses are both didactic and experiential
and are grounded in the latest developments in psychology and mind-body
healing. Fieldwork and internship opportunities are available in diverse
clinical settings.
The program is open to students who have completed at least 30 college
credits (including courses in music, drama, dance, art, psychology, and
social work). Students who have professional experience in the arts may
complete the academic prerequisites while pursuing the certificate.
The certificate requires completion of nine courses, with a concentration
in music, drama, dance/movement, or visual arts, and is usually completed
within two years. All certificate students must have their courses approved
by the program coordinator before registration. For general policies relating
to all New School certificate programs, see Educational Programs and
Services in this catalog (see Table of Contents).
For more information, call 212.229.5567 or email [email protected].
Note: Students are strongly encouraged to register early, as classes often fill.
Individual courses may be taken by students not enrolled in the certificate
program.
C r e at i v e A r t s Th e r ap y E x p o
Admission free. A panel discussion on advances in the field of creative
arts therapy is followed by experiential workshops in each modality
(music, dance, art, and drama) led by graduates of the New School
Creative Arts Therapy Certificate program. Reservations are not required.
The Performance Wellness Seminar NCAT3740
Louise Montello
This course offers musicians, music therapists, and other creative
arts therapists a deeper understanding of the implications of stress in
performance as well as practical tools for making the body-mind a more
resilient instrument in the face of stressful situations. This seminar evolved
out of ten years of clinical practice and research in the use of integrative
music therapy to treat and prevent stage fright and other performancerelated disorders. The uniqueness of this approach derives from the use
of music as a self-reflecting and transformational tool to deal with the
underlying causes of performance stress. The seminar also provides training
in body-mind awareness techniques, cognitive restructuring, behavioral
rehearsal, and music therapy techniques designed to address key performance
issues. Students keep daily logs to monitor changes in their own stress levels
(physical, mental, and emotional) during the course. (3 credits)
Training in Music Therapy 1 NCAT3300
Christoph Grieder
Enrollment limited. Music therapy is gaining prominence in medicine,
rehabilitation, and psychology. Broadly defined, music therapy is the use
of music within the therapeutic relationship to facilitate healing of the
body, mind, and spirit. This two-semester course includes an overview of
music therapy as practiced in this country and abroad, theories about the
use of music therapy with different patient populations, and information
about further training and job opportunities in the field. There is also an
experiential component, in which students practice clinically tested music
therapy techniques such as guided imagery and music, group music therapy,
and clinical improvisation. Special emphasis is given to the use of music
therapy in treating stress-related disorders. As the term progresses, students
receive guidance in finding fieldwork opportunities in the New York
area. (3 credits)
Introduction to Dance/Movement Therapy NCAT2510
Nancy Koprak
Enrollment limited. Changing the way we move, express feelings, and
communicate with others has a profound effect on body/self-image,
self-esteem, and social interaction. Through dance, the body becomes a
source of joy rather than a reservoir of problems and pain. Techniques
such as empathetic reflection, self synchrony, and rhythmic integration
are experienced and discussed in relation to prevention and rehabilitation.
Students learn about dance therapy practice with diverse populations such
as patients with eating disorders, chronic pain, and schizophrenia. This
introduction to the field includes the history of the profession, theoretical
concepts, information on further training, professional standards, and
employment opportunities. (3 credits)
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Rhythm and Role: Unmasking the Essential Self NCAT3400
Drama Therapy: Methods and Techniques NCAT3505
A 4 sessions. Sat., 10:00 a.m.–5:00 p.m., beg. Oct. 16. $650.
Louise Montello
Jennifer Wilson
Enrollment limited. Permission required. This innovative course for creative
arts and mental health practitioners, performers, and educators integrates
concepts and practices from a variety of creative arts therapy modalities.
Students journey through a developmental process in which each explores
relationships to self and other. Shamanic rituals, psychodrama, storytelling,
and improvisation help students find their inner notes and essential pulses.
Readings from the creative arts and psychoanalytic literature are assigned,
and students are required to keep a journal to frame the process. (3 credits)
This course provides a description of and introduction to the practice of
methods and techniques used by drama therapists, including Moreno’s
psychodrama, Landy’s role theory, Johnson’s developmental transformations,
Emunah’s five stages, and Fox’s playback theater. Clinical techniques such
as sand play, storytelling, drama games, projective techniques, performance,
masks, and puppets are also explored and discussed. Course requirements
include a final paper and a leadership project in which each student leads the
class. (3 credits)
The Dance of Life: Body/Mind Relationships NCAT3550
Creative Arts Therapy Internship NCAT3900
A Fieldwork individually arranged; seminar meets 4 times: Wed., 4:00–5:50
Meg Chang
p.m., Sept. 8, Oct. 6, Nov. 17 & Dec. 15. $760.
Enrollment limited. We are our bodies, continuously creating ourselves
through our thoughts, feelings, actions, and interactions. This course
examines how mental and emotional states are reflected in breathing, body
tension, postures, and gestures and how body awareness opens the door
to personal growth. Individual movement patterns are viewed in terms of
human development, emotional expression, and social interaction. Students
discover how they move—what they prefer and what they avoid. They learn
movement meditations and explore engagement, identity, competition,
leadership, boundaries, and separation. (3 credits)
Louise Montello
The Dynamics of Art Materials NCAT3113
Dina Schapiro
Enrollment limited. Journey into the process of making art for the purpose
of self-expression, using a wide range of art materials. We explore the bridge
between art and psychology by examining various art therapy techniques,
the stages of group therapy, and the prescriptive use of the art medium.
Students are encouraged to become aware of their own reactions in class,
which may parallel the experiences of those they might treat through art
therapy. (3 credits)
Dance Therapy with Children NCAT3553
Susan Tortora
Enrollment limited. Permission required. Students gain a deeper
understanding of the role multisensory learning plays at all levels of a
young child’s development based on the intricate relationship between
the brain and body. Using the Ways of Seeing program, they learn how
to apply this perspective across a continuum of infant and childhood
mental health practices, from understanding typical parent-infant
relationships to working with special populations. Through lectures,
videos, worksheets, and experimental participation, students come to
understand the role of movement in development and learn age-appropriate
movement, dance, and play activities that enhance the physical, cognitive,
communicative, social, and emotional development of children. (3 credits)
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Limited to 12. Permission required; call 212.229.5567 to arrange a placement
interview. Clinical internships in a variety of settings are offered to
certificate students upon their completion of two required psychology and
four concentration courses. Interns work in a clinical facility under the
supervision of a certified arts therapist for at least 130 hours and attend
a concurrent seminar that focuses on clinical issues particular to specific
populations. (3 credits)
B U S INE S S
Management and Business
Introductory Finance for Business NMGT2133
David Rudofsky
Carol Overby, Coordinator
The management and business curriculum teaches specific
business practices and provides in-depth understanding
of the effects of social and economic forces on today’s
businesses and nonprofit organizations. Whether your
interest is in acquiring or polishing job-related skills,
This course provides an understanding of financial statements and
concepts for students with no prior knowledge of the subject. We look at
how statements (profit and loss, balance sheet, cash flow, etc.) are used in
business operations, how businesses of various sizes finance their growth,
and how governance practices affect financial health. Case studies from
financial and business news enable students to grapple with issues such
as profit delivery, return on investment, and the stock and bond markets.
Humorous and dramatic excerpts from television and film enliven our
discussion of these topics. (3 credits)
positioning yourself for a new career, opening your own
Business Law NMGT2105
business, or supporting your work with nonprofits or
in the arts, The New School can help you adapt to an
Earl L. Scott
ever-changing environment.
To learn more about our business courses, come to our open house and
speak to members of the faculty and staff. No reservation is necessary,
but if you need more information, call 212.229.5615.
Introduction to Business Management NMGT2100
ON L INE
Introduction to Marketing NMGT2115
Richard Walton
This is a skill-building course for people whose job responsibilities or
career interests require knowledge of basic management principles. We
study concepts of business organization, communication, decision making,
planning, motivating, controlling, group dynamics, leadership, and change.
Examples of common day-to-day management and supervisory problems
provide realistic case studies. (3 credits)
Basic Accounting NMGT2110
This course introduces basic principles of business law with an emphasis on
contract law, particularly the law governing contract formation, validity,
and enforceability. We begin with an exploration of common, statutory,
and constitutional law with respect to business and commerce. We then
examine the operation of the judicial system, from the initiation of a lawsuit
to judgment and enforcement. Topics include alternative dispute resolution
methods (arbitration, negotiation, and mediation), administrative law and
government regulation, product liability, business torts, intellectual property,
business crimes, negotiable instruments, and debtor-creditor relationships.
We also cover aspects of labor law and business organization. (3 credits)
ON L INE
Laurence O’Connell
This course introduces basic concepts and practices of accounting and
double-entry bookkeeping. Journals, ledgers, and various types of accounts
are described and discussed. Real business transactions are analyzed, and
their proper entry into financial records is demonstrated. Students learn
how to determine profit or loss on a cash or accrual basis. Related skills
are reviewed, including preparing budgets and reading basic financial
statements. (3 credits)
Maureen McAllister
This course is for students interested in acquiring a working knowledge of
the terminologies, processes, and practices needed to manage marketing
in for-profit and not-for-profit companies. Learn fundamental concepts
and models such as the “four Ps,” segmentation, consumer behavior,
and branding, and explore the interdisciplinary roots of marketing
in anthropology, sociology, economics, and psychology. Students are
encouraged to consider target markets as subcultures, products as cultural
artifacts, and consumer decisions as behavioral choices. Current trends
and hot-button issues, including ambush marketing, corporate social
responsibility, and green marketing, are examined. Cases and guest speakers
help students apply theory to a range of industries and products, including
nonprofits, art and design, packaged goods, and services. (3 credits)
Entrepreneurship NMGT2140
Small businesses are the drivers of today’s economy. It takes specific
skills and qualities to lead a business to success in this vibrant sector.
This hands-on, highly interactive course teaches students how to assess
a business idea, find funding, and bring the product to the market. We
review the concept of entrepreneurship and the practices associated with the
successful development and launch of a small enterprise. This is a practical
course that combines textbook study and real-life exercises such as forming
an elevator pitch, devising a business plan, and delivering an investor
presentation. (3 credits)
ON L INE
information.
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B U S INE S S
All About Advertising NMGT2119
Kurt Brokaw
Advertising is changing before our eyes. This course explores how branding
mobile media, social and business networks, user-generated ad campaigns,
and stealth marketing are opening up new message channels. We look at
consumer psychographics, in-your-face appeals, and the new marketplace
of YouTube and Google. Invited guest speakers include Wendy McHale,
U.S. director of Client Services at Econsultancy; Matt Miller, president
of the Association of Independent Commercial Producers; Sarah Wehrli,
account director at Green Room Entertainment; and Anna-Kate Roche
(Eugene Lang College ’08), interactive copywriter at Crispin Porter +
Bogusky. (3 credits)
Food Studies
Fabio Parasecoli, Coordinator
Food studies at The New School draws on a range of
disciplines to explore the connections between food and
the environment, politics, history, and culture. Our faculty
of historians, policy activists, entrepreneurs, and scientists
provide the theoretical and practical tools you need to
engage in what has become a global conversation about
Managerial Skills for Successful Organizations NMGT2420
food production, distribution, quality, and safety and to
promote positive change in your local food chain.
For managers, leaders, and staff members, effectiveness in organizations
depends largely on understanding what’s going on beneath the surface
of complex relationships and situations. Organizational Behavior (OB)
provides important tools for achieving such understanding. OB draws on
a range of social science disciplines—psychology, sociology, anthropology,
and political science—to explain, predict, and influence human behavior in
organizations. OB is a foundation for management studies and is critical for
those who seek success in their own organizations. (3 credits)
NEW How to Convince with Numbers NMGT2200
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 where numbers
can strengthen a case, 2) find the best sources for reliable data, and 3)
organize, graph, and present information in the most compelling way.
This course is for those who wish to sharpen their abilities with numbers
and develop visual and graphical presentation skills using software like
Excel. (3 credits)
To learn more about our food studies courses, come to our open house
and speak to members of the faculty and staff. No reservation is
American Culinary History: From the Erie Canal to the Food
Network NFDS2101
Andrew F. Smith
What does the Erie Canal have to do with Wonder Bread? Which American
war gave us condensed soup? Why did American farmers turn away from
organic farming in the first place? This course examines the historical,
cultural, social, technological, and economic events that have influenced
what Americans eat today. It is an action-packed history, of home economists
and fancy restaurateurs, family farmers and corporate giants, street
vendors and captains of industry, mom-and-pop grocers and massive food
conglomerates, burger barons and vegetarians, the hungry and the affluent,
hard-hitting advertisers and health food advocates—all contributors to the
contentious American foodscape of the 21st century. (3 credits)
History of American Farming and Agricultural Production NFDS3101
NEW Successful Internet Marketing NMGT2117
Thomas Forster
Local, healthy, and sustainable food movements are often defined as
alternatives to the dominant “industrial” model. How did the industrial
farming system become the agricultural paradigm? In this course, we explore
the history and development of American agriculture from the colonial
period through the rise of industrial farming in the mid-20th century to the
emergence of the organic, sustainable, and locavore movements in the last 40
years. We consider the values, science, and politics that led to monocultures
and the “green revolution,” synthetic fertilizers, genetic engineering, and
the primacy of processed over fresh foods, and we see how dissident voices
rose to challenge these practices. Topics include the connection between
national defense and industrial agriculture in the aftermath of World War
I, the relationship between industrial agriculture and movements for food
justice and food sovereignty, the influence of alternative movements in the
Global South on American agricultural practices, the new vulnerability of all
regions resulting from climate change, and the relationship of current food,
energy, and financial crises. We train our sights on the food fights of our day
in light of this history. (3 credits)
Use of the Internet by consumers as a primary source of information has
increased the importance of companies’ online presence. What makes a
website or Internet promotion fail or succeed? What principles of marketing
explain these successes and failures? Through analysis of actual case studies
such as Zappos, Air France, and Dove, students learn how marketing
concepts apply to website management, social media promotions, search
strategy, and other Internet tools. Assignments may include critiques of
specific company websites and online marketing strategies to analyze how
effectively they reflect principles such as branding, marketing mix, customer
value, and niche marketing. (3 credits)
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f o o d stud i e s
Food and Power in the United States NFDS3200
Launching and Marketing Your Food Product NFDS0350
A 1 session. Sat., 10:00 a.m.–4:00 p.m., Sept. 25. $170.
Maya Joseph
Terry Frishman
This course takes a critical look at the roots and ramifications of the major
contemporary debates about food in the United States. Exploring subjects
ranging from food stamps and school lunches to calorie labeling laws,
locavores, the “fat acceptance movement,” and food safety crises, students
examine food in the United States as a political issue and look at the way
such political issues spark debates about power. Using the theories of power
developed by Foucault, Mills, Dahl, Scott, and Marx, the course explores
the full context of food issues, discussing the actual and potential capacity
for domination, resistance, participation, and transformation in each case.
The case studies are in turn used to evaluate the theories of power and their
success in helping us understand the world around us. (3 credits)
Do you make the world’s best chocolate chip cookies or have a killer
guacamole recipe? You may have an idea for a great product but not
know how to get it to market. This workshop provides an overview of the
realities of running a small business and identifies the steps involved in
starting a specialty food business, including conducting market research,
identifying your competitors, differentiating your product, working with
manufacturers and distributors, and making decisions about packaging and
pricing. (noncredit)
A 1 session. Sat., 10:00 a.m.–4:00 p.m., Oct. 23. $170.
Urban Agriculture NFDS3720
Terry Frishman
Fa-Tai Shieh
This course examines agricultural endeavors in urban environments and
explores ways food production can be envisioned within a city landscape.
Students survey concepts of urban agriculture and its role in the food
system of a city, its economics, and its environmental implications.
Case studies of urban agriculture focus on New York City. The course
integrates readings and discussion with field trips, guest lectures, and media
resources. (3 credits)
Whether you’re in the concept stage or already have a food company, this
workshop explains what is involved in writing a successful business plan and
how to use that plan to raise capital for your business. We cover the basics
that every business plan needs and also discuss how to create a mission to
maximize the long-term potential of your business, how to use industry
trends to best advantage, and how to assess capital needs and expenses.
A banker specializing in small business financing joins us to share his
expertise. (noncredit)
Find Out If Running a Restaurant Is for You NFDS0360
Food Environments, Health, and Social Justice NFDS3220
How to Write a Winning Food Business Plan and Raise
Capital NFDS0353
ON L INE
Kimberly Libman
With obesity and diabetes rising at alarming rates, an interdisciplinary
academic field has emerged to rethink the role of the environment in
shaping our food use patterns and health. In this class, our approach is
framed by the ideas and activities of the environmental justice movement,
which guide a critical reading of the literature on food environments and the
sociospatial distribution of nutritional resources. We conceptualize systems
of food production and consumption in environmental terms, such as “food
deserts” and “platescapes,” and examine how modes of food production
and distribution are connected to the nutritional landscapes of cities. We
consider research methods to understand these environments and health
effects and explore strategies to promote change in resource distribution.
Students use Internet-based mapping tools to conduct field research on
their own food environments. Written assignments include responses to
major themes in the literature, reviews of relevant films, and letters to
policymakers. (3 credits)
A 1 session. Sat., 10:00 a.m.–4:00 p.m., Sept. 25. $170.
David Friedman
Have you ever wondered what it’s like to open a restaurant? Learn the insider
secrets you don’t read or hear about. Anyone can open a restaurant, but those
without the necessary information may pay dearly for it. This course is an
open discussion about what it takes: capital requirements, finding a location,
negotiating a lease, finding your target market, developing your concept,
creating a pre-opening time line, finding vendors, hiring and training staff,
dining room management, and restaurant finance and cost control. The
newest marketing techniques used by restaurateurs are also discussed. If
you’re thinking of opening a restaurant or are just curious about what goes
on behind the scenes, you’ll find this six hours well spent. (noncredit)
NEW Eating Identities: Food, Gender, and Race in the
Media NFDS3401
ON L INE
Fabio Parasecoli
Food is at the center of frequent and significant social interactions. Its
pervasiveness and its connection to the supposedly natural and self-evident
fabric of everyday life makes it scarcely noticeable. Meanwhile, our own
flesh becomes fuel for all kinds of battles between different experiences
of personhood, family, society, and politics. This course examines how
food-related representations establish, question, reinforce, reproduce, or
overturn cultural assumptions about gender, race, and class relations.
Students study the representation of food in media including advertisements,
TV shows, cookbooks, travel brochures, magazines, blogs, and videos.
Critical analysis leads us to identify and discuss elements and themes
connected with eating that contribute to the way gender and race are
perceived, negotiated, and embodied in popular culture. (3 credits)
ON L INE
information.
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i n st i tut e f o r r e t i r e d pr o f e ss i o n a l s
INSTITUTE FOR RETIRED PROFESSIONALS
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.
www.irp.newschool.edu
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: [email protected].
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 popular Fridays @ One series (see opposite).
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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 a social as well as 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.
Fridays @ One
3 Fridays, 1:00–2:00 p.m.y, De
Admission is free, but RSVP is required. Call 212.229-5682 or email
[email protected].
Sept. 24 Donald Smith with K.T. Sullivan and Steve Ross:
Cabaret and American Music
Nov. 5
Barry Lewis: Home in New York
Nov. 12Fred Plotkin: Performer Longevity in the World of Music
and Opera
See Public Programs in the front of this bulletin for descriptions of each event.
Fridays @ One is supported by a bequest in memory of Estelle Tolkin.
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
LECTURES 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 General Studies
Educational Programs and Services
The
University
University
Administration Policies
Administrative
Other DivisionsPolicies
of the University
www.newschool.edu/generalstudies
www.newschool.edu/
73
THE NEW SCHOOL FOR
GENERAL STUDIES
Lisa Servon, Interim Dean
Celesti Colds Fechter, Associate Dean for Academic Services
Julia Foulkes, Associate Dean for Faculty Affairs
John Green, Associate Dean of Administration
Almaz Zelleke, Associate Dean for Academic Affairs
Thelma Armstrong, Executive Assistant to the Dean
Merida Escandon, Director of Admission
Romeo Sanchez, Director of Academic Systems
Francisco Tezén, Director of Development
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 of
eight academic divisions.
The New School for General Studies, the founding division of the university,
has never neglected its original mission. It continues to serve the intellectual,
cultural, artistic, and professional needs and interests of adult students. The
curriculum published in this catalog offers an enormous range of opportunities for intellectual inquiry and skills development.
In preparing a curriculum each term, there are certain values that inform
the process. These were articulated in a statement of purpose prepared by
a University Commission on Continuing Education in the spring of 1984:
“The New School does not set any limits to its programs in regard to
subject matter. Whatever seriously interests persons of mature intelligence
properly falls within the province of the school. History and philosophy, the
social and behavioral sciences, literature and art, the natural and biological
sciences, education, and ethics naturally take up a significant part of the
New School curriculum, since these are the fields in which the forces of
culture and change are most significantly active, and in which human
beings, their institutions, and their products are directly studied. The
centrality of the liberal arts is maintained and strengthened in every possible
way, but not to the exclusion of other educational programs that serve a
legitimate need for mature adults in a mature community.”
Every New School Bulletin has reflected these values, although an examination of catalogs over the years would reveal dramatic differences among
them. The first six courses offered in 1919 dealt exclusively with matters of
concern to the then-emerging social sciences—which reflected the primary
interests of the founders. But early in the institution’s history, necessity and
interest combined to produce a gradual broadening of the program. Courses
in drama and literature soon appeared, followed by a rchitecture and film,
business, journalism, music, art, science, dance, speech and languages,
and computers.
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 AfricanAmerican culture offered at a university; Karen Horney and Sandor Ferenczi
introduced the insights and conflicts of psychoanalysis; Charles Abrams was
the first to explore the complex issues of urban housing; the first university
course on the history of film was taught at this institution; and in the early
sixties, Gerda Lerner offered the first university course in women’s studies.
Over the years, lectures, seminars, and courses have examined most of the
important national and international issues of our time.
To this day, many talented teachers and professionals choose The New
School as a place to introduce new courses and explore new ideas. Every
year, hundreds of courses are offered for credit, many unique to this
institution, designed and developed by teachers who not only teach what
they know best but also what they are most interested in. The New School
maintains its tradition of educational innovation and keeps its place on the
cutting edge of the intellectual and creative life of New York City.
74
Accreditation
The New School and its degree programs are fully accredited by the
Commission on Higher Education of the Middle States Association of
Colleges and Secondary Schools. Its credits and degrees are recognized
and accepted by other accredited colleges, universities, and professional
schools throughout the United States.
The New School, a privately supported institution, is chartered as
a university by the Regents of the State of New York.
Board of Governors
Randall S. Yanker, Chair
Margo Alexander
Kofi Appenteng
George C. Biddle
Matthew C. Blank
Hans Brenninkmeyer
James-Keith Brown
Marian Lapsley Cross
Joan L. Jacobson
Alan Jenkins
Richard L. Kauffman
Robert A. Levinson
Victor Navasky
Judith Zarin
Honorary Members
Malcolm Klein
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 its educational, artistic, and cultural programs and activities. It does not
discriminate on the basis of age, race, color, sex or sexual orientation, religion,
mental or physical disability, national or ethnic origin, citizenship status, or
veteran status.
Students with disabilities should read Services for Students with Disabilities
in this catalog 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).
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 (the disabled), 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 catalog can be taken on a noncredit basis.
Noncredit students pay tuition and fees as listed in the course descriptions.
Noncredit students are entitled to receive the instructor’s evaluation of any
assigned coursework they complete, but no letter grades are reported. Except for
students in certificate programs (see opposite), the university does not maintain
a permanent or official record of noncredit enrollment. We can provide a
noncredit record of attendance, which may be used for tuition reimbursement
from your employer or for your own records. This record of attendance must be
requested during the term in which the course is taken. See Records, Grades,
and Transcripts in this catalog. There is a fee for this service.
General Credit (Nonmatriculated)
A student interested in earning undergraduate college credits may register
on a general credit basis for most courses in this catalog, 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 usually transferable to the New School Bachelor’s and other
undergraduate degree programs, but it is seldom possible to determine in
advance whether credits will be accepted by a particular institution; that
will be decided by the school and for a particular degree program. When
possible, students taking courses for transfer to another school should
confirm that the credits will be accepted before they register here.
You should consider registering for general credit if you think you will need
an official record of your course work for any reason: if you are testing your
ability to handle college-level study; to qualify for a salary increment from
the Board of Education (NYC or other employer); to make up educational
deficiencies (prerequisites for an MA, for example); to fulfill a language
requirement for graduate school; or for career advancement.
Specific requirements for credit vary from course to course, and each student
is responsible for learning from the instructor what they are: the books to be
read, the paper(s) to be written, and other criteria to be used for evaluation.
General credit registration for any course should be completed before the
first class session. General credit registration for 9 or more credits requires
approval of an educational advisor and must be completed in person.
General credit tuition for courses in this catalog is $1,055 per credit for
undergraduate students, and a $60 University Services Fee is charged each
term at registration.
Certificates
The New School for General Studies 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)
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 catalog for information
about these requirements and necessary educational advising. All certificate
students are responsible for knowing and completing attendance and academic
performance requirements for their courses.
Tuition for Certificate Students: Tuition for noncredit certificate students
is the tuition listed with the course descriptions in this catalog. If the
student is taking the course for credit, tuition depends on the student’s
status and the number of credits assigned to the course.
Registration: All certificate students must have their programs approved
by the appropriate course advisor before they register, must register in
person, and must specifically request certificate status for each approved
course at registration.
Certificate students pay the $60 University Services Fee each term at registration.
Grades: 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
with more than 2,000 credit and noncredit students. Students matriculated
in the New School Bachelor’s 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
[email protected].
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.
75
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.
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 fullest 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.
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; [email protected].
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, which is
published in “University Policies Governing Student Conduct,” available on
the website or at the Office of Student Rights and Responsibilities.
THE new school bachelor’s program
www.newschool.edu/bachelorsprogram
Bea Banu, Director of the Bachelor’s Program
An Individualized Degree Program for Adults and Transfer Students
The New School Bachelor’s 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 faculty advisor, each student chooses courses
that make sense for his or her personal goals. Students can attend part- or
full-time, on campus, online, or by combining on-site and online courses.
76
Students develop their programs from the hundreds of courses described in
this catalog and some 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 Parsons The New School for Design Continuing Education,
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 in
graduate programs of other divisions of the university.
Every student in the New School Bachelor’s Program is responsible for
organizing the course offerings of The New School into a coherent academic
program. To do so requires thoughtful planning and consideration of a
variety of options. Each student forms a strong relationship with a faculty
advisor with whom s/he talks through options, gains access to the full range
of curricular resources available in the university, and shapes a group of
courses into a coherent program suited to individual needs and interests.
Bachelor of Arts/Bachelor of Science
The New School bachelor’s degree in liberal arts requires satisfactory
completion of 120 credits. The Bachelor of Arts degree requires a minimum
of 90 credits in the liberal arts and sciences. For the Bachelor of Science
degree, a student must complete a minimum of 60 credits in the liberal arts
and sciences. The liberal arts and sciences, as defined by the New School
Bachelor’s Program, correspond generally to the following chapters of the
New School Bulletin:
Social Sciences Humanities
Media and Film Studies
Screenwriting
Writing
Foreign Languages
English Language Studies
Food Studies
Bachelor of Arts students may elect to include up to 30 credits, and Bachelor
of Science students up to 60 credits, in non-liberal arts areas of study,
again corresponding roughly to sections of the New School Bulletin, such as
Management and Business, Visual and Performing Arts, Media and Film
Production, and Film and Media Business.
(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 Bachelor’s Program Catalog, available as a PDF on the website at
www.newschool.edu/bachelorsprogram.
Admission
Merida Escandon, Director of Admission
Cory J. Meyers, Associate Director
Anita M. Christian, Assistant Director
Coralee Dixon, Assistant Director
Sarah Burtch, Admission Counselor
Matt Morgan, Admission Counselor
For more information about the New School Bachelor’s Program, contact
the Office of Admission at 72 Fifth Ave., 3rd floor; 212.229.5630; email
[email protected]; or visit the website at www.newschool.edu/
bachelorsprogram.
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 212.229.5630; email
[email protected]; or come in person to 72 Fifth Avenue,
3rd floor. Office hours are 10:00 a.m.–6:00 p.m.
the University
www.newschool.edu
The New School for General Studies is one of eight 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.
Innovative Undergraduate Programs
The New School is developing a number of innovative university-wide
interdisciplinary undergraduate degrees. Programs in environmental studies,
global studies, and urban studies/urban design are accepting students now.
Visit the website at www.newschool.edu/programs_a2z.
The New School for Social Research
In 1933, The New School gave a home to the University in Exile, a refuge
for German scholars fleeing persecution by the Nazis. In 1934, The
New School became a degree-granting institution by incorporating this
community as a graduate faculty of political and social science. Ever since,
it has been a seat of world-class scholarship in an academic setting where
disciplinary boundaries are easily extended. This division justly retains the
proud name of The New School for Social Research. It awards master’s and
doctoral degrees in anthropology, economics, philosophy, political science,
psychology (research and clinical), and sociology, and interdisciplinary
master’s degrees in historical studies and liberal studies.
Parsons The New School for Design
Founded in 1896 by the New York artist William Merritt Chase and his
circle, the school was named Parsons School of Design in 1936 for its
president, Frank Alva Parsons, who was dedicated to integrating visual
art and industrial design. Today, Parsons is one of the preeminent design
schools in the world, its graduates contributing to the quality of life
through beautiful products, built environments, and visual communications.
Parsons awards the bachelor of fine arts degree in architectural design,
communication design, design and management, design and technology,
fashion design, fine arts, illustration, interior design, photography, product
design, and integrated design, and the bachelor of business administration
in design and management. Qualified students may enter a five-year dualdegree program with Eugene Lang College. Master’s degrees are awarded in
architecture, design and technology, fine arts, history of decorative arts and
design, interior design, lighting design, fashion design and society, fashion
studies, photography, and transdisciplinary design. There are AAS degrees
in fashion marketing (online and on campus), fashion design, interior design,
and graphic design, and continuing education certificate programs.
Eugene Lang College The New School for Liberal Arts
This is a four-year college for traditional-age undergraduates. The school
began in 1973 as an experimental program and became a full division of the
university in 1985 thanks to the generous support of Eugene M. Lang, the
well-known educational philanthropist. Emphasis is on small, seminar-style
classes; the student-faculty ratio is 15:1. Eugene Lang College awards the
bachelor of arts degree in liberal arts (with four interdisciplinary areas of
study), arts (dance, fine arts, theater), culture and media, economics, history,
interdisciplinary science, literary studies, philosophy, and psychology.
Qualified students can enter a five-year dual BA/BFA program in association
with Parsons or The New School for Jazz and Contemporary Music, and
there are accelerated bachelor’s/master’s degree options in association with
several graduate programs of The New School.
Milano The New School for Management and Urban Policy
Founded in 1975 as an alternative to traditional graduate business schools,
the school was named in 1995 for late university trustee Robert J. Milano,
who generously supported its mission. The school is highly innovative in
combining the disciplines of business management and public
administration. Its curriculum aspires to teach analytical, managerial, and
leadership skills with the mission of facilitating positive changes in
communities, governments, and corporations, locally, nationally, and
globally. Milano awards master of science and PhD degrees and
postgraduate certificates. Master’s degree students can specialize in urban
policy analysis and management, nonprofit management, or organizational
change management.
Mannes College The New School for Music
Founded in 1916 by David Mannes, this distinguished conservatory became
a division of The New School in 1989. Mannes offers aspiring musicians
a comprehensive curriculum in a supportive setting, training students in
instrumental and vocal performance, composition, conducting, and
music theory. The college awards both undergraduate and graduate degrees
and credentials: bachelor of music, bachelor of science, artist’s diploma,
master of music, and professional studies diploma. Mannes remains true
to its origins as a community music school by offering noncredit and
diploma courses to adults in its Extension program and to children in its
Preparatory Division.
The New School for Drama
The New School’s history in the dramatic arts began in the 1940s, when
Erwin Piscator founded the Dramatic Workshop. Today, The New School
for Drama is forging the next generation of theater artists through its threeyear MFA program in acting, directing, or playwriting. A faculty of working
professionals brings to the fore each student’s unique and original voice and
helps students establish a rooted sense of who they are as individuals and as
artists. Students gain invaluable, hands-on experience through workshops,
full-length productions, and the annual Random Acts! one-act play festival.
The full-time program leads to a master of fine arts degree in acting,
directing, or playwriting.
The New School for Jazz and Contemporary Music
This unique undergraduate curriculum offers young musicians mentor-based
study with a faculty of professional artists with close links to the jazz world
of New York City. Traditionally, jazz was not learned in schools but handed
down from one musician to another. The New School keeps that heritage
alive. This is a program for students who expect to make a living from
their music. The bachelor of fine arts degree is offered in jazz performance.
Qualified students may pursue a five-year dual BA/BFA degree in
collaboration with Eugene Lang College The New School for Liberal Arts.
77
Officers of Administration
Bob Kerrey, President
Tim Marshall, Provost and Chief Academic Officer
James Murtha, Executive Vice President and Chief Operating Officer
Frank J. Barletta, Senior Vice President for Finance and Business
Craig Becker, Vice President and Treasurer
Pamela Besnard, Vice President for Development and Alumni Relations
Carol Cantrell, Senior Vice President for Human Resources and
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.
Labor Relations
Nancy Donner, Vice President for Communications and External Affairs
Lia Gartner, Vice President for Design, Construction, and
Facilities Management
Robert Gay, Vice President for Enrollment Management
Roy Moskowitz, Vice President and General Counsel for Legal Affairs
Shelley Reed, Senior Vice President for Information Technology
Linda A. Reimer, Senior Vice President for Student Services
Bryna Sanger, Deputy Provost and Senior Vice President for
Academic Affairs
Doris Suarez, Vice President and Secretary of the Corporation
Student Accounts and Records
Deans and Directors
Stefania de Kenessey, Interim Dean, Eugene Lang College
The New School for Liberal Arts
Contemporary Music
Joel Lester, Dean, Mannes College The New School for Music
Robert LuPone, Director, The New School for Drama
Martin Mueller, Executive Director, The New School for Jazz and
Michael Schober, Dean, The New School for Social Research
Lisa Servon, Dean, Milano The New School for Management and
Urban Policy; Interim Dean, The New School for General Studies
Joel Towers, 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, University Registrar
Jennifer Simmons, Associate Registrar
Student Financial Services
Eileen F. Doyle, Assistant Vice President for Student Financial Services
Margaret Deiss, Director of Student Accounts
Marilyn Faller, Director of Financial Aid
Barbara Garcia, Associate Director of Student Accounts
Andrea Damar, Associate Director of Financial Aid
The administrative policies of The New School are designed to expedite
enrollment in our courses and make our facilities and services accessible
to all. The registrar’s office, Student Financial Services, and other student
services offices at 72 Fifth Avenue are open to assist students throughout the
year. For registration procedures and deadlines, see pages 103–104.
Policies as stated in the following pages apply to certificate and
nonmatriculated (noncredit/nondegree) students at The New School for
General Studies.
78
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.
Once you log in with your New School ID number (N plus 8 digits), 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.
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 83.
Tuition and Fees
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. Secondand third-party checks and credit cards other than the student’s own are not
accepted, with the exception of checks from a student’s parent; parents may
also give written authorization to charge their credit cards.
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
$1,055 per credit
Same as above
$60 per term
Noncredit
Certificate
The noncredit tuition
Same as above
$60 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, option 1 with inquiries
about payment of tuition and fees (or email [email protected] using your
New School email account if you have one). Access your personal account
information online at my.newschool.edu.
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.
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
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.
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.
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.
Schedule and Status Changes
Withdrawals, transfers from one course to another, registration for
additional courses, and changes of status (e.g., from noncredit to credit)
must be completed within the deadlines shown in the table 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.
Certificate students must obtain advisor approval for all program changes,
including withdrawals, grade of “W,” add/drop, and status changes.
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.
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).
If you are a certificate student, consult with your advisor in the event one of
your courses is canceled.
For answers to questions regarding employer reimbursement, email
[email protected] or call 212.229.8930, option 2.
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.
79
Withdrawals and Refunds: Continuing Education
Student withdrawal and refund requests must be made in writing.
In order to obtain a refund of tuition and fees paid or to remove charges still
due, a general credit or noncredit student must officially withdraw by written
notice to the The New School, Registrar’s Office, 72 Fifth Ave., New York,
NY 10011. 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.
• Withdrawals or refund requests may not be made by telephone or email.
• Students may withdraw in person or by fax or mail. If the course being
dropped begins in less than two weeks, withdrawal by fax or in person is
strongly recommended. The fax number is 212.229.5648 and is available
24 hours a day.
Add/Drop and Refund Deadlines
Classroom Courses: Standard Semester
This schedule applies to courses starting August 30–September 5
or September 13–19 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”
Classroom
10 or more
weeks beg.
Aug. 30–
Sept. 5
Before Sept. 14
Before Aug. 30,
100% refund
Before Sept. 6, 90%
Before Sept. 14, 80%
Before
Oct. 18
Classroom
10 or more
weeks beg.
Sept. 13–19
Before Sept. 27
Before Sept. 13,
100% refund
Before Oct. 4, 70%
Before Oct. 11, 60%
Before
Nov. 1
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
• Refunds of fees paid by credit card will be processed as a credit to that
same account.
• Failure to attend classes or notification to the instructor does not
constitute official withdrawal. Failure to make or complete payment does
not constitute official withdrawal.
Online Courses
Online
Refund processing takes approximately four weeks.
Before end of
week 2 (week
1 of the course
is orientation)
Grade of “W”
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.
80
Classroom Courses on Other Schedules
This schedule applies only to classroom courses starting after
September 19 or meeting less than 10 weeks on any schedule.
Schedule
Deadline to add
or change status
Deadline for
tuition refunds
(tuition charged)
Credit student
withdrawal for
grade of “W”
10 or more
sessions beg.
after Sept. 19
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
Admission to Class
The New School reserves the right to deny a person admission to or
continuance in its courses of study.
All persons wishing to attend any course at The New School must be properly
registered. Students should be prepared to show a valid Statement/Schedule
to the instructor or designated faculty services assistant for admission to any
class. Possession of a current New School student ID card does not entitle the
bearer to attend any particular course or session of a course.
For classroom assignments 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.
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.
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).
Student ID Card
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.
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 catalog 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.
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. In the summer, the Box Office will open half an hour before
an event is scheduled to start. Visit www.newschool.edu/publicprograms, call
212.229.5353, or email [email protected] for more information
about New School events that are open to the public.
Other University Policies
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
from the Office of Student Services.
Academic Honesty
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.
Use of Photographs
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.
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.
81
records, grades, and 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 attendance must be requested from the Registrar’s Office in
writing no later than four (4) weeks before the final session of the course.
The written request may be faxed to 212.229.5648 (credit card payment
only), mailed, or presented in person at the Registrar’s Office. A separate
record is issued for each noncredit course; the nonrefundable fee is $20
per course, which must be paid by the student’s own personal check
or MasterCard, Visa, Discover, or American Express card; cash is not
accepted. The noncredit record of attendance is not available for any event
listed in the New School Bulletin without a course number or for any course
meeting fewer than four times.
Grade Descriptions
A
4.0
C+
2.3
A–
3.7
C
2.0
B+
3.3
C–
1.7
B
3.0
D
1.0
B–
2.7
F
0
I
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.
W
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 79).
WF
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 differs from
“F,” which would indicate that the student technically
completed requirements but that the level of work did not
qualify for a passing grade.
AP
Approved (noncredit certificate student)
NA
Not Approved (noncredit certificate student)
GM
Grade Not Reported for Student
The New School does not maintain a permanent or
official record of noncredit enrollment.
Grade Reporting
Grades are recorded for all students registered in a course for credit or
noncredit certificate.
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.
Academic Transcripts
An official transcript carries the Registrar’s signature and The New School
seal. It documents a student’s permanent record at the university. Any student
who took a course for credit or certificate may have a transcript mailed to any
address, including other colleges and institutions, by submitting an official
request to the Registrar’s Office. This can be done online at my.newschool.edu
or by completing the transcript request form available on the website at
www.newschool.edu/studentservices/registrar. Standard transcript services are free
of charge. Transcripts are not issued for students who have outstanding debts
to The New School.
82
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.
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.
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.
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.
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 name and address of the office that administers FERPA is:
Family Policy Compliance Office
U.S. Department of Education
400 Maryland Ave. SW
Washington, DC 20202–4605
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.
The Family Educational Rights and Privacy Act (FERPA) affords students
certain rights with respect to their education records. These rights include:
The right to inspect and review the student’s education records within 45
days of the day the university receives a request for access.
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.
83
BIOGRAPHICAL NOTES
AND INDEXES
Academic Administration
Calendar of Courses
Faculty
Faculty Index
Subject Index
Course Master Index
biographical notes
Academic Administration
Lisa J. Servon, PhD, UC Berkeley; interim dean; professor and dean of
Milano The New School for Management and Urban Policy; work has been
funded by Open Society Inst., the Aspen Inst., Ford Foundation, and Fannie
Mae Foundation; was a senior research fellow at New America Foundation;
author of Bridging the Digital Divide: Technology, Community, and Public
Policy, and Bootstrap Capital: Microenterprises and the American Poor, and
co-editor, with Susan Fainstein, of Gender and Planning: A Reader.
Almaz Zelleke, PhD, Harvard U.; associate dean for academic affairs;
political scientist with expertise in political theory and public policy; articles
and chapters in Journal of Socio-Economics, Review of Social Economy, Basic
Income Studies, and The Ethics and Economics of the Basic Income Guarantee;
member, Executive Committee, Basic Income Earth Network, and
Coordinating Committee, U.S. Basic Income Guarantee Network.
Celesti Colds Fechter, PhD, The New School for Social Research; associate
dean for academic student services; psychologist; background in social
cognition with an emphasis on implicit or unconscious associations and
subtle forms of biased behavior.
Julia Foulkes, PhD, UMass-Amherst; associate dean for faculty affairs;
author of Modern Bodies: Dance and American Modernism from Martha
Graham to Alvin Ailey; was an advisor on the 2001 PBS documentary Free
to Dance; recently scholar-in-residence at the Rockefeller Archive Center and
Fulbright Senior Scholar at Potsdam University (Germany).
Department Chairpersons and Directors
Anthony Anemone, PhD, UC Berkeley; associate professor of Russian and
chair and associate provost for Foreign Languages; articles and reviews in
SEEJ, Slavic Review, Russian Review, Tolstoy Studies Journal, Revue des études
slaves, Wiener Slawistischer Almanach, and many anthologies; recipient of
grants from IREX, Fulbright, and the Kennan Inst. for Advanced Russian
Studies; previously chair of Modern Foreign Languages, College of William
and Mary.
Bea Banu, PhD, CUNY Graduate Center; director, New School Bachelor’s
Program; specializes in philosophy of art, aesthetics, and ethics; co-editor
of The Fieldston Reader, an anthology of readings on moral thinking for
teenagers.
Carolyn Vellenga Berman, PhD, Brown U.; chair, Dept. of Humanities;
author of Creole Crossings: Domestic Fiction and the Reform of Colonial
Slavery and articles in Novel, Genre, Marvels and Tales, and Just Below South:
Intercultural Performances in the Caribbean and the U.S. South; has taught
comparative literature at Yale.
Michael Cohen, PhD, U. of Chicago; director of the International Affairs
graduate program; former visiting fellow of the Intl. Center for Adv. Studies,
NYU; former senior advisor to World Bank VP for Environmentally
Sustainable Development; co-editor, Preparing the Urban Future and The
Human Face of the Urban Environment; author, Urban Policy and Economic
Development: An Agenda for the 1990s, president of the board, Intl. Inst. for
Environment and Development-Latin America.
Sean Conley, MAT, School for International Training (SIT); chair, Dept. of
English Language Studies; has worked in language education for more than
20 years as a teacher, administrator, and educator of teachers; has taught
ESOL in the U.S., UK, Central America, and Japan.
Peter Haratonik, MA, NYU; chair, Dept. of Media Studies and Film;
former director of Film, Video, and Broadcasting, NYU; former chair of
Communication Arts and director of the Television Inst., Hofstra U.; former
director of Media Studies at The New School; former president of the Assn.
of Communication Administration; author and consultant.
Carin Kuoni, MA, Zurich U.; director, Vera List Center for Art and Politics;
curator and art critic; formerly director of the Swiss Inst., New York;
director of exhibitions, Independent Curators Intl.; editor, Energy Plan for
the Western Man: Joseph Beuys in America and Words of Wisdom: A Curator’s
Vade Mecum.
Michael I. Markowitz, MA, Columbia U. Teachers College; director, Inst.
for Retired Professionals; formerly a human resources executive; member,
Executive Committee, NYC Council of Senior Centers and Services;
frequent speaker, panelist, and workshop participant on retirement, shared
inquiry, the active elderly, and positive aging.
Gustav Peebles, PhD, U. of Chicago; chair, Dept. of Social Sciences; publications include “State-Building and the Mobilization of Labor vs. Leisure
on a European Border,” “An Apologia for Filthy Lucre,” and “Conflations of
National Currency and Global Capital in the Swedish Currency Crisis.”
Robert Polito, PhD, Harvard U.; director, New School Writing Program;
author of Hollywood and God and Doubles (poems), Savage Art: A Life of Jim
Thompson (winner of Natl. Book Critics Circle Award and an Edgar), and A
Reader’s Guide to James Merrill’s The Changing Light at Sandover; editor, The
Complete Film Writings of Manny Farber and Crime Novels: American Noir of
the 1930s, 1940s, and 1950s.
Program Coordinators
Luis Jaramillo, MFA, The New School; associate chair, Writing Program;
author of short stories and nonfiction published in Open City and Gamers.
Florence Leclerc-Dickler, MBA; diplomate, Ecole de Traduction et
Interprétation of Geneva; baccalaureate in applied foreign languages, U.
of Nice; assistant chair, Dept. of Foreign Languages; has taught French at
Marymount School of NY and Language Immersion Inst. of SUNY-New
Paltz.
Louise Montello, PhD, NYU; coordinator, Creative Arts Therapy certificate
program; Certif., American Music Therapy Assn.; clinical research scientist,
NYU Dept. of Psychiatry; associate editor, Intl. Journal of Arts Medicine;
guest lecturer, Manhattan School of Music; in private practice.
Caitlin Morgan, MA, School for Intl. Training; RSA, Cambridge U.;
assistant director of English Language Studies; has taught ESL and trained
teachers in the United States and abroad; freelance ESL materials writer.
Vladan Nikolic, MA, The New School; director of undergraduate studies,
Dept. of Media Studies and Film; award-winning film and TV director of
feature films, documentaries, commercials, and music videos; films include
Love, The End of the Millennium, Cut, Serendipity, Burn, Going Under, and
a feature documentary, The City; has taught at UArts in Philadelphia and
NYU.
Carol Overby, MBA, University of Chicago Booth School of Business;
coordinator of the Management and Business curriculum; asst. professor
of design and management, Parsons The New School for Design; financial
manager and consultant to creative industries, including architects,
designers, publishers, and music producers.
Fabio Parasecoli, coordinator of the Food Studies curriculum; president of
Ass’n for the Study of Food and Society; NY bureau chief, Gambero Rosso
magazine; author of Bite Me: Food in Popular Culture and Food Culture in
Italy; also teaches courses in food history and culture at the Città del Gusto
School in Rome and at NYU.
Mimi Wlodarczyk, MFA, NYU Tisch School of the Arts; Grande Diploma,
French Culinary Institute; coordinator of the Visual and Performing Arts
curriculum; photographic artist whose work has been exhibited in numerous
group and solo shows; has taught and served on the administrative staff at
several educational institutions.
85
biographical notes
Faculty
Jiro Adachi, MFA, Colorado State U.; has taught writing and ESL/EFL at
CSU, SVA, Hunter College, and Stern College for Women; author of a
novel, The Island of Bicycle Dancers.
Lily Alexander, PhD, U. of Alberta, Canada; has been teaching film studies
since 1990; articles published internationally on film, communication, and
culture; has given numerous lectures and presentations at conferences and
universities in the U.S. and abroad.
Roberta Allen, author of The Travelling Woman and Certain People (short
short stories), The Daughter, Amazon Dream (memoir), Fast Fiction and
The Playful Way to Serious Writing (writing guides), and The Dreaming Girl
(novel).
Rebecca M. Alvin, MA, The New School; BS, Emerson College; independent
media artist, teacher, critic, and curator; has been making films and videos
for more than 14 years; her documentaries have been shown from San
Francisco to Berlin in a variety of venues; currently in postproduction on
Women of Faith, about women and the Catholic Church; freelance writer
with work published in Cineaste, the Journal of Film and Video, and other
periodicals.
Sherry A. Amatenstein, former editor-in-chief, Woman’s Own; articles
published in Ladies’ Home Journal, Mademoiselle, TV Guide, USA Weekend,
Family Circle, and Cosmopolitan; recipient of essay-writing award from
Writer’s Digest.
Robert Ante, PhD, Columbia U.; honorary president, Form Development
Comm., T’ai Chi Ch’uan Assn. (China); U.S. branch chairman, Intl. T’ai
Chi Ch’uan Fed.; senior student of Grand Masters Cheng Man-ch’ing, Yu
Hsien-wen, and Hsiao Chu-ming.
David Arcos, MA, Parsons The New School for Design; professional photographer whose clients include the NY state tourism industry; fashion and
tabletop photographer; designer for multimedia with images and graphics.
Moshe Ariel, former soloist with the Israeli Inbal Dance Theatre; has worked
on stage, screen, and TV.
Yeghia Aslanian, EdD, Columbia U. Teachers College; associate professor,
CUNY.
Rachel M. Aydt contributes regularly to magazines including Time
International, Prevention, NYMag.com, Inked, Redbook, and Photo District
News; has worked in publishing for 15 years at publications including
Cosmopolitan, YM, American Heritage, and, most recently, CosmoGirl as
research director.
Bea Banu, PhD, CUNY Graduate Center; specializes in philosophy of
Irina Belodedova, MA, NYU; diploma, Kiev State U. (USSR); has taught
at Harvard U., Norwich U., and Kiev State U.; has taught at the Dept. of
Russian & Slavic Studies, NYU, since 1979.
Jane J. Benardete, PhD, Harvard U.; professor emerita, Hunter College;
edited American Realism: A Shape for Fiction, Companions of Our Youth:
Women’s Studies from the Young Folks Magazines, and Crumbling Idols;
articles in Massachusetts Review, Henry James Review, Studies in American
Fiction, and Choice.
Carolyn Vellenga Berman, PhD, Brown U.; chair, Dept. of Humanities; author
of Creole Crossings: Domestic Fiction and the Reform of Colonial Slavery and
articles in Victorian Literature and Culture, Novel, Genre, Marvels and Tales,
and Just Below South; former lecturer in comparative literature, Yale U.
Caterina Bertolotto, Laurea, U. of Turin (Italy); has taught at Sarah Lawrence
College, Montclair State College, Baruch College, and Pratt Inst., where she
received a Mellon Grant in 2008; has trained teachers of foreign languages;
received a Distinguished Teaching Award from The New School; has worked
on theater, dance, and opera productions, including The Lion King on
Broadway and The Magic Flute at the Metropolitan Opera of NYC.
Emily Bills, PhD, Inst. of Fine Arts, NYU; modern architectural and urban
historian whose research interests include telecommunications, historic
preservation, and history of Los Angeles; ACLS and Graham Foundation
Award recipient; has taught at NYU, USC, and Woodbury U.
Margaret Boe Birns, MA, Columbia U.; adjunct assistant professor, NYU;
recipient of SCE Award for teaching excellence; articles published in the
New York Times, The Cunning Craft: Essays on Contemporary Theory and
Detective Fiction, Literary Review, Massachusetts Review, Women’s Studies, and
other publications.
Nicholas Birns, PhD, NYU; editor of Antipodes; author of Understanding
Anthony Powell, Theory After Theory, and The Wiley-Blackwell Encyclopedia
of Critics and Criticism (forthcoming 2011); has written for Science Fiction
Studies, European Romantic Review, and Hollins Critic.
Scott Blakeman, comedian and comedy writer; was co-host of NBC’s Funny
People and host of Cablevision’s A Night at The New School; warm-up
comedian for The Late Show with David Letterman; regular political
humorist, USA Live; credits include Montreal’s Just for Laughs Festival.
Abigail Burnham Bloom, PhD, NYU; managing editor, Victorian Literature
and Culture; editor of Personal Moments in the Lives of Victorian Women:
Selections from Their Autobiographies; and Nineteenth-Century British Women
Writers; has published articles on The Pirates of Penzance, Thomas and Jane
Carlyle, and other Victorians.
Timothy Bredl, MATESOL, Columbia U. Teachers College; has taught in
community-based organizations and ESL/EFL at universities in NYC and
Barcelona.
art, aesthetics, and ethics; co-editor of The Fieldston Reader, an anthology
of readings on moral thinking for teenagers; director of the New School
Bachelor’s Program; former dean of Eugene Lang College The New School
for Liberal Arts and of University Liberal Studies.
Theresa M. Breland, MA, Columbia U. Teachers College; develops materials
Michele D. Beck, MFA, Parsons School of Design; video artist and performer;
work shown at Fundacio Antoni Tapies (Barcelona), the Queens and Bronx
museums, and video and film festivals internationally; writes on cultural
criticism, most recently for Fundacio La Caixa (Barcelona).
Kurt Brokaw, MS, U. of Wisconsin; former creative supervisor and group
Teresa A. Bell, MA, Columbia U.; MA, NYU; has taught Spanish at all levels
at Columbia and Pace U.; teaches adult literacy in NYC; translation work
(written and simultaneous) in Spanish, Portuguese, and English; biomedical
translator for Clinical Directors Network.
Dianne Bellino, MFA, U. of Iowa; artist and filmmaker; short films screened
at festivals and venues such as SXSW, New York Underground, Ann Arbor,
and MTV; latest film, Slitch, released on DVD by Drag City; has worked
with directors Harmony Korine and the Farrelly Brothers.
86
for business communication courses; delivers customized on-site corporate
training; edits corporate documents; teaches ESL and business writing at
Pace U.; has taught ESL at Columbia U. and U. of Miami.
creative director, Grey Advertising, Cunningham & Walsh, and Benton &
Bowles; creative director, RCA Records; cultural editor, Madison Avenue
Journal (MadAveJournal.com); leads film noir and lesbian fiction series at
92nd Street Y; film critic, The Independent (independent-magazine.org).
Jeremy Brooke, MA, The New School; co-founder and treasurer, Eyepatch
Inc., a multimedia company.
Elizabeth V. Brown, MFA, The New School; writing has appeared in
Bookforum, London Review of Books, Los Angeles Times, New York Times Book
Review, and other publications.
biographical notes
Laurie Halsey Brown, MFA, California Inst. of the Arts; interdisciplinary
artist and curator; recent exhibitions include Rotterdam Intl. Film
Festival and Exit Art NYC; has created architecturally focused projects in
Hollywood, South Carolina, and the Netherlands.
Rainer L. Brueckheimer, MA in music teaching, Brooklyn College; a native
Susan Cottle, MFA, NY Acad. of Art; painter; has exhibited in the U.S.
and abroad; has taught at NY Acad. of Art and Montserrat College of Art
(Viterbo, Italy); adjunct assistant professor of art at St. John’s U.; Annenberg
Resident Artist in NYC public schools; recent mural commission for P.S.
167, Brooklyn.
of Brazil, has taught German and Portuguese at The New School since
1994; currently a faculty member at Fairleigh Dickinson U. and Westchester
Community College.
Leslie Daly, MS, Pratt Inst.; Integral Yoga Inst.-certified hatha yoga teacher;
Tod Bryant, MS, SUNY-Albany; MA, Goucher College; author of The Working
Photographer; freelance photographer specializing in location work for
advertising, brochures, and annual reports; clients include GE, Xerox, U.S.
Olympic Committee, Steinway Music, Keep America Beautiful, and Berlitz.
Anne Margaret Daniel, PhD, Princeton U.; JD, U. of Virginia; has taught
English, American, and Irish literature at The New School, Princeton, U. of
Richmond, and the Yeats Summer School (Ireland); specialties are Victorian
and modern British and Irish literature and contemporary Irish poetry.
John Budde, BA, Brooks Inst.; cinematography and lighting designer whose
Jonathan R. Danziger, MFA, USC; has written for producers at Miramax,
HBO, NBC, Paramount, and Universal; contributed to Time, Washington
Monthly, and the Los Angeles Times; worked as a script analyst for the
Sundance Inst.; teaches at Gotham Writers’ Workshop.
Loren-Paul Caplin, screenwriter, director, playwright, composer-lyricist;
Joseph Di Ponio, PhD, SUNY-Stony Brook; recent musical commissions
include works for Yarn/Wire, TimeTable Percussion, and the 2009 Armory
Show; research interests include time, musical ontology, and aesthetics.
work includes commercials, documentaries, dramatic films, and music
videos; PBS/NEA grant recipient; showings at MoMA, Whitney Museum,
and international film festivals.
feature film writing credits include The Lucky Ones and History of the World
in 8 Minutes (writing and directing), Lost Angels (original story), and Battle
in the Erogenous Zone (co-writer/co-producer); his stage plays include The
Presidents (co-author with Ron Nessen), Sunday’s Child, and Gangs (book,
lyrics, music); also teaches at Columbia and NYU.
Patricia L. Carlin, PhD, Princeton U.; author of Original Green (poems) and
Shakespeare’s Mortal Men; poetry published in Verse, Boulevard, and other
publications; editor of Barrow Street; co-founder of Barrow Street Press;
recipient of New School Distinguished Teaching Award; has taught at
Princeton and Vassar.
Noëlle Carruggi, PhD, NYU; former director of French Studies, Northeast
Modern Language Assn.; author of Marguerite Duras: Une expérience
intérieure, the forthcoming Maryse Condé, and Zen poems in Cahiers de
l’Alba; received Zen training with Master Eido Shimano Roshi, Zen Studies
Society; organizes multicultural poetry readings and performances.
Meg Chang, EdD, Columbia U.; LCAT, NCC, ADTR; certif. Psychosynthesis
therapist; certif. Kinetic Awareness teacher; trained in Mindfulness-based
stress reduction at Center for Mindfulness in Medicine (U. Mass.); MBSR
consultant at Center for Comprehensive Care, St. Luke’s-Roosevelt Hospital
(NYC); author of articles about dance therapy interventions and intercultural
issues in creative arts therapies.
Frances Chiu, PhD, Oxford U.; edited Ann Radcliffe’s Gaston de Blondeville
and Sheridan Le Fanu’s The Rose and the Key (Valancourt Books); articles
published in 18th-Century Life, Notes and Queries, and Romanticism on
the Net.
Natasha Chuk, MA, Media Studies; independent curator, media critic, and
educator whose work explores experimental narratives, hybrid forms, and
liminal space in works of art; co-founder of Unnamed Artists, a collaborative
arts group that produces film, video, and audio projects; contributing editor
to furtherfield.org, an online environment in which networked, digital,
interactive, and collaborative works of art are shared and critiqued.
Alice Eve Cohen, MFA, The New School; memoirist, playwright, and solo
theater artist; author of memoir, What I Thought I Knew, awarded the Elle
Literary Grand Prix and named one of Salon’s Best Books of 2009 and
Oprah Magazine’s 25 Best Books of Summer; solo plays produced at New
York Theatre Workshop, The New Georges, Edinburgh Fringe Festival, and
Theatre Bama (Jerusalem); fellowships and grants from NYSCA, NEA, and
Poets & Writers; Emmy Award commendation.
Celesti Colds Fechter, PhD, The New School for Social Research; psychol-
ogist; assistant dean for academic affairs, The New School for General
Studies; current research focuses on the link between implicit attitudes and
differential judgments of similarly qualified employment candidates.
Yoga Alliance nationally registered yoga teacher; registered dance/movement
therapist; licensed creative arts therapist at NY Presbyterian Hospital.
Carol Dix, freelance journalist for newspapers, magazines, TV, radio, and
the Web; author of many books, including, most recently, The Ultimate
Guide to 21st-Century Dating; public relations and corporate writer who has
edited and produced university house magazines and prospectuses; recently
co-hosted a conference in London, “Where Higher Education Meets the
New Digital Age.”
Ryan Dohoney, PhD, Columbia U.; music historian specializing in American
modernism, experimentalism, and interdisciplinary performance since 1950.
Josephine Dorado, MA in Media Studies, The New School; media artist,
performer, and educator; initiated and codirects the Kids Connect international media art program in Second Life; UN consultant on youth issues;
writes, choreographs, and performs plays, one-woman shows, and networked
performances.
Shimon Dotan, Fellow of the NY Inst. of the Humanities at NYU; award-
winning filmmaker with ten feature films; recipient of the Silver Bear
Award at the Berlin Film Festival (The Smile of the Lamb), numerous Israeli
Academy Awards, including Best Film and Best Director (Repeat Dive; The
Smile of the Lamb), and Best Film at the Newport Beach Film Festival (You
Can Thank Me Later); has taught filmmaking at Tel Aviv U. and Concordia
U., Montreal.
Robert G. Dunn, BA, UC-Berkeley; freelance writer, editor, and copyreader for
Sports Illustrated; O. Henry Prize Story winner whose short stories, poetry,
and essays have been published in the New Yorker, Atlantic, The Nation,
Sewanee Review, and the NY Times Book Review; author of novels including
Pink Cadillac (Book Sense choice) and Meet the Annas.
Deanne Torbert Dunning, BA, Fairleigh Dickinson U.; principal, Concepts/
Copy, a creative consultancy in marketing communications; former creative
director, N.W. Ayer; has worked for DeBeers Diamonds, AT&T, DuPont,
Avon, Movado Watch, the Ad Council, U.S. Army, CBS/Fox Video, and
Bantam Doubleday Dell.
Elaine Edelman, BA, Sarah Lawrence; author of Boom-de-Boom and Dreaming
Out Loud (poems) and of short fiction and essays for the NY Times Book
Review, Esquire, Vanity Fair, and other publications; former senior editor,
Harper & Row; fellow, American PEN; Distinguished University Teacher,
The New School.
Erica M. Eisinger, PhD, Yale U.; JD, magna cum laude, U. of Wisconsin Law
School; visiting professor, Seton Hall U. Law School; director of clinical
education, Wayne State U. Law School (retired); author of articles on civil
litigation, clinical legal education, and French literature.
87
biographical notes
Jane Tainow Feder, PhD, Union Inst.; professor and former chair, English
Dept., NYC Technical College-CUNY; author of “Can Johnny Write
Yet?” in Perspectives; designer of writing curricula for junior high through
postgraduate level; reviews English textbooks for publishers.
Stanley Feldstein, PhD, NYU; historian; author of The Land That I Show
You, Once a Slave, The Ordeal of Assimilation, and The Poisoned Tongue;
professor, CUNY Center for Worker Education.
Adam Fernandez, BFA, Parsons The New School for Design; freelance
photographer published by the New York Times, the Daily News, AP,
Scientific American, and Ticker Magazine; clients include NYC Board of
Elections and Natl. and Rural LISC.
Miranda Field, MFA, Vermont College; Bread Loaf Teaching Fellow; author
of Swallow, Katharine Nason Bakeless Literary Publication Prize in Poetry;
winner of a “Discovery”/The Nation Award and a Pushcart Prize; poems and
essays appear in magazines, journals, and anthologies.
Margaret Stanek Fiore, MA, Columbia U.; MEd, Boston U.; has taught
writing classes at American U. in Paris and CUNY/Hunter College; has
worked in NYC high schools as a teacher consultant for the NYC Writing
Project and as a literacy coach.
Deirdre L. Fishel, BA, Brown U.; graduate of American Film Inst. Director’s
Program; wrote, directed, and edited a feature film, Risk (premiered at
Sundance); writer and director of Separate Skin, Witness, and The Best of
Both; three feature film projects currently in development; work exhibited at
film festivals internationally.
Bernard C. Flynn, PhD, Duquesne U.; adjunct professor of philosophy, The
New School for Social Research; author of Political Philosophy at the Closure
of Metaphysics and The Philosophy of Claude Lefort: Interpreting the Political;
co-editor of Merleau-Ponty and the Possibility of Philosophy.
Flavia D. Fontes, documentary filmmaker; credits include Chico Mendes: Voice
of the Amazon (Cine Golden Eagle and NEA Outstanding Achievement),
I Talk with Animals, Living with Chimpanzees: Portrait of a Family (1996
Communicator Award for Excellence), and Forbidden Wedding (2004
Audience Award for Best Documentary at Projections International Film
Festival; broadcast on Sundance); currently in postproduction with her
documentary Who’s Afraid of Lynne Stewart?
Carlos Forment, PhD, Harvard U.; visiting fellow, Inst. for Advanced Studies,
Princeton; visiting lecturer, College de France; former director, Centro
de Investigacion de la Vida Publica (Buenos Aires); articles include “The
Democratic Dribbler: Football Clubs and the 2003 Mayoral Elections in
Buenos Aires” in Democracy in Latin America.
Thomas Forster, MLA, U. of Oregon; former policy director, Community
Food Security Coalition; organic farmer; public policy campaign architect
supporting development of local and regional food systems, school meals,
and community-based market development; advocate for sustainable
agriculture in U.S. Congress and UN Commission on Sustainable
Development.
David Fractenberg, PhD, U. of Kansas; professor emeritus, Communication
& Human Relations, SUNY-New Paltz; specializes in rhetoric, semantics,
political communication, theories of persuasion, and interpersonal communication; human relations trainer in the private and public sectors.
John Freitas, MA, The New School; former development analyst for Warner
Bros. and Sony Pictures; has sold screenplays to Dustin Hoffman, Hakalax
& Mandrake Productions, Finland, Canal+, producer Vincent Maraval
(City of God), and legendary independent producer Edward R. Pressman
(Badlands, Reversal of Fortune, The Cooler); also teaches at Hofstra U.
Melissa Friedling, PhD, U. of Iowa; filmmaker, video maker, and critic; short
film and videos screened at festivals, galleries, and museums internationally;
grants include NYSCA and NYFA; Fulbright Scholar Award in 2000; 2002
International Studio and Curatorial Program resident; author of articles
on film, art, and contemporary culture and a book, Recovering Women:
Feminisms and Representations of Addiction.
David Friedman, former general manager of Beacon, 27 Standard/Jazz
Standard, California Café, World Catering, Terrace Restaurant, Café
des Artistes; restaurant director, Tavern on the Green; food and beverage
director, Sherry Netherland Hotel; currently full-time food consultant.
Terry Frishman, MBA, Columbia U.; president, Creative Marketing
Workshops; award-winning food industry consultant specializing in
strategic planning, public relations, and product launches; former product
manager, Kraft General Foods; member, board of directors, New York
Women’s Culinary Alliance; served on boards of Roundtable for Women in
Foodservice and Intl. Wine & Food Society.
Peter Garfield, BA, Dartmouth College, Ecole Nationale Supérieure des
Beaux-Arts (Paris); artist working in photography, video, and sculpture;
recent solo shows at Pierogi, Musée historique de Vevey (Switzerland),
Dartmouth College; represented in recent shows at MASS MoCA, Nassau
County Museum, SF Museum of Art, Brooklyn Museum, Centre Pompidou,
Whitney Museum at Champion; fellowships and awards from NEA, NYFA,
Rotterdam Film Festival, Albee Foundation, MacDowell, Yaddo.
Thom Garvey, MFA, UNC-Chapel Hill; actor; has performed on the New
York stage, on TV, and in films; dialect coach for theater productions;
teaches speech at NYU and Baruch College.
Joshua A. Gaylord, PhD, NYU; currently teaches at Ramaz School; his first
novel, Hummingbirds, was published in 2009; has written on William
Faulkner, postmodernism, and narrative theory.
Carol Goodman, MFA, The New School; author of The Lake of Dead
Languages, The Seduction of Water, and The Drowning Tree; short stories
and poetry have appeared in the Greensboro Review, Literal Latte, Midwest
Quarterly, and Other Voices.
Terri Gordon-Zolov, PhD, Columbia U.; assistant professor of comparative
literature, New School Bachelor’s Program; co-editor of WSQ “Citizenship”
issue (Spring/Summer 2010); has published articles on Josephine Baker,
cabaret, performance art, and postwar film; recipient of New School’s
Distinguished Teaching Award, 2003.
Sonia Granillo-Ogikubo, MA, Colegio Normal (Mexico); has taught Spanish
in Japan and Mexico.
Gabriel Grayson, principal NYC judicial system court-appointed dacty-
lologist; television interviewer, producer, and actor; author of Talking with
Your Hands, Listening with Your Eyes; recipient, Publishers Marketing Assn.
Benjamin Franklin Natl. Book Award.
childhood trauma, chemical dependency, and career transition; formerly
with the NYU Ehrenkranz School of Social Work Trauma Recovery
Program and CAP Behavior Associates.
Michelle Greene, BFA, Syracuse U.; College Instructor Credential in
Welding, UC-Berkeley; commissions include MTA Rail Riders’ Throne at
116th St. subway station; work exhibited at Franklin Parrasch Gallery and
Paine Webber in NYC and the San Francisco Museum; taught at Chabot
College and the Sculpture Center.
Lisa Freedman, MFA, The New School; articles published in the New York
Seth Greenwald, MA, The New School; BFA, Parsons The New School for
Michele Frank, LCSW; psychotherapist in private practice specializing in
Times, Art & Understanding, and POZ; wrote and performed in educational
plays with the AIDS Theatre Project; recipient of a Puffin Foundation
award and a Blue Mountain Center residency; 2005 U. of Connecticut Soul
Mountain Fellow.
88
Design; photographer; formerly director of photography, Photonica; represented in the permanent collection of the NY Historical Society.
Christoph Grieder, MA; RMT; working musician (cellist) and freelance
workshop leader; creative arts therapy supervisor at Shelter Our Sisters, a
facility for abused children.
biographical notes
Michael Grimaldi, BFA, Pratt Inst.; commercial photography in New York;
work has appeared in European Travel and Life, Vogue, Forbes, and other
publications; book projects for Stewart, Tabori and Cheng, Thorsens U.K.,
and Workman Publishing; corporate clients include Clairol, Hilton Intl.,
and McGraw-Hill.
Margarita Gutman, PhD, Architecture, U. of Buenos Aires (UBA); associate
professor of urban studies and international affairs; chair and full professor
of architecture and urban history, UBA; former scholar-in-residence at
Getty Research Inst. and visiting fellow at ICAS, NYU; author, co-author,
or editor of 12 books, including Construir Bicentenarios: Argentina; directs
Building Latin American Bicentennials program, OLA.
Luis Guzmán, PhD, The New School for Social Research; has taught
philosophy at Hofstra U., NYU, LIU, and U. Nacional de Colombia
(Bogotá); author and translator from Spanish and German of philosophical
articles on Aristotle, Plato, Hegel, Schelling, and skepticism.
John E. Halsey, EdD, Columbia U.; jazz pianist and arranger; has performed
at Birdland, Michael’s Pub, Red Blazer II, and Cajun; lectures on American
popular song at Bergen, NJ YMHA.
Susan Hamovitch, MFA; independent video producer and educator, currently
working on a feature-length documentary; recently awarded a grant from
NYS Council for the Humanities; has taught at many colleges in the NYC
area.
Jacquie Hann, MFA, SVA; author and illustrator of internationally popular
children’s books, including That Man Is Talking to His Toes, Up Day, Down
Day (a Junior Literary Guild Selection), and, most recently, Kick Block
Punch; her illustrations have appeared in Good Housekeeping, Humpty
Dumpty, Children’s Digest, and Scholastic; has taught at Parsons The New
School for Design and in private workshops.
Rachel Heiman, PhD, U. of Michigan; anthropologist who has conducted
ethnographic fieldwork in Zimbabwe and New Jersey; current research
on middle-class anxieties and suburban life; visiting scholar, Russell Sage
Foundation; recent Summer Fellow, School of American Research.
Jeffrey Hogrefe, BA, UC-Berkeley; journalist and author; contributor to
the New Yorker, Harper’s, Smithsonian, and the New York Observer; wrote a
weekly arts column for the Washington Post; author of O’Keeffe: The Life of
an American Legend; member of the Authors’ Guild and PEN.
Walter R. Holland, PhD, CUNY Graduate Center; author of A Journal of the
Plague Years: Poems 1979–1992 and a novel, The March; poems published in
Harvard Gay and Lesbian Review, Poets for Life, and The Columbia Anthology
of Gay Literature; his dissertation won the 1998 Paul Monette Award;
keynote speaker, 1999 Provincetown Poetry Festival.
Taeko Horiko, BA in Sociology, MA in Foreign Language Education,
NYU; has taught Japanese at The New School in both undergraduate and
continuing education since 1999; has also taught at NYU, Cooper Union,
and FIT.
Samuel Howell, MA, U. of Florida; PhD candidate, Middlebury College;
chair of Dept. of Modern Languages, Nightingale-Bamford School, where
he teaches French, Spanish, and Latin; has taught at U. of Florida and U. of
Miami; research interests include French-Canadian literature and Polynesian
history and culture.
Richard M. Huff, writer and photographer for NYC-area newspapers and
magazines; currently writes for the New York Daily News identifying trends
in network TV and developing contacts with executives and actors; also
writes a weekly motor sports column.
Richard Humphreys, MA in English/TESOL, San Francisco State U.; taught
at colleges in Northern California; has presented at the California TESOL
Conference; has served as a field supervisor and a mentor for new teachers
in the Teaching Fellows Program at Hunter College; teaches ESL in the
Language Communications Programme at the United Nations.
Luis Jaramillo, MFA, The New School; first book of short stories, The
Doctor’s Wife, won the 2009 Dzanc Books Short Story Collection
Competition and will be published by Dzanc Books in 2012; has been
published in Open City, Gamers (Soft Skull Press), Tin House Magazine,
H.O.W. Journal, and Red Line Blues; associate chair of the New School
Writing Program.
Dave Johnson, poet and playwright; author of a book of poems, Marble Shoot,
and the plays Sister, Cousin, Aunt and Baptized to the Bone; editor of Movin’:
Teen Poets Take Voice; teaches at Yale U. and Cooper Union School of Art;
visiting lecturer with The New School’s MFA in Creative Writing program.
Maya Joseph, MS, PhD candidate in political science, The New School
for Social Research; specializes in U.S. politics, political theory, and food
politics and policy; her dissertation deals with new challenges facing food
regulatory agencies, specifically the FDA and cloned animals.
Elise Juska, MA, U. of New Hampshire; author of the novels One for Sorrow,
Two for Joy, The Hazards of Sleeping Alone, and Getting over Jack Wagner;
short stories in the Hudson Review, Harvard Review, Black Warrior Review,
Calyx, Seattle Review, Salmagundi, and other publications; Pushcart Prize
nominee; also teaches writing at U. of the Arts.
Nancy Kelton, BA, NYU; author of Writing from Personal Experience, Dating
Is About Finding Someone So You Never Have to Date Again, Rebel Slave, and
The Sled the Brothers Made; articles, essays, and humor in New York Times,
Newsday, Parents, New Woman, McCall’s, Redbook, Writer’s Digest, and
Working Mother.
Ichiro Kishimoto, MA in Linguistics, CUNY; BE, Waseda U. (Japan); theater
director; actor in Zeitgeist 99; freelance writer; teaches Japanese at NYU’s
School of Continuing & Professional Studies.
Noelle Kocot-Tomblin, MFA, U. of Florida; has received awards from the Acad.
of American Poets, Fund for Poetry, American Poetry Review, and Natl.
Endowment for the Arts; author of four books of poetry, including Poem for
the End of Time and Other Poems and Sunny Wednesday.
Farideh Koohi-Kamali, DPhil, Faculty of Social Sciences, Oxford U.; author of
Economic and Social Bases of Kurdish Nationalism in Iran and “Mrs. Ahmadi’s
Husband” in Stories by Iranian Women Since the Revolution; editorial
director, academic, Palgrave Macmillan.
Karen Kramer, BFA, NYU; award-winning filmmaker of The Jolo Serpent
Handlers, Legacy of the Spirits, Haitian Song, and The Ballad of Greenwich
Village; has filmed cultures and rituals around the world.
Ida Kummer, PhD, U. of Paris IV-Sorbonne; teaches French language and
French and Francophone literature and culture at the UN Intl. School and
in Paris for several Study Abroad programs; author of scholarly articles about
the treatment of immigration and gender in contemporary French literature
and film.
Sabine Landreau-Farber, baccalauréat français; trained in Rassias and New
School language teaching methods; has taught French at all levels for more
than 25 years.
Florence Leclerc-Dickler, MBA; MA, Ecole de Traduction et d’Interprétation,
University of Geneva (Switzerland); BA in applied foreign languages, U. of
Nice; assistant professor and associate chair, Dept. of Foreign Languages;
has taught French at Marymount School of New York and SUNY-New Paltz
Language Immersion Inst.
Gerda Lederer, PhD, Columbia U.; co-editor of Strength and Weakness: The
Authoritarian Personality Today; former editor of Political Psychology; has
served as vice president of ISPP and received its Erik Erikson Award; has
taught in Germany at U. of Hamburg and Technische U. in Berlin; extensive
research in ethnocentrism.
Seon Jeong Lee, MA in Teaching Foreign Languages, NYU; teaches Korean
and Japanese.
89
biographical notes
Halyna Lemekh, PhD in Sociology, The New School; MA in Philology,
Ukraine; research and writing focuses on social construction of identity
among newly arrived immigrants to NYC, impact of immigration on
children, and human trafficking.
Margrit Lewczuk, fine artist; NEA fellowship; Guggenheim fellowship;
solo exhibitions at Pamela Auchincloss Gallery (New York) and Thorden
Wetterling (Stockholm); teaches at Princeton U.
Harry Lewis, EdD, Columbia U. Teachers College; MSW, Fordham U.
Graduate School of Social Service; core faculty member, The New School
Bachelor’s Program; psychotherapist in private practice.
Kimberly Libman, MPH, Hunter College; doctoral studies in environmental
psychology, CUNY Graduate Center; former educator and program coordinator at the Brooklyn Botanic Garden and the New York Botanical Garden.
Betty Ming Liu, MA, Columbia U. School of Journalism; freelance journalist,
blogging at www.BettyMingLiu.com; formerly nationally syndicated
columnist for the New York Daily News, staffer for the Newark Star-Ledger
and Crain’s New York Business, and panelist on a local PBS public affairs
show broadcast on Channel 13/WNET New York.
Rodolfo Long, MA, Virginia Tech; specializes in language education and
instructional technology; teaches Spanish with an emphasis on the use of
technology in the classroom.
Leslie McCleave, MFA, NYU; films have received top awards at Sundance,
SXSW, Los Angeles, Locarno, and San Francisco film festivals and been
screened in New Directors/New Films at MoMA, Berlin International Film
Festival, and other festivals and broadcast on the Sundance Channel and
FilmFour UK; grants from NEA, Creative Capital Foundation, NYSCA,
and Radziwill Documentary Fund.
Madge McKeithen, MFA, Queens University of Charlotte; author of Blue
Peninsula: Essential Words for a Life of Loss and Change.
Liz Meachem, MFA, The New School; published in the New York Times
Magazine, San Francisco Chronicle, and Hope magazine; author of short
stories, essays, articles, and several books on design; co-director and
instructor at the Writer’s Craft.
Matthew P. Melucci, MA, Wesleyan U.; freelance writer and journalist with
experience in newspapers, magazines, and online publications, including as
managing editor of MTV Interactive’s SonicNet news team; winner, Scripps
Howard Natl. Journalism Award, two Webbies, and ASCAP Deems Taylor
Award.
Valerie Mendelson, PhD, CUNY Graduate Center; has taught at Hunter
College and CCNY; papers on French artists and art historians, women
collectors in France, and Victorian landscape photography presented at
CAA, NEMLA, Barnard College, and elsewhere; artwork exhibited in New
York, Alabama, Maryland, and Boston.
Robert Lopez, author of the novel Part of the World; fiction has appeared
Polly Merdinger, MA, EdM; co-author of Even If You Can’t Carry a Tune;
has taught ESL and ESL teaching at the American Language Program and
Columbia U. Teachers College.
Carolyn MacCullough, MFA in Creative Writing, The New School; author of
young adult novels Falling Through Darkness (one of the New York Public
Library’s Best Books for the Teen Age), Stealing Henry, and Drawing the
Ocean.
Sharon M. Mesmer, MFA, Brooklyn College; NYFA Poetry Fellowships
Francesca Magnani, Laurea, U. of Bologna; MA, NYU; Fulbright Scholar;
teaches Italian and literature at NYU; has taught at Baruch College and
CUNY Graduate Center.
David N. Meyer, BFA, Temple U.; author of Twenty Thousand Roads: The
in dozens of journals, including BOMB, Threepenny Review, New England
Review, New Orleans Review, Indiana Review, and Denver Quarterly.
Iman Maiki, MA; specializes in teaching Arabic in multicultural societies; has
taught at Columbia U., Queens College, The New School, NYU, and other
institutions in the U.S. and Britain.
Giuseppe Manca studied at U. of Cagliari; trained in foreign language
teaching methods at The New School; co-author of Piacere!
Alfredo Marques, Baccalauréat littérature et art, license de musicologie, U. of
Paris VIII; has taught French at The New School since 2002; also teaches
French at Mannes College The New School for Music.
Sonya Mason, DMA, Manhattan School of Music (MSM); concert pianist;
has performed in the United States, Japan, Europe, and Australia; faculty
member and chair of Theory and Ear Training Department, MSM
Precollege Division.
Michelle Materre, MEd, Boston College; independent producer, arts admin-
istrator, distributor, and marketing specialist; consults on film distribution,
fundraising, educational outreach, exhibition; curatorial credits include 10th
Annual Harlem Film Festival; member, NY Women in Film & Television
board of directors, REEL NY advisory board, and Channel 13/WNET;
advisor to Women Make Movies, Third World Newsreel, and film festivals
around the world.
Maureen McAllister, MBA, Columbia U.; director of fashion industry
mentoring program at Fashion Industries High School; teaches at Parsons
The New School for Design; has also taught at St. Francis College and St.
John’s U.; was a visiting professor in the Advertising Educational Foundation
program of the ad agency Jordan, McGrath, Case & Taylor.
90
(Jerome Grant, co-recipient); Fulbright Senior Specialist; publications
include Annoying Diabetic Bitch, The Virgin Formica, Ma Vie à Yonago, In
Ordinary Time, and The Empty Quarter; member of flarf collective.
Ballad of Gram Parsons and His Cosmic American Music (named one of the
20 best nonfiction books of the year by the LA Times and five best rock
books of the year by Rolling Stone); also wrote One Hundred Best Films to
Rent You’ve Never Heard Of and A Girl and a Gun: The Complete Guide to
Film Noir on Video; film editor of The Brooklyn Rail.
Steven Milowitz, PhD, NYU; teaches English and American literature at
Ramaz School; has taught at Choate Rosemary Hall; author of Philip Roth
Considered: The Concentrationary Universe of the American Writer.
Catherine Mindolovich, PhD, The New School for Social Research; staff
psychologist, Intl. Center for the Disabled, specializing in assessment
and treatment of physical and psychological trauma, neuropsychological
assessment, and cognitive rehabilitation; psychotherapist in private practice
with children and adults.
Philippe-Gérard Montanari, studied at Catholic U. of Argentina; member of
AATF; has taught French and Spanish for more than 20 years.
Louise Montello, PhD, NYU; Certif., American Music Therapy Assn.; coordinator, New School Creative Arts Therapy Certificate Program; clinical
research scientist, NYU Dept. of Psychiatry; associate editor, Intl. Journal
of Arts Medicine; guest lecturer, Manhattan School of Music; in private
practice.
Robert S. Montgomery, MFA, Yale School of Drama; author of plays including
Subject to Fits, Electra, and Genesis; work has been produced by the Public
Theater, La MaMa, Royal Shakespeare Co., and others here and abroad.
Jeffrey M. Mooney has been teaching American Sign Language for more
than 20 years; has performed sign language music on Broadway and at Shea
Stadium; has signed for such celebrities as Bette Midler, Gene Wilder, the
Village People, and Brian Tochi (Police Academy); has appeared in a variety
of performances and commercials; has taught at the U. of Florida, Hunter
College, Great Neck North HS, PS 19, PS 188, and LaGuardia Community
College; private sign language/music tutor.
biographical notes
Caitlin Morgan, MA, School for Intl. Training; RSA, Cambridge U.; assistant
director of English Language Studies, The New School for General Studies;
has taught ESL and trained teachers in the U.S. and abroad; freelance ESL
materials writer.
Laura Morgan, MA in Media Studies, The New School; producer and
William Pace, MFA, NYU; screenwriter and film producer; has produced
four independent feature films, including Charming Billy, which he also
directed; wrote episodes for syndicated TV series Adventurers: Masters of
Time and The School for Little Vampires; produced and directed the awardwinning short film A Relaxing Day.
director of award-winning films for NBC, Showtime, and European and
Asian TV; has worked as an actress, assistant director, editor, and art
director on feature films.
Andrew Palmer, BA, Emerson College; actor with off-Broadway, summer stock,
and industrial credits; TV appearances on Another World and Ryan’s Hope.
Douglas Morse, MFA, NYU; independent filmmaker; feature films include
postgraduate studies, Beijing U.; writer and lecturer on food culture, history,
politics, and media; author of Food Culture in Italy and Bite Me: Food and
Pop Culture; general editor of Berg’s Cultural History of Food; president of the
Assn. for the Study of Food and Society.
The Adulterer (Best of Fest, Sarasota), 2000 Miles to Maine (distributed
by L.L. Bean and the Appalachian Trail Conservancy), The Summoning of
Everyman (funded by a grant from the Faculty Development Fund; screened
at the International Medieval Congress and the Medieval Forum), and The
Merchant of Venice: Uncut, a video adaptation of a play staged at Cambridge
U., where he was a visiting scholar.
Margo Moss, MA, NYU; LDTC; freelance photographer; published in
textbooks, calendars, and magazines; created children’s photography for
the Newark Museum; founder and former director of Creative Camps, a
nonprofit school for children with learning disabilities.
Patrick Mull, MFA, U. of Iowa; former adjunct professor and director of ELI
Pre-Graduate Program, Pace University; has taught at Hunter College; has
been teaching ESL/EFL since 1997.
Fred Murhammer, BFA, NYU; computer graphics trainer and consultant.
John Charles Murphy, MA, U. of Colorado; Completion Diploma, Ecole
Jacques Lecoq; director, writer, and producer; has taught acting and performance studies in Europe and the U.S.; has acted in plays, film, television,
and commercials; performs seasonally with Mummenschanz.
Tobias C. Nascimento, MBA, Columbia U.; former Portuguese language
translator for the OAS representative to the United Nations.
Matthew Guy Nichols, PhD, Rutgers U.; assistant professor of art history at
Christie’s Education; frequent contributor to Art in America.
Laurence O’Connell, MBA, MS, and MA; 30 years’ experience in the
corporate, government, and nonprofit sectors; 20 years’ experience teaching;
involved in passage of living wage law in NYS; teaches financial literacy to
incarcerated women and other groups.
Fabio Parasecoli, MA, La Sapienza U.; MA, Orientale U. (Naples);
Pamela Pardi, BA, Hunter College; Romana’s Pilates Certified Level 3
instructor; studied Pilates with Carole Trier and Romana Kryzanowska;
has taught Pilates since 1988; founded DanceTracks NYC, a nonprofit arts
organization; author of booklet Stretch-Eze.
Chris Pastore, MFA, The New School; has contributed to Offshore, Cruising
World, Boat International, Newport Life, Real Simple, and Sailing World,
where he is contributing editor; served as associate editor at Sailing World,
North America’s leading sailboat racing publication, and editor of American
Sailor and Junior Sailor.
Cristina Patterson, MA, NYU; adjunct professor and freshman counselor,
John Jay College-CUNY; also teaches at Hunter College and LaGuardia
Community College; former assistant supervisor of CCNY ESL Learning
Center; has also taught at Katharine Gibbs School, NY Technical School,
and Polytechnic U.
Gustav Peebles, PhD, U. of Chicago; chair, Dept. of Social Sciences; publications include “State-Building and the Mobilization of Labor vs. Leisure on
a European Border,” “An Apologia for Filthy Lucre,” and “Conflations of
National Currency and Global Capital in the Swedish Currency Crisis.”
Linda Pelc, PhD, CUNY; has taught EFL/ESL since 1977 in NYC and
abroad; has presented conference papers on second-language acquisition and
instruction, pidgins and creoles, and language attrition.
Marc Peloquin, DMA, Manhattan School of Music; concert pianist; perfor-
mances in the U.S., Europe, Mexico, and South America; recording Chords
at Night; artist faculty member, Bloomingdale School of Music.
Anna Elise Odom, PhD, The New School for Social Research; postdoctoral
fellow, NY-Presbyterian Hospital and Payne Whitney Westchester; research
interests include clinical implications and treatment of schizophrenia and
substance use and treatment of borderline pathologies.
Gilda Pervin, MLitt, U. of Pittsburgh; Certif., Pennsylvania Acad. of Fine
Sidney Offit, BA, Johns Hopkins U.; author of novels (He Had It Made and
Only a Girl Like You), children’s books (The Adventures of Homer Fink and
Topsy Turvy), a short story collection (Not All Girls Have Million Dollar
Smiles), and Memoir of the Bookie’s Son; former senior editor, Intellectual
Digest; curator, George Polk Awards.
Lauren Petty, MA, NYU; video and film artist; working with a collaborator
Jean Oliver-Cretara, MA, The New School; freelance violist who has recorded
Delis M. Pitt, MA, Auckland U. (New Zealand); RSA, Cambridge U.;
and performed with SiSe, David Byrne, Imani Uzuri, and DJ Nicodemus;
areas of interest include popular music and communication studies; presented
“I Am This Riddim,” a paper about the use of music by Jamaicans in MySpace
profiles, at the 2008 U. of the West Indies Global Reggae Conference;
teaching artist in the strings program at the Noel Pointer Foundation.
Melanie Beth Oliviero, PhD, Georgetown U.; 30-year career devoted to
social justice and human development; currently a member of the DAI
(Development Alternatives, Inc.), a consulting firm serving as strategic
advisor to the Office on Global Development Alliances of USAID.
Kathleen Ossip, MFA, The New School; author of The Search Engine, winner
of American Poetry Review/Honickman First Book Prize; poems have
appeared in Best American Poetry 2001, Paris Review, Kenyon Review, and
American Poetry Review.
Arts; visual artist; work exhibited in the U.S., Brazil, and Sweden; awards
include Pollock-Krasner Foundation Grant, NYFA Fellowship Grant, and
NYSCA Project Grant.
creating single-channel videos, multiple-channel installations, and video
design for theater and dance; exhibiting in New York and internationally;
awards include two NYFA Fellowships in video and grants from the Jerome
Foundation, Greenwall Foundation, NYSCA, and NEA.
teaches and develops instructional materials at Columbia U. American
Language Program; has conducted observations for and offered feedback to
students at Columbia U. Teachers College.
Marie Ponsot, poet and translator; her books include Springing, The Green
Dark, Admit Impediment, True Minds, and The Bird Catcher (Natl. Book
Critics Circle Award and finalist for Lenore Marshall Poetry Prize); awards
include the PSA Frost Medal, an NEA grant, the Delmore Schwartz
Memorial Prize, and the MLA’s Shaughnessy Medal.
Alexei Procyshyn, MA, U. of Western Ontario; doctoral fellow, Social
Sciences & Humanities Research Council of Canada; dean’s fellow, The
New School for Social Research; publications include Exploring Adorno’s
Dialectic.
91
biographical notes
Josh Rabinowitz, SVP and director of music of Grey Group, was once called
Joseph Salvatore, MFA, The New School; founding editor, LIT, the journal
Nahid Rachlin, author of Persian Girls, Jumping over Fire, Foreigner, Married
Hélio San Miguel, PhD in Philosophy, Autonomous U. of Madrid; MFA
in Film Direction and Production, NYU; specializes in film analysis and
aesthetics, silent cinema, scientific cinema, and film history (Western and
Latin American cinemas); co-author of Tierra en trance and The Cinema of
Latin America; wrote and directed the short film Blindness, selected by more
than 15 film festivals.
a “New Music mogul” by Fast Company; has produced more than 1,000
tracks for commercials internationally; “With the Brand” columnist for
Billboard and recognized voice in music branding; working bandleader and
trombonist; has also taught at NYU.
to a Stranger, The Heart’s Desire, and a short story collection, Veils; stories
also published in Shenandoah, Confrontation, Literary Review, and anthologies; reviews in New York Times Book Review and Newsday; recipient, NEA
grant, Wallace Stegner Fellowship, and PEN Syndicated Fiction Project
Award.
Adele Ray, MA in Media Studies, The New School; professional video
editor with ten years’ multimedia, video, and film production experience;
has taught at NYU and Parsons The New School for Design; her film El
Paso Vietnam won awards and was screened at venues locally, nationally,
and abroad; her feature-length documentary Lost Pictures is currently
in postproduction.
John Reed, MFA, Columbia U.; author of novels including A Still Small
Voice, The Whole, Snowball’s Chance, and, most recently, All the World’s a
Grave: A New Play by William Shakespeare; work has appeared in Artnet,
Artforum, Paper Magazine, New York Press, Brooklyn Rail, TimeOut New
York, Artforum, BOMB, Playboy, Art in America, and Los Angeles Times;
award-winning TV and film writer.
Thomas Reed, MPA, Princeton U.; has developed educational and promo-
tional materials for NYC Dept. of Health; member of and trainer for NY
Mac User Group.
Rebecca Reilly, MFA, The New School; editor-at-large, LIT magazine, the
literary journal of the New School Writing Program.
Ira Robbins, BFA, Pratt Inst.; partner, Start Studios; designer of print
materials for New York City Ballet, Cunningham Dance Co., Intl. YMCA,
Osborne Assn., Con Ed, The Kitchen, Lincoln Center, New Victory
Theater, and Pressman Toys; has taught graphic design at the graduate and
undergraduate levels for more than 15 years.
Martin Roberts, PhD, Cambridge U.; has taught at NYU, MIT, and Harvard
U.; research centers on media and cultural studies, globalization, and
popular culture; articles on ethnography and surrealism, world music, and
the role of media in the formation of national and transnational identities.
Justus Rosenberg, PhD, U. of Cincinnati; Russian Studies Research Fellow,
Columbia U.; African Studies Research Scholar, Syracuse U.; chairman of
Languages & Literature Div., Bard College; author of Constant Factors in
Translation, Russia: Past and Present, and Brecht in Mandarin.
Cristina Ross, MA in Spanish, U. of Rhode Island; has taught Spanish and
German at Berlitz Language School in Mexico City and NYC.
Randi Ross, BA, NYU; public relations writer whose work has been on radio
and in print media; designer of a college-level writing curriculum; teaches at
the Inst. of Design and Construction and CUNY.
Andrew Rubenfeld, PhD, NYU; has written on Walt Whitman for NJ
Audubon Magazine; prepared text for Mark Twain & Huck Finn, a Natl.
Geographic Society exhibit; does special projects editorial work for the
Library of America.
David Rudofsky, MBA, Wharton; president of Rudofsky Associates; finance
and strategy consulting; former director of strategic planning at Altria;
frequent contributor to the New York Enterprise Report.
Sanjay Ruparelia, PhD, Cambridge U.; Commonwealth Scholar; research
published in Comparative Politics and Economic and Political Weekly
and edited volumes; advisory board member, India China Institute and
Constellations; UN consultant; media commentator; previously taught at
Columbia U.
92
of the New School Writing Program; co-founder, Tongue and Groove
reading series; has taught at Parsons and Marblehead Writers’ World; work
produced and published in Atelier Abroad, H.A.T., Mesh, Omnivore, Open
City, and Soundings East.
Gema Santamaria Balmeceda, PhD candidate, The New School for Social
Research.
Barbara Sarapata, MATESOL, Hunter College-CUNY; certified by
the Royal Society of Arts and the U. of Cambridge Local Examination
Syndicate as an ESL/EFL teacher trainer; has trained teachers and taught
ESL/EFL in Brazil and the U.S.
Jim Savio, MA, City College of New York; author of The Fairy Flag & Other
Stories; work published in Brooklyn Rail and other literary journals; recipient
of the Irwin and Alice Stark Short Story Fiction Prize, the Ada Shepherd
Award for Creative Writing, and the Goodman Fund Award for Creative
Writing.
Mort Scharfman, MFA, Pratt Inst.; playwright and screenwriter; has worked
for Warner Bros., Paramount, and Columbia; winner of three Emmy Awards
for teleplays and sitcoms; writer and lyricist for the stage; formerly taught at
UCLA.
George Schaub, BA, Columbia U.; editorial director of Shutterbug magazine
and www.shutterbug.com; has been reporting on digital photography since
its inception; author of more than 20 books on photography; work has
appeared in the New York Times, Travel & Leisure, Men’s Journal, and other
trade and technical magazines.
Joel Schlemowitz, BS, Ithaca College; filmmaker; experimental shorts
screened at MoMA, Whitney Museum, Anthology Film Archives, and
Chicago, Ann Arbor, London, and Sydney film festivals; Moving Images won
a silver plaque at Chicago festival and honorable mentions at Thaw 02 and
NY Short Film Expo; Reverie was shown on the Sundance Channel.
Candy Schulman, MA, NYU; writer of essays, humor, and general-interest
articles published in the New York Times, New York Magazine, Travel &
Leisure, Food & Wine, Parents, Child, Glamour, Family Circle, Newsday,
Washington Post, and Christian Science Monitor; instructional articles anthologized by Writer’s Digest.
Chiz Schultz created the two-hour PBS biography Paul Robeson: Here I
Stand; executive producer of A Soldier’s Story (nominated for three Academy
Awards) and A Raisin in the Sun with Danny Glover; executive at CBS-TV,
Children’s Television Workshop, Belafonte Enterprises, and Aaron Spelling
Productions.
Joan Schuman, MFA, San Jose State U.; independent NPR documentary and
features producer since 1986; sound and radio artist since 1993, commissioned for festivals and radio networks in Canada, Australia, England,
Germany, France, and the U.S.
Earl L. Scott, JD, Columbia U.; practicing attorney; adjunct professor of law,
Bronx Community College; former assistant U.S. attorney, Southern District
of NY.
Samuel B. Seigle, AM, Harvard; studied at the American Acad. in Rome;
teaches classics as a member of the Literature, Language & Writing faculty,
Sarah Lawrence College; formerly president, currently censor of the New
York Classical Club.
biographical notes
MM Serra, MA, NYU; executive director of Film-Makers’ Cooperative,
world’s largest archive of independent media; filmmaker, curator, and media
program organizer; her latest film, Darling International, was screened at
Sundance 2000 and the Berlin Film Festival.
Avron Soyer, MA, Cornell U.; painter; student of Isaac Soyer and Stefan
Hirsch; many solo and group shows; represented in several collections.
Katia Spiegelman Lief, MFA, CCNY; author of Soul Catcher and Peculiar
Susan B. Shapiro, MA, NYU; journalist; has written for the New York Times,
Politics; the pseudonymous author, as Kate Pepper, of best-selling suspense
novels; has taught fiction writing at The New School since 1995.
Alexandra Shelley, MFA, Columbia U. School of the Arts; associate editorial
Warren E. Spielberg, PhD, Adelphi U.; postdoctoral work at NYU; research
centers on male development, African-American males, and trauma;
post-9/11 consultant to NY Fire Dept.; American Psychological Association
Practitioner of the Year, 2003; consultant, Peace Now Dialogue Project,
involving Israeli and Palestinian youth; three-time recipient of New School
distinguished faculty award.
the Washington Post, Newsweek, The Nation, the Los Angeles Times, People,
Salon.com, the Daily Beast, the Village Voice, Glamour, and More; edited
the anthology Food for the Soul; author of Five Men Who Broke My Heart,
Lighting Up, Secrets of a Fix-Up Fanatic, Only as Good as Your Word, Speed
Shrinking, and Overexposed.
director, Bridge Works Publishing; fiction published in Nimrod and
Confrontation; winner of the Katherine Anne Porter Prize and a Fulbright
grant; teaches at Yale U.
Jessie Sholl, MFA, The New School; her stories have appeared in several
journals, including Other Voices, CutBank, Lit, and Fiction; co-edited the
literary nonfiction anthology Travelers’ Tales: Prague and the Czech Republic.
Marina Shron, MFA, NYU; playwright and screenwriter; her screenplay
X-tina selected for IFP Market Emerging Narrative Screenplay program;
her short film The Silent Love of the Fish aired on PBS and received Best
Short Film Award at the Hamptons; recipient of James Thurber, Jerome,
and NYFA Fellowships in Playwriting and a 2005–2007 Fulbright Senior
Scholar Award.
Patricia Simko, PhD, NYU; supervisor and training analyst, Training and
Research Institute for Self Psychology; psychologist in private practice;
former NY State assistant attorney general; author of Promised Lands:
Vol. III.
Fiore Sireci, PhD, U. of Edinburgh; as a Fulbright scholar in Argentina,
taught 17th-century British literature and English-teaching methodology;
author of Regarding Love and Art, a biography of philanthropist Mary
Tebbetts Wolfe; research interests include 17th- and 18th-century British
politics, women’s writing, and Enlightenment philosophy.
Clarissa Slesar, MA, Dean’s Fellow, The New School for Social Research;
director of the NSSR Visual Perception Lab; co-author, with A. Mack, of
“Perversible Figures: An Ironic Process in Perception” (abstract in Journal
of Vision).
Andrew F. Smith, MA, U. of California, Riverside; author of many books,
including Eating History: 30 Turning Points in the History of American
Cuisine, The Tomato in America, The Turkey, Encyclopedia of Junk Food
and Fast Food, Real American Food (with Burt Wolf), and Hamburger: A
Global History; series editor of Reaktion Books’ Edible series; editor in chief
of The Oxford Encyclopedia of Food and Drink in America and The Oxford
Companion to American Food and Drink.
Jacqueline B. Smith, MA, Columbia U. Teachers College; co-author of
Wordflo: Your Personal English Organizer; freelance materials writer for
Scholastic and Scotts-Foresman; adjunct professor, SVA.
Laura S. Smith, MA, MPhil, Columbia U.; Fulbright Scholar; Charlotte
Newcombe Dissertation Fellow; has traveled and studied extensively in
South Asia; currently conducting dissertation research on the Madhyamaka
philosophy of Tibetan Buddhism; working on a translation from Tibetan of
Ocean of Reason.
Maya Montañez Smukler, MA, UCLA; BS, Boston U.; film producer and
filmmaker’s advocate; has worked for American Film Inst. Directing
Workshop for Women, Women Make Movies, and Fuse music TV network;
producer of the Don’t Knock the Rock Film & Music Festival.
Suzanne Snider, MFA, Columbia U.; writer and educator; recipient of fellow-
ships at Yaddo, MacDowell Colony, and Ucross Foundation Center; has
contributed essays to artists’ monographs (Danica Phelps’ Everyday Life
and Clare Rojas’ Hope Springs Eternal); also contributor to The Believer,
Nextbook, Tokion, Legal Affairs, Anathema, Oklahoma Review, and literary
journals; teaches art criticism and essay writing in NYC.
Michele Spirn, MFA, The New School; award-winning author of more than
40 children’s books, including the Know-Nothing series, The Bridges in
London, a retelling of The Nutcracker, All Washed Up, Racing Against the
Light, and a biography of Olympic gold medalist Jackie Joyner-Kersee.
Mark Stolzenberg, BA, Brooklyn College; actor; star of Luggage of the Gods;
principal in Tom Selleck’s Her Alibi; stand-in for Robin Williams in The
Fisher King; regular cast member of The Robert Klein Television Show;
principal in MTV videos and commercials; currently producing a feature
film.
Karsten Struhl, MA, U. of Miami; ABD, NYU: has taught at The New
School for more than 30 years; also teaches at John Jay College of Criminal
Justice-CUNY and Adelphi U.; co-edited Philosophy Now, Ethics in
Perspective, and, more recently, The Philosophical Quest: A Cross-Cultural
Reader; has published articles in various journals and anthologies on topics
including human nature, war and terrorism, democracy, and global ethics.
Paula Stuttman, MFA, NYU; fine artist; has exhibited at Naked Duck,
HOTdog, Trans Hudson, Site Simpatico, Rosenberg Gallery, Washington
Square East, Loyola U., 1935 Gallery, 11th Hour Gallery, Centro de
Difusión del IPBA, and Museum of Fine Arts, Boston; lecturer, Museum of
Modern Art, Solomon R. Guggenheim Museum, and The Jewish Museum.
Herbert L. Sussman, PhD, Harvard U.; author of Victorian Masculinities:
Manhood and Masculine Poetics in Early Victorian Literature and Victorians
and the Machine: The Literary Response to Technology; has taught at
Northeastern U. and UC-Berkeley.
Kathleen Sweeney, MA in Interdisciplinary Arts, San Francisco State U.;
media artist and writer; her collaborative screenplay The Lodestar was shortlisted for the 2009 Screenwriter’s Lab at Sundance; serves on the advisory
board of Girls Write Now, a nonprofit that pairs inner-city girls with
published writers in year-long mentorships; recently published Maiden USA:
Girl Icons Come of Age; currently editing a series of books on environmental
activism and media literacy for girls.
Toby Talbot, MA, Brooklyn College; teaches Spanish at NYU; author of A
Book About My Mother and children’s books; translated Timerman’s Prisoner
Without a Name, Cell Without a Number and Ortega’s On Love; directed the
documentary film Berimbau.
Karam Tannous, MA, Jerusalem U.; also teaches at Fordham, Seton Hall
U., Network of Arab-American Professionals (NAAP); developed Arabiclanguage programs for CUNY, Alwan for the Arts, NAAP, Baruch College,
City Tech, and Stuyvesant High School; NYS-licensed translator and interpreter; edited English/Arabic Oxford Picture Dictionary; has worked for the
Committee to Protect Journalists, Witness, Human Rights Watch, Amnesty
International, Arab-American Family Support Center, and Mandela Inst.
Richard Tayson, MA, NYU; author of The World Underneath, The Apprentice
of Fever, and essays and reviews in Virginia Quarterly Review, Gay and
Lesbian Review, and Pleiades; recipient of a New York Foundation for the
Arts fellowship, Pushcart Prize, and Edward Stanley Award from Prairie
Schooner; Chancellor’s Fellow in English at CUNY Graduate Center.
93
biographical notes
Catherine Texier, graduate, U. of Paris; NEA fellowship recipient; author
of novels Chloë l’Atlantique, Love Me Tender, Panic Blood, and Camille;
co-edited two anthologies of short fiction, Between C & D and Love
Is Strange; contributor to New York Times Book Review; has taught at
Bennington Summer Writing Workshops, the Writer’s Voice, and Hofstra U.
Victor M. Tirado, MFA, The New School; Spanish translator for theater
companies in NYC and of live transmissions for NBC; has also done translations and voice-overs for taped radio and TV commercials.
Douglas Tirola, MFA, Columbia U.; president and producer of 4th Row
Films; formerly head of production and development for Emerging Pictures;
has written screenplays for Fox, Paramount, Nickelodeon, and New Line;
directed A Reason to Believe, released by Lions Gate.
Betty Tompkins, MA, Central Washington State College; artist; solo and
group shows in NYC at White Columns, P.S. 1, The New Museum, Aldrich
Museum, and Alternative Museum; represented in 2003 Biennale de Lyon
and permanent collection of Centre Georges Pompidou; awards include
Yaddo and MacDowell Colony and Visiting Artist at Rutgers and Fairleigh
Dickinson; teaches at SVA.
Justin Trificana, MA in Teaching French as a Foreign Language; teaches
French language and Francophone literature and culture to Francophone
immigrant students in the French Heritage Language Program at the French
American Cultural Exchange; has taught French at NYU; areas of interest
include second-language pedagogy and French-African history and relations.
Yunus Tuncel, PhD, The New School for Social Research; research interests
include philosophy, art, literature, and culture; teaches philosophy at various
schools and moderates discussions in the tradition of Café Philosophique.
Gina Turner, PhD, The New School for Social Research; spent two years as a
research fellow in oncological sciences at Mount Sinai School of Medicine in
NYC; currently assistant professor of psychology, Northampton Community
College in Bethlehem, Pennsylvania.
Stefano L. Vaccara, MA, Boston U.; laureate, U. of Siena (Italy); editor and
columnist of Oggi 7, weekly magazine of the Italian language daily America
Oggi; his articles and interviews have been published in major Italian
newspapers; has taught Italian at The New School for more than ten years.
Liria M. Van Zandt, MA in Cinema Studies, NYU; native of Brazil; has taught
Portuguese at Fordham U., CCNY, and SUNY New Paltz.
Jürgen von Mahs, PhD in Sociology and Social Policy, U. of Southampton
(UK); asst. professor of urban studies with joint appointment to Eugene
Lang College; recipient of grants from the German Marshall Fund, Friedrich
Ebert Foundation, and Fulbright Commission; previously taught at Temple
U. and U. Penn.
Aleksandra Wagner, Women’s Studies Certif. and doctoral candidate in
sociology, CUNY Graduate Center; licensed psychoanalyst and member,
NPAP-New York; contributor, Contemporary Psychoanalysis; member,
editorial boards, Psychoanalytic Review and Discourse of Sociological
Practice; former executive editor, Edinburgh International Encyclopedia of
Psychoanalysis.
Gina Luria Walker, PhD, NYU; editor of Female Biography; publications
include Mary Hays (1759–1843): The Growth of a Woman’s Mind, The
Idea of Being Free: A Mary Hays Reader, and Rational Passions: Women and
Scholarship in Britain, 1702–1870.
Richard Walton, MBA, NYU; president, ERMACORP; senior business
counselor, SCORE (SBA); advisory board member, Technical Innovation
Center, HCC, Maryland; publications include 7 Keys to Effective Planning:
Operations Monitoring for Improved Productivity.
94
Jamieson Webster, PhD, CUNY; candidate, New York Psychoanalytic Inst.;
adjunct assistant professor, NYU Steinhardt; junior member of the faculty,
IPTAR; child and adult psychoanalyst in private practice; author of several
articles and book chapters on psychoanalysis in Contemporary Psychology,
Journal of the American Psychoanalytic Association, Cardozo Law Review,
Bedeutung, N+1, and A New Kind of Evidence (edited by Norbert Freedman).
Michael Weiskopf, BA, Montclair State U.; founder and chairman, Lifestyle
Ventures (now Lifestyle Media), an independent privately held publisher
of ten magazines; former executive vice president and publisher, Chemical
Week Associates; publisher, Personal Computing Magazine; group vice
president, Reed Exhibitions; advertising director, East Coast Rocker.
Elaine R. Werblud, New School research associate in history of art; organizes
and leads art tours in NYC, France, and Italy.
Tracyann F. Williams, MPhil, CUNY Graduate Center; teaches courses
in literature, gender studies, and cultural studies; recipient, New School
Teaching Excellence Award; Women’s Studies Certif. and PhD candidate in
English at CUNY Graduate Center.
Jennifer Wilson, MA, RDT, Calif. Inst. of Integral Studies; has developed,
supervised, and coordinated creative arts therapy programs in hospitals and
homeless shelters; clinical work in psychiatric day treatment programs and
community organizations; postgraduate training at Inst. for the Arts &
Psychotherapy.
Stephane Zaborowski, MA in Education, Stendhal U., Grenoble III (France);
MA in Archaeology, U. of the Louvre, Paris I; lecturer in art history at
Carol Shen Gallery (NY); instrumental in setting up The French Evolution,
an exhibition at the Museum for Contemporary African Diasporan Arts;
currently teaches at NYU and CUNY; member of American Assn. of
Teachers of French.
Amotz Zakai, MFA, USC; producer and manager at Echo Lake Productions,
LLC; associate producer of Dreamland (Sundance 2006); manages writers
and directors; produces independent films.
Jia-xuan Zhang, instructor in Chinese at The New School and Queens
College; film critic; teaches film courses at Queens College, St. John’s U.,
and Fordham U.; calligraphy artist; teaches Chinese calligraphy at the China
Institute.
Adelheid Ziegler, licensed translator of English, French, and German, Zurich
School for Translation and Interpretation (Switzerland); translates and edits
at the Guggenheim Museum; teaches German at Deutsches Haus and at
IFA-NYU.
Meli Zinberg, MA, NYU; instructor of anatomy, physiology, and biology,
NYU School of Education; has taught ballet and modern dance at 92nd
Street Y, Stuyvesant HS Youth & Adult Center, and 14th Street Y; danced
with Carmen Moore for Lincoln Center Out of Doors and Laura Foreman
Dance Theatre.
John Zinsser, BA, Yale U.; abstract painter and art writer; co-founder, Journal
of Contemporary Art; solo exhibitions at James Graham & Sons Gallery
(New York) (spring 2008), Thomas Soloman’s Garage (Los Angeles), and
Galerie Von Lintel (Munich); reviews published in the New York Times and
Art in America.
William Zinsser, author of On Writing Well, Writing to Learn, and American
Places.
c A L E N D A R O F courses
Calendar of Courses
This index lists courses by beginning date and
hour. Most courses meet once a week at the same
hour, but please consult course descriptions for
complete details before you register.
Monday, August 30
4:00
6:00
7:00
8:00
Anthropology in Practice, 16
Piracy & Banditry, 16
Intro. to Social Psychology, 18
Intro. to Literary Traditions, 24
Media Business Now, 38
Intro. Finance for Business, 69
Statistics for Social Sciences, 16
Cultural Psychology, 18
The Golden Age of American Popular Song, 22
Psychoanalysis & the Secular Subject, 23
Beat Poetry, 25
Intro. to Philosophy of Art, 28
Song Hunter: Documenting Music, 31
Integrated Media Production, 32
Fundamentals of Web Design, 33
Intro. to Cinema Studies, 34
Film 3: Adv. Film Production, 36
Script Analysis, 39
Mechanics of Writing, 41
Writing for NYC Newspapers, 48
Writing Books for Children, 50
Composition & Design, 62
How to Convince with Numbers, 70
History of American Agriculture, 70
Methods of Teaching ESL/EFL, 58
Acting for Film & Television, 65
Music Around the World, 21
Music as Communication, 31
Cinema Studies Screening Series, 34
Art of Film, 34
Anatomy of Horror Films, 35
Screenwriting 3, 40
Rhetorical Grammar for Writers, 42
Poetry: The Language of Music, 43
Intro. to Creative Nonfiction, 47
Writing/Illustrating Children’s Books, 50
All About Advertising, 70
Going online August 30
Christianity and Islam, 700–1700, 13
British Empire, 1688–1815, 13
Modern Nation-State, 14
Iran: History, Politics, People, 15
Intro. to Microeconomics, 15
Minorities & Economic Life, 16
Urban Spaces, 16
Urban Homelessness, 17
Fundamentals of Psychology, 17
Studies in History of Psychology, 17
Intro. to Neuropsychology, 18
Political Psychology, 18
Evolutionary Psychology, 19
Psychological Testing, 19
(Re)Constructing the Modern City, 21
Jewish Intellectual History, 23
Great Victorian Novels, 25
20th-C. French Literature, 25
Women & the Gothic Novel, 26
Anna Karenina, 27
Eight Women Poets & Their Worlds, 27
Ethics: Values & Choices, 28
Intro. to Nietzsche, 28
Media Ecologies, 30
Media in Developing Countries, 30
Crossover Media, 30
Interdisciplinary Media & Society, 31
Writing Across Media, 31
Social Media Mashup, 31
Movements in World Cinema, 34
Comedy on Screen, 35
Cinema & Ideology, 35
Surrealism in Cinema, 35
Business of Hollywood, 38
Script Analysis, 39
Screenwriting 1, 39
Screenwriting 2, 39
Screenwriting for the Web, 40
Writing for Television, 40
Writing a Micro-Budget Feature, 40
Academic Writing, 41
Academic Essay, 42
Lyric Essay, 42
Beg. Poetry Workshop, 43
From Silence to Poem, 43
Poetry Workshop, 43
Beg. Fiction, 44
Beginning the Novel, 44
Short Story Workshop, 45
Creating a Compelling Narrative, 46
Micro Memoirs, 47
Literary Nonfiction, 47
Journalism Basics, 48
Experimental Writing, 49
Writing for Young Adults, 50
Playwriting, 50
Intro. to Business Management, 69
Basic Accounting, 69
Food, Health & Social Justice, 71
Eating Identities, 71
Tuesday, August 31
10:00
12:00
4:00
6:00
8:00
Fiction Writing, 45
Human Condition in Film, 12
History & Biography, 1400–1800, 12
Supreme Court Controversies, 14
Music in the Romantic Age, 21
Fathers & Sons, 26
20th-C. Continental Philosophy, 28
Screenwriting 2, 39
Poems: Adv. Workshop, 44
Body/Mind Relationships, 68
History of Measurement, 12
American History 2, 13
Interrogating America, 17
Art of the 1960s & 1970s, 21
Ways of Looking: Cities & Spaces, 21
Southern Gothic, 25
Critical Thinking & Informal Logic, 28
Intro. to Media Studies, 29
Fake News & Popular Culture, 31
Digital Video Production, 32
Intro. to Digital Design, 33
Third Cinema & Beyond, 35
Poetry Lab, 43
Beg. Fiction, 44
Novel Workshop, 45
Writing Suspense, 46
Adv. Fiction Workshop, 46
Writing from Personal Experience, 47
Freelance Feature Writing, 49
Beg. Drawing, 62
Intro. to Photography 2, 64
Performance Wellness Seminar, 67
Intro. to Marketing, 69
Resource Curse, 14
Global Political Economy, 15
Uncovering the Real, 24
Modern Political Philosophy, 28
Music in the Media Business, 38
Dynamics of Art Materials, 68
Dance Therapy with Children, 68
Food & Power in the U.S., 71
Wednesday, September 1
10:00
2:00
2:30
4:00
6:00
8:00
Drawing at the Metropolitan Museum, 63
American Novel Now, 27
Filmmaking Studio 1, 36
Political Judgments, 14
Social Dimensions of Shame, 16
Psychology of Men, 19
Chinese Art & Culture, 20
Rock Opera, 22
Fictions of Diaspora, 23
Balzac, Poe, Dickens, 26
How Art Transforms the World, 42
Entrepreneurship, 69
19th-C. Art, 20
Spectacle in Contemporary Society, 23
Gender & Popular Culture, 24
Modern British Drama, 25
Imaging & the Era of the Brand, 30
Politics & the Media, 30
Documentary Production Workshop, 32
The Art of Documentary, 35
Developing Ideas for Film, 36
Film 2: Adv. Preproduction, 36
Film 4: Film Editing, 36
Screenwriting 1, 39
Writing for Style, 42
Great American Short Story, 45
Finding Your Voice in Nonfiction, 47
Women’s Magazines & Websites, 48
Arts & Entertainment Journalism, 49
Writing Personally, 49
Project Studio, 63
Photographic Self-Portrait, 64
Training in Art Therapy 1, 67
Training in Music Therapy 1, 67
American Culinary History, 70
Race & Ethnicity in Latin America, 14
Gender in Asia, 15
Developmental Psychology, 18
Intro. to Visual Perception, 19
Survey of Western Art 1, 20
Intro. to Philosophy, 28
Mechanics of Fiction, 44
People & Places, 47
Nonfiction Book, 48
Playwriting from Personal Experience, 50
Intro. to Acting, 65
Managerial Skills for Organizations, 70
10:00
12:00
1:00
2:00
4:00
Psychology of Creativity, 19
Cinematography & Lighting, 37
Art of Viewing Art, 20
Contemporary Non-Western Stories, 25
Decolonization, 12
Theories of Personality, 17
Psychology of Attachment, 18
Music: Abstract Expression to New Wave, 22
Paris-Berlin: Cultural Encounters, 23
Ten Plays That Shook the World, 24
19th-C. American Writers, 24
Intro. to New Journalism, 48
Alexander Technique, 66
Business Law, 69
95
CALENDAR OF COURSES
6:00
7:00
8:00
Intro. to Abnormal Psychology, 18
Narratives of Black Women, 27
Literature of Empire, 27
Video as Activism, 32
Digital Motion Design, 33
Contemporary Asian Cinema, 34
Experiments in 16mm Filmmaking, 37
Producer’s Role, 38
Screenwriting 1, 39
Poetry Workshop, 43
Writing Experimental Fiction, 46
Fiction Writing: Memory, Desire, 46
Personal Essay, 47
Beg. Painting, 62
Professional Practices in Photography, 64
Acting for the Stage, 66
Intro. to Dance/Movement Therapy, 67
Urban Agriculture, 71
English Grammar for ESL Teachers, 59
Power & Participatory Public Policy, 14
Intro. to Social Work, 19
Comparative Religions, 28
Hero(ine)s, 32
Contemporary Asian Film Series, 34
Business of Screenwriting, 38
Script Analysis, 39
Intermed. Fiction Workshop, 46
Solo Theater, 66
Drama Therapy: Methods & Techniques, 68
Successful Internet Marketing, 70
Friday, September 3
10:00
2:30
Shadows, Textures, Reflections, 64
Aesthetics of Directing, 36
Saturday, September 4
2:00
Directing Actors for Film & Television, 37
10:00
12:00
French Intro. Intensive, 52
French Level 1, 53
German Intro. Intensive, 53
Portuguese for Spanish Speakers, 55
Spanish Intro. Intensive, 56
Spanish Level 1, 56
Chinese Level 1, 52
Korean Level 1, 55
Sunday, September 12
11:00
2:00
Beg. Painting & Drawing, 63
Point-and-Shoot in the Field, 65
Life Drawing, 63
Monday, September 13
10:00
2:00
6:00
8:00
ESL: Grammar, Part 1, 60
ESL: Grammar for Writing, Part 1, 60
ESL: Conversation, Part 1, 61
ESL: Listening/Speaking, Part 1, 61
ESL: Listening, Part 1, 61
Arabic Level 1, 51
Chinese Level 1, 52
Latin Level 1, 52
French Level 1, 53
German Level 2, 53
German Level 4, 53
Russian Level 4, 55
Spanish Level 2, 57
Levantine Arabic: Colloquial 1, 52
French Level 1, 53
French Level 2, 53
German Level 1, 53
Italian Level 1, 54
Russian Level 1, 55
Tuesday, September 14
Going online October 11
10:00
2:00
4:00
6:00
8:00
Images in Language Classroom, 59
10:00
Rhythm & Role, 68
9:30
10:00
Teaching Writing, 59
Business Plan for a Food Business, 71
Friday, October 29
10:30
6:00
French on the Go, Level 2, 52
Italian on the Go, Level 1, 54
Japanese on the Go, Level 1, 54
Portuguese on the Go, Level 1, 55
Spanish on the Go, Level 1, 56
2:00
Authentic Materials to Teach ESL, 59
Wednesday, September 15
Sunday, October 31
4:00
6:00
8:00
11:00
Italian Level 1, 54
Creative Arts Therapy Internship, 68
French Intermed. Intensive, 53
French Level 2, 53
French Level 5, 53
German Level 1, 53
American Sign Language, Level 1, 56
Spanish Level 1, 56
Mexico: Arte y Cultura, 57
ESL Teaching Practicum, 59
Beg. Drawing: Short Course, 62
French Level 1, 53
French Level 3, 53
French Level 4, 53
German Level 3, 53
Spanish Level 2, 57
Spanish Level 3, 57
6:00
8:00
Arabic Level 3, 52
Chinese Level 2, 52
Hebrew Level 1, 54
Italian Level 3, 54
Japanese Cultural Phenomena, 55
Portuguese Level 3, 55
Spanish Intermed. Intensive, 56
Japanese Level 1, 54
Sign Language as an Art Form, 56
Monday, November 1
10:00
2:00
ESL:
ESL:
ESL:
ESL:
ESL:
Grammar, Part 2, 60
Grammar for Writing, Part 2, 60
Conversation, Part 2, 61
Listening/Speaking, Part 2, 61
Listening, Part 2, 61
Tuesday, November 2
10:00
2:00
6:00
ESL: Writing, Part 2, 60
ESL: Academic Writing, Part 2, 61
ESL: Reading & Vocabulary, Part 2, 61
ESL: Exploring Literature, Part 2, 61
ESL: Reading/Discussion, Part 2, 61
ESL: Culture & Society, Part 2, 61
Painting Materials & Techniques, 63
Wednesday, November 3
6:00
Thursday, November 4
6:00
8:00
Mark Twain & American Humor, 26
19th-C. American Nature Writing, 26
Friday, November 5
10:00
6:00
Institutional TOEFL Exam, 61
ESL/EFL Teaching One-on-One, 59
Monday, September 20
Saturday, November 6
4:00
10:00
Tai Chi Chuan, 66
Using Your Digital SLR, 65
Friday, September 24
Friday, December 3
10:00
12:00
6:00
Hatha Yoga, 66
Pilates: The Mat, 66
9:30
10:00
12:00
4:00
Teaching Sound System of English, 59
Launching & Marketing a Food Product, 71
Running a Restaurant, 71
Hatha Yoga, 66
Monday, October 4
8:00
Stand-Up Comedy Workshop, 65
Tuesday, October 5
1:30
96
Intro. to Tibetan, 57
Rendez-vous en Français, 53
Italian Level 2, 54
Assaggi di Cultura Italiana, 54
Russian Level 2, 55
Intro. to Sign Language, 56
Spanish Level 4, 57
Beg. Painting: Short Course, 62
Poetry Master Class: Ponsot, 44
Arabic Level 1, 51
Arabic Level 2, 52
Spanish Level 1, 56
Spanish Level 5, 57
Special Art in Special Places, 20
Chinese on the Go, Level 1, 52
Japanese on the Go, Level 2, 54
Portuguese on the Go, Level 2, 55
Job Interviewing for ESL Teachers, 59
INDE X OF INSTRUCTORS
Faculty Index
A
Adachi, Jiro, 59
Alexander, Lily, 35
Allen, Roberta, 47
Alvin, Rebecca, 35
Amatenstein, Sherry, 48
Anderson, Julia, 26
Ante, Robert, 66
Arcos, David, 33
Ariel, Moshe, 71
Aslanian, Yeghia, 30
Aydt, Rachel, 49
B
Banu, Bea, 28
Beck, Michele, 32
Bell, Teresa, 28
Bellino, Dianne, 36
Belodedova, Irina, 73
Benardete, Jane, 24
Berman, Carolyn Vellenga, 26
Bertolotto, Caterina, 27
Bills, Emily, 21
Birns, Margaret Boe, 27
Birns, Nicholas, 24
Blakeman, Scott, 65
Bloom, Abigail Burnham, 25
Bredl, Timothy, 59
Breland, Theresa, 30, 58
Brokaw, Kurt, 70
Brooke, Jeremy, 36
Brown, Elizabeth, 44
Brown, Laurie Halsey, 31
Brueckheimer, Rainer, 27
Bryant, Tod, 64
Budde, John, 37
C
Cafetz, Susan, 59
Calypso, Anthony, 47
Campos, Nuno, 62
Caplin, Loren-Paul, 39
Carlin, Patricia, 44
Carruggi, Noëlle, 25, 26
Cartei, Carmelina, 27
Chang, Meg, 68
Chappe, Raphaele, 15
Chiu, Frances, 26
Chuk, Natasha, 29
Cogliano, Jonathan, 15
Cohen, Alice Eve, 50, 66
Colds Fechter, Celesti, 17
Corson, Trevor, 27, 55
Costa, Thembi, 66
Cottle, Susan, 62
Dotan, Shimon, 36
Dunn, Robert, 46
Dunning, Deanne Torbert, 30
E
Edelman, Elaine, 49
Eisinger, Erica, 14
K
Kelton, Nancy, 47
Kesselman, Todd, 28
Kishimoto, Ichiro, 27
Kocot-Tomblin, Noelle, 41
Koohi-Kamali, Farideh, 15
Koprak, Nancy, 67
Kramer, Karen, 31
Kummer, Ida, 26
F
Feder, Jane Tainow, 41
Fedukovitch, Ernesto, 28
Feldstein, Stanley, 13
Fernandez, Adam, 64
Field, Miranda, 43
Fiore, Margaret Stanek, 41
Fishel, Deirdre, 39
Flynn, Bernard, 28
Fontes, Flavia, 36
Forment, Carlos, 14
Forster, Thomas, 70
Fractenberg, David, 30
Frank, Michele, 19
Freedman, Lisa, 42, 47
Freitas, John, 34, 36
Friedling, Melissa, 36
Friedman, Andrew, 14
Friedman, David, 71
Frishman, Terry, 71
G
Garfield, Peter, 63
Garvey, Thom, 30
Gaylord, Joshua, 25
Goldstein, Ben, 59
Goodman, Carol, 46
Gordon-Zolov, Terri, 23, 26
Granillo-Ogikubo, Sonia, 28
Grayson, Gabriel, 73
Greene, Michelle, 62
Greenwald, Seth, 64
Grieder, Christoph, 67
Grimaldi, Michael, 64
Grossman, Bella, 18
Gutman, Margarita, 21
Guzmán, Luis, 28
H
Halsey, John, 22
Hamovitch, Susan, 35
Hann, Jacquie, 50
Heiman, Rachel, 17
Hogrefe, Jeffrey, 48
Holland, Walter, 25
Horiko, Taeko, 27
Howell, Samuel, 26
Huff, Richard, 48
Humphreys, Richard, 30
D
I
Daly, Leslie, 66
Daniel, Anne Margaret, 25
Danziger, Jonathan, 39
Das, Sarba, 39
Day, Jesse, 30
Deng, Yan, 26
Di Ponio, Joseph, 21
Dix, Carol, 31
Dohoney, Ryan, 22
Dorado, Josephine, 31
Issa, Iman, 26
J
Jaramillo, Luis, 45
Jassin, Kate, 18
Johnson, Dave, 43
Joseph, Maya, 71
Juska, Elise, 45
L
Landreau-Farber, Sabine, 26
Leclerc-Dickler, Florence, 26
Lederer, Gerda, 18
Lee, Seon Jeong, 72
Lemekh, Halyna, 73
Lewczuk, Margrit, 63
Lewis, Harry, 18
Li, Satomi, 27
Libman, Kimberly, 71
Liu, Betty Ming, 48
London, Monica, 27
Long, Rodolfo, 28
Lopez, Robert, 49
M
MacCullough, Carolyn, 50
Madhu, Rama, 26
Magnani, Francesca, 27
Maiki, Iman, 26
Manca, Giuseppe, 27
Marques, Alfredo, 26
Mason, Sonya, 22
Materre, Michelle, 34
McAllister, Maureen, 69
McCleave, Leslie, 32
McKeithen, Madge, 47
Meachem, Liz, 41
Melucci, Matthew, 49
Mendelson, Valerie, 20
Merdinger, Polly, 59
Mesmer, Sharon, 27, 46
Meyer, David, 34
Mikanagi, Yumiko, 15
Milowitz, Steven, 24
Mindolovich, Catherine, 17
Mitchell, Allison, 18
Montanari, Philippe-Gérard, 26
Montello, Louise, 67, 68
Montgomery, Robert, 50
Mooney, Jeffrey, 73
Morgan, Caitlin, 59
Morgan, Laura, 37
Morse, Douglas, 39
Moss, Margo, 64, 65
Mull, Patrick, 30
Murhammer, Fred, 33
Murphy, John Charles, 66
N
Nascimento, Tobias, 72
Nelson, Kristin, 17
Nichols, Matthew Guy, 20
Nienass, Benjamin, 14
O
O’Connell, Laurence, 69
Odom, Anna Elise, 18
Offit, Sidney, 45
Oliver-Cretara, Jean, 31
Oliviero, Melanie Beth, 30
Ossip, Kathleen, 43
97
INDE X OF INSTRUCTORS
P
Pace, William, 40
Padilla, Arlene, 28
Palmer, Andrew, 65
Parasecoli, Fabio, 71
Pardi, Pamela, 66
Pastore, Chris, 47
Patterson, Cristina, 30
Peebles, Gustav, 16
Pelc, Linda, 59
Peloquin, Marc, 21
Pervin, Gilda, 62
Petty, Lauren, 32
Pitt, Delis, 30, 59
Ponsot, Marie, 44
Procyshyn, Alexei, 28
R
Rabinowitz, Josh, 38
Rachlin, Nahid, 46
Ray, Adele, 32
Reed, John, 46
Reed, Thomas, 33
Reilly, Rebecca, 42, 43
Reynolds, Cynthia, 66
Robbins, Ira, 33
Roberts, Martin, 35
Rosenberg, Justus, 24, 25
Ross, Cristina, 28, 57
Ross, Randi, 42
Rubenfeld, Andrew, 26
Rudofsky, David, 69
Ruparelia, Sanjay, 14
S
Salvatore, Joseph, 42, 44
San Miguel, Hélio, 34
Santamaria Balmeceda, Gema, 16
Sarapata, Barbara, 30
Savio, Jim, 42
Schapiro, Dina, 68
Scharfman, Mort, 40
Schaub, George, 65
Schlemowitz, Joel, 37
Schulman, Candy, 47
Schultz, Chiz, 38
Schuman, Joan, 30
Scott, Earl, 69
Seigle, Samuel, 26
Serra, MM, 35
Shapiro, Susan, 48
Sheehy, Michael, 57
Shelley, Alexandra, 45
Shieh, Fa-Tai, 71
Sholl, Jessie, 44
Shron, Marina, 35, 39
Simko, Patricia, 19
Sireci, Fiore, 13
Slesar, Clarissa, 19
Smith, Andrew, 70
Smith, Jacqueline, 30, 59, 61
Smith, Laura, 28
Smukler, Maya Montañez, 30
Snider, Suzanne, 31
Somers, Jordan, 12
Soyer, Avron, 63
Spiegelman Lief, Katia, 46
Spielberg, Warren, 19
Spirn, Michele, 50
Splaun, Allison, 19
Stephens, Laura, 18
Stolzenberg, Mark, 65
Struhl, Karsten, 28
98
Stuttman, Paula, 21
Sussman, Herbert, 27
Sweeney, Kathleen, 32
T
Talbot, Toby, 12
Tannous, Karam, 26
Tayson, Richard, 43
Texier, Catherine, 44
Tirado, Victor, 28
Tirola, Douglas, 38
Tompkins, Betty, 62, 63
Tortora, Susan, 68
Trificana, Justin, 26
Tuncel, Yunus, 23, 28
Turner, Gina, 19
Course Master Index
Courses are identified by the registration course
master ID. This index lists all courses in this
bulletin by course master.
NACT0304
NACT2300
NACT3313
NACT3325
NACT3339
Stand-Up Comedy Workshop, 65
Intro. to Acting, 65
Acting for Film & Television, 65
Solo Theater, 66
Acting for the Stage, 66
NANT3101 Anthropology in Practice, 16
NANT3521 Interrogating America, 17
NANT3662 Minorities & Economic Life, 16
NARB1001
NARB1002
NARB2001
NARB3704
Arabic Level 1, 51
Arabic Level 2, 52
Arabic Level 3, 52
Levantine Arabic: Colloquial 1, 52
NARH0010
NARH0720
NARH2002
NARH2800
NARH3010
NARH3369
NARH3504
NARH3729
NARH3871
Special Art in Special Places, 20
Survey of Western Art 1, 20
Ways of Looking: Cities & Spaces, 21
19th-C. Art, 20
Chinese Art & Culture, 20
Art of the 1960s & 1970s, 21
(Re)Constructing the Modern City, 21
Wagner, Aleksandra, 16, 23
Walker, Gina Luria, 12, 23
Walton, Richard, 69
Webster, Jamieson, 17
Weiskopf, Michael, 38
Werblud, Elaine, 20
Williams, Tracyann, 23, 24, 27
Wilson, Jennifer, 68
Wilson, Mark, 13
NART1201
NART1204
NART1205
NART1210
NART1217
NART1301
NART1302
NART1305
NART2312
NART3304
Composition & Design, 62
Beg. Drawing, 62
Drawing at the Metropolitan Museum, 63
Life Drawing, 63
Beg. Painting, 62
Beg. Painting: Short Course, 62
Painting Materials & Techniques, 63
Project Studio, 63
Y
NCAT2510
NCAT3100
NCAT3113
NCAT3300
NCAT3400
NCAT3505
NCAT3550
NCAT3553
NCAT3740
NCAT3900
Intro. to Dance/Movement Therapy, 67
Training in Art Therapy 1, 67
Dynamics of Art Materials, 68
Training in Music Therapy 1, 67
Rhythm & Role, 68
Drama Therapy Techniques, 68
Body/Mind Relationships, 68
Dance Therapy with Children, 68
Performance Wellness Seminar, 67
Creative Arts Therapy Internship, 68
V
Vaccara, Stefano, 27
Vallejo-Rodriguez, Guillermo, 28
Van Zandt, Liria, 72
Vera, Hector, 12
Vevaina, Leilah, 16
von Mahs, Jürgen, 16, 17
W
Yaish, Dina, 71
Young, Makiko, 67
Z
Zaborowski, Stephane, 26
Zadorian, Amanda, 14
Zakai, Amotz, 38
Zhang, Jia-xuan, 26
Ziegler, Adelheid, 27
Ziff, Elizabeth, 16
Zinberg, Meli, 66
Zinsser, John, 20
Zinsser, William, 47
NCHM0804 Chinese on the Go, Level 1, 52
NCHM1001 Chinese Level 1, 52
NCHM1002 Chinese Level 2, 52
NCOM3000
NCOM3012
NCOM3022
NCOM3040
NCOM3050
NCOM3056
NCOM3057
NCOM3112
NCOM3219
NCOM3241
NCOM3247
NCOM3305
NCOM3450
Intro. to Media Studies, 29
Politics & the Media, 30
Media in Developing Countries, 30
Interdisciplinary Media & Society, 31
Music as Communication, 31
Song Hunter: Documenting Music, 31
Media Ecologies, 30
Imaging & the Era of the Brand, 30
Fake News & Popular Culture, 31
Writing Across Media, 31
Media Business Now, 38
Hero(ine)s, 32
NDIG3200
NDIG3210
NDIG4003
Intro. to Digital Design, 33
Digital Motion Design, 33
NDRF1200
NDRF1301
NDRF1302
NDRF1303
Tai Chi Chuan, 66
Hatha Yoga, 66
course I N D E X
NECO2004 Intro. to Microeconomics, 15
NECO3270 Global Political Economy, 15
NELT0442
NELT0443
NELT0533
NELT3411
NELT3412
NELT3414
NELT3415
NELT3416
NELT3432
Job Interviewing for ESL Teachers, 59
ESL/EFL Teaching One-on-One, 59
Images in Language Classroom, 59
Methods of Teaching ESL/EFL, 58
English Grammar for ESL Teachers, 59
Teaching Sound System of English, 59
Teaching Writing, 59
ESL Teaching Practicum, 59
Authentic Materials to Teach ESL, 59
NESL0301
NESL0302
NESL0311
NESL0312
NESL0321
NESL0322
NESL0331
NESL0332
NESL0401
NESL0402
NESL0411
NESL0412
NESL0421
NESL0422
NESL0431
NESL0432
NESL0501
NESL0502
NESL0511
NESL0512
NESL0521
NESL0522
NESL0531
NESL0532
NESL0574
NESL0601
NESL0602
NESL0611
NESL0612
NESL0621
NESL0622
NESL0631
NESL0632
Institutional TOEFL Exam, 61
NFDS0350
NFDS0353
NFDS0360
NFDS2101
NFDS3101
NFDS3200
NFDS3220
NFDS3401
NFDS3720
L aunching & Marketing Food Product, 71
Business Plan for a Food Business, 71
Running a Restaurant, 71
American Culinary History, 70
History of American Agriculture, 70
Food & Power in the U.S., 71
Food, Health & Social Justice, 71
Eating Identities, 71
Urban Agriculture, 71
NFLM0400
NFLM0484
NFLM2400
NFLM2500
NFLM3018
NFLM3316
NFLM3411
NFLM3430
NFLM3433
NFLM3436
NFLM3454
NFLM3456
NFLM3473
NFLM3483
NFLM3484
NFLM3488
NFLM3489
NFLM3490
NFLM3500
NFLM3510
NFLM3515
Cinema Studies Screening Series, 34
Contemporary Asian Film Series, 34
Intro. to Cinema Studies, 34
Movements in World Cinema, 34
Crossover Media, 30
Directing Actors for Film & Television, 37
Art of Film, 34
Anatomy of Horror Films, 35
Cinema & Ideology, 35
Surrealism in Cinema, 35
Business of Screenwriting, 38
Producer’s Role, 38
Business of Hollywood, 38
Music in the Media Business, 38
Contemporary Asian Cinema, 34
Comedy on Screen, 35
The Art of Documentary, 35
Third Cinema & Beyond, 35
Developing Ideas for Film, 36
Aesthetics of Directing, 36
Cinematography & Lighting, 37
NFLM3516
NFLM3631
NFLM3660
NFLM3670
NFLM3680
NFLM3690
NFLM3700
NFLM3715
NFLM3722
Integrated Media Production, 32
Experiments in 16mm Filmmaking, 37
Film 2: Adv. Preproduction, 36
Film 3: Adv. Film Production, 36
Film 4: Film Editing, 36
Digital Video Production, 32
Documentary Production Workshop, 32
Video as Activism, 32
NFRN0804
NFRN0805
NFRN0806
NFRN0807
NFRN1001
NFRN1002
NFRN1003
NFRN2001
NFRN2002
NFRN2003
NFRN3001
NFRN3714
French Level 1, 53
French Level 2, 53
French Level 3, 53
French Level 4, 53
French Intermed. Intensive, 53
French Level 5, 53
Rendez-vous en Français, 53
NGRM1001
NGRM1002
NGRM1003
NGRM2001
NGRM2002
German
German
German
German
German
Level
Level
Intro.
Level
Level
1, 53
2, 53
Intensive, 53
3, 53
4, 53
NHBW1001 Hebrew Level 1, 54
NHIS3206
NHIS3308
NHIS3334
NHIS3412
NHIS3854
NHIS4364
American History 2, 13
Christianity and Islam, 700–1700, 13
British Empire, 1688–1815, 13
Decolonization, 12
History of Measurement, 12
History & Biography, 1400–1800, 12
NHUM3034
NHUM3046
NHUM3107
NHUM3151
NHUM3152
NHUM3502
NHUM3503
Uncovering the Real, 24
Paris-Berlin: Cultural Encounters, 23
Spectacle in Contemporary Society, 23
Fictions of Diaspora, 23
Gender & Popular Culture, 24
Jewish Intellectual History, 23
Psychoanalysis & Secular Subject, 23
NITL0804
NITL0805
NITL1001
NITL1002
NITL2001
NITL3714
Italian Level 1, 54
Italian Level 2, 54
Italian Level 3, 54
Assaggi di Cultura Italiana, 54
NJPN0804
NJPN0805
NJPN1001
NJPN3701
Japanese
Japanese
Japanese
Japanese
on the Go, Level 1, 54
Level 1, 54
Cultural Phenomena, 55
NKRN1001 Korean Level 1, 55
NLIT2001
NLIT3229
NLIT3267
NLIT3315
NLIT3331
NLIT3335
NLIT3369
NLIT3397
NLIT3421
NLIT3443
NLIT3449
NLIT3547
NLIT3582
NLIT3603
NLIT3802
NLIT3857
NLIT3863
NLIT3889
NLIT3898
Intro. to Literary Traditions, 24
Great Victorian Novels, 25
Modern British Drama, 25
19th-C. American Writers, 24
Mark Twain & American Humor, 26
19th-C. American Nature Writing, 26
Beat Poetry, 25
American Novel Now, 27
20th-C. French Literature, 25
Anna Karenina, 27
Fathers & Sons, 26
Southern Gothic, 25
Balzac, Poe, Dickens, 26
Contemporary Non-Western Stories, 25
Ten Plays That Shook the World, 24
Women & the Gothic Novel, 26
Literature of Empire, 27
Eight Women Poets & Their Worlds, 27
Narratives of Black Women, 27
NLTN1001
Latin Level 1, 52
NMGT2100
NMGT2105
NMGT2110
NMGT2115
NMGT2117
NMGT2119
NMGT2133
NMGT2140
NMGT2200
NMGT2420
Intro. to Business Management, 69
Business Law, 69
Basic Accounting, 69
Intro. to Marketing, 69
Successful Internet Marketing, 70
All About Advertising, 70
Intro. Finance for Business, 69
Entrepreneurship, 69
How to Convince with Numbers, 70
Managerial Skills for Organizations, 70
NMUS3515
NMUS3520
NMUS3562
NMUS3565
NMUS3570
Music in the Romantic Age, 21
Music Around the World, 21
American Popular Song, 22
Music from Abstract Expression, 22
Rock Opera, 22
NPHG0001
NPHG0013
NPHG1000
NPHG1013
NPHG1015
NPHG1020
NPHG2013
NPHG3005
Using Your Digital SLR, 65
Point-and-Shoot in the Field, 65
Prof’l Practices in Photography, 64
Photographic Self-Portrait, 64
Shadows, Textures, Reflections, 64
NPHI2125
NPHI2501
NPHI2610
NPHI2830
NPHI3100
NPHI3240
NPHI3285
Modern Political Philosophy, 28
Ethics: Values & Choices, 28
Critical Thinking & Informal Logic, 28
Intro. to Philosophy of Art, 28
Intro. to Philosophy, 28
Intro. to Nietzsche, 28
20th-C. Continental Philosophy, 28
NPOL3186
NPOL3202
NPOL3204
NPOL3217
NPOL3384
NPOL3404
NPOL3597
NPOL3635
Power & Participatory Public Policy, 14
Modern Nation-State, 14
Race & Ethnicity in Latin America, 14
Iran: History, Politics, People, 15
Resource Curse, 14
Political Judgments, 14
Gender in Asia, 15
Supreme Court Controversies, 14
NPRT0804
NPRT0805
NPRT1001
NPRT1002
NPRT1700
NPRT2001
Portuguese
Portuguese
Portuguese
Portuguese
Portuguese
Portuguese
NPSY2001
NPSY3045
NPSY3140
NPSY3213
NPSY3256
NPSY3301
NPSY3347
NPSY3401
NPSY3501
NPSY3740
NPSY3816
NPSY3836
NPSY3839
NPSY3844
NPSY3850
NPSY3870
Studies in History of Psychology, 17
Intro. to Neuropsychology, 18
Psychology of Attachment, 18
Developmental Psychology, 18
Intro. to Social Psychology, 18
Cultural Psychology, 18
Theories of Personality, 17
Intro. to Abnormal Psychology, 18
Psychological Testing, 19
Intro. to Visual Perception, 19
Political Psychology, 18
Psychology of Creativity, 19
Psychology of Men, 19
Intro. to Social Work, 19
Level 1, 55
Level 2, 55
for Spanish Speakers, 55
Level 3, 55
NREL2001 Comparative Religions, 28
NRSN1001 Russian Level 1, 55
NSLN1001
NSLN1011
NSLN1012
NSLN1703
Intro. to Sign Language, 56
Sign Language as an Art Form, 56
NSOC3006 Statistics for Social Sciences, 16
NSOC3670 Urban Spaces, 16
NSOC3778 Piracy & Banditry, 16
99
course I N D E X
SUBJECT INDEX
NSOC3786 Urban Homelessness, 17
NSOC3855 Social Dimensions of Shame, 16
NSOS0841 Human Condition in Film, 12
NSOS2841 Human Condition in Film, 12
NSPN0804
NSPN0805
NSPN0806
NSPN0807
NSPN1001
NSPN1002
NSPN1003
NSPN2001
NSPN2002
NSPN2003
NSPN3001
NSPN3723
Spanish Level 1, 56
Spanish Level 2, 57
Spanish Level 3, 57
Spanish Level 4, 57
Spanish Intermed. Intensive, 56
Spanish Level 5, 57
Mexico: Arte y Cultura, 57
NSRW2800
NSRW3810
NSRW3820
NSRW3830
NSRW3837
NSRW3844
NSRW3850
Script Analysis, 39
Screenwriting 1, 39
Screenwriting 2, 39
Screenwriting 3, 40
Screenwriting for the Web, 40
Writing for Television, 40
Writing a Micro-Budget Feature, 40
NTBN1003 Intro. to Tibetan, 57
NWRW0402
NWRW1011
NWRW1104
NWRW1108
NWRW1113
NWRW1119
NWRW1121
NWRW1122
NWRW2203
NWRW2304
NWRW2305
NWRW2306
NWRW2401
NWRW2601
NWRW3203
NWRW3204
NWRW3205
NWRW3229
NWRW3260
NWRW3301
NWRW3303
NWRW3308
NWRW3311
NWRW3314
NWRW3315
NWRW3327
NWRW3334
NWRW3338
NWRW3403
NWRW3405
NWRW3418
NWRW3423
NWRW3508
NWRW3515
NWRW3531
NWRW3601
NWRW3611
NWRW3619
NWRW3620
NWRW3621
NWRW3702
NWRW3708
NWRW3808
NWRW3809
NWRW3812
NWRW4213
NWRW4223
NWRW4329
NWRW4402
100
People & Places, 47
Writing for Style, 42
Lyric Essay, 42
Rhetorical Grammar for Writers, 42
How Art Transforms the World, 42
Academic Essay, 42
Beginning the Novel, 44
Beg. Fiction, 44
Mechanics of Fiction, 44
Journalism Basics, 48
Poetry Workshop, 43
From Silence to Poem, 43
Poetry: The Language of Music, 43
Poetry Lab, 43
Poetry Workshop, 43
Novel Workshop, 45
Fiction Writing, 45
Fiction Writing: Memory, Desire, 46
Writing Experimental Fiction, 46
Short Story Workshop, 45
Creating a Compelling Narrative, 46
Great American Short Story, 45
Writing Suspense, 46
Intermed. Fiction Workshop, 46
Finding Your Voice in Nonfiction, 47
Literary Nonfiction, 47
Micro Memoirs, 47
Personal Essay, 47
Writing from Personal Experience, 47
Writing Personally, 49
Experimental Writing, 49
Intro. to New Journalism, 48
Women’s Magazines & Websites, 48
Freelance Feature Writing, 49
Playwriting, 50
Playwriting from Personal Experience, 50
Writing for Young Adults, 50
Writing Books for Children, 50
Writing/Illustrating Children’s Books, 50
Poems: Adv. Workshop, 44
Poetry Master Class: Ponsot, 44
Adv. Fiction Workshop, 46
Nonfiction Book, 48
A
Abnormal Psychology, 18
for ESL/EFL, 61
Accounting, 69
Acting, 65, 66
Advertising, 30, 70
Aesthetics, 20, 28
of filmmaking, 34, 36
African-American Literature, 23, 27
Agriculture, 70, 71
America: see United States
Animated Hero(ine)s, 32
Animations, Digital, 33
Anna Karenina, 27
Anthropology, 16–17
cultural psychology, 18, 19
gender politics, 15, 24
human condition in film, 12
world music, 21
Arabic Language, 51–52
Architecture, Modern, 21
Art History & Appreciation, 20–21
cinema as art, 34, 35
philosophy of, 28
the spectacle, 23
visual perception, 19
writing workshop, 42
Art Workshops, 62–63
children’s book illustration, 50
Art Therapy, 67, 68
Asian Cultures, 15, 20
Asian cinema, 34
Attachment, Psychology of, 18
B
Beat Poets, 25
Biographical Literature, 12, 27
British History, 12, 13
British Literature, 25, 26, 27
Business, 69–70
copywriting, 31
media and film, 38
restaurant/culinary, 71
C
Child Psychology, 18
Children, Dance Therapy for, 68
Children, Writing for, 50
China, Art & Culture, 20
see also Asian Cultures
Chinese Language, 52
Christianity, 13
Cinema, 12, 33–35
film & television, 30
filmmaking, 36–40
Cinematography, 37
Civic Engagement, 14, 17
Classical Languages & Literature, 52
Classical Music, 21
Colonialism, 12, 13
& literature, 23, 27
Comedy, 35
writing/performing, 65
Creative Arts Therapy, 67–68
Creativity, Psychology of, 19
Crime & Criminals, 16
Critical Thinking, 28
Culinary History, 70, 71
Cultural Studies, 15, 18, 23–24, 30, 31, 35
D
Dance/Movement Therapy, 67, 68
Democracy, 14, 28, 30
Design Workshops, 32, 33, 62
Developing Countries, Media in, 30
Developmental Psychology, 18, 19
Diaspora, African, 23
Digital Design, 32, 33
Digital Photography, 65
Directing, Cinema, 38, 39
Documentary Film/Video, 12, 35
production workshop, 32
Drama Therapy, 68
Dramatic Arts, 68, 69
Dramatic Literature, 24, 25
playwriting, 50
Drawing Workshops, 62, 63
E
Economics, 15
& ethnic minorities, 16
resource curse, 14
Editing, Film, 36
English Language Skills
for speakers of other languages, 60–61
writing fundamentals, 41, 42
English Language Teacher Training, 58–59
Entrepreneurship, 69, 70
Environmentalism, 14, 30, 71
nature writing, 26
Essay Writing, 42, 47, 49
Etching & Engraving, 63
Ethics, 28
political, 14
Ethnographic Literature, 16
European History, 12, 13, 23
Exercises, Physical, 66
F
Fake News, 31
Family Structures, 16
Fathers & Sons, 26
Feminism, 24
& literature, 26, 27
Fiction Writing, 44–46
for young adults, 50
Film Studies & Production, 33–38
acting for film/TV, 65
screenwriting, 39–40
Financial Statements for Business, 69
Food Studies, 70–71
French Arts & Literature, 20, 23, 25, 26
French Language, 52–53
G
Gender Studies, 15, 19, 24, 26, 27, 71
Geography, 14, 15
German Arts & Literature, 23
German Language, 53
Globalization, 14, 15, 16, 30
Gothic Literature, 25, 26
Grammar, English, 42
for ESOL teachers, 59
Graphic Design, 33
subject I N D E X
H
Health & Nutrition, 71
Hebrew Language (modern), 54
History, 12–13, 14, 15, 27
of art, 20, 21, 35
culinary/food, 70
of ideas, 23, 28
of music, 21, 22
Hollywood, Business of, 38
Homelessness, 17
Horror Films/Literature, 25, 26, 35
Humor, 26
writing, 65
I
Ideology, 30, 35
Imaging, Brand, 30
Immigrants, 18
Identity, Social Theory of, 14, 16, 18
Imperialism, 12, 13, 15
literature of, 27
Interiors, 19th-Century, 20
International Affairs, 12, 15
Internet
marketing on, 70
screenwriting for, 40
Iran, 15
Islam, 13
Italian Language, 54
J
Japanese Language, 54–55
Jewish Studies, 23
Journalism, 58–59
documentary filmmaking, 32
& media studies, 30, 31
K
Korean Language, 55
L
Latin Language, 52
Latin American, 14
cinema, 35
Law, 14, 16
business law, 69
Lighting for Film, 37
Literature, 23, 24–27
of psychology, 17
Logic, 28
M
Management, Business, 69–70
film/media, 38
restaurant/culinary, 71
Marketing, 30, 69, 70
food products, 71
media, 31, 32
Measurement, History of, 12
Media Studies, 29–32
business, 38, 70
journalism & feature writing, 48–49
media production, 32–33
Memoir Writing, 47
Men, Psychology of, 19
Metropolitan Museum, Drawing at, 63
Mexican Art, 57
Minority Groups & Economics, 16
Modernism
art, 21
music, 22
literature, 25, 27
philosophy, 28
Music History & Appreciation, 21–22, 31
media business & music, 38
Music Therapy, 67
N
Nationalism, 14
Nature Writing, 26
Neuropsychology, 18
Newspaper/Magazine Writing, 48
Nietzsche, Friedrich, 28
Nonfiction Writing, 42, 47–49
Nutrition & Food Environments, 71
O
Organizational Behavior, 70
P
Painting Workshops, 62, 63
Parent-Child Relations, 18
in literature, 26
Performing Arts, 65, 66
creative arts therapy, 37
directing actors for film/TV, 37
Personality Theory, 17
Philosophy, 23, 24, 28
& politics, 14
Photography, 64–65
Pilates, 66
Piracy, 16
Playwriting, 50
Poetry, 25, 27
writing workshops, 4
Polish Language, 76
Politics, 14–15, 16
civic activism, 17, 32
of food, 71
& media, 30, 31, 35, 71
political history, 12, 13
philosophy, 23, 28
psychology, 18
Portuguese Language, 55
Postmodern Philosophy, 24, 28
Printmaking, 63
Psychoanalysis, 23
Psychology, 16, 17–19, 23
creative arts therapy, 67–68
Sign Language, 56
Social Pyschology, 18
Social Work, 19
creative arts therapy, 67–68
sign language, 56
urban activism, 17
Sociology, 14, 16–17, 23
communication, 29–32
social metrics, 12
Solo Theater, 66
Song Hunting, 31
Southern Gothic Literature, 25
Spanish Language, 56–57
Spectacle, Experience of, 23
Stand-Up Comedy, 65
Statistics, 16, 70
Superhero(ine)s, 32
Supreme Court, U.S., 14
Surrealism, 35
T
Tai Chi, 66
Teaching English to Speakers of Other Languages, 58
Television, 30, 31
writing for, 40
Testing, Psychological, 19
Theater: see Acting, Dramatic Arts
Third Cinema, 35
Tibetan Language, 57
TOEFL, 61
Truth & Subjectivity, 24
Twain, Mark, 26
U
United States
food & agriculture, 70, 71
history, 13
literature, 24, 25, 26, 27
music, 22
politics, 14
society & culture, 17
Urban Studies, 16, 17, 21, 71
V
Video Workshops, 32
Violence, Political, 18
Visual Perception, 19
W
Race & Racism, 14, 16, 71
in literature & film, 23, 27, 34
Religion, 13, 28
Reconciliation, Psychology of, 18
Resource Curse, 14
Restaurant Ownership, 71
Rock Opera, 22
Russian Language, 55
Russian Literature, 27
Web Page Design, 33
Web Screenwriting, 40
Women, 15
in literature, 26, 27
writing for, 48
World Cinema, 34, 35
World Literature, 25
World Music, 21
Writing Workshops, 41–50
business writing, 31, 71
ESOL, 60, 61
screenwriting, 39–40
S
X
Science & Society, 12
Screenwriting, 36, 39–40
business of, 38
Secularism, 23
Shame, 16
Short Story Writing, 45
Xenophobia, 16, 18
R
Y
Yoga, 66
Young Adults, Writing for, 50
101
R EG 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
Noncredit
tuition*
Days and hours of
class sessions
Other information
Drawing at the Metropolitan Museum   NART1210
A 15 sessions. Wed., 10:00 a.m.–12:40 p.m., beg. Sept. 1. $620;
includes museum entrance fee.
Margaret Lewczuk
Limited to 12. Beginners learn how to draw using the collection of the Metropolitan Museum of Art as subject matter.
A different artwork or artifact is selected each week. The course covers the fundamental principles and techniques of line
drawing and shading, including basic gestural studies, learning to see forms, and experimenting with different kinds of
mark-making and materials. Given the setting and the small size of the class, instruction is mostly one-on-one, geared to
the specific needs of the individual student. Bring an all-purpose sketch pad and a pencil to the first session. First session meets
at the Group Registration desk in the lobby of the Metropolitan Museum, Fifth Avenue & 82nd Street.  (3 credits)
Limited enrollment:
Register early if
enrollment is limited.
Instructor:
For more information,
see Biographical Notes
in this catalog.
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 page 75.
ON L INE
102
75 and 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.
registration information FOR
CONTINUING EDUCATION STUDENTS
Before Registering
• Select a course.
•Note the course number and section (for example, NLIT 1000 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 page 74
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.
General Credit
(Nondegree)
$1,055 per credit.
$60 per term.
Same as above.
Noncredit
Certificate
The noncredit
tuition.
$60 per term.
Same as above.
Register and Pay
•Online at www.newschool.edu/register.* Pay by MasterCard,
Visa, American Express, or Discover.
•By phone at 212.229.5690 (noncredit only)
Hours: Monday–Friday, 9:15 a.m.–4:45 p.m.,
(closed Fridays until August 13 and Labor Day, Sept. 6)
Pay by MasterCard, Visa, American Express, or Discover.
•By fax to 212.229.5648
Use the detachable registration forms in the back of this catalog.
Pay by MasterCard, Visa, American Express, or Discover.
•By mail to The New School, Registrar’s Office, 72 Fifth Avenue,
New York, NY 10011
Use the detachable registration forms in the back of this catalog.
Pay by MasterCard, Visa, American Express, or Discover, or by
personal check or money order payable to The New School.
• In person at 72 Fifth Avenue, lower level.
Regular hours: Monday–Thursday, 10:00 a.m.–5:45 p.m.
Friday, 10:00 a.m.– 4:45 p.m.
(closed Fridays until August 13
and on Sept. 6 and Nov. 24–26)
Extended Hours:
Aug. 23–27:Monday–Thursday, 9:00 a.m.–5:45 p.m.
Friday, 9:00 a.m.–4:45 p.m.
Aug. 30–Sept. 17:Monday–Thursday, 9:00 a.m.–6:00 p.m.
Friday, 9:00 a.m.–4:45 p.m.
(closed Monday, Sept. 6)
Pay by MasterCard, Visa, American Express, or Discover, or by
personal check or money order payable to The New School or cash.
*Please note that online registration is not live. The registrar will contact you if
there are any problems processing your registration request.
egister early. The class you want might fill or, on the other hand, be
R
canceled because of insufficient registration.
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
permission from the dean’s office.
Confirmation of Registration
•There is no need to confirm your registration. If there is a problem
registering you for a class, the Registrar’s Office will contact you.
•An official Statement/Schedule will be issued when your payment has
cleared (mailed if you registered online or by phone or fax). Bring this to
your class. (If you have not yet received it, you will still be admitted to
class if your name appears on the course roster.) Also bring a photo ID for
admission to university buildings.
•Online confirmation is available at my.newschool.edu. Follow the links
to look up your Net ID and set or reset your password. You will need
your student ID number (N plus 8 digits). Once you log in, select the
Student tab to view your schedule.
•If you are a noncredit student and need a Record of Attendance (for
employer reimbursement or any other purpose), you must request it now.
See page 82.
103
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.
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.; Wednesday,
9:00 a.m.–6:00 p.m.; and Friday, 9:00 a.m.–4:30 p.m. (Card Services is
closed Fridays until August 13 and on Sept. 6 and Nov. 24–26.) There is
a fee to replace a lost or stolen card.
Find Your Class Location
•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.
Withdrawal/Refund Policy
•To cancel your registration in a course, you must formally withdraw in
writing to the Registrar’s Office (by fax, by mail, or in person). See the
table opposite for deadlines and refundable charges. For a more detailed
statement of university policy regarding withdrawals and refunds, see
pages 79–80. 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 General Studies
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: Don Hamerman, Bob Handelman, and Matthew Sussman
104
Add/Drop and Refund Deadlines
Classroom Courses: Standard Semester
This schedule applies to courses starting August 30–September 5
or September 13–19 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”
Classroom
10 or more
weeks beg.
Aug. 30–
Sept. 5
Before Sept. 14
Before Aug. 30,
100% refund
Before Sept. 6, 90%
Before
Oct. 18
Classroom
10 or more
weeks beg.
Sept. 13–19
Before Sept. 27
Before Sept. 13,
100% refund
Before Oct. 4, 70%
Before Oct. 11, 60%
Before
Nov. 1
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 Courses
Online
Before end of
week 2 (week
1 of the course
is orientation)
Classroom Courses on Other Schedules
This schedule applies only to classroom courses starting after
September 19 or meeting less than 10 weeks on any schedule.
Schedule
Deadline to add
or change status
Deadline for
tuition refunds
(tuition charged)
Credit student
withdrawal for
grade of “W”
10 or more
sessions beg.
after Sept. 19
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
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.
NONCREDIT REGISTR ATION Term: FALL
Year: 10
NOCR
THE NEW SCHOOL
If you have been a New School student before, enter your student ID number below. Term first attended New School
N
Student ID No.
Sex
Birthdate
Last Name
First Name
Init.
Address Street
Apt. or c/o etc.
City
–
Home Phone
–
Work Phone
–
State
–
Zip
Ext.
Email
Email is required for students enrolling in online courses.
Please read instructions in the last two pages of the catalog. Enter your courses below.
Course MASTER
n
X
Y
Z
9
9
9
9
SECT.
COURSE TITLE
A
sample course title
NONCREDIT
TUITION*
$ xxx
REG. OFFICE USE
REGISTERED
M
DATE_____________ INIT.________
T
PERSONAL DATA ENTERED
P
$
DATE_____________ INIT.________
$
Check enclosed
Charge to MasterCard, Visa, Discover, AmEx Exp. Date
Account No.
Signature
Nonrefundable
Registration Fee
$7
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; [email protected]. Credits for courses taken prior to matriculation in a
degree program may be applicable 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 permission from the dean’s office.
GENER AL CREDIT ( NONDEGREE ) Term: FALL
Year: 10
NODG
THE NEW SCHOOL
If you have been a New School student before, enter your student ID number below. Term first attended New School
N
Student ID No.
Sex
Birthdate
Last Name
First Name
Init.
Address Street
Apt. or c/o etc.
City
–
Home Phone
–
State
–
–
COURSE CREDITS**
TUITION*
Work Phone
Zip
Ext.
Email
Email is required for students enrolling in online courses.
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
n
X
Y
Z
9
9
9
9
SECT.
COURSE TITLE
A
sample course title
$ xxx
REG. OFFICE USE
REGISTERED
M
DATE_____________ INIT.________
T
PERSONAL DATA ENTERED
P
$
DATE_____________ INIT.________
$
Check enclosed
Charge to MasterCard, Visa, Discover, AmEx Exp. Date
Account No.
Signature
Nonrefundable
Registration Fee
$ 60
Total of special fees
(materials, etc.)
$
Total enclosed
BURSAR USE
DATE____________________________
T #_ _____________ INIT._ __________
$
*General credit tuition is $1,055 times number of credits. (The tuition listed with each course description is the non-credit tuition.)
**Credit points are stated in the course description.
Mannes
J
17TH ST.
(150 West 85th Street)
Goldmark
Practice
Center
O
16TH ST.
K
Schwartz
Fashion
Center
Albert and Vera List
Academic Center
(6 East 16th Street)
71 Fifth Avenue
UNION SQUARE and
GREENWICH VILLAGE AREA
6th Ave. – 14th St.
(F,L,V)
The New School
For Drama
80 Fifth Avenue
14TH ST.
(72
Fifth
( YOU
AREAvenue)
HERE )
FIFTH AVE.
G
Fanton Hall/Welcome Center
Arnhold Hall
14th St. – Union Square
(4, 5, 6, L,N,Q,R,W)
M
M
(151 Bank Street)
UNION SQUARE
UNION SQUARE W.
15TH ST.
(560 Seventh Avenue)
Z
D
79 Fifth Avenue
F
University Center
(65 Fifth Avenue)
E
H
I
13TH ST.
M
Johnson Center Annex
(2 West 13th Street, 66 Fifth Avenue)
(68 Fifth Avenue)
12TH ST.
Alvin Johnson/J.M. Kaplan Hall
A
B
AY
BROADW
N
Sheila C. Johnson
Design Center
UNIVERSITY PLACE
SEVENTH AVE.
SIXTH AVE.
L
Parsons East
(25 East 13th Street)
Eugene Lang College Building
Lang Annex
11TH ST.
C
UNION SQUARE and
GREENWICH VILLAGE AREA
The New School Campus Map
SCHOOLS AND LOCATIONS
CONTINUING EDUCATION OFFICES AND FACILITIES
A
Creative Arts Therapy program office . . . . . . . . . . . . . . . . . . . . . . . . . . . 916
Humanities Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floor
Institute for Retired Professionals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
New School Bachelor’s Program . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floor
New School for General Studies Dean’s Office . . . . . . . . . . . . . . . . . . 301
Social Sciences Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floor
Writing Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Tishman Auditorium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ground floor
Classrooms Posted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lobby
Classrooms
B
65 West 11th Street (enter at 66 West 12th Street)
Wollman Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5th floor
Classrooms
C
64 West 11th Street, lower level
D
6 East 16th Street
Foreign Languages Department
Classrooms
E
25 East 13th Street
Art Studios
H
72 Fifth Avenue
Registrar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lower level
Student Financial Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lower level
Office of Admission
I
55 West 13th Street
Fogelman Library Circulation . . . . . . . . . . . . . . . . . . . . . . . . . . ground floor
Media Laboratories. . . . . . . . . . . . . . . . . . . . . . . . . 3rd, 4th, 8th, 9th floors
Theresa Lang Community and Student Center . . . . . . . . . . . . . 2nd floor
Classrooms
J
L
150 West 85th Street
Mannes Extension Program . . . . . . . . . . . . . . . . . . . . . . . . . . . ground floor
2 West 13th Street
Film Production studios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4th floor
Gimbel Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2nd floor
Media Studies and Film office. . . . . . . . . . . . . . . . . . . . . . . . . . . 12th floor
Classrooms
66 West 12th Street
M
68 Fifth Avenue
N
66 Fifth Avenue
English Language Studies office . . . . . . . . . . . . . . . . . . . . . . . . . mezzanine
Parsons Dean’s Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6th floor
Parsons SPACE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2nd floor
Printmaking studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4th floor
Kellen Auditorium
Classrooms
Galleries
79 Fifth Avenue
International Student Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5th floor
Student Disability Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5th floor
THE NEW SCHOOL FOR
GENERAL STUDIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
OTHER OFFICES AND FACILITIES OF THE UNIVERSITY
Accounting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
G
Cafeterias . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
N
B
I
Center for New York City Affairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
H
Community Development Research Center . . . . . . . . . . . . . . . . . . . . . . . .
H
India China Institute. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
N
International Center for Migration,
Ethnicity, and Citizenship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I
Schwartz Center for Economic Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
D
Student Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I
Tishman Environment and Design Center . . . . . . . . . . . . . . . . . . . . . . . . . .
H
Transregional Center for Democratic Studies . . . . . . . . . . . . . . . . . . . . . .
G
University Administration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
G
A
D
I
University Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
F
University Writing Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Fifth Avenue
A
C
M
N
EUGENE LANG COLLEGE
THE NEW SCHOOL FOR LIBERAL ARTS . . . . . . . . . . . . . .
B
C
Beth Israel Hospital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 East 17th Street
MANNES COLLEGE THE
NEW SCHOOL FOR MUSIC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
J
O
Cooper-Hewitt Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 East 91st Street
MILANO THE NEW SCHOOL FOR MANAGEMENT
AND URBAN POLICY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
H
Elmer Holmes Bobst Library . . . . . . . . . . . . . . . Washington Square South
THE NEW SCHOOL FOR DRAMA . . . . . . . . . . . . . . . . . . . . . . . . . . .
Z
THE NEW SCHOOL FOR JAZZ
I
AFFILIATES
Cardozo Law Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Fifth Avenue
..............................
Cooper Union Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cooper Square
THE NEW SCHOOL FOR SOCIAL RESEARCH . . . . . . . .
D
G
PARSONS THE NEW SCHOOL FOR DESIGN
M
N
E
K
L
The New School is undergoing expansion and renovation.
Watch for updated maps. Published July 2010.
THE NEW SCHOOL
66 West 12th Street / New York, NY 10011 / 212.229.5690
On the Go
Learn a language on the go. The New School’s foreign
language immersion program is perfect for anyone who
wants to quickly improve or advance their conversational
skills. With three-day courses (Friday–Sunday) offered
in various levels of French, Spanish, Italian, Japanese,
Chinese, and Portuguese, On the Go gives you the head
start or the refresher you need, whether you’re learning
a language for business or pleasure. Go to page 51.
The Writing Workshop
Experience the writer’s life in Greenwich Village. In The
New School’s legendary Writing Program workshops—in
poetry, fiction, nonfiction, writing for children, dramatic
writing, and journalism—you work closely with a
professional writer and join active discussions of your
and your classmates’ work. Go to page 41.
Creative Arts Therapy
Certificate
Grounded in the latest developments in psychology and
mind-body healing, The New School’s certificate program
in Creative Arts Therapy (CAT) trains aspiring human
services professionals to integrate artistic modalities—
music, drama, visual arts, and dance/movement—into
therapeutic insight and mastery. All CAT courses are
taught by leaders in their fields. Go to page 67.

the new school continuing education

Transcription

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