The New School / Fall 2011 CE Catalog

THE NEW SCHOOL CONTINUING EDUCATION COURSE BULLETIN
/Fall 2011
/Highlights
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Economic and Social Exclusion
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Modern Horror The Viral Media Lab Disputed Crops: U.S. Agricultural Policy and the Farm Bill
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HOW TO REGISTER
This catalog lists course offerings for the Fall 2011 term. Registration for fall courses opens July 5 and remains open throughout the term. Early registration online or by fax, telephone, or mail is strongly encouraged, as courses may fill or be canceled because of insufficient enrollment. See pages 103104 for more information about procedures and deadlines, or call 212.229.5690. The registrar is located at 72 Fifth Avenue (corner of 13th Street), lower level, for in-person registration. Note: Registration is closed Fridays through August 12, September 5 (Labor Day), and all Saturdays and Sundays. Register online or by fax when the office is closed; registrations will be processed the next working day. Online You can register through a secure online connection with payment by credit card. Go to www.newschool.edu/register and follow the instructions. Register at least three days before your course begins. You will receive an email confirming that your registration has been received. Your official Statement/Schedule will be mailed to you after payment has cleared. By Fax You can register by fax with payment by credit card using the appropriate registration form in the back of this bulletin. Fax to 212.229.5648 at least three days before your course begins. No confirmation will be faxed; your Statement/Schedule will be mailed to you. By Mail Use the appropriate registration form in the back of this bulletin. Mail registration must be postmarked at least two weeks before your course begins. Your Statement/Schedule will be mailed to you. By Phone You can register as a noncredit student by telephone, with payment by credit card. Call 212.229.5690, MondayFriday. Call at least three days before your course begins. Your Statement/Schedule will be mailed to you. In Person You can register in person at 72 Fifth Avenue (corner of 13th Street). A schedule for in-person registration is published on page 103 of this catalog.
HOW TO USE THIS CATALOG

The catalog includes several features designed to help you use it effectively. Finding a Subject General subjects are listed in the Table of Contents on page 3. There is a detailed subject index beginning on page 100. There are biographical notes for most teachers beginning on page 86. For more information about any course, contact the department or program; telephone numbers are found on the first page of each general subject area. Planning a Schedule The Calendar of Courses, beginning on page 95, lists every course in order by start date and time. The academic term calendar is on page 2. Finding a Course Description There is an index of courses in order by Course Master ID beginning on page 98. Interpreting the Course Description A chart on page 102 breaks down the format of the course descriptions and explains the different elements.
USEFUL TELEPHONE NUMBERS

General Information .................................... 212.229.5615 Registration Office ..................................... 212.229.5690 Box Office .................................................. 212.229.5488 Student Financial Services (option 1) ............................................... 212.229.8930 Admission Office (bachelors and graduate programs) ........ 212.229.5630 Alumni Office ............................................. 212.229.5662 Press Contact ............................................ 212.229.5151 New School Deans Office ........................... 212.229.5615 New School Switchboard ............................ 212.229.5600
To add your name to a mailing list for this catalog, call 800.319.4321.
The New School, (USPS 382-140), Volume 69, Number 1, July 2011 Published four times a year, in July, August, December, and April, by The New School, 66 West 12th Street, New York, NY 10011 Periodicals rate paid at New York, NY, and additional mailing office. Postmaster: Send address changes to The New School Bulletin, 66 West 12th Street, New York, NY 10011
FALL 2011 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 universitys undergraduate and graduate degree programs at www.newschool.edu/degreeprograms. This September, The New School for General Studies and Milano The New School for Management and Urban Policy will come together to form The New School for Public Engagement. This integrated division will reinforce The New Schools tradition of civic action, social responsibility, and cultural creativity, uniting programs whose curricula are rooted in public culture and contemporary social challenges.
ACADEMIC TERM CALENDAR

Fall 2011
The fall semester begins the week of August 29. 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 29.
Holidays
New School facilities will be closed. Labor Day Weekend, September 35 Rosh Hashana, September 28 (eve)29 Yom Kippur, October 7 (eve)8 Thanksgiving Weekend, November 2327 Winter Recess, December 20January 20, 2012
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H O L I DAY S A N D R E C E S S E S A R E H I G H L I G H T E D I N W H I T E C I R C L E S . University administrative offices will be closed on Fridays through August 12.
CONTENTS
Message from the Dean, 4 FALL 2011 PUBLIC PROGRAMS, 5
English Language Studies, 57 For course advising, call 212.229.5372. Teaching English to Speakers of Other Languages, 57 English as a Second Language, 59 Visual and Performing Arts, 62 For course advising, call 212.229.5961. Visual Arts, 62 Photography, 64 Music Theory and Performance, 65 Acting and Movement, 65 Creative Arts Therapy Certificate, 67 Management and Business, 68 For course advising, call 212.229.5124. Food Studies, 70 For course advising, call 212.229.5124. Professional Development Workshops, 71 Institute for Retired Professionals, 72
BIOGRAPHICAL NOTES AND INDEXES

Biographical Notes, 85 Calendar of Courses, 95 Faculty Index, 97 Course Master Index, 98 Subject Index, 100
FALL 2011 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 For course advising, call 212.229.5961. Art and Music, 20 Cultural Studies, 22 Literature, 23 Philosophy and Religion, 26 Media Studies and Film, 28 For course advising, call 212.229.8903. Media Studies, 29 Film Studies, 32 Film and Media Business, 36 Screenwriting, 37 Writing, 39 For course advising, call 212.229.5611. Fundamentals, 40 Poetry, 42 Fiction, 43 Nonfiction, 45 Journalism and Feature Writing, 47 Special Topics, 48 Foreign Languages, 49 For course advising, call 212.229.5676. Arabic, 50 Chinese (Mandarin), 51 Classical Languages, 51 French, 51 German, 52 Hebrew, 53 Italian, 53 Japanese, 54 Portuguese (Brazilian), 54 Russian, 54 Sign Language, 55 Spanish, 55 Tibetan, 56 Yiddish, 56
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 REGISTRATION FORMS
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 Bachelors 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 Academic Transcripts, 82 Noncredit Record of Attendance, 82 Grades, 82 Family Educational Rights and Privacy Act, 83
FA L L 2 0 1 1 P U B L I C P R O G R A M S
A MESSAGE FROM THE ASSOCIATE DEAN

Fall is always a time when thoughts turn to school. Shorter days and cooler weather inspire more cerebral pursuits in place of the outdoor activities of the summer. In this bulletin, youll find hundreds of New School classes to choose from, as well as courses at our sister divisions at www.newschool.edu/parsons/continuing-education and www.newschool.edu/mannes/continuing-education. But you dont have to commit to an entire semester to learn something new. Our public programs closely match our course offerings, and the pages that follow provide a preview of readings, screenings, performances, and more this fall at The New School. Visit the website at www.newschool.edu/publicprograms for updates and additions throughout the semester. If you cant attend in person, visit our YouTube channel at www.youtube.com/user/thenewschoolnyc for webcasts of many of the events. See you this fall at The New School.
Almaz Zelleke, Associate Dean for Academic Affairs
STAY CONNECTED
www.facebook.com/thenewschool www.twitter.com/thenewschool fora.tv/partner/New_School youtube.com/thenewschoolnyc
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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 WRITING LANGUAGES ENGLISH PHOTOGRAPHY ACTING DANCE BUSINESS COOKING 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 WRITING LANGUAGES ENGLISH PHOTOGRAPHY ACTING DANCE BUSINESS COOKING HISTORY POLITICS ECONOMICS RELIGION LITERATURE SOCIOLOGY
FALL 2011 PUBLIC PROGRAMS
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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 MondayThursday, 4:007:00 p.m., and Friday, 3:006:00 p.m., beginning August 29. 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 specialprograms@newschool.edu.
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Cave Canem at The New School

6:30 p.m. Admission free Wollman Hall, 65 West 11th Street (enter at 66 West 12th Street) Thursday, September 1
Riggio Forum: Writing and Democracy

Four Wednesdays, 6:30 p.m. $5; free to students and New School faculty, staff, and alumni with ID
A reading by Cave Canem poets Duriel Harris, M. Ayodele Heath, and Khadijah Queen. Moderated by Camille Rankine, program and communication coordinator of the Cave Canem Foundation.
Tuesday, November 1
Distinguished visiting professor Greil Marcus curates and hosts a series of events exploring the intersection of writing, film, music, and cultural criticism.
September 7
A.O. Scott
A reading by Cave Canem poets Camille Dungy, Marcus Jackson, and Nagueyalti Warren. Moderated by Camille Rankine, program and communication coordinator of the Cave Canem Foundation. Co-sponsored by the New School Writing Program and the Cave Canem Foundation.
A.O. Scott is the chief film critic for the New York Times, where he has worked since 2000. Earlier he was the lead book critic at Newsday. Scott has also written for Slate, the Village Voice, and the New York Review of Books and hosted At the Movies. His criticism is characterized by sly, sometimes uproarious humor and an analytical sensibility grounded as much in literature as in film.
Malcolm Klein Reading Room, 66 West 12th Street, room 510 October 12
Gerald Early
From Ethnic to Mainstream: Latino Chefs Conquering NYC

Wednesday, September 7 6:00 p.m. $5; free to students and New School faculty, staff, and alumni with ID Wollman Hall, 65 West 11th Street, 5th floor (enter at 66 West 12th Street)
Gerald Early is an acute and unpredictable chronicler of both the mainstream and the fringes of American society. Early is the Merle Kling Professor of Modern Letters at Washington University in St. Louis. He is also the editor of The Sammy Davis, Jr. Reader and the author of The Culture of Bruising, on boxing; Miles Davis and American Culture; Of Daughters: On Family and Fatherhood; and One Nation Under a Groove, on Motown. Early served on the editorial board for A New Literary History of America, to which he contributed an essay reflecting on President Harry Trumans proclamation ending racial segregation in the U.S. armed forces and a startling reconsideration of Tarzan. His interests, and his ability to shed new light on familiar landscapes and narratives, are unbounded.
Location to be announced November 9
Although food from Mexico, Brazil, and other Latin American countries has become a staple of the New York diet, Latino chefs often do not receive the same public recognition and critical accolades as those from other cultures. Their culinary traditions are frequently conflated and confused, and many consumers are still reluctant to pay a fair price for dishes that require expensive ingredients and extraordinary skill. What does it mean for Latino chefs to become successful in a competitive restaurant market like New York City? What structural and cultural obstacles do they face? What is the future for Latino labor in food service? The panel includes chefs Jacques Gautier of Palo Santo, Roberto Santibaez of Fonda, and Maximo Tejada of Rayuela & Macondo, as well as Latino cultural promoter Mariana Suarez of Gourmet Latino. Moderated by Fabio Parasecoli, associate professor and New School Food Studies program coordinator. Sponsored by the New School Food Studies program.
Dana Spiotta
Dana Spiotta is one of the most inventive and compelling young novelists in the country. She graduated from Evergreen State College in Olympia, Washington, in 1993, at the height of the riot grrrl movement, and published her first novel, Lightning Field, in 2001. Her second, Eat the Documenta hilarious, spooky, suspenseful novel about deception, disguise, and teenage obsessionwas a finalist for the 2006 National Book Award. Her third, Stone Arabia, in which pop music serves as both metaphor and language, was published in July.
Malcolm Klein Reading Room, 66 West 12th Street, room 510 December 7
Lee Smith
Center for Public Scholarship presents SOCIAL RESEARCH CONFERENCES AT THE NEW SCHOOL
Human Rights and the Global Economy Wednesday and Thursday, November 910, 2011 The Future of Higher Education Thursday and Friday, December 89, 2011 For more information, visit www.newschool.edu/cps/conference-series.
At the age of nine, Lee Smith began selling her stories for a nickel apiece in her hometown, the coal-mining town of Grundy, Virginia. Since then, her novels and short stories have mapped their territorythe Appalachian Mountains of distant history and the present day, hauntings and curses along with modern forms of desire, success and failurein their own unique language. They include Black Mountain Breakdown (1981); Fair and Tender Ladies (1988); the luminous country music saga The Devils Dream (1992); the harrowing Saving Grace (1995), set in the milieu of snake-handling fundamentalist churches; The Last Girls (2003); On Agate Hill (2006); and the short story collection Mrs. Darcy and the Blue-Eyed Stranger (2010). Her themes are, as she puts it, religion and flight, staying in one place or not staying, containment or flightand religion, rendered with a dose of violence, sex, and wisecracking whiplash wit.
Wollman Hall, 65 West 11th Street (enter at 66 West 12th Street)
Riggio Forum events are presented by the Leonard and Louise Riggio Writing and Democracy Initiative at The New School. For more information, visit www.newschool.edu/riggio.
FA L L 2 0 1 1 P U B L I C P R O G R A M S The Nation at The New School
Women Writers of the Diaspora

Thursdays, 6:30 p.m. Admission is free, but seating is limited. Reservations are required; call 212.229.5615 or email nsgsdeansoa@newschool.edu. Malcolm Klein Reading Room, 66 West 12th Street, room 510
Ten Years After 9/11: How Has the United States Changed?
Thursday, September 8 7:00 p.m. Admission free Tishman Auditorium, 66 West 12th Street
This ongoing series celebrates literature written by women from across the African Diaspora. Moderated by Celesti Colds Fechter, associate dean for Academic Services.
September 22
At times of crisis, the most patriotic act of all is the unyielding defense of civil liberties and the right to dissent, wrote celebrated historian Eric Foner days after the 9/11 attacks. As national security became an obsession in Washington and the mainstream media enlisted in the Bush administrations war, the need for an independent, critical press seemed more urgent than ever. The enduring concerns of The Nation took on a new relevance. Ten years later, the events of 9/11 continue to reverberate, with the killing of Osama bin Laden and the Obama administrations ongoing pursuit of the Bush-era national security agenda. In this context, leading Nation writers and thinkers engage in a conversation about what has changed in the United States since September 11, 2001. Key questions to be discussed include: Are we more secure? How can we as a country strike the right balance between security and liberty? How has the marketing of fear reshaped our politics, society, and culture? How should we rethink the concept of the War on Terror? How can we end the war in Afghanistan and devise a diplomatic and political solution to the conflict? How can we dismantle a security apparatus that too often invokes state secrecy? Do U.S. historyand other countries histories offer useful guideposts? If we accept, as The Nation has argued, that the most effective way to halt global terrorism involves cooperation with the global community, what frameworks do we envision and how can they be developed? What can we, as a nation, do to prevent another 9/11? Featuring Katrina vanden Heuvel, editor and publisher of The Nation; Melissa Harris-Perry, associate professor of politics and African-American studies at Princeton University; Eric Foner, DeWitt Clinton Professor of History at Columbia University; and Jonathan Schell, Doris Shaffer Fellow at the Nation Institute. Co-sponsored by the Leonard and Louise Riggio Writing and Democracy Initiative at The New School.
Dahlma Llanos-Figueroa discusses her novel, Daughters of the Stone, a Best Fiction selection of both Black Pearl Magazine and LatinoStories.com. Born in Puerto Rico and raised in New York City, Llanos-Figueroa has won the Bronx Council on the Arts ACE and Brio Awards and a BCA Literary Arts Fellowship; she was also a finalist for the PEN/Robert Bingham Fellowship for Writers. Her work has appeared in Chicken Soup for the Latino Soul; Growing Up Girl: An Anthology of Voices from Marginalized Spaces; Chicken Soup for the Soul: Older and Wiser; Womens Work: The Short Stories; and Acts of Emancipation: An Anthology of Teacher Writing.
September 29
Jacqueline Bishop was born and raised in Kingston, Jamaica, and came to the United States to attend college and to rejoin her mother. She is the founding editor of Calabash: A Journal of Caribbean Arts & Letters and editor of the film I Came Here by a Dream: The Jamaican Intuitive Artists. Bishop has been published in The Caribbean Writer, Crab Orchard Review, Macomere, Renaissance Noire, Wasafiri, and other journals. Her collection of oral histories was published by Africa World Press as My Mother Who Is Me: Lifestories from Jamaican Women in New York. Bishop discusses her works, including her first novel, The Rivers Song, and Fauna, a collection of poems.
Tribeca Film Institute at The New School

7:00 p.m. Admission free Theresa Lang Center, Arnhold Hall, 55 West 13th Street, 2nd floor Monday, September 19
The Best American Poetry 2011

Thursday, September 22 7:00 p.m. Admission free Tishman Auditorium, 66 West 12th Street
Using Music in Your Film
This panel explores a range of topics relating to the use of music in film. Film composers Andrew Gross and Gil Talmi share their experience scoring everything from major motion pictures to independent films, TV programs, commercials, and documentaries. Gross and Talmi have collectively scored more than 30 feature films, 30 documentaries, 100 television episodes, and 100 commercials. They have experience working in all genres, with both large and small budgets. Few filmmakers receive proper instruction about the use of music in film and the often legally complex issues involved; this panel offers participants the knowledge they need to make smart choices about music for their films.
Tuesday, November 1
David Lehman, series editor of The Best American Poetry and poetry coordinator of The New Schools MFA Program, joins Kevin Young, guest editor of the 2011 volume, to present poets and poems from the 24th edition of the acclaimed annual anthology. The contributors reading include John Ashbery, Cara Benson, Michael Cirelli, Farrah Field, Jennifer Knox, Katha Pollitt, James Richardson, Gerald Stern, Bianca Stone, Mark Strand, and Lee Upton. Sponsored by the New School Writing Program.
Transmedia for Social Documentaries
What does the word transmedia actually mean? What do documentaries need to be to ensure that they are seen in this complex media world? Documentary filmmakers, funders, and technology experts join in conversation to explore gaming, films for mobile phones, new animation techniques, and storytelling platforms for the iPad and other tablets. This discussion is an opportunity to learn about and discuss the future of media-driven communication. Speakers to be announced. Co-sponsored by the Department of Media Studies and Film.
Fridays @ One
1:00 p.m. Admission free but reservations required; email irp@newschool.edu or call 212.229.5682. Theresa Lang Center, Arnhold Hall, 55 West 13th Street, 2nd floor
The Schneider Concerts at The New School

Tishman Auditorium, 66 West 12th Street
Sunday afternoon chamber music, 2:00 p.m.

October 16, 2011
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.
September 30
Old City String Quartet The grand prize winner of the 2010 Fischoff Chamber Music Competition plays Mozart, Bartk, and Beethoven.
November 6, 2011
Ellis Island, the Golden Door Tom Bernardin began his association with Ellis Island in 1978 as a national park ranger giving tours of the island before its restoration. In a lecture illustrated with authentic photographs of immigrants passing through the facility, he reveals many little-known aspects of the immigration process and of Ellis Island then and now, after its restoration as a national monument.
October 21
Musicians from Marlboroa virtual guarantee of musical excellence, says the Washington Postplay works by Mozart, Bridge, and Mendelssohn.
January 8, 2012
Amphion String Quartet The grand prize winner of the 2010 Plowman Chamber Music Competition plays Schubert, Beethoven, and Tchaikovsky.
February 5, 2012
The Story of Your Life: Fiction or Memoir? Alix Kates Shulman is the prize-winning author of 13 books, including her best-selling debut novel, Memoirs of an Ex-Prom Queen (recently reissued as a feminist classic) and her latest memoir, To Love What Is. She explores the advantages and disadvantages of the two genres, revealing her own reasons for choosing sometimes one form, sometimes the other. Co-sponsored by the New School Writing Program.
November 18
ECCOEast Coast Chamber Orchestra Americas most exciting new conductorless orchestra plays Britten, Shostakovich, Beethoven, and others.
March 25, 2012, 3:00 p.m. (please note later start)
A Photographic Journey with Yuri Dojc The Canadian photographer Yuri Dojc has earned international recognition for his work, which ranges from cityscapes to nudes. Last Folio, his recent multimedia installation at the Museum of Jewish Heritage in New York City, was described as a theater piece and a tableau vivant by Richard McBee of the Jewish Press. In this lecture, Dojc presents a series of his photographs, becoming our lens on history and memory. Co-sponsored by the MFA Photography program in the School of Art, Media, and Technology, Parsons The New School for Design.
Elias String Quartet The British ensemble, described as poetic, charismatic, virtuosic by the Sunday Telegraph, plays Purcell, Suk, Janek, and Mendelssohn.
April 1, 2012
Schumann Piano Trio Marlboro artists, including a founding Guarneri Quartet member, play works for clarinet, viola, and piano by Schumann, Kurtg, and Brahms.
April 29, 2012
Amstel Quartet The saxophone quartet from the Netherlands, praised as nothing short of astounding by Fanfare Magazine, plays transcriptions of string quartets by Mozart, Haydn, Glazunov, and others.
Photo: Jamain Brigitha General admission $17.50; seniors 65 and older, $15; standby for students 30 and younger with school ID, $5. Also available as part of an $82 seven-concert subscription or a $70 five-concert subscription. To buy advance series tickets and for more information, call 212.229.5873 or visit www.newschool.edu/concerts. To buy individual tickets, call 212.229.5488 or email boxoffice@newschool.edu.
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 Schools 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 2011-2013, the theme is Thingness. For more information, contact Director Carin Kuoni at kuonic@newschool.edu or visit www.newschool.edu/vlc.
Culinary Luminaries: Michael Batterberry

Thursday, October 20 6:30 p.m. $5; free to students and New School faculty, staff, and alumni with ID Theresa Lang Center, Arnhold Hall, 55 West 13th Street, 2nd floor
A panel with Ariane Batterberry and Beverly Stephen, executive editor of Food Arts, considers the life and work of the late Michael Batterberry. Luis Jaramillo, associate chair of the Writing Program, moderates. With his wife, Ariane, Michael Batterberry founded the groundbreaking national food magazines Food Arts, by and for food and beverage professionals, and Food and Wine; both are still in publication. He and Ariane wrote more than 15 books on food, entertaining, art, and social history. In 2010, Ariane and Michael Batterberry received the James Beard Foundations Lifetime Achievement Award. Sponsored by the New School Writing Program and the Food Studies program.
Academy of American Poets Award Ceremony 2011

Friday, October 21 7:00 p.m. Admission free Tishman Auditorium, 66 West 12th Street
The Educated Eater: Farmland Conservation

Wednesday, November 16 6:00 p.m. $5; free to students and New School faculty, staff, and alumni with ID Theresa Lang Center, Arnhold Hall, 55 West 13th Street, 2nd floor
Join us for an evening of readings celebrating contemporary poetry as the Academy of American Poets honors this years recipients of the most prestigious poetry awards in the United States. Participants to be announced. A reception follows the ceremony. Co-sponsored by the Academy of American Poets and the New School Writing Program.
Greenmarket, a program of GrowNYC, operates more than 50 farmers markets in New York City. It was launched in 1976 with a twofold mission: to give New Yorkers access to locally grown food while keeping regional farmland in production and protected from development. The challenges of protecting farms from development are discussed by speakers including David Haight, New York director of American Farmland Trust; moderator John Clinton, chair of the Environmental Policy and Sustainability Management program at The New School; and others to be announced. Sponsored by Greenmarket and the New School Food Studies program.
Producers Guild of America: The Greening of New Media

Wednesday, October 26 7:00 p.m. Admission free Theresa Lang Center, Arnhold Hall, 55 West 13th Street, 2nd floor
The Fifth Annual AICA-USA Distinguished Critic Lecture at The New School
Peter Schjeldahl: The Critic as Artist in 2011

Thursday, November 17 6:30 p.m. $8; free to AICA members, all students, and New School faculty, staff, and alumni with valid ID Tishman Auditorium, 66 West 12th Street
Digital resources from mobile apps to sites such as pgagreen.org are part of a movement to reduce the carbon footprint of video game, mobile, broadband, and social media productions. Hear from leaders in the movement to green new media production, including the founders of PGA Green, the first industry resource for ecofriendly, sustainable production and postproduction. Speakers to be announced. Co-sponsored by the Media Studies and Film Department.
Beyond the Super Square: On the Corner of Art and Architecture

Friday, October 28 6:00 p.m. Admission free Tishman Auditorium, 66 West 12th Street
Is updating Oscar Wilde possible? If anyone could do it, it would be the art critic, educator, and celebrated poet Peter Schjeldahl. Schjeldahl has been a staff writer at the New Yorker since 1998 and is currently the magazines art critic. He came to the New Yorker from the Village Voice, where he was the art critic from 1980 to 1998. This annual event addresses current issues in the world of art criticism. It is presented by the International Association of Art Critics (Association Internationale des Critiques dArt, or AICA) in collaboration with the Vera List Center for Art and Politics. For information about AICA, visit www.aicausa.org.
A roundtable conversation and reception inaugurating a three-day conference on the influence of modern architecture on contemporary Latin American art. Participating architects, artists, scholars, and students to be announced. Full conference details available at www.bronxmuseum.org. Organized by the Bronx Museum of the Arts in collaboration with the Vera List Center for Art and Politics at The New School.
The 15th Annual Mixed Messages Media Showcase

Friday, December 2, through Friday, December 9
Short Audio, Film, and Video Screening: December 2, 7:009:00 p.m.
National Book Awards Reading 2011

Tuesday, November 15 7:00 p.m. $10 for all Tishman Auditorium, 66 West 12th Street
Tishman Auditorium, 66 West 12th Street
Gallery Exhibition: December 29

Location TBA Admission free
On the eve of the 2011 National Book Awards ceremony, The New School hosts a reading with the finalists in the categories of Poetry, Fiction, Nonfiction, and Young Peoples Literature. Twenty distinguished authors share excerpts from their works. Co-sponsored by the National Book Foundation and the New School Writing Program.
Mixed Messages is an annual graduate student showcase presented by the Department of Media Studies and Film at The New School. Selected by a panel of distinguished jurors, the winning works represent the years best in film, video, and other media at The New School. Mixed Messages celebrates the commitment of the Media Studies program to theory and practice encompassing all forms of media. The Friday evening screening and exhibition are followed by a public reception. The gallery show features works ranging from installations and Web-based projects to print works and works on paper.
Fine Cuts
Friday, December 16 7:00 p.m. Admission free Tishman Auditorium, 66 West 12th Street
Fine Cuts is a screening series of short film and video works produced by students in the Department of Media Studies and Film over the past year as part of their coursework. The screening is followed by a faculty-led Q&A session with the student media makers and a public reception for students, guests, and faculty. An award is given at the end of the screening for a film chosen by the audience.
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10
FALL 2011 COURSES
SOCIAL SCIENCES
SOCIAL SCIENCES
History Politics, Economics, and the Law Anthropology and Sociology Psychology
FOR COURSE ADVISING, CALL 212.229.5124. w w w. n e w s c h o o l . e d u / c e / s o c i a l s c i e n c e s Gustav Peebles, Chair
HISTORY
NEW Art and the CityNHIS3815
A 15 sessions. Wed., 4:005:50 p.m., beg. Aug. 31. Noncredit tuition $650.
Julia L. Foulkes
The Department of Social Sciences draws on The New Schools tradition of free inquiry and its commitment to making profound ideas accessible. At a time of fierce and competing ideologies, nationally and globally, we prepare students to take their place as thoughtful citizens of the world. Our faculty of talented people from diverse backgrounds and perspectives provides rigorous training that integrates analysis with the latest research. Students build the foundations for more advanced study in a variety of fields.
O P E N H O U S E N I G H T AT T H E N E W S C H O O L Tuesday, August 16, 6:008:00 p.m., 66 West 12th Street To learn more about our social science courses, come to our open house and speak to members of the faculty and staff. No reservation is necessary, but if you need more information, call 212.229.5124.
Cities are centers of artistic activity, attracting both artists and art lovers. How and why did this connection between art and the city come about? What effects has it had on cities and the arts? This course investigates the art of urban life (such as the development of bohemia), genres of art that arose out of the city (photography, the Broadway musical, hip-hop), urban spaces that become identified as arts enclaves (SoHo, Broadway), and the municipal policy and politics that both support and hinder the arts in cities (public art). We read firsthand and historical accounts of artists in the city and examine the representation of ties between urban life and artistic vision in music, film, and other forms of art. Assignments include a journal detailing encounters with art in the city and an academic or creative research project that culminates in a paper, website, story, or performance. (3credits) NEW Black Intellectuals: 17th to 19th CenturyNHIS3850
A 15 sessions. Mon., 4:005:50 p.m., beg. Aug. 29. Noncredit tuition $650.
T.K. Hunter
This course explores the ideas of men and women of the African diaspora from the 17th to the 19th century. The class examines early African diaspora writers intellectual engagement with a key Enlightenment conceptlibertyand develops a rich understanding of the arguments of Black intellectuals such as Ignatius Sancho, Olaudah Equiano, David Walker, Ukawsaw Gronniosaw, and Ottobah Cugano. Students acquire a foundational understanding of the development of Black thought in a period of slavery, liberation struggles, and revolution, and of the way it shaped the field of African-American studies. (3credits) Womens Intellectual History: Beginnings NHIS3891
A 15 sessions. Tues., 6:007:50 p.m., beg. Aug. 30; plus online discussion.
Noncredit tuition $650. Gina Luria Walker
The Human Condition Seen Through FilmNSOS0841

A 15 sessions. Tues., 12:002:45 p.m., beg. Aug. 30. Noncredit tuition
$650. 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: Moana (U.S.); Salesman (U.S.); The Black Power Mixtape (U.S.); Twin Towers of Jaspar (U.S.); The End of Poverty (France); The Other City (U.S.); Presumed Guilty (Mexico); The Sins of My Fathers (Mexico); Granito (U.S.); Enemies of the People (Cambodia); WAR: Women, Art, Revolution (U.S.); Pink Saris (Great Britain); Khodorkovsky (Russia); King Corn (U.S.). There may be substitutes for certain films. (noncredit) The Human Condition Seen Through FilmNSOS2841
A 15 sessions. Tues., 12:002:45 p.m., beg. Aug. 30; plus online
discussion group. Credit students only. John Drew, Toby Talbot
Same as NSOS0841, with online discussion and research projects for credit students. (3credits)
Womens intellectual history complements and corrects the traditional narrative of Western thought, mainly by and about men. Our inquiry starts with questions: What were the historical assumptions about the connections between womens sexuality and their learning? How did continuing debates over whether the mind could itself be gendered influence the cultural roles for which women were educated? We examine the texts of a few of the learned ladies uncovered by the new scholarship on women over the past 40 years: Enheduanna, Sappho, Aspasia, Hypatia, the early Christian martyr Vibia Perpetua, the Beguines, Hildegard of Bingen and her 12th-century contemporary Hlose, Christine de Pizans political visions of a City of Women. We ask whether women had a renaissance and read Veronica Franco and Gaspara Stampa, female humanists, honorable courtesans, and poets in 16th-century Venice. We consider Elizabeth I as humanist prince in the context of the monstrous regimen of women rulers in Europe. We explore the difference between adding in women to history and identifying the ways in which womens intellectual history evolved separately from mens. This course combines classroom lectures with online assignments and discussions. Students are required to participate online throughout the semester. (3credits)
12
SOCIAL SCIENCES
The History of PovertyNHIS3470

A 15 weeks, Aug. 29 thru Dec. 19. Noncredit tuition $650.
Fiore Sireci
ONLINE
NEW History, Place, and Conscience: Investigating Guantnamo BayNHIS3215

Julia L. Foulkes
The concept of poverty has alternated between a virtue, as in the early Christian and monastic traditions, and a sign of personal weakness, as in the individualist doctrines more familiar today. This course examines both the historical reality and the image of poverty. We investigate the living conditions and the laws and institutions affecting the poor at selected points in British, French, and U.S. history, as well as the role played by the lower social classes in making that history. We study poverty as it came into public consciousness in early modern Britain through powerful texts and visual art. We examine institutional responses, both private and governmental, such as debtors prisons, foundling hospitals, and philanthropy. We then look at the role of the disenfranchised in France during the 1789 Revolution and beyond and their fictional representation in Les Misrables and later in La Bohme. We devote the second half of the course to policies and perceptions of poverty in the United States from the Great Depression to the present. (3credits) American History 1: Revolution to ReconstructionNHIS3205
A 15 sessions. Tues., 6:007:50 p.m., beg. Aug. 30. Noncredit tuition $650.
Stanley Feldstein
Guantnamo Bay has come to symbolize all that is wrong with U.S. foreign policy. Established in 1903, the U.S. naval base has recently come to prominence because of its role in battles over terrorism, but its ongoing uses encapsulate U.S. policies and politics of the last 100 years. This course uses the base to investigate imperialism and colonialism, international law, labor, immigration, public healthand what we remember and forget about the past. The class collaborates with the International Coalition of Sites of Conscience on its Guantnamo Public Memory Project, helping to research, reconstruct, and interpret the history of the base and present it to a larger audience. This collaboration affords the class the opportunity to research individuals involved in the history of the base and examine the role Guantnamo plays in our understanding of the United States. (3credits)
How revolutionary was the American Revolution? Did the Founding Fathers design the Constitution to protect existing status and privilege? How did the antislavery movement give birth to feminism? Was the cry of Manifest Destiny a cover for imperialism? What part did slavery, immigration, and racism play in the development of the American nation? This course surveys the evolution of the United States from colonial settlement through the Civil War, looking for answers to these and many other compelling questions. The following periods are considered: the colonial era and the American Revolution; the Federal Period, 17891820; expansion, slavery, and sectionalism, 18201860; and the Civil War. Political, diplomatic, social, economic, and cultural developments are examined for each period. (3credits)
HOW TO REGISTER
ONLINE Register online at www.newschool.edu/register with payment by MasterCard, Visa, American Express, or Discover. Register 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 FAX
BY PHONE Noncredit students can register by telephone, with payment by MasterCard, Visa, American Express, or Discover. Call 212.229.5690, MondayFriday, 9:30 a.m.5:00 p.m. BY MAIL Use the appropriate registration form in the back of this catalog. Mail registration will be accepted if postmarked no later than two weeks before your class begins.
IN PERSON Register in person at 72 Fifth Avenue (corner of 13th Street) on the main floor. See page 103 for the schedule. See pages 103104 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 $1,105 per credit point. For information about registration options, see pages 7475.
13
SOCIAL SCIENCES
POLITICS, ECONOMICS, AND THE LAW

Introduction to Microeconomics NECO2004
Jennifer Jacquet
ONLINE
The Legal System of the United StatesNPOL3610

Erica M. Eisinger
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. Next we 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. (3credits) NEW The Informal EconomyNECO3255
A 15 sessions. Thurs., 6:007:50 p.m., beg. Sept. 1. Noncredit tuition $650.
Sheba M. Tejani
This course provides an overview of the law and legal system of the United States. Beginning with the history of the courts, we cover the defining features of the U.S. legal regime, including federalism, separation of powers, judicial review, common-law reasoning, and the adversary system. We examine the core substantive areas of U.S. law, including civil procedure, torts, contracts, criminal law, and property, as well as several specialized areas, such as international law. This course provides a basic introduction to law for students interested in attending law school or pursuing a career as a legal professional in a country with either a civil-law or a common-law tradition, or for those simply interested in understanding more about the American rule of law. (3credits) International LawNPOL3570
Glynn Torres-Spelliscy
ONLINE
Early development thinkers viewed the informal economy as a temporary feature of developing countries, one that would disappear as these countries caught up with the developed world. Yet the informal economy still makes up a sizable share of the global economy and labor force and has expanded over the last two decades, with the current financial crisis likely to intensify the trend. Furthermore, workers in the informal economy are more likely to remain poor than those in the formal economy; this is particularly true of women, who are overrepresented in the informal sector. This course provides a critical overview of the informal economy and the debates surrounding this sector, which has been conceptualized variously as evidence of entrepreneurial talent among poor people, as a means of circumventing the constraints of the formal sector, and as a form of subsistence production in the context of low formal employment growth. We explore the connections between the informal economy, the globalization of production networks, gender, poverty, and economic crises. We also examine informal work and labor markets through case studies and discuss policy proposals that have been made with respect to the informal economy. (3credits)
This course introduces the fundamental concepts of international law. We consider basic ideas and problems of public international law: What is the origin of international law? Is international law really law? Who is governed by international law? How are treaties interpreted? What is the relationship between international law and domestic law? We examine the interplay between international law and international politics, as well as between international human rights, humanitarian law, the use of force, and international criminal prosecutions. We also analyze the international law implications of the conflict in Iraq and the Hezbollah-Israel conflict. (3credits)
14
SOCIAL SCIENCES
Democracy NPOL3203
Casiano Hacker-Cordon
ONLINE
The Politics of Urban MegadevelopmentNPOL3184

Petra Todorovich
What is democracy? What factors explain its historical trajectory? To what extent has the practice of democracy realized its promise? This course takes a comparative historical approach to these general questions. The first half of the course analyzes the origins of democracy in ancient Greece, the development of modern representative democracy, fascism and socialism in Europe and America from the 18th to the 20th century, and the vicissitudes of these ideas and institutions in postcolonial Asia, Africa, and Latin America. The second part of the course examines the quality of modern democratic states in securing greater political liberty, social equality, and cultural recognition for their citizens. We conclude by examining the possibilities, requirements, and limits of democracy in an era of globalization. (3credits) Modern Political PhilosophyNPHI2125
Karsten Struhl
This course explores the politics and process of implementing complex urban development projects, focusing on recent case studies in the New York metropolitan region: the rebuilding of the World Trade Center site; the proposed Olympic Stadium/Jets football stadium on Manhattans far west side; the Atlantic Yards project in Brooklyn; and the MTA financing package passed by the New York State legislature in spring 2009. Taught by an urban planner who has been involved in all four of these cases, the class studies the complex forces and diverse interests affecting the physical landscape of New York City and its surroundings. Topics include the challenges of building political support, financing large projects, gaining community consensus, navigating the environmental review process, shaping public opinion and media coverage, and defining the public interest and the roles of the civic community and advocates. (3credits)
See page 26. (3credits) NEW Postcolonial TheoryNPOL3415

A 15 sessions. Wed., 6:007:50 p.m., beg. Sept. 1. Noncredit tuition $650.
Arya Zahedi
This course is an examination of the concepts that make up postcolonial theory. We begin with the ideas behind the paradigm critiqued by this body of work. While approaching these questions conceptually, we historicize them and examine the development of the theory in relation to actual historical events. Central to the course is the binary between East and West. How did Europe and the European emerge as historical subjects? How did this European come to know himself or herself and the Other? How did the Other come to know himself or herself? We look at sources in philosophy, social science, film, and literature, investigating both the problems posed and the solutions offered. (3credits) NEW The Rise of AsiaNPOL3385
Jacqueline Pak
ONLINE
The dramatic ascendancy of East Asia in this century has given rise to expressions like the Pacific Century, the Asian Century, and even the China Century. This survey class examines the historical, economic, political, social, and cultural changes that have made modern East Asia such a powerhouse. We explore broad themes across the region from the early 20th century to the present. The course is divided into three parts, investigating pertinent problems and issues in China, South Korea, and Japan. (3credits)
U N D E R G R A D U AT E D E G R E E P R O G R A M F O R A D U LT S The New School Bachelors Program provides an oppor tunity for students to complete undergraduate degrees at their own pace in a largely selfdesigned liberal arts program. For more information, call 212.229.5630.
15
SOCIAL SCIENCES
ANTHROPOLOGY AND SOCIOLOGY

Statistics for the Social Sciences: Sexuality NSOC3006
Elizabeth Ziff
NEW Entrepreneurship, Risk, and Culture: Anthropological PerspectivesNANT3545

Ana Maria Ulloa
Our world is saturated with information generated through statistical analysis. We are bombarded with facts and figures from all areas of society. Learning how statistics are generated and what the data mean is important for everyone, from quantitative researchers to consumers. This course is an introduction to such statistical analysis. Students learn the underlying theory of statistics and the mechanics of hypothesis testing, z-tests and t-tests, ANOVA, linear regression, and other concepts. In addition to learning how to execute these statistical functions, they use data from existing sources to develop their ability to engage with and critique statistical data. The class examines census data, the General Social Survey, data from political think tanks, polls compiled by media outlets, and data from scholarly articles. This term, the class learns how to respond to statistical data collection and presentation through an exploration of topics relating to gender and sexuality. By looking at such topics as the gender binary system, the use of data on sexually transmitted disease and sexual health, and variations in sexual choice and lifestyle, students develop an understanding of how statistics are used on a daily basis to regulate and guide our gendered and sexual ways of life. This course satisfies application requirements for graduate school in psychology and other social sciences. (3credits) Identity and Contemporary Social TheoryNSOC3502
Aleksandra Wagner
Entrepreneurship is a practice central to capitalism, with a prodigious potential for improving economic conditions in almost any society by directly benefiting certain individuals while promoting development in society as a whole through the work of the invisible hand. Widely regarded as the engine of economic growth, the entrepreneur has become the most important player in the modern economyor so the story goes. Sociologists, economists, historians, and anthropologists have examined a variety of social conditions in which entrepreneurship arises, in both its individual and corporate forms, expanding our understanding of entrepreneurship along with its innate contradictions. We explore some of these forms of entrepreneurship by reviewing the most significant theories on the subject that have laid the groundwork for later analysis (Schumpeter, Weber, Knight), and discussing ethnographic cases in which innovation, rationality, uncertainty, luck, migration, and ethnicity play an important role in defining entrepreneurship as an ethos and a practice. Students are expected to participate actively and complete a small ethnographic project. The major assignment for the course is a group project documenting an entrepreneurial activity in New York City. (3credits) Cultures of MadnessNANT3639
Victoria Malkin
Social theory, both classical and contemporary, has always wrestled with the issue of identity, seeking to interpret and explain the social processes and political struggles through which individual and collective identities are constructed. Since the dawn of modernity, the question of human identity who we are as individual and collective beingsis no longer seen as fixed or stable. We begin with a discussion of self-identity in late modernity and then explore three theoretical frameworks that deal with identity as a social and cultural construction. We analyze the concepts of class and status in classical social theory, discuss theories exploring the production of collective identities within social movements, and examine the way feminist thought addresses the categories of women and gender and the complexities of identity politics. (3credits) Documenting Culture: Anthropology in PracticeNANT3101
Gustav Peebles
Why do we do the things we do? Why do we feel the things we feel? Can any behavior truly be labeled crazy? Through a mix of readings, this course introduces concepts, theories, and methods related to the study of culture and human behavior. In this era of globalization, where contact between people from different lands and cultures is more the norm than the exception, it is critical to understand the role culture plays in personal decision making, group belief systems, and culture-bound expressions of suffering. Texts exploring the anthropology of psychology and medicine provide a framework for understanding the intersection of culture and interpretations of irrationality and abnormality. (3credits) NEW Media, Health, Culture, and Social ChangeNANT3520
Sheena Nahm
ONLINE
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 various theoretical, methodological, and ethical critiques of ethnography, and finally surveying a range of new ethnographies. (3credits)
What happens when media, in all their diverse forms, take on the issues of health and social change? We examine the way health and media are both constructed from and interpreted within cultural settings. Focusing on examples from television, film, and new media, we discuss a range of illness narratives, including ones involving eating disorders, cancer, depression, and AIDS. We explore questions central to medical anthropology and the anthropology of media, such as: How is medical knowledge produced and imagined? What is the relationship between the real and the virtual when online communities spill offline and vice versa? How does social context influence conceptions of risk, crisis, and hope? Do different media cultures produce different articulations of disease? Students learn to consider biological phenomena from a cultural perspective, with special attention to the way they are reinforced or countered by media. The class also looks at the use of public space to discuss medical views of illness. In the process, we explore social, historical, and cultural views of media as an avenue for social change. (3credits)
ONLINE
This logo indicates that the course is offered online. See page 75 or visit the website at www.online.newschool.edu for more information.
16
SOCIAL SCIENCES
Sociology of ForgivenessNSOC3850
Aleksandra Wagner
PSYCHOLOGY
Fundamentals of PsychologyNPSY2001
Catherine Mindolovich
Forgiveness is a subject receiving considerable worldwide attention in our time. It embodies problematic relations of history, memory, and justice and difficult distinctions, such as those between the criminal and the crime and between forgiving and forgetting. Through a multidisciplinary discussion of what forgiveness consists of, who can forgive, and under what circumstances forgiveness can occur, we treat forgiveness as a critical framework through which to view many complex problems in the contemporary world. The primary text is Considering Forgiveness, an anthology in which social theorists, artists, and critics discuss the status of forgiveness in contemporary discourse. (3credits) NEW Economic and Social ExclusionNSOC3500
Maria Manzano-Munguia
ONLINE
B 15 weeks, Aug. 29 thru Dec. 19. Noncredit tuition $650.

Lisa Rubin
ONLINE
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. (3credits) Original Sources: Landmark Studies in the History of PsychologyNPSY3045
Celesti Colds Fechter
ONLINE
This course explores theoretical and practical aspects of social and economic exclusion. The overall goal is for students to understand the construction of the philosophical and political bases of exclusion. In particular, we examine structural constraints (involving education level, social class, gender, age, and other factors) that favor social and economic exclusion in multiple settings. The skills and perspectives explored in this course will prove useful to students as professionals, citizens, and community members, regardless of their career path. (3credits) Urban Homelessness: Civic Engagement and Activism in the CityNSOC3786
Jrgen von Mahs
ONLINE
We study the multifaceted problem of urban homelessness through service learning, which involves field experiences within an academic framework working with service and advocacy organizations in New York City. Online coursework includes discussion of the nature, extent, and causes of homelessness as well as social and policy responses. Students are also required to volunteer onsite with one of two New York City-based homeless service and advocacy organizationsthe Coalition for the Homeless and Women in Needperforming 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. (3credits)
Although there is variation in psychologists must-read lists, a few classics are always cited: oldies but goodies such as Milgrams study on obedience and Zimbardos prison simulation, which have attained star status and, a generation after they were conducted, continue to inform us about human behavior. We read Bandura and Ross frequently cited study of childrens imitation of violent behavior, Freuds very engaging Little Hans case study, Watsons somewhat troubling Little Albert case study, and Harlows 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. (3credits) Theories of PersonalityNPSY3401
Anna Elise Odom

Kristin Nelson
ONLINE
This class introduces theories of personality through readings of primary texts by major theorists. We begin by examining the groundbreaking research of Sigmund Freud and his theory of personality development and the unconscious. We then read modern Freudians, from John Bowlby and Margaret Mahler to Erik Erikson and Heinz Kohut. We look at Melanie Klein and the British Middle Group, particularly Donald Winnicott. We consider interpersonal and relational theories that stress not only the inner mind but the interactional self. We conclude with current research from feminism, sociology, and genetics. Throughout, we discuss personality as an intersection of factors including subjectivity, biological inheritance, personal history, and culture. We question the idea of a normal personality and study the way each theorist defines the abnormal or pathological. We also draw on cultural and clinical texts to illuminate these theories and the relevance of psychoanalysis to art and other cultural practices. (3credits)
There are biographical notes for most teachers beginning on page 86.
17
SOCIAL SCIENCES
Introduction to Abnormal PsychologyNPSY3501

Shira Schuster
ONLINE
Cross-Cultural PsychologyNPSY3345
Laurie Paul
Using a multitheoretical model of psychopathology, students explore basic contemporary and historical conceptions of abnormal behavior. Students are introduced to the current classification system of mental disorders, The Diagnostic and Statistical Manual (DSM-IV-TR), and consider its strengths and weaknesses in an increasingly complex field. Psychodynamic, cognitive, humanistic, and sociocultural approaches to the major Axis I and Axis II disorders are presented. The class employs critical thinking to examine controversies in the field on classification, assessment, and treatment of mental illness. (3credits) Introduction to Social PsychologyNPSY3301
Allison Splaun
ONLINE
Traditional theories of psychology, developed primarily by Western Europeans and North Americans, are based on the unexamined assumption that all human behavior can be explained by a single worldview. However, recent research has demonstrated that despite certain universals among human societies, norms in non-Western societies may differ from those in Western Europe and North America. In this course, students learn to make distinctions between behaviors exhibited by all humans, like the use of language, and culturally determined behaviors. To that end, the class explores the influence of culture on perception, cognition, education, individual and social behavior, expressions of physical and mental illnesses, and self-perception. (3credits) Statistics for the Social Sciences: SexualityNSOC3006
Elizabeth Ziff
What role does social influence play in our lives? How do we form stereotypes? A series of lectures and films introduce the perspectives and research methods of social psychology. The class also learns to analyze social situations and events encountered in everyday life. Topics discussed include social cognition; self-perception and self-esteem; perceptions of others, attitudes, and persuasion; stereotypes, prejudice, and discrimination; intergroup conflict, obedience, and conformity; aggression and altruism; and human relationships and attraction. The class closes by considering how we participate in the construction of social realities. (3credits) Developmental PsychologyNPSY3256
Kelly Bolger
See page 16. (3credits) The Psychology of Attachment: Parent and ChildNPSY3213
Harry Lewis
How do people grow and change through life, from conception to death? This course introduces the field of human developmental psychology. Topics addressed include the characteristics and capacities of the human infant, infant-parent attachment and interaction, cognitive development, control of emotions, social cognition, family and peer relationships, moral development, and aging. We consider both biological and cultural influences and explore controversies in the field of lifespan developmental psychology. Students learn about the research methods developmental psychologists use to ask and answer questions about change and stability across the course of an individuals life. (3credits) Evolutionary PsychologyNPSY3870
Gina Turner
This course explores pioneering scientific research in child development, particularly the models developed by John Bowlby and Daniel N. Stern. Bowlbys 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 Sterns 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. (3credits) Gender Stereotypes, Prejudice, and Discrimination NPSY3390
Laura Stephens
ONLINE
Evolutionary theory suggests that the behavior of animals, including humans, is shaped by biological drives like survival and reproduction. These drives influence the way we interact on both the personal and the cultural levels. In addition, culture itself has imperatives that exert pressures on human behavior. Evolutionary psychology looks at how the culture we live in can be as much of a factor in human development as the genes we 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. (3credits)
At birth, most of us are introduced to the concept of gender: Its a girl! or Its a boy! In this course, we critically examine the use of gender categories to describe and understand human beings. We explore how gender stereotypes arise and operate in the minds of individuals, the role of the media in forming and perpetuating stereotypes, and techniques for combating prejudice and sexism. Reading contemporary theories and experimental studies in social psychology, we attempt to defuse gender stereotypes reinforced in our society. We also consider the interaction between gender and culture, as well as the subjective experience of the perceiver and the perceived. Basic knowledge of social psychology is assumed. (3credits)
Is your schedule tight? There's a list of courses by start date and time on page 95.
18
SOCIAL SCIENCES
Dimensions of NarcissismNPSY2446
A 15 sessions. Thurs., 10:0011:50 a.m., beg. Sept. 1. Noncredit tuition $650.
Patricia Simko
Introduction to Social WorkNPSY3850

Michele Frank
Who do you think you are? Why do you think so? The study of narcissism, which occupies center stage in psychodynamic theory today, focuses on the earliest experiences of the self, on the ways in which the image and perception of self are formed. Our concepts of self are formed early in life, through interactions with caregivers. During this time, our psychic task is to lay the groundwork for essential human experiences: a sense of belonging, a fundamental sense of safety, a healthy sense of adequacy and self-esteem. The results have dramatic implications for the emergence of personality as well as the unfolding of our unique world. The emphasis in this course is on understanding the emergence of self. The theories of object relations and narcissism are studied, with special attention to the narcissistic emotions of rage, shame, emptiness, elation, isolation, fragmentation, and loneliness. (3credits) Terrorism and Psychic TraumaNPSY3861
Warren E. Spielberg
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. (3credits) 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.
The psychic lives of individuals and communities are intimately connected. Historical traumas like war, slavery, genocide, and mass poverty may impair the ability of families and institutions to support individuals development of a healthy identity. Individuals who have suffered severe psychological damage from historical traumas like genocide or occupation may be unable to function constructively or fully in social life. This course examines the often hidden relationship between history and psychological function. We take as case studies the impact of slavery on the psychological functioning of African-Americans, the Israeli occupation on the Palestinian psyche, the memory of the Holocaust and continuous war on Israelis, and 9/11 on the American psyche. Our inquiry incorporates materials from clinical work in the fields of negotiation and psychopolitical dialogue. (3credits) The Psychology of DreamsNPSY2444
Patricia Simko
From earliest times, dreams have been interpreted as our attempt to make sense of our inner and outer worlds. We dream for many purposesto resolve a problem, to gratify a wish, to relive an event, to give expression to our emotions. What all dreams have in common is the depth of their message, for dreams come from the most profound part of the self. In dreaming, we explore that mysterious part; we evolve and become. The class studies the history of dream theory, with a focus on 20th-century psychoanalytic theories of dream formation and analysis (Freud, Jung, Erikson, Kohut). We also explore the creative expression of the self through dream interpretation and work together on understanding ourselves and growing through our dreams. (3credits)
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.
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HUMANITIES
HUMANITIES
Art and Music Cultural Studies Literature Philosophy and Religion
FOR COURSE ADVISING, CALL 212.229.5961. w w w. n e w s c h o o l . e d u / c e / h u m a n i t i e s Carolyn Vellenga Berman, Chair
Special Art in Special PlacesNARH0720

A 6 sessions. Tues., 1:303:30 p.m., beg. Sept. 20 (meeting alternate
weeks). Noncredit tuition $290. Elaine R. Werblud
This course introduces students to the artists art world. The class visits exhibitions, artist studios, 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. Class meets off campus biweekly. Please provide accurate contact information when registering in order to receive confirmation of class meeting locations. (noncredit) Survey of Western Art 1NARH2002
Valerie Mendelson
Great works of art, literature, and music, along with profound philosophical thought, have the capacity to bridge ages, languages, and cultures. The study of cultural works in the context of their own time and place, as well as ours, 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 skillscritical reading, attention to detail, and analytic writingthat are useful in all walks of life.
O P E N H O U S E N I G H T AT T H E N E W S C H O O L Tuesday, August 16, 6:008:00 p.m., 66 West 12th Street To learn more about our humanities 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 212.229.5961.
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. (3credits) NEW Collage: Origins and Development of a Modern MediumNARH3734
Matthew Guy Nichols
ART AND MUSIC Art and Architecture

The Art of Viewing Art: Learning from Current ExhibitionsNARH0010
A 15 sessions. Thurs., 1:002:50 p.m., beg. Sept. 1. Noncredit tuition $650. Credit students must register for NARH3010, below.
John Zinsser
Pablo Picasso and Georges Braque coined the term collage around 1910 for some of their early experiments with cubism. Since then, collage has remained a vital part of modern and contemporary art. We examine the 100-year history of this medium and its deployment by artists associated with cubism, dada, surrealism, Beat culture, pop, and the Pictures Generation of the 1980s. Readings address the various functions of collage: as formal innovation, political statement, critique of mass media, and expression of cultural hybridity. Student presentations and final papers examine the collage-based practices of several contemporary artists. (3credits) Art of the 1960s and 1970sNARH3729
Paula Stuttman
Learn to use the citys galleries and museums as your classroom. Each week, students are assigned to visit a different exhibition. The lecture that follows investigates that shows 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 ExhibitionsNARH3010
A 15 sessions. Thurs., 1:003:50 p.m., beg. Sept. 1. Credit students only.
John Zinsser
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 Yorks thriving art scene and The New Schools own art collection serve as resources. The final assignment is a proposal for a curatorial project of the students own design. (3credits)
Same as NARH0010, but class sessions continue one hour longer for credit students. (3credits)
20
HUMANITIES
Ways of Looking: Interpreting Cities and SpacesNARH2800

Margarita Gutman
Music History and Criticism

Music, Women, and GenderNMUS3591
Sonya Mason
To fully experience and understand city life, one must see the richness of urban shapes and spaces. This foundational course examines cities and spaces through the prism of the eye, focusing on the interpretation of visual representations of change and continuity in the context of urban history and urban theories. Through images, graphics, maps, photos, films, and paintings, the layers of shapes, spaces, cultures, functions, and symbols condensed in the contemporary city are explored. Visual examples are found in Barcelona, Mexico City, and New York City. In consultation with the instructor, students, working individually and in groups, select themes and approaches in different cities, applying categories of urban analysis and visual representation to understand the historical origins of contemporary urban challenges and expectations for the future. Students learn to recognize categories of visual representation and analyze landscapes, infrastructures, and architecture. (3credits) Building the Modern City: The History of Urban Planning from 1850 to 1945NARH3872
Emily Bills
ONLINE
Rather than adding a list of long-forgotten matriarchs to our historical roster, modern feminist-based musicology has sought to understand the effects of gender and sexuality within a larger cultural and political framework. It seeks not to provide new histories, but to add to the understanding and appreciation of great music through context and the social codes of the language of music. This course traces important female musicians, from the spiritual Hildegard von Bingen in the Middle Ages through the indomitable Cosima Wagner to current leading ladies such as Madonna and Bjrk. We examine many of the scholars and critics currently at the forefront of this field of inquiry. (3credits) NEW The Art of OperaNMUS2530
Aaron Girard
ONLINE
The impact of the Industrial Revolution on the rise of the modern city inspired many planners to rethink how urban spaces might be shaped to provide a more egalitarian metropolitan experience. These efforts motivated reforms in living conditions, inspired new types of transportation infrastructure, and spotlighted colliding attitudes toward urban or suburban living. This course explores such issues through a survey of the major contributions to modern city planning in Europe and the United States from about 1850 to 1945, paying particular attention to widely influential projects developed by key urban thinkers. Through discussions of lectures, posted images, and assigned readings, students become familiar with topics such as Grand Manner planning, the City Beautiful and Garden City Movements, Camillo Sittes artistic city, and the modern strategies of Le Corbusier and Frank Lloyd Wright. (3credits) NEW Art and the CityNHIS3815
Julia L. Foulkes
How does the unique marriage of music and drama in opera arouse such passions in viewers? This course provides a contextual understanding of the history of European opera from the 17th century to the present. We study diverse works: Mozarts Le Nozze di Figaro, Puccinis Madama Butterfly, Wagners Parsifal, and Adams Nixon in China. We explore themes and figures ranging from Orpheus to Figaro, nationalism to exoticism, and nostalgia to leadership. We study the repertoire through recordings, readings, lectures, and discussions. Access to the Metropolitan Operas online archive allows students to experience operas multimedia pageantry in full. No prior knowledge of music history or theory is required. (3credits) America Sings: From Cole Porter to Stephen Sondheim NMUS3560
Marc Peloquin
See page 12. (3credits)
This course explores the diverse world of American song. Major composers studied include Cole Porter, George Gershwin, Irving Berlin, Leonard Bernstein, and Stephen Sondheim. We examine their lives and their stylistic development. The course includes frequent in-class performances by the instructor and guest vocal artists, as well as periodic use of film excerpts to highlight various songs and their composers. Critical and biographical readings provide students with the necessary foundation for a thorough examination of this extraordinary subfield of American music history. (3credits) Jazz and American Culture NMUS3630
John E. Halsey
What are the historical roots of jazz, and how has it affected modern dance, film, and the Broadway musical? Jazz emerged from the fusion of European and West African music that occurred in the United States and Caribbean islands during the 18th and 19th centuries. It has since evolved into a major art form reflecting the contradictions and creative energy of American life in the 20th and 21st centuries. As the ultimate multicultural music, jazz continues to challenge assumptions regarding art and society. Studying jazz and American culture yields insights for both the music lover and the general student of American culture. This course includes performances by guest musicians, recordings and videotapes, and selected readings of critical literature. Visits to jazz clubs and concerts are arranged. (3credits)
For help in interpreting course descriptions, see chart on page 102.
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HUMANITIES
CULTURAL STUDIES
NEW Introduction to Performance StudiesNHUM2035
Ricardo Montez
Performing Gender: Paris in the Roaring TwentiesNHUM3035

Terri Gordon-Zolov
ONLINE
This course offers an overview of the interdisciplinary field of performance studies. From its origins in anthropological examinations of ritual to contemporary conversations about the performance of identity, performance studies has provided a new way to analyze art and the social world. In this course, we consider how primary performance termssuch as script, rehearsal, embodiment, and choreographyoffer a rich conceptual framework for understanding the performance of everyday life. Exploring a wide range of performance practices and critical methodologies, the course is ideal for practitioners and scholars of art as well as students interested in cultural studies and media. Discussion topics include ritual in everyday life, language and performance, performance ethnography, liveness, activism and performance, the fetish as performative object, and the performance of race, gender, and sexuality. (3credits) NEW Jews and the CrusadesNHUM3505
Gina Luria Walker
The Jazz Age in Paris was, in the words of Maurice Sachs, the decade of illusion. It was the era of dancings, le bal ngre, Mistinguett, the Charleston, Josephine Baker, and jazz; it was the era of Cocteau, Picasso, Man Ray, Kiki, and the Russian ballet; it was the era of Paul Poiret, Coco Chanel, and the flapper. This course provides a cultural overview of Paris in the Roaring Twenties, with a focus on the representation of women on stage and in literary texts. Our study includes surrealist art and literature, avant-garde film, performance art, jazz, and cultural criticism. We examine a number of paradigms that arise in the literature of the period, from the New Woman to the female phantom to the machine woman to the Black Venus. We pay close attention to both primary sources and cultural reception. Slides of art and lithographs of the period are shown. Readings include Hemingways A Moveable Feast, Colettes Cheri, Bretons Nadja, Djuna Barnes Nightwood, and Langston Hughes poetry. There is a creative role-playing component to the course as well. (3credits) NEW Modern HorrorNHUM3113
Joshua A. Gaylord
In this course, we consider new scholarship examining the experience of the Jews in medieval Europe. From the 11th to the 13th century, European Jews were caught up in cycles of ideology and popular violence. Anti-Semitism became an official force when so-called blood libels led to massacres of Jewish communities. Persecution of Muslims and heretical Christian sects like the Albigensians in Southern France intensified in the same period. We read original sources, including accounts by individual Jews, Muslims, and heretics of encounters with crusaders and one another and recent commentary documenting the emergence of intercommunal diplomacy, cross-cultural toleration, and surprising alliances. Readings include Robert Chazan, Reassessing Jewish Life in Medieval Europe; Christopher Tyerman, Gods War: A New History of the Crusades; and Amin Maalouf, The Crusades Through Arab Eyes. (3credits) The Gay Science: The Legacy of the TroubadoursNHUM3094
Yunus Tuncel
Frequently overlooked as a literary and cinematic genre, horror stories often present compelling depictions of cultural anxieties: xenophobia; fear of female power, of government and institutions, and of isolation and death; self-loathing and body horror. This course explores the conventions of and innovations introduced by the horror genre in literature, film, and television. We begin by tracing the evolution of the horror narrative from the seminal text Dracula to the present, with a focus on the genres 20th-century preoccupation with female rage. Books read may include The Haunting of Hill House (Shirley Jackson), The Wasp Factory (Iain Banks), Carrie (Stephen King), the stories of H.P. Lovecraft, and the fairy tales of the Brothers Grimm. We also study films and television, including The Thing (1982), Videodrome (1983), Dawn of the Dead (1978), Ginger Snaps (2000), Buffy the Vampire Slayer, and Twin Peaks and graphic novels like The Walking Dead. (3credits)
HOW TO REGISTER
This course explores the gay science in literature, from its origins in the poetry of the troubadours to contemporary literature. Readings begin with 12th-century Provenal poets who cultivated courtly love, as opposed to the love of God, a transposition of values that the Church found blasphemous. While examining the historical context of troubadour culture, we study the primary themes in their poetry: the conception of love, the complaint of the lover, womens role as equal partners, and religious issues. The decline of troubadour culture coincides with the Albigensian Crusade of the 13th century. We see how the spirit of the troubadours lived on in succeeding generations of poets and writersin the poetry of Dante and Petrarch and the works of modern authors like Stendhal and Nietzsche. The term gay science, which is borrowed from the Provenal literature, has a significant place in Nietzsches philosophy. After exploring Nietzsches development of the philosophy of the gay science (die frhliche Wissenschaft), we examine 20th-century literature to see how the spirit of the troubadours survives in contemporary society. (3credits)
BY FAX
22
HUMANITIES
LITERATURE Literary Traditions

Introduction to Literary StudiesNLIT2001
Frances Chiu
ONLINE
History of British Literature 2: From Romanticism to ModernismNLIT2202

Abigail Burnham Bloom
ONLINE
This survey of major works of British and American literature is designed to make the reading of serious literature accessible and enjoyable. We explore a variety of genres, including the narrative poem, novel, short story, and drama. We begin with Shakespeares tragedy King Lear and Swifts biting satire A Modest Proposal. We then examine the Romantic period, represented by William Blakes illuminated poetry and Austens Pride and Prejudice, before venturing into Wildes comedy of manners, The Importance of Being Earnest. Crossing the Atlantic, we look at works of 19th- and 20th-century American literature, including Nathaniel Hawthornes The House of Seven Gables, selections from Walt Whitmans Leaves of Grass, and Zora Neale Hurstons Their Eyes Were Watching God. Special attention is paid to narrative strategies from plot structure and characterization to imagery, theme, setting, style, and tone. (3credits) Ten Plays That Shook the WorldNLIT3802
Justus Rosenberg
The years from the publication of Lyrical Ballads by William Wordsworth and Samuel Taylor Coleridge (1798) to the publication of T.S. Eliots The Waste Land (1922) were arguably the most inventive period of creative literature the English-speaking world has ever known. This course examines that epoch, including the great Romantic poems of Wordsworth, Coleridge, Byron, Shelley, and Keats, as well as Mary Shelleys Frankenstein; the Victorian poets and essayists who brought the world to the brink of the modern; and modern fiction by Lawrence, Woolf, and Joyce. We consider questions of identity and the gendered individuals place in societyor disillusionment with societyas we read these canonized authors and consider others who may be less familiar. (3credits) Life Writing and MemoirNLIT3874
Herbert L. Sussman
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 Shakespeares Hamlet and Goethes Faust. Continuing into European modernism, we read Chekhovs Uncle Vanya, Ibsens A Dolls House, and Strindbergs Dance of Death. Finally, we examine the radical currents in Brechts Mother Courage, Ionescos The Bald Soprano, and Becketts Waiting for Godot. (3credits) All the Worlds a Stage: A Survey of ShakespeareNLIT3210
Nicholas Birns
ONLINE
The writing of ones own life has in our time gained in both popularity and attention. We consider life writing in a number of forms, including memoir, autobiography, and fictionalized autobiography, each a creative way of shaping the narrative of a life. We read a variety of works covering a wide range of experiences, from a personal battle with madness to survival in a concentration camp to discovering the structure of DNA. We pay close attention to narrative form and to ethnicity and gender. We read Virginia Woolf, A Sketch of the Past; Ernest Hemingway, A Moveable Feast; Primo Levi, Survival in Auschwitz; The Autobiography of Malcolm X; Edmund White, A Boys Own Story; Sylvia Plath, The Bell Jar; Jack Kerouac, On the Road; Mary Karr, The Liars Club; Maxine Hong Kingston, Woman Warrior: Memoirs of a Girlhood among Ghosts; and James Watson, The Double Helix. The class chooses one or more additional memoirs for reading and discussion. Assignments include critical writing and the option of trying ones own hand at writing a memoir. (3credits) European Short Stories and NovellasNLIT3426
Justus Rosenberg
What do Shakespeares plays reveal about Shakespeare, about us, and about our cultural inheritance? This in-depth look at Shakespeare shows how a writer revolutionized English drama and ultimately became a central figure in world literature. Taking full advantage of online resources, we study how Shakespeares cultural environment and literary inheritance contributed to the flourishing of his singular genius. We read one play from each of the major genres: English history (Richard III), Roman history ( Julius Caesar), comedy (As You Like It), problem plays (Measure for Measure), tragedy (Hamlet), and romance (A Winters Tale). We also read some of his incomparable sonnets and his enigmatic poem The Phoenix and the Turtle. In addition, we study prominent critics who have pivotally changed what Shakespeares plays mean for us: Samuel Johnson, A.C. Bradley, Harold Bloom, Stephen Greenblatt, and Marjorie Garber. We look particularly at the way Shakespeare handled genre: How did he innovate beyond the Greeks, writing plays that cannot be pigeonholed as tragedy or comedy? (3credits)
This course offers an in-depth study of the difference between the short story, which is built on figurative techniques closely allied to those employed in poetry, allowing the writer to achieve remarkable intimacy and depth in a few pages, and the novella, which demands the economy of a short work while allowing fuller character and plot development. We explore the range and scale of the artistic accomplishments of such masters of these genres as Guy de Maupassant, Leo Tolstoy, Anton Chekhov, Heinrich von Kleist, Sholem Aleichem, Bertolt Brecht, Thomas Mann, Isaac Babel, Anatole France, Albert Camus, Franz Kafka, Colette, and Jorge Luis Borges. Students who can read in the original languages are encouraged to do so. Audiovisual materials are used to illuminate some of the texts. (3credits)
23
HUMANITIES
Essential American PoetryNLIT3303

Sharon M. Mesmer
ONLINE
Topics and Authors

NEW Other Worlds: Science Fiction and Discourses of AlterityNLIT3530
Ricardo Montez
This course introduces the major figures, schools, and movements of American poetry, with special attention to the way each reacted, in theory and practice, to what came beforefor example, why the New York School Poets followed the Beats and why the Beats followed the Confessional Poets. The emphasis is on how the European cultural and political climate affected American poets: how World War I and modernism prefigured the fragmentation of Gertrude Stein and Wallace Stevens, just as globalism and its conflicts are introducing new voices and issues into American poetry today. (3credits) Twentieth-Century French LiteratureNLIT3421
Nolle Carruggi
ONLINE
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 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 Camuss The Stranger (1942), Sartres The Flies (1943), Durass The War: A Memoir (1985), Boris Vians Poems (1954), and Ernauxs A Womans Story (1990). Knowledge of French is not required. (3credits) Modern Arabic Narratives: Self, Society, and CultureNLIT3652
Nargis Virani
The development of science fiction as a literary genre is closely connected to the history of colonialism and anthropological projects documenting contact with so-called primitive cultures. We examine literary and filmic narratives involving other worlds, bodies, and technologies within this historical legacy. In particular, we discuss how science fiction writers explore systems of oppression while imagining new possibilities for political transformation. We explore literature vis--vis film and digital gaming, viewing the aesthetics of science fiction through a multimedia and interdisciplinary lens. From the pulp fiction of Amazing Stories to the crafting of the virtual in cyberpunk narratives, the material of the course explores the alien as political discourse and looks at the ways technological possibility fuels utopian and dystopian imaginaries. (3credits) Beyond Realism: Bertolt Brecht and the New Theater NLIT3436
Steven Milowitz
The reality of a colonial past and a postcolonial independent present has given rise to many new themes in Arabic literature. This course surveys responses to religious, political, cultural, social, gender, linguistic, and environmental issues in contemporary Egypt, Sudan, Lebanon, Syria, Palestine, Iraq, Saudi Arabia, and Algeria as reflected in modern Arabic fiction. Attention is given to the development of the novel, play, and short story as literary media that juxtapose themes of tradition and modernity, religion and secularism, anticolonialism and revolutionary discourses, and language and nationalistic ideologies, as well as war, emigration, poverty, alienation, childhood, education, freedom of expression, religion and politics, and changing gender roles. Readings includes works by Tayeb Salih, Naguib Mahfouz, Ghassan Kanafani, Abd al-Rahman Munif, and prominent women authors such as Assia Djebar, Hanan al-Shaykh, Sahar Khalifeh, and Alifa Rifaat. The course assumes no prior knowledge of the Arabic language or the Arab world. (3credits)
The dominant forms of theater, realism and naturalism, came under siege by Bertolt Brecht and his compatriots. Brecht was the catalyst for a new theater that eschewed realism and turned the old conventions on their heads, transforming the way a play is written, performed, and viewed. He and his artistic progeny have made us acutely aware of the expansive intellectual, political, and stylistic possibilities for theater in the postmodern world. That revolution had its core statement in Brechts essay A Street Scene, and it is with this that our study of this bracing new aesthetic begins. This course examines several challenging, absurd, hilarious, and always provocative works: The Threepenny Opera and Mother Courage and Her Children by Brecht, The Chairs by Eugene Ionesco, Offending the Audience by Peter Handke, Top Girls and Cloud 9 by Caryl Churchill, The Fever by Wallace Shawn, Via Dolorosa by David Hare, The Homecoming by Harold Pinter, Fires in the Mirror by Anna Deavere Smith, and Blasted by Sarah Kane. In addition, we read theoretical works such as True and False by David Mamet, Pleasure and Pain by Antonin Artaud, and Unmaking Mimesis by Elin Diamond. (3credits)
ONLINE
24
HUMANITIES
The Novel NowNLIT3560

Margaret Boe Birns
Dubliners NLIT3274
Margaret Boe Birns
ONLINE
In this course, we discuss major new novels, including recent literary finds and works by emerging novelists, award-winning writers, and authors with established reputations who are already considered central to todays cultural conversation. These novels have been chosen for their diverse and agile narrative strategies, their psychological acuity, and their courageous and insightful readings of contemporary societyfrom the punk rock scene to the tribulations of the newsroom to the perils of a seemingly simple suburban barbecue in Australia to the weird world of the near future in New York City. Readings include major authors from both the United States and abroad, especially those who challenge conventions and upset customary expectations for both style and content: Jennifer Egan, A Visit from The Goon Squad; Tom Rachman, The Imperfectionists; Nicole Krauss, Great House; Damon Galgut, In a Strange Room; Emma Donoghue, Room; Jonathan Franzen, Freedom; Christos Tsiolkas, The Slap; Gary Shteyngart, Super Sad True Love Story; Adam Ross, Mr. Peanut; Jaimy Gordon, The Lord of Misrule; David Grossman, To the End of the Land; and Jonathan Dee, The Privileges. (3credits) Henry David ThoreauNLIT3336
Andrew Rubenfeld
Dubliners is both an excellent introduction to James Joyce and a text that stands on its own as a classic short story cycle. Considered Joyces first masterpiece, this volume explores the everyday joys, sorrows, regrets, and confusions of Dublin people of Edwardian period. It has been recognized as containing some of the 20th centurys finest short fiction. Students read all 15 stories, beginning with stories of childhood and adolescence, moving on to prime-of-life stories of love, loneliness, marriage, and family, and ending with stories that describe arts, politics, and religion at the waning of one century and the dawning of another. We end with the masterwork novella The Dead, which gathers all the stories into a final epiphany, in Joyces own words, a sudden spiritual manifestation that opens the consciousness to truths that have been lingering in the air or in the psyche. This is an opportunity to study Dubliners in detail and from both naturalistic and symbolic perspectives, as both realistic prose and as enigmatic and emotionally layered poetry. (3credits) NEW Kafka: The Abyss of ExistenceNLIT3437
A
15 sessions. Thurs., 4:005:50 p.m., beg. Sept. 15. Noncredit tuition $650. Ernestine Schlant Bradley
No other American writer has voiced with such clarity and vigor the issues central to democracy in the United States as Henry Thoreaunotably the fundamental needs of the individual versus the conformist pulls of society. We begin with Walden, Thoreaus account of his life in the woods: a complex interweaving of philosophy and nature observation, social concern and introspection, myth and autobiography. It is a work that challenges American materialism and expansion by demonstrating how a life of simplicity and integrity is both essential and pragmatic. In The Maine Woods, the author returns to the themes of nature and civilization, providing insightful commentary on subjects ranging from the transcendental tonic of wildness to the lives of Native Americans. We conclude with several of Thoreaus eloquent and often impassioned essays on civil disobedience, the need for principles, the abolition of slavery, and the joys of walking. (1credit) Emily DickinsonNLIT3324
A 6 sessions. Thurs., 8:009:50 p.m., beg. Oct. 27. Noncredit tuition $290.
Andrew Rubenfeld
Franz Kafka gave voice to modern secular mans sense of alienation and uprootedness with an intensity that reached mythic dimensions. We study a selection of his texts as enactments of this human condition, trying to understand the universal appeal of these texts and identify the sources of the anguish. We read short stories including The Metamorphosis, The Judgment, A Hunger Artist, Report to an Academy, The Burrow, Investigations of a Dog, and Josephine the Singer or The Mouse People and aphorisms. We also read the autobiographical Letter to the Father and the novels The Trial and The Castle. (3credits)
From the vantage point of her world in 19th-century Amherst, Massachusetts, we follow Emily Dickinsons universal travels in the realms of love, death, friendship, society, nature, and God. Using The Complete Poems of Emily Dickinson as our guide, we examine such familiar works as Success is counted sweetest, Theres a certain slant of light, and I heard a fly buzzwhen I died as well as more intimate and enigmatic poems, such as I cannot live with you, I started earlytook my dog, and Wild nightswild nights! Although we cannot consider all 1,700 of her poems, we look at clusters around specific topics, notably the poets metrical debt to hymns, her relationship to transcendentalism, the use of various personae, and feminist approaches to her writing. An investigation of Dickinsons correspondence reveals the indistinct line between lyric and letter, each telling the truth but, as she says, telling it slant. (1credit)
25
HUMANITIES
PHILOSOPHY AND RELIGION

Critical Thinking and Informal LogicNPHI2610
Instructor to be announced
Aesthetics: An Introduction to the Philosophy of Art NPHI2830

Timothy R. Quigley
ONLINE
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. (3credits) Introduction to PhilosophyNPHI3100
Luis Guzmn
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. (3credits) Modern Political PhilosophyNPHI2125
Karsten Struhl
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. (3credits)
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. (3credits)
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MEDIA STUDIES AND FILM
Philosophy and ModernityNPHI3150

Bernard C. Flynn
Comparative ReligionsNREL2001
Laura S. Smith
There is currently much discussion of modernity and antimodernity connected to religious fundamentalism in both the Middle East and our own country. This course addresses the emergence of a self-consciously modern society and its relationship to philosophy conceived of as a self-reflective practice. We begin by considering the new concept of nature that emerged in the Renaissance with the beginning of modern science, and its impact on ethical and political philosophy. We then read selections from the works of Descartes, Spinoza, and Kant, as well as contemporary thinkers who have elaborated on the theme of modernity and its relationship to premodernity. The course concerns itself with issues that are germane to philosophy, political theory, and cultural criticism generally. (3credits) Twentieth-Century Continental Philosophy: Phenomenology, Existentialism, DeconstructionismNPHI3285
Timothy R. Quigley
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 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. (3credits)
In this course, we examine the basic themes and concepts of phenomenology developed by Edmund Husserl and Martin Heideggerconsciousness, 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. (3credits) Becoming Woman: Feminist Thought Since Simone de Beauvoir NPHI2202
Grace Hunt
With The Second Sex (1949), Simone de Beauvoir offered the first systematic description of the role and status of women within patriarchal society. Stating that we are not born but rather become women, she laid the groundwork for the current distinction between (biological) sex and (socially constructed) gender. In this course, we examine ways in which contemporary feminist thinkers have conceptualized the relationship betweenand the making ofsex and gender. That one is not born a woman (or a man, for that matter) but becomes one is a statement we scrutinize. We discuss ways in which thinkers such as Luce Irigaray, Judith Butler, and Rosi Braidotti tackle the question of how we are and how we become sexual beings. Is gender something we perform and hence can transform? Or is there an essential difference between women and men, one we should embrace rather than reject? Is there a relationship between gender and desire? How much do our bodies matter, and what is the role of language and other discursive practices in the making of sex/gender? And if gender is made, can it be unmade? Although no background in feminist philosophy is required for this course, students should be prepared to engage with theoretically challenging texts. (3credits)
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Media Studies Film Studies The Film and Media Business Screenwriting
FOR COURSE ADVISING, CALL 212.229.8903. w w w. n e w s c h o o l . e d u / c e / m e d i a s t u d i e s a n d f i l m Barry Salmon, Chair Vladan Nikolic, Director of Undergraduate Studies
Graduate Certificate in Documentary Media Studies This one-year intensive course of study integrates documentary history, theory, and social practice with documentary craft. Each student completes an original short documentary video. Credits are eligible for transfer to the Master of Arts in Media Studies after admission to that program. For more information, visit the website at www.newschool.edu/docstudies, call the Office of Admission at 212.229.5630, or email nsadmissions@newschool.edu. Graduate Certificate in Media Management This 12-credit course of study provides working and aspiring media professionals with a state-of-the-art education in the principles and skills they need to become leaders in the industry. Content includes an industry overview and media economics, information technologies, leadership and competitive strategies, and corporate responsibility. Credits are eligible for transfer to the MA in Media Studies after admission to that program. For more information, visit the website at www.newschool.edu/mmp or contact the Office of Admission at 212.229.5630 or nsadmissions@newschool.edu.
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 we still teach traditional filmmaking. We update our courses all the time to reflect the ongoing advances in the fields of film and media studies and production. Our mission is to help people understand and analyze modern communication and realize their personal vision in narrative, experimental, and inter-media forms. Courses can be taken for undergraduate credit or on a noncredit basis.
O P E N H O U S E N I G H T AT T H E N E W S C H O O L Tuesday, August 16, 6:008:00 p.m., 66 West 12th Street 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.
Certificate in Film Production The New School awards a certificate attesting to successful completion of a sequence of courses in which students master the art and craft of filmmaking. For more information, see Film Production in the following pages or at www.newschool.edu/ce/filmproductioncert. 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/ce/screenwritingcert. Master of Arts in Media Studies Since 1975, The New School has offered the Master of Arts in Media Studies in an innovative program that combines theoretical and practical understanding of media and their role in our rapidly changing world. For more information, go to www.newschool.edu/mediastudies. To speak to a counselor, call the Office of Admission at 212.229.5630 or email nsadmissions@newschool.edu.
HOW TO REGISTER
BY FAX
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MEDIA STUDIES
These courses enable students who wish to advance in almost any area of this wide-ranging fieldfrom documentary to Web-based projects, sites, digital design, and multimediato integrate media history, theory, and research with production work.
NEW SCHOOL MEDIA SHOWS Students have opportunities to exhibit their works-in-progress at open screenings and industry panels held several times a year. For more information or to enter a project, call 212.229.8903 or visit www.newschool.edu/mediastudies/film.
Persuasion and the Media NCOM3011

David Fractenberg
This course examines the contemporary critical and often intensely ideological debate over the power, influence, and partisanship of mass media in shaping American culture, politics, and economic and social life. We look at the technological development of mass media in 20th-century societies; the dynamics of mass-oriented propaganda and rhetoric in forming attitudes, beliefs, and values; broadcast and print media as venues for political empowerment; the use of mass media in dictatorial and democratic regimes; the shaping of the acquisitive-consumptive lifestyle and the mentality of possessive individualism; advertising and public relations; and Web-based forms of persuasion. (3credits) Whose Story Is It? Media in Developing CountriesNCOM3022
Melanie Beth Oliviero
ONLINE
Introduction to Media StudiesNCOM3000

A 15 sessions. Tues., 6:007:50 p.m., beg. Aug. 30. Credit students only.
Natasha Chuk
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. (3credits) Writing Across MediaNCOM3241
Carol Dix
ONLINE
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. (3credits) NEW Media, Health, Culture, and Social ChangeNANT3520
Sheena Nahm
ONLINE
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 writers 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 applied in different kinds of media. (3credits) NEW The Viral Media LabNCOM3005
Kathleen Sweeney
See page 16. (3credits) Imaging: Communication in the Era of the BrandNCOM3112
Deanne Torbert Dunning
This collaborative course explores the origins of social media viruses. We view and discuss trends in media consumption, sloganeering, and fashion. We trace the history of online advertising, YouTube videos, and Twitter and discuss the role of gossip and word of mouth in creating viral media. We read works by Malcolm Gladwell, Rob Walker, Clay Shirky, Deanna Zandt, Danah Boyd, Elinor Ostrom, and Yochai Benkler to gain an anthropological understanding of human interactivity. We define memes, shareware, and other features of the ever-evolving technology landscape in which messages live out their cycles of influence. Throughout the course, students maintain a blog/response log for assignments. For final projects, students can choose either to write a research paper on a topic relating to viral media, social media, or memes or to produce their own viral media video, photo series, or message campaign. (3credits)
In our culture, controlling image is essential for success. Its 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 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. (3credits)
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Social Media MashupNCOM3305

Josephine Dorado
ONLINE
Music as CommunicationNCOM3050
Jean Oliver-Cretara
ONLINE
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 a cohesive cultural fusion. (3credits) Fake News, Politics, and Popular CultureNCOM3219
Karen Kramer
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 Marleys 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. (3credits) The New Phonographers: Sound of DocumentaryNCOM3485
Suzanne Snider
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. (3credits)
Radio shows like This American Life and Radio Lab have given rise to a new wave of audiophiles. But a rich history predates these shows, from fireside chats to radio ballads. What qualities make sound and the audio experience different from film and print? How do sound artists choreograph the physical experience of sound to make the listening experience private or public, solitary or communal? By listening to and studying the work of Alan Lomax, Foley artists, and phonographers from the burgeoning field of acoustic ecology, we attempt to answer these questions and to push the medium forward. We capture new sound and rescue old (archived) sound, with additional consideration of oral history, vox pops, sound installation, and audio tours. Finally, students work on their own documentary projects using source material ranging from original interviews to answering-machine tapes. These projects may be conceived as radio doc, doc film, or sound installation, depending on students interests. (3credits)
ONLINE
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Media Production
Media Production Concepts NFLM3516
Lauren Petty
Editing with Final Cut ProNFLM4627

A 15 sessions. Thurs., 6:008:40 p.m., beg. Sept. 1. Noncredit tuition $1,440.
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. (3credits) Digital Video ProductionNFLM3700
A 15 sessions. Tues., 6:008:40 p.m., beg. Aug. 30. Noncredit tuition $1,440.
Michele D. Beck
In this independent DV era, the use of digital video setups at home gives filmmakers an economical and time-efficient way to edit their films. Creating transitions, filters, titles, layered audio, and multiple versions has never been simpler. This course offers a technical introduction to postproduction using Final Cut Pro on Macintosh computers. Using their own existing film or video footage, students learn techniques for organizing footage, capturing and editing picture and sound, and outputting to a DV tape. Note: This course is not intended for students completing a 16mm film project. Students must bring digital video footage ready to edit and a firewire drive to the first session. (3credits) Introduction to Digital DesignNDIG3200
A 15 sessions. Mon., 6:008:40 p.m., beg. Aug. 29. Noncredit tuition $1,070.
David Arcos
B 15 sessions. Tues., 6:008:40 p.m., beg. Aug. 30. Noncredit tuition $1,070.
Ira Robbins
With digital cameras and computer editing equipment widely accessible, the possibility of creating engaging, professional-quality moving images is within virtually everyones reach. This is an exciting and powerful form of expression, but knowing how to use the tools isnt enough to enable you to create a coherent and articulate video project. This course can help artists in any genre create works that are both technically and conceptually sound. Students work toward this goal by learning Final Cut Pro and using it to experience the power of editing as creative expression. They are also introduced to production techniques, 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. (3credits) Documentary Production WorkshopNFLM3715
A 15 sessions. Wed., 6:008:40 p.m., beg. Aug. 31. Noncredit tuition $1,440.
Leslie McCleave
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. Taught on the Macintosh platform. (3credits) Fundamentals of Web DesignNDIG3210
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. (3credits) Digital Motion DesignNDIG4003
Thomas Reed
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. (3credits)
Limited to 14. How often do we see only a still image on screen? Photographs, illustrations, and text are commonly 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. (3credits)
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FILM STUDIES
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 nsadmissions@newschool.edu.
NEW SCHOOL FILM SHOWS Students have opportunities to exhibit their works-in-progress at open screenings and industry panels held several times a year. For more information or to enter a project, call 212.229.8903 or visit www.newschool.edu/mediastudies/film.
Introduction to Cinema StudiesNFLM2400

A 15 sessions. Mon., 6:0010:00 p.m., beg. Aug. 29. Noncredit tuition
$650; includes screening series below. John Freitas
Certificate in Film Production 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. The sequence consists of four production courses using 16mm film and/or digital media leading toward 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 The Art of Film Editing or Editing with Final Cut Pro 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 AZ. There is no formal admission process for the certificate program, but students must enroll for certificate status when registering and pay the certificate registration feecertificate 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 L M 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 OPEN HOUSE Tuesday, August 16, 6:008:00 p.m., at 66 West 12th Street 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.
Some scholars have suggested that because its 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 cinemas own languagethe 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 makes 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 anothers reactions to todays commercial cinema. (3credits) Cinema Studies Screening SeriesNFLM0400
A 15 sessions. Mon., 8:0010:00 p.m., beg. Aug. 29. Noncredit tuition
$145. 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 FilmNFLM3411
Hlio 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 mediummise-en-scne, cinematography, editing, soundas 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. (3credits)
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Movements in World Cinema Part 1: The Emergence of an Art FormNFLM2500

Michelle Materre
ONLINE
NEW Political Hollywood: American Cinema of the 1960s and 1970sNFLM3467

Maya Montaez Smukler
ONLINE
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 films 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 ones 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. (3credits) Literary Cinema: The Art of AdaptationNFLM3447
A 15 sessions. Thurs., 6:0010:00 p.m., beg. Sept. 1. Noncredit tuition $650; includes screening series below.
David N. Meyer
The late 1960s and 1970s were a period in American cinematic history when commercialism and creativity joined forces to produce a unique set of artistically innovative and socially engaged works. These films helped revitalize the domestic movie industry and aroused national cinephilia. In this course, we examine how Hollywood industry, motivated by profit, mobilized the social and political debates of the era to create narrative content targeting new mass audiences. We study films that interpreted controversial issues like the Vietnam war, changing sexual mores, political corruption, and protest and identity politics. Aesthetic trends, cultural influences, economic and technological conditions, and the state of the industry during the period inform our discussions. We critically engage with the ways Hollywood, as well as film studies and cultural memory, construct mythologies of history. Topics covered include the drug culture and counterculture (The Trip, 1967), anti-establishment sentiment (Putney Swope, 1969), student protest (Student Nurses, 1970), environmentalism (The Omega Man, 1971), interracial romance (The Landlord, 1970), political assassination (The Parallax View, 1974), womens roles (The Stepford Wives, 1975), and labor struggles (Norma Rae, 1979). (3credits) NEW The Art and Industry of American Independent FilmNFLM3466
Anthony Kaufman
ONLINE
How do you make a good book into a good film? This course explores the profound, elusive art of making great literature into great cinema. We focus on the screenwriting of select films and seek to understand the common ground between the disciplines of writing and filmmaking. By closely studying cinematic structure, we engage with each directors stylehis or her approach to editing, cinematography, dialogue, casting, and mise-enscne. We read seven novels: The Comfort of Strangers by Ian McEwan, Contempt by Alberto Moravia, Ripleys Game by Patricia Highsmith, Rumble Fish by S.E. Hinton, Rum Punch by Elmore Leonard, Seven Pillars of Wisdom by T.E. Lawrence, and Winters Bone by Daniel Woodrell. (3credits) Literary Cinema Screening SeriesNFLM0447
A 15 sessions. Thurs., 8:0010:00 p.m., beg. Sept. 1. Noncredit tuition
$145. No single admission. David N. Meyer
Directors whose work will be screened include Robert Altman, Bernardo Bertolucci, Francis Ford Coppola, Jean-Luc Godard, Deborah Granik, Shohei Imamura, Stanley Kubrick, David Lean, Terrence Malick, Roman Polanski, Michael Powell, Paul Schrader, Quentin Tarantino, and Wim Wenders. (noncredit)
It is time to blow the whole thing up, declared filmmaker Jonas Mekas in 1960. As Hollywood began to falter, a growing number of amateur moviemakers decided to take matters into their own hands, and the American independent film movement was born. Tracing its rise in the 1970s and 1980s through its explosion in the last 20 years, this course examines artistic, political, and industrial concerns affecting independent filmmakers, from low-budget pioneers like John Cassavetes and John Sayles to bigger-budget breakthrough figures like Quentin Tarantino and Steven Soderbergh. We pay close attention to the business of independent film, from production to distribution to marketing, including the evolving role of digital technologies and social media. We discuss the seminal indie films (viewed outside class) Shadows, Stranger than Paradise, Do the Right Thing, and Memento. (3credits) Comedy on ScreenNFLM3488
Maya Montaez Smukler
ONLINE
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, Molire, and Gogol and discuss comedy as a vehicle for addressing cultural and political controversies. We study the impact on film of commedia del larte, 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. (3credits)
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Surrealism in CinemaNFLM3436
Rebecca M. Alvin
ONLINE
Cinema and Ideology NFLM3433

Marina Shron
ONLINE
The surrealist movement in art reached its peak during the early years of filmmaking. Surrealists like Salvador Dal 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 Buuel, 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. (3credits) The Art of DocumentaryNFLM3489
Susan Hamovitch
From Eisenstein and Buuel to Godard and Pasolini, ideology has defined both the content and the language of cinema. Film, more than any other medium, blurs and almost erases the line between ideological and aesthetic elements. The visual power of cinema and its mass character made it a perfect instrument of propaganda, capable of imposing on the viewer either a particular ideological framework (as in the Soviet Union or Nazi Germany) or an ideological void (Hollywood and commercial culture). We examine the relationship between cinema and political thought in the 20th centuryone 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. (3credits)
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 verit and its supposed purism; and, more recently, performative documentary. Today these documentary modes are up for grabsfilmmakers 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? Arent these modes essentially the same? These questions are discussed in the context of close viewing of some of the best examples of 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. (3credits) The Anatomy of Horror FilmsNFLM3430
MM Serra
Film Production
In 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 FilmNFLM3500
John Freitas
Filmmakers working in the horror genre foreground and manipulate a cultures collective fears. This course is a political survey of horror films that reveal their 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 pictures that offer 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. (3credits)
In developing an idea for a film, you need to address three primary questions: What are you going to film? How will you film it? How will you 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 students 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. (3credits)
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The Aesthetics of DirectingNFLM3510

A 15 sessions. Fri., 2:305:30 p.m., beg. Sept. 2. Noncredit tuition $780.
Shimon Dotan
Film 2: Advanced Preproduction and DevelopmentNFLM3670

Dianne Bellino
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. (3credits) Filmmaking Studio 1NFLM3660
A 15 sessions. Wed., 2:305:30 p.m., beg. Aug. 31. Noncredit tuition $1,440.
Jeremy Brooke
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, students engage in a series of exercises that help them find the right artistic and practical approaches to their scripts while they continue refining 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. (3credits) NEW Filmmaking Lab: Art, Technology, and ToolsNFLM3632
A 15 sessions. Tues., 12:002:40 p.m., beg. Aug. 30. Noncredit tuition $1,440.
Jeremy Brooke
B 15 sessions. Thurs., 6:009:00 p.m., beg. Sept. 1. Noncredit tuition $1,440.

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 anothers 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. (3credits) Cinematography and Lighting: Film and DigitalNFLM3515
John Budde
To realize an artistic vision in film, the filmmaker needs a thorough understanding of the technology, process, and tools of filmmaking. In this hands-on course, students explore advanced concepts and techniques in film and digital media production through in-class assignments and exercises evolving into increasingly complex collaborative projects. The class covers a range of topics, including operation of advanced 16mm film and HD digital cameras, film stocks and video formats, the structure of a film crew and the responsibilities of its members, lenses and lighting equipment, shooting exteriors and interiors, gripping, production design, field sound recording, preproduction planning and breakdowns, film and HD workflows, and the collaborative process. Working as a team, students set up and shoot several scenes in class and two scenes on location using sync-sound film and HD cameras and rotating crew positions. The class screens and reviews the scenes afterward. Students hone their skills and work collaboratively to master various aspects of film production, gaining the technical knowledge necessary to successfully execute advanced film and video projects. (3credits)
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. (3credits)
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Film 3: Advanced Film ProductionNFLM3680

THE FILM AND MEDIA BUSINESS

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 Media Business NowNCOM3247
Michael Weiskopf
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 anothers productions to practice the kind of teamwork that is part of filmmaking and to maximize the learning experience. Topics explored 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. (3credits) Directing Actors for Film and TelevisionNFLM3316
Laura Morgan
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 anew 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 of students favorite directors augment the experience. (3credits) The Innovative Camera: Experiments in 16mm FilmmakingNFLM3631
Joel Schlemowitz
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 willor 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. (3credits) The Producers RoleNFLM3456
Chiz Schultz
This course explores the 16mm Bolex cameras wide-ranging image-making possibilities. Using techniques that date back to the birth of cinema and the trick films of Georges Melies, 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 Melies, 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. (3credits)
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 teams artistic vision. A producers 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 producers 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. (3credits) The Business of HollywoodNFLM3473
Amotz Zakai
ONLINE
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 youll learn from your mistakes; fall asleep at the wheel, and youll quickly attract unfavorable notice. The course provides essential business knowledge for aspiring filmmakers and executives entering the film business. Readings and lectures supplement the primary role-playing exercise. (3credits)
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The Business of ScreenwritingNFLM3454

Douglas Tirola
SCREENWRITING
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. 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 the written permission of the instructor or the Department of Media Studies and Film to register for Screenwriting 2 and 3. Upon completion of the sequence of courses, students 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 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. Certificate approval is based on attendance and participation, comprehension of theories and techniques, and final projects. General policies governing New School certificate programs are described in the Educational Programs and Services section of this catalog (see Table of Contents). For more information and program advising, call 212.229.8903. (International students must call 212.229.5630 for important admission information.) Online Certificate in Screenwriting All four required courses and selected electives are offered online, so that students can now complete the Certificate in Screenwriting entirely online or combine on-campus and online study. Visit www.online.newschool.edu for more information about our distance learning environment.
F I L M 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 OPEN HOUSE Tuesday, August 16, 6:008:00 p.m., 66 West 12th Street The 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.
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. (3credits) 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 insiders 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. (3credits)
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Script AnalysisNSRW2800
Douglas Morse
Screenwriting 3: Finishing the First DraftNSRW3830

William Pace
B 15 sessions. Thurs., 8:009:50 p.m., beg. Sept. 1. Noncredit tuition $760.

Loren-Paul Caplin
C 15 weeks, Aug. 29 thru Dec. 19. Noncredit tuition $760.

Mort Scharfman
ONLINE
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 screenplays 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. (3credits) Screenwriting 1: FundamentalsNSRW3810
Jonathan R. Danziger
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. (3credits) Screenwriting for the WebNSRW3837
William Pace
ONLINE
B 15 sessions. Thurs., 6:007:50 p.m., beg. Sept. 1. Noncredit tuition $760.

Loren-Paul Caplin

Marina Shron
ONLINE
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. We strongly recommend that students take Script Analysis before registering for Screenwriting 1. (3credits) Screenwriting 2: Writing the ScreenplayNSRW3820
Douglas Morse
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 Sullivans 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 doesnt 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. (3credits) Writing a Micro-Budget FeatureNSRW3850
Mort Scharfman
ONLINE
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 anothers 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. (3credits)
Getting a first screenplay sold is difficult given todays competitive marketplace and astronomical production budgets. Nevertheless, year after year, while Hollywood grinds out big-budget formula blockbusters, aspiring screenwriters with no money or previous 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 powerfully entertaining film that can captivate audiences and compete for festival acclaim and commercial success. (3credits)
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THE WRITING PROGRAM
Writing for the One-Hour Episodic TV DramaNSRW3851

Deirdre L. Fishel
THE WRITING PROGRAM

Fundamentals Poetry Fiction Nonfiction Journalism and Feature Writing Special Topics
FOR COURSE ADVISING, CALL 212.229.5611. w w w. n e w s c h o o l . e d u / c e / w r i t i n g p r o g r a m Robert Polito, Chair Luis Jaramillo, Associate Chair
In this course, students analyze and develop an understanding of the structure and mechanics of the one-hour drama. Using contemporary successes from the genre, such as Greys Anatomy, House, and Mad Men, as a starting point, students learn how to pitch a concept; develop a one-page beat sheet; create A, B, C, D, and in some cases E story lines; and complete at least two acts of a one-hour episode. Intensive writing sessions begin after the fifth week of class, with each student drafting a script based on one of the shows studied. Students receive feedback on their work from the instructor and classmates, and the class participates in table reads of completed pages. Students are required to view the shows they are writing about and discussing in class (DVR and Tivo are not required but would be helpful). With a minimum of lecture and a maximum of feedback from classmates, students create scripts and assist one another with the writing and revision process, as in a professional writers room. (3credits)
The New School has been a vital forum for writing since 1931, when Gorham Munson, a member of the Stieglitz circle, on impulse initiated a workshop in creative writing. In the early 1950s, critic Maxwell Geismar stated that The New School has become the richest center of new fiction among all our colleges and universities. Our writing instructors are all published writers and experienced teachers, and many of our students go on to publish or enter graduate writing programs.
O P E N H O U S E N I G H T AT T H E N E W S C H O O L Tuesday, August 16, 6:008:00 p.m., 66 West 12th Street To learn more about the Writing Program, 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 212.229.5611.
HOW TO REGISTER
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 at length, 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. 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.
BY FAX
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THE WRITING PROGRAM
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. 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.
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 WritingNWRW1011
Liz Mechem
B 15 sessions. Wed., 4:005:50 p.m., beg. Aug. 31. Noncredit tuition $730.
Jane Tainow Feder

Noelle Kocot-Tomblin
ONLINE
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 what is correct versus what is incorrect and when rules should be broken, how language changes, how context determines choices, and how these choices develop into a style. Note: Students for whom English is a foreign language should take Writing in English (NESL0311NESL0511) instead of this course. (3credits) Academic WritingNWRW1104
A 15 sessions. Thurs., 6:007:50 p.m., beg. Sept. 1. Noncredit tuition $730. B 15 weeks, Aug. 29 thru Dec. 19. Noncredit tuition $730.
Margaret Stanek Fiore
ONLINE
Writing well is the key to success in college. This course teaches students the foundations of academic writing: the nature of research; the skills of criticism, analysis, and argumentation; the process of revision; and the basics of correct grammar and American English usage. Note: Students for whom English is a foreign language should take ESL Academic Writing (see course NESL0611) instead of this course. (3credits) Tools, Not Rules: Rhetorical Grammar for WritersNWRW1119
Joseph Salvatore
Not a traditional course in grammar, this class examines the most complex tool in the writers tool boxthe 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 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. (3credits)
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THE WRITING PROGRAM
Whats Creative About the Academic Essay?NWRW1122

Lisa Freedman
The Lyric EssayNWRW1113

Rebecca Reilly
ONLINE
Gaining knowledge, by definition, involves moving from the known to the unknown. In this course, pre-writing exercises, personal 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 who seek a compelling critical voice for self-expression. (3credits) How Art Transforms the WorldNWRW1121
Jim Savio
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. (3credits) Writing for StyleNWRW1108
Randi Ross
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 her crucified son inspiring? This course examines these kinds of questions as it sharpens students ability to connect ideas and to analyze and write about art. We examine the long tradition of art as observer (and critic and supporter) of historys triumphs and failuresfrom 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. (3credits)
This workshop is devoted to the techniques (sometimes erroneously thought to be innate talents) that make a piece of writing flow and hold the readers 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 theres 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. (3credits)
ONLINE
This logo indicates that the course is offered online. See page 75 or visit the website at www.newschool.edu/online for more information.
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THE WRITING PROGRAM
POETRY
Beginning Poetry WorkshopNWRW2203
Richard Tayson
Rendering the Ordinary Extraordinary: A Poetry WorkshopNWRW3203

Rebecca Reilly
ONLINE

Kathleen Ossip
ONLINE
A poem, said William Carlos Williams, is a small (or large) machine made of wordsefficient, 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. (3credits) From Silence to PoemNWRW3204
Richard Tayson
ONLINE
Great poems often render what is considered ordinary extraordinary. Neruda wrote an ode to his socks; in Whitmans 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 anothers work, addressing the relationships between our vision 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, OHara, 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. (3credits) Poetry LabNWRW3229
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 poems impulse in order to break old habits and write something challenging and difficult. (3credits) Poetry: The Language of MusicNWRW3205
Dave Johnson
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 materialwriting 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. (3credits) Catching Fire: A Poetry Workshop NWRW3260
Kathleen Ossip
This study of musical poetics focuses on the buried linguistic and musical structures of poetry and on the way these structures create voice and meaning in a poem. We discuss the way music serves as a muse for the poet and creates a relationship between form and content. Some class time is devoted to close reading of established and younger poets representing 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. (3credits)
The basics are in place. You feel you have some control over your poems. Now youre 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. (3credits)
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THE WRITING PROGRAM
Making Poems: An Advanced WorkshopNWRW4213

Patricia L. Carlin
FICTION
Mechanics of Fiction: Craft, Theory, and PracticeNWRW2306
Joseph Salvatore
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. (3credits) Poetry Master Class: PonsotNWRW4223
A 6 sessions. Tues. & Thurs., 8:0010:30 p.m., beg. Sept. 13. Noncredit tuition $420.
Marie Ponsot
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. (3credits) Beginning FictionNWRW2305
Jessie Sholl
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. (1credit)
This course begins with short writing exercises designed to jump-start students creative thinking and enable them 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. (3credits) Beginning the NovelNWRW2304
Catherine Texier
ONLINE
In a relaxed and supportive but intellectually rigorous atmosphere, this beginners 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. (3credits) The Novel WorkshopNWRW3301
Luis Jaramillo
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. (3credits)
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THE WRITING PROGRAM
The Great American Short Story NWRW3327

Alexandra Shelley
How Fiction Thrills: Writing SuspenseNWRW3334

Katia Spiegelman Lief
This is a workshop for story writers of all levels. Because the short story is just thatshorteach 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 author with both written critique and useful class discussion. The goal: writing and honing stories until they work and understanding why they do. (3credits) Fiction WritingNWRW3303
A 15 sessions. Tues., 10:0011:50 a.m., beg. Aug. 30. Noncredit tuition $730.
Sidney Offit
In both literary and commercial fiction, good writing and compelling suspense should go hand in hand but often dont. Instead, we get literary fiction that doesnt 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 writingdeveloping story and character, writing good dialogue, and self-editing. Students master the techniques that make for cant-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 Carr, The Poet by Michael Connelly, Mystic River by Dennis Lehane, and Thriller: Stories to Keep You Up All Night, edited by James Patterson. (3credits) Fiction Writing: Creating a Compelling NarrativeNWRW3315
Carol Goodman
ONLINE
This course emphasizes aspects of fiction-writing technique. It is designed for students trying to develop a project or find the approach through 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 instructors 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. (3credits) Accidental Realities: Writing Experimental FictionNWRW3311
Sharon M. Mesmer
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 cant 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 dialogueand 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 anothers work. Guest speakers from the publishing industry discuss what they look for in assessing works of fiction. (3credits) Fiction Writing: Memory, Imagination, DesireNWRW3308
Robert G. Dunn
Cut-ups, collage, dream images, and heightened language are often the provenance of poetry. In this class, experimentation with words and text is applied to the writing of fiction. Building upon pre-existing narratives, stories, or charactersor creating themstudents learn to produce an exploded prose that opens up new avenues for creation and interpretation. Model readingsWoolf s Mrs. Dalloway, Batailles The Impossible, and Cisneros House on Mango Streetare 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. (3credits)
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 paperhow to discover material, conquer initial confusion or lack of confidence, and proceed with discipline. Basics are stressedcharacter, story, point of view, voice, styleas well as rhythm, pacing, psychological subtlety, development, imagery, color, tone, and the power of whats 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. (3credits)
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THE WRITING PROGRAM
Advanced Fiction Writing: Revise and PolishNWRW4310

John Reed
NONFICTION
People and PlacesNWRW0402
William Zinsser
The workshop is an opportunity for writers to speed their creative and technical maturation. This course is for students who are beyond introductory courses and are ready to take their writing to a higher level. Workshop time is dedicated primarily to student work; assignments look toward and initiate tasks commonly encountered by aspiring writers. The intention of the course is to help individuals prepare themselves and their work for the next phase of their vocation, be it approaching editors, agents, and literary journals or applying to graduate schools. These subjects are addressed realistically and reasonably, with the quality of the writing always foremost on the agenda. (3credits) Advanced Fiction WorkshopNWRW4329
Nahid Rachlin
The purpose of this course is to help you 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 NonfictionNWRW2401
Anthony S. Calypso
B 15 weeks, Aug. 29 thru Dec. 19. Noncredit tuition $730. Lisa Freedman
ONLINE
We analyze published stories, but class sessions are devoted mainly to student workstories or chapters of novelswhich are read and commented 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 developmentcreating complex, real people within the plot contextis emphasized. Throughout the course, there is discussion about how to get an agent and a publisher. For students with writing experience. (3credits)
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. (3credits)
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THE WRITING PROGRAM
Finding Your Voice in NonfictionNWRW3403

Candy Schulman
The Nonfiction BookNWRW4402

Jeffrey Hogrefe
Fiction is obliged to stick to possibilitiesfact 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. Todays 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. (3credits) Writing from Personal ExperienceNWRW3508
Nancy Kelton
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. (3credits)
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 ones 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. (3credits) The Personal Essay NWRW3423
Madge McKeithen
ONLINE
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 weeklyone by a humorist, one by a poetand 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. (3credits) Literary NonfictionNWRW3405
Chris Pastore
ONLINE
HOW TO REGISTER
BY FAX
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. (3credits)
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THE WRITING PROGRAM
JOURNALISM AND FEATURE WRITING

Journalism BasicsNWRW2601
Richard M. Huff
ONLINE
Freelance Feature WritingNWRW3621

Rachel M. Aydt
Writing a well-structured, high-quality newspaper or magazine story is not easy. Students interested in journalism are challenged to write clear, evocative, and compelling prose with exercises, assignments and deadlines, specific tips, and plenty of encouragement. Students examine contemporary newspaper and magazine writing, including current stories in the New York Times, Newsday, and the Washington Post, as well as a variety of Pulitzer Prize-winning pieces. Magazines and newspapers that depend heavily on freelance contributors are discussed. A portion of each class is devoted to the study of language, with discussions of grammar, style, and usage designed to help students learn to write simple, elegant, and jargon-free prose. (3credits) Introduction to the New JournalismNWRW3619
Betty Ming Liu
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. (3credits) Arts and Entertainment JournalismNWRW3611
Matthew P. Melucci
Journalism will always be about who, what, where, when, and why, but theres 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. (3credits) Breaking into Womens Magazines and WebsitesNWRW3620
Sherry A. Amatenstein
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? (3credits) Advanced Personal Writing and MemoirNWRW3692
Bob Morris
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 editors eye with a blog. Guests include editors from top womens magazines and websites eager to find talented new writers. (3credits) Writing for New York City Newspapers and MagazinesNWRW3601
A 15 sessions. Mon., 6:007:50 p.m., beg. Aug. 29. Noncredit tuition $730. B 15 sessions. Mon., 8:009:50 p.m., beg. Aug. 29. Noncredit tuition $730.
Susan B. Shapiro
I cannot write anything that I understand too well, I have to astonish myself, Arthur Miller once declared. How do you go about doing that in a first-person essay or, for that matter, a brutally hilarious online post? What incidents in your life could you transform into compelling emotional observations? In this class, you learn how to cut to the essence of a story to make a larger point about life. Through weekly assignments of essays and columns, you try out different voices and styles and work this material into draft memoir pages. These writings can be structured into publishable pieces for submission to venues well known to the instructor, such as All Things Considered and the New York Times Lives and Modern Love columns. Readings include Jonathan Franzen, The Discomfort Zone; Donald Antrim, The Afterlife; A.M. Homes, The Mistresss Daughter; and Joan Didion, The Year of Magical Thinking. (3credits)
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. (3credits)
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THE WRITING PROGRAM
SPECIAL TOPICS
Transformations: Writing PersonallyNWRW3515
Elaine Edelman
Playwriting from Personal ExperienceNWRW3708

Alice Eve Cohen
A writers 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 revision skills that transform personal experiences into writing that moves readers. Class time is devoted to constructive feedback on student work, organized around common concerns that allow students to learn from one anothers struggles and triumphs. The instructor suggests readings to meet individual needs and provides detailed responses in writing to every submitted piece. Recommended for students with some writing experience. (3credits) Experimental Writing NWRW3531
Robert Lopez
ONLINE
How do you start writing a play? In this workshop, students use personal experience as a springboard for generating original characters, stories, and imagery for the stage. Basic elements of playwriting are explored through in-class writing exercises and weekly writing assignments. We experiment with the possibilities of dramatic storytelling, with an emphasis on fictionalizing and transforming personal experiences and memories. Students read their own work aloud and discuss it in class and also read selections from well-known playwrights. By the end of the course, students will have completed the first draft of a one-act play or a collection of very short plays. Open to all levels, this workshop is designed to be a safe, supportive environment for a hands-on exploration of playwriting. (3credits)
Writing for Children

Childrens Book Illustration and WritingNWRW3812
Jacquie Hann
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. In this course, 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 anothers work along with works by writers like David Markson, Lydia Davis, James Tate, Sandra Cisneros, Will Eno, and Carole Maso. (3credits)
In this course, each student develops a childrens 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. (3credits) Writing for Young AdultsNWRW3808
Carolyn MacCullough
ONLINE
Dramatic Writing
PlaywritingNWRW3702
Robert S. Montgomery
ONLINE
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. (3credits)
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 todays 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 OConnor said, If you survive childhood you have enough material to write about for the rest of your life. (3credits) Writing for Children: How to Jump-Start Your BookNWRW3809
Michele Spirn
ONLINE
Have you ever wanted to write a childrens book? Are you working on a childrens 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 whats happening in the field. We also read and analyze current popular childrens books to gain insight into trends and successful writing techniques. (3credits)
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FOREIGN L ANGUAGES
FOREIGN LANGUAGES
Arabic Chinese (Mandarin) Classical Languages: Latin French German Hebrew (Modern) Italian Japanese Portuguese (Brazilian) Russian Sign Language Spanish Tibetan Yiddish
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 stages. Those who wish to study a language at an accelerated pace should opt for an Intensive course. Intensive courses provide the equivalent of a semester and a half of study in one term for French and the equivalent of two semesters of study for German and Spanish. Reading courses are designed for graduate students preparing for their reading exams and any others who wish to read texts in another language. On the Go workshops are immersion weekends offered in several popular languages. These noncredit courses offer 14 hours of intensive instruction over three days. 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 1520 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 foreignlanguages@newschool.edu (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.
FOR COURSE ADVISING, CALL 212.229.5676. w w w. n e w s c h o o l . e d u / f o r e i g n l a n g u a g e s Florence Leclerc-Dickler, 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 New York Citys multicultural communities, who wish to appreciate great literature or films in the original languages, or whose scholarly pursuits mandate facility with other languages.
O P E N H O U S E N I G H T AT T H E N E W S C H O O L Tuesday, August 16, 6:008:00 p.m., 66 West 12th Street Are you thinking about learning a new language or sharpening existing skills in a foreign language? Whether youre 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 about our courses and methods. No reservation is necessary, but if you need more information, call 212.229.5676.
Learning a Foreign Language at The New School New School foreign language courses are designed to help you achieve linguistic independence in the language you have chosen to study. Most of the modern language instructors are native speakers, 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 between the students themselves.
TAKE UP A NEW LANGUAGE IN ONE WEEKEND
ON THE GO
14 HOURS OF INSTRUCTION, FRIDAY THROUGH SUNDAY
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. Arabic, Chinese, French, German, Italian, Japanese, Portuguese, Russian, and Spanish; Sign Language also offered Courses will be offered over two weekends this fall: October 2123 and December 24. For more information, call the Department of Foreign Languages at 212.229.5676.
49
FOREIGN L ANGUAGES
ARABIC
Iman Issa, Iman Maiki, Sohair Soukkary, Karam Tannous Nargis Virani, Coordinator
Level 1NARB1001
A 13 sessions. Mon., 8:009:50 p.m., beg. Sept. 12. Noncredit tuition $590.
For an explanation of Arabic course levels and their equivalents at other institutions, contact the Foreign Languages office at 212.229.5676 or foreignlanguages@newschool.edu. Arabic on the Go: Level 1NARB0804
A 3 days, Fri. thru Sun., Oct. 21, 22 & 23. Noncredit tuition $350.
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. (2credits) Level 2NARB1002
Arabic on the Go: Level 2NARB0805

A 3 days, Fri. thru Sun., Dec. 2, 3 & 4. Noncredit tuition $350.
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. (2credits) Level 3NARB2001
A 13 sessions. Tues., 8:009:50 p.m., beg. Sept. 13. Noncredit tuition $590.
Before traveling to the Middle East, stop at The New School for a weekend immersion in Levantine Arabic. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Levantine Arabic. Level l is for complete beginners; Level 2 is for students familiar with basic elements of the language. No prior knowledge of Modern Standard Arabic is required. Since the focus of this course is conversation, phonetic transliterations are used. Each workshop meets Friday, 6:009:30 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) NEW Sing and Learn ArabicNARB1700
In this third-semester course, students continue developing basic skills listening, speaking, reading, and writingalong with cultural studies. Students learn new verb tenses and acquire the ability to narrate events and describe a variety of places and people. Simple Arabic texts are introduced. (2credits) Level 4NARB2002
This course is designed for those with no previous knowledge of the Arabic language and offers an alternative introduction to Arabic from Arabic Level 1. By learning songs in Egyptian Arabic, which form the backbone of this course, students master the basic patterns of the Arabic language and develop the ability to engage in short dialogues by the end of the semester. They also learn the Arabic alphabet, enabling them to move on to Arabic Level 2 (Modern Standard Arabic) after this course. (2credits)
Students in this last course of the introductory sequence continue to hone their Arabic language skills. The emphasis is on improving both reading and listening proficiency. Students learn how to express abstract ideas and engage in simple discussions about familiar topics. (2credits)
50
FOREIGN L ANGUAGES
CHINESE (MANDARIN)
Judy Deng, Jia-xuan Zhang Tomoyo Kamimura, Coordinator
CLASSICAL LANGUAGES
Rama C. Madhu, Samuel B. Seigle
Latin Level 1NLTN1001 Chinese on the Go: Level 1 NCHM0804

A 3 days, Fri. thru Sun., Oct. 21, 22 & 23. Noncredit tuition $350. A 13 sessions. Mon., 6:007:50 p.m., beg. Sept. 12. Noncredit tuition $590.
Chinese on the Go: Level 2 NCHM0805

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, 6:009:30 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) NEW Practical Chinese for Health-Care ProfessionalsNCHM1700
A 13 sessions. Sat., 10:0011:50 a.m., beg. Sept. 10. Noncredit tuition $590.
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. (2credits)
FRENCH
Julia Anderson, Nolle Carruggi, Steven Gendell, Samuel Howell, Ida Kummer, Sabine Landreau-Farber, Florence Leclerc-Dickler, Alfredo Marques, PhilippeGrard Montanari, Justin Trificana, Stephane Zaborowski Marie-Christine Mass, Coordinator
This course is an introduction to practical elementary Chinese language likely to be encountered by those who work in medical offices. The class studies basic language elements, including sentence structure and vocabulary, before moving on to language used in the health-care context. Students develop speaking and listening skills with a focus on health-care terminology. The class practices vocabulary and grammar by engaging in conversations incorporating common medical questions and instructions: How are you feeling today? Have you ever had surgery before? Where does it hurt? Please relax. Take a deep breath and exhale. There are no prerequisites. (2credits) Level 1NCHM1001
French on the Go: Level 1NFRN0804

A 3 days, Fri. thru Sun., Oct. 21, 22 & 23. Noncredit tuition $350. B 3 days, Fri. thru Sun., Dec. 2, 3 & 4. Noncredit tuition $350.



Students with little or no knowledge of Chinese develop the ability to carry on simple conversations on 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. (2credits) Level 2NCHM1002
This course is for students with elementary knowledge of Mandarin Chinese. Students expand their vocabulary and learn new sentence patterns in the context of practical communication. Reading and writing of Chinese characters receives increased attention as students develop their listening and speaking abilities throughout the semester. (2credits) Level 3NCHM2001
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, 6:009:30 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. 10. Noncredit tuition $1,000. B 26 sessions. Tues. & Thurs., 8:009:50 p.m., beg. Sept. 13. Noncredit
tuition $1,000.
This intermediate-level course focuses on developing the ability to read Chinese while enhancing students conversational skills. Students practice listening and speaking through structured dialogues as well as spontaneous conversations, all reinforced by written scenarios and a review of grammar. (2credits)
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. (4credits)
51
FOREIGN L ANGUAGES
Intermediate IntensiveNFRN2003
A 13 sessions. Thurs., 6:009:45 p.m., beg. Sept. 15. Noncredit
tuition $1,000.
NEW La famille en France au 21me sicleNFRN3717

This course is a continuation of Introductory Intensive. Students continue studying grammatical structures while improving their understanding of spoken French and their ability to hold conversations. They also acquire the knowledge necessary for practical writing. Through class activities and discussions, students learn about the cultures of the Francophone world. (4credits) Level 1NFRN1001
A 13 sessions. Sat., 12:001:50 p.m., beg. Sept. 10. Noncredit tuition $590. B 13 sessions. Mon., 4:005:50 p.m., beg. Sept. 12. Noncredit tuition $590. C 13 sessions. Mon., 6:007:50 p.m., beg. Sept. 12. Noncredit tuition $590. D 13 sessions. Thurs., 8:009:50 p.m., beg. Sept. 15. Noncredit tuition $590.
This course, conducted entirely in French, explores individuality and the family in France. Known for its traditional emphasis on the family, France has been transformed by globalization and the modern emphasis on individualism. Students analyze these changes and trends through discussions, collaborative work, and readings such as Les Raisins de la galre by Tahar Ben Jelloun and LExil selon Julia by Gisle Pineau. Prerequisite: French Level 5 or the equivalent. (2credits)
GERMAN
Rainer L. Brueckheimer, Katharina Roos, Adelheid Ziegler
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. (2credits) Level 2NFRN1002
A 13 sessions. Mon., 8:009:50 p.m., beg. Sept. 12. Noncredit tuition $590. B 13 sessions. Wed., 6:007:50 p.m., beg. Sept. 14. Noncredit tuition $590.
German on the Go: Level 1NGRM0804

German on the Go: Level 2NGRM0805

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. (2credits) Level 3NFRN2001
A 13 sessions. Wed., 8:009:50 p.m., beg. Sept. 14. Noncredit tuition $590. B 13 sessions. Thurs., 6:007:50 p.m., beg. Sept. 15. Noncredit tuition $590.
Before traveling to Germany or another country where German is commonly spoken, stop at The New School for a weekend immersion in the German language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in German. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language. Each workshop meets Friday, 6:009:30 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) Graduate Reading: Level 2NGRM0502
This intermediate-level course assumes familiarity with the basic grammatical 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. (2credits) Level 4NFRN2002
This continuation of the German graduate reading course exposes students to a range of original texts, with an emphasis on scholarly works, including well-known contributions to the fields of history, philosophy, and the arts. Readings may be assigned that reflect students own areas of interest and research. Suggestions for reading materials are solicited by the instructor at the first session. Students are encouraged to form their own study groups for the purpose of working on independent projects, which may be discussed in class. (noncredit) Introductory Intensive NGRM1003
A 13 sessions. Sat., 10:00 a.m.1:45 p.m., beg. Sept. 10. Noncredit tuition $1,000.
Intermediate-level study of French continues in this course. Systematic review and reinforcement of the grammatical structures of the language are combined with cultural readings. Students refine their writing and verbal skills through brief compositions, class presentations, and sustained conversation in French. (2credits) Level 5NFRN3001
This is a course for beginners who want to progress rapidly in learning German. Students acquire basic speaking, reading, and writing skills while learning about German culture. The emphasis is on developing communication skills. (4credits) Level 1NGRM1001
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 tenses. (2credits)
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. (2credits)
52
FOREIGN L ANGUAGES
Level 2NGRM1002
ITALIAN
Caterina Bertolotto, Carmelina Cartei, Monica M. London, Francesca Magnani, Giuseppe Manca, Jacqueline B. Smith, Stefano L. Vaccara Florence Leclerc-Dickler, Coordinator
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. (2credits) Level 3NGRM2001
Italian on the Go: Level 1NITL0804

Italian on the Go: Level 2NITL0805

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. (2credits) Level 4NGRM2002
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 the basic elements of the language. Each workshop meets Friday, 6:009:30 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 1NITL1001
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. (2credits)
HEBREW (MODERN)
Moshe Ariel
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 and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language. (2credits) Level 2NITL1002
Level 1NHBW1001
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. (2credits)
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. (2credits) Level 3NITL2001
This intermediate-level course assumes familiarity with the basic structures 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. (2credits) NEW Parliamo ItalianoNITL3716
This is a high-intermediate-level course for those who want to practice speaking Italian while reinforcing their grammar and structural skills. Through a variety of activities, students improve their language skills in the four areas of language acquisition: speaking, listening, reading comprehension, and writing. Prerequisite: at least three semesters of Italian or permission of the instructor. (2credits)
53
FOREIGN L ANGUAGES
JAPANESE
Ichiro Kishimoto Tomoyo Kamimura, Coordinator
Level 2NPRT1002
Japanese on the Go: Level 1NJPN0804

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. (2credits) Level 3NPRT2001
Japanese on the Go: Level 2NJPN0805

Before traveling to Japan, stop at The New School for a weekend immersion in the Japanese language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Japanese. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language. Each workshop meets Friday, 6:009:30 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 1NJPN1001
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 and conditional tenses and relative pronouns. Particular attention is given to developing students abilities to understand spoken Portuguese and converse on topics pertaining to different times and places. (2credits) Portuguese for Spanish SpeakersNPRT1700
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. (2credits)
This is a beginners 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. (2credits)
PORTUGUESE (BRAZILIAN)
Tobias C. Nascimento, Liria M. Van Zandt
RUSSIAN
Irina Belodedova, Halyna Lemekh
Portuguese on the Go: Level 1NPRT0804

Russian on the Go: Level 1NRSN0804

Portuguese on the Go: Level 2NPRT0805

Russian on the Go: Level 2NRSN0805

Before traveling to Brazil, stop at The New School for a weekend immersion in the Brazilian Portuguese language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Portuguese. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language. Each workshop meets Friday, 6:009:30 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 1NPRT1001
Before traveling to Russia, stop at The New School for a weekend immersion in the Russian language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in Russian. Level 1 is for complete beginners; Level 2 is for students familiar with the basic elements of the language. Each workshop meets Friday, 6:009:30 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 1NRSN1001
A first course in Portuguese for those with no previous knowledge of the language. Students acquire basic speaking, reading, and writing skills while learning about Brazilian culture. Class activities include interactive exercises and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language. (2credits)
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. (2credits)
54
FOREIGN L ANGUAGES
Level 3NRSN2001
American Sign Language as an Art FormNSLN1703

An intermediate-level course for students familiar with the basic structures of the Russian 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 Russian and converse on a number of topics pertaining to different times and places. (2credits)
SIGN LANGUAGE
Gabriel Grayson, Jeffrey M. Mooney
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. This class focuses on the difference between conversational ASL and ASL techniques used to express lyrics set to rhyme and music. The course includes a history and discussion of deaf performers in theater, movies, and television. Some knowledge of ASL is desirable, but this course will benefit anyone wishing to build self-confidence and improve communication skills. (2credits)
SPANISH
Sign Language on the Go: Level 1NSLN0804
Teresa A. Bell, Ernesto Fedukovitch, Sonia Granillo-Ogikubo, Luis Guzmn, Rodolfo Long, Cristina Ross, Ronald Sarcos, Victor M. Tirado, Guillermo Vallejo-Rodriguez Luis Galli, Coordinator
Sign Language on the Go: Level 2NSLN0805

Stop at The New School for a weekend immersion in American Sign Language (ASL). This course introduces students to the techniques essential to ASL conversation, including fingerspelling and facial expressions. Make rapid progress learning to converse in ASL. Level 1 is for complete beginners; Level 2 is for students familiar with the basic elements of ASL. Each workshop meets Friday, 6:009:30 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) Introduction to Sign LanguageNSLN1001
Spanish on the Go: Level 1NSPN0804



The totally visual language of deaf people is now the third most commonly used language in the United States. This course introduces the culture and communication methods of the contemporary deaf community, focusing on the experience of navigating social interactions using signs, gestures, and visual cues. Topics explored and practiced include the psychology of deafness, 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. (2credits) Level 1NSLN1011

A beginners 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 languagenot a hodgepodge of charades and fingerspellingwith its own grammar, poetry, and puns. Students master the techniques essential to ASL conversations, including fingerspelling and facial expressions. Through demonstrations and class activities, including interactive exercises and role-playing, students gain familiarity with ASL at a beginners 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. (2credits)
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, 6:009:30 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 NSPN1003
A 13 sessions. Sat., 10:00 a.m.1:45 p.m., beg. Sept. 10. Noncredit tuition $1,000. B 26 sessions. Tues. & Thurs., 6:007:50 p.m., beg. Sept. 13. Noncredit
tuition $1,000.
This is a course for beginners who want to progress rapidly in learning Spanish. Students acquire basic speaking, reading, and writing skills while learning about Spanish and Latin American cultures. The emphasis is on developing communication skills. (4credits)
55
FOREIGN L ANGUAGES
Intermediate IntensiveNSPN2003
A 13 sessions. Wed., 6:009:45 p.m., beg. Sept. 14. Noncredit tuition
$1,000.
NEW Cultura y Celebridad en Espaa y las Americas NSPN3726

Silvia Vega-Llona
ONLINE
Familiarity with basic grammatical structures is assumed. Particular attention is given to improving students ability to understand spoken Spanish and hold sustained conversations. 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). (4credits) Level 1NSPN1001
A 13 sessions. Sat., 10:0011:50 a.m., beg. Sept. 10. Noncredit tuition $590. B 13 sessions. Wed., 6:007:50 p.m., beg. Sept. 14. Noncredit tuition $590. C 13 sessions. Wed., 8:009:50 p.m., beg. Sept. 14. Noncredit tuition $590.
A first course in Spanish for those with no previous knowledge of the language. Students acquire basic speaking, reading, and writing skills while learning about Spanish and Latin American cultures. Class activities include interactive exercises to introduce principles of grammar. (2credits) Level 2NSPN1002
A 13 sessions. Tues., 6:007:50 p.m., beg. Sept. 13. Noncredit tuition $590. B 13 sessions. Wed., 8:009:50 p.m., beg. Sept. 14. Noncredit tuition $590.
Since the Romantic period, popular culture in Spain and Spanish-speaking countries has revolved around icons of femininity and masculinity that can be regarded either as stereotypes or as symbols of self-assertion and empowerment. Until the late 20th century, the former view predominated, but in the 21st century, latinidad has come to convey star power and celebrity status. Students explore these shifts in the public presentation of charismatic personalities by reading literary texts by Mario Bellatin, journalistic writings by Rosa Montero, and other expressions of Latin sensibility. Students examine the presentation of transnational figures such as Penelope Cruz, Gael Garcia Bernal, Pedro Almodovar, Alejandro Gonzlez Irritu, Shakira, Hugo Chavez, and Luiz Incio Lula da Silva in diverse media including film, television, newspapers, magazines, and websites. Prerequisite: Spanish 5 or permission of the instructor. The course is also suitable for those who grew up in a Spanish-speaking environment but have not formally practiced the language, and for professionals who want to develop their Spanish language skills. (3credits)
TIBETAN
NEW Tibetan Language and Buddhist MeditationNTBN1005
Michael Sheehy
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. (2credits) Level 3NSPN2001
A 13 sessions. Tues., 8:009:50 p.m., beg. Sept. 13. Noncredit tuition $590. B 13 sessions. Thurs., 6:007:50 p.m., beg. Sept. 15. Noncredit tuition $590.
This intermediate-level course assumes familiarity with the basic structures 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. (2credits) Level 4NSPN2002
This is a multilevel immersion course exploring Buddhist meditation and philosophy of mind through the Tibetan language. Students acquire specialized vocabulary that enables them to understand Tibetan Buddhist descriptions of meditative experience. Attention is given to reading classical literary Tibetan as a key to the vast treasury of Tibetan Buddhist written culture. Readings include selections from instruction manuals on meditation, reflections on the nature of awareness, and yogic accounts of contemplative insight. In class discussions, students concentrate on developing pronunciation skills, mastering essential Tibetan Buddhist terminology, and translating texts. They learn how to read, pronounce, and contextualize the Tibetan language. Several sessions are held at the Rubin Museum of Art. No prior knowledge of Tibetan is required. (3credits)
YIDDISH
NEW Yiddish Language and CultureNYDH1000
Dmitri Slepovitch
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. (2credits) Level 5NSPN3001
Yiddish, a language that is more than 1,000 years old, is being revived as a legacy language by scholars and anarchists and even by hipsters. In addition to studying the vocabulary, structure, and grammar of the Yiddish language, students explore the range of cultural expressions (in areas like cuisine, fashion, and music) and contexts that have shaped the development of Yiddish from the Middle Ages to the present. (2credits)
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 narrations in Spanish, using past, present, and future tenses. (2credits)
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ENGLISH L ANGUAGE STUDIES
ENGLISH LANGUAGE STUDIES

Teaching English to Speakers of Other Languages English as a Second Language
FOR COURSE ADVISING, CALL 212.229.5372. w w w. n e w s c h o o l . e d u / c e / e n g l i s h l a n g u a g e s t u d i e s Gabriel Diaz Maggioli, Chair Caitlin Morgan, Director
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/continuing-education/teaching-english-certification. For more information, contact English Language Studies, 68 Fifth Avenue, New York, NY 10011; 212.229.5372; email elsc@newschool.edu. 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 Grammar for ESL Teachers Teaching the Sound System of English Using Authentic Materials to Teach ESL ESL Teaching Practicum Noncredit students receive grades of AP (Approved) or NA (Not Approved) in each course 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 G L I S H O P E N H O U S E Tuesday, August 16, 6:008:00 p.m., 66 West 12th Street Learn more about ESL/EFL teaching as a career and The New Schools Certificate in Teaching English. Members of the staff are present to answer your questions. No reservations are necessary, but call 212.229.5372 or email elsc@newschool.edu and let us know if you plan to attend.
English has become the language of international communication; command of spoken and written English is important in business, the arts, and other professions all over the world. The demand for ESL courses and trained ESL teachers continues to grow. The mission of English Language Studies at The New School is to address this demand by offering high-quality courses in English language instruction and teacher training.
TEACHING ENGLISH TO SPEAKERS OF OTHER LANGUAGES

Language institutes in the United States and around the world are looking for native or near-native English speakers trained to teach the language; the demand for them continues to grow. There are adult language programs throughout the country in need of properly trained staff to work with immigrants. Also, thousands of foreign students come to the United States each year to study, and many colleges now have ESL programs that hire instructors regularly. In addition, many people living, studying, or working in the United States employ private tutors to help them with their English. In short, training in English language teaching can prepare you for a wide variety of careers at home and abroad. Master of Arts in Teaching English to Speakers of Other Languages The New School offers the master of arts degree in Teaching English to Speakers of Other Languages (TESOL) with concentrations in teaching and curriculum development. For more information, visit the website at www.newschool.edu/matesol. For a printed brochure, call the Office of Admission at 212.229.5630 or email nsadmissions@newschool.edu. Certificate in Teaching English The New School offers a five-course certificate for aspiring or working ESL teachers for whom a masters 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.
Methods and Techniques of Teaching ESL/EFLNELT3411

A 15 sessions. Wed., 7:009:40 p.m., beg. Aug. 31. Noncredit
tuition $1,035. 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 elsc@newschool.edu for a list of possible teaching sites. (4credits) English Grammar for ESL TeachersNELT3412
tuition $1,035. 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. (3credits)
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Teaching the Sound System of EnglishNELT3414

A 4 sessions. Sat., 9:30 a.m.1:00 p.m., beg. Sept. 17. Noncredit
tuition $405. Polly Merdinger
Professional Development
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. Language Teaching Tools: Working with ImagesNELT0533
A 6 weeks, Oct. 10 thru Nov. 18. Noncredit tuition $420.
Ben Goldstein
ONLINE
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. (1credit) Using Authentic Materials to Teach ESLNELT3432
A 4 sessions. Sat., 2:005:30 p.m., beg. Oct. 22. Noncredit tuition $405.
Linda Pelc
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) NEW Teaching ESL to Adults with Low LiteracyNELT0538
A 1 session. Sat., 10:00 a.m.4:45 p.m., Oct. 1. Noncredit tuition $125.
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. (1credit) ESL Teaching PracticumNELT3416
Timothy Bredl
Enrollment limited. Permission required; call 212.229.5372. Following a two-day orientation, students teach or team-teach an English class three hours daily for three weeks and participate in a seminar twice a week. Prerequisites: Methods and Techniques of Teaching ESL/EFL, English Grammar for ESL Teachers, and Using Authentic Materials to Teach ESL. (3credits) Job Interviewing Skills for English Language TeachersNELT0442
A 1 session. Fri., 6:009:00 p.m., Dec. 2. Noncredit tuition $30.
Jiro Adachi, Caitlin Morgan
Adults with low literacy in their first language have very different needs from literate beginner-level ESL students, though they often sit side by side in the ESL classroom. Volunteers and trained ESL teachers are sometimes at a loss as to how to help low-literacy students in their classes. In this hands-on workshop, participants explore teaching approaches, techniques, and materials that are appropriate and effective in working with low-literacy adults. The course is recommended for those working with immigrants in community language programs in the United States. (noncredit) NEW X-Word Grammar WorkshopNELT0537
A 2 sessions. Sat., 10:00 a.m.12:45 p.m., beg. Oct. 22. Noncredit
tuition $125. Tamara Kirson
Permission required; call 212.229.5372. A frank and open discussion about the dos and donts 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)
X-word grammar stems from the sector analysis work of the linguist Robert Allen and revolves around the use of petite but powerful auxiliary verbs. These verbs demystify grammar rules, enabling students to analyze and understand the way grammar works, not in a vacuum but in the context of reading and writing. Participants learn how X-word grammar can help students find the subject in a sentence, generate questions, form negatives, match verbs to subjects, avoid fragments, and write complex sentences. This interactive workshop allows for ample practice in using and teaching this accessible and logical system. (noncredit) ESL/EFL Teaching One-on-OneNELT0443
A 3 sessions. Fri., 6:007:50 p.m., beg. Nov. 4. Noncredit tuition $125.
Susan Cafetz
This course gives students ideas for techniques and activities specific to one-on-one teaching and tutoring. (noncredit) Teaching WritingNELT3415
A 3 sessions. Sat., 10:00 a.m.1:00 p.m., beg. Nov. 5. Noncredit
tuition $225. Jacqueline B. Smith
Study in depth 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. (noncredit)
58
ENGLISH AS A SECOND LANGUAGE

Yeghia Aslanian, Theresa M. Breland, Linda Farhood-Karasavva, Thom Garvey, Richard Humphreys, Tamara Kirson, Elizabeth Marner-Brooks, Patrick Mull, Cristina Patterson, Delis M. Pitt, Jacqueline B. Smith
Grammar of English 5, Part 1NESL0501

A 12 sessions. Mon. & Wed., 10:00 a.m.12:40 p.m., beg. Sept. 12.
Noncredit tuition $720.

A 12 sessions. Mon. & Wed., 10:00 a.m.12:40 p.m., beg. Nov. 2.
Placement Advising: All students must see an English Language Studies Center advisor for testing and placement at the appropriate level before they register. Call 212.229.5372 or email elsc@newschool.edu. Study Options in English as a Second Language Individual Classes: Students who do not need a visa can take classes from two to 18 hours per week. Certificate: A Certificate in English as a Second Language can be awarded to those who successfully complete a minimum of 100 hours of ESL coursework. All students who enroll as certificate students can obtain a transcript of the courses they have taken, even if they do not complete 100 hours of coursework. Policies governing all New School certificate programs are stated in the Educational Programs and Services section of this catalog (see the Table of Contents). Note: The registration fee for certificate students is $80 per semester. Intensive Study: The Department of English Language Studies has developed a unique program for intensive study of English as a second language. A full-time curriculum (18 hours per week) is designed for each student, made up of courses at an appropriate level chosen from those offered in this catalog. Selected New School lectures, film screenings, concerts, and other events are free of charge to students enrolled in the ESL Intensive Study program. 12-week intensive program: Tuition $4,880. Part 1 begins September 12; Part 2 begins November 2. ESL + Design: See page 61. Grammar of English 3, Part 1 NESL0301

A 12 sessions. Mon. & Wed., 10:00 a.m.12:40 p.m., beg. Sept. 12. Noncredit tuition $720.

A 12 sessions. Mon. & Wed., 10:00 a.m.12:40 p.m., beg. Nov. 2. Noncredit tuition $720.
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 1NESL0311
A 12 sessions. Tues. & Thurs., 10:00 a.m.12:40 p.m., beg. Sept. 13. Noncredit tuition $720.
Writing in English 3, Part 2NESL0312

A 12 sessions. Tues. & Thurs., 10:00 a.m.12:40 p.m., beg. Nov. 3. Noncredit tuition $720.
Enrollment limited. Permission required. Students at the low-intermediate to intermediate level work on writing paragraphs and build to writing essays consisting of an effective introduction, well-developed body paragraphs, and a solid concluding paragraph. They learn how to write evaluative essays, compare-and-contrast essays, and argumentative essays. Students revise their work and develop skills used by successful writers. Specific grammar points are covered in addition to those arising in student writing. Call 212.229.5372 for required placement advising. (noncredit) Writing in English 4, Part 1NESL0411
A 12 sessions. Tues. & Thurs., 10:00 a.m.12:40 p.m., beg. Sept. 13.
Grammar of English 3, Part 2 NESL0302


A 12 sessions. Tues. & Thurs., 10:00 a.m.12:40 p.m., beg. Nov. 3.
Enrollment limited. Permission required. Practice in basic English language skills and grammar for low-intermediate to intermediate students. Call 212.229.5372 for required placement advising. (noncredit) Grammar of English 4, Part 1NESL0401

Enrollment limited. Permission required. Students at the high-intermediate level work on writing five-paragraph essays consisting of an effective introduction, well-developed body paragraphs, and a solid concluding paragraph. Students write personal narratives, summary-response essays, argumentative essays, critiques, analytical essays, and compare-and-contrast essays. They learn how to revise their work and develop other skills used by successful writers. Specific points of grammar are covered in addition to those that arise in student writing. Call 212.229.5372 for required placement advising. (noncredit)
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)
59

A 12 sessions. Tues. & Thurs., 10:00 a.m.12:40 p.m., beg. Sept. 13.
Listening/Speaking 4: New York Life, Part 1NESL0421

A 12 sessions. Mon. & Wed., 2:003:50 p.m., beg. Sept. 12. Noncredit tuition $500.

A 12 sessions. Tues. & Thurs., 10:00 a.m.12:40 p.m., beg. Nov. 3.
Listening/Speaking 4: New York Life, Part 2NESL0422

A 12 sessions. Mon. & Wed., 2:003:50 p.m., beg. Nov. 2. Noncredit tuition $500.
Enrollment limited. Permission required. Advanced-level students practice formulating a thesis, organizing their ideas into paragraphs, writing topic and concluding sentences, including specific examples from a variety of sources, and developing a personal writing voice. Projects include compareand-contrast essays, analytical essays, argumentative essays, summaryresponse essays, persuasive essays, and critiques. Students learn how to revise their work and develop other skills used by successful writers. Specific points of grammar are covered in addition to those that arise in student writing. Call 212.229.5372 for required placement advising. (noncredit) Academic Writing 6, Part 1NESL0611
A 12 sessions. Tues. & Thurs., 10:00 a.m.12:40 p.m., beg. Sept. 13. Noncredit tuition $720.
Listening/Speaking 5: Thinking Critically, Part 1NESL0521

Listening/Speaking 5: Thinking Critically, Part 2NESL0522

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 212.229.5372 for required placement advising. (noncredit) Listening in the Real World 6, Part 1NESL0621
Academic Writing 6, Part 2NESL0612

A 12 sessions. Tues. & Thurs., 10:00 a.m.12:40 p.m., beg. Nov. 3. Noncredit tuition $720.
Enrollment limited. Permission required. This course is designed to help international students meet university writing requirements. They learn how to develop, focus, organize, and support ideas in extended essays. They then learn the research techniques practiced in the United States and the conventions for documentation, such as footnotes, citations, and bibliographies. The course includes in-class writing, homework, and a short research paper. Call 212.229.5372 for required placement advising. (noncredit) Conversation and Listening 3, Part 1NESL0321
A 12 sessions. Mon. & Wed., 2:003:50 p.m., beg. Sept. 12. Noncredit
tuition $500.
Listening in the Real World 6, Part 2NESL0622

Enrollment limited. Permission required. Students practice advanced listening points, using authentic materials, such as news broadcasts, films, and documentaries. Pronunciation and presentation skills are emphasized. Problems with grammar and vocabulary are addressed as they come up. Call 212.229.5372 for required placement advising. (noncredit) Reading and Vocabulary 3, Part 1NESL0331
Conversation and Listening 3, Part 2NESL0322

A 12 sessions. Mon. & Wed., 2:003:50 p.m., beg. Nov. 2. Noncredit tuition
$500.
Reading and Vocabulary 3, Part 2NESL0332

A 12 sessions. Tues. & Thurs., 2:003:50 p.m., beg. Nov. 3. Noncredit tuition $500.
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)
Enrollment limited. Permission required. Practice in reading with emphasis on building vocabulary for students at the low-intermediate to intermediate levels. Call 212.229.5372 for required placement advising. (noncredit)
60
Exploring Literature 4, Part 1NESL0431

A 12 sessions. Tues. & Thurs., 2:003:50 p.m., beg. Sept. 13. Noncredit
tuition $500.
ESL + Design Certificate

Parsons The New School for Design and The New School for General Studies together offer the ESL + Design Certificate program. This new pre-enrollment program is for international students who are interested in attending an art or design college in the United States but need to improve their scores on the Test of English as a Foreign Language (TOEFL) or would like to refresh their English language skills and adjust to university life in the United States before beginning art and design studies. The certificate program of study is based on a structured set of intensive English language (ESL) courses and incorporates design studio classes, short workshops, and an orientation to life in the United States. ESL + Design students have access to university facilities and services such as student housing (separate application and fees), tutoring at the University Writing Center, Health Services, a New School email account, and library privileges. Dates 12-week intensive program: September 12December 15 (12 weeks divided into two 6-week sessions) Admission To apply to the ESL + Design Certificate program, download the application instructions and application form from the website, www.newschool.edu/continuing-education/esl-design-certificate. If you have additional questions about applying, contact the English Language Studies Center by phone at 212.229.5372 or by email at elsc@newschool.edu. The English Language Studies Center is located at 68 Fifth Avenue, 2nd floor. In addition to completing core coursework in grammar, academic writing, listening and speaking, and reading, students in Levels 5 and 6 may choose to take the Design and Language Studio course instead of the listening and speaking course. Tuition and Fees Full-time: $4,880 Full-time with Design and Language Studio: $5,278 Design and Language StudioPNSO1506
A 24 sessions. Mon. & Wed., 3:005:30 p.m., beg. Sept. 12. Noncredit
tuition $1,398; credit tuition $3,930.
Exploring Literature 4, Part 2NESL0432

Reading and Discussion 5: Self and Identity, Part 1NESL0531

Reading and Discussion 5: Self and Identity, Part 2NESL0532

Enrollment limited. Permission required. Students read and discuss fiction and nonfiction. Formal and structural issues are explored, and reading strategies and vocabulary are developed. The emphasis, however, is on developing language skills through discussions of personal reactions to the readings. Call 212.229.5372 for required placement advising. (noncredit) Topics in Culture and Society 6, Part 1NESL0631
A 12 sessions. Tues. & Thurs., 2:003:50 p.m., beg. Sept. 13. Noncredit
tuition $500.
Topics in Culture and Society 6, Part 2NESL0632

Enrollment limited. Permission required. In this reading and discussion class, students explore current issues from various cultural perspectives. Among the topics discussed are individualism, competition, materialism, and attitudes toward change. Call 212.229.5372 for required placement advising. (noncredit) Institutional TOEFL ExamNESL0574
A 1 session. Fri., 10:00 a.m.12:30 p.m., Nov. 4. Noncredit tuition $25.
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: elsc@newschool.edu or 212.229.5372. Registration must be completed at least one month in advance. (noncredit)
Enrollment limited. Permission required. In this course, offered through Parsons The New School for Design, students enrolled in the ESL + Design Certificate program develop their language skills through studio art and design practice. Students work collaboratively on urban-themed exercises and projects and conduct field research in the city. They explore multiple art and design disciplines and complete both independent and group projects. Students gain experience speaking in studio discussions, collaborating in groups, and writing about projects and learn art and design terminology vital for studio practice. (3credits)
61
VISUAL AND PERFORMING ARTS

Visual Arts Photography Music Theory and Performance Acting and Movement Creative Arts Therapy Certificate
FOR COURSE ADVISING, CALL 212.229.5961. w w w. n e w s c h o o l . e d u / c e / v i s u a l a n d p e r f o r m i n g a r t s Mimi Wlodarczyk, Coordinator
Beginning Drawing: Short CourseNART1205

Susan Cottle
B 6 sessions. Wed., 6:008:40 p.m., beg. Nov. 2. Noncredit tuition $330.

Nuno de 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. (1credit) Beginning PaintingNART1301
Nuno de Campos
The New Schools founders sought to establish a dynamic center of modern culture in which adults could learn to appreciate new art forms, or even become artists 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.
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. (3credits) Beginning Painting: Short CourseNART1302
O P E N H O U S E N I G H T AT T H E N E W S C H O O L Tuesday, August 16, 6:008:00 p.m., 66 West 12th Street 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 212.229.5961.
Betty Tompkins
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 listed in the course description, are discussed during the first session. For more information, class locations, directions, or advising, call 212.229.5961. Beginning DrawingNART1204
Michelle Greene
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. (1credit) Beginning Painting and Drawing: Short CourseNART1305
A 6 sessions. Sun., 11:00 a.m.1:40 p.m., beg. Sept. 18. Noncredit
tuition $330.
B 6 sessions. Sun., 11:00 a.m.1:40 p.m., beg. Nov. 6. Noncredit

tuition $330. Avron Soyer
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. (3credits)
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 students 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, soft vine charcoal, and a kneaded eraser. (1credit)
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Drawing at the Metropolitan MuseumNART1210

A 15 sessions. Wed., 10:00 a.m.12:40 p.m., beg. Aug. 31. Noncredit
tuition $650. Margrit Lewczuk
Project StudioNART3304
Peter Garfield
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. (3credits) Fundamentals of Composition and DesignNART1201
Gilda Pervin
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 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. (3credits)
Printmaking
These courses are offered at Parsons The New School for Design as part of that divisions continuing education Arts and Foundation curriculum. Note: Registration policies and deadlines and tuition rates for these classes may differ from those for the other courses in this bulletin. For more information and to register, visit www.newschool.edu/parsons/ce or call 212.229.8933. Introduction to Printmaking PCFA1800
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 ones 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 necessary art supplies is distributed at the first session. (3credits) Life DrawingNART1217
A 15 sessions. Sun., 2:004:40 p.m., beg. Sept. 11. Noncredit tuition $650.
Margrit Lewczuk
Etching and EngravingPCFA1801
Silkscreen PrintingPCFA1802
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. (3credits) Painting Materials and Techniques: Short CourseNART2312
A 6 sessions. Tues., 6:008:40 p.m., beg. Nov. 1. Noncredit tuition $330.
Betty Tompkins
Woodcut, Etching, and Collagraph PCFA1806
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. (1credit)
63
PHOTOGRAPHY
Since Berenice Abbotts 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 212.229.5961. Introduction to Photography 1: Technical Foundation NPHG0001
A 12 sessions. Wed., 6:007:50 p.m., beg. Aug. 31. Noncredit tuition $360. Credit students must register for NPHG1000, below.
Michael Grimaldi
PhotojournalismNPHG3009
Adam Fernandez
Limited to 18. This course focuses on the craft of photojournalism and the development of a personal vision within its boundaries. Through weekly critiques and assignments, students are challenged to fulfill the requirements of the assignment while expressing their own personal vision. Weekly lectures and slide presentations focus on the work of photographers such as W. Eugene Smith and Walker Evans, as well as the personal journalism of Robert Frank, Larry Clark, and Nan Goldin. While this is primarily a critique and portfolio development class, there are two in-class workshops on flash and digital photography. Along with completing five assignments, students are expected to develop individual photo essays. Prerequisite: Introduction to Photography or equivalent experience. Bring samples of your photographs to the first session. (3credits) Point-and-Shoot in the Field NPHG1013
A 6 sessions. Sun., 11:00 a.m.3:30 p.m., beg. Sept. 11. Noncredit tuition
$650. Margo Moss
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 different 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) Introduction to Photography 1: Technical Foundation NPHG1000
A 15 sessions. Wed., 6:008:50 p.m., beg. Aug. 31. Credit students only.
Michael Grimaldi
Limited to 15. Photograph New York using only technique and the simplest of equipment. Students learn how to make use of 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. The use of point-and-shoot digital cameras, simple 35mm film cameras, and even disposable cameras is encouraged to help students develop a unique photographic vision. Beginners are welcome. First session meets at The New School. Bring your camera. (2credits) Professional Practices in PhotographyNPHG1015
Tod Bryant
The 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. (3credits) Photographic Self-PortraitNPHG2013
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 the entire history of the medium. This workshop is designed to strengthen students relationship to their own process using any camera format and traditional or digital materials. (3credits)
Limited to 18. 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 aspects of launching a professional career, such as portfolio presentation, approaching galleries, and finding 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. (3credits)
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Shadows, Textures, Reflections: Seeing the Light in New York City NPHG3005
A 6 sessions. Sat., 10:00 a.m.2:30 p.m., beg. Sept. 10. Noncredit tuition
$650. Margo Moss
MUSIC THEORY AND PERFORMANCE

Listed below are a few courses from the varied music curriculum for adult students in the Extension division at Mannes College The New School for Music. Note: Registration policies and deadlines and tuition rates for these classes may differ from those for the other courses in this bulletin. You can see all the courses offered and register online at www.newschool.edu/mannes/ce. Call Mannes Extension at 212.580.0210 x4802 for more information. Ear TrainingXTOM1101
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 of New York City. First session meets at The New School. Bring your camera. (2credits) Using Your Digital SLR NPHG0013
A 1 session. Sat., 10:00 a.m.5:00 p.m., Nov. 5. Noncredit tuition $230.
George Schaub
Beginning PianoXINS1001
Beginning VoiceXVCO1001
Limited to 15. While digital single lens reflex cameras have many of the same photographic functions and features as film SLRs, they present different challenges on the digital side. These include choosing the proper file format and resolution, white balance, color space, exposure compensation, saturation, and contrast controls. Students spend the first part of this workshop in the classroom examining these features and learning how to control them in order to make informed choices when shooting in the field. Presentations and hands-on exercises familiarize students with the functions of their digital cameras and use of the Raw file format. The second half of the workshop 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. A basic understanding 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)
Beginning Acoustic GuitarXPER1005
ACTING AND MOVEMENT

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 212.229.5961 for course advising. Acting for Film and TelevisionNACT3313
Mark Stolzenberg
HOW TO REGISTER
This course for beginning and experienced actors is devoted to the particular art of acting for the camera: how to relate to the lens, blocking and movement, important differences between film acting and stage acting, film audition techniques, working with sides and copy, and tricks of the trade that can help actors be more believable and interesting on screen. The course considers the demands of serious film roles, commercials, monologues, and scene study. Students work in front of the camera and can immediately review their own performances. (3credits) Introduction to ActingNACT2300
Andrew Palmer
BY FAX
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. (3credits)
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Acting for the StageNACT3339

John Charles Murphy
Pilates: The MatNDRF1303

A 12 sessions. Fri., 12:001:50 p.m., beg. Aug. 29. Noncredit tuition $605.
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 through monologues, soliloquies, or scene work or create an original sketch. Extensive individual coaching prepares students to create scenes and theater pieces. Prerequisite: Scene Study or an equivalent acting course. (3credits) Solo TheaterNACT3325
tuition $650. Alice Eve Cohen
B 12 sessions. Sat., 12:001:50 p.m., beg. Sept. 17. Noncredit tuition $605.
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 proteg, Romana Kryzanowska. Its not the individual exercises but the entire sequence that has kept the Pilates Method popular for 85 years. Valued particularly 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. (2credits) Tai Chi Chuan: General Principles of Body Movement NDRF1200
Robert Ante
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, multi-character comic monologues, mixed-media performance art, and other forms of expression. 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 anothers 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. (3credits) Hatha Yoga NDRF1302
A 12 sessions. Fri., 10:0011:50 a.m., beg. Sept. 16. Noncredit tuition $605.
Leslie Daly
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 relaxation and rehabilitation. The movements are 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. (2credits) The Alexander TechniqueNDRF1301
Cynthia Reynolds
B 12 sessions. Sat., 10:0011:50 a.m., beg. Sept. 17. Noncredit tuition $605.
Thembi Costa
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 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. (2credits)
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. (2credits)
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CREATIVE ARTS THERAPY CERTIFICATE

w w w. n e w s c h o o l . e d u / c e / c r e a t i v e a r t s t h e r a p y c e r t Louise Montello, Coordinator
Training in Music Therapy 1NCAT3300

Christoph Grieder
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. 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 bulletin (see Table of Contents). For more information, call 212.229.5567 or email CATinfo@newschool.edu. 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 T H E R A P Y E X P O Tuesday, August 16, 6:008:00 p.m., 66 West 12th Street 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.
Enrollment limited. The practice of 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, theoretical concepts of music therapy with reference to different patient populations, and information about further training and job opportunities in the field. There is also an experiential component, in which students apply 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 are guided in developing fieldwork opportunities in the New York area. (3credits) Drama Therapy: Methods and TechniquesNCAT3505
Jennifer Wilson
This course provides a review, description, and introduction to the practice of methods and techniques used by drama therapists, including Morenos psychodrama, Landys role theory, Johnsons developmental transformations, Emunahs five stages, and Foxs playback theater. In addition, clinical techniques such as sandplay, storytelling, drama games, projective techniques, performance, masks, and puppets are explored and discussed. The course includes a final paper and a leadership project, in which each student leads the class. (3credits) Introduction to Dance/Movement TherapyNCAT2510
Nancy Koprak
Rhythm and Role: Unmasking the Essential SelfNCAT3400

A 4 sessions. Sat., 10:00 a.m.5:00 p.m., beg. Oct. 15. Noncredit
tuition $680. Louise Montello
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. (3credits) Training in Art Therapy 1NCAT3100
Christine Alessandro
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. (3credits) The Dynamics of Art MaterialsNCAT3113
Dina Schapiro
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 are encouraged to develop an ability to understand, interpret, and respond to symbolism from their own work, their patients, and the world around them. (3credits)
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. (3credits)
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Healing MovementNCAT3535
Sharon Oliensis
MANAGEMENT AND BUSINESS

FOR COURSE ADVISING, CALL 212.229.5124. w w w. n e w s c h o o l . e d u / c e / m a n a g e m e n t a n d b u s i n e s s Carol Overby, Coordinator
What do the Feldenkrais method, tai chi, belly dancing, and Balinese dancing have in common? All promote mind-body healing and expand creative expression. Feldenkrais Awareness Through Movement lessons combined with instruction in movement techniques from healing dance enables students to unlock tension and move with greater ease and fluidity. These techniques can also be integrated into creative arts therapy practice. Readings from dance/movement therapy and anthropological sources provide a deeper understanding of the subject. (3credits) Dance Therapy with ChildrenNCAT3553
Susan Tortora
The management and business curriculum teaches specific business practices and provides in-depth understanding of the effects of social and economic forces on todays businesses and nonprofit organizations. Whether your interest is in acquiring or polishing job-related skills, positioning yourself for a new career, opening your own business, or supporting your work with nonprofits or in the arts, The New School can help you adapt to an ever-changing environment.
O P E N H O U S E N I G H T AT T H E N E W S C H O O L Tuesday, August 16, 6:008:00 p.m., 66 West 12th Street To learn more about our business and management 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 212.229.5124.
Enrollment limited. Permission required. Students gain a deeper understanding of the role multisensory learning plays in all levels of a young childs 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 child mental health practices, from typical parent-infant relationships to various special populations. Through lectures, video, 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. (3credits) The Performance Wellness SeminarNCAT3740
Louise Montello
ONLINE
Arts and Cultural Marketing: Selling What Makes New York City InterestingNMGT3115
Clint (William) White
This course offers musicians, music therapists, and other creative arts therapists a deeper understanding of the implications of stress for performance, as well as practical tools for allowing the body-mind to become 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 an integrative music therapy approach to treating and preventing stage fright and other performance-related disorders. The uniqueness of this approach derives from the use of music itself as a self-reflecting and transformational tool in dealing with the underlying causes of performance stress. The seminar also provides training in body-mind awareness techniques, cognitive restructuring, behavioral rehearsal, and specially designed music therapy techniques that directly address key performance issues. Students keep daily logs to monitor changes in their own stress levels (physical, mental, and emotional) during the course. (3credits) Creative Arts Therapy InternshipNCAT3900
A Fieldwork individually arranged. Seminar meets 4 times: Wed., 4:005:50
p.m., Sept. 7, Oct. 5, Nov. 9 & Dec. 14. Noncredit tuition $795. Barbara McKechnie
Like all great cities, New York offers a range of arts and cultural amenities, which drive the economy and enrich our lives. But how is the marriage of creative product and informed consumer best achieved in a highly competitive, cluttered, and changing world? This course is an overview of the principles and practices of marketing as applied to museums, galleries, performing arts, and other cultural institutions and organizations. How does the arts and culture industry affect the local urban economy and beyond? Engaging the well-known 4 Ps of marketing (product, price, place, promotion) as well as practical considerations (budget, institutional politics, industry paradigms), students look at case studies of current arts and cultural marketing campaigns and consider the future of this vital economic sector. Guest speakers from the industry inform our discussions. (3credits) Basic AccountingNMGT2110
Laurence OConnell
ONLINE
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 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 relevant to specific populations. (3credits)
This course introduces basic concepts and practices of accounting and double-entry bookkeeping. Journals, ledgers, and various types of accounts are described and discussed. Real-world business transactions are analyzed, and their proper entry into financial records is demonstrated. Students learn how to determine profit or loss on a cash or accrual basis. Related skills, such as preparing budgets and reading basic financial statements, are also reviewed. (3credits)
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EntrepreneurshipNMGT2140
Alejandro Crawford
Managerial Skills for Successful OrganizationsNMGT2420

ONLINE
Small businesses are the drivers of todays 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 with real-life exercises such as forming an elevator pitch, devising a business plan, and delivering an investor presentation. (3credits) Introduction to Business ManagementNMGT2100
Richard Walton
ONLINE
For managers, leaders, and staff members, effectiveness in organizations depends largely on understanding whats 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 disciplinespsychology, sociology, anthropology, and political scienceto 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. (3credits) How to Convince with NumbersNMGT2200
Laurie Tvedt
This is a skill-building course for people whose job responsibilities or career interests require knowledge of basic management principles. We study concepts of business organization, communication, decision making, planning, motivating, group dynamics, leadership, and change. Examples of common day-to-day management and supervisory problems provide realistic case studies. (3credits) Introduction to MarketingNMGT2115
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 NGOs, art and design, packaged goods, and services. (3credits) Introductory Finance for BusinessNMGT2133
David Rudofsky
Do you have a great idea for a new product or process but not know how to put together the numbers that will convince your boss? Are you thinking of starting a business and wondering how to estimate its chances of success? Once you get an enterprise going, how do you assess its performance? The Internet, libraries, and government documents can provide you with the data you need to persuade with numbers. In this course, we examine the skills and methods necessary to make a convincing presentation for a new project or method at work, to pitch a startup company to potential investors, to analyze funding allocations in a nonprofit, or to explain research findings. Drawing on elements of statistics and research methods, we consider how to 1) identify situations in which numbers can strengthen a case, 2) find the best sources for reliable data, and 3) organize, graph, and present information in the most compelling way. This course is for those who wish to sharpen their abilities with numbers and develop visual and graphic presentation skills. (3credits)
HOW TO REGISTER
This course introduces financial statements and concepts and is designed for students who have not previously studied finance. We look at how statements (profit and loss, balance sheet, cash flow) 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. (3credits)
BY FAX
IN PERSON Register in person at 72 Fifth Avenue (corner of 13th Street) on the main floor. See page 103 for the schedule.
ONLINE
This logo indicates that the course is offered online. See page 75 or visit the website at www.newschool.edu/online for more information.
See pages 103104 for details about registration procedures and deadlines, or call 212.229.5690.
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Business WritingNMGT2109
FOOD STUDIES
FOR COURSE ADVISING, CALL 212.229.5124. w w w. n e w s c h o o l . e d u / c e / f o o d s t u d i e s Fabio Parasecoli, Coordinator
The ability to write clearly, coherently, and persuasively is a crucial business skill. Techniques taught in this course can be applied to business and financial writing, specialized technical writing, and public relations. Students learn to use their professional, analytical, and organizational skills to become better communicators. (3credits) Social Entrepreneurship: Making a DifferenceNMGT3030
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 food production, distribution, quality, and safety and to promote positive change in your local food chain.
O P E N H O U S E N I G H T AT T H E N E W S C H O O L Tuesday, August 16, 6:008:00 p.m., 66 West 12th Street 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 necessary, but if you need more information, call 212.229.5124.
Social entrepreneurship blurs the lines between the nonprofit and for-profit sectors. Emerging in response to government and philanthropys inability to alleviate the worlds social ills, it employs market-based solutions to problems such as hunger, poverty, HIV/AIDS, and global warming. This course examines three primary models: nonprofits starting for-profit ventures, for-profit companies with a social purpose, and nonprofits that approach social need in new and innovative ways. Students address such questions as: What does it take to be a social entrepreneur? Who are the leaders in this sector? What determines success or failure? Which is the appropriate business model for an idea? How does an organization find funding? How are corporations helping? And how does one assess the positive impact of the social venture? (3credits) NEW Entrepreneurship, Risk, and Culture: Anthropological PerspectivesNANT3545
Ana Maria Ulloa
American Culinary History: From the Erie Canal to the Food NetworkNFDS2101
Andrew F. Smith
See page 16. (3credits) The Big Idea: Making It Happen in Contemporary Ad CampaignsNMGT2122
Kurt Brokaw
Could you invent a Marlboro cowboy, a milk mustache, an Aflac duck? How do copywriters and art directors come up with ideas for the hottest viral, stealth, 3-D, and experiential media? This course explores the creation of messages for mobile applications, Facebook, and Twitter, as well as television and print. Students learn to create campaigns for packaged goods, retail businesses, recording artists, and public services. Invited guests include Anna Kate Roche (Eugene Lang College 08), copywriter at Ogilvy; rock guitarist and film composer Chris Brokaw; and Matt Miller, CEO of the Association of Independent Commercial Producers. An ideal course for students interested in the creative side of advertising. (3credits)
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 advocatesall contributors to the contentious American foodscape of the 21st century. (3credits) NEW Disputed Crops: U.S. Agricultural Policy and the Farm BillNFDS3205
James Kielkopf
ONLINE
In recent years, a number of books and documentaries have been produced criticizing U.S. agricultural policy for supporting unsustainable farming practices with poor health outcomes for consumers and advocating alternative approaches to food production. What is the policy that arouses such opposition? How can advocates for alternative approaches effectively analyze farm policy and practices in order to change them? This course introduces the legislative basis of U.S. agricultural policy, which, since the Great Depression, has been established within the framework of renewable five-year Farm Acts. Students learn what this farm policy is, how it is made and implemented, and how it might be changed. The course consists of weekly readings, online discussions, and a semester-long student advocacy project, in which students, individually or in groups, adopt a sustainable food production advocacy group (or even an agribusiness lobby) and present a strategy for achieving a desired policy outcome. (3credits)
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FOOD STUDIES
Food Environments, Health, and Social JusticeNFDS3220

Kimberly Libman
ONLINE
Urban AgricultureNFDS3720
Fa-Tai Shieh
With obesity and diabetes rising at alarming rates, an interdisciplinary academic field has emerged to rethink the role of the environment in shaping food use patterns and health. In this class, our approach is framed by the ideas and activities of the environmental justice movement, which guide a critical reading of the literature on food environments and the sociospatial distribution of nutritional resources. We conceptualize systems of food production and consumption in environmental terms, such as food deserts and platescapes, and examine how modes of food production and distribution are connected to the nutritional landscapes of cities. We consider research methods to gain an understanding of these environments and health effects and explore strategies to promote effective change in resource distribution. Students use Internet-based mapping tools to conduct field research on their own food environments. (3credits) NEW Food Fight! The Role of Food in Advocacy and Sociopolitical CommunicationNFDS3300
Stefani Bardin
ONLINE
This course examines agricultural endeavors that exist in urban environments and explores ways in which food production can be envisioned within a city landscape. Students survey concepts of urban agriculture and how it can fit into 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. (3credits)
PROFESSIONAL DEVELOPMENT WORKSHOPS

Find Out If Running a Restaurant Is for YouNFDS0360
A 1 session. Sat., 10:00 a.m.4:00 p.m., Sept. 24. Noncredit tuition $180.
David Friedman
The importance of food in popular culture is evident in media such as television shows, films, and blogs. Complex issues such as hunger and food justice, health and obesity, locavorism, biotechnological influences, fair trade, ethical consumption, and sustainability are slowly entering the conversation about food in contemporary media outlets. We begin by examining the role food plays in communication from semiotic and cultural studies points of view. We then explore food as a focus of social, political, and environmental debates; as a topic discussed in social networks, advertising campaigns, political platforms, viral internet campaigns, television programs, magazines, and newspapers; and as inspiration for art and media projects addressing these social and political issues. We discuss food and food advocacy content generators and consider effective communication strategies for food-related activism. (3credits) History of American Farming and Agricultural ProductionNFDS3101
Thomas Forster
Have you ever wondered what its like to open a restaurant? Learn the insider secrets you dont 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 timeline, 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 youre thinking of opening a restaurant or are just curious about what goes on behind the scenes, youll find this six hours well spent. (noncredit) Launching and Marketing Your Food ProductNFDS0350
Terry Frishman
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 due to 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 historical context. (3credits)
Do you make the worlds 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) How to Write a Winning Business PlanNFDS0353
Terry Frishman
Whether youre in the concept stage or already have an existing food company, this workshop explains in detail the writing of a successful business plan and how you can use that plan to help you raise capital for your business. We cover the nuts and bolts of every business plan, but we also discuss how to create a compelling mission that maximizes your businesss long-term potential, how to position industry trends to your advantage, and how to assess projected capital requirements and expenses accurately. A banker specializing in small business financing joins us to share his expertise. (noncredit)
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INSTITUTE FOR RETIRED PROFESSIONALS
INSTITUTE FOR RETIRED PROFESSIONALS

Michael I. Markowitz, Director
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 Joyces Ulysses Jane Austen History of Jazz Plays of Albee and ONeill 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 Writers Workshop Watercolor Painting Area Studies Hispanic/Latino Experience The Pacific Rim Understanding Islam History American Radicals Early Civilizations Byzantium The Middle Ages Brazils History and Culture Russian History: 9001917 Chinese History and Culture The American West Gay History and Literature The Harlem Renaissance
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 programs 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: irp@newschool.edu. Academic Program IRP study groups are noncredit, and there are neither tests nor grades. However, all members of the community take their responsibilities seriously, and student participation in the study groups is an essential element in the continuing success of the institute. In the IRP model, information is created by the students themselves in study groups rather than transferred from teacher to student. Students also have opportunities to explore the broad range of New School courses and to participate in other aspects of university life as part of its diverse student body. The IRP itself sponsors regular public events at The New School, including the popular Fridays @ One series (see opposite).
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, 1:002:00 p.m. Admission is free, but RSVP is required. Call 212.229.5682 or email irp@newschool.edu. 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. Sept. 30 Oct. 21 Nov. 18 Tom Bernardin: Ellis Island, the Golden Door Alix Kates Shulman: The Story of Your Life: Fiction or Memoir? Yuri Dojc: A Photographic Journey
See Public Programs in the front of this bulletin for a description of each event. Fridays @ One is supported by a bequest in memory of Estelle Tolkin.
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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

The New School for General Studies Educational Programs and Services The University University Administration Policies Administrative PoliciesUniversity Other Divisions of the
www.newschool.edu/generalstudies
www.newschool.edu/
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THE NEW SCHOOL FOR GENERAL STUDIES

David Scobey, Executive Dean, The New School for General Studies and
Board of Governors of The New School for General Studies and Milano The New School for Management and Urban Policy Steven H. Bloom, Chair Randall S. Yanker, Vice Chair Margo Alexander Kofi Appenteng George C. Biddle Hans Brenninkmeyer James-Keith (JK) Brown John Catsimatidis Marian Lapsley Cross Robert J. DiQuollo Susan U. Halpern William H. Hayden Jeffrey J. Hodgman Joan L. Jacobson Alan Jenkins Richard L. Kauffman Eugene J. Keilin Robert A. Levinson Bevis Longstreth Anthony Mannarino Victor Navasky Steve Nislick Lawrence H. Parks, Jr. Steven C. Parrish Lorie A. Slutsky Julien J. Studley Paul A. Travis Emily Youssouf Judith Zarin
Honorary Members
Milano The New School for Management and Urban Policy

Anthony Anemone, Associate Dean for Faculty Affairs Celesti Colds Fechter, Associate Dean for Academic Services John Green, Associate Dean for Administration Almaz Zelleke, Associate Dean for Academic Affairs Thelma Armstrong, Executive Assistant to the Dean Seth Cohen, Director of Administrative Services Merida Escandon, Director of Admission Emily Martin, Director of Faculty Affairs Romeo Sanchez, Director of Academic Systems Francisco Tezn, Director of Development Pamela Tillis, Director of Public Programs Allen Austill, Dean Emeritus
David N. Dinkins Malcolm Klein Lewis H. Lapham Pam S. Levin
The New School was founded in 1919 as a center for discussion, instruction, and counseling for mature men and women. It became Americas first university for adults. Over the years, it has grown into an urban university enrolling more than 10,000 students in undergraduate and graduate degree programs. The New School for 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 bulletin offers an enormous range of opportunities for intellectual inquiry and skills development. Certain values inform the process of preparing a curriculum each term. These were articulated in a statement of purpose prepared by a University Commission on Continuing Education in the spring of 1984: The New School does not set any limits to its programs in regard to subject matter. Whatever seriously interests persons of mature intelligence properly falls within the province of the school. History and philosophy, the social and behavioral sciences, literature and art, the natural and biological sciences, education, and ethics naturally take up a significant part of the New School curriculum, since these are the fields in which the forces of culture and change are most significantly active, and in which human beings, their institutions, and their products are directly studied. The centrality of the liberal arts is maintained and strengthened in every possible way, but not to the exclusion of other educational programs that serve a legitimate need for mature adults in a mature community. Some of the finest minds of the 20th century developed unique courses at The New School. W.E.B. DuBois taught the first course on race and 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 womens studies. Over the years, lectures, seminars, and courses have examined most of the important national and international issues of our time. To this day, many talented teachers and professionals choose The New School as a place to introduce new courses and explore new ideas. The New School maintains its tradition of educational innovation and keeps its place on the cutting edge of intellectual and creative life in New York City. Accreditation The New School and its degree programs are fully accredited by the Commission on Higher Education of the Middle States Association of Colleges and Secondary Schools. Its credits and degrees are recognized and accepted by other accredited colleges, universities, and professional schools throughout the United States. The New School, a privately supported institution, is chartered as a university by the Regents of the State of New York.
EDUCATIONAL PROGRAMS AND SERVICES

The New School is committed to creating and maintaining an environment of diversity and tolerance in all areas of employment, education, and access to educational, artistic, and cultural programs and activities. It does not discriminate on the basis of age, race, color, sexual orientation, gender (including gender identity and expression), pregnancy, religion, religious practices, mental or physical disability, national or ethnic origin, citizenship status, veteran status, marital or partnership status, or other protected status. Students with disabilities should read Services for Students with Disabilities in this bulletin for information about obtaining accommodation of their needs and how to proceed if they feel such accommodation has been denied. Students who feel they have suffered disability discrimination other than denial of reasonable accommodation, or discrimination on any basis described above, may file a complaint pursuant to the University Policy on Discrimination (see University Policies Governing Student Conduct on the website at www.newschool.edu/studentservices/rights/other-policies). Inquiries about the application of laws and regulations concerning equal employment and educational opportunity at The New School, including Title VI (race, color, or national origin), Section 504 (people with disabilities), and Title IX (gender) may be referred to the office of the General Counsel, The New School, 80 Fifth Ave., suite 801, New York, NY 10011. Inquiries may also be referred to the Office of Federal Contract Compliance Programs, U.S. Department of Labor, 23 Federal Plaza, New York, NY 10278, or the U.S. Equal Employment Opportunity Commission (EEOC), New York District Office, 201 Varick Street, Suite 1009, New York, NY 10014. For individuals with hearing impairments, EEOCs TDD number is 212.741.3080.
Study Options
Noncredit The majority of courses in this bulletin can be taken on a noncredit basis. Noncredit students pay tuition and fees as listed in the course descriptions. Noncredit students are entitled to receive the instructors evaluation of any assigned coursework they complete, but no letter grades are reported. Except for students in certificate programs (see opposite), the university does not maintain a permanent or official record of noncredit enrollment. We can provide a noncredit record of attendance, which may be used for tuition reimbursement from your employer or for your own records. This record of attendance must be requested during the term in which the course is taken. See Records, Grades, and Transcripts in this bulletin. There is a fee for this service.
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General Credit (Nonmatriculated) A student interested in earning undergraduate college credits may register on a general credit basis for most courses in this bulletin, accumulating a maximum of 24 credits without matriculating. The number of credits awarded for any course is shown in parentheses at the end of the course description. The student receives a letter grade in each course and is entitled to transcripts of record. A general credit student is outside any degree program at The New School and is registered on a nonmatriculated basis. General credit students have limited access to university facilities: They have access to The New Schools 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 Bachelors and other undergraduate degree programs, but it is seldom possible to determine in advance whether credits will be accepted by a particular institution; that will be decided by the school and for a particular degree program. When possible, students taking courses for transfer to another school should confirm that the credits will be accepted before they register here. You should consider registering for general credit if you think you will need an official record of your course work for any reason: you are testing your ability to handle college-level study; to qualify for a salary increment from the Board of Education (NYC or other employer); to make up educational deficiencies (prerequisites for an MA, for example); to fulfill a language requirement for graduate school; or for career advancement. Specific requirements for credit vary from course to course, and each student is responsible for learning from the instructor what they are: the books to be read, the paper(s) to be written, and other criteria to be used for evaluation. General credit registration for any course should be completed before the first class session. General credit registration for 9 or more credits requires prior approval and must be completed in person. Schedule an advising appointment with Academic Services: 212.229.5615; academicservices@newschool.edu. General credit tuition for courses in this catalog is $1,105 per credit for undergraduate students, and an $80 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 bulletin or visit the website for information about these requirements and necessary educational advising. All certificate students are responsible for knowing and completing attendance and academic performance requirements for their courses. Tuition for Certificate Students: Tuition for noncredit certificate students is the tuition listed with the course descriptions in this catalog. If the student is taking the course for credit, tuition depends on the students status and the number of credits assigned to the course.
Registration: All certificate students must have their programs approved by the appropriate course advisor before they register, must register in person, and must specifically request certificate status for each approved course at registration. Certificate students pay the $80 University Services Fee each term at registration. Grades and Records: Certificate students receive a grade of Approved (AP) or Not Approved (NA) at the conclusion of a course. (Credit students should consult their program advisor to find out the minimum letter grade required for Certificate Approval.) Permanent records are maintained for all certificate students, and transcripts are available. Request for Certificate: A student who has completed all the requirements of a certificate program should file the Petition for Certificate form available at the Registrars Office. Certificates are conferred in January, May, and August.
Study Online
www.newschool.edu/online
The New School is a pioneer in extending teaching and learning into the Internet environment. Distance learning courses, online enhancement of campus courses, and public programs and discussions are available through the online portal. Using an Internet connection, you can enter The New School from anywhere in the world, 24 hours a day, seven days a week. Visit www.newschool.edu/online to learn more. More than 300 courses are offered in the full distance learning environment every year, enrolling more than 2,000 credit and noncredit students. Students matriculated in the New School Bachelors Program and graduate programs in Media Studies and TESOL can take some or all of their courses online. For additional information about degree programs online, contact the Office of Admission, 72 Fifth Avenue, 3rd floor, 212.229.5630, or email nsadmissions@newschool.edu.
Libraries and Computing Facilities

The Raymond Fogelman Library has relocated to 55 West 13th Street. Emphasizing the social sciences, the Fogelman Library is the principal library for New School students. The Adam and Sophie Gimbel Library on the second floor of the Sheila Johnson Design Center (enter at 2 West 13th Street) has a rich art and design collection. The Harry Scherman Library at Mannes College The New School for Music, 150 West 85th Street, is devoted to European and American classical music. Reference services and instruction in library resources and technologies are available at all libraries. For further information about library services and procedures, consult with the reference librarians on duty in the libraries or visit www.newschool.edu/library. In order to visit the libraries, a student must present a valid New School ID card. Students taking courses for credit or certificate and members of the IRP are entitled to a photo ID. Noncredit students receive a New School ID without photo valid for the duration of their course(s) and must show a personal photo ID with their New School ID to use the library. Many library services are available online at library.newschool.edu. Computing Facilities All students matriculated in certificate programs have access to the Academic Computing Center, with Windows workstations and printers, and the University Computing Center, with Macintosh and Windows workstations, laser printers, and plug-in stations for laptops. Computing centers are part of the Arnhold Hall Multimedia Laboratory at 55 West 13th Street.
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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 full potential and have positive experiences at The New School and, in cooperation with other departments, faculty, staff, and the students themselves, to promote diversity and foster respect for cultures from all over the world. International Student Services helps international students help themselves through printed handouts, orientations, and workshops, and individual advice and support. Before registering, all international students are required to attend an orientation and check in with International Student Services to confirm that they have been properly admitted into the United States and to review their rights, responsibilities, and regulations. Visit the website at www.newschool.edu/studentservices.
Students develop their programs from the hundreds of courses described in this bulletin and other courses open to degree students only. Visit the website to see a current list of courses. In addition, they may select courses offered by Eugene Lang College The New School for Liberal Arts, Parsons The New School for Design, and Mannes College The New School for Music Extension. Advanced undergraduates and those approved for a bachelors/masters 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 Bachelors 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 bachelors 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 Bachelors Program, correspond generally to the following chapters of the New School Bulletin: Social Sciences Humanities Media Studies and Film Screenwriting Writing Foreign Languages English Language Studies Food Studies
Services for Students with Disabilities

The Office of Student Disability Services shares the universitys 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 students courses. Once a student has self-identified, a meeting will be arranged to review appropriate medical documentation from a qualified clinician and discuss the students needs and concerns. Students who need special accommodations, please contact Student Disability Services: 212.229.5626; studentdisability@newschool.edu. Students with disabilities who feel they have been denied reasonable accommodation should follow the procedure provided for by the New School Policy for Requesting Reasonable Accommodations available on the website at www.newschool.edu/studentservices/rights/other-policies or at the Office of Student Rights and Responsibilities.
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. New School Bachelors Program students may also take university undergraduate courses in Environmental Studies and Global Studies. (Note: The New School also offers the BFA degree in Musical Theater to graduates of the American Musical and Dramatic Academy integrated program. Contact the Office of Admission, 212.229.5630, for information about the AMDA program.) Complete information about admission and degree requirements, financial aid, course offerings, facilities and student services is published in the New School Bachelors Program Catalog, available as a PDF on the website at www.newschool.edu/bachelorsprogram.
Admission
Merida Escandon, Director of Admission Anita M. Christian, Assistant Director Coralee Dixon, Assistant Director Harold Respass, Admission Counselor Matt Morgan, Admission Counselor
THE NEW SCHOOL BACHELORS PROGRAM

www.newschool.edu/bachelorsprogram Bea Banu, Director of the Bachelors Program
For more information about the New School Bachelors Program, contact the Office of Admission at 72 Fifth Ave., 3rd floor; 212.229.5630; email nsadmissions@newschool.edu; 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 nsadmissions@newschool.edu; or come in person to 72 Fifth Avenue, 3rd floor. Office hours are 10:00 a.m.6:00 p.m.
An Individualized Degree Program for Adults and Transfer Students The New School Bachelors Program is designed specifically for adult students who are committed to completing their undergraduate education with a solid foundation in the liberal arts. Within a set of broad guidelines and working closely with a faculty advisor, each student chooses courses that make sense for his or her personal goals. Students can attend part- or full-time, on campus, online, or by combining on-site and online courses.
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THE UNIVERSITY
www.newschool.edu
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, seminarstyle 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, environmental studies, global studies, history, interdisciplinary science, literary studies, philosophy, politics, psychology, and urban studies. 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 bachelors/masters degree options in association with several graduate programs of The New School. Milano The New School for Management and Urban Policy During the 20102011 academic year, The New School for General Studies and Milano The New School for Management and Urban Policy are advancing a major initiative that will bring them together as one university division. Founded in 1975 as an alternative to traditional graduate business schools, Milano 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 offers masters degrees in international affairs, urban policy analysis and management, environmental policy and sustainability, nonprofit management, and organizational change management; a PhD in public and urban policy; and postgraduate certificates. 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 offers both undergraduate and graduate degrees and credentials: bachelor of music, bachelor of science, artists 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 Schools 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 students 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.
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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 Manhattans 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/interdisciplinary-ugrad.
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 offers masters and doctoral degrees in anthropology, economics, philosophy, political science, psychology (research and clinical), and sociology, and interdisciplinary masters 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, the bachelor of arts in environmental studies, bachelor of science in environmental studies and urban studies, and the bachelor of business administration in design and management. Qualified students may enter a five-year dual-degree program with Eugene Lang College. Masters 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 studies, and graphic design, and continuing education certificate programs.
OFFICERS OF ADMINISTRATION
David Van Zandt, President Tim Marshall, Provost and Chief Academic Officer Frank J. Barletta, Chief Financial Officer and 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 schools 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
Student Accounts and Records

All registered students can access their personal current student information on the Internet through a secure connection. Go to my.newschool.edu and follow the links to look up your Net ID and set or reset your password. You will need your New School ID number (N plus 8 digits). Once you log in, click the Student tab for access to up-to-date records of your student activities, including your enrollment in courses, the status of your tuition and fees (paid, owed, refundable), and, if you enrolled as a credit or certificate student, your grades. You can also authorize parents, guardians, or employers to view your student accounts and make payments on charges due. 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 students record and/or emailed to the students email address. For family educational rights and privacy policies, see page 83.
Facilities Management Robert Gay, Vice President for Enrollment Management Roy Moskowitz, General Counsel and Vice President 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, Chief of Staff and Vice President and Secretary of the Corporation
Deans and Directors

Stephanie Browner, Dean, Eugene Lang College
The New School for Liberal Arts

Richard Kessler, Dean, Mannes College The New School for Music Pippin Parker, Director, The New School for Drama Martin Mueller, Executive Director, The New School for Jazz and
Contemporary Music
Michael Schober, Dean, The New School for Social Research David Scobey, Executive Dean, The New School for General Studies
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 students name and (if assigned) New School ID number in the memo section. Registration is not complete until payment or payment arrangements, such as verification of employer reimbursement (see the next page), have been made. Confirmation is the Statement/Schedule received at the cashier (mailed to students who register online or by fax, mail, or telephone). Verify the accuracy of your class schedule: You are not registered for and will not earn credit for any course that does not appear on your class schedule. You are responsible for all courses and charges that appear on the statement/schedule.
and Milano The New School for Management and Urban Policy
Joel Towers, Executive Dean, Parsons The New School for Design
Visit the website at www.newschool.edu for the university board of trustees as well as information about administrative and academic offices.
UNIVERSITY ADMINISTRATIVE POLICIES

University Registrar
William Kimmel, University Registrar Jennifer Simmons, Associate Registrar
Student Financial Services

Eileen F. Doyle, Assistant Vice President for Student Financial Services Lisa Shaheen, Director of Financial Aid Barbara Garcia, Associate Director of Student Accounts Leslie King, Associate Director of Financial Aid Lisa Banfield, Associate Director of Financial Aid
Tuition and Fees: Continuing Education

Student Status Noncredit Tuition Materials Fees, etc. University Services Fees
Stated in each course description in this catalog $1,105 per credit The noncredit tuition
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 registrars 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 103104. Policies as stated in the following pages apply to certificate and nonmatriculated (noncredit/nondegree) students at The New School for General Studies.
Stated in course description if applicable Same as above Same as above
Registration fee: $7 per term
Undergraduate General Credit Noncredit Certificate
$80 per term $80 per term
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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 sfs@newschool.edu 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 students full name (and, if available, the students New School ID number), the amount to be reimbursed, the academic term for which the charges will be covered, the signers 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 students 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. For answers to questions regarding employer reimbursement, email sfs@newschool.edu 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.
Returned Check Policy If, for any reason, a check does not clear for payment, a penalty of $30 is charged to the students 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 Bachelors Program should consult the Bachelors 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.
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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, Registrars 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-ratedsee the Add/Drop table at right. Refunds are computed from the date and time the written notice is received in the Registrars Office, or the date of the postmark if the notice is mailed. The registration/university services fee is not refundable unless a students 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. 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.
Add/Drop and Refund Deadlines

Classroom Courses: Standard Semester This schedule applies to courses starting August 29September 4 or September 1218 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 Before Oct. 17
Classroom 10 or more weeks beg. Aug. 29 Sept. 4
Before Sept. 13
Before Aug. 29, 100% refund Before Sept. 5, 90% Before Sept. 13, 80% Before Sept. 20, 70% Before Sept. 27, 60% Before Sept. 12, 100% refund Before Sept. 19, 90% Before Sept. 26, 80% Before Oct. 4, 70% Before Oct. 11, 60%
Classroom 10 or more weeks beg. Sept. 1218
Before Sept. 26
Before Oct. 31
Online Courses
Online Before end of week 2 (week 1 of the course is orientation) 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
Refund processing takes approximately four weeks.

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 Registrars 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 students transcript. Deadlines for refunds of tuition and fees, described in the same Add/Drop Schedule, will apply.
Classroom Courses on Other Schedules This schedule applies only to classroom courses starting after September 18 or meeting less than 10 weeks on any schedule.
Schedule Deadline to add or change status Deadline for tuition refunds (tuition charged) Before 1st session (full refund) Before 4th session (10% per session) Before 1st session (full refund) Before 3rd session (15% per session) Before 1st session (full refund) Before 2nd session (30% charged) Before 1st session (full refund) Credit student withdrawal for grade of W Between 4th & 7th sessions
10 or more sessions beg. after Sept. 18
Before 3rd session
69 sessions
Before 2nd session
Between 3rd & 4th sessions
35 sessions
Before 2nd session
Not applicable
12 sessions
Before 1st session
Not applicable
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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 locations visit my.newschool.edu and select the Class Finder link (do not log in). Classrooms are also posted daily in the lobby at 66 West 12th Street. See the last page of this catalog for more information. Instructions for accessing online courses will be mailed to you. The Statement/Schedule is issued by the Office of Student Financial Services upon receipt of payment. If you register by mail, telephone, or fax, or on the Web, your Statement/Schedule will be mailed to you. Please retain this form. 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. If you do not receive your ID card within two weeks of registration, contact Student Financial Services at sfs@newschool.edu or 212.229.8930, option 1. All students taking courses for credit or certificate and members of the IRP are entitled to a student photo ID card. New students should obtain the photo ID as soon as they complete payment or payment arrangements. See the last page of this bulletin for Photo ID office location and hours. If your photo ID has been lost or stolen, call the Campus Card Services Office, 212.229.5660 x4472, to check if the card has been returned. There is a fee to replace a lost or stolen ID card. If you withdraw from your courses, The New School may terminate your student privileges, including access to university buildings and resources. Campus Security The New School employs a security staff to monitor and maintain the rights, privileges, and safety of members of the university community and the security of university property. It is assumed that members of the community will comply with security measures such as the checking of ID cards at building entrances and will report incidents to the security staff, if and when they occur. The universitys 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. Visit www.newschool.edu/publicprograms, call 212.229.5353, or email specialprograms@newschool.edu for more information about New School events that are open to the public. Tickets can be reserved in advance with a credit card. Call 212.229.5488 and give your name, email or contact phone number, program title(s), and number of tickets required. The Box Office accepts cash and MasterCard, Visa, Discover, and American Express credit cards. Students and alumni with a valid university ID card can obtain free tickets to most special events by presenting their ID at the Box Office.
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 on the website at www.newschool.edu/studentservices/rights/other-policies and 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 Schools 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.
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RECORDS AND GRADES

Academic Transcripts An official transcript carries the Registrars signature and The New School seal. It documents a students 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 Registrars 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/transcripts. Standard transcript services are free of charge. Transcripts are not issued for students who have outstanding debts to The New School. 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 students completion of the course. It is not an academic evaluation and does not provide a course grade. A noncredit record of attendance must be requested from the Registrars 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 Registrars Office. A separate record is issued for each noncredit course; the nonrefundable fee is $20 per course, which must be paid by the students 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 A B+ B B I 4.0 3.7 3.3 3.0 2.7 C+ C C D F 2.3 2.0 1.7 1.0 0
Temporary Incomplete: Indicates failure to complete assigned work. This mark is not given automatically but only on the request of the student and at the discretion of the instructor. A Request for Grade of Incomplete Form must be completed and signed by student and instructor. The time allowed for completion of the work and removal of the I mark will be set by the instructor but may be no later than the seventh week of the following fall semester for spring or summer term incompletes or the seventh week of the following spring semester for fall term incompletes. Grades of I not revised in the prescribed time will be recorded as a final grade of WF by the Registrars Office. Official Withdrawal Without Academic Penalty: Written request must be presented in person at the Registrars Office by the published deadline (see Add/Drop Schedules on page 79). Unofficial Withdrawal and Failure (GPA value 0): Issued by an instructor to a credit student who has not attended or not completed all required work in a course but did not officially withdraw before the grade of W deadline. It differs from F, which would indicate that the student technically completed requirements but that the level of work did not qualify for a passing grade. Approved (noncredit certificate student) Not Approved (noncredit certificate student) Grade Not Reported for Student
WF
The New School does not maintain a permanent or official record of noncredit enrollment.
AP
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 Registrars Office upon request by the student.
NA GM
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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 students 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 members written explanation, further appeal can be made by a written request to the deans office for a review of the previous communications. An appropriate administrator designated by the dean will then convene an appeals committee to review the students letter and the instructors response, clarify any outstanding questions or issues, and make a recommendation to the dean. The deans decision is final. Change of Grade Final grades are subject to revision by the instructor with the approval of the deans office for one semester following the term in which the course was offered. After one semester has elapsed, all grades recorded in the Registrars Office become a permanent part of the academic record, and no changes are allowed.
The right to request the amendment of the students education records that the student believes are inaccurate, misleading, or otherwise in violation of the students privacy rights under FERPA:
A student who wishes to ask the university to amend a record should write to the university official responsible for the record, clearly identify the part of the record the student wants changed, and specify why, in the students 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 students 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 students education records, except to the extent that FERPA authorizes disclosure without consent:
The university discloses education records without a students 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 202024605
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 deans 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 Registrars 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 students 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.
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BIOGRAPHICAL NOTES AND INDEXES

Academic Administration Faculty Calendar of Courses Faculty Index Course Master Index Subject Index
BIOGRAPHICAL NOTES
ACADEMIC ADMINISTRATION
David M. Scobey, PhD, Yale U.; executive dean, The New School for General Studies and Milano The New School for Management and Urban Policy; author of Empire City: The Making and Meaning of the New York City Landscape and other studies of 19th-century America; former professor of architecture at U. of Michigan, Harward Professor of Community Partnerships at Bates College, and founding director of Bates Harward Center for Community Partnerships; member of Natl. Advisory Board, Project Pericles; former chair of Natl. Advisory Board, Imagining America: Artists and Scholars in Public Life; Rhodes Scholar; Senior Scholar, Natl. Museum of American History, Smithsonian Inst. Anthony Anemone, PhD, UC Berkeley; associate dean for Faculty Affairs; associate professor of foreign languages and literature; editor of Just Assassins: The Culture of Terrorism in Russia; articles and reviews in SEEJ, Slavic Review, Russian Review, Tolstoy Studies Journal, Revue des tudes slaves, Wiener Slawistischer Almanach, and many anthologies; recipient of grants from IREX, Fulbright, and the Kennan Inst. for Advanced Russian Studies; also teaches in Literary Studies at Eugene Lang College; previously chair of Modern Foreign Languages, College of William and Mary. Celesti Colds Fechter, PhD, The New School for Social Research; institutes for higher education, Harvard Graduate School of Education; associate dean for Academic Services; psychologist; background in social cognition with an emphasis on implicit or unconscious associations and subtle forms of biased behavior. John Green, MA in Higher Education Administration, Columbia U.; associate dean for Administration; nonprofit management instructor at Milano The New School for Management and Urban Policy; more than 25 years experience in financial management at educational and nonprofit organizations, including NYC Dept. of Education, CUNY, and Human Rights Watch; was a Peace Corps volunteer in Cte dIvoire; served on board of directors at Gay Mens Health Crisis and the Betty Ford Center. 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.
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 Readers Guide to James Merrills The Changing Light at Sandover; editor, The Complete Film Writings of Manny Farber and Crime Novels: American Noir of the 1930s, 1940s, and 1950s. Barry Salmon, MA, The New School; BM, Berklee College of Music; chair, Dept. of Media Studies and Film; associate professor; composer of scores for numerous films and music for dance, theater, radio, and video art; festivals, installations, honors, and awards include CINE Golden Eagle, Berlin, Brussels, Frankfurt, Sundance, Telluride, and Toronto film festivals and Chicago Museum of Broadcasting and Museum of Modern Art; performing and recording guitarist; record and CD producer.
Program Coordinators Luis Jaramillo, MFA, The New School; associate chair, the Writing Program; author of The Doctors Wife (forthcoming 2012), winner of the 2009 Dzanc Books Short Story Collection Competition; fiction and essays published in Open City, Gamers, Tin House magazine, and H.O.W. Journal. 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; former ESL curriculum coordinator, Hunter College, CUNY; has taught ESL and trained teachers in the United States and abroad. Vladan Nikolic, MA, The New School; director of undergraduate studies, Dept. of Media Studies and Film; award-winning director, producer, editor, and writer of feature films, documentaries, shorts, commercials, and music videos; former director of NTV Studio B, the first independent television network in Belgrade, Yugoslavia; feature films include Zenith, Love, Here and There, Burn, and The City; awards from Tribeca Film Festival, Barcelona, Venice, San Francisco, and others; has taught at UArts in Philadelphia and NYU. Carol Overby, MBA, U. 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, Doctorate in Agricultural Science, U. of Hohenheim (Germany); coordinator of Food Studies curriculum; author of Bite Me: Food in Popular Culture and Food Culture in Italy; program advisor at Gustolab Center for Food and Culture (Rome); lecturer at Universitat Oberta de Catalunya (Barcelona) and U. of Gastronomic Sciences (Colorno and Pollenzo, Italy). Mimi Wlodarczyk, MFA, NYU Tisch School of the Arts; Grande Diploma, French Culinary Inst.; 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.
Department Chairpersons and Directors Bea Banu, PhD, CUNY Graduate Center; director, New School Bachelors 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 Victorian Literature and Culture, Novel, Genre, Marvels and Tales, and Just Below South: Intercultural Performances in the Caribbean and the U.S. South. 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 Curators Vade Mecum. Florence Leclerc-Dickler, MBA in Marketing, SUNY; MA in Translation, Ecole de Traduction et dInterprtation, U. of Geneva (Switzerland); BA in Applied Foreign Languages, U. of Nice; chair, Dept. of Foreign Languages; assistant professor; has taught French at Marymount School of NY and Language Immersion Inst., SUNY-New Paltz. Gabriel Diaz Maggioli, MA, PhD candidate in Education, U. of Bath; chair, Dept. of English Language Studies; former coordinator of the Modern Foreign Languages Dept., National Teacher Education College of Uruguay; research focuses on teacher education, pedagogy, and professional development; author of articles and curriculum guides for teachers, including Managing Learning Styles in the Classroom and Teacher-Centered Professional Development; was a Hubert Humphrey Fellow at Penn State College of Education and a visiting scholar at the Center for Applied Linguistics.
85
BIOGRAPHICAL NOTES
FACULTY
Jiro Adachi, MFA, Colorado State U.; has taught writing and ESL/EFL at
Emily Bills, PhD, Inst. of Fine Arts, NYU; modern architectural and urban
CSU, SVA, Hunter College, and Stern College for Women; author of a novel, The Island of Bicycle Dancers.
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; documentaries shown from San Francisco to Berlin; 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, Womans Own; articles published in Ladies Home Journal, Mademoiselle, TV Guide, USA Weekend, Family Circle, and Cosmopolitan; recipient of essay-writing award from Writers Digest. Julia Anderson, Graduate, Condorcet (Paris); has taught French at all levels at Alliance Franaise of Chicago and New York; taught adult literacy in Paris; translation work (written) in French; has taught at Manhattan Marymount College; teaches at Nightingale-Bamford School. Robert Ante, PhD, Columbia U.; honorary president, Form Development
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, Womens Studies, and other publications. Nicholas Birns, PhD, NYU; editor of Antipodes; author of Understanding Anthony Powell, Theory After Theory, and The Encyclopedia of Literary Criticism (forthcoming 2011); has written for Science Fiction Studies, European Romantic Review, and Hollins Critic. Abigail Burnham Bloom, PhD, NYU; managing editor, Victorian Literature
and Culture; editor, Personal Moments in the Lives of Victorian Women and The Widow Married by Frances Trollope; has published The Literary Monster on Film and articles on The Pirates of Penzance and on Thomas and Jane Carlyle and other Victorians.
Kelly Bolger, MA, The New School; teaching fellow, The New School; publi-
Comm., Tai Chi Chuan Assn. (China); U.S. branch chairman, Intl. Tai Chi Chuan Fed.; senior student of Grand Masters Cheng Man-ching, Yu Hsien-wen, and Hsiao Chu-ming.
David Arcos, MA, Parsons The New School for Design; professional photog-
cations include Motivational Interviewing for Smoking Cessation among College Students and A Transcranial Magnetic Stimulation Study of Motor Cortex Excitability.
Timothy Bredl, MATESOL, Columbia U. Teachers College; has taught in community-based organizations and ESL/EFL at universities in NYC and Barcelona. Theresa M. Breland, MA, Columbia U. Teachers College; develops materials 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. Kurt Brokaw, MS, U. of Wisconsin; former creative director, RCA Records; former creative supervisor, Grey Advertising; senior film critic, The Independent (Independent-Magazine.org); leads film noir and lesbian fiction series at 92nd Street Y. Jeremy Brooke, MA, The New School; co-founder and treasurer, Eyepatch
rapher 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.
Michele D. Beck, MFA, Parsons School of Design; video artist and performer;
Inc., a multimedia company.

Rainer L. Brueckheimer, MA in music teaching, Brooklyn College; native
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).
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; bio-medical 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. Irina Belodedova, MA, NYU; diploma, Kiev State U. (USSR); has taught
of Brazil; has taught German and Portuguese at The New School since 1994; faculty member of Fairleigh Dickinson U. and Westchester Community College.
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. John Budde, BA, Brooks Inst.; cinematography and lighting designer whose work includes commercials, documentaries, dramatic films, and music videos; PBS/NEA grant recipient; showings at MoMA, Whitney Museum, and international film festivals. Loren-Paul Caplin, screenwriter, director, playwright, composer-lyricist; 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; (cowriter/coproducer); his stage plays include The Presidents (co-author with Ron Nessen), Sundays Child, and Gangs (book, lyrics, music); also teaches at Columbia and NYU. Patricia L. Carlin, PhD, Princeton U.; author of Original Green (poems) and Shakespeares 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.
at Harvard U., Norwich U., and Kiev State U.; has taught in the Dept. of Russian & Slavic Studies, NYU, since 1979.
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 and led seminars for teachers of foreign languages; received a Distinguished University 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.
86
BIOGRAPHICAL NOTES Nolle Carruggi, PhD, NYU; former director of French Studies, Northeast Shimon Dotan, award-winning filmmaker; has taught at Tel Aviv U., Concordia U. in Montreal, The New School, and NYU; has won awards at the Sundance Film Festival, the Berlin Film Festival, and the NPB Film Festival; two-time winner of an Israeli Academy Award. Robert G. Dunn, BA, UC-Berkeley; freelance writer and 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 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 brand imaging and 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
Modern Language Assn.; author of Marguerite Duras: Une exprience intrieure, Maryse Cond: Rbellion et transgressions, and Zen poems in Cahiers de lAlba; organizes multicultural poetry readings and performances.
Carmelina Cartei, ABD in Theater, CUNY Graduate Center; MA in Italian Language, Literature and Culture, Queens College, CUNY; member of Theater of the Oppressed Laboratory and Inst. for Popular Education, Brecht Forum; organizer of V-Day campaign against gender violence at Hunter College, CUNY. Frances Chiu, PhD, Oxford U.; edited Ann Radcliffes Gaston de Blondeville and Sheridan Le Fanus The Rose and the Key (Valancourt Books); articles published in 18th-Century Life, Notes and Queries, Le Fanu Studies, and Romanticism on the Net. Natasha Chuk, MA, The New School; curator and writer; work explores experimental narratives, hybrid forms, and liminal space; contributing editor to furtherfield.org, an online environment in which collaborative works of art are shared; also teaches at SVA and Ramapo College of New Jersey. Alice Eve Cohen, MFA, The New School; author of memoir, What I Thought
I Knew, awarded the Elle Literary Grand Prix and named one of Salons Best Books of 2009 and Oprah Magazines 25 Best Books of Summer; acclaimed writer of solo plays and TV scripts.
Celesti Colds Fechter, PhD, The New School for Social Research; psychol-
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 (spring 2012), Cardozo Law School; Wayne State U. Law School faculty (retired); published articles on civil litigation, prisoners rights, and French literature. Linda Farhood-Karasavva, MA, NYU; ESL and composition specialist; teaches
ogist; associate dean for Academic Services, The New School for General Studies; current research focuses on the link between implicit attitudes and differential judgments of similarly qualified employment candidates.
Susan Cottle, MFA, NY Acad. of Art; painter; has exhibited in the U.S.
English as a second language and literature at Hunter and Queens Colleges; has taught ESL in Morocco.
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. Ernesto Fedukovitch, born in Argentina; has taught and designed courses for all levels of Spanish since 1990; teaches at Instituto Cervantes; translator and simultaneous interpreter for several NGOs and companies. 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 New York Times, 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
and abroad; has taught at NY Acad. of Art and Montserrat College of Art (Viterbo, Italy); adjunct assistant professor of art at St. Johns U.; Annenberg Resident Artist in NYC public schools; recent mural commission for P.S. 167, Brooklyn.
Alejandro Crawford, MBA, Tuck School of Business at Dartmouth; consultant
and lecturer with Acceleration Group and an architect of its methodology; co-founder of integrated marketing boutique Nolej Base; teaches at NYU-Poly and Zicklin School of Business at Baruch College.
Leslie Daly, MS, Pratt Inst.; Integral Yoga Institute-certified hatha yoga
teacher; Yoga Alliance nationally registered yoga teacher; registered dance/ movement therapist; NYS-licensed creative arts therapist.
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 Institute; teaches at Gotham Writers Workshop.
Nuno de Campos, MFA, Tufts U.; MFA, Boston U.; has exhibited at PLMJ
(Lisbon), Kinz, Tillou + Feigen, and Smithsonian National Portrait Gallery; grants from NYFA, Calouste Gulbenkian Foundation, and Pollock-Krasner Foundation; published in ArtForum, Art in America, Harpers, and the New Yorker.
Judy (Yan) Deng, MA in Education, Qinghua U. (China); BA in English
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
Language and Literature, Tianjin Foreign Languages Inst. (China); Chinese language instructor at UN Headquarters, China Inst., and The New School.
Carol Dix, freelance journalist for newspapers, magazines, TV, radio, and the
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. Directors Program; wrote, directed, and edited the feature film Risk; writer and director of two award-winning shorts and the documentary Still Doing It (2004); recently finished a second documentary, Sperm Donor X; currently writing a feature screenplay. Bernard C. Flynn, PhD, Duquesne U.; adjunct professor of philosophy, The
Web; author of many books, including The Ultimate Guide to 21st-Century Dating; public relations and corporate writer who has edited and produced university house magazines and prospectuses; co-hosted Where Higher Education Meets the New Digital Age, a conference held in London; recently launched her blog at www.freelancewritingworks.co.uk.
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.
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.
87
BIOGRAPHICAL NOTES Thomas Forster, MLA, U. of Oregon; former policy director, Community Steven Gendell, BA in Russian Literature, Hampshire College; freelance French-to-English translator with 14 years experience in subject areas including law, finance, banking, insurance, health care, alternative energies, automotive, and oenology; published literary translator with works in such scholarly journals as NYUs French Politics, Culture & Society; former in-house translator, French Mission to the United Nations; former adjunct professor at the Sorbonne in Paris (Universit Paris IIPanthon-Assas). Aaron Girard, PhD, Harvard U.; dissertation on music theory and higher education in the United States. 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 Bachelors Program; co-editor of Citizenship, special issue, WSQ (Womens Studies Quarterly) (Spring/Summer 2010); has published articles on Josephine Baker, cabaret, performance art, and postwar film; recipient of The New Schools Distinguished Teaching Award, 2003. Sonia Granillo-Ogikubo, MA, Colegio Normal (Mexico); has taught Spanish
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.
Julia L. Foulkes, PhD, U. of Massachusetts-Amherst; Fulbright Senior Scholar; publications include To the City: Urban Photographs of the New Deal and Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey; editor, The Arts in Place, Journal of Social History. 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.
Michele Frank, LCSW; psychotherapist in private practice specializing in
childhood trauma, chemical dependency, and career transition; formerly with the NYU Ehrenkranz School of Social Work Trauma Recovery Program and CAP Behavior Associates.
Lisa Freedman, MFA, The New School; articles published in the New York
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.
John Freitas, MA, The New School; former development analyst for Warner
in Japan and Mexico.

Gabriel Grayson, principal NYC judicial system court-appointed dactylologist;
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
television interviewer, producer, and actor; author of Talking with Your Hands, Listening with Your Eyes; recipient, Publishers Marketing Assn. Benjamin Franklin Natl. Book Award.
Michelle Greene, BFA Syracuse U.; public commissions include MTA Rail
Riders Throne, NYC Park, and Bike and Motorcycle Racks; adjunct professor at NY Inst. of Technology.
Seth Greenwald, MA, The New School; BFA, Parsons The New School for
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
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. 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, U. of Buenos Aires; director, Building Latin American Bicentennials program, Observatory on Latin America (OLA), The New School; publications include 12 books about urban issues and urban history. Luis Guzmn, PhD, The New School for Social Research; has taught philosophy at Hofstra U., NYU, LIU, and U. Nacional de Colombia (Bogot); 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/arranger; has performed at
Standard, California Caf, World Catering, Terrace Restaurant, Caf 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 Womens Culinary Alliance; served on boards of Roundtable for Women in Foodservice and Intl. Wine & Food Society. Peter Garfield, BA, Dartmouth College, Ecole Nationale Suprieure des
Beaux-Arts (Paris); artist working in photography, video, and sculpture; recent solo shows at Pierogi, Muse 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
Birdland, Michaels Pub, Red Blazer II, and Cajun; lectures on American popular song at the YMHA in Bergen, NJ.
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
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; novels
include Hummingbirds and (under the pen name Alden Bell) The Reapers Are the Angels; has written on William Faulkner, postmodernism, and narrative theory.
childrens 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, Childrens Digest, and Scholastic; has taught at Parsons The New School for Design and in private workshops.
88
BIOGRAPHICAL NOTES Jeffrey Hogrefe, BA, UC-Berkeley; journalist and author; contributor to Tamara Kirson, MEd, St. Thomas U. (Houston); has published and presented internationally; has taught in Houston, in Paris, and at City College in Manhattan; received NY Times ESOL Teacher of the Year Award; chair, NYSTESOL Adult Education. Ichiro Kishimoto, MA in Linguistics, CUNY; BE, Waseda U. (Japan); theater director; actor in Zeitgeist 99; freelance writer; also teaches Japanese at NYUs 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. 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; also teaches French language
the New Yorker, Harpers Smithsonian, and the New York Observer; wrote a weekly arts column for the Washington Post; author of OKeeffe: The Life of an American Legend; member of the Authors Guild and PEN.
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. Grace Hunt, MA, U. of Alberta; dissertation fellow, The New School for Social Research; teaching fellow, Eugene Lang College The New School for Liberal Arts; specializes in feminist and existential philosophy, moral psychology, and ethics; publications include Performing Dignity in Women in Philosophy Annual Journal of Papers and Will to Power as Interpretation in Symposia. T.K. Hunter, PhD in History, Columbia U.; MA in Art History, Hunter
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, trained in Rassias and New School language teaching methods; has taught French at all levels for more than 25 years. Florence Leclerc-Dickler, MBA in Marketing, SUNY; MA in Translation,
College; Andrew W. Mellon Fellow; consultant for WGBH-TV history production aired nationwide; invited National Historical Site speaker; publications include Geographies of Liberty and law review article Transatlantic Negotiations.
Iman Issa, MFA, Columbia U.; native of Cairo; visual artist based in Cairo and New York City; has taught Arabic language at Columbia, Cooper Union, CUNY, and The New School. Jennifer Jacquet, PhD, U. of British Columbia (UBC); postdoctoral fellow
Ecole de Traduction et dInterprtation, U. of Geneva (Switzerland); BA in Applied Foreign Languages, U. of Nice; chair, Dept. of Foreign Languages; assistant professor; has taught French at Marymount School of NY and Language Immersion Inst., SUNY-New Paltz.
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;
with UBCs Sea Around Us Project and Mathematics Dept.

Luis Jaramillo, MFA, The New School; first book of short stories, The
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, The New School Bachelors 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,
Doctors 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 Schools MFA in Creative Writing program. Anthony Kaufman, MA, NYU; has written for the New York Times, Chicago
blogging at www.BettyMingLiu.com; formerly nationally syndicated columnist for the New York Daily News, staffer for the Newark Star-Ledger and Crains New York Business, and panelist on a local PBS public affairs show broadcast on Channel 13/WNET New York.
Monica M. London, MA and Laurea, U. of Siena (Italy); has taught courses at
Tribune, and Village Voice; regular contributor to IndieWIRE, Filmmaker Magazine, Variety, and Utne magazine; editor of Steven Soderbergh: Interviews; teaches film studies at Brooklyn College.
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, McCalls, Redbook, Writers Digest, and Working Mother. James Kielkopf, MS in Agricultural Economics, U. of Minnesota; chief
all levels at Columbia U.; also teaches at FIT and BMCC; reports on arts, culture, and architecture for major Italian magazines (Repubblica, Vanity Fair, Elle Dcor).
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.
Robert Lopez, author of the novel Part of the World; fiction has appeared in dozens of journals, including BOMB, Threepenny Review, New England Review, New Orleans Review, Indiana Review, and Denver Quarterly. Carolyn MacCullough, MFA in Creative Writing, The New School; author of
economist, AgriBank, FCB; member, Agricultural Advisory Committee, Minneapolis Federal Reserve Bank; member, Natl. Agricultural Credit Committee, Kansas City Federal Reserve Bank.
young adult novels Falling Through Darkness (one of the New York Public Librarys Best Books for the Teen Age), Stealing Henry, and Drawing the Ocean.
89
BIOGRAPHICAL NOTES Rama C. Madhu, BA, St. Johns U. (New York City); graduate work in classics Matthew P. Melucci, MA, Wesleyan U.; freelance writer and journalist with experience in newspapers, magazines, and online publications, including as managing editor of MTV Interactives 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. Polly Merdinger, MA, EdM; co-author of Even If You Cant Carry a Tune;
at U. of Buffalo.
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. Iman Maiki, MA; specializes in teaching Arabic in multicultural societies; has
taught at Columbia U., Queens College, The New School, NYU, and other institutions here and in Britain.
Victoria Malkin, PhD in Anthropology, University College, London: Graduate
Diploma in Psychoanalysis, William Alanson White Inst. of Psychiatry, Psychology and Psychoanalysis; foundation anthropologist, Wenner-Gren Foundation for Anthropological Research.
Giuseppe Manca, studied at U. of Cagliari; trained in foreign language teaching methods at The New School; co-author of Piacere! Maria Manzano-Munguia, PhD, U. of Western Ontario; winner of Democracy,
has taught ESL and ESL teaching at the American Language Program and Columbia U. Teachers College.
Sharon M. Mesmer, MFA, Brooklyn College; NYFA Poetry Fellowships
Diasporas, and Canadian Security in International Perspective Research Award, York U.; publications include First Nations Diasporas in Canada, Native Non-Governmental Organizations and Aboriginal Leaders, and Aboriginal Leaders as Cultural Translators.
Elizabeth Marner-Brooks, has hosted a live television show, performed in television news broadcasting, and given presentations for major corporations throughout the U.S., including on a major TV network. Alfredo Marques, 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;
(Jerome Grant, co-recipient); Fulbright Senior Specialist; publications include Annoying Diabetic Bitch, The Virgin Formica, Ma Vie Yonago, In Ordinary Time, and The Empty Quarter; member of flarf collective.
David N. Meyer, BFA, Temple U.; author of Twenty Thousand Roads: The
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 Youve 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; associate director, Behavioral Medicine Dept., Intl. Center for the Disabled; clinical psychologist specializing in assessment and treatment of psychological and physical trauma, persistent mental illness, neuropsychological assessment, and cognitive rehabilitation; psychotherapist in private practice. Philippe-Grard Montanari, studied at Catholic U. of Argentina; member of
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. Johns U.; was a visiting professor in the Advertising Educational Foundation program of the ad agency Jordan, McGrath, Case & Taylor. Leslie McCleave, MFA, NYU; films have received top awards at Sundance,
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
SXSW, Los Angeles, Locarno, and San Francisco film festivals and been screened in New Directors/New Films at MoMA, Berlin International Film Festival, and others and broadcast on the Sundance Channel and FilmFour UK; grants from NEA, Creative Capital Foundation, NYSCA, and Radziwill Documentary Fund.
Barbara McKechnie, RDT/BCT, LCAT, LPC; drama therapist and consultant
than 20 years; has performed sign language music on Broadway and at Shea Stadium; has signed for such celebrities as Bette Midler and Gene Wilder; 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.
Caitlin Morgan, MA, School for Intl. Training; RSA, Cambridge U.; assistant director of English Language Studies; former ESL curriculum coordinator, Hunter College, CUNY; has taught ESL and trained teachers in the U.S. and abroad. Laura Morgan, MA in Media Studies, The New School; producer and
in private practice; recently worked with children and adolescents at St. Vincents Medical Center in NYC; trained in psychodrama at the Sociometric Institute, NYC; representative for drama therapy with NJ Arts Therapies Assn; president, board of Natl. Assn. for Drama Therapy.
Madge McKeithen, MFA, Queens U. of Charlotte; author of Blue Peninsula: Essential Words for a Life of Loss and Change. Liz Mechem, MFA, The New School; published in the New York Times
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.
Douglas Morse, MFA, NYU; director of two adaptations of classic works; his
Magazine, San Francisco Chronicle, and Hope Magazine; author of short stories, essays, articles, and several books on design; co-director and instructor, The Writers Craft.
next film is an adaptation of Christopher Marlowes The Jew of Malta; information on his three other feature films can be found at grandfatherfilms.com.
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BIOGRAPHICAL NOTES Margo Moss, MA, NYU; LDTC; award-winning photographer, teacher, and lecturer; created childrens photography program at Newark Museum; her work has been widely published and her photographs hang in many public and private collections. Patrick Mull, MFA, U. of Iowa; former adjunct professor and director of ELI Andrew Palmer, BA, Emerson College; actor with experience in off-Broadway,
summer stock, and industrials; TV appearances on Another World and Ryans Hope.
Pamela Pardi, BA, Hunter College; Romanas Pilates Certified Level 3
Pre-Graduate Program, Pace U.; has taught at Hunter College; has been teaching ESL and EFL since 1997.
Fred Murhammer, BFA, NYU; computer graphics trainer and consultant. John Charles Murphy, MA, U. of Colorado; Completion Diploma, Ecole
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
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.
Sheena Nahm, PhD in Anthropology, U. of California, Irvine; publica-
World, Boat International, Newport Life, Real Simple, and Sailing World, where he is contributing editor; served as associate editor at Sailing World, North Americas 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. Laurie Paul, PhD candidate, The New School for Social Research; author of Confronting Racism in Everyday Life: Tools for White People to Respond to Racial Microaggressions against People of Color (presentation) and Psychological Adaptation, Coping, and Distress in Adult-Onset Soft-Tissue Sarcoma. 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
tions include Between Stigma and Demand in Human Organization and Engaging Youth through Partnerships in Entertainment Education in Cases in Public Health Communication and Marketing.
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 Christies Education; frequent contributor to Art in America. Laurence OConnell, 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.
Anna Elise Odom, PhD, The New School for Social Research; assistant
professor of psychology in psychiatry, Weill Cornell Medical College, New York-Presbyterian Hospital; research interests include clinical implications and treatment of schizophrenia and substance use disorders and understanding and treatment of borderline pathologies, particularly in adolescents.
Sidney Offit, BA, Johns Hopkins U.; author of novels (He Had It Made 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-
Only a Girl Like You), childrens books (The Adventures of Homer Fink and Topsy Turvy), a short story collection (Not All Girls Have Million Dollar Smiles), and Memoir of the Bookies Son; former senior editor, Intellectual Digest; curator, George Polk Awards.
Jean Oliver-Cretara, MA, The New School; freelance violist who has recorded
mances in the U.S., Europe, Mexico, and South America; recording Chords at Night; artist faculty member, Bloomingdale School of Music.
Gilda Pervin, MLitt, U. of Pittsburgh; Certif., Pennsylvania Acad. of Fine
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.
Lauren Petty, MA, NYU; video, film, and sound artist; working on singlechannel videos, multiple-channel installations, and video design for theater and dance; exhibits in New York and internationally; awards include two NYFA Fellowships and grants from Jerome Foundation, Greenwall Foundation, NYSCA, and NEA. 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; co-artistic director and teaching artist in the strings program at Noel Pointer Foundation.
Melanie Beth Oliviero, PhD, Georgetown U.; 30-year career devoted to social
justice and human development; currently a member of DAI (Development Alternatives, Inc.), an employee-owned consulting firm; serves as a strategic advisor on leveraging private capital with donor funds to enhance impact.
Kathleen Ossip, MFA, The New School; author of The Search Engine, winner
teaches and develops instructional materials at Columbia U. American Language Program; has conducted observations and feedback for students at Columbia U. Teachers College.
Marie Ponsot, poet and translator; her books include Springing, The Green
of American Poetry Review/Honickman First Book Prize; poems have appeared in Best American Poetry 2001, Paris Review, Kenyon Review, and American Poetry Review.
William Pace, MFA, NYU; screenwriter and film producer; has produced
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 MLAs Shaughnessy Medal.
Timothy R. Quigley, PhD and MFA, U. of Wisconsin-Madison; has taught at NYU, Pratt Inst., and School of Visual Arts; work published in Journal of Aesthetics and Art Criticism, Canadian Philosophical Review, Philosophy Today, Journal of Comparative Literature and Aesthetics, and Art and Representation. Josh Rabinowitz, SVP and director of music of Grey Group, was once called 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.
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.
Jacqueline Pak, PhD, U. of London; MA, Harvard U.; Cornell U.
Fellow-East Asia, Luce Fellow; Korean-American Next Generation Leader; author of Ahn Changho and a Quest for Korean Democracy, Christianity in Korea, Korean Waves: Hallyu, Histories, Heroes; and Korea and the Human Rights Movement.
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BIOGRAPHICAL NOTES Nahid Rachlin, author of Persian Girls, Jumping over Fire, Foreigner, 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, Mens Journal, and other trade and technical magazines. Ernestine Schlant Bradley, PhD, Emory U.; has taught at Spelman College, SUNY-Stony Brook, and Montclair State U.; visiting professor, Yale U. and Columbia U.; fellow, Woodrow Wilson Inst. for Intl. Scholars; honorary doctorate, Jewish Theological Seminary; co-editor, Legacies and Ambiguities: Postwar Fiction and Culture in West Germany and Japan; author of The Language of Silence: West German Literature and the Holocaust, The Way Home, and numerous articles. Joel Schlemowitz, BS, Ithaca College; filmmaker; experimental shorts
Married to a Stranger, The Hearts 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.
John Reed, MFA, Columbia U.; author of novels including A Still Small
Voice, The Whole, Snowballs Chance, and, most recently, All the Worlds 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., MA, FIT; designer of advertising and promo-
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
tional materials for New York City Ballet, Intl. YMCA, Barnes & Noble, Con Ed, Lincoln Center, Pressman Toys, and others; has taught graphic design for more than 15 years.
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
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 Writers Digest.
Chiz Schultz, created two-hour PBS biography, Paul Robeson: Here I Stand;
executive producer of A Soldiers Story (nominated for three Academy Awards) and A Raisin in the Sun with Danny Glover; executive at CBS-TV, Childrens Television Workshop, Belafonte Enterprises, and Aaron Spelling Productions.
Samuel B. Seigle, AM, Harvard; studied at the American Acad. in Rome;
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. Joseph Salvatore, MFA, The New School; founding editor, LIT, the journal
teaches classics as a member of the Literature, Language & Writing faculty, Sarah Lawrence College; formerly president, currently censor of the New York Classical Club.
MM Serra, MA, NYU; executive director of Film-Makers Cooperative, worlds 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. Susan B. Shapiro, MA, NYU; journalist; has written for the New York Times, 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. Michael R. Sheehy, PhD in Tibetan and Buddhist Studies; part-time faculty member in Religious Studies at Eugene Lang College; senior editor of Tibetan literary research, Tibetan Buddhist Resource Center; executive director, Jonang Foundation; has taught at CCNY and Manhattanville College; specializes in Tibetan language, philosophy, and cultural studies. Alexandra Shelley, MFA, Columbia U. School of the Arts; independent fiction editor, most recently of best-selling novel The Help; short stories published in various literary magazines; winner of the Katherine Anne Porter Prize and a Fulbright grant; has taught at Yale U. and Columbia U. Jessie Sholl, MFA, The New School; her stories have appeared in several
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.
Hlio 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.
Jim Savio, MA, City College of New York; author of the book of short fiction 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
journals, including Other Voices, CutBank, Lit, and Fiction; co-edited the literary nonfiction anthology Travelers Tales: Prague and the Czech Republic.
Marina Shron, MFA in Dramatic Writing, NYU; playwright, screenwriter,
for Warner Bros., Paramount, and Columbia; winner of three Emmy Awards for teleplays and sitcoms; writer and lyricist; formerly taught at UCLA.
and nonfiction writer; recipient of James Thurber, Jerome, and NYFA Fellowships and a Fulbright Scholar Award; plays have been produced internationally and short films have been shown around the world; recipient of 2010 Silver Creative Spirit Award for Originality/Creativity.
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.
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BIOGRAPHICAL NOTES Fiore Sireci, PhD, U. of Edinburgh; Fulbright teacher trainer in literature and pedagogy; scholar of 18th-century culture and politics; classical flutist; publications include The Spiritual Vindications of Mary Wollstonecraft; teaches academic writing at Hunter College and Columbia U. Dmitri Zisl Slepovitch, PhD, Belarus State Acad. of Music; teaches seminars Karsten Struhl, MA, U. of Miami; ABD, NYU: has taught at The New
on Jewish studies and Yiddish music worldwide, including BIMA at Brandeis U.; has served as musical consultant and music director at the National Yiddish TheatreFolksbiene; performed and arranged music for productions at the Folksbiene and Montclair State U. and for Harvard Yiddish Players and films (Defiance and The Burning Land).
Clarissa Slesar, MA, PhD candidate in clinical psychology, The New School for Social Research; research assistant, Visual Perception Lab; teaching fellow and teaching assistant since 2005; university dissertation fellow, 2008 and 2010, The New School for Social Research; predoctoral psychology intern, Fordham U. Counseling and Psychological Services. Andrew F. Smith, MA, U. of California, Riverside; editor of Reaktion Books Edible Series; editor in chief of The Oxford Encyclopedia of Food and Drink in America; author of 19 books, including Starving the South: How the North Won the Civil War, Eating History: 30 Turning Points in the Making of American Cuisine, and Potato: A Global History; author of 300 articles published in academic journals, magazines, and newspapers; website at www.andrewfsmith.com. Jacqueline B. Smith, MA, Columbia U. Teachers College; co-author of
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 Difusin 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, San Francisco State U.; media artist and writer; short-listed for Sundance Screenwriters Lab 2009; serves on advisory board, Girls Write Now (NYC) and Reel Grrls (Seattle); author, Maiden USA: Girl Icons Come of Age; contributor to Women, Hollywood.com, and Afterimage; numerous international exhibitions. Toby Talbot, MA, Brooklyn College; teaches Spanish at NYU; author of A
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
Book About My Mother and childrens books; translated Timermans Prisoner Without a Name, Cell Without a Number and Ortegas On Love; directed documentary film, Berimbau.
Karam Tannous, MA, Jerusalem U.; also teaches at Fordham, Seton Hall U., Network of Arab-American Professionals (NAAP); developed Arabic language 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; Chancellors Fellow in English at CUNY Graduate Center. Catherine Texier, graduate, U. of Paris; NEA fellowship recipient; author of novels Chlo lAtlantique, 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 Writers Voice, and Hofstra U. Victor M. Tirado, MFA, The New School; Spanish translator for theater
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 Montaez Smukler, MA, UCLA; BS, Boston U.; film producer and
filmmakers advocate; has worked for American Film Inst. Directing Workshop for Women, Women Make Movies, and Fuse music TV network; producer of the Dont Knock the Rock Film & Music Festival.
Suzanne Snider, MFA, Columbia U.; nonfiction writer; frequent contributor to The Believer; has contributed podcasts to The Guardian; recipient of fellowships at Yaddo, MacDowell Colony, and Radcliffe Inst.; co-founder of Oral History Round Table. 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
Politics; pseudonymous author, as Kate Pepper, of best-selling suspense novels; has taught fiction writing at The New School since 1995.
Warren E. Spielberg, PhD, Adelphi U.; postdoctoral work at NYU; research
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. Petra Todorovich, MCRP, Rutgers U.; director of America 2050 Regional Plan Assn.; assistant visiting professor, Pratt Inst. Betty Tompkins, MA, Central Washington State College; artist; solo and group shows in NYC at White Columns, PS 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. Glynn Torres-Spelliscy, JD and MA in International Relations, U. of Toronto; senior associate, Arnold & Porter, LLP; member of UN Committee & Intl. Human Rights Committee, NYC Bar.
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.
Michele Spirn, MFA, The New School; award-winning author of more than
40 childrens 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.
Allison Splaun, MA, The New School for Social Research; author of
The Congruence of Parents and Their Childrens Representations of Their Relationship.

Mark Stolzenberg, BA, Brooklyn College; actor; star of Luggage of the Gods;
principal in Tom Sellecks 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.
93
BIOGRAPHICAL NOTES 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 Caf 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. Ana Maria Ulloa, PhD candidate in anthropology, The New School; India 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, NYC; 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.
Arya Zahedi, MA in Political Science, The New School for Social Research;
China Inst. Fellow.

Stefano L. Vaccara, MA, Boston U.; laureate, U. of Siena (Italy); editor and
areas of interest include political theory, revolutions, social movements, and modern Iran.
Amotz Zakai, MFA, USC; producer and manager at Echo Lake Productions,
columnist of Oggi 7, weekly magazine of the Italian language daily America Oggi; articles and interviews published in major Italian newspapers; has taught Italian at The New School for more than ten years; also teaches in Dept. of Journalism, Communication & Theater, Lehman College.
Guillermo Vallejo-Rodriguez, MA, Universidad de Len (Spain); specialization in Linguistics, U. La Gran Colombia; native of Colombia; has taught Spanish at all levels for almost 21 years; also teaches at Marymount School. Liria M. Van Zandt, MA in Cinema Studies, NYU; native of Brazil; has taught
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. Johns U., and Fordham U.; calligraphy artist; teaches Chinese calligraphy at the China Inst. Adelheid Ziegler, licensed translator of English, French, and German, Zurich School for Translation and Interpretation (Switzerland); translates and edits at the Guggenheim Museum; also teaches German at Deutsches Haus and IFA-NYU. Elizabeth Ziff, PhD candidate in sociology, The New School; also teaches
Portuguese at Fordham U., CCNY, and SUNY New Paltz.

Nargis Virani, PhD, Harvard U.; assistant professor, Arabic and Islamic
studies; has published articles in the Encyclopedia of the Quran and peerreviewed journals; research explores intersections between the Quran and literature in the Muslim milieu.
Jrgen 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, Womens Studies Certif. and doctoral candidate in
at Rutgers U.
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 Solomans 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.
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 (17591843): The Growth of a Womans Mind, The Idea of Being Free: A Mary Hays Reader, and Rational Passions: Women and Scholarship in Britain, 17021870.
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. 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.

William White, MS, Milano The New School for Management and Urban
Policy; Merit Scholar; president, Arts and Culture Network, Inc./WiT Media (www.wit-inc.com).
94
CALENDAR OF 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 29
12:00 4:00 Pilates: The Mat, 66 Black Intellectuals, 12 Anthropology in Practice, 16 Intro. to Performance Studies, 22 Media Business Now, 36 Writing the Episodic TV Drama, 39 Intro. Finance for Business, 69 Investigating Guantnamo Bay, 13 Statistics for the Social Sciences, 16 Developmental Psychology, 18 Art of the 1960s & 1970s, 20 Sound of Documentary, 30 Media Production Concepts, 31 Intro. to Digital Design, 31 Fundamentals of Web Design, 31 Intro. to Cinema Studies, 32 Film 3: Adv. Film Production, 36 Script Analysis, 38 Mechanics of Writing, 40 Writing for NYC Newspapers, 47 Composition & Design, 63 Training in Art Therapy 1, 67 American Farming, 71 Acting for Film & Television, 65 Entrepreneurship, Risk & Culture, 16 Comparative Religions, 27 Cinema Studies Screening Series, 32 Art of Film, 32 Anatomy of Horror Films, 34 Screenwriting 3, 38 Rhetorical Grammar for Writers, 40 Poetry: Language of Music, 42 Intro. to Creative Nonfiction, 45 Writing for NYC Newspapers, 47 Writing & Illustrating Childrens Books, 48 Contemporary Ad Campaigns, 70
6:00
7:00 8:00
Movements in World Cinema, 33 Political Hollywood, 33 American Independent Film, 33 Comedy on Screen, 33 Surrealism in Cinema, 34 Cinema & Ideology, 34 Business of Hollywood, 36 Script Analysis, 38 Screenwriting 1, 38 Screenwriting for the Web, 38 Writing a Micro-Budget Feature, 38 Mechanics of Writing, 40 Academic Writing, 40 Lyric Essay, 41 Beg. Poetry Workshop, 42 From Silence to Poem, 42 Poetry Workshop, 42 Beginning the Novel, 43 Creating a Compelling Narrative, 44 Intro. to Creative Nonfiction, 45 Personal Essay, 46 Literary Nonfiction, 46 Journalism Basics, 47 Experimental Writing, 48 Playwriting, 48 Writing for Young Adults, 48 Spanish Adv.: Cultura y Celebridad, 56 Performance Wellness Seminar, 68 Basic Accounting, 68 Intro. Business Management, 69 Managerial Skills for Organizations, 69 U.S. Agricultural Policy, 70 Food, Health & Social Justice, 71 Food & Sociopolitical Communication, 71
Wednesday, August 31
10:00 2:00 2:30 4:00 Drawing at the Met Museum, 63 The Novel Now, 25 Filmmaking Studio 1, 35 Art & the City, 12 Identity & Contemporary Social Theory, 16 Terrorism & Psychic Trauma, 19 Music, Women & Gender, 21 Jews & the Crusades, 22 Modern Arabic Narratives, 24 Mechanics of Writing, 40 How Art Transforms the World, 41 Making Poems: Adv. Workshop, 43 Entrepreneurship, 69 Fundamentals of Psychology, 17 Survey of Western Art 1, 20 Jazz & American Culture, 21 Modern Political Philosophy, 26 Persuasion & the Media, 29 Imaging & the Era of the Brand, 29 Documentary Production Workshop, 31 Art of Documentary, 34 Film 2: Adv. Preproduction, 35 Screenwriting 1, 38 Writing for Style, 41 Beg. Poetry Workshop, 42 Great American Short Story, 44 Finding Your Voice in Nonfiction, 46 Womens Magazines & Websites, 47 Arts & Entertainment Journalism, 47 Writing Personally, 48 Writing Books for Children, 48 Tibetan Language & Buddhism, 56 Project Studio, 63 Intro. to Photography 1, 64 Intro. to Photography 1, 64 Photographic Self-Portrait, 64 Training in Music Therapy 1, 67 Arts & Cultural Marketing, 68 American Culinary History, 70 Methods of Teaching ESL/EFL, 57 Collage, 20 The Gay Science, 22 Critical Thinking & Informal Logic, 26 Mechanics of Fiction, 43 People & Places, 45 Nonfiction Book, 46 Adv. Personal Writing & Memoir, 47 Playwriting from Personal Experience, 48 Intro. to Acting, 65 How to Convince with Numbers, 69
6:00
Tuesday, August 30
10:00 12:00 4:00 Fiction Writing, 44 Human Condition on Film, 12 Filmmaking Lab, 35 Legal System of the U.S., 14 Sociology of Forgiveness, 17 America Sings, 21 Philosophy & Modernity, 27 Music in the Media Business, 37 Screenwriting 2, 38 Womens Intellectual History, 12 American History 1, 13 Theories of Personality, 17 Interpreting Cities & Spaces, 21 Modern Horror, 22 Science Fiction & Discourses of Alterity, 24 Intro. to Media Studies, 29 Fake News & Popular Culture, 30 Digital Video Production, 31 Intro. to Digital Design, 31 Developing Ideas for Film, 34 Academic Essay, 41 Poetry Lab, 42 Beg. Fiction, 43 Novel Workshop, 44 Writing Suspense, 44 Adv. Fiction Workshop, 45 Writing from Personal Experience, 46 Freelance Feature Writing, 47 Beg. Drawing, 62 Photojournalism, 64 Intro. to Marketing, 69 Urban Agriculture, 71 Psychology of Dreams, 19 Intro. to Social Work, 19 Bertolt Brecht & New Theater, 24 Feminist Thought, 27 Dynamics of Art Materials, 67 Dance Therapy with Children, 68 Social Entrepreneurship, 70
7:00 8:00
6:00
Going online August 29

History of Poverty, 13 Intro. to Microeconomics, 14 International Law, 14 Democracy, 15 Rise of Asia, 15 Media, Health, Culture & Change, 16 Economic & Social Exclusion, 17 Urban Homelessness, 17 Fundamentals of Psychology, 17 Studies in the History of Psychology, 17 Theories of Personality, 17 Intro. to Abnormal Psychology, 18 Intro. to Social Psychology, 18 Gender Stereotypes & Discrimination, 18 History of Urban Planning, 21 Art of Opera, 21 Paris in the Roaring Twenties, 22 Intro. to Literary Studies, 23 Survey of Shakespeare, 23 History of British Literature 2, 23 Essential American Poetry, 24 20th-C. French Literature, 24 Dubliners, 25 Aesthetics, 26 Writing Across Media, 29 Media in Developing Countries, 29 Social Media Mashup, 30 Music as Communication, 30
Thursday, September 1
10:00 12:00 1:00 4:00 Dimensions of Narcissism, 19 Cinematography & Lighting, 35 Art of Viewing Art, 20 Cultures of Madness, 16 Cross-Cultural Psychology, 18 Psychology of Attachment, 18 Life Writing & Memoir, 23 European Short Stories & Novellas, 23 20th-C. Continental Philosophy, 27 Intro. to the New Journalism, 47 Informal Economy, 14 Postcolonial Theory, 15 Urban Megadevelopment, 15 Ten Plays That Shook the World, 23 Editing with Final Cut Pro, 31 Digital Motion Design, 31 Literary Cinema: Art of Adaptation, 33 Filmmaking Studio 1, 35 Experiments in 16mm Filmmaking, 36 Producers Role, 36 Screenwriting 1, 38 Academic Writing, 40
6:00
8:00
95
CALENDAR OF COURSES
Poetry Workshop, 42 Writing Experimental Fiction, 44 Fiction Writing: Memory, Imagination, 44 Beg. Painting, 62 Professional Practices in Photography, 64 Acting for the Stage, 66 Intro. to Dance/Movement Therapy, 67 Business Writing, 70 English Grammar for ESL Teachers, 57 Evolutionary Psychology, 18 Henry David Thoreau, 25 Intro. to Philosophy, 26 Viral Media Lab, 29 Literary Cinema Screening Series, 33 Business of Screenwriting, 37 Script Analysis, 38 Adv. Fiction: Revise & Polish, 45 Solo Theater, 66 Drama Therapy, 67 Spanish Intro. Intensive, 55 Spanish Level 2, 56 Spanish Level 4, 56 Beg. Painting: Short Course, 62 Poetry Master Class: Ponsot, 43 Arabic Level 3, 50 French Intro. Intensive, 51 French Level 4, 52 Portuguese Level 1, 54 Spanish Level 3, 56 French on the Go: Level 2, 51 French on the Go: Level 3, 51 French on the Go: Level 4, 51 German on the Go: Level 1, 52 Italian on the Go: Level 1, 53 Japanese on the Go: Level 1, 54 Portuguese on the Go: Level 1, 54 Russian on the Go: Level 1, 54 Sign Language on the Go: Level 1, 55 Spanish on the Go: Level 1, 55 Spanish on the Go: Level 2, 55 Spanish on the Go: Level 3, 55 Spanish on the Go: Level 4, 55
8:00
7:00 8:00
Wednesday, September 14
4:00 6:00 Italian Level 1, 53 Chinese Level 2, 51 Chinese Level 3, 51 French Level 2, 52 French Level 5, 52 German Level 1, 52 Intro. to Sign Language, 55 Spanish Intermed. Intensive, 56 Spanish Level 1, 56 Beg. Drawing: Short Course, 62 French Level 3, 52 German Level 3, 53 Spanish Level 1, 56 Spanish Level 2, 56
Saturday, October 22
10:00 2:00 X-Word Grammar Workshop, 58 Writing a Winning Business Plan, 71 Authentic Materials to Teach ESL, 58
Thursday, October 27
8:00 Emily Dickinson, 25
Friday, September 2
2:00 2:30 4:00 Directing Actors for Film & Television, 36 Aesthetics of Directing, 35 Healing Movement, 68 8:00
Tuesday, November 1
6:00 Painting Materials: Short Course, 63
Wednesday, September 7
4:00 6:00 Creative Arts Therapy Internship, 68 ESL Teaching Practicum, 58
Wednesday, November 2
10:00 2:00 ESL: ESL: ESL: ESL: Beg. Grammar of English, 59 Conversation & Listening, 60 Listening/Speaking, 60 Listening in the Real World, 60 Drawing: Short Course, 62
Thursday, September 15
4:00 6:00 Kafka, 25 Alexander Technique, 66 Sing & Learn Arabic, 50 French Intermed. Intensive, 52 French Level 3, 52 Hebrew Level 1, 53 Italian Level 3, 53 Parliamo Italiano, 53 Portuguese Level 3, 54 American Sign Language Level 1, 55 Spanish Level 3, 56 Spanish Level 5, 56 French Level 1, 52 Japanese Level 1, 54 Portuguese for Spanish Speakers, 54
Saturday, September 10
10:00 Chinese for Health-Care Professionals, 51 French Intro. Intensive, 51 German Intro. Intensive, 52 Spanish Intro. Intensive, 55 Spanish Level 1, 56 Shadows, Textures, Reflections, 65 French Level 1, 52
6:00
Thursday, November 3
10:00 2:00 ESL: ESL: ESL: ESL: ESL: ESL: Writing in English, 59 Academic Writing, 60 Reading & Vocabulary, 60 Exploring Literature, 61 Reading & Discussion, 61 Topics in Culture & Society, 61
12:00
Sunday, September 11
11:00 2:00 Point-and-Shoot in the Field, 64 Life Drawing, 63 8:00
Friday, November 4
10:00 6:00 Institutional TOEFL Exam, 61 ESL/EFL Teaching One-on-One, 58
Monday, September 12
10:00 2:00 4:00 6:00 ESL: Grammar of English, 59 ESL: Conversation & Listening, 60 ESL: Listening in the Real World, 60 French Level 1, 52 Tai Chi Chuan, 66 Arabic Level 2, 50 Chinese Level 1, 51 Latin Level 1, 51 French Level 1, 52 German Level 2, 53 German Level 4, 53 Russian Level 3, 55 Yiddish Language & Culture, 56 Arabic Level 1, 50 French Level 2, 52 German Graduate Reading: Level 2, 52 German Level 1, 52 Italian Level 1, 53 Russian Level 1, 54
Friday, September 16
10:00 Hatha Yoga, 66
Saturday, November 5
10:00 Teaching ESL Writing, 58 Using Your Digital SLR, 65
9:30 10:00 12:00 Teaching Sound System of English, 58 Hatha Yoga, 66 Pilates: The Mat, 66 11:00
Sunday, November 6
Painting & Drawing: Short Course, 62
Friday, December 2
10:30 Arabic on the Go: Level 2, 50 Chinese on the Go: Level 2, 51 French on the Go: Level 1, 51 French on the Go: Level 2, 51 French on the Go: Level 3, 51 French on the Go: Level 4, 51 German on the Go: Level 2, 52 Italian on the Go: Level 2, 53 Japanese on the Go: Level 2, 54 Portuguese on the Go: Level 2, 54 Russian on the Go: Level 2, 54 Sign Language on the Go: Level 2, 55 Spanish on the Go: Level 1, 55 Spanish on the Go: Level 2, 55 Spanish on the Go: Level 3, 55 Spanish on the Go: Level 4, 55 Job Interviewing for ESL Teachers, 58
Sunday, September 18
11:00 Painting & Drawing: Short Course, 62
Tuesday, September 20
1:30 Special Art in Special Places, 20
8:00
10:00 Running a Restaurant, 71
Saturday, October 1
10:00 Teaching ESL to Low-Literacy Adults, 58
Tuesday, September 13
10:00 2:00 ESL: Writing in English, 59 ESL: Academic Writing, 60 ESL: Reading & Vocabulary, 60 ESL: Exploring Literature, 61 ESL: Reading & Discussion, 61 ESL: Topics in Culture & Society, 61 Arabic Level 4, 50 French Adv.: La famille en France, 52 Italian Level 2, 53 Portuguese Level 2, 54 Sign Language as an Art Form, 55
Going online October 10

Language Teaching Tools: Images, 58
Saturday, October 15
10:00 Rhythm & Role, 67 Marketing a Food Product, 71 6:00
6:00
Friday, October 21
10:30 Arabic on the Go: Level 1, 50 Chinese on the Go: Level 1, 51 French on the Go: Level 1, 51
96
INDE X OF INSTRUCTORS
FACULTY INDEX
A
Adachi, Jiro, 58 Alessandro, Christine, 67 Alvin, Rebecca, 34 Amatenstein, Sherry, 47 Anderson, Julia, 26 Ante, Robert, 66 Arcos, David, 31 Ariel, Moshe, 71 Aslanian, Yeghia, 30 Aydt, Rachel, 47
F
Farhood-Karasavva, Linda, 30 Feder, Jane Tainow, 40 Fedukovitch, Ernesto, 28 Feldstein, Stanley, 13 Fernandez, Adam, 64 Field, Miranda, 42 Fiore, Margaret Stanek, 40 Fishel, Deirdre, 39 Flynn, Bernard, 27 Forster, Thomas, 71 Foulkes, Julia, 12, 13 Fractenberg, David, 29 Frank, Michele, 19 Freedman, Lisa, 41, 45 Freitas, John, 32, 34 Friedling, Melissa, 35, 36 Friedman, David, 71 Frishman, Terry, 71
L
Landreau-Farber, Sabine, 26 Leclerc-Dickler, Florence, 26 Lemekh, Halyna, 73 Lewczuk, Margrit, 63 Lewis, Harry, 18 Libman, Kimberly, 71 Liu, Betty Ming, 47 London, Monica, 27 Long, Rodolfo, 28 Lopez, Robert, 48
M
MacCullough, Carolyn, 48 Madhu, Rama, 26 Magnani, Francesca, 27 Maiki, Iman, 26 Malkin, Victoria, 16 Manca, Giuseppe, 27 Manzano-Munguia, Maria, 17 Marner-Brooks, Elizabeth, 30 Marques, Alfredo, 26 Mason, Sonya, 21 Materre, Michelle, 33 McAllister, Maureen, 69 McCleave, Leslie, 31 McKechnie, Barbara, 68 McKeithen, Madge, 46 Mechem, Liz, 40 Melucci, Matthew, 47 Mendelson, Valerie, 20 Merdinger, Polly, 58 Mesmer, Sharon, 24, 44 Meyer, David, 33 Milowitz, Steven, 24 Mindolovich, Catherine, 17 Montanari, Philippe-Grard, 26 Montello, Louise, 67, 68 Montez, Ricardo, 22, 24 Montgomery, Robert, 48 Mooney, Jeffrey, 73 Morgan, Caitlin, 58 Morgan, Laura, 36 Morris, Bob, 47 Morse, Douglas, 38 Moss, Margo, 64, 65 Mull, Patrick, 30 Murhammer, Fred, 31 Murphy, John Charles, 66
B
Bardin, Stefani, 71 Beck, Michele, 31 Bell, Teresa, 28 Bellino, Dianne, 35 Belodedova, Irina, 73 Bertolotto, Caterina, 27 Bills, Emily, 21 Birns, Margaret Boe, 25 Birns, Nicholas, 23 Bloom, Abigail Burnham, 23 Bolger, Kelly, 18 Bredl, Timothy, 58 Breland, Theresa, 30, 57 Brokaw, Kurt, 70 Brooke, Jeremy, 35 Brueckheimer, Rainer, 27 Bryant, Tod, 64 Budde, John, 35
G
Garfield, Peter, 63 Garvey, Thom, 30 Gaylord, Joshua, 22 Gendell, Steven, 26 Girard, Aaron, 21 Goldstein, Ben, 58 Goodman, Carol, 44 Gordon-Zolov, Terri, 22 Granillo-Ogikubo, Sonia, 28 Grayson, Gabriel, 73 Greene, Michelle, 62 Greenwald, Seth, 64 Grieder, Christoph, 67 Grimaldi, Michael, 64 Gutman, Margarita, 21 Guzmn, Luis, 26, 28
C
Cafetz, Susan, 58 Calypso, Anthony, 45 Caplin, Loren-Paul, 38 Carlin, Patricia, 43 Carruggi, Nolle, 24, 26 Cartei, Carmelina, 27 Chiu, Frances, 23 Chuk, Natasha, 29 Cohen, Alice Eve, 48, 66 Colds Fechter, Celesti, 17 Costa, Thembi, 66 Cottle, Susan, 62 Crawford, Alejandro, 69
H
Hacker-Cordon, Casiano, 15 Halsey, John, 21 Hamovitch, Susan, 34 Hann, Jacquie, 48 Hogrefe, Jeffrey, 46 Howell, Samuel, 26 Huff, Richard, 47 Humphreys, Richard, 30 Hunt, Grace, 27 Hunter, T.K., 12
N D
Daly, Leslie, 66 Danziger, Jonathan, 38 de Campos, Nuno, 62 Deng, Judy (Yan), 26 Dix, Carol, 29 Dorado, Josephine, 30 Dotan, Shimon, 35 Drew, John, 12 Dunn, Robert, 44 Dunning, Deanne Torbert, 29
I
Issa, Iman, 26
Nahm, Sheena, 16 Nascimento, Tobias, 72 Nelson, Kristin, 17 Nichols, Matthew Guy, 20
J
Jacquet, Jennifer, 14 Jaramillo, Luis, 44 Johnson, Dave, 42
O
OConnell, Laurence, 68 Odom, Anna Elise, 17 Offit, Sidney, 44 Oliensis, Sharon, 68 Oliver-Cretara, Jean, 30 Oliviero, Melanie Beth, 29 Ossip, Kathleen, 42
K
Kaufman, Anthony, 33 Kelton, Nancy, 46 Kielkopf, James, 70 Kirson, Tamara, 30, 58 Kishimoto, Ichiro, 27 Kocot-Tomblin, Noelle, 40 Koprak, Nancy, 67 Kramer, Karen, 30 Kummer, Ida, 26
E
Edelman, Elaine, 48 Eisinger, Erica, 14
97
INDE X OF INSTRUCTORS
P
Pace, William, 38 Pak, Jacqueline, 15 Palmer, Andrew, 65 Pardi, Pamela, 66 Pastore, Chris, 46 Patterson, Cristina, 30 Paul, Laurie, 18 Peebles, Gustav, 16 Pelc, Linda, 58 Peloquin, Marc, 21 Pervin, Gilda, 63 Petty, Lauren, 31 Pitt, Delis, 30, 57 Ponsot, Marie, 43
Stolzenberg, Mark, 65 Struhl, Karsten, 26 Stuttman, Paula, 20 Sussman, Herbert, 23 Sweeney, Kathleen, 29
COURSE MASTER INDEX

Courses are identified by the registration course master ID. This index lists all courses in this bulletin by course master. NACT2300 NACT3313 NACT3325 NACT3339 NANT3101 NANT3520 NANT3545 NANT3639 NARB0804 NARB0805 NARB1001 NARB1002 NARB1700 NARB2001 NARB2002 NARH0010 NARH0720 NARH2002 NARH2800 NARH3010 NARH3729 NARH3734 NARH3872 NART1201 NART1204 NART1205 NART1210 NART1217 NART1301 NART1302 NART1305 NART2312 NART3304 NCAT2510 NCAT3100 NCAT3113 NCAT3300 NCAT3400 NCAT3505 NCAT3535 NCAT3553 NCAT3740 NCAT3900 NCHM0804 NCHM0805 NCHM1001 NCHM1002 NCHM1700 NCHM2001 NCOM3000 NCOM3005 NCOM3011 NCOM3022 NCOM3050 NCOM3112 NCOM3219 NCOM3241 NCOM3247 NCOM3305 NCOM3485 NDIG3200 NDIG3210 NDIG4003 Intro. to Acting, 65 Acting for Film & Television, 65 Solo Theater, 66 Acting for the Stage, 66 Anthropology in Practice, 16 Media, Health, Culture & Change, 16 Entrepreneurship, Risk & Culture, 16 Cultures of Madness, 16 Arabic on the Go: Level 1, 50 Arabic on the Go: Level 2, 50 Arabic Level 1, 50 Arabic Level 2, 50 Sing & Learn Arabic, 50 Arabic Level 3, 50 Arabic Level 4, 50 Art of Viewing Art, 20 Special Art in Special Places, 20 Survey of Western Art 1, 20 Interpreting Cities & Spaces, 21 Art of Viewing Art, 20 Art of the 1960s & 1970s, 20 Collage, 20 History of Urban Planning, 21 Composition & Design, 63 Beg. Drawing, 62 Beg. Drawing: Short Course, 62 Drawing at the Metropolitan Museum, 63 Life Drawing, 63 Beg. Painting, 62 Beg. Painting: Short Course, 62 Painting & Drawing: Short Course, 62 Painting Materials: Short Course, 63 Project Studio, 63 Intro. to Dance/Movement Therapy, 67 Training in Art Therapy 1, 67 Dynamics of Art Materials, 67 Training in Music Therapy 1, 67 Rhythm & Role, 67 Drama Therapy, 67 Healing Movement, 68 Dance Therapy with Children, 68 Performance Wellness Seminar, 68 Creative Arts Therapy Internship, 68 Chinese on the Go: Level 1, 51 Chinese on the Go: Level 2, 51 Chinese Level 1, 51 Chinese Level 2, 51 Chinese for Health-Care Professionals, 51 Chinese Level 3, 51 Intro. to Media Studies, 29 Viral Media Lab, 29 Persuasion & the Media, 29 Media in Developing Countries, 29 Music as Communication, 30 Imaging & the Era of the Brand, 29 Fake News & Popular Culture, 30 Writing Across Media, 29 Media Business Now, 36 Social Media Mashup, 30 Sound of Documentary, 30 Intro. to Digital Design, 31 Fundamentals of Web Design, 31 Digital Motion Design, 31
T
Talbot, Toby, 12 Tannous, Karam, 26 Tayson, Richard, 42 Tejani, Sheba, 14 Texier, Catherine, 43 Tirado, Victor, 28 Tirola, Douglas, 37 Todorovich, Petra, 15 Tompkins, Betty, 62, 63 Torres-Spelliscy, Glynn, 14 Tortora, Susan, 68 Trificana, Justin, 26 Tuncel, Yunus, 22 Turner, Gina, 18 Tvedt, Laurie, 69
Q
Quigley, Timothy, 26, 27
R
Rabinowitz, Josh, 37 Rachlin, Nahid, 45 Reed, John, 45 Reed, Thomas, 31 Reilly, Rebecca, 41, 42 Reynolds, Cynthia, 66 Robbins, Ira, 31 Roos, Katharina, 27 Rosenberg, Justus, 23 Ross, Cristina, 28 Ross, Randi, 41 Rubenfeld, Andrew, 25 Rubin, Lisa, 17 Rudofsky, David, 69
U
Ulloa, Ana Maria, 16
V
Vaccara, Stefano, 27 Vallejo-Rodriguez, Guillermo, 28 Van Zandt, Liria, 72 Vega-Llona, Silvia, 56 Virani, Nargis, 24 von Mahs, Jrgen, 17
S
Salvatore, Joseph, 40, 43 San Miguel, Hlio, 32 Sarcos, Ronald, 28 Savio, Jim, 41 Schapiro, Dina, 67 Scharfman, Mort, 38 Schaub, George, 65 Schlant Bradley, Ernestine, 25 Schlemowitz, Joel, 36 Schulman, Candy, 46 Schultz, Chiz, 36 Schuster, Shira, 18 Seigle, Samuel, 26 Serra, MM, 34 Shapiro, Susan, 47 Sheehy, Michael, 56 Shelley, Alexandra, 44 Shieh, Fa-Tai, 71 Sholl, Jessie, 43 Shron, Marina, 34, 38 Simko, Patricia, 19 Sireci, Fiore, 13 Slepovitch, Dmitri, 56 Slesar, Clarissa, 19 Smith, Andrew, 70 Smith, Jacqueline, 27, 30, 58 Smith, Laura, 27 Smukler, Maya Montaez, 33 Snider, Suzanne, 30 Soukkary, Sohair, 26 Soyer, Avron, 62 Spiegelman Lief, Katia, 44 Spielberg, Warren, 19 Spirn, Michele, 48 Splaun, Allison, 18 Stephens, Laura, 18
W
Wagner, Aleksandra, 16, 17 Walker, Gina Luria, 12, 22 Walton, Richard, 69 Weiskopf, Michael, 36 Werblud, Elaine, 20 White, Clint William, 68 Wilson, Jennifer, 67
Z
Zaborowski, Stephane, 26 Zahedi, Arya, 15 Zakai, Amotz, 36 Zhang, Jia-xuan, 26 Ziegler, Adelheid, 27 Ziff, Elizabeth, 16 Zinberg, Meli, 66 Zinsser, John, 20 Zinsser, William, 45
98
COURSE INDEX
NDRF1200 NDRF1301 NDRF1302 NDRF1303 NECO2004 NECO3255 NELT0442 NELT0443 NELT0533 NELT0537 NELT0538 NELT3411 NELT3412 NELT3414 NELT3415 NELT3416 NELT3432 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 NFDS0350 NFDS0353 NFDS0360 NFDS2101 NFDS3101 NFDS3205 NFDS3220 NFDS3300 NFDS3720 NFLM0400 NFLM0447 NFLM2400 NFLM2500 NFLM3316 NFLM3411 NFLM3430 NFLM3433 NFLM3436 NFLM3447 NFLM3454 NFLM3456 NFLM3466 NFLM3467 NFLM3473 Tai Chi Chuan, 66 Alexander Technique, 66 Hatha Yoga, 66 Pilates: The Mat, 66 Intro. to Microeconomics, 14 Informal Economy, 14 Job Interviewing for ESL Teachers, 58 ESL/EFL Teaching One-on-One, 58 Language Teaching Tools: Images, 58 X-Word Grammar Workshop, 58 Teaching ESL to Low-Literacy Adults, 58 Methods of Teaching ESL/EFL, 57 English Grammar for ESL Teachers, 57 Teaching Sound System of English, 58 Teaching ESL Writing, 58 ESL Teaching Practicum, 58 Authentic Materials to Teach ESL, 58 ESL: Grammar of English, 59 ESL: Grammar of English, 59 ESL: Writing in English, 59 ESL: Writing in English, 59 ESL: Conversation & Listening, 60 ESL: Conversation & Listening, 60 ESL: Reading & Vocabulary, 60 ESL: Reading & Vocabulary, 60 ESL: Grammar of English, 59 ESL: Grammar of English, 59 ESL: Writing in English, 59 ESL: Writing in English, 59 ESL: Listening/Speaking, 60 ESL: Listening/Speaking, 60 ESL: Exploring Literature, 61 ESL: Exploring Literature, 61 ESL: Grammar of English, 59 ESL: Grammar of English, 59 ESL: Writing in English, 60 ESL: Writing in English, 60 ESL: Listening/Speaking, 60 ESL: Listening/Speaking, 60 ESL: Reading & Discussion, 61 ESL: Reading & Discussion, 61 Institutional TOEFL Exam, 61 ESL: Grammar of English, 59 ESL: Grammar of English, 59 ESL: Academic Writing, 60 ESL: Academic Writing, 60 ESL: Listening in the Real World, 60 ESL: Listening in the Real World, 60 ESL: Topics in Culture & Society, 61 ESL: Topics in Culture & Society, 61 Marketing a Food Product, 71 Writing a Winning Business Plan, 71 Running a Restaurant, 71 American Culinary History, 70 American Farming, 71 U.S. Agricultural Policy, 70 Food, Health & Social Justice, 71 Food & Sociopolitical Communication, 71 Urban Agriculture, 71 Cinema Studies Screening Series, 32 Literary Cinema Screening Series, 33 Intro. to Cinema Studies, 32 Movements in World Cinema Part 1, 33 Directing Actors for Film & Television, 36 Art of Film, 32 Anatomy of Horror Films, 34 Cinema & Ideology, 34 Surrealism in Cinema, 34 Literary Cinema: Art of Adaptation, 33 Business of Screenwriting, 37 Producers Role, 36 American Independent Film, 33 Political Hollywood, 33 Business of Hollywood, 36 NFLM3483 NFLM3488 NFLM3489 NFLM3500 NFLM3510 NFLM3515 NFLM3516 NFLM3631 NFLM3632 NFLM3660 NFLM3670 NFLM3680 NFLM3700 NFLM3715 NFLM4627 NFRN0804 NFRN0805 NFRN0806 NFRN0807 NFRN1001 NFRN1002 NFRN1003 NFRN2001 NFRN2002 NFRN2003 NFRN3001 NFRN3717 NGRM0502 NGRM0804 NGRM0805 NGRM1001 NGRM1002 NGRM1003 NGRM2001 NGRM2002 Music in the Media Business, 37 Comedy on Screen, 33 Art of Documentary, 34 Developing Ideas for Film, 34 Aesthetics of Directing, 35 Cinematography & Lighting, 35 Media Production Concepts, 31 Experiments in 16mm Filmmaking, 36 Filmmaking Lab, 35 Filmmaking Studio 1, 35 Film 2: Adv. Preproduction, 35 Film 3: Adv. Film Production, 36 Digital Video Production, 31 Documentary Production Workshop, 31 Editing with Final Cut Pro, 31 French French French French French French French French French French French French on the Go: Level 1, 51 on the Go: Level 2, 51 on the Go: Level 3, 51 on the Go: Level 4, 51 Level 1, 52 Level 2, 52 Intro. Intensive, 51 Level 3, 52 Level 4, 52 Intermed. Intensive, 52 Level 5, 52 Adv.: La famille en France, 52 Graduate Reading: Level 2, 52 on the Go: Level 1, 52 on the Go: Level 2, 52 Level 1, 52 Level 2, 53 Intro. Intensive, 52 Level 3, 53 Level 4, 53 NLTN1001 NMGT2100 NMGT2109 NMGT2110 NMGT2115 NMGT2122 NMGT2133 NMGT2140 NMGT2200 NMGT2420 NMGT3030 NMGT3115 NMUS2530 NMUS3560 NMUS3591 NMUS3630 NPHG0001 NPHG0013 NPHG1000 NPHG1013 NPHG1015 NPHG2013 NPHG3005 NPHG3009 NPHI2125 NPHI2202 NPHI2610 NPHI2830 NPHI3100 NPHI3150 NPHI3285 NPOL3184 NPOL3203 NPOL3385 NPOL3415 NPOL3570 NPOL3610 NPRT0804 NPRT0805 NPRT1001 NPRT1002 NPRT1700 NPRT2001 NPSY2001 NPSY2444 NPSY2446 NPSY3045 NPSY3213 NPSY3256 NPSY3301 NPSY3345 NPSY3390 NPSY3401 NPSY3501 NPSY3850 NPSY3861 NPSY3870 NREL2001 NRSN0804 NRSN0805 NRSN1001 NRSN2001 NSLN0804 NSLN0805 NSLN1001 NSLN1011 NSLN1703 NSOC3006 NSOC3500 NSOC3502 Latin Level 1, 51 Intro. to Business Management, 69 Business Writing, 70 Basic Accounting, 68 Intro. to Marketing, 69 Contemporary Ad Campaigns, 70 Intro. Finance for Business, 69 Entrepreneurship, 69 How to Convince with Numbers, 69 Managerial Skills for Organizations, 69 Social Entrepreneurship, 70 Arts & Cultural Marketing, 68 Art of Opera, 21 America Sings, 21 Music, Women & Gender, 21 Jazz & American Culture, 21 Intro. to Photography 1, 64 Using Your Digital SLR, 65 Intro. to Photography 1, 64 Point-and-Shoot in the Field, 64 Professional Practices in Photography, 64 Photographic Self-Portrait, 64 Shadows, Textures, Reflections, 65 Photojournalism, 64 Modern Political Philosophy, 26 Feminist Thought, 27 Critical Thinking & Informal Logic, 26 Aesthetics, 26 Intro. to Philosophy, 26 Philosophy & Modernity, 27 20th-C. Continental Philosophy, 27 Urban Megadevelopment, 15 Democracy, 15 Rise of Asia, 15 Postcolonial Theory, 15 International Law, 14 Legal System of the U.S., 14 Portuguese Portuguese Portuguese Portuguese Portuguese Portuguese on the Go: Level 1, 54 on the Go: Level 2, 54 Level 1, 54 Level 2, 54 for Spanish Speakers, 54 Level 3, 54
German German German German German German German German
NHBW1001 Hebrew Level 1, 53 NHIS3205 NHIS3215 NHIS3470 NHIS3815 NHIS3850 NHIS3891 NHUM2035 NHUM3035 NHUM3094 NHUM3113 NHUM3505 NITL0804 NITL0805 NITL1001 NITL1002 NITL2001 NITL3716 NJPN0804 NJPN0805 NJPN1001 NLIT2001 NLIT2202 NLIT3210 NLIT3274 NLIT3303 NLIT3324 NLIT3336 NLIT3421 NLIT3426 NLIT3436 NLIT3437 NLIT3530 NLIT3560 NLIT3652 NLIT3802 NLIT3874 American History 1, 13 Investigating Guantnamo Bay, 13 History of Poverty, 13 Art & the City, 12 Black Intellectuals, 12 Womens Intellectual History, 12 Intro. to Performance Studies, 22 Paris in the Roaring Twenties, 22 The Gay Science, 22 Modern Horror, 22 Jews & the Crusades, 22 Italian on the Go: Level 1, 53 Italian on the Go: Level 2, 53 Italian Level 1, 53 Italian Level 2, 53 Italian Level 3, 53 Parliamo Italiano, 53 Japanese on the Go: Level 1, 54 Japanese on the Go: Level 2, 54 Japanese Level 1, 54 Intro. to Literary Studies, 23 History of British Literature 2, 23 Survey of Shakespeare, 23 Dubliners, 25 Essential American Poetry, 24 Emily Dickinson, 25 Henry David Thoreau, 25 20th-C. French Literature, 24 European Short Stories & Novellas, 23 Bertolt Brecht & New Theater, 24 Kafka, 25 Science Fiction & Discourses of Alterity, 24 The Novel Now, 25 Modern Arabic Narratives, 24 Ten Plays That Shook the World, 23 Life Writing & Memoir, 23
Fundamentals of Psychology, 17 Psychology of Dreams, 19 Dimensions of Narcissism, 19 Studies in the History of Psychology, 17 Psychology of Attachment, 18 Developmental Psychology, 18 Intro. to Social Psychology, 18 Cross-Cultural Psychology, 18 Gender Stereotypes & Discrimination, 18 Theories of Personality, 17 Intro. to Abnormal Psychology, 18 Intro. to Social Work, 19 Terrorism & Psychic Trauma, 19 Evolutionary Psychology, 18 Comparative Religions, 27 Russian Russian Russian Russian on the Go: Level 1, 54 on the Go: Level 2, 54 Level 1, 54 Level 3, 55
Sign Language on the Go: Level 1, 55 Sign Language on the Go: Level 2, 55 Intro. to Sign Language, 55 American Sign Language Level 1, 55 Sign Language as an Art Form, 55 Statistics for the Social Sciences, 16 Economic & Social Exclusion, 17 Identity & Contemporary Social Theory, 16
99
COURSE INDEX
NSOC3786 NSOC3850 NSOS0841 NSOS2841 NSPN0804 NSPN0805 NSPN0806 NSPN0807 NSPN1001 NSPN1002 NSPN1003 NSPN2001 NSPN2002 NSPN2003 NSPN3001 NSPN3726 NSRW2800 NSRW3810 NSRW3820 NSRW3830 NSRW3837 NSRW3850 NSRW3851 NTBN1005 NWRW0402 NWRW1011 NWRW1104 NWRW1108 NWRW1113 NWRW1119 NWRW1121 NWRW1122 NWRW2203 NWRW2304 NWRW2305 NWRW2306 NWRW2401 NWRW2601 NWRW3203 NWRW3204 NWRW3205 NWRW3229 NWRW3260 NWRW3301 NWRW3303 NWRW3308 NWRW3311 NWRW3315 NWRW3327 NWRW3334 NWRW3403 NWRW3405 NWRW3423 NWRW3508 NWRW3515 NWRW3531 NWRW3601 NWRW3611 NWRW3619 NWRW3620 NWRW3621 NWRW3692 NWRW3702 NWRW3708 NWRW3808 NWRW3809 NWRW3812 NWRW4213 NWRW4223 NWRW4310 NWRW4329 NWRW4402 NYDH1000 Urban Homelessness, 17 Sociology of Forgiveness, 17 Human Condition on Film, 12 Human Condition on Film, 12 Spanish Spanish Spanish Spanish Spanish Spanish Spanish Spanish Spanish Spanish Spanish Spanish on the Go: Level 1, 55 on the Go: Level 2, 55 on the Go: Level 3, 55 on the Go: Level 4, 55 Level 1, 56 Level 2, 56 Intro. Intensive, 55 Level 3, 56 Level 4, 56 Intermed. Intensive, 56 Level 5, 56 Adv.: Cultura y Celebridad, 56
SUBJECT INDEX
A
Abnormal Psychology, 16, 17, 18 Academic Writing, 40, 41 for ESL/EFL, 60 Accounting, 68 Acting, 65, 66 Advertising, 29, 69 Aesthetics, 20, 26 of film directing, 32, 35 African Diaspora, 12 Agriculture, 70, 71 Alexander Technique, 66 America: see United States Anthropology, 16, 22 cultural psychology, 18 French (in French), 52 Latino (in Spanish), 56 human condition seen through film, 12 music as communication, 30 Tibetan (in Tibetan), 56 Yiddish (in Yiddish), 56 Arabic Language, 50 Arabic Literature, 24 Architecture, Modern, 21 Art History & Appreciation, 2021 art & the city, 12 cinema as art, 32, 33, 34 drawing at the Met Museum, 63 writing workshop, 40 Art Workshops, 6263 childrens book illustration, 48 digital design, 31 experimental filmmaking, 36 Arts & Entertainment Journalism, 47 Art Therapy, 67 Asia, Political Emergence of, 15 Attachment, Psychology of, 18 Audio Documentation, 30
D
Dance/Movement Therapy, 67, 68 Democracy, 15, 26 Design Workshops, 31, 63 design & ESL studio, 61 Developmental Psychology, 17, 18 Dickinson, Emily, 25 Digital Media Production, 30, 31, 35 photography, 65 Directing, Cinema, 32, 3536 Documentary Film/Video, 12, 34 production workshops, 31 Drama Therapy, 67 Dramatic Arts, 65, 66 performance studies, 22 playwriting, 48 Dramatic Literature, 23, 24 Drawing Workshops, 62, 63 Dreaming, 19
Script Analysis, 38 Screenwriting 1, 38 Screenwriting 2, 38 Screenwriting 3, 38 Screenwriting for the Web, 38 Writing a Micro-Budget Feature, 38 Writing the Episodic TV Drama, 39 Tibetan Language & Buddhism, 56 People & Places, 45 Mechanics of Writing, 40 Academic Writing, 40 Writing for Style, 41 Lyric Essay, 41 Rhetorical Grammar for Writers, 40 How Art Transforms the World, 41 Academic Essay, 41 Beg. Poetry Workshop, 42 Beginning the Novel, 43 Beg. Fiction, 43 Mechanics of Fiction, 43 Intro. to Creative Nonfiction, 45 Journalism Basics, 47 Poetry Workshop, 42 From Silence to Poem, 42 Poetry: Language of Music, 42 Poetry Lab, 42 Poetry Workshop, 42 Novel Workshop, 44 Fiction Writing, 44 Fiction Writing: Memory, Desire, 44 Writing Experimental Fiction, 44 Creating a Compelling Narrative, 44 Great American Short Story, 44 Writing Suspense, 44 Finding Your Voice in Nonfiction, 46 Literary Nonfiction, 46 Personal Essay, 46 Writing from Personal Experience, 46 Writing Personally, 48 Experimental Writing, 48 Writing for NYC Newspapers, 47 Arts & Entertainment Journalism, 47 Intro. to the New Journalism, 47 Womens Magazines & Websites, 47 Freelance Feature Writing, 47 Adv. Personal Writing & Memoir, 47 Playwriting, 48 Playwriting from Personal Experience, 48 Writing for Young Adults, 48 Writing Books for Children, 48 Writing/Illustrating Childrens Books, 48 Making Poems: Adv. Workshop, 43 Poetry Master Class: Ponsot, 43 Adv. Fiction: Revise & Polish, 45 Adv. Fiction Workshop, 45 Nonfiction Book, 46 Yiddish Language & Culture, 56
E
Economics, 14, 16, 17, 69 history of poverty, 13 Editing, Film/Video Software, 31, 36 English Language Skills for speakers of other languages, 5961 writing fundamentals, 40 English Language Teacher Training, 5758 Entrepreneurship, 69, 70, 71 culture of, 16 Environmentalism, 15 Essay Writing, 41, 46, 48 European Cultural History, 20, 22 Evolutionary Psychology, 18 Exclusion, Economic/Social, 7 Exercise, Physical, 66 Existentialism, 27
F
Fake News, 30 Feminism, 12, 27 Fiction Writing, 4345 Film Studies & Production, 3237 acting for film/TV, 65 documentary video production, 31 horror genre, 22 human condition seen in film, 12 screenwriting, 3739 Finance for Business, 69 Food Studies, 7071 Forgiveness, 17 French Language, 5152 French Literature, 24
B
Bachelors Degree Program, 76 Brecht, Bertolt, 24 British Literature, 23 Buddhism, Tibetan, 56 Business Management, 6970 media and film, 3637 restaurant/culinary, 71
C
Child Psychology, 18 Children, Writing for, 48 Chinese Language, 51 Cinema: see Film Studies Cinematography, 35 Classical Languages, 51 Colonialism, 15, 29 Comedy, Film, 33 Communication, Sociology of, 16, 2930 Collage in Modern Art, 20 Creative Arts Therapy, 6768 Critical Thinking, 26 Crusades, The, 22 Cultural Studies, 12, 15, 16, 2122, 24, 29, 30
G
Gender Studies, 12, 18, 21, 22, 27 Geography, 15 cities & spaces, 21 German Language, 5253 Globalization, 14, 15 & media, 29, 30, 33 Grammar, English, 57 for ESL speakers, 59 Graphic Design, 31, 63 Guantnamo Naval Base, 13
100
SUBJECT INDE X
H
Health, Culture of, 16, 71 Hebrew Language (Modern), 53 History, 1213, 14, 15, 22 of art, 20 culinary/food, 71 of ideas, 27 literary, 23 of music, 21 Homelessness, 17 Horror Literature & Movies, 22, 34 Human Rights, 12, 13, 15, 17, 27, 28
literature, 23, 24 philosophy, 26, 27 social theory, 16 Motion Picture Business, 36, 37 Music as communication, 30 history & appreciation, 21 instruction, 65 recording business, 37 Music Therapy, 67
N
Narcissism, 19 New York City art galleries & studios, 20 arts & culture marketing, 69 newspapers & magazines, 47 on-site photography, 64 urban megadevelopments, 15 Nonfiction Writing, 40, 41, 4547 Nonprofit Management, 70 Nutrition & Food Environments, 71
I
Identity, Social Theory of, 16 social psychology, 18 Illustration, Childrens Book, 48 Independent Cinema, 33 International Law, 13, 14 Internet Communication, 29, 30, 38 Italian Language, 53
J
Japanese Language, 54 Jazz, 21 Jews and Judaism, 22 Yiddish language, 56 Journalism, 47 in developing countries, 29 documentary film, 12, 31, 34 media studies, 29, 30 photojournalism, 64 Joyce, James, 25 Justice, 13, 17
O
Opera, 21 Organizational Behavior, 69
Screenwriting, 3739 business of, 37 literary adaptation, 33 Secularism, 27 Sex & Sexuality, 16 Shakespeare, William, 23 Short Stories, 23, 25 writing workshop, 44 Sign Language, 55 Social Media, 29, 30 Social Psychology, 18 cultures of madness, 16 exclusion, 17 media persuasion, 29 organizational behavior, 69 Social Work, 19 creative arts therapies, 6768 Sociology, 1617 informal economy, 14 media studies, 29, 30 Spanish Language, 5556 Statistics for business, 69 for social sciences, 16 Surrealism in Cinema, 34
T
Tai Chi, 66 Teaching English (ESOL), 5758 Television Writing, 39 Theater: see Dramatic Arts Thoreau, Henry, 25 Tibetan Language, 56 TOEFL, 61 Trauma, Psychic, 19 Troubadours, The, 22
P
Painting Workshops, 62, 63 Paris in the 20s, 22 Performance Studies, 22 Performing Arts, 65, 66 directing actors for film, 36 in psychotherapy, 67, 68 Personality Theory, 17, 19 Phenomenology, 27 Philosophy, 2627 social theory, 12, 15, 16 Phonography, 30 Photography, 6465 Pilates, 66 Playwriting, 48 Poetry, 24, 25 writing workshops, 4243 Politics, 15, 27 civic activism, 17, 71 of food & agriculture, 70, 71 in media & film, 29, 30, 33, 34 Postcolonial Theory, 15 Poverty, 13, 17 Portuguese Language, 54 Printmaking, Fine Art, 63 Psychology, 1719 & culture, 16, 22 creative arts therapy, 6768 motivational, 29, 69 philosophical, 27
K
Kafka, Franz, 25
U
United States, 13, 15 cinema, 33 farming & agriculture, 70, 71 law, 14 literature, 24, 25 music, 21 Urban Studies, 12, 15, 17, 21, 71
L
Latin Language, 51 Latin America, 13, 21 popular culture (in Spanish), 56 Law, 14 Literature, 22, 2325 cinematic adaptations, 33 of psychology, 17 women of letters, 12 Logic, 26
V
Video Production, 31 Viral Media, 29
M
Management, Business, 6870 film/media, 3637 restaurant/culinary, 71 Marketing, 29, 68, 69 food products, 71 screenplays, 37 Masculinity, 18 Media Studies & Production, 16, 22, 2931 architectural representation, 20 business, 3637, 70 journalism & feature writing, 47 political cinema, 33, 34 Medicine & Cultural Change, 16 Memoir as Literature, 23 writing a memoir, 45, 47 Mental Illness, 16, 18 Modernism, 21, 22 art, 20 music, 21
W
Web Page Design, 31 Women, 12, 21, 23 feminist thought, 27 Womens Publications, 47 World Cinema, 33 Writing Workshops, 4048 business communications, 29, 70 English as a second language, 5960 screenwriting, 3839
R
Race & Racism, 12, 15, 17 Religion, 22, 27 Restaurant Management, 71 Russian Language, 5455
X
Xenophobia, 17, 22
S
Science evolutionary psychology, 18 medicine & media, 16 scientific thinking, 27 Science Fiction, 24
Y
Yiddish Language, 56 Yoga, 66 Young Adult Fiction Writing, 48
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
Date of first class session
Section letter
Days and hours of class sessions
Noncredit tuition*
Other information
Drawing at the Metropolitan Museum NART1210

A 15 sessions. Wed., 10:00 a.m.12:40 p.m.,
Susan Cottle beg. Aug. 31. $650; includes museum entrance fee.
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. (3credits)
Limited enrollment: Register early if enrollment is limited. 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.
Instructor: For more information, see Biographical Notes in this bulletin.
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.
ONLINE
This logo indicates that the course is offered online. See page 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.
102
REGISTRATION INFORMATION FOR CONTINUING EDUCATION STUDENTS
Register and Pay

Online at www.newschool.edu/register.* Pay by MasterCard, Visa, American Express, or Discover.
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 for noncredit (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.
By phone at 212.229.5690 (noncredit only) Hours: MondayFriday, 9:15 a.m.4:45 p.m., (closed Fridays until August 12 and Labor Day, Sept. 5) Pay by MasterCard, Visa, American Express, or Discover. By fax to 212.229.5648 Use the detachable registration forms in the back of this bulletin. Pay by MasterCard, Visa, American Express, or Discover. By mail to The New School, Registrars Office, 72 Fifth Avenue, New York, NY 10011 Use the detachable registration forms in the back of this bulletin. Pay by MasterCard, Visa, American Express, or Discover, or by personal check/money order payable to The New School. In person at 72 Fifth Avenue, lower level Regular hours: MondayThursday, 10:00 a.m.5:45 p.m. Friday, 10:00 a.m. 4:45 p.m. (closed Fridays until August 12 and on Sept. 5 and Nov. 2325) Extended hours: Aug. 2226: MondayThursday, 9:00 a.m.5:45 p.m. Friday, 9:00 a.m.4:45 p.m. Aug. 29Sept. 16: MondayThursday, 9:00 a.m.6:00 p.m. Friday, 9:00 a.m.4:45 p.m. (closed Monday, Sept. 5) Pay by MasterCard, Visa, American Express, or Discover; by personal check or money order payable to The New School; or with cash. *Please note that online registration is not live. The registrar will contact you if there are any problems processing your registration request.
Tuition and Fees: Continuing Education

Student Status Noncredit Tuition University Services Fees Lab, Materials, etc. Fees
Printed in each course description in this bulletin $1,105 per credit
Registration fee: $7 per term
Printed in course description if applicable Same as above
General Credit (Nondegree)
$80 per term
Noncredit Certificate
The noncredit tuition
$80 per term
Same as above
Register early. The class you want might fill or, on the other hand, be cancelled 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 prior approval and must be completed in person. Schedule an advising appointment with Academic Services: 212.229.5615; academicservices@newschool.edu.
Confirmation of Registration
There is no need to confirm your registration. If there is a problem registering you for a class, the Registrars 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 will need a Record of Attendance (for employer reimbursement or any other purpose), you must request that 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. If you do not receive your ID card within two weeks of registration, contact Student Financial Services at sfs@newschool.edu or 212.229.8930, option 1. All certificate, general credit, and IRP students can obtain a photo ID at Campus Card Services, 66 West 12th Street, room 404. The hours are Monday, Tuesday, and Thursday, 9:00 a.m.5:30 p.m.; and Wednesday, 9:00 a.m.6:00 p.m. (Card Services is closed September 5 and November 23 and 24.) There is a fee to replace a lost or stolen card.
Add/Drop and Refund Deadlines

Classroom Courses: Standard Semester This schedule applies to courses starting August 29September 4 or September 1218 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 Before Oct. 17
Classroom 10 or more weeks beg. Aug. 29 Sept. 4
Before Sept. 13
Before Aug. 29, 100% refund Before Sept. 5, 90% Before Sept. 13, 80% Before Sept. 20, 70% Before Sept. 27, 60% Before Sept. 12, 100% refund Before Sept. 19, 90% Before Sept. 26, 80% Before Oct. 4, 70% Before Oct. 11, 60%
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 & 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. Instructions for accessing online classes will be mailed to you.
Classroom 10 or more weeks beg. Sept. 1218
Before Sept. 26
Before Oct. 31
Online Courses
Online Before end of week 2 (week 1 of the course is orientation) 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
Withdrawal/Refund Policy
To cancel your registration in a course, you must formally withdraw in writing to the Registrars Office (by fax, mail, or in person). See the table opposite for deadlines and refundable charges. For a more complete statement of university policy regarding withdrawals and refunds, see pages 7980. 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.
Classroom Courses on Other Schedules This schedule applies only to classroom courses starting after September 18 or meeting less than 10 weeks on any schedule.
Schedule Deadline to add or change status Deadline for tuition refunds (tuition charged) Before 1st session (full refund) Before 4th session (10% per session) Before 1st session (full refund) Before 3rd session (15% per session) Before 1st session (full refund) Before 2nd session (30% charged) Before 1st session (full refund) Credit student withdrawal for grade of W Between 4th & 7th sessions
10 or more sessions beg. after Sept. 18
Before 3rd session
69 sessions
Before 2nd session
Between 3rd & 4th sessions
35 sessions
Before 2nd session
Not applicable
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 students acceptance of the administrations rights as set forth above. Photography: Michael DiVito, Don Hamerman, Martin Seck, Matthew Sussman, Marisa Wong, Deborah Suchman Zeolla
12 sessions
Before 1st session
Not applicable
104
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 Registrars Office, 72 Fifth Ave., New York, NY 10011. Note: Post Office will not deliver without correct postage.
NONCREDIT REGISTR ATION

THE NEW SCHOOL If you have been a New School student before, enter your student ID number below. Student ID No. Last Name Address Street Apt. or c/o etc. City Home Phone Email

Term: FALL
Year: 11
NOCR
Term first attended New School Birthdate First Name Init.
Sex
State Work Phone

Zip Ext.
Please read instructions in the last two pages of the catalog. Enter your courses below.
COURSE MASTER SECT. COURSE TITLE SAMPLE COURSE TITLE NONCREDIT TUITION*
REG. OFFICE USE REGISTERED DATE ____________ INIT. _______ M T P
$ XXX $
PERSONAL DATA ENTERED DATE ____________ INIT. _______ $ Check enclosed Charge to MasterCard, Visa, Discover, AmEx Exp. Date Account No. Signature Nonrefundable Registration Fee Total of special fees (materials, etc.) Total enclosed $7 $ $ 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 Registrars Office, 72 Fifth Ave., New York, NY 10011. Note: Post Office will not deliver without correct postage. General credit students are nonmatriculatednot 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 deans office before registering: 212.229.5615; academicservices@newschool.edu. 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 prior approval and must be completed in person. Schedule an advising appointment with Academic Services: 212.229.5615; academicservices@newschool.edu.
GENER AL CREDIT ( NONDEGREE )

THE NEW SCHOOL If you have been a New School student before, enter your student ID number below. Student ID No. Last Name Address Street Apt. or c/o etc. City Home Phone Email

Term: FALL
Year: 11
NODG
Term first attended New School Birthdate First Name Init.
Sex
State Work Phone

Zip Ext.
Please read instructions in the last two pages of the catalog. Enter your courses below. (For noncredit courses, enter 0 in credits column.)
COURSE MASTER SECT. COURSE TITLE SAMPLE COURSE TITLE COURSE CREDITS** TUITION*
REG. OFFICE USE REGISTERED DATE ____________ INIT. _______ M T P
$ XXX $
PERSONAL DATA ENTERED DATE ____________ INIT. _______ $ Check enclosed Charge to MasterCard, Visa, Discover, AmEx Exp. Date Account No. Signature Nonrefundable Registration Fee Total of special fees (materials, etc.) Total enclosed $ 80 $ $ BURSAR USE
DATE ___________________________ T # _____________ INIT. __________
*General credit tuition is $1,105 times number of credits. (The tuition listed with each course description is the non-credit tuition.) **Credits are stated in the course description.
Mannes
(150 West 85th Street)
17TH ST.
Goldmark Practice Center

R K
16TH ST.
School of Fashion
School of Fashion Schwartz Fashion Center

(560 Seventh Avenue)
UNION SQUARE and GREENWICH VILLAGE AREA
79 Fifth Avenue
Albert and Vera List Academic Center

(6 East 16th Street)
15TH ST.
71 Fifth Avenue
6th Ave. 14th St. (F,L,M)
M
UNION SQUARE
14th St. Union Square (4, 5, 6, L,N,Q,R)
M
UNION SQUARE W.
The New School For Drama

(151 Bank Street)
(90 Fifth Avenue)
Study Center
14TH ST. FIFTH AVE.

G G
80 Fifth Avenue Fanton Hall/Welcome Center

SIXTH AVE.
L
Arnhold Hall
(72 Fifth Avenue) ( YOU ARE HERE )
(65 Fifth Avenue)

E
University Center*
(25 East 13th Street)
AY BROADW
Parsons East
13TH ST.
M N
(2 West 13th Street, 66 Fifth Avenue)
Sheila C. Johnson Design Center
The New School Campus Map

SCHOOLS AND LOCATIONS
CONTINUING EDUCATION OFFICES AND FACILITIES
A J
SEVENTH AVE.
(68 Fifth Avenue)

12TH ST.
Johnson Center Annex

UNIVERSITY PLACE
Alvin Johnson/J.M. Kaplan Hall

(65 West 11th Street) (64 West 11th Street)
Eugene Lang College Building

11TH ST.
C
Lang Annex
UNION SQUARE and GREENWICH VILLAGE AREA
150 West 85th Street

Mannes Extension Program . . . . . . . . . . . . . . . . . . . . . . . . . . . ground floor
66 West 12th Street

Creative Arts Therapy program office . . . . . . . . . . . . . . . . . . . . . . . . . . . 916 Humanities Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floor Institute for Retired Professionals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511 New School Bachelors Program . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floor New School for General Studies Deans Office . . . . . . . . . . . . . . . . . . 301 Social Sciences Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floor Writing Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503 Tishman Auditorium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ground floor Classrooms Posted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lobby Classrooms
L
PARSONS THE NEW SCHOOL FOR DESIGN . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 West 13th Street

Film Production studios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4th floor Gimbel Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2nd floor Media Studies and Film office. . . . . . . . . . . . . . . . . . . . . . . . . . . 12th floor Classrooms
OTHER OFFICES AND FACILITIES OF THE UNIVERSITY

Accounting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cafeterias ..............................................118 West 13th Street
B G I H H N
68 Fifth Avenue
English Language Studies office . . . . . . . . . . . . . . . . . . . . . . . . . mezzanine
Center for New York City Affairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Community Development Research Center . . . . . . . . . . . . . . . . . . . . . . . . India China Institute. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . International Center for Migration, Ethnicity and Citizenship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Schwartz Center for Economic Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Student Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tishman Environment and Design Center . . . . . . . . . . . . . . . . . . . . . . . . . . Transregional Center for Democratic Studies . . . . . . . . . . . . . . . . . . . . . . University Administration ......................................79 Fifth Avenue University Center *(expected to be completed 2013) ..................... University Writing Center.................................................................
66 Fifth Avenue
Parsons Deans Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6th floor Parsons SPACE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2nd floor Printmaking studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4th floor Kellen Auditorium Classrooms, Galleries
65 West 11th Street (enter at 66 West 12th Street)

Wollman Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5th floor Classrooms
I D I H G A F W
64 West 11th Street

Foreign Languages Department . . . . . . . . . . . . . . . . . . . . . . . . . lower level
79 Fifth Avenue
International Student Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5th floor
6 East 16th Street

Classrooms
25 East 13th Street

Art, Architecture, and Lighting Studios
THE NEW SCHOOL FOR GENERAL STUDIES . . . . . . . . . . . . . . . . .
80 Fifth Avenue
Student Health Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3rd floor
EUGENE LANG COLLEGE THE NEW SCHOOL FOR LIBERAL ARTS . . . . . . . . . . . . . . MANNES COLLEGE THE NEW SCHOOL FOR MUSIC
B J
C O
72 Fifth Avenue
Registrar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lower level Student Financial Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lower level Office of Admission
AFFILIATES
Beth Israel Hospital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 East 17th Street Cardozo Law Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Fifth Avenue Cooper-Hewitt Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 East 91st Street Cooper Union Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cooper Square Elmer Holmes Bobst Library . . . . . . . . . . . . . . . Washington Square South
*The New School is undergoing expansion and renovation. Please go to www.newschool.edu to view updates of the map. Published July 2011.
MILANO THE NEW SCHOOL FOR MANAGEMENT AND URBAN POLICY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . THE NEW SCHOOL FOR DRAMA . . . . . . . . . . . . . . . . . . . . . . . . . . . THE NEW SCHOOL FOR JAZZ
..............................
D
H Z I G
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
THE NEW SCHOOL FOR SOCIAL RESEARCH . . . . . . . .
THE NEW SCHOOL 66 West 12th Street / New York, NY 10011 / 212.229.5690
The New School and Parsons now offer the Certificate in ESL + Design. This is a pre-enrollment program for international students interested in pursuing art or design studies in the United States who need to improve their TOEFL scores or refresh their English language skills. See page 61. www.newschool.edu/esl-design
ESL + Design
The New Schools Screenwriting program is a sequence of courses that guides students through the entire process of writing a screenplay. Upon completion, students have a comprehensive grounding in story, character, theme, action, visuals, and dialogue. The certificate program is open to the committed student at any level of experience. See page 37. www.newschool.edu/screenwriting-certificate
Screenwriting
Are you ready to earn your undergraduate degree? The New School makes it easy for working adults and others who seek a nontraditional college experience. Transfer up to 84 credits. Study part-time or full-time, on campus or online. Create a path of study tailored to your goals and learn about issues that matter to you. See page 76. www.newschool.edu/ba
Finish Your Bachelors Degree Online or On Campus
Tuesday, August 16, 6:00 p.m. 66 West 12th Street, New York City
Please Join Us for an Open House Classes Begin August 29

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THE NEW SCHOOL CONTINUING EDUCATION COURSE BULLETIN

Economic and Social Exclusion

22/ 29/ 70/

HOW TO USE THIS CATALOG

USEFUL TELEPHONE NUMBERS

FALL 2011 COURSE BULLETIN

ACADEMIC TERM CALENDAR

BIOGRAPHICAL NOTES AND INDEXES

FALL 2011 COURSES

ABOUT THE NEW SCHOOL

A MESSAGE FROM THE ASSOCIATE DEAN

Almaz Zelleke, Associate Dean for Academic Affairs

FALL 2011 PUBLIC PROGRAMS

For event updates, visit www.newschool.edu/publicprograms.

Cave Canem at The New School

Riggio Forum: Writing and Democracy

From Ethnic to Mainstream: Latino Chefs Conquering NYC

FA L L 2 0 1 1 P U B L I C P R O G R A M S The Nation at The New School

Women Writers of the Diaspora

Tribeca Film Institute at The New School

The Best American Poetry 2011

Using Music in Your Film

Transmedia for Social Documentaries

The Schneider Concerts at The New School

Sunday afternoon chamber music, 2:00 p.m.

The Vera List Center for Art and Politics

Culinary Luminaries: Michael Batterberry

Academy of American Poets Award Ceremony 2011

The Educated Eater: Farmland Conservation

Producers Guild of America: The Greening of New Media

Peter Schjeldahl: The Critic as Artist in 2011

Beyond the Super Square: On the Corner of Art and Architecture

The 15th Annual Mixed Messages Media Showcase

Short Audio, Film, and Video Screening: December 2, 7:009:00 p.m.

National Book Awards Reading 2011

Tishman Auditorium, 66 West 12th Street

Gallery Exhibition: December 29

FINISH YOUR BACHELORS DEGREE

AT THE NEW SCHOOL

THE NEW SCHOOL

GRAD SCHOOL EXPO & OPEN HOUSE

An Affirmative Action/Equal Opportunity Institution.

FALL 2011 COURSES

The Human Condition Seen Through FilmNSOS0841

The History of PovertyNHIS3470

NEW History, Place, and Conscience: Investigating Guantnamo BayNHIS3215

POLITICS, ECONOMICS, AND THE LAW

The Legal System of the United StatesNPOL3610

The Politics of Urban MegadevelopmentNPOL3184

See page 26. (3credits) NEW Postcolonial TheoryNPOL3415

ANTHROPOLOGY AND SOCIOLOGY

NEW Entrepreneurship, Risk, and Culture: Anthropological PerspectivesNANT3545

B 15 weeks, Aug. 29 thru Dec. 19. Noncredit tuition $650.

B 15 weeks, Aug. 29 thru Dec. 19. Noncredit tuition $650.

Introduction to Abnormal PsychologyNPSY3501

Introduction to Social WorkNPSY3850

Special Art in Special PlacesNARH0720

ART AND MUSIC Art and Architecture

Ways of Looking: Interpreting Cities and SpacesNARH2800

Music History and Criticism

See page 12. (3credits)

Performing Gender: Paris in the Roaring TwentiesNHUM3035

LITERATURE Literary Traditions