the new school / summer 2011 ce catalog

THE NEW SCHOOL66 West 12th Street / New York, NY 10011 / 212.229.5690 /Summer

2011

THE NEW

SCHOOL COU

RSE BULLETIN / Sum

mer 2

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1 / Vol. 6

8 / No. 4

/Highlights

09/Street Fights: Urban Planning After the Reign of the Automobile

27/Spanish for Business

32/Drawing and Painting New York On-Site

37/New Venture Boot Camp

Studio art coursesThe studio art curriculum teams students with artist-teachers who live and work in New York City and beyond. From the Brooklyn Navy Yard to the Centre Pompidou, the National Park Service, and galleries and museums worldwide, our faculty are active in their chosen media and passionate about sharing their expertise in the classroom. The studio teaching method emphasizes individual instruction, helping students develop a unique drawing or painting practice. See page 32. www.newschool.edu/ce/visualandperformingarts

Summer writers colony Experience the writer’s life in New York City. This three-week intensive program consists of workshops (poetry, fiction, or nonfiction), literary salons featuring notable writers, and creative assignments in a supportive yet demanding atmosphere. Students can enroll in the colony on a credit or non-credit basis. See page 18. www.newschool.edu/summerwriterscolony

Certificate in teaching English (CTE)Designed for aspiring or working ESL teachers for whom a master’s degree is inappropriate or impractical, this five-course certificate emphasizes a communicative approach to English language instruction. This emphasis can help certificate earners find jobs with adult language programs in need of trained staff to work with immigrants, colleges in need of ESL instructors, and as private English language tutors. Complete the certificate in just two semesters. See page 27. www.newschool.edu/ce/englangteachingcert

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newschool.edu/

ReGIsTeRTodAY

THE NEWSCHOOLCONTINUINGEDUCATION COURSE BULLETIN

HOW TO REGISTER

This bulletin lists course offerings for the summer 2011 term. Registration for summer courses opens April 4 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 63–64 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 all Saturdays and Sundays. Register online or by fax when the office is closed; registrations will be processed the next working day.

OnlineYou can register through a secure online connection with payment by credit card. Go to www.newschool.edu/registertoday 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 FaxYou 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 MailUse 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 PhoneYou can register as a noncredit student by telephone, with payment by credit card. Call 212.229.5690, Monday–Friday. Call at least three days before your course begins. Your Statement/Schedule will be mailed to you.

In PersonYou can register in person at 72 Fifth Avenue (corner of 13th Street). A schedule for in-person registration is published on page 63 of this bulletin.

HOW TO USE THIS BULLETIN

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

Finding a SubjectGeneral subjects are listed in the Table of Contents on page 3. There is a detailed subject index beginning on page 61. There are biographical notes for most teachers beginning on page 59. 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 ScheduleThe Calendar of Courses, beginning on page 58, lists every course in order by start date and time. The academic term calendar is on page 2.

Finding a Course DescriptionThere is an index of courses in order by Course Master ID beginning on page 60.

Interpreting the Course DescriptionA chart on page 62 breaks down the format of the course descriptions and explains the different elements.

USEFUL TELEPHONE NUMBERS General Information .................................... 212.229.5615Registration Office ..................................... 212.229.5690Box Office .................................................. 212.229.5488Student Financial Services (option 1) ............................................... 212.229.8930Admission Office (bachelor’s and graduate programs) ........ 212.229.5630Alumni Office ............................................. 212.229.5662Press Contact ............................................ 212.229.5151New School Dean’s Office ........................... 212.229.5615New School Switchboard ............................ 212.229.5600

The New School, (USPS 382-140), Volume 68, Number 4, April 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

To add your name to a mailing list for this bulletin, call 800.319.4321.

( YOU ARE HERE )

UNION SQUARE and GREENWICH VILLAGE AREA

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Eugene Lang College Building(65 West 11th Street)

Lang Annex(64 West 11th Street)

Alvin Johnson/J.M. Kaplan Hall(66 West 12th Street)

Sheila C. JohnsonDesign Center

(2 West 13th Street, 66 Fifth Avenue)Johnson Center Annex(68 Fifth Avenue)

Parsons East (25 East 13th Street)

Arnhold Hall(55 West 13th Street)

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

71 Fifth Avenue

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G80 Fifth AvenueFanton Hall/Welcome Center

(72 Fifth Avenue)

F University Center* (65 Fifth Avenue)

XStudy Center(90 Fifth Avenue)

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Mannes(150 West 85th Street)�

UNION SQUARE andGREENWICH VILLAGE AREA

Goldmark Practice Center(37 West 65th Street)�

School of Fashion Schwartz Fashion Center(560 Seventh Avenue)�

School of Fashion

(232 West 40th Street)�

The New School For Drama(151 Bank Street)�

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

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

Cafeterias ..............................................118 West 13th Street

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 .................................................................

AFFILIATESBeth 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 March 2011.

CONTINUING EDUCATION OFFICES AND FACILITIES66 West 12th Street

Creative Arts Therapy program office . . . . . . . . . . . . . . . . . . . . . . . . . . . 916Humanities Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floorInstitute for Retired Professionals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511New School Bachelor’s Program . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floorNew School for General Studies Dean’s Office . . . . . . . . . . . . . . . . . . 301Social Sciences Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9th floorWriting Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503Tishman Auditorium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ground floorClassrooms Posted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lobbyClassrooms

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

64 West 11th StreetForeign Languages Department . . . . . . . . . . . . . . . . . . . . . . . . . lower level

6 East 16th Street Classrooms

25 East 13th StreetArt Studios

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

72 Fifth Avenue Registrar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lower levelStudent Financial Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lower levelOffice of Admission

55 West 13th StreetFogelman Library Circulation . . . . . . . . . . . . . . . . . . . . . . . . . . ground floorMedia Laboratories . . . . . . . . . . . . . . . . . . . . . . . . . 3rd, 4th, 8th, 9th floorsTheresa Lang Community and Student Center . . . . . . . . . . . . . 2nd floorClassrooms

150 West 85th StreetMannes Extension Program . . . . . . . . . . . . . . . . . . . . . . . . . . . ground floor

2 West 13th StreetFilm Production studios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4th floorGimbel Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2nd floorMedia Studies and Film office . . . . . . . . . . . . . . . . . . . . . . . . . . . 12th floorClassrooms

68 Fifth AvenueEnglish Language Studies office . . . . . . . . . . . . . . . . . . . . . . . . . mezzanine

66 Fifth AvenueParsons Dean’s Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6th floorParsons SPACE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2nd floorPrintmaking studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4th floorKellen AuditoriumClassrooms, Galleries

79 Fifth AvenueInternational Student Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5th floor

THE NEW SCHOOL FOR GENERAL STUDIES . . . . . . . . . . . . . . . . .

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

MANNES COLLEGE THE NEW SCHOOL FOR MUSIC

MILANO THE NEW SCHOOL FOR MANAGEMENT AND URBAN POLICY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

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

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

The New School Campus MapSCHOOLS AND LOCATIONS

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SUMMER 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 university’s undergraduate and graduate degree programs at

www.newschool.edu/degreeprograms.

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http://www.newschool.edu/degreeprograms

ACADEMIC TERM CALENDAR

Summer 2011Classroom/studio courses usually meet twice a week for 12–15 sessions beginning the week of June 6. Online courses run nine weeks, from June 6 to August 5. Some programs offer special summer intensive courses.

Holidays

Memorial Day Observed, May 30

Independence Day, July 4

New School facilities will be closed.

J U L Y

S M T W T F S

1 2

3 4 5 6 7 8 9

10 11 12 13 14 15 16

17 18 19 20 21 22 23

24 25 26 27 28 29 30

31

A U G U S T

S M T W T F S

1 2 3 4 5 6

7 8 9 10 11 12 13

14 15 16 17 18 19 20

21 22 23 24 25 26 27

28 29 30 31

J U N E

S M T W T F S

1 2 3 4

5 6 7 8 9 10 11

12 13 14 15 16 17 18

19 20 21 22 23 24 25

26 27 28 29 30

M A Y

S M T W T F S

1 2 3 4 5 6 7

8 9 10 11 12 13 14

15 16 17 18 19 20 21

22 23 24 25 26 27 28

29 30 31

H O L I D A Y 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 from June 17 through August 12. This will not affect courses that may be scheduled to meet on Fridays.

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CONTENTS

SUMMER 2011 PUBLIC PROGRAMS, 4

SUMMER 2011 COURSES

Social Sciences, 8

For course advising, call 212.229.5124.History, 8Politics, Economics, and the Law, 9Anthropology and Sociology, 9Psychology, 10

Humanities, 11

For course advising, call 212.229.5961.Art and Music, 11Literature, 12Philosophy, 13

Media Studies and Film, 14

For course advising, call 212.229.8903.Media Studies, 14Film Studies, 15Screenwriting, 17

The Writing Program, 18

For course advising, call 212.229.5611.Summer Writers Colony, 18Fundamentals, 20Poetry, 20Fiction, 21Nonfiction and Journalism, 21Special Topics, 22

Foreign Languages, 23

For course advising, call 212.229.5676.Arabic, 24Chinese (Mandarin), 24Classical Languages: Latin, 24French, 24German, 25Italian, 25Portuguese (Brazilian), 26Spanish, 26

English Language Studies, 27

For course advising, call 212.229.5372.Teaching English to Speakers of Other Languages, 27English as a Second Language, 29

Visual and Performing Arts, 32

For course advising, call 212.229.5961.Visual Arts, 32Photography, 33Acting and Movement, 34Music Performance, 35Creative Arts Therapy Certificate, 35

Management and Business, 36

For course advising, call 212.229.5124.

Food Studies, 38

For course advising, call 212.229.5124.

Institute for Retired Professionals, 40

ABOUT THE NEW SCHOOL

THE NEW SCHOOL FOR GENERAL

STUDIES, 42

Educational Programs and Services, 42

Study Options, 42Study Online, 43Libraries and Computing Facilities, 43International Student Services, 44Services for Students with Disabilities, 44

Bachelor’s Program, 44

THE UNIVERSITY, 45

University Administrative Policies, 46

Student Accounts, 46Tuition and Fees, 46Cancellations, Refunds, Add/Drop, 47Admission to Class, 49Other University Policies, 49

Records and Grades, 50

Academic Transcripts, 50Noncredit Record of Attendance, 50Grades, 50Family Educational Rights and Privacy Act, 51

BIOGRAPHICAL NOTES AND INDEXES

Biographical Notes, 53Calendar of Courses, 58Faculty Index, 59Course Master Index, 60Subject Index, 61

REGISTRATION PROCEDURES

Understanding the Course Description, 62Before Registering, 63Register and Pay, 63Student ID, 64Find Your Class, 64Withdrawal/Refund Policy, 64

NEIGHBORHOOD MAP, inside back cover

REGISTRATION FORMS

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A MESSAGE FROM THE ASSOCIATE DEAN

As I write this letter in the middle of the winter, the city is enjoying unseasonable warmth. Piles of snow accumulated over several storms are melting away. Spring feels within reach, and even summer rises in the imagination again. Read through this bulletin to see the exciting things The New School has planned for the summer.

If travel is part of your summer plans, you’ll be pleased to know that we’ve extended our popular “On the Go” program of intensive weekend language immersion to the summer

term. See the Foreign Language offerings on pages 23–27 for a list of “On the Go” and “brush-up” workshops.

If you can’t get out of the city, you can travel the world through one of our courses, which include explorations of Latin American urban life, the architecture of Las Vegas and Abu Dhabi (see page 11), and French literature and gastronomy (pages 12 and 25, respectively). Or you can learn how to draw at the Met Museum or practice photography in city streets and parks.

If you’re heading to the shore but want more than beach reading, take an online course in philosophy or literature (pages 12–13), or do your own writing in an online writing workshop (pages 20–22). With New School Online, you can take us along wherever your summer takes you.

Almaz Zelleke, Associate Dean for Academic Affairs

P.S. Check out the summer courses in art and design offered by Parsons The New School for Design and music offered by Mannes College The New School for Music. Go online to ceregistration.newschool.edu.

STAY CONNECTEDwww.facebook.com/thenewschool

www.twitter.com/thenewschool

fora.tv/partner/New_School

youtube.com/thenewschoolnyc

SUMMER 2011PUBLIC PROGRAMS

Truth Be Told Documentary Film Festival

2011

Tuesday thru Thursday, May 24–26

7:00–10:00 p.m. each day

Tishman Auditorium, 66 West 12th Street

Admission free; no tickets or reservations required

Short films made by this year’s students in the Documentary Media Studies graduate certificate program are screened for the public. Faculty members Deirdre Boyle and Deanna Kamiel lead Q&A with the filmmakers following each night’s screening. The films are the product of one year of intensive study of documentary production, history, and theory. The New School awards the Certificate in Documentary Media Studies for completion of this full-time graduate-level curriculum, a unique opportunity to study documentary filmmaking in a small, intensive program in New York City, the world’s documentary capital. For more information, visit www.newschool.edu/doc. There is a public reception with the filmmakers and faculty following the first night’s screening.

Mind-Body Healing Through the Arts

Four Wednesdays, 8:00 p.m. Single admission tickets, $45. Register for course NCAT0701 and attend all four events for $165.

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

The field of creative arts therapy is rapidly gaining recognition as an essential component of health care in our society. By tapping into the deeply expressive aspects of body, mind, and spirit through such modalities of music, sound, imagery, role playing, and movement, the therapist facilitates self-actualization and healing within the therapeutic relationship. Prominent practitioners discuss principles and practice in this lecture/demonstration series.

June 8 Music in Wellness: The Next Wave, Louise Montello, DA, LCAT, LP, MT-BC

June 15 Drama Therapy in Child Psychiatry, Elizabeth Davis, LCAT, DTR

June 22 Art Therapy in Transforming Trauma, James Andralis, MPS, LCAT

June 29 Healing and Consciousness, Lynn McTaggart, PhD

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http://www.facebook.com/thenewschool

http://www.twitter.com/thenewschool

http://www.newschool.edu/doc

http://www.newschool.edu/doc

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SUMMER 2011 PUBL IC PROGRAMS

Tickets for Public Programs

Unless otherwise indicated, tickets are available at the box

office in the lobby at 66 West 12th Street. Through May 10,

the box office is open Monday through Thursday, 4:00–7:00

p.m.; Friday, 3:00–6:00 p.m. After May 10, the box office

will open half an hour before an event begins.

Tickets can also be purchased with a credit card by calling

the box office at 212.229.5488. Most events are FREE to

students and New School staff and alumni with valid ID.

For more information or special needs requests, call

212.229.5353 or email [email protected].

Visit www.newschool.edu/publicprograms for the most

current event information.

Global Action Project Year-End Celebration

and Screening

Thursday, June 7, 6:00 p.m.


Admission is free, but reservations are required: call 212.594.9577 or email [email protected]

Since 1991, Global Action Project (G.A.P.) has worked with youth ages 14–21 to produce thought-provoking videos that address personal and public issues such as immigration, education, and discrimination based on race, gender, and sexual orientation. Working over a school year, the young people experience the filmmaking process from beginning to end. They write, direct, and edit their own projects while learning about the impact of media on their lives and society at large. The completed 2010–2011 projects are celebrated at this annual screening event. For more information about the event and G.A.P., visit www.global-action.org. Co-sponsored by Global Action Project and The New School.

Truly Yours, Eudora Welty: An Evening About

Writing and Influence

Friday, June 10, 6:30 p.m.

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

Admission free; no tickets or reservations required

Celebrate the launch of Granta 115: The F Word and the publication of What There Is to Say We Have Said: The Correspondence of Eudora Welty and William Maxwell, Suzanne Mars, editor (Houghton Mifflin Harcourt). Well-known writers inspired by Eudora Welty talk about her life and work. There is a reading of her unforgettable application letter to The New Yorker. Hosted by the Writing Program. Moderated by Patrick Ryan, assistant editor of Granta magazine. Speakers to be announced.

Conference on Elder Abuse

Is This Elder Abuse? When Abuse Is Not

the Presenting Problem

Wednesday, June 22, 8:00 a.m.–4:30 p.m.


Admission: $45 (for NYCLE* credit, $95)

Mistreatment of elderly people is a problem that affects all segments of society, regardless of socioeconomic status, living environment, race and ethnicity, and physical or cognitive condition of the aged individual. Its scope extends beyond the stereotype of the bruised and battered to include elderly victims of psychological and emotional harm, caregiver neglect (abandonment or failure to provide proper food, shelter, companionship, medical care, or other necessities of life), sexual abuse, exploitation, and fraudulent diversion of property. It is perpetrated by relatives, professional caregivers, friends, and neighbors. Too many victims and witnesses do not know how to report elder abuse or where to go for help. This annual conference brings together gerontology experts and advocates. Panels and lectures focus on promoting health and wellness among older people as well as abuse prevention and intervention strategies in the context of the current difficult economic climate, which has implications for the mistreatment and exploitation of elderly people. For program and registration information, contact the IRP at [email protected] or 212.229.5682 after May 1.

*For information about NYCLE credit, email [email protected] or call 212.273.5279.

Co-sponsored by Institute for Retired Professionals and the Jewish Association for Services for the Aged, a beneficiary of UJA Federation of New York; Harry and Jeanette Weinberg Center for Elder Abuse Prevention at the Hebrew Home at Riverdale; City of New York Department for the Aging; Human Resources Administration-Adult Protective Services; Carter Burden Center on Aging; Council of Senior Centers and Services of NYC, Inc.; and Fordham University Graduate School of Social Service.

Mannes College The New School for Music

The New York Guitar Seminar 2011

HANDS ON: Exploring Classical

Guitar Techniques

July 5–10

Mannes, 150 West 85th Street

Open to auditors and performers. Auditors: $260 for the entire seminar or $65 for a day pass; $15 for a single class; $25 for a single concert. Performers (full participants): $575 for individual registration; $395 per person for ensemble registration.

Preseminar concert: Tuesday, July 5, 7:00 p.m.

Americas Society, 680 Park Avenue. Tony Morris, Sonia Hernández, João Luiz, and the Newman & Oltman Guitar Duo. Admission free.

Classical guitarists at all levels of skill and fans are invited to join some of the world’s best-known performers and music teachers for a week of concerts, master classes, rehearsals, and workshops. This year’s seminar emphasizes developing a solid technical foundation Performers (full participants) work hands-on with such great musicians as Scott Tennant, Martha Masters, Dennis Koster, and Newman & Oltman. Auditors can sit in on any or all master classes and concerts. For complete information and registration instructions, visit www.newschool.edu/mannes/summer.

See music courses offered by Mannes Extension Division on page 35.

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mailto:[email protected]

http://www.global-action.org


http://www.newschool.edu/publicprograms



http://www.newschool.edu/mannes/summer

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FINISH YOURBACHELOR’S DEGREEAT THE NEW SCHOOLSTUDY ON CAMPUS AND ONLINE

You have a busy life—so we make it easy to earn your degree. Guided by a faculty advisor, you’ll create a path of study tailored to your professional goals and the issues that matter to you. Where will you go from here? The opportunities are endless.

• Take classes on campus in Greenwich Village and/or online from anywhere

• Transfer up to 84 credits

• Receive credit for life experience

• Apply for financial aid

• Go further faster with a bachelor’s/master’s option

• Study business, writing, media, and more

PROSPECTIVE STUDENTS DAY

Learn about The New School’s innovative bachelor’s program for adult and transfer students in an informal setting that includes workshops, panels, brunch, and live jazz.

Saturday, April 30, 9:00 a.m.–1:30 p.m.

65 West 11th Street, NYC(between Fifth and Sixth Avenues)

To RSVP or for more information, call 212.229.5630 or visit us online. www.newschool.edu/ba23

SUMMER WRITERS COLONYAT THE NEW SCHOOLDISCOVER THE WRITER’S LIFE IN NEW YORK CITYGREENWICH VILLAGE JUNE 6–23, 2011WORKSHOPS IN FICTION · NONFICTION · POETRYTake part in workshops and literary salons with renowned New School faculty members, visit legendary literary venues, and meet authors, editors, and agents.

2011 VISITING WRITERSJonathan DeeThomas Sayers EllisLynn EmmanuelNicole KraussDarin Strauss

www.newschool.edu/summerwriters10

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SUMMER 2011 COURSES

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SOCIAL SCIENCES

History

Politics, Economics, and the Law

Anthropology and Sociology

Psychology

F O R C O U R S E A D V I S I N G , C A L L 2 1 2 . 2 2 9 . 5 1 2 4 .

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

The Department of Social Sciences draws on The New

School’s tradition of free inquiry and its commitment to

making profound ideas accessible. At a time of fierce

and competing ideologies, nationally and globally, we

prepare students to take their place as thoughtful citizens

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.

OPEN HOUSE N IGHT AT THE NEW SCHOOL

Thursday, April 28, 6:00–8:00 p.m., 66 West 12th Street

To learn more about our social science courses, come to our open

house and speak to members of the faculty and staff. No reservation is

necessary, but if you need more information, call 212.229.5124.

HISTORY

NEW The Tea Party and Its Forebears: A History of American

Populism NHIS3246

A 15 sessions. Tues. & Thurs., 4:00–5:50 p.m., beg. June 7. Noncredit tuition $620.

Jordan Somers

During Obama’s presidency, populist conservatism in the United States has attracted national and worldwide attention. Working Americans have turned out by the thousands to voice their opposition to government initiatives aimed at helping them. How should we understand a movement that seems to fight against its own interests? Our objective is to make sense of this apparent paradox. This course examines the historical legacy of a peculiarly American brand of popular conservatism, one that has been present since the nation’s inception. We look at the forms this conservatism has taken and its relationship to questions of class, race, and gender. We read works by academics, politicians, and everyday Americans and examine expressions of popular conservatism in media and visual culture. (3 credits)

NEW Manipulating Nature: A History of Biotechnology from

Alchemy to Recombinant DNA NHIS3404

A 9 weeks, June 6 thru Aug. 5. Noncredit tuition $620. ONLINE

Lisa Nocks

In this course, we examine the history and significance of biotechnology from the Middle Ages to the present. We consider the role of traditional belief systems, pop culture, and news media in controversies over the application of scientific discoveries, and the way public perceptions of science can affect research trends. Topics explored include alchemical practices and the transition to modern chemistry, fermentation, distillation, the production of food additives, genetic modification of plants and livestock, stem cell research and cloning, in vitro fertilization, vivisection, prenatal screening, synthetic biology, and the potential ecological impact of nanotechnologies. (3 credits)

This logo indicates that the course is offered online. See page

43 or visit the website at www.newschool.edu/online for more

information.

ONLINE

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S O C I A L S C I E N C E S

H O W T O R E G I S T E R

ONLINE Register online with payment by American Express, MasterCard, Discover, or Visa. Visit www.newschool.edu/register.

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

BY PHONE Noncredit students can register by telephone with payment by American Express, MasterCard, Discover, or Visa. Call 212.229.5690, Monday–Friday, 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 63 for the schedule.

For details of registration procedures and deadlines, see pages 63–64 or call 212.229.5690.

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http://www.newschool.edu/register

POLITICS, ECONOMICS, AND THE LAW

NEW Introduction to Comparative Politics: Development in the

West and the Rest NPOL2202


Casiano Hacker-Cordon

This course is an introduction to the comparative analysis of politics, focusing on issues that arise in the study of the developing world. In the first part of the course, we compare world systems theory and international dependency theory with theories of development and conflict that focus almost exclusively on factors internal to states. In the second part, we engage in further comparison across the globe, with readings on the politics of Africa, Asia (with a concentration on South Asia), and Latin America. (3 credits)

NEW International Crimes: From Nuremberg to Guantánamo

Bay NPOL3281


Glynn Torres-Spelliscy

From the Nazi concentration camps to the killing fields of Pol Pot’s Cambodia to the deserts of Darfur, human beings have displayed a seemingly unlimited capacity for cruelty. International legal prohibitions on war crimes, crimes against humanity, and genocide are designed to deter and punish such crimes. Although treaties regulating the wartime conduct of soldiers and states predated the formation of the International Military Tribunal at Nuremberg, the tribunal was the first international body ever established to try state leaders, not only for wartime conduct but also for their domestic policies. We examine the complex legal issues associated with the prosecution of these crimes by tracking the development of international institutions from Nuremberg to the International Criminal Court. (3 credits)

NEW Behavioral Economics: Explaining the Inexplicable NECO2005

A 15 sessions. Mon. & Wed., 6:00–7:50 p.m., beg. June 6. Noncredit tuition $620.

Jennifer Jacquet

Consumers treat gains differently from losses, exhibit inconsistent preferences over time, and make seemingly unjustifiable decisions about savings and investments. In this course, we study behavior that conventional economics would deem irrational. We explore how the behavior of consumers, producers, and the markets in which they operate defies basic tenets of mainstream economic theory. We examine the work of the many social and natural scientists, as well as economists, who have demonstrated the failure of economic theory to incorporate the findings of behavioral research. To gain a better understanding of the way humans share and consume resources, the class reads some of the latest studies in experimental economics, psychology, and the new field of neuroeconomics. Required readings include popular and research articles as well as several books, including the bestselling Nudge: Improving Decisions about Health, Wealth, and Happiness. We also turn to evolutionary biology for insights into the origins and intricacies of cooperation. No prior knowledge of psychology or economics is necessary. (3 credits)

On Relativism NPHI3288


Luis Guzmán

See page 13. (3 credits)

ANTHROPOLOGY AND SOCIOLOGY

NEW Street Fights: Urban Planning After the Reign of the

Automobile NSOC3731


Aaron Naparstek

New York City is radically transforming the way it plans, designs, and manages its streets and public spaces. For most of the 20th century, the city’s transportation and development policies were aimed at maximizing the capacity of the street network to accommodate motor vehicles. The last four years have seen a new emphasis on the needs of pedestrians, cyclists, and transit riders. In this course, we take to the streets to explore the changes underway and learn about the history that brought us here. We look at the research and thinking behind these changes and see how new ideas about sustainable streets are being rapidly prototyped, tested, and shared among cities as diverse as Copenhagen, Bogotá, Paris, and Seoul. We examine the politics of sustainable streets, from bitter neighborhood-level battles over bike lanes and parking spots to struggles over multi-billion-dollar regional megaprojects. We meet the planners, policymakers, and advocates who are in the trenches every day, working to create sustainable streets in the 21st-century city. (3 credits)

NEW Military Cultures: The Making of Wars and

Warriors NANT3625


Emily Sogn

War has shaped the histories of many societies and continues to affect the lives of people around the world today. In this course, we explore anthropological views of war and its influence on culture and society. We ask what constitutes war in a variety of historical and cultural contexts, how anthropologists have explained its place and significance within them, and how the consequences of war can be represented using ethnographic methods. We read texts by classical social theorists such as John Locke and Karl Marx and anthropological works that consider militarism and war within specific cultural contexts. In these readings, we study the representation of war within a number of different frameworks, examining Darwinian claims about the function of violence for survival, ethnographic analyses of structural violence such as colonialism and economic inequality, and contemporary discussions of institutional warfare and global security states. (3 credits)

NEW The Ultimate Fight: Sport and Social Power NANT3697


Lisa Uperesa

How should we look at sport? Is it play? Leisure? Pastime? This course offers students an introduction to critical perspectives on sport. We examine its cultural, social, political, and economic dimensions and ask: How should we understand people’s intense identification with particular sports teams and the collective experience of fandom? Why are so many people invested in sport as a cultural activity? What does it represent, for whom, and why? We first examine early anthropological studies of sport and move on to explore modern sport and its relationship to political movements, processes of globalization, labor migration, and social hierarchies. Assignments and class discussions draw on ethnographies, sports studies, films, critical theory, and contemporary media. (3 credits)

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NEW Organizing Across Borders: International Activism and

Political Movements NSOC3766


Cecelia Walsh-Russo

This course familiarizes students with debates surrounding contemporary transnational social movements and sheds light on their historical context, beginning with the 19th-century anti-slavery movement and concluding with the current anti-globalization movement. We look at concepts and perspectives from studies of social movements and consider both Western and non-Western cases. We examine early theoretical works on collective behavior, resource mobilization, and political processes and investigate theories of “new” social movements. In the final section of the course, we focus on contemporary forms of activism and the impact of new media technology on social movements today. (3 credits)

PSYCHOLOGY

Fundamentals of Psychology NPSY2001


Ezra Feinberg

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

Theories of Personality NPSY3401


Romy Reading

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 how each theorist defines the abnormal or pathological. We also draw on cultural and clinical texts to illuminate these theories and the relevance of psychoanalysis to art and other cultural practices. (3 credits)

Object Relations: The Inner and Outer Worlds of

Relationships NPSY2445


Therese Ragen

Although desired and pursued, intimate, loving relationships often present us with our hardest work in life. In many ways, our relationships shape the way we view the world. Our ways of relating are based on our unique inner object relations. The term object refers to a mental representation of a person and object relations to the set of psychoanalytic theories about internalized relationships. Starting with the mother-child pair, we examine how our view of early interactions with others affects the way we relate to people later in life. We consider the contributions of Sullivan, Klein, Fairbairn, Winnicott, and others. We study the characteristics of both flourishing and troubled relations between friends, family members, romantic intimates, and long-term partners. We also discuss scenarios for growth and change. (3 credits)

Creative Arts Therapy Certificate

This curriculum prepares students for various careers in the human services professions. The certificate is awarded for completion of nine courses, including an internship. See page 35.

10


You can register for most courses for either noncredit or general

credit status. The noncredit tuition is listed as part of the course

description. General credit tuition for courses in this catalog is

$1,055 per credit. For information about registration options,

see pages 42–43.

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HUMANITIES

Art and Music

Literature

Philosophy


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

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 skills—critical

reading, attention to detail, and analytic writing—that are

useful in all walks of life.



To learn more about our humanities courses, come to our open house

and speak to members of our faculty and staff. No reservation is


ART AND MUSIC

Contemporary Art in New York City Museums and

Galleries NARH3726


Daniel Cooney

This course provides a concise history of visual art since 1945 and allows students to examine and discuss significant works in New York City museums and galleries. Illustrated lectures introduce the major themes and developments in American art from the postwar period to the present, with corresponding class visits to MoMA, the Guggenheim, the New Museum, and other museums and galleries. Writing assignments and seminar-style group discussions help students deepen their appreciation of contemporary visual art. First class meets at The New School. (3 credits)

Latin American Cities: 200 Years of Urban Change NARH3664


Margarita Gutman

This highly interactive online course examines four cities in Latin America—Buenos Aires, Rio de Janeiro, Quito, and Mexico City—through the lenses of architecture, visual culture, art history, urban planning, geography, literature, and film. Many countries in the region are now celebrating 200 years of independence from Spain, and their bicentennial commemorations offer a unique occasion to highlight cities and nations on the move. New political leadership in Latin America includes four women presidents (Chile, Argentina, Costa Rica, and Brazil), the first indigenous leader (Bolivia), and the first former priest (Paraguay). Through illustrated lectures, readings, films, and games, we explore patterns of urban change and cultural diversity in the public sphere. (3 credits)

From Las Vegas to Abu Dhabi: Topics in Contemporary

Architecture and Urbanism NARH3880


Emily Bills

This course explores the major issues informing architecture and urban planning from the 1960s to the present. We begin with emerging challenges to the modernist approach to design, as famously articulated in Robert Venturi’s text Complexity and Contradiction in Architecture. As the signs and signifiers of Las Vegas replace the steamship as a design model, architecture becomes brutal, then nomadic, and eventually deconstructed. In addition to sessions on postmodernism and deconstruction, we explore major themes of sustainability, sprawl, historic preservation, the architect as star, and changed visions of the city post-9/11. These topics take us around the globe, from the United States to Europe, Latin America, and the Middle East. The works and words of architects like Rem Koolhaas, Frank Gehry, Sir Norman Foster, Daniel Libeskind, and Zaha Hadid shape the lectures and discussions. (3 credits)

Music from Abstract Expressionism to New Wave NMUS3565


Ryan Dohoney

This course explores the cultural intersections of music, visual art, and performance in New York City in the second half of the 20th century. Through music, the class undertakes an interdisciplinary study of experimental and avant-garde communities in the period 1945–1990. These communities were at the forefront of experimental music, abstract art, modern dance, improvisation, assemblage art, performance, and theatricality, as well as punk and new wave. Students examine expressive practices through critical engagement with case studies in multimedia performance, enhanced by readings that situate them historically, socially, and politically. Artists studied include John Cage, Merce Cunningham, Morton Feldman, Meredith Monk, Joan La Barbara, Julius Eastman, Laurie Anderson, Philip Glass, Robert Wilson, Arthur Russell, George Lewis, Kathy Acker, Richard Foreman, David Wojnarowicz, and Peter Gordon. (3 credits)

Music as Communication NCOM3050


Jean Oliver-Cretara

See page 14. (3 credits)U N D E R G R A D U AT E D E G R E E P R O G R A M F O R A D U LT S

The New School Bachelor’s Program provides an opportunity to complete

your undergraduate degree at your own pace in a largely self-designed

liberal arts program. For more information, call 212.229.5630 or visit

www.newschool.edu/bachelorsprogram.

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LITERATURE

The Muse Singing: Myth in Poetry from Antiquity to

Today NLIT3106


Sharon M. Mesmer

The beautifully told, compelling myths of the classical world still enthrall us today. What is it about these mysterious and beautiful tales that has captured the poetic imagination for centuries? We gain a new appreciation for four of the most familiar Greco-Roman myths—Demeter and Persephone, Cupid and Psyche, Daedalus and Icarus, and Orpheus and Eurydice—by examining the oldest-known literary sources (the Homeric Hymn to Demeter, Apuleius, and Ovid) and modern interpretations by well-known scholars like Edith Hamilton and Joseph Campbell. These short readings are followed by close readings of modern poetic retellings of each tale, which we compare with the original sources. We also discuss film versions of the myths (which students view outside class), including Cocteau’s La Belle et la bête (Beauty and the Beast), a modern interpretation of Cupid and Psyche; and Camus’ Orfeu Negro (Black Orpheus). (3 credits)

Shakespeare as Contemporary Theater NLIT3213


Philip Lerman

With their memorable characters and insights into human nature, Shakespeare’s plays enjoy a prominent position in American theater. We examine plays representing Shakespeare’s varied styles for their dramatic content and theatricality. We read Julius Caesar, a play about political intrigue; the youthful comedy A Midsummer Night’s Dream, followed by the mature comedy The Tempest; Othello and Macbeth, tragedies about driven men; Henry IV, Part 1 and Richard III, dramas that reveal history’s violent face; the dark, ironic comedies Troilus and Cressida and Measure for Measure; and the family tragedies King Lear and Hamlet. We trace the intricate thematic patterns in these plays and appraise their contemporary significance. We read scenes aloud in class to analyze their content and discover their underlying meanings. The course concludes with a screening of a filmed Shakespeare play. (3 credits)

NEW Dangerous Liaisons: Love in French Literature NLIT3424


Noëlle Carruggi

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

Herman Melville NLIT3323

A 6 sessions. Wed., 6:00–7:50 p.m., beg. June 8. Noncredit tuition $275.

Andrew Rubenfeld

Herman Melville’s first five books, all romances dealing with the sea, were enormously popular. We begin with Typee, an exciting travel narrative set in the Marquesa Islands, and Redburn, a coming-of-age novel based on the author’s first voyage to Liverpool. Melville’s greatest work, Moby-Dick, is a symbolic tale of madness and pursuit embedded in a detailed account of whaling. The book was not well received when published, and within a few years, the author’s fame had evaporated. Living in increasing obscurity and poverty, Melville continued to write long fiction, stories, and poetry. We sample this part of Melville’s career by reading some of the Piazza Tales, such as “Bartleby, the Scrivener” and “Benito Cereno,” and his posthumously published novella Billy Budd, a disturbing portrayal of beauty and innocence destroyed by the evil and cowardice of the world. (1 credit)

The Brontë Sisters NLIT3232


Abigail Burnham Bloom

The Brontë sisters lived lives of deprivation and tragedy, but today their novels are regarded as masterpieces. Has the story of their lives affected the appreciation of their works? Does the critical reception of their novels still represent what Henry James called “the high-water mark of sentimental judgment”? Anne Brontë’s novel Agnes Grey presents an unromantic view of the life of a governess in the Victorian era. Emily Brontë’s Wuthering Heights, once thought unreadable, has been judged the greatest masterpiece of an age of many great novels. Charlotte Brontë’s novel Jane Eyre has been hugely popular and the focus of intensive critical study ever since its publication. In this course, we study the lives of the three sisters, their major novels, the critical history surrounding their work, and contemporary responses. (3 credits)

Modern Classics: Joyce, Woolf, and Faulkner NLIT3545


Margaret Boe Birns

This course concentrates on challenging works by three of the greatest authors of the 20th century, each a major force in the cultural awakening we call the modernist movement in literature. We begin with James Joyce’s groundbreaking experimental novel Portrait of the Artist as a Young Man, in which he transforms his suffocating Dublin boyhood into a symbol for the struggle of all young modern artists everywhere. We then turn to Virginia Woolf ’s To The Lighthouse and Mrs. Dalloway, each a metaphysical and psychological journey taken within the context of daily life. Last, we read William Faulkner’s The Sound and The Fury, a narrative rooted in the American South but universalized in the landscapes of the human soul, and The Reivers, a novel that weaves together wisdom and complicated rascality. We also view major screen adaptations of “The Dead,” from Dubliners; The Reivers; and Mrs. Dalloway. (3 credits)

Biographical notes for most instructors begin on page 54.

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Growing Pains: Young and Old in Twentieth-Century Literature and

Culture NHUM3112


Joshua A. Gaylord, Steven Milowitz

One of the greatest revelations of growing up is that you never really do. We explore the literary motif of growing up as represented in characters ranging in age from adolescence to senescence. Through a sample of 20th-century literature, we learn how the experience of growing and aging has been narrated by varied authors. Can nostalgic memoirs serve as a means of coping with memories of loneliness, terror, and isolation? Does putting suffering down on paper make a fetish of it? Do narrators simply gloss over painful truths to construct a linear path to selfhood? This team-taught course is structured to create a lively arena in which to investigate questions like these. Texts may include Rowling’s Harry Potter and the Sorcerer’s Stone, Andrews’ Flowers in the Attic, Roth’s Goodbye, Columbus, Updike’s Rabbit, Run, and Jackson’s We Have Always Lived in the Castle. We also consider films and television programs, including Gilmore Girls, Superbad, and Elegy. (3 credits)

Three Epic Plays: O’Neill, Stoppard, and Kushner NLIT3509


Nicholas Birns

We study three plays by arguably the most ambitious English-language playwrights of the past century. Their plays go far beyond normal expectations for drama, not only in their sheer duration but also in their psychological, historical, and cultural scope. Eugene O’Neill’s The Iceman Cometh surveys a canvas of American hope and despair, providing one of the most comprehensive accounts of the dreams and nightmares of the “American Century.” Tom Stoppard’s The Coast of Utopia, although set in the milieu of 19th-century Russian revolutionaries and dissidents, taps a current of political idealism that runs through the present. Tony Kushner’s Angels in America echoes both O’Neill and Stoppard in its evocation of transformative possibility as well as dispiriting quiescence, making the late-20th-century AIDS pandemic a vehicle for a phantasmagoric exploration of memory and desire. These works show just how capacious a literary form drama can be, opening up new possibilities of expression and meaning. (3 credits)

Literary Laurels NLIT3801


Margaret Boe Birns

This course features recent recipients of prestigious literary awards, including the Man Booker, Nobel Prize, Impac Award, National Book Award, Orange Prize, Premio Viareggio, Académie Française Grand Prix, Pulitzer Prize, and MacArthur Award. The class explores the best in postmodern fiction from around the world, including both new authors and established masters from the United States, France, Peru, India, Lebanon, Morocco, Ireland, and Italy. Readings address major historical, social, and psychological issues and have been chosen for their fearlessness, honesty, and ability to deepen both thinking and feeling. The class reads Amelie Nothomb, Fear and Trembling; Rawi Hage, DeNiro’s Game; Tahar Ben Jelloun, This Blinding Absence of Light; Chimamanda Ngozi Adichie, Half of a Yellow Sun; Mario Vargas Llosa, The Storyteller; Toni Morrison, A Mercy; Aravind Adiga, The White Tiger; Cormac McCarthy, The Road; Doris Lessing, The Fifth Child; Niccolo Ammaniti, I’m Not Scared; Marilynne Robinson, Gilead; Colum McCann, Let the Great World Spin; and Paul Harding, Tinkers. (3 credits)

PHILOSOPHY

On Relativism NPHI3288


Luis Guzmán

Is there such a thing as an objective or universal point of view? On one hand, the history of Western philosophy can be viewed as a continuous search for a fixed point of view, for a perspective that reveals how things “really are,” under the rubric of foundationalism, universalism, or objectivism. On the other hand, many serious thinkers have attempted to relativize any postulation of an absolute perspective. In ethics, this debate has become impassioned in recent years, as reflected in the conflict between the Universal Declaration of Human Rights, pronounced by the United Nations in 1948, and the objections about the imposition of a particular value system on a pluralistic world. This course explores arguments raised by ethical relativists throughout the history of philosophy, from Sextus Empiricus to Nietzsche to Richard Rorty, in order to arrive at the contemporary debate over human rights with the appropriate theoretical tools. Students analyze the strengths and weaknesses of universalist and relativist perspectives in an attempt to answer the question: How can a coherent system of human rights be established in a world of diverse and sometimes contradictory social values? (3 credits)

Philosophy of Pain: Bataille and the Twentieth Century NPHI3748


Yunus Tuncel

We read from the philosophical and fictional writings of Georges Bataille (1897–1962) and trace his influence on contemporary thought and culture, exploring issues such as excess, ecstasy, eroticism, pain, death, violence, sacrifice, taboo, and transgression in his work. We study the journals Bataille edited, Documents, Acéphale, and Critique, and their place in intellectual history. We compare the works of Bataille’s contemporaries, such as Masson, Leiris, Laure, Klossowski, and Blanchot, and examine his relationship with the Surrealists. We look at his reception by the next generation of French thinkers: Barthes, Foucault, Derrida, Kristeva, Cixous, and Baudrillard. The course includes films inspired by or based on Bataille’s works and ends with a discussion of his influence on and relevance to contemporary culture. (3 credits)

Can't find what you want? The subject index is on page 61. An index

of courses by course master ID is on page 60.

H U M A N I T I E S

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MEDIA STUDIES AND FILM

Media Studies

Film Studies

Screenwriting


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, ChairVladan Nikolic, Director of Undergraduate Studies

At The New School, you can study the media as a scholar

as well as learning how to create it. Digital technologies

were integrated into our curriculum more than a decade

ago, and 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.



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 [email protected].

Graduate Certificate in Documentary Media Studies

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

Graduate Certificate in Media Management

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

MEDIA STUDIES

These courses enable students who wish to advance in almost any area of this wide-ranging field—from documentary to Web-based projects, sites, digital design, and multimedia—to integrate media history, theory, and research with production work.

NEW SCHOOL MED IA 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.

Music as Communication NCOM3050


Jean Oliver-Cretara

In his 1977 book, Noise: The Political Economy of Music, Jacques Attali describes music as “a way of perceiving the world” that serves both communicative and organizing functions within societies. In comparison with other forms of discourse, which must often present credible evidence to support their claims, music seems to have a fairly simple appeal. In Bob Marley’s words, “When it hits you, you feel okay.” We examine the social organizing functions of music through a series of queries: Is music fuel for political action, a distraction, or both? How does it relate to local and national identities? What is a protest song (from Lennon to Public Enemy)? Is popular music organizing us not only socially but economically? Through readings of theorists from Theodor Adorno to Tricia Rose, consideration of artists like Public Enemy and Banda Macho of Mexico, and viewing of films like the cult classic Rockers, students explore these questions and others in order to draw their own conclusions about just how much of our lives is dictated by the beat that goes on. (3 credits)

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





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http://www.n

http://www.newschool.edu/ce/filmproductioncert

http://www.newschool.edu/ce/screenwritingcert

http://www.newschool.edu/mediastudies


http://www.newschool.edu/docstudies


http://www.newschool.edu/mmp


http://www.newschool.edu/mediastudies/film


Writing Across Media NCOM3241


Carol Dix

Professional writers produce copy for a variety of media: They write top-of-the-line stories for local, national, and global newspapers; features for national, regional, and special-interest magazines; copy for corporate publications, such as newsletters, house magazines, company brochures, and annual reports; PR, such as press releases and press briefings; copy for direct-mail campaigns and advertising; promotional materials for sales and, in the nonprofit sector, fundraising campaigns; and copy for nonprint media such as radio, TV, and multimedia, including the Internet. This writer’s workshop is open to beginners as well as those with various kinds of writing experience. Students experiment with writing in different styles and share their writing for class discussion. They come away from the workshop with a range of practical writing experience that can be readily applied in different kinds of media. (3 credits)

Digital Video Production NFLM3700

A 15 sessions. Mon. & Wed., 6:00–8:40 p.m., beg. June 6. Noncredit tuition $1,380.

Lauren Petty

With digital cameras and computer editing equipment widely accessible, the possibility of creating engaging, professional-quality moving images is within virtually everyone’s reach. This is an exciting and powerful form of expression, but knowing how to use the tools isn’t enough to 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. (3 credits)

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 [email protected].

NEW SCHOOL F I LM 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.

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 • Film 4: The Art of Film EditingTwo elective courses from the following list complete the certificate curriculum: Script Analysis, Developing Ideas for Film, The Aesthetics of Directing, Audio Production, and Independent Filmmaking A–Z.There is no formal admission process for the certificate program, but students must enroll for certificate status when registering and pay the certificate registration fee—certificate approval cannot be awarded for any course retroactively. Students must obtain written permission from the film production coordinator or the instructor before registering for advanced-level courses. General policies governing New School certificate programs are described in the Educational Programs and Services section of this catalog (see Table of Contents). To make an appointment for advising, call 212.229.8903. (International students must also call 212.229.5630.)

F I LM PRODUCT ION AND SCREENWRIT ING CERT I F ICATES

OPEN HOUSE

Thursday, April 28, 6:00–8:00 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.

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The Art of Film NFLM3411


John Freitas

We explore a range of practical and theoretical issues related to film aesthetics as we study the numerous ways directors can combine the elements of film to produce expressive and singular works of art, striving to create the perfect balance or integration of form and content. Students consider the essential properties of the medium—mise-en-scène, cinematography, editing, sound—as exemplified in selected motion pictures. Filmmakers discussed include Atom Egoyan, Robert Bresson, Fernando Meirelles, Jean-Luc Godard, Werner Herzog, Alfred Hitchcock, Abbas Kiarostami, Terrence Malick, Orson Welles, and Wong Kar-Wai. This course is ideal both for students who wish to learn how to analyze cinematic texts and for production-oriented students taking Filmmaking Studio or related courses. Students are required to view some films outside class. (3 credits)

From Beyond: The British and Italian Horror Film NFLM3407

A 15 sessions. Tues. & Thurs., 6:00–10:00 p.m., beg. June 7 (includes screening series below). Noncredit tuition $620.

John Freitas

Begotten from gothic romance, born of technology, and nurtured by God, Freud, and blood, the horror film at its best captures the individual’s desperate struggle with morality and religion for self and humanity. Two countries whose filmmakers have most notably articulated these complex themes of individual integrity and moral chaos through the horror genre are England and Italy. Themes unearthed and explored include abjection, colonialism, misogyny, scopophilia, and sexual repression. In a comprehensive and comparative analysis, the course discovers, defines, and discusses a series of great horror films by well-known and lesser-known masters, including Dario Argento, Clive Barker, Mario Bava, Danny Boyle, Federico Fellini, Alejandro Jodorowsky, Louis Malle, Michael Powell, Nicolas Roeg, and Jacques Tourneur. (3 credits)

British and Italian Horror Screening Series NFLM0407

A 14 sessions. Tues. & Thurs., 8:00–10:00 p.m., beg. June 7. Noncredit tuition $140. No single admission.

John Freitas

The following films are screened: Night of the Demon (Jacques Tourneur, 1957); Peeping Tom (Michael Powell, 1960); The Witchfinder General, aka The Conqueror Worm (Michael Reeves, 1968); Death Line, aka Raw Meat (Gary Sherman, 1972); Don’t Look Now (Nicolas Roeg, 1973); Hellraiser (Clive Barker, 1987) and 28 Days Later (Danny Boyle, 2002); La Maschera del Demonio, aka Black Sunday (Mario Bava, 1960); L’Orrible Segreto del Dr. Hichcock (Riccardo Freda, 1962); Histoires Extraordinaires, aka Spirits of the Dead (Federico Fellini, Louis Malle and Roger Vadim, 1967); Suspiria (Dario Argento, 1976); Tu Vivrai Nel Terrore! L’Aldila, aka The Beyond (Lucio Fulci, 1981); Santa Sangre (Alejandro Jodorowsky, 1989); and Dellamorte Dellamore, aka Cemetery Man (Michele Soavi, 1994). Under unusual circumstances, a substitute may be shown. (noncredit)

Documentary Production Workshop NFLM3715

A 15 sessions. Tues. & Thurs., 6:00–8:40 p.m., beg. June 7. Noncredit tuition $1,380.

Michele D. Beck

Students learn the essentials of shooting a five- to seven-minute documentary. They learn how to develop an idea, research the topic, interview subjects, and create a visual strategy and master basic skills of location scouting, lighting, and shooting. They also explore the use of still photographs, artwork, and stock footage. Students may work individually or in groups and by the end of the term should have a working rough cut or fine cut edited with Final Cut Pro. Students have access to New School digital video cameras but must have a firewire drive. (3 credits)

Filmmaking Studio 1 NFLM3660

A 15 sessions. Tues. & Thurs., 6:00–9:00 p.m., beg. June 7. Noncredit tuition $1,380.

Joel Schlemowitz

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

The Producer’s Role NFLM3456


Chiz Schultz

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

NEW Writing and Film NWRW3532


B. Kite


Is your schedule tight? There's a list of courses and events by

start date and time on page 58.

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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, participants should have a professional screenplay ready for the marketplace. Four required courses must be taken sequentially:• Script Analysis• Screenwriting 1: Fundamentals• Screenwriting 2: Writing the Screenplay• Screenwriting 3: Finishing the First DraftStudents 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 LM PRODUCT ION AND SCREENWRIT ING CERT I F ICATES

OPEN HOUSE


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.

Script Analysis NSRW2800


William Pace

B 9 weeks, June 6 thru Aug. 5. Noncredit tuition $730. ONLINE

Marina Shron

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

Screenwriting 1: Fundamentals NSRW3810


Loren-Paul Caplin

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. (3 credits)

Writing for Television NSRW3844


Mort Scharfman

Students hone their skills in comedic or dramatic writing for television in the half-hour- or hour-long format. Simulating an on-the-show environment, we play with the experience of writing with a show’s staff, as well as pursuing individual exercises and projects. The workshop covers all facets of writing for the small screen, with viewings of exemplary shows, writing exercises, and analyses of student works-in-progress. (3 credits)



information.

ONLINE

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http://www.online.newschool.edu

http://www.newschool.edu/online

THE WRITING PROGRAM

Summer Writers Colony

Fundamentals

Poetry

Fiction

Nonfiction and Journalism

Special Topics


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 ra m

Robert Polito, ChairLuis Jaramillo, Associate Chair

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.



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 212.229.5124.

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.

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.

SUMMER WRITERS COLONY

3 weeks, June 6–23

Discover the writer’s life in New York City. This intensive three-week program provides a supportive yet demanding atmosphere in which to develop as a writer. Students are offered the chance to embark on a new writing project or devote a substantial amount of time to developing a work-in-progress. Workshop instructors guide discussion of student work and provide detailed written feedback. Literary salons bring notable writers into conversation with the students and faculty of the colony. In supplemental sessions, students try their hand at everything from experimental fiction to children’s writing to walking poems created during a literary tour of Greenwich Village. The Summer Writers Colony community also gathers for celebratory readings of student and faculty work.Courses meet from noon to 8:00 p.m., Monday through Thursday. Mornings and weekends are reserved for regular writing practice.Credit-seeking students can earn 6 credits. The Writers Colony is also open to noncredit students. Credit tuition: $6,330 for 6 credits ($1,055 per credit). Noncredit tuition: $4,170 (no academic records are kept for noncredit students).To register or for more information

Visit the website at www.newschool.edu/summerwriters or contact the department at 212.229.5611 or [email protected]. Early registration is advised, as workshops and salons fill quickly. University housing is available.

Summer Writers Colony Workshop NWRW3590

A Poetry: Cate Marvin

B Nonfiction: Madge McKeithen

C Fiction: Sharon M. Mesmer

12 sessions. Mon. thru Thurs., 2:30–5:00 p.m., beg. June 6. Noncredit tuition $4,170.

Workshop classes are limited to 12 students. The writing workshop is the core of this intensive curriculum. An experienced writer-teacher focuses on students’ manuscripts, guiding students in the creative acts of revision and self-editing through class exercises and private conferences. To register for the Summer Writers Colony, select the workshop you would like to attend. Note: After you have registered, choose one literary salon per week and email your list to [email protected]. (6 credits)


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http://www.n

http://www.newschool.edu/writing

http://www.newschool.edu/riggio

http://www.newschool.edu/summerwriters



The Summer Literary Salon

In each of these unique seminars, a member of the New School Writing faculty introduces a notable book or books over two evenings of informed, lively discussion. On the third evening, the author joins the class for a salon-style reading and conversation.Note: A number of places in the literary salons are available on a noncredit basis to individuals not enrolled in the Summer Writers Colony. Enrollment is limited, so early registration is recommended. The tuition is $220 for each salon.

Lynn Emanuel NWRW0551

A 3 sessions. Mon. thru Wed., 6:00–7:50 p.m., beg. June 6.

Kathleen Ossip

Lynn Emanuel’s Noose and Hook is a dance of personae on a hard and dirty contemporary stage. Fueled by rage, the poems dazzle with their fierce visions, wry humor, and multiplicity of speakers. The centerpiece of this book is The Mongrelogues: Two Acts, a verse play in which a character, Dogg, describes his wanderings in a kind of pidgin English. The author has said that this collection “summons America before the bench.” Lynn Emanuel is a professor of English at the University of Pittsburgh and the author of four books of poetry: Hotel Fiesta; The Dig; Then, Suddenly; and Noose and Hook. Her work has been featured in The Pushcart Prize Anthology and Best American Poetry and is included in The Oxford Book of American Poetry. Her many honors include the Eric Matthieu King Award from the Academy of American Poets, two fellowships from the National Endowment for the Arts, and a National Poetry Series Award. Read Noose and Hook before the first meeting of the salon. (noncredit)

John D’Agata NWRW0552

A 3 sessions. Mon., Tues. & Thurs., 6:00–7:50 p.m., beg. June 6.

Craig Morgan Teicher

John D’Agata has established himself as one of the most innovative prose writers in America, rethinking the meaning of nonfiction in his own books and in the anthologies he has edited. For D’Agata, an essay is not just a work of reportage or opinion but an opportunity to combine journalistic and imaginative literature to create a text that responds to its subject matter in whatever way may be necessary. About a Mountain, D’Agata’s most recent book, is an investigation of the city of Las Vegas, nuclear waste, suicide, and D’Agata’s own past. We discuss About a Mountain and the implications of D’Agata’s work for the creative nonfiction genre. Read About a Mountain before the first meeting of the salon. (noncredit)

Thomas Sayers Ellis NWRW0553


Kathleen Ossip

Illustrated with the poet’s own photographs, Thomas Sayers Ellis’ Skin, Inc.: Identity Repair Poems is an exuberant re-imagining of a country whose identity is in desperate need of repair. These poems and sequences apply their restorative powers to politics, literature, race, and popular culture—Barack Obama, James Brown, and Michael Jackson all make appearances. In Skin, Inc., Ellis smashes the border between academic and performance poetry once and for all. Thomas Sayers Ellis is the author of The Maverick Room (2005), winner of the John C. Zacharis First Book Award. He has also received a Mrs. Giles Whiting Writers’ Award. His poems and photographs have appeared in numerous journals and anthologies, including Callaloo, Best American Poetry (1997, 2001, and 2010), Tin House, Poetry, and The Nation. He is an assistant professor of writing at Sarah Lawrence College, a faculty member of the Lesley University low-residency MFA Program, and a Cave Canem faculty member. Read Skin, Inc. before the first meeting of the salon. (noncredit)

Nicole Krauss NWRW0554


Karen McKinnon

Great House, Nicole Krauss’ third novel, is an exhilarating elegy that weaves four groups of characters into a larger exploration of lies and secrets, loss and longing, and, ultimately, the cycles of history. We discuss the author’s unconventional ways of rendering experience and emotion, by inhabiting distinct voices and mining sensory details until she exposes a nerve. Nicole Krauss is the author of two previous novels: Man Walks Into a Room and the international bestseller The History of Love. She was selected by Granta as one of the best young American novelists and by the New Yorker as one of the 20 best writers under 40. Her fiction has been published in the New Yorker, Harper’s, Esquire, and Best American Short Stories, and her books have been translated into more than 35 languages. She is the recipient of the William Saroyan International Prize for Writing, France’s Prix du Meilleur Livre Etranger, and a Cullman Fellowship at the New York Public Library. Great House was a 2010 National Book Award finalist. Read Great House before the first meeting of the salon. (noncredit)

Jonathan Dee NWRW0555


Justin Taylor

Jonathan Dee’s fiercely smart, funny, and eminently readable book The Privileges tells the story of Adam and Cynthia Morey, a charmed couple who become obscenely rich in the 20 years covered by the book. The couple acquire their wealth through fraud committed by Adam, who works in finance. This is a story that has been told many times recently, but in Dee’s version, morality is not a simple formula. We look at the formal aspects of this novel—how the shifting perspectives function thematically and structurally and how Dee’s masterly use of syntax, diction, and dialogue builds a morally and psychologically complex world. Dee is the author of four novels, Palladio, St. Famous, The Liberty Campaign, and The Lover of History. His short fiction, nonfiction, and criticism have appeared in many periodicals, including Harper’s, the New York Times Magazine, and the Paris Review, where he served as senior editor. He teaches in the graduate writing programs of The New School, Columbia University, and Queens University of Charlotte, North Carolina. Read The Privileges before the first meeting of the salon. (noncredit)

Darin Strauss NWRW0556


Madge McKeithen

Darin Strauss is a consummate storyteller whose three novels—Chang and Eng, The Real McCoy, and More Than It Hurts You—are rich, engrossing narratives reflecting dedicated in-depth research. In Half a Life, Strauss tells a true story: how an outing in his father’s Oldsmobile resulted in the death of a classmate and the beginning of a different, darker life for the author. Emotionally demanding yet irresistibly readable, Half a Life is a true story superbly told, giving the reader what one reviewer memorably called “the greatest weight-to-power ratio” he had ever seen. It is brave writing free of bravado, both personal and purposeful. Our reading of this memoir informs our discussions of writers’ perspectives on story, both fiction and nonfiction. Read Half a Life before the first meeting of the salon. (noncredit)

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FUNDAMENTALS

The Mechanics of Writing NWRW1011


Noelle Kocot-Tomblin


Chris Pastore

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 (NESL0311–NESL0511) instead of this course. (3 credits)

Academic Writing NWRW1104


Margaret Stanek Fiore


Rebecca Reilly

Writing well is the key to success in college. This course teaches students the foundations of academic writing: the nature of research; skills of criticism, analysis, and argumentation; the process of revision; and the basics of correct grammar and American English usage. Note: Students for whom English is a foreign language should take ESL Academic Writing (see course NESL0611) instead of this course. (3 credits)

Writing for Style NWRW1108


Randi Ross

This workshop is devoted to the techniques (sometimes erroneously thought to be innate talents) that make a piece of writing flow and hold the reader’s interest. A hands-on approach helps beginning writers learn to craft their work so that it reads as smoothly as they envision it. Topics include creating leads that command interest; developing a plot without foundering; making graceful and unobtrusive transitions; choosing settings, characters, and details that develop the theme; meeting minimum-length requirements when there’s nothing more to say; and perfecting the art of ruthless self-editing. Students write short essays and short fiction for review and study the short essays and short fiction of well-known writers. (3 credits)

POETRY

From Silence to Poem NWRW3204

A 9 weeks, June 6 thru Aug. 5. Noncredit tuition $700.

Richard Tayson ONLINE

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

Poetry: The Language of Music NWRW3205

A 9 weeks, June 6 thru Aug. 5. Noncredit tuition $700.

Dave Johnson ONLINE

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. (3 credits)

Poetry Lab NWRW3229


Miranda Field

“Poetry is nothing if it is not experiment with language,” wrote Wallace Stevens. This workshop is for those who want to build their poetic tool boxes, break out of predictable habits of style, and open their creative minds. Exercises and prompts generate lab material—writing made to be played and experimented with. A wide range of ideas for stretching the possibilities of expression are applied, including exercises devised by Bernadette Mayer and methods associated with the French experimentalist group Oulipo. As students explore others’ innovative poems, they begin inventing their own devices, forms, and anti-forms. Throughout the semester, students read and discuss published work by both lesser-known and famous poets and workshop poems arising from their own experiments. All poems submitted receive written feedback from the instructor. Previous poetry workshop experience is recommended but not required. (3 credits)

Poetry Master Class NWRW4223


Marie Ponsot

Limited to 8. Permission required. Poets are skilled, of course. The skills that can be practiced in a group are few but crucial. Assignments in this workshop enable students to enjoy and exploit these essential opposites: abstract/concrete, inference/observation, structure/fluency. We work on new poems in the light of this practice. For permission to register, send ten sample pages by May 2 to the instructor, c/o New School Writing Program, 66 West 12th Street, room 503, New York, NY 10011. (1 credit)






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FICTION

Introduction to Fiction NWRW2301



Jessie Sholl

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

Fiction Writing: Creating a Compelling Narrative NWRW3315


Carol Goodman

What keeps a reader engaged in a story? How does voice pull us into the fictional world? How can atmosphere enhance a narrative? What makes the difference between a story that is merely serviceable and one we can’t put down? This is a class for fiction writers who want to learn how to create a compelling narrative. We look at the basic elements of storytelling—characterization, point of view, description, and dialogue—and examine the way these elements work together to create mystery and tension. Student work is critiqued in a supportive and constructive workshop environment. Outside readings illustrate issues of craft that arise as students get to know one another’s work. Guest speakers from the publishing industry discuss what they look for in assessing works of fiction. (3 credits)

Advanced Fiction Writing: Revise and Polish NWRW4310


John Reed

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

NONFICTION AND JOURNALISM

Introduction to Creative Nonfiction NWRW2401


Anthony S. Calypso


Lisa Freedman

This workshop is for serious beginners as well as more experienced writers who want to delve into the still-evolving genre of creative nonfiction, which includes personal essay, memoir, documentary, and literary journalism. Through in-class writing and weekly assignments, students develop the skills to build a narrative frame around real-life events and situations. Student work is read and discussed in class. The reading list includes works by Gay Talese, George Orwell, and Katherine Boo, as well as essays from The Art of the Personal Essay: An Anthology from the Classical Era to the Present, edited by Phillip Lopate. (3 credits)

Finding Your Voice in Nonfiction NWRW3403


Candy Schulman

“Fiction is obliged to stick to possibilities—fact is not,” wrote Mark Twain. His words have even more resonance now, when actual events often seem less believable than those in novels. Contemporary nonfiction has limitless possibilities, as demonstrated by writers like Joan Didion, John McPhee, Anna Quindlen, Russell Baker, and E.B. White. Today’s nonfiction writer has the challenge and responsibility of closely observing our complex world, translating everyday experiences into creative prose full of insight and provocative ideas. This workshop focuses on essays, memoirs, narratives, humor, and satire. Students develop their own voices and styles, learning to use examples and anecdotes and incorporating dialogue and other fiction techniques. Submission of work for publication is discussed, and marketing suggestions are made for work deemed publishable. In this workshop, designed for serious beginners and experienced writers, students establish writing discipline, choose their own assignments, and receive supportive critiques from their peers. (3 credits)








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Introduction to the New Journalism NWRW3619


Betty Ming Liu

Journalism will always be about who, what, where, when, and why, but there’s no doubt that the Internet offers 21st-century writers exciting and creative new ways to find readers. Online tools like Facebook, Twitter, Google, and blogs are transforming the way journalists research, write, pitch, and publish stories. In this hands-on workshop, students learn basic principles of old-fashioned journalism while experimenting with new Internet tools and the new forms they produce. Students practice interviewing, writing pitch letters, and writing features. The class meets in a computer lab so that students and instructor can explore the new media together. (3 credits)

Writing for New York City Newspapers and Magazines NWRW3601

A 7 sessions. Mon., 6:00–10:00 p.m., beg. June 6. Noncredit tuition $700.

Susan B. Shapiro

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

SPECIAL TOPICS

Experimental Writing NWRW3531


Robert Lopez

This workshop is for writers who want to try something different and work in multiple genres. As Samuel Beckett wrote, “To find a form that accommodates the mess, that is the task of the artist now.” The mess is the whole of our modern world: How do we harness it into form? Writers address this question by challenging conventions, experimenting with and blurring the lines between prose and poetry. 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 another’s work along with works by writers like David Markson, Lydia Davis, James Tate, Sandra Cisneros, Will Eno, and Carole Maso. (3 credits)

NEW Writing and Film NWRW3532


B. Kite

This is a class for poets, essayists, fiction writers, and aspiring critics seeking inspiration in film. In class exercises and weekly take-home assignments, students experiment with their own poems, short essays, and stories. Whatever their focus going in, students are expected to try their hand at all of these genres, working with an emphasis on free experimentation rather than polished results. Sessions are divided between screenings and discussions. We view the films A Man Escaped (Robert Bresson), Vertigo (Alfred Hitchcock), Testament of Dr. Mabuse (Fritz Lang), Peggy and Fred in Hell (Leslie Thornton), and Glen or Glenda (Edward D. Wood Jr.). We also read and analyze selections from writers including Manny Farber, Robert Coover, Geoffrey O’Brien, John Ashbery, Anne Carson, Thomas Pynchon, Sergei Eisenstein, Jorge Luis Borges, and such pre-cinematic forebears as Charles Dickens, Walt Whitman, and Bashō. (3 credits)


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FOREIGN LANGUAGES

Arabic German

Chinese (Mandarin) Italian

Classical Languages: Latin Portuguese (Brazilian)

French Spanish


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 ge 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 City’s multicultural communities, who wish

to appreciate great literature or films in the original

languages, or whose scholarly pursuits mandate facility

with other languages.



Are you thinking about learning a new language or sharpening existing

skills in a foreign language? Whether you’re interested in foreign

language study for pleasure, career, or academic purposes, come to our

open house and talk to the faculty and staff of the department about our

courses and methods. No reservation is necessary, but if you need more

information, call 212.229.5676.

Choose the summer course that works best for you. The majority of summer language courses are offered in a 13-session module, June 6–July 20. Each course meets twice a week, so that a student completes a semester’s work (2 undergraduate credits) in six and a half weeks.Intensive courses in French, Italian, and Spanish are offered in three-week modules, June 6–June 27 and July 5–July 26. These courses meet four times a week, Monday through Thursday, 10:00 a.m.–1:45 p.m. Intensive courses carry 4 undergraduate credits. They provide the equivalent of a semester and a half of study in one term in French and the equivalent of two semesters of study in one term in Italian and Spanish.Special workshops are six-session noncredit courses devoted to review and guided conversation. They are offered in French, Italian, and Spanish. Reading courses in French and German are designed for graduate students preparing for their reading exams and others who wish to acquire reading ability in these languages. These courses meet twice a week for six and a half weeks. Graduate reading courses are not offered for credit.On The Go workshops are immersion weekends offered in several languages. These noncredit courses are held over one weekend and include 14 hours of instruction.

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.

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.

Self-Placement Test

Please contact the Foreign Languages department early in the registration process to ensure proper placement. When choosing a course level, keep in mind your previous experience with the language you wish to study: high school and college courses, extended stays in a country where the language is spoken, frequent contact at home or work with speakers of the language. To assist you in finding the level that best suits your needs, self-placement tests are available for most languages. If you think you might be beyond Level 1, take the self-placement exam for the level at which you would like to start. The exam can be taken in 15–20 minutes and can be obtained from the Department of Foreign Languages, 64 West 11th Street, ground floor, or by calling 212.229.5676 or emailing [email protected] (we would be happy to email, mail, or fax the self-placement exam to you). Return the completed exam to the Department of Foreign Languages for scoring; the results will be emailed, mailed, faxed, or telephoned, per your request.

TAKE UP A NEW LANGUAGEIN ONE WEEKEND

ON THE GO14 HOURS OF INSTRUCTION, FRIDAY THROUGH SUNDAYOn 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.

www.newschool.edu/onthego

Chinese, French, Portuguese, and Spanish

Courses are offered over the weekend of June 10–12. For more information, call the Department of Foreign Languages at 212.229.5676.

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F O R E I G N L A N G UAG E S

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http://www.n


http://www.newschool.edu/onthego

FRENCH

Julia Anderson, Noëlle Carruggi, Steven Gendell, Martin Hoffman, Samuel

Howell, Ida Kummer, Sabine Landreau-Farber, Florence Leclerc-Dickler, Alfredo

Marques, Philippe-Gérard Montanari, Justin Trificana, Stephane Zaborowski

Christine Luneau-Lipton, Coordinator

French on the Go: Level 1 NFRN0804

A 3 days. Fri. thru Sun., June 10, 11 & 12. Noncredit tuition $350.







Before traveling to France or another country where French is commonly spoken, stop at The New School for a weekend immersion in the French language. Master common situations such as asking for directions, handling currency, ordering in restaurants, and shopping. Make rapid progress learning to converse in French. Level 1 is for complete beginners; Level 2 is for students familiar with basic elements of the language; Level 3 is an intermediate-level course for students with a good working knowledge of French; Level 4 is an advanced course. Each workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–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)

Brush-Up Workshop: Intermediate NFRN0901


For students with basic knowledge of French who want to refresh their ability to understand and speak. Principles of grammar and syntax are reviewed in the context of the everyday use of the language. (noncredit)

French Graduate Reading NFRN0501


Designed for graduate students preparing for the reading examination and others who wish to read books and articles in French. French grammar and usage are introduced through practice in translation. The class is open to students with no previous knowledge of French. (noncredit)

French Introductory Intensive NFRN1003

A 13 sessions. Mon. thru Thurs., 10:00 a.m.–1:45 p.m., beg. June 6. Noncredit tuition $1,000.

This is a course for beginners who want to progress rapidly in learning French. Students acquire basic speaking, reading, and writing skills while learning about French culture. The emphasis is on developing communication skills. (4 credits)

ARABIC

Iman Issa, Iman Maiki, Sohair Soukkary, Karam Tannous

Nargis Virani, CoordinatorFor an explanation of Arabic course levels and their equivalents at other institutions, contact the Foreign Languages office at 212.229.5676 or [email protected].

Arabic Level 1 NARB1001


This first course in Modern Standard Arabic introduces students to Arabic letters and sounds. Students learn to engage in basic conversation about who they are, what they do, where they are from, and other simple topics. (2 credits)

CHINESE (MANDARIN)

Yan Deng, Yi Huei Wang, Jia-xuan Zhang

Tomoyo Kamimura, Coordinator

Chinese on the Go: Level 1 NCHM0804


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. Each workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–6:00 p.m. (with a one-hour lunch break); and Sunday, 10:30 a.m.–2:00 p.m., for a total of 14 hours of instruction. (noncredit)

CLASSICAL LANGUAGES

Rama C. Madhu, Samuel B. Seigle

Latin: Multilevel NLTN1005


Intended for students who have studied the essentials of Latin grammar, this course is designed to develop proficiency in reading Latin. There is some review of grammar and syntax, but the focus of the class is on reading and translating one work of Latin literature, Book 11 of Virgil’s Aeneid. (2 credits)


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French Intermediate Intensive NFRN2003

A 13 sessions. Mon. thru Thurs., 10:00 a.m.–1:45 p.m., beg. July 5. Noncredit tuition $1,000.

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. (4 credits)

French Level 1 NFRN1001


A first course in French for those with no previous knowledge of the language. Students master basic speaking, reading, and writing skills while learning about French culture. Class activities include interactive exercises and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language. (2 credits)

French Level 2 NFRN1002


Students with elementary knowledge of French first review simple elements of speech (present and simple future tenses) and then are introduced to more complex grammatical and syntactical elements (past tenses, object pronouns, etc.). Students expand their vocabulary and knowledge of French culture in a setting that emphasizes communication skills. (2 credits)

NEW La Gastronomie française à travers les âges NFRN3716


Anne McBride

Baguettes, macarons, Bordeaux, Camembert—French gastronomy holds a mythical appeal, with its long history and famed personalities. In this class, we discuss the reasons for its popularity and influence, starting with the publication of La Varenne’s Le cuisinier françois in 1651 and concluding with French cuisine today. We look at key figures in French culinary history such as Marie-Antoine Carême, Jean-Anthelme Brillat-Savarin, Auguste Escoffier, Fernand Point, Gault and Millau, Paul Bocuse, and Alain Ducasse. We explore the cuisines of France and other Francophone countries, wines from both established and up-and-coming regions, France’s longstanding pastry and baking traditions, and the impact of labels such as AOC (appellation d’origine contrôlée) on producers and consumers. This is an advanced course, taught primarily in French. Prerequisite: French Level 5 or the equivalent. (2 credits)

GERMAN

Rainer L. Brueckheimer, Adelheid Ziegler

German Graduate Reading: Level 1 NGRM0501


This course is designed for graduate students preparing for the reading examination and others who would like to read books and articles in German. The essentials of German grammar are covered, and students practice reading and translating various kinds of texts. The course is open to students with no previous knowledge of German. (noncredit)

German Level 1 NGRM1001


A first course in German for those with no previous knowledge of the language. Students learn basic speaking, reading, and writing skills while discovering aspects of German culture. Class activities include interactive exercises and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language. (2 credits)

ITALIAN

Caterina Bertolotto, Carmelina Cartei, Monica London, Francesca Magnani,

Giuseppe Manca, Stefano L. Vaccara

Florence Leclerc-Dickler, Coordinator

Brush-Up Workshop: Intermediate NITL0901


For students with basic knowledge of Italian who want to refresh their ability to understand and speak. Principles of grammar and syntax are reviewed in the context of the everyday use of the language. (noncredit)

Italian Introductory Intensive NITL1003


An accelerated introductory course for highly motivated beginners who want to progress rapidly in learning Italian. Students acquire basic speaking, reading, and writing skills while learning about Italian culture. The emphasis is on developing communication skills. (4 credits)

Italian Level 1 NITL1001


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. (2 credits)

Is your schedule tight? There's a list of courses and events by

start date and time on page 58.

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PORTUGUESE (BRAZILIAN)

Tobias C. Nascimento, Liria M. Van Zandt

Portuguese on the Go: Level 1 NPRT0804


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. Each workshop meets Friday, 6:00–9:30 p.m.; Saturday, 10:00 a.m.–6:00 p.m. (with a one-hour lunch break); and Sunday, 10:30 a.m.–2:00 p.m., for a total of 14 hours of instruction. (noncredit)

SPANISH

Teresa A. Bell, Ernesto Fedukovitch, Sonia Granillo-Ogikubo, Luis Guzmán,

Rodolfo Long, Cristina Ross, Victor M. Tirado, Guillermo Vallejo-Rodriguez

Luis Galli, Coordinator

Spanish on the Go: Level 1 NSPN0804








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

Brush-Up Workshop: Intermediate NSPN0901


This course is designed for students with basic knowledge of Spanish who want to refresh their ability to understand and speak. Principles of grammar and syntax are reviewed in the context of the everyday use of the language. (noncredit)


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Spanish Introductory Intensive NSPN1003


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. (4 credits)

Spanish Intermediate Intensive NSPN2003

A 13 sessions. Mon. thru Thurs., 10:00 a.m.–1:45 p.m., beg. July 5. Noncredit tuition $1,000.

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). (4 credits)

Spanish Level 1 NSPN1001


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. (2 credits)

Spanish Level 2 NSPN1002


For students with elementary knowledge of Spanish. This course first reviews simple grammar (present, past, and future tenses) and then introduces more complex grammatical and syntactical elements. Students expand their vocabulary and knowledge of Spanish and Latin American cultures in a classroom setting that emphasizes communication skills. (2 credits)

Spanish for Business NSPN1704


Open to those with intermediate-level fluency, this course is designed to give students the tools for conducting business in Spanish-speaking countries. Coursework includes learning essential vocabulary for commercial and administrative settings; situational role-play useful in workplace exchanges; writing business letters, faxes, and emails; extending new media and Internet knowledge into Spanish; and learning what to do and what not to do in international business, especially in situations involving cultural differences. Prerequisite: Spanish Level 3 or the equivalent or permission of the instructor. (2 credits)

ENGLISH LANGUAGE STUDIES

Teaching English to Speakers of Other Languages

English as a Second Language


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 ge s t u d i e s

Gabriel Diaz Maggioli, Chair

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 [email protected].

Certificate in Teaching English

The New School offers a five-course certificate for aspiring or working ESL teachers for whom a master’s degree is inappropriate or impractical. The certificate curriculum stresses communicative, student-centered learning and has a practical orientation. Participants are introduced to a variety of methods and techniques readily applicable to classroom teaching. This program does not certify teachers to teach ESL in New York public or proprietary schools.Prospective students should apply online to the Department of English Language Studies. The application includes a writing sample and a grammar test. Once the application materials have been received and reviewed, applicants will be contacted for an in-person interview. Note: Non-native speakers of English must have a TOEFL score of at least 250 (CBT), 100 (IBT), or 600 (PBT). For the application and complete program information, go to www.newschool.edu/english. For more information, contact English Language Studies, 68 Fifth Avenue, New York, NY 10011; 212.229.5372; email [email protected].

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http://www.n

http://www.newschool.edu/matesol


http://www.newschool.edu/english


The certificate in Teaching English 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).

CERT I F I CATE IN TEACH ING ENGL ISH OPEN HOUSE


Learn more about ESL/EFL teaching as a career and The New School’s

Certificate in Teaching English. Members of the staff are present

to answer your questions. No reservations are necessary, but call

212.229.5372 or email [email protected] and let us know if you plan

to attend.

English Grammar for ESL Teachers NELT3412


Delis M. Pitt

Enrollment limited. Permission required; call 212.229.5372. This course is designed to improve formal understanding of English grammar to facilitate teaching the language. (3 credits)

Teaching the Sound System of English NELT3414


Polly Merdinger

Enrollment limited. Permission required; call 212.229.5372. The sound system of English is studied, with special attention to characteristics that learners of English as a foreign language often find difficult. Participants learn to develop contextualized pronunciation exercises and incorporate them into an ESL syllabus. (1 credit)

Using Authentic Materials to Teach ESL NELT3432


Theresa Breland

Enrollment limited. Permission required; call 212.229.5372. This course presents techniques for choosing and using appropriate TV and radio broadcasts, films, cassette tapes, newspapers, magazines, brochures, flyers, and other media. Participants learn how to prepare teaching exercises that incorporate these kinds of materials, and, as time permits, the class experiments with them. (1 credit)

ESL Teaching Practicum in Wroclaw, Poland NELT3416

A 3 weeks, July 28 thru Aug. 20. Noncredit tuition $990. Tuition does not include travel or accommodations.

Caitlin Morgan

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

Professional Development

Teaching with Technology: A Workshop for ESL Teachers NELT0532


Bonny Hart

Enrollment limited. Many teachers of English think they should be applying technology in the classroom but do not know how to go about it. This course offers basic practical ideas for using technology as an aid in the development of students’ listening, speaking, reading, and writing skills. We focus on how to use the technology available and how these tools cultivate language, create a sense of community, and enable the teacher to provide students with additional one-on-one attention. (noncredit)

ESL/EFL Needs Assessment and Course Design NELT0435


Jiro Adachi

Enrollment limited. Learn how to assess your students and plan and write a communicative syllabus that will meet their needs. The syllabus should be relevant, with topic-based lessons that incorporate grammar and pronunciation. Writing a syllabus based on a textbook is also covered. (noncredit)







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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

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 [email protected].

Study Options in English as a Second Language

Individual Classes: Students who do not need a visa can take classes from two to 20 hours per week.Certificate: A Certificate in English as a Second Language can be awarded to those who successfully complete a minimum of 100 hours of ESL coursework. All students who enroll as certificate students can obtain a transcript of the courses they have taken, even if they do not complete 100 hours of coursework. Policies governing all New School certificate programs are stated in the Educational Programs and Services section of this catalog (see the Table of Contents). Note: The registration fee for certificate students is $60 per semester.Intensive Study: The Department of English Language Studies has developed a unique program for intensive study of English as a second language. A full-time curriculum (18 hours per week) is designed for each student 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.• 10-week intensive program: Tuition $3,860. Begins June 6.• 5-week intensive programs: Tuition $1,930 each. Part 1 begins June 6;

Part 2 begins July 13.



To learn more about our English language studies courses, come

to our open house and speak to members of the faculty and staff.


212.229.5372.

English Grammar 3, Part 1 NESL0303

A 10 sessions. Mon. & Wed., 10:00 a.m.–12:50 p.m., beg. June 6. Noncredit tuition $570.

English Grammar 3, Part 2 NESL0304

A 10 sessions. Mon. & Wed., 10:00 a.m.–12:50 p.m., beg. July 13. Noncredit tuition $570.

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 Written English 4, Part 1 NESL0403




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








A 10 sessions. Mon., Wed. & Sat., 10:00 a.m.–12:50 p.m., beg. July 13. Noncredit tuition $570.

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

Writing in English 3, Part 1 NESL0313

A 10 sessions. Tues. & Thurs., 10:00 a.m.–12:50 p.m., beg. June 7. Noncredit tuition $570.


A 10 sessions. Tues. & Thurs., 10:00 a.m.–12:50 p.m., beg. July 14. Noncredit tuition $570.

Enrollment limited. Permission required. Students at the low-intermediate to intermediate level work on writing paragraphs, building to essays consisting of a good introduction, well-developed body paragraphs, and a solid concluding paragraph. They learn how to write evaluative essays, compare-and-contrast essays, and argumentative essays. Students revise their work and develop skills used by successful writers. Specific grammar points are covered in addition to those arising from student writing. Call 212.229.5372 for required placement advising. (noncredit)





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


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Enrollment limited. Permission required. Advanced-level students practice formulating a thesis, organizing ideas into paragraphs, writing topic and concluding sentences, including specific examples from a variety of sources, and developing a personal style. Projects include compare-and-contrast essays, analytical essays, argumentative essays, summary-response essays, persuasive essays, and critiques. Students revise their own work and develop skills used by successful writers. Grammar is covered as issues arise in student writing. Call 212.229.5372 for required placement advising. (noncredit)

Academic Writing 6, Part 1 NESL0613


Academic Writing 6, Part 2 NESL0614


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 1 NESL0323


Conversation and Listening 3, Part 2 NESL0324

A 10 sessions. Mon. & Wed., 2:00–3:50 p.m., beg. July 13. Noncredit tuition $395.

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

Listening/Speaking 4: New York Life, Part 1 NESL0423


Listening/Speaking 4: New York Life, Part 2 NESL0424


Listening/Speaking 5: Think Critically, Part 1 NESL0523


Listening/Speaking 5: Think Critically, Part 2 NESL0524


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)

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Listening in the Real World 6, Part 1 NESL0623


Listening in the Real World 6, Part 2 NESL0624


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

Reading and Vocabulary 3, Part 1 NESL0333


Reading and Vocabulary 3, Part 2 NESL0334

A 10 sessions. Tues. & Thurs., 2:00–3:50 p.m., beg. July 14. Noncredit tuition $395.

Enrollment limited. Permission required. Practice in reading with emphasis on building vocabulary for students at low-intermediate to intermediate levels. Call 212.229.5372 for required placement advising. (noncredit)

Exploring Literature 4, Part 1 NESL0433


Exploring Literature 4, Part 2 NESL0434


Reading/Discussion 5: Self and Identity, Part 1 NESL0533


Reading/Discussion 5: Self and Identity, Part 2 NESL0534


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

Topics in Culture and Society 6, Part 1 NESL0633


Topics in Culture and Society 6, Part 2 NESL0634


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 Exam NESL0574

A 1 session. Thurs., 4:00–6:30 p.m., July 21. 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: [email protected] or 212.229.5372. Registration must be completed at least one month in advance. (noncredit)

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VISUAL AND PERFORMING ARTS

Visual Arts

Photography

Acting and Movement

Music Performance

Creative Arts Therapy Certificate


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

The New School’s 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.



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.


212.229.5961.

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 Drawing: Short Course NART1205

A 6 sessions. Tues., 6:00–8:40 p.m., beg. June 7. Noncredit tuition $315.

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. (1 credit)

Beginning Painting: Short Course NART1302

A 6 sessions. Sat., 10:00 a.m.–12:40 p.m., beg. June 11. Noncredit tuition $315.

Heidi Johnson

Limited to 18. This course assumes no previous painting experience. Students are introduced to fine art materials, with demonstrations of their uses and proper care; colors, including setting up the palette, mixing colors, contrasting warm and cool colors, and realistic and abstract uses of color; beginning a painting; working from still life and live models; and fundamentals of composition and design, including proportion. Bring to the first session an 11"×14" canvas pad, a disposable palette, acrylic gloss medium, a jar, a tube of white and a tube of black acrylic paint, and #2 and #3 brushes. (1 credit)

Drawing and Painting New York On-Site NART2303


Michelle Greene

Limited to 15. Beginning and advanced students draw on-site in a variety of indoor and outdoor locations. The course teaches students how to organize a landscape or interior into an expressive and cohesive composition that captures color, value, space, form, and movement. Students draw using their own approach while remaining aware of the solutions reached by successful artists throughout history. Sites may include the Central Park Conservatory Garden and Central Park Zoo, the rooftop of the Metropolitan Museum, the High Line, and the Union Square Greenmarket. Instruction is one-on-one, and students work at their own pace. Bring to the first session a 9"×12" sketchbook (100 sheets/80 lb.), a no. 4B charcoal pencil, a no. 4B drawing pencil, a no. 2 yellow writing pencil, a white plastic eraser, a kneaded eraser, and tissues. The first class meets at the entrance to Madison Square Park on the corner of 23rd Street and Fifth Avenue. (1 credit)

Drawing at the Metropolitan Museum NART1210


Susan Cottle

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

Can't find what you want? The subject index is on page 61. An index

of courses by course master ID is on page 60.

V I S UA L A N D P E R F O R M I N G A R T S

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Printmaking

These courses are offered at Parsons The New School for Design as part of that division’s continuing education Arts and Foundation curriculum. Note: Registration policies and deadlines and credit tuition rates for these classes may differ from those for the other courses in this bulletin. For more information and to register, visit www.newschool.edu/parsons/ce or call 212.229.8933.

Introduction to Printmaking PCFA1800

A 12 sessions, Tues. & Thurs., 6:00–8:30 p.m., beg. June 7. Noncredit tuition $688.

Instructor to be announced

Silk Screen Printing PCFA1802

A 12 sessions, Mon. & Wed., 6:00–8:30 p.m., beg. June 6. Noncredit tuition $688.

B 12 sessions, Tues. & Thurs., 6:00–8:30 p.m., beg. June 7. Noncredittuition $688.

Marie Dormuth

PHOTOGRAPHY

Since Berenice Abbott’s classes in the 1930s, The New School has been at the forefront of photography education and experimentation. The tradition continues in our current program of workshops and lectures, taught by working professionals. Recommended sequence of courses for beginners: Introduction to Photography 1 and 2.Class locations are posted in the lobby at 66 West 12th Street. For placement advising, call 212.229.5961.

Introduction to Photography 1: Technical Foundation NPHG0001


Michael Grimaldi

This lecture/demonstration course for beginners covers the fundamentals of both film and digital photography. The goal is to give students a sense of the power of photography and confidence in using a camera without bogging them down in excessive technical detail. Topics include 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. This course is for noncredit students only; credit students must take NPHG1000. (noncredit)

Introduction to Photography 1: Technical Foundation NPHG1000

A 15 sessions. Tues. & Thurs., 6:00–8:50 p.m., beg. June 7. Credit students only.

Michael Grimaldi

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. (3 credits)

Summer in New York: Field Photography NPHG1016


Margo Moss

Capture the excitement and diversity of the neighborhoods and surrounds of Manhattan. Learn to use the techniques of successful candid photography, get the perfect action shot, and capture the beauty of the city landscape. Possible locations include the Cloisters, the Lower East Side, SoHo, NoHo, DUMBO, and some of New York’s fabulous community gardens. Students may use point-and-shoot-cameras. No experience is necessary. The first session meets at The New School. (2 credits)






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Shadows, Textures, Reflections: Seeing the Light in

New York City NPHG3005

A 6 sessions. Sun., 11:00 a.m.–3:30 p.m., beg. June 12. Noncredit tuition $620.

Margo Moss

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 an honest 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. (2 credits)

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.

Introduction to Acting NACT2300


Mark Stolzenberg

The beginning actor is introduced to a wide variety of physical and vocal exercises, techniques for freeing spontaneous personal feelings, and the process of bringing all these elements together with detailed work on text material. Emphasis is placed on developing the ability to sustain attention and highly concentrated energy. Every effort is made to give maximum attention to the individual development of each student. (3 credits)

Hatha Yoga NDRF1302


Leslie Daly

Limited to 12. Explore the postures (asanas) and breathing practices (pranayama) of hatha yoga, designed to strengthen the cardiovascular system and stimulate energy centers (chakras) in the body. Students progress through a series of movements and exercises that promote flexibility and muscle tone in all areas of the body. Emphasis is placed on developing awareness of the spine and proper breathing, which supplies the body with greater amounts of oxygen than it normally receives, allowing the muscles to work more efficiently and resulting in improved circulation and increased stamina and vitality. Daily practice is encouraged. Wear a leotard and footless tights or other appropriate comfortable clothing. No shoes are worn in class. (2 credits)

Pilates: The Mat NDRF1303


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 protegé, Romana Kryzanowska. It’s 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. (2 credits)


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The Alexander Technique NDRF1301

A 12 sessions. Wed. & Thurs., 4:00–5:50 p.m., beg. June 8. Noncredit tuition $580.

Rebecca Tuffey

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. (2 credits)

MUSIC 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 credit tuition rates for these classes may differ from those for the other courses in this bulletin. See all the courses and register online at www.newschool.edu/mannes/ce. Call Mannes Extension at 212.580.0210 x4802 for more information.

Chamber Music XPER1002

A 12 sessions. Tues. & Thurs., 6:05–9:30 p.m., beg. May 31. Noncredit tuition $900.

Alaria Chamber Ensemble

Sonata Class XPER1003

A 12 sessions. Tues. & Thurs., 6:05–9:30 p.m., beg. May 31. Noncredit tuition $900.

Alaria Chamber Ensemble

Flute Ensemble XPER1009


Mary Barto

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 ra p y c e r t

Louise Montello, CoordinatorCreative 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 [email protected]. Note: Students are strongly encouraged to register early, as classes often fill. Individual courses may be taken by students not enrolled in the certificate program.

CREAT IVE ARTS THERAPY EXPO


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.

Mind-Body Healing Through the Arts NCAT0701


Louise Montello

The field of creative arts therapy is rapidly gaining recognition as an essential component of health care in our society. By tapping into the deeply expressive aspects of body, mind, and spirit through such modalities as music, sound, imagery, role playing, and movement, the therapist facilitates self-actualization and healing within the therapeutic relationship. Prominent practitioners discuss principles and practice in this lecture/demonstration series. This summer’s scheduled speakers are Louise Montello, DA, LCAT, LP, MT-BC, Music in Wellness: The Next Wave; Elizabeth Davis, LCAT, DTR, Drama Therapy in Child Psychiatry; James Andralis, MPS, LCAT, Art Therapy in Transforming Trauma; and Lynn McTaggart, PhD, Healing and Consciousness. (noncredit)

Symbolism in Art Therapy NCAT3114

A 7 sessions. Wed., 10:00 a.m.–1:50 p.m., beg. June 8. Noncredit tuition $650.

Jane Selinske

Enrollment limited. We look at the function of symbols in the psyche, studying different symbol systems and their applications in understanding art and dreams, in particular Jung’s work with alchemy. The relevance of symbols in the art therapy process is discussed in detail. (3 credits)







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Music, Mind, and Healing NCAT3308


Louise Montello

Enrollment limited. Music as a healing modality is coming of age in our society. This seminar surveys research and clinical practice in the exciting field of music medicine, which combines clinically tested techniques of music therapy with the latest advances in mind-body healing. Music as a tool of self-reflection and transformation is explored in psychotherapeutic and medical settings. The course is especially recommended for persons in the helping and health-care professions and educators. Formal musical training is not a prerequisite. Topics include guided imagery and music, clinical improvisation, musical meditation for stress reduction and enhancement of immunity, and clinical research/case studies demonstrating the effectiveness of these techniques. (3 credits)

Roles and Relationships: Drama Therapy and Group

Process NCAT3501


Jennifer Wilson

Enrollment limited. Drama therapy is an eclectic form of creative arts therapy using role-playing, improvisation, psychodrama, storytelling, masks, puppets, and performance to promote growth, transformation, and healing. This course offers the opportunity to explore oneself in relation to others through the medium of drama. Drama therapy techniques are used both to enhance personal growth and to demonstrate the various methods and philosophies of theatrical and clinical theorists. The course combines experiential components with didactic discussions. Readings, journal writing, and active participation are required. (3 credits)

Intercultural Issues in Dance/Movement Therapy NCAT3551

A 7 sessions. Fri., 1:00–3:50 p.m., beg. June 10. Noncredit tuition $650.

Instructor to be announced

We examine how race, culture, and ethnicity affect our work as creative arts therapists. In the multicultural environment of the United States, we continually confront such differences in clinical settings. How can we, as mental health professionals, become more culturally skilled in negotiating daily interactions and gain insight into social, emotional, and political realities? Action in the form of experiential dance/movement therapy exercises, discussion of intercultural theory, and dialogue ground the learning. Working both individually and as a group, we use one another and ourselves as resources in creating a dynamic community of inquiry and learning. (3 credits)

Creative Arts Therapy Internship NCAT3900

A Fieldwork individually arranged. Group seminar meets 4 times, Wed., 4:00–5:50 p.m., beg. June 8. Noncredit tuition $760.

Barbara McKechnie

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. (3 credits)

MANAGEMENT AND BUSINESS


w w w. n e w s c h o o l . e d u / c e / m a n a ge m e n t a n d b u s i n e s s

Carol Overby, Coordinator

The management and business curriculum teaches specific

business practices and provides in-depth understanding

of the effects of social and economic forces on today’s

businesses and nonprofit organizations. Whether your

interest is in acquiring or polishing job-related skills,

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.



To learn more about our business and management courses, come

to our open house and speak to members of the faculty and staff.


212.229.5124.

Introduction to Business Management NMGT2100


Richard Walton

This is a skill-building course for people whose job responsibilities or career interests require knowledge of basic management principles. We study concepts of business organization, communication, decision making, planning, motivating, group dynamics, leadership, and change. Examples of common day-to-day management and supervisory problems provide realistic case studies. (3 credits)

Basic Accounting NMGT2110


Laurence O’Connell

This course introduces basic concepts and practices of accounting and double-entry bookkeeping. Journals, ledgers, and various types of accounts are described and discussed. Real-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. (3 credits)



information.

ONLINE

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Introductory Finance for Business NMGT2133


Laurence O’Connell

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. (3 credits)

All About Advertising NMGT2119


Kurt Brokaw

Advertising is changing before our eyes. This course explores mobile media, social networks, viral and experiential campaigns, and user-generated, stealth, and guerrilla marketing. We define psychographics, in-your-face appeals, behavioral targeting, and extreme imagery and language, as well as the new advertising paradigms of Facebook, Twitter, and mobile device applications. Invited guests include Anna-Kate Roche (Eugene Lang College ’08), interactive writer at Ogilvy; Sarah Wehrli, account director at Omnicon’s Greenroom; LGBT activist Stephanie Blackwood; and Matt Miller, president of the Association of Independent Commercial Producers. (3 credits)

NEW New Venture Boot Camp NMGT3500


Mary Howard

This course is a unique opportunity for owners of startup businesses to conduct critical and strategic thinking about their ventures. Hands-on exercises enable new entrepreneurs to uncover the context-specific information they need to shape effective business concepts. Topics discussed include using planning and communication methods such as “roadmaps,” protecting intellectual property, conducting business plan research, and developing and defending revenue forecasts. Students should be prepared for intensive homework assignments and weekly reviews. (3 credits)

Entrepreneurship NMGT2140


Alejandro Crawford

Small businesses are the drivers of today’s economy. It takes specific skills and qualities to lead a business to success in this vibrant sector. This hands-on, highly interactive course teaches students how to assess a business idea, find funding, and bring the product to the market. We review the concept of entrepreneurship and the practices associated with the successful development and launch of a small enterprise. This is a practical course that combines textbook study and real-life exercises such as forming an elevator pitch, devising a business plan, and delivering an investor presentation. (3 credits)

Spanish for Business NSPN1704



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M A N AG E M E N T A N D B U S I N E S S












see pages 42–43.

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FOOD STUDIES


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

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.



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


NEW Food Systems Governance: Processes and

Practices NFDS4200


Thomas Forster

Governance of the contemporary food system is complex and rapidly evolving. As cities, regions, and nations deal with concerns about safety, security, environmental impact, and climate change affecting food supply and distribution, the governance of food and farming systems is being reexamined and in some cases modified. Designed to follow other policy and food justice classes, this course is conducted in an applied studio format. After learning about basic food governance principles, practices, and models, students research and analyze food governance processes at the local, regional, and national levels, including the work of New York City community boards on food policy, the evolution of governance frameworks involving local and regional planning authorities, and the emerging “food federalism.” (3 credits)

NEW Hunger, Food Security, and the Global Food Crisis NFDS3210


Jessica Wurwarg

What is hunger, and how has our perception of it evolved? What does it mean to be food secure? Is food a human right? What constitutes a food crisis? Is there a single food crisis—or are there many? We explore the root causes of food crises and potential solutions while examining international food policy and its role in development. We assess the economic, social, and environmental sustainability of possible solutions to food insecurity and look at the maintenance of food security. We also study the role of water and the impact of water scarcity on food production. Research and class discussions focus on ways to improve food security and food aid. Case studies may include Haiti, Brazil, Kenya, Mali, and India. (3 credits)

F O O D S T U D I E S

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Drinking History: Fifteen Beverages That Shaped

America NFDS2102


Andrew F. Smith

What is American drink? Is it warmed-over traditional British beverages—tea, ale, hard cider, syllabubs, toddies? Is it versions of beverages brought by successive waves of immigrants, like lager and pilsner, sangria, tequila, and bubble tea? Is it the vigorously marketed creations of America’s beverage industries, such as Kentucky Bourbon, Kool-Aid, Snapple, Coors, and Coca-Cola? This course examines the cultural, social, technological, and economic history that has influenced what Americans drink today. It is an action-packed history, filled with rum runners, soda manufacturers, coffee moguls, cocktail inventors, temperance preachers, prohibitionists, health advocates, and hard-hitting advertisers, all of whom contributed to the contentious American drinkscape of the 21st century. (3 credits)

Professional Food Writing NFDS3601

A 15 sessions. Tues. & Thurs., 6:00 –7:50 p.m., beg. June 7. Noncredit tuition $620.

Andrew F. Smith

Limited to 20. The special challenges of professional food writing are explored in this course. Students learn how to write and submit inquiry letters, newspaper articles, magazine stories, restaurant reviews, recipes, and op-ed pieces, as well as book and cookbook proposals. The course covers research, interviewing, and networking techniques that can help students succeed in the field. Guest speakers include newspaper and magazine editors, acquisitions editors, and professional food writers. Good writing skills are a prerequisite. (3 credits)

How to Get a Cookbook Published NFDS0651

A 1 session. Sat., 10:00 a.m.–4:00 p.m., June 25. Noncredit tuition $170.

Andrew F. Smith

Julia Child and her co-authors, commenting on their first cookbook venture, remarked, “We came tottering out of the kitchen with the gleam of authorship lighting our innocent faces.” This course provides both encouragement and sound advice to cooks, recipe collectors, and writers who wish to learn more about getting a cookbook published. Prominent cookbook authors, literary agents, editors, and publishers discuss the publishing process, from inception through release. Topics include determining the market; writing a book proposal; the proper approach to literary agents and publishing houses; contractual considerations; copyright law; the use of photography or artwork; the time frame for publishing; book promotion, including advertising and public relations; the monies involved; and the possibility of profit. Also discussed is self-publishing, producing a cookbook for oneself or an organization without using a major publisher. (noncredit)

Launching and Marketing Your Food Product NFDS0350


Terry Frishman

Do you make the world’s best chocolate chip cookies or have a killer guacamole recipe? You may have an idea for a great product but not know how to get it to market. This workshop provides an overview of the realities of running a small business and identifies the steps involved in starting a specialty food business, including conducting market research, identifying your competitors, differentiating your product, working with manufacturers and distributors, and making decisions about packaging and pricing. (noncredit)

Find Out If Running a Restaurant Is for You NFDS0360


David Friedman

Have you ever wondered what it’s like to open a restaurant? Learn the insider secrets you don’t read or hear about. Anyone can open a restaurant, but those without the necessary information may pay dearly for it. This course is an open discussion about what it takes: capital requirements, finding a location, negotiating a lease, finding your target market, developing your concept, creating a pre-opening time line, finding vendors, hiring and training staff, dining room management, and restaurant finance and cost control. The newest marketing techniques used by restaurateurs are also discussed. If you’re thinking of opening a restaurant or are just curious about what goes on behind the scenes, you’ll find this six hours well spent. (noncredit)

What I Wish I Had Known Before Starting My Food

Business NFDS0351

A 1 session. Sat., 10:00 a.m.–4:00 p.m., July 16. Noncredit tuition $170.

Terry Frishman

Be inspired and benefit from the hard-earned wisdom of successful food industry entrepreneurs who share their expertise and advice in this intensive workshop. Topics include avoiding common mistakes, effective methods of marketing and promotion, tips for financial management in tough spots, and tools for analyzing and directing the future of your business. Bring questions and concerns from your own business or business ideas for class discussion. Recent guest speakers include Jack Acree, whose Alexia Foods artisanal appetizers and bread was recently bought by Conagra, and the chef-proprietor of City Hall Restaurant, Henry Meer. (noncredit)

NEW La Gastronomie française à travers les âges NFRN3716


Anne McBride


F O O D S T U D I E S

For help in interpreting course descriptions, see chart on page 62.

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INSTITUTE FOR RETIRED PROFESSIONALS

www.irp.newschool.edu

Michael I. Markowitz, Director

In 1962, a group of retired New York City schoolteachers, dissatisfied with the senior learning programs available to them, organized a learning community at The New School, the Institute for Retired Professionals (IRP). At the time of its founding, the IRP was one of the first examples in the United States of what would come to be called the “positive aging” movement and elder empowerment. The original IRP students developed a unique model of adult continuing education based on peer-learning, in which all members share responsibility for the scholarly venture, being simultaneously curriculum creators, teachers, and students.

Today's IRP students, ranging in age from 54 to 94, develop and participate in challenging study groups (see the list opposite for examples). The IRP curriculum is limited only by the imagination of the program’s participants.

IRP Learning Model

The IRP model has been highly influential, and today many colleges welcome elder learning communities to their campuses. These programs have attracted to college campuses people who had formerly been excluded while contributing to a dialogue on the changing paradigm of aging and retirement. Over time, the IRP helped give birth to the ILR (Institute for Learning in Retirement) movement. Today, more than 300 campus-based programs follow the ILR model. Like the IRP, many are associated with the Elderhostel Institute Network (EIN), founded in 1989 as a clearinghouse for existing and new ILRs.

That the Institute for Retired Professionals was welcomed and nurtured at The New School, with its historic roots in educating the educated, is not surprising. The New School has always been part of a movement in our society to make institutions of higher education more inclusive and more welcoming to women, people of color, and other underrepresented groups. The IRP program is still unique in the New York area. Mature students from various backgrounds design, teach, and participate with their peers in weekly courses that would meet academic standards in any college degree program.

Applying for Membership

Open house events and interviews are scheduled throughout the year. Applications are received and reviewed throughout the year for a limited number of September and February admissions. For more information about the program or membership, contact New School Institute for Retired Professionals, 66 West 12th St., New York, NY 10011; tel: 212.229.5682; fax: 212.229.5872; email: [email protected].

Academic Program

IRP study groups are noncredit, and there are neither tests nor grades. However, all members of the community take their responsibilities seriously, and student participation in the study groups is an essential element in the continuing success of the institute. In the IRP model, information is created by the students themselves in study groups rather than transferred from teacher to student.

Students also have opportunities to explore the broad range of New School courses and to participate in other aspects of university life as part of its diverse student body. The IRP itself sponsors regular public events at The New School, including the annual conference on elder abuse.

Literature and ArtsWorld DanceT.S. EliotGreek DramaJoyce’s UlyssesJane AustenHistory of JazzPlays of Albee and O’NeillIrish PoetryJapanese LiteratureLiterature of BaseballBenjamin BrittenPolitics in 20th-Century MusicVirginia WoolfPublic AffairsThe ConstitutionHuman History and the EnvironmentGlobalismThe Origins of WarGreat DecisionsSocio-cultural IssuesImmigration PolicyGender IssuesRace and SocietySlavery Past and Present20th-Century MigrationsBioethicsNews Without Newspapers

Science and PsychologyCosmology20th-Century PhysicsOrigins of PersonalityMathematics and the ArtsBrain, Mind, and ConsciousnessPhilosophy of ScienceGeneticsArt and Physics

WorkshopsWriter’s WorkshopWatercolor Painting

Area StudiesHispanic/Latino ExperienceThe Pacific RimUnderstanding Islam

HistoryAmerican RadicalsEarly CivilizationsByzantiumThe Middle AgesBrazil’s History and CultureRussian History: 900–1917Chinese History and CultureThe American WestGay History and LiteratureThe Harlem Renaissance

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.

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.

Conference on Elder Abuse

Is This Elder Abuse? When Abuse Is Not the Presenting Problem

Wednesday, June 22, 8:00 a.m.–4:30 p.m.


General admission $45; for NYCLE credit, $95

This annual conference brings together experts in gerontology and advocates for the elderly. Panels and lectures consider the implications of the current economic crisis for the exploitation and abuse of vulnerable elderly people and focuses on prevention and intervention strategies. For a complete program and registration information, contact the IRP at [email protected] or 212.229.5682 after May 1. Co-sponsored by Institute for Retired Professionals and the Jewish Association for Services for the Aged, a beneficiary of UJA Federation of New York; Harry and Jeanette Weinberg Center for Elder Abuse Prevention at the Hebrew Home at Riverdale; City of New York Department for the Aging; Human Resources Administration-Adult Protective Services; Carter Burden Center on Aging; Council of Senior Centers and Services of NYC, Inc.; and Fordham University Graduate School of Social Service.

I N ST I TUTE FOR RET IRE D P ROFE SS IONAL S

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ABOUT THE NEW SCHOOLPOETRY 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

University Administration Policies

Other Divisions of the University

www.newschool.edu/

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ABOUT THE NEW SCHOOLThe New School for General Studies

Educational Programs and Services

The University

Administrative Policies

www.newschool.edu/generalstudies

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ABO UT THE NE W SCHOOL

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THE NEW SCHOOL FOR GENERAL STUDIES

David Scobey, Executive Dean, The New School for General Studies and Milano The New School for Management and Urban PolicyAnthony Anemone, Associate Dean for Faculty AffairsCelesti Colds Fechter, Associate Dean for Academic ServicesJohn Green, Associate Dean for AdministrationAlmaz Zelleke, Associate Dean for Academic AffairsThelma Armstrong, Executive Assistant to the DeanSeth Cohen, Director of Administrative ServicesMerida Escandon, Director of AdmissionEmily Martin, Director of Faculty AffairsRomeo Sanchez, Director of Academic SystemsFrancisco Tezén, Director of DevelopmentPamela Tillis, Director of Public ProgramsAllen Austill, Dean Emeritus

The New School was founded in 1919 as a center for “discussion, instruction, and counseling for mature men and women.” It became America’s first university for adults. Over the years, it has grown into an urban university enrolling more than 10,000 students in undergraduate and graduate degree programs.

The New School for 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 bio logical sciences, education, and ethics naturally take up a significant part of the New School curriculum, since these are the fields in which the forces of culture and change are most significantly active, and in which human beings, their institutions, and their products are directly studied. The centrality of the liberal arts is maintained and strengthened in every possible way, but not to the exclusion of other educational programs that serve a legitimate need for mature adults in a mature community.”

Some of the finest minds of the 20th century developed unique courses at The New School. W.E.B. DuBois taught the first course on race and African-American culture offered at a university; Karen Horney and Sandor Ferenczi introduced the insights and conflicts of psychoanalysis; Charles Abrams was the first to explore the complex issues of urban housing; the first university course on the history of film was taught at this institution; and in the early sixties, Gerda Lerner offered the first university course in women’s studies. Over the years, lectures, seminars, and courses have examined most of the important national and international issues of our time. To this day, many talented teachers and professionals choose The New School as a place to introduce new courses and explore new ideas. The New School maintains its tradition of educational innovation and keeps its place on the cutting edge of intellectual and creative life in New York City.

Accreditation

The New School and its degree programs are fully accredited by the Commission on Higher Education of the Middle States Association of Colleges and Secondary Schools. Its credits and degrees are recognized and accepted by other accredited colleges, universities, and professional schools throughout the United States. The New School, a privately supported institution, is chartered as a university by the Regents of the State of New York.

Board of Governors of The New School for General Studies and

Milano The New School for Management and Urban Policy

Steven H. Bloom, ChairRandall S. Yanker, Vice ChairMargo AlexanderKofi AppentengGeorge C. BiddleHans BrenninkmeyerJames-Keith (JK) BrownJohn Catsimatidis Marian Lapsley CrossRobert J. DiQuolloSusan U. HalpernWilliam H. HaydenJeffrey J. HodgmanJoan L. JacobsonAlan Jenkins Richard L. KauffmanEugene J. KeilinRobert A. Levinson

Bevis LongstrethAnthony Mannarino Victor NavaskySteve NislickLawrence H. Parks, Jr.Steven C. ParrishLorie A. SlutskyJulien J. StudleyPaul A. TravisEmily YoussoufJudith Zarin

Honorary MembersDavid N. DinkinsMalcolm KleinLewis H. LaphamPam S. Levin

EDUCATIONAL PROGRAMS AND SERVICES

The New School is committed to creating and maintaining an environment of diversity and tolerance in all areas of employment, education, and access to educational, artistic, and cultural programs and activities. It does not discriminate on the basis of age, race, color, sexual orientation, gender (including gender identity and expression), pregnancy, religion, religious practices, mental or physical disability, national or ethnic origin, citizenship status, veteran status, marital or partnership status, or other protected status.

Students with disabilities should read Services for Students with Disabilities in this bulletin for information about obtaining accommodation of their needs and how to proceed if they feel such accommodation has been denied. Students who feel they have suffered disability discrimination other than denial of reasonable accommodation, or discrimination on any basis described above, may file a complaint pursuant to the University Policy on Discrimination (see University Policies Governing Student Conduct on the website at www.newschool.edu/studentservices/rights/other-policies).

Inquiries about the application of laws and regulations concerning equal employment and educational opportunity at The New School, including Title VI (race, color, or national origin), Section 504 (people with disabilities), and Title IX (gender) may be referred to the office of the General Counsel, The New School, 80 Fifth Ave., suite 801, New York, NY 10011. Inquiries may also be referred to the Office of Federal Contract Compliance Programs, U.S. Department of Labor, 23 Federal Plaza, New York, NY 10278, or the U.S. Equal Employment Opportunity Commission (EEOC), New York District Office, 201 Varick Street, Suite 1009, New York, NY 10014. For individuals with hearing impairments, EEOC’s TDD number is 212.741.3080.

Study Options

Noncredit

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

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General Credit (Nonmatriculated)

A student interested in earning undergraduate college credits may register on a general credit basis for most courses in this bulletin, accumulating a maximum of 24 credits without matriculating. The number of credits awarded for any course is shown in parentheses at the end of the course description. The student receives a letter grade in each course and is entitled to transcripts of record.

A general credit student is outside any degree program at The New School and is registered on a nonmatriculated basis. General credit students have limited access to university facilities: They have access to The New School’s Fogelman and Gimbel Libraries but not to the Bobst or Cooper Union Libraries; they do not have access to academic computing facilities unless they are enrolled in a course that includes such access. Answers to most questions about access to facilities can be found on the website atwww.newschool.edu/resources.

Credits are usually transferable to the New School Bachelor’s and other undergraduate degree programs, but it is seldom possible to determine in advance whether credits will be accepted by a particular institution; that will be decided by the school and for a particular degree program. When possible, students taking courses for transfer to another school should confirm that the credits will be accepted before they register here.

You should consider registering for general credit if you think you will need an official record of your course work for any reason: you are testing your ability to handle college-level study; to qualify for a salary increment from the Board of Edu cation (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; [email protected].

General credit tuition for courses in this catalog is $1,055 per credit for undergraduate students, and a $60 University Services Fee is charged each term at registration.

Certificates

The New School for General Studies awards certificates of completion in several areas of study. A certificate attests to successful completion of a structured program of courses designed to establish proficiency in a specific field. For more information, contact the Office of the Dean: call 212.229.5615.

The following certificates are currently offered: Creative Arts Therapy (HEGIS code 5299.00) English as a Second Language (noncredit only) Teaching English to Speakers of Other Languages (HEGIS code 5608.00) Film Production (HEGIS code 5610.00) Screenwriting (HEGIS code 5610.00)

Each certificate has specific requirements, and certificates are offered only as specified. Consult the particular sections of this 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 aca demic performance requirements for their courses.

Tuition for Certificate Students: Tuition for noncredit certificate students is the tuition listed with the course descriptions in this catalog. If the student is taking the course for credit, tuition depends on the student’s status and the number of credits assigned to the course.

Registration: All certificate students must have their programs approved by the appropriate course advisor before they register, must register in person, and must specifically request certificate status for each approved course at registration.

Certificate students pay the $60 University Services Fee each term at registration.

Grades and Records: Certificate students receive a grade of Approved (AP) or Not Approved (NA) at the conclusion of a course. (Credit students should consult their program advisor to find out the minimum letter grade required for Certificate Approval.) Permanent records are maintained for all certificate students, and transcripts are available.

Request for Certificate: A student who has completed all the requirements of a certificate program should file the Petition for Certificate form available at the Registrar’s Office. Certificates are conferred in January, May, and August.

Study Online

www.newschool.edu/online

The New School is a pioneer in extending teaching and learning into the Internet environment. Distance learning courses, online enhancement of campus courses, and public programs and discussions are available through the online portal. Using an Internet connection, you can enter The New School from anywhere in the world, 24 hours a day, seven days a week. Visit www.newschool.edu/online to learn more.

More than 300 courses are offered in the full distance learning environment every year, enrolling more than 2,000 credit and noncredit students. Students matriculated in the New School Bachelor’s Program and graduate programs in Media Studies and TESOL can take some or all of their courses online. For additional information about degree programs online, contact the Office of Admission, 72 Fifth Avenue, 3rd floor, 212.229.5630, or email [email protected].

Libraries and Computing Facilities

The Raymond Fogelman Library has relocated to 55 West 13th Street. Emphasizing the social sciences, the Fogelman Library is the principal library for New School students. The Adam and Sophie Gimbel Library on the second floor of the Sheila Johnson Design Center (enter at 2 West 13th Street) has a rich art and design collection. The Harry Scherman Library at Mannes College The New School for Music, 150 West 85th Street, is devoted to European and American classical music.

Reference services and instruction in library resources and technologies are available at all libraries. For further information about library services and procedures, consult with the reference librarians on duty in the libraries or visit www.newschool.edu/library.

In order to visit the libraries, a student must present a valid New School ID card. Students taking courses for credit or certificate and members of the IRP are entitled to a photo ID. Noncredit students receive a New School ID without photo valid for the duration of their course(s) and must show a personal photo ID with their New School ID to use the library. Many library services are available online at library.newschool.edu.

Computing Facilities

All students matriculated in certificate programs have access to the Academic Computing Center, with Windows workstations and printers, and the University Computing Center, with Macintosh and Windows workstations, laser printers, and plug-in stations for laptops. Computing centers are part of the Arnhold Hall Multimedia Laboratory at 55 West 13th Street.

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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.

Services for Students with Disabilities

The Office of Student Disability Services shares the university’s philosophy of encouraging all students to reach their highest levels of achievement and recognizing and embracing individual differences. Student Disability Services assists students with disabilities in obtaining equal access to academic and programmatic services as required by the Americans with Disabilities Act of 1990 (ADA) and Section 504 of the Federal Rehabilitation Act of 1973. For more information about Student Disability Services, please visit www.newschool.edu/studentservices.

Students who have disabilities are encouraged to self-identify. While there is no deadline by which to identify oneself as having a disability, early disclosure helps ensure that reasonable accommodations can be made prior to the start of the student’s courses. Once a student has self-identified, a meeting will be arranged to review appropriate medical documentation from a qualified clinician and discuss the student’s needs and concerns. Students who need special accommodations, please contact Student Disability Services: 212.229.5626; [email protected].

Students with disabilities who feel they have been denied reasonable accommodation should follow the procedure provided for by the New School Policy for Requesting Reasonable Accommodations available on the website at www.newschool.edu/studentservices/rights/other-policies or at the Office of Student Rights and Responsibilities.

THE NEW SCHOOL BACHELOR’S PROGRAM

www.newschool.edu/bachelorsprogram

Bea Banu, Director of the Bachelor’s Program

An Individualized Degree Program for Adults and Transfer Students

The New School Bachelor’s Program is designed specifically for adult 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.

Students develop their programs from the hundreds of courses described in this bulletin and other courses open to degree students only. Visit the website to see a current list of courses. In addition, they may select courses offered by Eugene Lang College The New School for Liberal Arts, Parsons The New School for Design, and Mannes College The New School for Music Extension. Advanced undergraduates and those approved for a bachelor’s/master’s option can take graduate courses offered in Media Studies or International Affairs or in graduate programs of other divisions of the university.

Every student in the New School Bachelor’s Program is responsible for organizing the course offerings of The New School into a coherent academic program. To do so requires thoughtful planning and consideration of a variety of options. Each student forms a strong relationship with a faculty advisor with whom s/he talks through options, gains access to the full range of curricular resources available in the university, and shapes a group of courses into a coherent program suited to individual needs and interests.

Bachelor of Arts/Bachelor of Science

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

Social Sciences WritingHumanities Foreign LanguagesMedia Studies and Film English Language StudiesScreenwriting Food Studies

Bachelor of Arts students may elect to include up to 30 credits, and Bachelor of Science students up to 60 credits, in non-liberal arts areas of study, again corresponding roughly to sections of the New School Bulletin, such as Management and Business, Visual and Performing Arts, Media and Film Production, and Film and Media Business. New School Bachelor’s 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 Bachelor’s Program Catalog, available as a PDF on the website at www.newschool.edu/bachelorsprogram.

Admission

Merida Escandon, Director of AdmissionCory J. Meyers, Associate DirectorAnita M. Christian, Assistant DirectorCoralee Dixon, Assistant DirectorSarah Burtch, Admission CounselorMatt Morgan, Admission Counselor

For more information about the New School Bachelor’s Program, contact the Office of Admission at 72 Fifth Ave., 3rd floor; 212.229.5630; email [email protected]; or visit the website at www.newschool.edu/bachelorsprogram.

The Office of Admission is open throughout the year to assist prospective students. Any student interested in a degree program should make an appointment to speak with a counselor: call 212.229.5630; email [email protected]; or come in person to 72 Fifth Avenue, 3rd floor. Office hours are 10:00 a.m.–6:00 p.m.

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THE UNIVERSITY

www.newschool.edu

The New School for General Studies is one of eight divisions of The New School, a unique urban university offering undergraduate, graduate, and continuing education programs in the liberal arts and social sciences, design, and the performing arts. The other divisions are described briefly below.

The New School is located in Manhattan’s Greenwich Village, with a few facilities elsewhere in Manhattan. There is a map on the inside back cover of this catalog that includes all facilities of the university.

The New School provides the following institutional information on the university website at www.newschool.edu: FERPA (Family Education Rights and Privacy Act); financial assistance information (federal, state, local, private, and institutional need-based and non-need-based assistance programs, Title IV, FFEL, and Direct Loan deferments); institutional policies (fees, refund policies, withdrawing from school, academic information, disability services); completion/graduation and transfer-out rates (graduation rate of degree-seeking students, transfer-out rate of degree-seeking 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 master’s and doctoral degrees in anthropology, economics, philosophy, political science, psychology (research and clinical), and sociology, and interdisciplinary master’s degrees in historical studies and liberal studies.

Parsons The New School for Design

Founded in 1896 by the New York artist William Merritt Chase and his circle, the school was named Parsons School of Design in 1936 for its president, Frank Alva Parsons, who was dedicated to integrating visual art and industrial design. Today, Parsons is one of the preeminent design schools in the world, its graduates contributing to the quality of life through beautiful products, built environments, and visual communications. Parsons awards the bachelor of fine arts degree in architectural design, communication design, design and management, design and technology, fashion design, fine arts, illustration, interior design, photography, product design, and integrated design, 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. Master’s degrees are awarded in architecture, design and technology, fine arts, history of decorative arts and design, interior design, lighting design, fashion design and society, fashion studies, photography, and transdisciplinary design. There are AAS degrees in fashion marketing (online and on campus), fashion studies, and graphic design, and continuing education certificate programs.

Eugene Lang College The New School for Liberal Arts

This is a four-year college for traditional-age undergraduates. The school began in 1973 as an experimental program and became a full division of the university in 1985 thanks to the generous support of Eugene M. Lang, the well-known educational philanthropist. Emphasis is on small, seminar-style classes; the student-faculty ratio is 15:1. Eugene Lang College awards the bachelor of arts degree in liberal arts (with four interdisciplinary areas of study), arts (dance, fine arts, theater), culture and media, economics, 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 bachelor’s/master’s degree options in association with several graduate programs of The New School.

Milano The New School for Management and Urban Policy

During the 2010–2011 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 master’s 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, artist’s diploma, master of music, and professional studies diploma. Mannes remains true to its origins as a community music school by offering noncredit and diploma courses to adults in its Extension program and to children in its Preparatory Division.

The New School for Drama

The New School’s history in the dramatic arts began in the 1940s, when Erwin Piscator founded the Dramatic Workshop. Today, The New School for Drama is forging the next generation of theater artists through its three-year MFA program in acting, directing, or playwriting. A faculty of working professionals brings to the fore each student’s unique and original voice and helps students establish a rooted sense of who they are as individuals and as artists. Students gain invaluable, hands-on experience through workshops, full-length productions, and the annual Random Acts! one-act play festival. The full-time program leads to a master of fine arts degree in acting, directing, or playwriting.

The New School for Jazz and Contemporary Music

This unique undergraduate curriculum offers young musicians mentor-based study with a faculty of professional artists with close links to the jazz world of New York City. Traditionally, jazz was not learned in schools but handed down from one musician to another. The New School keeps that heritage alive. This is a program for students who expect to make a living from their music. The bachelor of fine arts degree is offered in jazz performance. Qualified students may pursue a five-year dual BA/BFA degree in collaboration with Eugene Lang College The New School for Liberal Arts.

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OFFICERS OF ADMINISTRATION

David Van Zandt, PresidentTim Marshall, Provost and Chief Academic OfficerJames Murtha, Executive Vice President and Chief Operating OfficerFrank J. Barletta, Senior Vice President for Finance and BusinessCraig Becker, Vice President and TreasurerPamela Besnard, Vice President for Development and Alumni RelationsCarol Cantrell, Senior Vice President for Human Resources and Labor RelationsNancy Donner, Vice President for Communications and External AffairsLia Gartner, Vice President for Design, Construction, and Facilities ManagementRobert Gay, Vice President for Enrollment ManagementRoy Moskowitz, Vice President and General Counsel for Legal AffairsShelley Reed, Senior Vice President for Information TechnologyLinda A. Reimer, Senior Vice President for Student ServicesBryna Sanger, Deputy Provost and Senior Vice President for Academic AffairsDoris Suarez, Vice President and Secretary of the Corporation

Deans and Directors

Stefania de Kenessey, Interim Dean, Eugene Lang College The New School for Liberal ArtsJoel Lester, Dean, Mannes College The New School for MusicRobert LuPone, Director, The New School for DramaMartin Mueller, Executive Director, The New School for Jazz and Contemporary MusicMichael Schober, Dean, The New School for Social ResearchDavid Scobey, Executive Dean, The New School for General Studies and Milano The New School for Management and Urban Policy Joel Towers, Dean, Parsons The New School for Design

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

UNIVERSITY ADMINISTRATIVE POLICIES

University Registrar

William Kimmel, University RegistrarJennifer Simmons, Associate Registrar

Student Financial Services

Eileen F. Doyle, Assistant Vice President for Student Financial ServicesMargaret Deiss, Director of Student AccountsBarbara Garcia, Associate Director of Student AccountsDiane Anchundia, Associate Director of Financial AidLisa Banfield, Associate Director of Financial Aid

The administrative policies of The New School are designed to expedite enrollment in our courses and make our facilities and services accessible to all. The registrar’s office, Student Financial Services, and other student services offices at 72 Fifth Avenue are open to assist students throughout the year. For registration procedures and deadlines, see pages 63–64.

Policies as stated in the following pages apply to certificate and nonmatriculated (noncredit/nondegree) students at The New School for General Studies.

Students interested in undergraduate degrees offered by The New School for General Studies or courses, programs, and degrees offered by The New School for Social Research, Parsons The New School for Design, Milano The New School for Manage ment and Urban Policy, Mannes College The New School for Music, The New School for Jazz and Contemporary Music, Eugene Lang College The New School for Liberal Arts, and The New School for Drama should consult the appropriate school’s website or catalog for tuition and fees as well as other administrative and academic information. Visit www.newschool.edu.

Student Accounts and Records

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

Students are responsible for keeping their own addresses and telephone numbers current in university records. They can update this information online at my.newschool.edu as necessary. Note: All university correspondence will be mailed to the address designated “official” in the student’s record and/or emailed to the student’s email address. For family educational rights and privacy policies, see page 51.

Tuition and Fees

Tuition and fees are payable in full at the time of registration. Payment may be made by bank debit card or cash (in person only for both), personal check, credit card (MasterCard, Visa, Discover, American Express), or wire transfer. Please make checks payable to The New School and include the student’s name and (if assigned) New School ID number in the memo section.

Registration is not complete until payment or payment arrangements, such as verification of employer reimbursement (see the next page), have been made. Confirmation is the Statement/Schedule received at the cashier (mailed to students who register online or by fax, mail, or telephone).

Verify the accuracy of your class schedule: You are not registered for and will not earn credit for any course that does not appear on your class schedule. You are responsible for all courses and charges that appear on the statement/schedule.

Tuition and Fees: Continuing Education

StudentStatus

Tuition MaterialsFees, etc.

University Services Fees

Noncredit Stated in each course description in this catalog

Stated in course description if applicable

Registration fee: $7 per term

UndergraduateGeneral Credit

$1,055 per credit Same as above $60 per term

NoncreditCertificate

The noncredit tuition Same as above $60 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 [email protected] using your New School email account if you have one). Access your personal account information online at my.newschool.edu.

Deferral of Payment for Employer Reimbursement

Students expecting reimbursement from an employer or sponsor may defer payment of tuition and fees by submitting a signed authorization letter on official employer/sponsor letterhead along with the appropriate deferral form(s) as described below. This may be done by mail or fax or in person, but not by email.

The authorization letter must show a current date and must include the student’s full name (and, if available, the student’s New School ID number), the amount to be reimbursed, the academic term for which the charges will be covered, the signer’s address and telephone number, and the specific terms for reimbursement (either contingent on receipt of grades or else billable upon registration; see below). Any portion of charges that the employer has not agreed to pay may not be deferred. Certificate and nonmatriculated students must submit these forms with their registration forms.

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

Terms of ReimbursementIf 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 [email protected] or call 212.229.8930, option 2.

Tax Deduction for Education

Under certain circumstances, educational expenses undertaken to maintain or improve job skills may be deductible for income tax purposes. Students are advised to bring this to the attention of their tax advisors.

Returned Check Policy

If, for any reason, a check does not clear for payment, a penalty of $30 is charged to the student’s account. The university cannot presume that a student has withdrawn from classes because a check has not cleared or has been stopped; payment and penalty remain due. Payment for the amount of the returned check and the $30 penalty must be made with cash, certified bank check, or money order; another personal check will not be accepted. An additional 10 percent penalty is charged if payment for a returned check is not received within four weeks. After a second returned check, all future charges must be paid with cash, certified bank check, or money order, and no further personal checks or ACH online payments will be accepted. If it becomes necessary to forward an account to a collection agency, an additional 10 percent penalty will be charged on the remaining balance.

Cancellations, Refunds, Add/Drop,

Status Changes

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

Schedule and Status Changes

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

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

Refunds for Canceled Courses

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

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

If you are a certificate student, consult with your advisor in the event one of your courses is canceled.

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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, Registrar’s Office, 72 Fifth Ave., New York, NY 10011. The following policies apply.

• Full refund of course tuition requires advance withdrawal. Otherwise the refund will be pro-rated—see the Add/Drop table at right.

• Refunds are computed from the date and time the written notice is received in the Registrar’s Office, or the date of the postmark if the notice is mailed.

• The registration/university services fee is not refundable unless a student’s withdrawal is due to a change of course schedule or instructor.

• Withdrawals or refund requests may not be made by telephone or email.

• Students may withdraw in person or by fax or mail. If the course being dropped begins in less than two weeks, withdrawal by fax or in person is strongly recommended. The fax number is 212.229.5648 and is available 24 hours a day.

• 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.

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 Registrar’s Office within the appropriate deadline. Deadlines are given in the Add/Drop Schedule at right. A grade of “W” will be recorded for the course, which will appear on the student’s transcript. Deadlines for refunds of tuition and fees, described in the same Add/Drop Schedule, will apply.

Add/Drop and Refund Deadlines

Classroom Courses

Schedule Deadline to add or change status

Deadline for tuition refunds(tuition charged)

Credit student withdrawalfor grade of “W”

11 or more sessions

Before 3rd session Before 1st session (full refund)Before 4th session (10% per session)

Between 4th & 7th sessions

6–10 sessions Before 2nd session Before 1st session (full refund)Before 3rd session (15% per session)

Between 3rd & 4th sessions

3–5 sessions Before 2nd session Before 1st session (full refund)Before 2nd session (30% charged)

Not applicable

1–2 sessions Before 1st session Before 1st session (full refund)

Not applicable


Before 3rd session May 25No refund after May 25

Before 7th session

Online Courses

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

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

End of 5th week

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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 School’s Intellectual Property Policy, the university shall have a non-exclusive, royalty-free, worldwide license to use the works created by its students and faculty for archival, reference, research, classroom, and other educational purposes. With regard to tangible works of fine art or applied art, this license will attach only to stored images of such work (e.g., slides, videos, or digitized images) and does not give the university a right to the tangible works themselves. With regard to literary, artistic, and musical works, this license will only attach to brief excerpts of such works for purposes of education. When using works pursuant to this license, the university will make reasonable efforts to display indicia of the authorship of a work. This license shall be presumed to arise automatically and no additional formality shall be required. If the university wishes to acquire rights to use a work or a reproduction or image of a work for advertising, promotional or fund-raising purposes, the university will negotiate directly with the creator in order to obtain permission.

Admission to 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 [email protected] 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 university’s latest crime reporting statistics can be viewed at www.newschool.edu/security.

Admission to Public Programs

Tickets to lectures, readings, concerts, and other events listed in the front of this bulletin with a fee but without a course registration number are available at the Box Office in the lobby of the Johnson Building, 66 West 12th Street. In the summer, the Box Office will open half an hour before an event is scheduled to start. Visit www.newschool.edu/publicprograms, call 212.229.5353, or email [email protected] for more information about New School events that are open to the public.

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.

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RECORDS AND GRADES

Academic Transcripts

An official transcript carries the Registrar’s signature and The New School seal. It documents a student’s permanent record at the university. Any student who took a course for credit or certificate may have a transcript mailed to any address, including other colleges and institutions, by submitting an official request to the Registrar’s Office. This can be done online at my.newschool.edu or by completing the transcript request form available on the website at www.newschool.edu/studentservices/registrar. Standard transcript services are free of charge. Transcripts are not issued for students who have outstanding debts to The New School.

Noncredit Record of Attendance

Noncredit students can request a noncredit record of attendance during the academic term in which they are registered. This record identifies the course and verifies the student’s completion of the course. It is not an academic evaluation and does not provide a course grade. A noncredit record of attendance must be requested from the Registrar’s Office in writing no later than four (4) weeks before the final session of the course. The written request may be faxed to 212.229.5648 (credit card payment only), mailed, or presented in person at the Registrar’s Office. A separate record is issued for each noncredit course; the nonrefundable fee is $20 per course, which must be paid by the student’s own personal check or MasterCard, Visa, Discover, or American Express card; cash is not accepted. The noncredit record of attendance is not available for any event listed in the New School Bulletin without a course number or for any course meeting fewer than four times.

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

Grade Reporting

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

Grade Descriptions

A 4.0 C+ 2.3

A– 3.7 C 2.0

B+ 3.3 C– 1.7

B 3.0 D 1.0

B– 2.7 F 0

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

W Official Withdrawal Without Academic Penalty: Written request must be presented in person at the Registrar’s Office by the published deadline (see Add/Drop Schedules on page 79).

WF 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.

AP Approved (noncredit certificate student)

NA Not Approved (noncredit certificate student)

GM Grade Not Reported for Student

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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 student’s letter within one month of receipt, also with a copy to the department chair or director or the dean, as appropriate.

3. If the student is unsatisfied by the faculty member’s written explanation, further appeal can be made by a written request to the dean’s office for a review of the previous communications. An appropriate administrator designated by the dean will then convene an appeals committee to review the student’s letter and the instructor’s response, clarify any outstanding questions or issues, and make a recommendation to the dean. The dean’s decision is final.

Change of Grade

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

Family Educational Rights and Privacy Act

The Family Educational Rights and Privacy Act of 1974, with which The New School complies, was enacted to protect the privacy of education records, to establish the right of students to inspect and review their education records, and to provide guidelines for correction of inaccurate or misleading statements.

The New School has established the following student information as public or directory information, which may be disclosed by the institution at its discretion: student name; major field of study; dates of attendance; full- or part-time enrollment status; year level; degrees and awards received, including dean’s list; the most recent previous educational institution attended, addresses, phone numbers, photographs, email addresses; and date and place of birth.

Students may request that The New School withhold release of their directory information by notifying the Registrar’s Office in writing. This notification must be renewed annually at the start of each fall term.

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

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

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

The right to request the amendment of the student’s education records that the student believes are inaccurate, misleading, or otherwise in violation of the student’s privacy rights under FERPA:

A student who wishes to ask the university to amend a record should write to the university official responsible for the record, clearly identify the part of the record the student wants changed, and specify why, in the student’s opinion, it should be changed.

If the university decides not to amend the record as requested, the university will notify the student in writing of the decision and the student’s right to a hearing regarding the request for amendment. Additional information regarding the hearing procedures will be provided to the student when notified of the right to a hearing.

The right to provide written consent before the university discloses personally identifiable information from the student’s education records, except to the extent that FERPA authorizes disclosure without consent:

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

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

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

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

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BIOGRAPHICAL NOTES AND INDEXESAcademic Administration

Faculty

Calendar of Courses

Faculty Index

Subject Index

Course Master Index

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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 études 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 Côte d’Ivoire; served on board of directors at Gay Men’s 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.

Department Chairpersons and Directors

Bea Banu, PhD, CUNY Graduate Center; director, New School Bachelor’s Program; specializes in philosophy of art, aesthetics, and ethics; co-editor of The Fieldston Reader, an anthology of readings on moral thinking for teenagers.

Carolyn Vellenga Berman, PhD, Brown U.; chair, Dept. of Humanities; author of Creole Crossings: Domestic Fiction and the Reform of Colonial Slavery and articles in 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 Curator’s Vade Mecum.

Florence Leclerc-Dickler, MBA in Marketing, SUNY; MA in Translation, Ecole de Traduction et d’Interprétation, 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.

Michael I. Markowitz, MA, Columbia U. Teachers College; director, Inst. for Retired Professionals; formerly a human resources executive; member, Executive Committee, NYC Council of Senior Centers and Services; frequent speaker, panelist, and workshop participant on retirement, shared inquiry, the active elderly, and positive aging.

Gustav Peebles, PhD, U. of Chicago; chair, Dept. of Social Sciences; publications include “State-Building and the Mobilization of Labor vs. Leisure on a European Border,” “An Apologia for Filthy Lucre,” and “Conflations of National Currency and Global Capital in the Swedish Currency Crisis.”

Robert Polito, PhD, Harvard U.; director, New School Writing Program; author of Hollywood and God and Doubles (poems), Savage Art: A Life of Jim Thompson (winner of Natl. Book Critics Circle Award and an Edgar), and A Reader’s Guide to James Merrill’s The Changing Light at Sandover; editor, The Complete Film Writings of Manny Farber and Crime Novels: American Noir of the 1930s, 1940s, and 1950s.

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 Doctor’s 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.

B I O G R A P H I C A L N OT E S

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FACULTY

Jiro Adachi, MFA, Colorado State U.; has taught writing and ESL/EFL at CSU, SVA, Hunter College, and Stern College for Women; author of a novel, The Island of Bicycle Dancers.

Julia Anderson, Graduate, Condorcet (Paris); has taught French at all levels at Alliance Française 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.

Yeghia Aslanian, EdD, Columbia U. Teachers College; associate professor, CUNY.

Michele D. Beck, MFA, Parsons School of Design; video artist and performer; work shown at Fundacio Antoni Tapies (Barcelona), the Queens and Bronx museums, and video and film festivals internationally; writes on cultural criticism, most recently for Fundacio La Caixa (Barcelona).

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.

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 Distinguished Teaching Award from The New School; has worked on theater, dance, and opera productions, including The Lion King on Broadway and The Magic Flute at the Metropolitan Opera of NYC.

Emily Bills, PhD, Inst. of Fine Arts, NYU; modern architectural and urban historian whose research interests include telecommunications, historic preservation, and history of Los Angeles; ACLS and Graham Foundation Award recipient; has taught at NYU, USC, and Woodbury U.

Margaret Boe Birns, MA, Columbia U.; adjunct assistant professor, NYU; recipient of SCE Award for teaching excellence; articles published in the New York Times, The Cunning Craft: Essays on Contemporary Theory and Detective Fiction, Literary Review, Massachusetts Review, Women’s Studies, and other publications.

Nicholas Birns, PhD, NYU; editor of Antipodes; author of Understanding Anthony Powell, Theory After Theory, and The 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 of Victorian Literature and Culture; author of The Literary Monster on Film; editor of Personal Moments in the Lives of Victorian Women and Nineteenth-Century British Women Writers; has published articles on Thomas and Jane Carlyle and other Victorian writers.

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.

Rainer L. Brueckheimer, MA in music teaching, Brooklyn College; native of Brazil; has taught German and Portuguese at The New School since 1994; faculty member of Fairleigh Dickinson U. and Westchester Community College.

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), Sunday’s Child, and Gangs (book, lyrics, music); also teaches at Columbia and NYU.

Noëlle Carruggi, PhD, NYU; former director of French Studies, Northeast Modern Language Assn.; author of Marguerite Duras: Une expérience intérieure, Maryse Condé: Rébellion et transgressions, and Zen poems in Cahiers de l’Alba; member, Société des Professeurs Français et Francophones d’Amérique; organizes multicultural poetry readings.

Daniel Cooney, MFA, U. of Illinois; owner and director of Daniel Cooney Fine Art, specializing in photographs and works on paper; former director of the Julie Saul Gallery.

Susan Cottle, MFA, NY Acad. of Art; painter; has exhibited in the U.S. and abroad; has taught at NY Acad. of Art and Montserrat College of Art (Viterbo, Italy); adjunct assistant professor of art at St. John’s U.; Annenberg Resident Artist in NYC public schools; recent mural commission for P.S. 167, Brooklyn.

Alejandro Crawford, MBA, Tuck School of Business at Dartmouth; principal of Nolej, helps launch and build digital-age ventures; frequent speaker on marketing, e-business, entrepreneurship, and growth; current research focuses on iterative, scenario-based business planning.

Leslie Daly, MS, Pratt Inst.; Integral Yoga Inst.-certified hatha yoga teacher; Yoga Alliance nationally registered yoga teacher; registered dance/movement therapist; NYS-licensed creative arts therapist.

Nuno de Campos, MFA, Tufts U.; MFA, Boston U.; has exhibited at PLMJ (Lisbon), Kinz, Tillou + Feigen, and Smithsonian Natl. Portrait Gallery; grants from NYFA, Calouste Gulbenkian Foundation, and Pollock-Krasner Foundation; published in ArtForum, Art in America, Harper’s, and the New Yorker.

Yan Deng, MA in Education, Qinghua U. (China); BA in English 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 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.

Ryan Dohoney, PhD, Columbia U.; music historian specializing in American modernism, experimentalism, and interdisciplinary performance since 1950.

Linda Farhood-Karasavva, MA, NYU; ESL and composition specialist; teaches English as a second language and literature at Hunter and Queens Colleges; has taught ESL in Morocco.

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.

Miranda Field, MFA, Vermont College; Bread Loaf Teaching Fellow; author of Swallow, Katharine Nason Bakeless Literary Publication Prize in Poetry; winner of a “Discovery”/The Nation Award and a Pushcart Prize; poems and essays appear in magazines, journals, and anthologies.

Margaret Stanek Fiore, MA, Columbia U.; MEd, Boston U.; has taught writing classes at American U. in Paris and CUNY/Hunter College; has worked in NYC high schools as a teacher consultant for the NYC Writing Project and as a literacy coach.

Thomas Forster, MLA, U. of Oregon; former policy director, Community Food Security Coalition; organic farmer; public policy campaign architect supporting development of local and regional food systems, school meals, and community-based market development; advocate for sustainable agriculture in U.S. Congress and UN Commission on Sustainable Development.

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.

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John Freitas, MA, The New School; former development analyst for Warner Bros. and Sony Pictures; has sold screenplays to Dustin Hoffman, Hakalax & Mandrake Productions, Finland, Canal+, producer Vincent Maraval (City of God), and legendary independent producer Edward R. Pressman (Badlands, Reversal of Fortune, The Cooler); also teaches at Hofstra U.

David Friedman, former general manager of Beacon, 27 Standard/Jazz Standard, California Café, World Catering, Terrace Restaurant, Café des Artistes; restaurant director, Tavern on the Green; food and beverage director, Sherry Netherland Hotel; currently full-time food consultant.

Terry Frishman, MBA, Columbia U.; president, Creative Marketing Workshops; award-winning food industry consultant specializing in strategic planning, public relations, and product launches; former product manager, Kraft General Foods; member, board of directors, New York Women’s Culinary Alliance; served on boards of Roundtable for Women in Foodservice and Intl. Wine & Food Society.

Thom Garvey, MFA, UNC-Chapel Hill; actor; has performed on the New York stage, on TV, and in films; dialect coach for theater productions; teaches speech at NYU and Baruch College.

Joshua A. Gaylord, PhD, NYU; currently teaches at Ramaz School; his first novel, Hummingbirds, was published in 2009; has written on William Faulkner, postmodernism, and narrative theory.

Steven Gendell, BA, Hampshire College; translator with 14 years’ experience in law, finance, health care, alternative energies, automotive, and oenology; published literary translator with works in such scholarly journals as French Politics, Culture & Society; former in-house translator for the French Mission to the UN; former adjunct professor at the Sorbonne (Université Paris II—Panthéon-Assas).

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.

Sonia Granillo-Ogikubo, MA, Colegio Normal (Mexico); has taught Spanish in Japan and Mexico.

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.

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 Guzmán, PhD, The New School for Social Research; has taught philosophy at Hofstra U., NYU, LIU, and U. Nacional de Colombia (Bogotá); author and translator from Spanish and German of philosophical articles on Aristotle, Plato, Hegel, Schelling, and skepticism.

Mary Howard, AB, Harvard College; entrepreneur-in-residence, NYS Energy Research & Development Authority and NJ Inst. of Technology; board member, MIT Entrepreneur Forum; president, SunCirc; principal, Design Technologies.

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 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.

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 with UBC’s Sea Around Us Project and Mathematics Dept.

Dave Johnson, poet and playwright; author of a book of poems, Marble Shoot, and the plays Sister, Cousin, Aunt and Baptized to the Bone; editor of Movin’: Teen Poets Take Voice; teaches at Yale U. and Cooper Union School of Art; visiting lecturer with The New School’s MFA in Creative Writing program.

Heidi Johnson, BFA, Tufts U.; exhibitions at Ace Gallery, Henry Street Settlement House, Bristol Art Museum, and other venues; grants from Museum of Fine Arts (Boston) and Elizabeth Foundation; participant, Marie Walsh Sharpe Foundation Studio Program.

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.

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.

Ida Kummer, PhD, U. of Paris IV-Sorbonne; also teaches French language and French and Francophone literature and culture at the UN Intl. School and in Paris for several Study Abroad programs; author of scholarly articles about the treatment of immigration and gender in contemporary French literature and film.

Sabine Landreau-Farber, 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, Ecole de Traduction et d’Interprétation, 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.

Philip Lerman, PhD, CUNY; professor of Dramatic Arts, LaGuardia Community College; director and designer for off-Broadway and regional theater; writes and stages adaptations of drama classics; member, Dramatists Guild of America.

Betty Ming Liu, MA, Columbia U. School of Journalism; freelance journalist, blogging at www.BettyMingLiu.com; formerly nationally syndicated columnist for the New York Daily News, staffer for the Newark Star-Ledger and Crain’s New York Business, and panelist on a local PBS public affairs show broadcast on Channel 13/WNET New York.

Monica M. London, MA and Laurea, U. of Siena (Italy); has taught courses at 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 Décor).

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.

Rama C. Madhu, BA, St. John’s U. (NYC); graduate work in classics 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.

Giuseppe Manca, studied at U. of Cagliari; trained in foreign language teaching methods at The New School; co-author of Piacere!

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 ones on a major TV network.


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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.

Anne McBride, PhD candidate and adjunct instructor in food studies, NYU; food writer and editor; co-author of Les Petits Macarons, Culinary Careers, Chocolate Epiphany, and Bite Size; director of the Experimental Cuisine Collective at NYU and the Center for Food Media at the Inst. of Culinary Education.

Barbara McKechnie RDT/BCT, LCAT, LPC; drama therapist and consultant in private practice; recently worked with children and adolescents at St. Vincent’s 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.

Karen McKinnon, author of a novel, Narcissus Ascending, and a short story that was included in On the Rocks: The KGB Bar Fiction Anthology; recipient, New Voice Fiction Award.

Polly Merdinger, MA, EdM; co-author of Even If You Can’t Carry a Tune; has taught ESL and ESL teaching at the American Language Program and Columbia U. Teachers College.

Sharon M. Mesmer, MFA, Brooklyn College; NYFA Poetry Fellowships (Jerome Grant, co-recipient); Fulbright Senior Specialist; publications include Annoying Diabetic Bitch, The Virgin Formica, Ma Vie à Yonago, In Ordinary Time, and The Empty Quarter; member of flarf collective.

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.

Philippe-Gérard Montanari, studied at Catholic U. of Argentina; member of AATF; has taught French and Spanish for more than 20 years.

Louise Montello, PhD, NYU; Certif., American Music Therapy Assn.; coordinator, New School Creative Arts Therapy Certificate Program; clinical research scientist, NYU Dept. of Psychiatry; associate editor, Intl. Journal of Arts Medicine; guest lecturer, Manhattan School of Music; in private practice.

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.

Margo Moss, MA, NYU; LDTC; award-winning photographer, teacher, and lecturer; created children’s 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 Pre-Graduate Program, Pace U.; has taught at Hunter College; has been teaching ESL and EFL since 1997.

Aaron Naparstek, MS, Columbia U. Graduate School of Journalism; German Marshall Fund Comparative Domestic Policy Fellow; founder of Streetsblog.org; author of Honku: The Zen Antidote to Road Rage.

Tobias C. Nascimento, MBA, Columbia U.; former Portuguese language translator for the OAS representative to the United Nations.

Lisa Nocks, PhD, Drew U.; historian of science, technology, and culture; author of The Robot: The Life Story of a Technology and numerous articles on technology and media culture.

Laurence O’Connell, MBA, MS, and MA; 30 years’ experience in the corporate, government, and nonprofit sectors; 20 years’ experience teaching; involved in passage of living wage law in NYS; teaches financial literacy to incarcerated women and other groups.

Jean Oliver-Cretara, MA, The New School; violist who has recorded and performed with SiSe, David Byrne, Imani Uzuri, and DJ Nicodemus; research interests include popular music and communication studies; presented “I Am This Riddim,” 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 at Noel Pointer Foundation.

Kathleen Ossip, MFA, The New School; author of The Search Engine, winner of American Poetry Review/Honickman First Book Prize; poems have appeared in Best American Poetry 2001, Paris Review, Kenyon Review, and American Poetry Review.

William Pace, MFA, NYU; screenwriter and film producer; has produced four independent feature films, including Charming Billy, which he also directed; wrote episodes for syndicated TV series Adventurers: Masters of Time and The School for Little Vampires; produced and directed the award-winning short film A Relaxing Day.

Chris Pastore, MFA, The New School; has contributed to Offshore, Cruising World, Boat International, Newport Life, Real Simple, and Sailing World, where he is contributing editor; served as associate editor at Sailing World, North America’s leading sailboat racing publication, and editor of American Sailor and Junior Sailor.

Cristina Patterson, MA, NYU; adjunct professor and freshman counselor, John Jay College-CUNY; also teaches at Hunter College and LaGuardia Community College; former assistant supervisor of CCNY ESL Learning Center; has also taught at Katharine Gibbs School, NY Technical School, and Polytechnic U.

Lauren Petty, MA, NYU; video, film, and sound artist; working on single-channel 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.; 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 Dark, Admit Impediment, True Minds, and The Bird Catcher (Natl. Book Critics Circle Award and finalist for Lenore Marshall Poetry Prize); awards include the PSA Frost Medal, an NEA grant, the Delmore Schwartz Memorial Prize, and the MLA’s Shaughnessy Medal.

John Reed, MFA, Columbia U.; author of novels including A Still Small Voice, The Whole, Snowball’s Chance, and, most recently, All the World’s a Grave: A New Play by William Shakespeare; work has appeared in Artnet, Artforum, Paper Magazine, New York Press, Brooklyn Rail, TimeOut New York, Artforum, BOMB, Playboy, Art in America, and Los Angeles Times; award-winning TV and film writer.

Rebecca Reilly, MFA, The New School; editor-at-large, LIT magazine, the literary journal of the New School Writing Program.

Cristina Ross, MA in Spanish, U. of Rhode Island; has taught Spanish and German at Berlitz Language School in Mexico City and NYC.

Randi Ross, BA, NYU; public relations writer whose work has been on radio and in print media; designer of a college-level writing curriculum; teaches at the Inst. of Design and Construction and CUNY.

Andrew Rubenfeld, PhD, NYU; has written on Walt Whitman for NJ Audubon Magazine; prepared text for Mark Twain & Huck Finn, a Natl. Geographic Society exhibit; does special projects editorial work for the Library of America.

Mort Scharfman, MFA, Pratt Inst.; playwright and screenwriter; has worked for Warner Bros., Paramount, and Columbia; winner of three Emmy Awards for teleplays and sitcoms; writer and lyricist; formerly taught at UCLA.

Joel Schlemowitz, BS, Ithaca College; filmmaker; experimental shorts screened at MoMA, Whitney Museum, Anthology Film Archives, and Chicago, Ann Arbor, London, and Sydney film festivals; Moving Images won a silver plaque at Chicago festival and honorable mentions at Thaw 02 and NY Short Film Expo; Reverie was shown on the Sundance Channel.


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Candy Schulman, MA, NYU; writer of essays, humor, and general-interest articles published in the New York Times, New York Magazine, Travel & Leisure, Food & Wine, Parents, Child, Glamour, Family Circle, Newsday, Washington Post, and Christian Science Monitor; instructional articles anthologized by Writer’s Digest.

Chiz Schultz, created two-hour PBS biography, Paul Robeson: Here I Stand; executive producer of A Soldier’s Story (nominated for three Academy Awards) and A Raisin in the Sun with Danny Glover; executive at CBS-TV, Children’s Television Workshop, Belafonte Enterprises, and Aaron Spelling Productions.

Samuel B. Seigle, AM, Harvard; studied at the American Acad. in Rome; teaches classics as a member of the Literature, Language & Writing faculty, Sarah Lawrence College; formerly president, currently censor of the New York Classical Club.

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.

Jessie Sholl, MFA, The New School; her stories have appeared in several journals, including Other Voices, CutBank, Lit, and Fiction; co-edited the literary nonfiction anthology Travelers’ Tales: Prague and the Czech Republic.

Marina Shron, MFA in Dramatic Writing, NYU; playwright, screenwriter, 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.

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 Wordflo: Your Personal English Organizer; freelance materials writer for Scholastic and Scotts-Foresman; adjunct professor, SVA.

Mark Stolzenberg, BA, Brooklyn College; actor; star of Luggage of the Gods; principal in Tom Selleck’s Her Alibi; stand-in for Robin Williams in The Fisher King; regular cast member of The Robert Klein Television Show; principal in MTV videos and commercials; currently producing a feature film.

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; Chancellor’s Fellow in English at CUNY Graduate Center.

Victor M. Tirado, MFA, The New School; Spanish translator for theater companies in NYC and of live transmissions for NBC; has also done translations and voice-overs for taped radio and TV commercials.

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.

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.

Rebecca Tuffey, BA, Sarah Lawrence College; AmSAT-certified Alexander Technique teacher; studied Alexander Technique as an actress, singer, and dancer; runs the public demonstration series at the American Center for the Alexander Technique; private teaching practice in NYC.

Yunus Tuncel, PhD, The New School for Social Research; research interests include philosophy, art, literature, and culture; teaches philosophy at various schools and moderates discussions in the tradition of Café Philosophique.

Stefano L. Vaccara, MA, Boston U.; laureate, U. of Siena (Italy); editor and columnist of Oggi 7, weekly magazine of the Italian language daily America Oggi; 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 León (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 Portuguese at Fordham U., CCNY, and SUNY New Paltz.

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.

Yi Huei Wang, MA in Teaching and Learning, NYU; has taught Mandarin at Hunter College, Chazen Inst. of Intl. Business at Columbia U., and BMCC; teaches Mandarin at Nightingale-Bamford School.

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.

Jessica Wurwarg, MS, Cities Programme, London School of Economics; BA, Brown U.; adjunct professor at NYU Center for Global Affairs; junior professional associate at the World Bank; fromagère at Artisanal Premium Cheese; chief of staff of External Affairs with the NYC Dept. of Transportation.

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.

Jia-xuan Zhang, instructor in Chinese at The New School and Queens College; film critic; teaches film courses at Queens College, St. John’s U., and Fordham U.; calligraphy artist; teaches Chinese calligraphy at the China 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.

Meli Zinberg, MA, NYU; instructor of anatomy, physiology, and biology, NYU School of Education; has taught ballet and modern dance at 92nd Street Y, Stuyvesant HS Youth & Adult Center, and 14th Street Y; danced with Carmen Moore for Lincoln Center Out of Doors and Laura Foreman Dance Theatre.


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58

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, June 6

12:00 Object Relations, 10 Latin American Cities, 1110:00 French Intro. Intensive, 24 Italian Intro. Intensive, 25 Spanish Intro. Intensive, 27 ESL: English Grammar, 29 ESL: Grammar of Written English, 292:00 ESL: Conversation & Listening, 30 ESL: Listening/Speaking, 30 ESL: Listening in the Real World, 312:30 Summer Writers Colony, 184:00 Fundamentals of Psychology, 10 Music: Expressionism to New Wave, 116:00 Behavioral Economics, 9 Theories of Personality, 10 Music as Communication, 14 Digital Video Production, 15 The Art of Film, 16 The Producer’s Role, 16 Lynn Emanuel Literary Salon, 19 John D’Agata Literary Salon, 19 Mechanics of Writing, 20 Writing for Newspapers & Magazines, 22 Arabic Level 1, 24 French Level 1, 25 German Graduate Reading, 25 Italian Level 1, 25 Spanish Level 1, 27 Teaching ESL with Technology, 28 Intro. to Acting, 34 Pilates: The Mat, 34 Music, Mind & Healing, 36 Food Systems Governance, 38 Beverages That Shaped America, 398:00 Shakespeare as Contemporary Theater, 12 Script Analysis, 17 Poetry Lab, 20 Intro. to Creative Nonfiction, 21 Writing & Film, 22 Latin (all levels), 24 All About Advertising, 37 Global Food Crisis, 38Going online June 6

History of Biotechnology, 8 International Crimes, 9 Sport & Social Power, 9 Organizing Across Borders, 10 Topics in Architecture & Urbanism, 11 The Muse Singing, 12 Love in French Literature, 12 The Brontë Sisters, 12 Joyce, Woolf & Faulkner, 12 Three Epic Plays, 13 Philosophy of Pain, 13 Writing Across Media, 15 Script Analysis, 17 Writing for Television, 17 Mechanics of Writing, 20 Academic Writing, 20 From Silence to Poem, 20 Poetry: Language of Music, 20 Intro. to Fiction, 21 Intro. to Creative Nonfiction, 21 Experimental Writing, 22 Intro. Business Management, 36 Basic Accounting, 36

Intro. Finance for Business, 37 New Venture Boot Camp, 37

Tuesday, June 7

12:00 Fiction Writing: Narrative, 2110:00 ESL: Writing in English, 29 ESL: Academic Writing, 30 Drawing at the Metropolitan Museum, 3212:00 Contemporary Art in NYC Museums, 112:00 Literary Laurels, 13 ESL: Reading & Vocabulary, 31 ESL: Exploring Literature, 31 ESL: Reading/Discussion, 31 ESL: Topics in Culture & Society, 314:00 History of American Populism, 8 Urban Planning After the Automobile, 9 Intro. to Fiction, 216:00 Military Cultures, 9 On Relativism, 13 From Beyond: Horror Films, 16 Documentary Production Workshop, 16 Filmmaking Studio 1, 16 Screenwriting 1, 17 Academic Writing, 20 Writing for Style, 20 Poetry Master Class: Ponsot, 20 Finding Your Voice in Nonfiction, 21 French Graduate Reading, 24 French Level 2, 25 German Level 1, 25 Spanish Level 2, 27 Spanish for Business, 27 Grammar for ESL Teachers, 28 Beg. Drawing: Short Course, 32 Intro. to Photography 1, 33 Hatha Yoga, 34 Drama Therapy & Group Process, 36 Entrepreneurship, 37 Professional Food Writing, 398:00 Intro. to Comparative Politics, 9 Young & Old in 20th-C. Literature, 13 British & Italian Horror Films, 16 Adv. Fiction Writing: Revise & Polish, 21

Wednesday, June 8

10:00 Symbolism in Art Therapy, 354:00 Alexander Technique, 34 Creative Arts Therapy Internship, 366:00 Herman Melville, 12 Intro. to the New Journalism, 22 Teaching the Sound System of English, 288:00 Authentic Materials to Teach ESL, 28 Mind-Body Healing Through Arts, 35

Friday, June 10

10:30 Chinese on the Go, 24 French on the Go, 24 Portuguese on the Go, 26 Spanish on the Go, 261:00 Intercultural Dance/Movement Therapy, 36

Saturday, June 11

10:00 Beg. Painting: Short Course, 32 Drawing & Painting New York On-Site, 32 Field Photography in NYC, 33 Running a Restaurant, 39

Sunday, June 12

11:00 Photography: Light in NYC, 34

Monday, June 13

6:00 Thomas Sayers Ellis Literary Salon, 19 Nicole Krauss Literary Salon, 19 French Intermed. Brush-Up, 24 Italian Intermed. Brush-Up, 25

Tuesday, June 14

6:00 La Gastronomie française, 25 Spanish Intermed. Brush-Up, 26

Saturday, June 18

10:00 Launching Your Food Product, 39

Monday, June 20

6:00 Jonathan Dee Literary Salon, 19 Darin Strauss Literary Salon, 19

Saturday, June 25

10:00 Get a Cookbook Published, 39

Monday, June 27

6:00 ESL/EFL Course Design, 28

Tuesday, July 5

10:00 French Intermed. Intensive, 25 Spanish Intermed. Intensive, 27

Wednesday, July 13

10:00 ESL: English Grammar, 29 ESL: Grammar of Written English, 292:00 ESL: Conversation & Listening, 30 ESL: Listening/Speaking, 30 ESL: Listening in the Real World, 31

Thursday, July 14

10:00 ESL: Writing in English, 29 ESL: Academic Writing, 302:00 ESL: Reading & Vocabulary, 31 ESL: Exploring Literature, 31 ESL: Reading/Discussion, 31 ESL: Topics in Culture & Society, 31

Saturday, July 16

10:00 Starting a Food Business, 39

Thursday, July 21

4:00 Institutional TOEFL Exam, 31

Thursday, July 28

ESL Teaching Practicum Abroad, 28

C A L E N D A R O F C O U R S E S

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59

I N D E X O F I N S T R U C TO R S

FACULTY INDEX

A

Adachi, Jiro, 28Anderson, Julia, 24Aslanian, Yeghia, 29

B

Beck, Michele, 16Bell, Teresa, 26Bertolotto, Caterina, 25Bills, Emily, 11Birns, Margaret Boe, 12, 13Birns, Nicholas, 13Bloom, Abigail Burnham, 12Breland, Theresa, 28, 29Brokaw, Kurt, 37Brueckheimer, Rainer, 25

C

Calypso, Anthony, 21Caplin, Loren-Paul, 17Carruggi, Noëlle, 12, 24Cartei, Carmelina, 25Cooney, Daniel, 11Cottle, Susan, 32Crawford, Alejandro, 37

D

Daly, Leslie, 34de Campos, Nuno, 32Deng, Yan, 24Dix, Carol, 15Dohoney, Ryan, 11

F

Farhood-Karasavva, Linda, 29Fedukovitch, Ernesto, 26Feinberg, Ezra, 10Field, Miranda, 20Fiore, Margaret Stanek, 20Forster, Thomas, 38Freedman, Lisa, 21Freitas, John, 16Friedman, David, 39Frishman, Terry, 39

G

Garvey, Thom, 29Gaylord, Joshua, 13Gendell, Steven, 24Goodman, Carol, 21Granillo-Ogikubo, Sonia, 26Greene, Michelle, 32Grimaldi, Michael, 33Gutman, Margarita, 11Guzmán, Luis, 13, 26

H

Hacker-Cordon, Casiano, 9Hart, Bonny, 28Hoffman, Martin, 24Howard, Mary, 37Howell, Samuel, 24Humphreys, Richard, 29

I

Issa, Iman, 24

J

Jacquet, Jennifer, 9Johnson, Dave, 20Johnson, Heidi, 32

K

Kirson, Tamara, 29Kite, B., 22Kocot-Tomblin, Noelle, 20Kummer, Ida, 24

L

Landreau-Farber, Sabine, 24Leclerc-Dickler, Florence, 24Lerman, Philip, 12Liu, Betty Ming, 22London, Monica, 25Long, Rodolfo, 26Lopez, Robert, 22

M

Madhu, Rama, 24Magnani, Francesca, 25Maiki, Iman, 24Manca, Giuseppe, 25Marner-Brooks, Elizabeth, 29Marques, Alfredo, 24Marvin, Cate, 18McBride, Anne, 25McKechnie, Barbara, 36McKeithen, Madge, 18, 19McKinnon, Karen, 19Merdinger, Polly, 28Mesmer, Sharon, 12, 18Milowitz, Steven, 13Montanari, Philippe-Gérard, 24Montello, Louise, 35, 36Morgan, Caitlin, 28Moss, Margo, 33, 34Mull, Patrick, 29

N

Naparstek, Aaron, 9Nascimento, Tobias, 26Nocks, Lisa, 8

O

O’Connell, Laurence, 36, 37Oliver-Cretara, Jean, 14Ossip, Kathleen, 19

P

Pace, William, 17Pastore, Chris, 20Patterson, Cristina, 29Petty, Lauren, 15Pitt, Delis, 28, 29Ponsot, Marie, 20

R

Ragen, Therese, 10Reading, Romy, 10Reed, John, 21Reilly, Rebecca, 20Ross, Cristina, 26Ross, Randi, 26Rubenfeld, Andrew, 12

S

Scharfman, Mort, 17Schlemowitz, Joel, 16Schulman, Candy, 21Schultz, Chiz, 16Seigle, Samuel, 24Selinske, Jane, 35Shapiro, Susan, 22Sholl, Jessie, 21Shron, Marina, 17Smith, Andrew, 39Smith, Jacqueline, 29Sogn, Emily, 9Somers, Jordan, 8Soukkary, Sohair, 24Stolzenberg, Mark, 34

T

Tannous, Karam, 24Taylor, Justin, 19Tayson, Richard, 20Teicher, Craig Morgan, 19Tirado, Victor, 26Torres-Spelliscy, Glynn, 9Trificana, Justin, 24Tuffey, Rebecca, 34Tuncel, Yunus, 13

U

Uperesa, Lisa, 9

V

Vaccara, Stefano, 25Vallejo-Rodriguez, Guillermo, 26Van Zandt, Liria, 26

W

Walsh-Russo, Cecelia, 10Walton, Richard, 36Wang, Yi Huei, 24Wilson, Jennifer, 36Wurwarg, Jessica, 38

Z

Zaborowski, Stephane, 24Zhang, Jia-xuan, 24Ziegler, Adelheid, 25Zinberg, Meli, 34

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60

COURSE MASTER INDEX

Courses are identified by the registration course

master ID. This index lists all courses in this

bulletin by course master.

NACT2300 Intro. to Acting, 34

NANT3625 Military Cultures, 9NANT3697 Sport & Social Power, 9

NARB1001 Arabic Level 1, 24

NARH3664 Latin American Cities, 11NARH3726 Contemporary Art in NYC Museums, 11NARH3880 Topics in Architecture & Urbanism, 11

NART1205 Beg. Drawing: Short Course, 32NART1210 Drawing at the Met Museum, 32NART1302 Beg. Painting: Short Course, 32NART2303 Drawing & Painting New York On-Site, 32

NCAT0701 Mind-Body Healing Through Arts, 35NCAT3114 Symbolism in Art Therapy, 35NCAT3308 Music, Mind & Healing, 36NCAT3501 Drama Therapy & Group Process, 36NCAT3551 Intercultural Dance Therapy, 36NCAT3900 Creative Arts Therapy Internship, 36

NCHM0804 Chinese on the Go: Level 1, 24

NCOM3050 Music as Communication, 14NCOM3241 Writing Across Media, 15

NDRF1301 Alexander Technique, 34NDRF1302 Hatha Yoga, 34NDRF1303 Pilates: The Mat, 34

NECO2005 Behavioral Economics, 9

NELT0435 ESL/EFL Course Design, 28NELT0532 Teaching ESL with Technology, 28NELT3412 Grammar for ESL Teachers, 28NELT3414 Teaching Sound System of English, 28NELT3416 ESL Teaching Practicum Abroad, 28NELT3432 Authentic Materials to Teach ESL, 28

NESL0303 ESL: English Grammar, 29NESL0304 ESL: English Grammar, 29NESL0313 ESL: Writing in English, 29NESL0314 ESL: Writing in English, 29NESL0323 ESL: Conversation & Listening, 30NESL0324 ESL: Conversation & Listening, 30NESL0333 ESL: Reading & Vocabulary, 31NESL0334 ESL: Reading & Vocabulary, 31NESL0403 ESL: Grammar of Written English, 29NESL0404 ESL: Grammar of Written English, 29NESL0413 ESL: Writing in English, 29NESL0414 ESL: Writing in English, 29NESL0423 ESL: Listening/Speaking, 30NESL0424 ESL: Listening/Speaking, 30NESL0433 ESL: Exploring Literature, 31NESL0434 ESL: Exploring Literature, 31NESL0503 ESL: Grammar of Written English, 29NESL0504 ESL: Grammar of Written English, 29NESL0513 ESL: Writing in English, 30NESL0514 ESL: Writing in English, 30NESL0523 ESL: Listening/Speaking, 30NESL0524 ESL: Listening/Speaking, 30NESL0533 ESL: Reading/Discussion, 31NESL0534 ESL: Reading/Discussion, 31NESL0574 ESL: Institutional TOEFL Exam, 31NESL0603 ESL: Grammar of Written English, 29NESL0604 ESL: Grammar of Written English, 29

NESL0613 ESL: Academic Writing, 30NESL0614 ESL: Academic Writing, 30NESL0623 ESL: Listening in the Real World, 31NESL0624 ESL: Listening in the Real World, 31NESL0633 ESL: Topics in Culture & Society, 31NESL0634 ESL: Topics in Culture & Society, 31

NFDS0350 Launching Your Food Product, 39NFDS0351 Starting a Food Business, 39NFDS0360 Running a Restaurant, 39NFDS0651 Get a Cookbook Published, 39NFDS2102 Beverages That Shaped America, 39NFDS3210 Global Food Crisis, 38NFDS3601 Professional Food Writing, 39NFDS4200 Food Systems Governance, 38

NFLM0407 British & Italian Horror Films, 16NFLM3407 From Beyond: Horror Films, 16NFLM3411 The Art of Film, 16NFLM3456 The Producer’s Role, 16NFLM3660 Filmmaking Studio 1, 16NFLM3700 Digital Video Production, 15NFLM3715 Documentary Production Workshop, 16

NFRN0501 French Graduate Reading, 24NFRN0804 French on the Go: Level 1, 24NFRN0805 French on the Go: Level 2, 24NFRN0806 French on the Go: Level 3, 24NFRN0807 French on the Go: Level 4, 24NFRN0901 French Intermed. Brush-Up, 24NFRN1001 French Level 1, 25NFRN1002 French Level 2, 25NFRN1003 French Intro. Intensive, 24NFRN2003 French Intermed. Intensive, 25NFRN3716 La Gastronomie française, 25

NGRM0501 German Graduate Reading, 25NGRM1001 German Level 1, 25

NHIS3246 History of American Populism, 8NHIS3404 History of Biotechnology, 8

NHUM3112 Young & Old in 20th-C. Literature, 13

NITL0901 Italian Intermed. Brush-Up, 25NITL1001 Italian Level 1, 25NITL1003 Italian Intro. Intensive, 25

NLIT3106 The Muse Singing, 12NLIT3213 Shakespeare as Theater, 12NLIT3232 The Brontë Sisters, 12NLIT3323 Herman Melville, 12NLIT3424 Love in French Literature, 12NLIT3509 Three Epic Plays, 13NLIT3545 Joyce, Woolf & Faulkner, 12NLIT3801 Literary Laurels, 13

NLTN1005 Latin (all levels), 24

NMGT2100 Intro. Business Management, 36NMGT2110 Basic Accounting, 36NMGT2119 All About Advertising, 37NMGT2133 Intro. Finance for Business, 37NMGT2140 Entrepreneurship, 37NMGT3500 New Venture Boot Camp, 37

NMUS3565 Music: Expressionism to New Wave, 11

NPHG0001 Intro. to Photography 1, 33NPHG1000 Intro. to Photography 1, 33NPHG1016 Field Photography in NYC, 33NPHG3005 Shadows, Textures, Reflections, 34

NPHI3288 On Relativism, 13NPHI3748 Philosophy of Pain, 13

NPOL2202 Intro. to Comparative Politics, 9NPOL3281 International Crimes, 9

NPRT0804 Portuguese on the Go: Level 1, 26

NPSY2001 Fundamentals of Psychology, 10NPSY2445 Object Relations, 10NPSY3401 Theories of Personality, 10

NSOC3731 Urban Planning After the Automobile, 9NSOC3766 Organizing Across Borders, 10

NSPN0804 Spanish on the Go: Level 1, 26NSPN0805 Spanish on the Go: Level 2, 26NSPN0806 Spanish on the Go: Level 3, 26NSPN0807 Spanish on the Go: Level 4, 26NSPN0901 Spanish Intermed. Brush-Up, 26NSPN1001 Spanish Level 1, 27NSPN1002 Spanish Level 2, 27NSPN1003 Spanish Intro. Intensive, 27NSPN1704 Spanish for Business, 27NSPN2003 Spanish Intermed. Intensive, 27

NSRW2800 Script Analysis, 17NSRW3810 Screenwriting 1, 17NSRW3844 Writing for Television, 17

NWRW0551 Lynn Emanuel Literary Salon, 19NWRW0552 John D’Agata Literary Salon, 19NWRW0553 Thomas Sayers Ellis Literary Salon, 19NWRW0554 Nicole Krauss Literary Salon, 19NWRW0555 Jonathan Dee Literary Salon, 19NWRW0556 Darin Strauss Literary Salon, 19NWRW1011 Mechanics of Writing, 20NWRW1104 Academic Writing, 20NWRW1108 Writing for Style, 20NWRW2301 Intro. to Fiction, 21NWRW2401 Intro. to Creative Nonfiction, 21NWRW3204 From Silence to Poem, 20NWRW3205 Poetry: Language of Music, 20NWRW3229 Poetry Lab, 20NWRW3315 Fiction Writing: Narrative, 21NWRW3403 Finding Your Voice in Nonfiction, 21NWRW3531 Experimental Writing, 22NWRW3532 Writing & Film, 22NWRW3590 Summer Writers Colony, 18NWRW3601 Writing for Newspapers & Magazines, 22NWRW3619 Intro. to the New Journalism, 22NWRW4223 Poetry Master Class: Ponsot, 20NWRW4310 Adv. Fiction Writing: Revise & Polish, 21

C O U R S E I N D E X

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61

SUBJECT INDEX

A

Academic Writing, 20 for ESL/EFL, 30Accounting, 36Acting, 34Advertising, 37 food products, 39Aesthetics, Cinema, 16Agriculture, 38Alexander Technique, 35America: see United StatesAnthropology, 9 eating/drinking, 25, 39 economic, 9Arabic Language, 24Architecture, Modern, 11Art History & Appreciation, 11 drawing at the Met Museum, 32Art Workshops, 32–33Art Therapy, 35

B

Bachelor’s Degree Program, 44Bataille, Georges, 18Biotechnology, 8British Cinema, 16British Literature, 12Brontë Sisters, 12Business, 36–37 media and film, 16 restaurant/culinary, 39 Spanish language for, 27 writing for, 15

C

Chinese Language, 24Cinema, 16 & creative writing, 22 filmmaking workshops, 15, 16Classical Literature, 12Communication, 14–15 business communication, 37 journalism, 21, 39Cookbook Publishing, 39Creative Arts Therapies, 35–36Criminal Justice, International, 9Cultural Issues in Therapy, 36Cultural Studies, 8, 9, 13, 14

D

Dance/Movement Therapy, 36Democracy, 8, 10Development, Social and Political, 9Developmental Psychology in Literature, 13Digital Media Production, 15Documentary Filmmaking, 16Drama Therapy, 36Dramatic Arts, 34Dramatic Literature, 12, 13Drawing Workshops, 32Drinking History, 39

E

Economics, 9English Language Skills for speakers of other languages, 29–31 writing fundamentals, 20English Language Teacher Training, 27–28Entrepreneurship, 37, 39Epic Plays, 13Epistemology, 13Essay Writing, 21Exercises, Physical, 34, 35Experimental Writing, 22

F

Fiction Writing, 21, 22 Summer Writers Colony, 18Film Studies, 15–16, 22 screenwriting, 17Finance for Business, 37Food Studies, 38–39 gastronomie (in French), 25French Language, 24–25French Literature, 12

G

Gastronomy, 25, 39Geography cross-border politics, 10 Latin American cities, 11German Language, 25Globalization, 9, 10, 11, 38Grammar, English, 20 for English language teachers, 28 for speakers of other languages, 29Graphic Design, 33

H

Healing & the Arts, 35, 36History, 8, 9, 11 art & architecture, 11 culinary, 39 of ideas, 13 literary, 12 of music, 11Horror Films, 16Human Rights, 9, 13Hunger, 38

I

International Social Activism, 10Italian Cinema, 16Italian Language, 25

J

Journalism, 15, 22 documentary filmmaking, 16Joyce, James, 12Justice, 9, 13

L

Latin Language, 24Latin American Cities, 11Law, International, 9Literary Prize Winners, 13Literature, 12–13 Summer Literary Salon, 19Love in Literature, 12

M

Management, Business, 36–37 restaurant, 39Marketing Food Products, 39Media Studies, 14–16 advertising, 37 journalism & feature writing, 22Meditation, 34Melville, Herman, 12Military Culture, 9Modernism art & architecture, 11 music, 11 literature, 12 philosophy, 13Music as communication, 14 history & appreciation, 12 instruction, 35Music Therapy, 36Mythology, 12

N

Nature & Natural Resources, 8, 38New York City Museums & Galleries, 11Nonfiction Writing, 15, 21–22 Summer Writers Colony, 18

O

Object Relations Theory, 10

P

Pain, Philosophy of, 13Painting Workshops, 32Performing Arts, 34, 35 in therapy, 36Personality Theory, 10Pilates, 34Philosophy, 13Photography, 33–34Poetry Writing, 20 Summer Writers Colony, 18Politics, 8, 9, 10 philosophy, 13Portuguese Language, 26Printmaking, Fine Art, 33Production, Motion Picture, 16Psychology, 10 creative arts therapies, 35–36 economic, 9 philosophical, 13Publishing, 39

R

Relativism, 13Restaurant Management, 39

S

Science, 8Screenwriting, 17Shakespeare, William, 12Social Movements, 8, 10Social Psychology, 10Sociology, 8, 9Spanish Language, 26–27Sports, 9

T

Tea Party Movement, 8Teaching English (ESOL), 27–28Television Writing, 17Theater: see Dramatic ArtsTOEFL, 31Transportation Planning, Politics of, 9

U

United States history & politics, 8 literature, 12, 13 music, 11Urban Studies, 9, 11

V

Video Production, 15

W

War, 9Writing Workshops, 18–22 corporate writing, 15 English as Second Language, 29–30 food writing, 39 screenwriting, 17

X

Xenophobia, 8, 9

Y

Yoga, 34

S U B J EC T I N D E X

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62

R EG I S T R AT I O N I N F O R M AT I O N

Drawing at the Metropolitan Museum NART1210

A 15 sessions. Tues & Thurs., 10:00 a.m.–12:40 p.m., beg. June 7. $620; includes museum entrance fee.

Susan Cottle

Limited to 12. Beginning students learn how to draw using the collection of the Metropolitan Museum of Art as subject

matter. Working from a different artwork or artifact each week, the course covers the fundamental principles and

techniques of drawing, including basic gestural studies, learning how to see form, and experimenting with different kinds

of mark making and materials. The setting and the small size of the class allow for instruction geared to the specific needs

of individual students. Bring an all-purpose sketch pad and a pencil to the first session. The first session meets at the Group

Registration desk in the lobby of the Metropolitan Museum, Fifth Avenue and 82nd Street. (3 credits)

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.

READING AND UNDERSTANDING THE COURSE DESCRIPTION

Number of class

meetings

Days and hours of

class sessions

Date of first

class session

Limited enrollment:

Register early if enrollment is limited.

Course master number:

Use this number with the section letter to register.

Noncredit

tuition*

Indicates that this course carries three credits. Most courses in this bulletin can be taken either on a noncredit basis or for undergraduate credit. The number of credits assigned to the course appears in the parentheses. For guidance in deciding whether to take a course for credit, see pages 42–43.

Other information

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

Section letter

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.


43 and visit the website at www.newschool.edu/online for

more information.

ONLINE

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63


REGISTRATION INFORMATION FORCONTINUING EDUCATION STUDENTS

Before Registering

• Select a course.• Note the course number and section

(for example, NLIT 1000 section A).• Decide whether to register as a noncredit, noncredit certificate, or

general credit student. Most students take courses for noncredit (the cheapest option; no grade or permanent record is kept). See pages 42–43 to learn more about registration options.

• Prepare payment. Full payment is due at the time of registration.

Tuition and Fees: Continuing Education

Student Status Tuition University Services Fees

Lab, Materials, etc. Fees

Noncredit Printed in each course description in this bulletin

Registration fee: $7 per term

Printed in course description if applicable

General Credit (Nondegree)

$1,055 per credit $60 per term Same as above

Noncredit Certificate

The noncredit tuition

$60 per term Same as above

Register 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; [email protected].

Register and Pay

• Online at www.newschool.edu/register.* Pay by MasterCard, Visa, American Express, or Discover.

• By phone at 212.229.5690 (Noncredit only)Hours: Monday–Friday, 9:15 a.m.–4:45 p.m., (closes at 3 p.m. on May 27; closed May 30, July 4, and Fridays from June 17–Aug. 12)Pay by MasterCard, Visa, American Express, or Discover.

• By fax to 212.229.5648Use the detachable registration forms in the back of this bulletin. Pay by MasterCard, Visa, American Express, or Discover.

• By mail to The New School, Registrar’s Office, 72 Fifth Avenue, New York, NY 10011Use 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: Monday–Thursday, 10:00 a.m.–5:45 p.m.

Friday, 10:00 a.m.– 4:45 p.m.(closes at 3:00 p.m. on May 27, closed May 30, July 4, and Fridays from June 17–Aug. 12)

Extended Hours: May 31–June 3: Tuesday–Thursday, 9:00 a.m.–5:45 p.m.

Friday, 9:00 a.m.–4:45 p.m.

June 6–10: Monday–Thursday, 9:00 a.m.–6:00 p.m. Friday, 9:00 a.m.–4:45 p.m.

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.

Confirmation of Registration

• There is no need to confirm your registration. If there is a problem registering you for a class, the Registrar’s Office will contact you.

• An official Statement/Schedule will be issued when your payment has cleared (mailed if you registered online or by phone or fax). Bring this to your class. (If you have not yet received it, you will still be admitted to class if your name appears on the course roster.) Also, bring a photo ID for admission to university buildings.

• Online confirmation is available at my.newschool.edu. Follow the links to look up your Net ID and set or reset your password. You will need your Student ID number (N plus 8 digits). Once you log in, select the Student tab to view your schedule.

• If you are a noncredit student and will need a Record of Attendance (for employer reimbursement or any other purpose), you must request that now. See page 50.

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64


Published by The New School for General Studies

Produced by Communications and External Affairs, The New School

The information published here represents the plans of The New School at the time of publication. The university reserves the right to change without notice any matter contained in this publication, including but not limited to tuition, fees, policies, degree programs, names of programs, course offerings, academic activities, academic requirements, facilities, faculty, and administrators. Payment of tuition or attendance at any classes shall constitute a student’s acceptance of the administration’s rights as set forth above.

Photography: Don Hamerman, Bob Handelman, Matthew Sussman,

Jada Vogt

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 [email protected] 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 May 30, July 4, and Fridays from June 17 through August 12.) There is a fee to replace a lost or stolen card.

Find Your Class Location

• Online at my.newschool.edu. Do not log in. Just select the Class Finder link. Room assignments can change, so check as close to your class start time as possible.

• In person on the day the class starts: room assignments are posted in the lobby at 66 West 12th St. (between Fifth & 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.

Withdrawal/Refund Policy

• To cancel your registration in a course, you must formally withdraw in writing to the Registrar’s 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 47–48. 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.

Add/Drop and Refund Deadlines

Classroom Courses

Schedule Deadline to add or change status

Deadline for tuition refunds(tuition charged)

Credit student withdrawalfor grade of “W”

11 or more sessions

Before 3rd session Before 1st session (full refund)Before 4th session (10% per session)

Between 4th & 7th sessions

6–10 sessions Before 2nd session Before 1st session (full refund)Before 3rd session (15% per session)

Between 3rd & 4th sessions

3–5 sessions Before 2nd session Before 1st session (full refund)Before 2nd session (30% charged)

Not applicable

1–2 sessions Before 1st session Before 1st session (full refund)

Not applicable


Before 3rd session May 25No refund after May 25

Before 7th session

Online Courses

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

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

End of 5th week

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Please provide all information requested on the registration form. Incomplete forms will not be processed. Fax to 212.229.5648 or

mail to: New School Registrar’s Office, 72 Fifth Ave., New York, NY 10011. Note: Post Office will not deliver without correct postage.

NONCREDIT REGISTRATION Term: SUMMER Year: 11 NOCR

THE NEW SCHOOL

If you have been a New School student before, enter your student ID number below. Term first attended New School

Student ID No. N Sex Birthdate

Last Name First Name Init.

Address Street

Apt. or c/o etc.

City State Zip

Home Phone –– Work Phone –– Ext.

Email

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

COURSE MASTER SECT. COURSE TITLE NONCREDITTUITION* REG. OFFICE USE

REGISTERED

DATE ____________ INIT. _______

PERSONAL DATA ENTERED

DATE ____________ INIT. _______

M

T

P

N X Y Z 9 9 9 9 A SAMPLE COURSE TITLE $ XXX

$

$

Check enclosed

Charge to MasterCard, Visa, Discover, AmEx Exp. Date

Account No.

Signature

Nonrefundable Registration Fee $ 7 BURSAR USE

DATE ___________________________

T # _____________ INIT. __________

Total of special fees(materials, etc.) $

Total enclosed$

*Stated in the course description with the schedule.

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Please provide all information requested on the registration form. Incomplete forms will not be processed. Fax to 212.229.5648 or

mail to: New School Registrar’s Office, 72 Fifth Ave., New York, NY 10011. Note: Post Office will not deliver without correct postage.

General credit students are nonmatriculated—not candidates for any New School degree. Credits for courses in this catalog are undergraduate

credits. If you have not previously registered for general credit at The New School or wish help in choosing courses, consult Academic Services

in the dean’s office before registering: 212.229.5615; [email protected]. Credits for courses taken prior to matriculation in a

degree program may be applicable to the degree, subject to evaluation at the time of matriculation.

All students are responsible for knowing the academic regulations published in this catalog. General credit registration for 9 credits or

more requires prior approval and must be completed in person. Schedule an advising appointment with Academic Services: 212.229.5615;

[email protected].

GENERAL CREDIT (NONDEGREE) Term: SUMMER Year: 11 NODG

THE NEW SCHOOL

If you have been a New School student before, enter your student ID number below. Term first attended New School

Student ID No. N Sex Birthdate

Last Name First Name Init.

Address Street

Apt. or c/o etc.

City State Zip

Home Phone –– Work Phone –– Ext.

Email

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 COURSE CREDITS** TUITION* REG. OFFICE USE

REGISTERED

DATE ____________ INIT. _______

PERSONAL DATA ENTERED

DATE ____________ INIT. _______

M

T

P

N X Y Z 9 9 9 9 A SAMPLE COURSE TITLE $ XXX

$

$

Check enclosed

Charge to MasterCard, Visa, Discover, AmEx Exp. Date

Account No.

Signature

Nonrefundable Registration Fee $ 60 BURSAR USE

DATE ___________________________

T # _____________ INIT. __________

Total of special fees (materials, etc.) $

Total enclosed$

*General credit tuition is $1,055 times number of credits. (The tuition listed with each course description is the non-credit tuition.)

**Credits are stated in the course description.

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HOW TO REGISTER




















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THE NEW SCHOOL66 West 12th Street / New York, NY 10011 / 212.229.5690 /Summer

2011

THE NEW

SCHOOL COU

RSE BULLETIN / Sum

mer 2

01

1 / Vol. 6

8 / No. 4

/Highlights

09/Street Fights: Urban Planning After the Reign of the Automobile

27/Spanish for Business

32/Drawing and Painting New York On-Site

37/New Venture Boot Camp

Studio art coursesThe studio art curriculum teams students with artist-teachers who live and work in New York City and beyond. From the Brooklyn Navy Yard to the Centre Pompidou, the National Park Service, and galleries and museums worldwide, our faculty are active in their chosen media and passionate about sharing their expertise in the classroom. The studio teaching method emphasizes individual instruction, helping students develop a unique drawing or painting practice. See page 32. www.newschool.edu/ce/visualandperformingarts

Summer writers colony Experience the writer’s life in New York City. This three-week intensive program consists of workshops (poetry, fiction, or nonfiction), literary salons featuring notable writers, and creative assignments in a supportive yet demanding atmosphere. Students can enroll in the colony on a credit or non-credit basis. See page 18. www.newschool.edu/summerwriterscolony

Certificate in teaching English (CTE)Designed for aspiring or working ESL teachers for whom a master’s degree is inappropriate or impractical, this five-course certificate emphasizes a communicative approach to English language instruction. This emphasis can help certificate earners find jobs with adult language programs in need of trained staff to work with immigrants, colleges in need of ESL instructors, and as private English language tutors. Complete the certificate in just two semesters. See page 27. www.newschool.edu/ce/englangteachingcert

www.

newschool.edu/

ReGIsTeRTodAY

THE NEWSCHOOLCONTINUINGEDUCATION COURSE BULLETIN