Summer_CE-Catalog-2016
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2<br />
CONTENTS<br />
3 Flexible Program Options<br />
4 Resources<br />
4 Campus Map<br />
5 Parsons School of Design<br />
6 Digital Design<br />
7 Graphic Design<br />
8 Fashion Design and Fashion Business<br />
11 Fine Arts, Foundation, and Photography<br />
12 Interior Design, Decorative Arts, and<br />
Architecture Studies<br />
Schools of Public Engagement<br />
16 Media, Film, and Technology<br />
20 Liberal Arts<br />
24 Languages<br />
29 Creative Writing<br />
35 Management, Leadership, and<br />
Entrepreneurship<br />
37 Mannes School of Music<br />
40 Registration Information<br />
43 University and Administrative Policies
Flexible<br />
Program<br />
Options<br />
NONCREDIT<br />
The majority of courses in this bulletin can be<br />
taken on a noncredit basis. Noncredit students<br />
pay tuition and fees as listed in the course<br />
descriptions. As a noncredit student, you receive<br />
the instructor’s evaluation of any assigned<br />
coursework you complete, but no letter grades<br />
are reported.<br />
Except for students in certificate programs<br />
(right), the university does not maintain a<br />
permanent or official record of noncredit enrollment.<br />
We can provide a noncredit record of<br />
attendance, which may be used for tuition<br />
reimbursement from your employer or for your<br />
own records. This record of attendance must be<br />
requested during the term in which the course is<br />
taken, and there is a fee for this service. Course<br />
prices listed throughout are for noncredit<br />
registration.<br />
CREDIT<br />
Consider registering for general credit in<br />
order to test your ability to handle college-level<br />
study, qualify for a salary increment from the<br />
Board of Education (NYC or other employer),<br />
make up for educational deficiencies (prerequisites<br />
for an MA, for example), fulfill a language<br />
requirement for graduate school, or advance in<br />
your career.<br />
A student interested in earning undergraduate<br />
college credits can register on a general credit<br />
basis for most courses in this bulletin, accumulating<br />
a maximum of 24 credits without<br />
matriculating. The student receives a letter<br />
grade in each course and is entitled to transcripts<br />
of record.<br />
Each student is responsible for meeting the<br />
specific requirements for credit for the course:<br />
the books to be read, the paper(s) to be written,<br />
and other criteria used for evaluation.<br />
Credits are usually transferable to undergraduate<br />
degree programs, but it is seldom possible<br />
to determine in advance whether credits will be<br />
accepted by a particular institution; that will be<br />
decided by the school and/or degree program.<br />
Students taking courses for transfer to another<br />
school should confirm that the credits will be<br />
accepted before they register.<br />
Fees listed in the catalog are for noncredit<br />
registration. If you elect to take a course for<br />
credit, tuition of $1,210 and $1,390 for the<br />
Schools of Public Engagement and Parsons<br />
courses, respectively, will be assessed in addition<br />
to these fees.<br />
<strong>CE</strong>RTIFICATE PROGRAMS<br />
You know what it takes to succeed in your<br />
chosen field, and you’re ready to take the next<br />
step. Parsons, Mannes, and the Schools of<br />
Public Engagement offer certificates of completion<br />
in various fields of study. A certificate<br />
attests to successful completion of a structured<br />
program of courses designed to establish<br />
proficiency in a specific field. Add a credential<br />
that employers will notice: a certificate in some<br />
of the nation’s fastest-growing industries, from<br />
The New School’s well-respected programs in<br />
design, business, and beyond.<br />
BENEFITS<br />
◊ Fast-track development of your skill set in a<br />
focused, rigorous environment on a schedule<br />
tailored to meet working professionals’ need for<br />
flexibility<br />
◊ Access to many of the same student services and<br />
resources as traditional matriculated students<br />
◊ Measurable growth in your area of focus<br />
◊ Increased earning potential from adding highvalue<br />
skills to your résumé<br />
◊ Demonstrated dedication to your field from<br />
committing to a specialized program of study<br />
<strong>CE</strong>RTIFICATE PROGRAM OPTIONS<br />
Indicates a certificate that is offered on a<br />
noncredit basis, meaning few if any prerequisites,<br />
pass/fail grading, and a simple<br />
application process. In many cases, you can<br />
just go ahead and sign up!<br />
Indicates a graduate-level certificate,<br />
<br />
meaning that the program is most appropriate<br />
for those who have already attained<br />
their bachelor’s degree or equivalent.<br />
Start exploring the requirements and options<br />
associated with your program of choice at<br />
newschool.edu/certificates.<br />
ART AND DESIGN AT PARSONS<br />
Graphic and Digital Design<br />
Fashion Design<br />
Fashion Business<br />
Fine Arts<br />
Interior Design<br />
MEDIA AND WRITING<br />
ESL<br />
Film Production<br />
Screenwriting<br />
Documentary Media Studies<br />
Media Management<br />
English as a Second Language<br />
ESL + Design<br />
ESL + Food<br />
Teaching English to Speakers of Other<br />
Languages<br />
LIBERAL ARTS<br />
Harm Reduction Certificate<br />
BUSINESS AND PROFESSIONAL DEVELOPMENT<br />
Leadership and Change<br />
Organization Development<br />
Get started at newschool.edu/certificates.<br />
All certificate students must have their programs<br />
approved by the appropriate course<br />
advisor before they register, must register in<br />
person, and must specifically request certificate<br />
status for each approved course at registration.<br />
Parsons certificate students do not need advisor<br />
approval prior to registration and do not need<br />
to register in person.<br />
Certificate students receive a grade of Approved<br />
(AP) or Not Approved (NA) at the conclusion of<br />
a course. (Credit students should consult their<br />
program advisor to find out the minimum letter<br />
grade required for certificate approval.)<br />
Permanent records are maintained for all<br />
certificate students, and transcripts are available.<br />
A student who has completed all the requirements<br />
of a certificate program should file the<br />
Petition for Certificate form, available at the<br />
Registrar’s Office for Public Engagement students.<br />
Parsons students should file with the<br />
Parsons Continuing Education Office at 2 West<br />
13th Street, room 506. Public Engagement<br />
certificates are conferred in January, May, and<br />
August; Parsons certificates are conferred in<br />
February, August, and October.<br />
ONLINE<br />
The New School has always been at the forefront<br />
of online learning, and we continue to<br />
bring adult students all over the world an array<br />
of innovative opportunities for study with the<br />
renowned faculties of Parsons School of Design<br />
and the Schools of Public Engagement.<br />
Visit newschool.edu/online to learn more.<br />
3<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO
Resources for<br />
Continuing Education<br />
Campus Directory<br />
4<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
STUDENT ID CARD<br />
Noncredit students will be mailed a nonphoto<br />
paper ID card at the beginning of every semester.<br />
Most certificate students and students registered<br />
for general credit are entitled to receive The<br />
New School’s photo ID, the newcard. Longdistance<br />
learners can also request a nonphoto<br />
version of the newcard.<br />
You can obtain your photo ID at the Campus<br />
Card Services office in the lower level of Fanton<br />
Hall/Welcome Center, 72 Fifth Avenue (at 13th<br />
Street), New York City.<br />
PUBLIC PROGRAMS<br />
The New School has always been a place where<br />
education is interwoven with public life. Our<br />
events connect the conversations of today and<br />
tomorrow to university curriculum. We offer<br />
all of our students, the larger community, and<br />
every New Yorker who cares about important<br />
issues an opportunity to witness history<br />
happening. Most events are free and open to<br />
the public, and are available online. Join the<br />
conversation at events.newschool.edu.<br />
w 21 st<br />
Johnson/<br />
Kaplan Hall<br />
66 W 12 St<br />
Eugene Lang<br />
College<br />
65 W 11 St<br />
Lang Annex<br />
64 W 11 St<br />
List Center<br />
6 E 16 St<br />
Parsons East<br />
25 E 13 St<br />
80 Fifth Avenue<br />
80 Fifth Ave<br />
w 21 st<br />
K<br />
Fanton Hall/<br />
Welcome Center<br />
72 Fifth Ave<br />
Arnhold Hall<br />
55 W 13 St<br />
113 University<br />
Place<br />
113 University Pl<br />
Sheila C. Johnson<br />
Design Center<br />
2 W 13 St,<br />
68 Fifth Ave, and<br />
66 Fifth Ave<br />
13th Street<br />
Residence<br />
118 W 13 St<br />
Loeb Hall<br />
135 E 12 St<br />
Stuyvesant Park<br />
318 E 15 St<br />
University Center/<br />
Kerrey Hall<br />
63 Fifth Ave and<br />
65 Fifth Ave<br />
71 Fifth Avenue<br />
71 Fifth Ave<br />
e 21 st<br />
Gramercy<br />
park<br />
20th Street<br />
Residence<br />
300 W 20 St<br />
The New School<br />
for Drama<br />
151 Bank St<br />
79 Fifth Avenue<br />
79 Fifth Ave<br />
PUBLIC<br />
ENGAGEMENT<br />
LIBRARIES<br />
w 20 st<br />
Chelsea<br />
w 20 st<br />
e 20 st<br />
Emphasizing the social sciences, the List Center<br />
Library is the principal library for New School<br />
students. The University Center Library houses a<br />
rich art and design collection. The Harry Scherman<br />
Library at Mannes College of Music is devoted<br />
to European and American classical music.<br />
Library services are available to all students<br />
with the newcard. Noncredit students must<br />
show a personal photo ID with their nonphoto<br />
paper ID card to use the library. Find more<br />
information at library.newschool.edu.<br />
WI-FI AC<strong>CE</strong>SS AND TECHNOLOGY LABS<br />
All continuing education students have access<br />
to campus wi-fi through either their New School<br />
or their New School Guest accounts. Some<br />
certificate students have additional access to<br />
campus technology labs, equipped with Mac<br />
and Windows workstations, laser printers, and<br />
plug-in stations for laptops. To learn more about<br />
the options available to you as part of your<br />
program, visit the tech help website and access<br />
directories at newschool.edu/information-<br />
technology/technology-labs.<br />
Hudson<br />
river<br />
9 av<br />
9 av<br />
Jane st<br />
West st<br />
meatpacking<br />
district<br />
gansevoort st<br />
w 12 st<br />
Greenwich st<br />
WASHINGTON st<br />
Hudson st<br />
BETHUNe st<br />
Horatio st<br />
Bank st<br />
8 av<br />
8 av<br />
Jane st<br />
Greenwich st<br />
8 av<br />
14 st<br />
8 av<br />
Hudson st<br />
w 12 st<br />
west<br />
village<br />
w 19 st<br />
w 18 st<br />
w 17 st<br />
w 16 st<br />
w 15 st<br />
w 14 st<br />
Greenwich av Greenwich av<br />
Bank st<br />
w 4 st w 4 st<br />
bleecker st<br />
w 11 st<br />
Perry st<br />
7 av<br />
7 av<br />
7 av s<br />
Charles st<br />
18 St<br />
14 st<br />
waverly pl<br />
w 10 st<br />
7 av s<br />
Christopher st<br />
Christopher st<br />
Sheridan Sq<br />
w 4 st<br />
6 av<br />
14 st<br />
6 av<br />
6 av<br />
6 av<br />
waverly pl<br />
washington pl<br />
w 19 st<br />
w 18 st<br />
w 17 st<br />
w 16 st<br />
w 15 st<br />
w 14 st<br />
w 13 st<br />
w 12 st<br />
w 11 st<br />
w 10 st<br />
w 9 st<br />
w 8 st<br />
5 av<br />
5 av<br />
Greenwich<br />
village<br />
5 av<br />
Washington<br />
square park<br />
Union Sq W<br />
University Pl<br />
University Pl<br />
Union<br />
square<br />
park<br />
broadway<br />
Park av S<br />
Union Square<br />
Broadway<br />
4 av<br />
Irving pl<br />
Astor pl<br />
8 st–nyu<br />
Lafayette St<br />
e 19 st<br />
e 18 st<br />
e 17 st<br />
e 16 st<br />
e 15 st<br />
e 14 st<br />
e 13 st<br />
e 12 st<br />
e 11 st<br />
e 10 st<br />
e 9 st<br />
Astor Pl<br />
noho<br />
gramercy<br />
Cooper Sq<br />
3 av<br />
3 av<br />
3 av<br />
3 av<br />
stuyvesant st<br />
st marks pl<br />
e 7 st<br />
e 6 st<br />
e 5 st<br />
2 av<br />
2 av<br />
east<br />
village<br />
2 av<br />
MANNES<br />
REGISTRATION<br />
INFO
arsons<br />
COURSE<br />
OFFERINGS
Digital DESIGN<br />
Digital design classes emphasize design and creativity while providing<br />
intensive technical training. Instruction is flexible and inclusive, enabling<br />
both the beginner and the advanced student to make great strides during<br />
the semester. See page 14 for details regarding prerequisites, skill levels, and lab access.<br />
Find more courses on media production on page 18.<br />
Graphic and Digital<br />
Design Certificate<br />
Can be completed online, on campus, or through<br />
a combination of online and on-campus study<br />
MAJOR CODE: GRDS<br />
Required Courses:<br />
◊ Color Theory, Graphic Design I,<br />
and Digital Graphics w/Illustrator I<br />
OR Graphic/Digital Basic Core<br />
plus<br />
◊ Digital Imaging w/Photoshop I<br />
◊ Graphic Design History<br />
plus<br />
◊ Typography I, Digital Layout with<br />
InDesign, and one (1) digital or graphic design<br />
elective course OR three (3) digital and/or<br />
graphic design elective courses<br />
Learn more and get started at<br />
newschool.edu/parsons-certificates.<br />
COMPUTING SKILLS<br />
PREPARATORY CLASSES<br />
Web Design Basics<br />
Frederick Murhammer<br />
X1 | 5 weeks | June 6–July 8<br />
This course covers front-end Web design<br />
programming. Students learn basic HTML<br />
(Hypertext Markup Language), the primary<br />
language used to create websites on the World<br />
Wide Web. Students also learn basic Cascading<br />
Style Sheets (CSS). CSS is a styling language that<br />
provides greater typographical control than can<br />
be achieved with HTML alone, and is now the<br />
standard for layout and positioning. Students<br />
also learn how to upload a website to a Web<br />
server. Students should enter this class already<br />
possessing computer literacy and the ability<br />
to surf the World Wide Web. 1 CREDIT<br />
PCDD 0510 $349<br />
WordPress Basics<br />
David Marcinkowski<br />
X1 | 5 weeks | June 6–July 8<br />
This course is an introduction to WordPress, a<br />
powerful open-source content management<br />
system. Learn how to use and customize this<br />
system to create dynamic websites. Students<br />
are introduced to the basics of CSS, HTML, and<br />
Javascript. 1 CREDIT<br />
PCDD 1300 $349<br />
Illustrator Basics<br />
John Jay Cabuay<br />
X1 | 5 weeks | June 6–July 8<br />
Learn the fundamentals of this powerful<br />
vector-based illustration and graphic design<br />
program. Draw and design using the basic tools<br />
and features. Create curves, lines, and shapes<br />
to make objects. Manipulate, copy, and color<br />
your objects and arrange them into smoothlined,<br />
clean, scalable graphics or artwork for<br />
both print and Web. Prerequisite: Mac Basics<br />
or equivalent. Online students must have<br />
Illustrator CC (Mac or Windows platform).<br />
1 CREDIT<br />
PCDD 0502 $349<br />
Photoshop Basics<br />
J. Michelle Hill<br />
Digital Imaging with<br />
Photoshop I<br />
Kenneth Millington<br />
X1 | 9 weeks | June 6–Aug. 5<br />
Acquire a working knowledge of this industrystandard<br />
software, used for print, webpages,<br />
animation, presentation, video production, and<br />
enhancement of traditional and digital photography.<br />
Explore scanning and color correction,<br />
tools and layers for image compositing,<br />
elemental retouching, and type treatments.<br />
Prerequisite: Mac Basics, Photoshop Basics,<br />
or equivalent. Online students must have<br />
Photoshop CC (Mac or Windows platform).<br />
2 CREDITS<br />
PCDD 1402 $699<br />
Parsons Continuing Education<br />
<strong>Summer</strong> Info Session<br />
Sheila C. Johnson Design Center<br />
Kellen Auditorium<br />
Thursday, May 12, <strong>2016</strong>, 6:30–8:00 p.m.<br />
6<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
online learning<br />
Each semester, The New School brings you<br />
classes that fit your life as well as they fit<br />
your screen—be it mobile, desktop, tablet,<br />
or watch. Look for the computer icon to find<br />
all of our online classes.<br />
Learn more about online learning at<br />
The New School at newschool.edu/online.<br />
Web Design I<br />
Frederick Murhammer<br />
X1 | 9 weeks | June 6–Aug. 5<br />
Students learn how to hand-code webpages<br />
with HTML and Cascading Style Sheets. They<br />
discuss and master the elements of good Web<br />
design, the basics of user interface, and recommended<br />
standards. Toward the conclusion of<br />
the course, each student designs a cohesive<br />
website. Online class requires (free online) code<br />
editors such as TextWrangler for Mac or<br />
Notepad++ for PC. 2 CREDITS<br />
PCDD 1100 $699<br />
A | 5 sessions | beg. June 8 | W 7–9:50 pm<br />
Vasilija Zivanic<br />
X1 | 5 weeks | June 6–July 8<br />
Learn the fundamentals of this digital image<br />
manipulation software application. Acquaint<br />
yourself with the intuitive interface, features,<br />
and tools. Customize palettes, control layers,<br />
tweak scans, and master selections to create<br />
the look you want. Prerequisite: Mac Basics<br />
or equivalent. Online students must have<br />
Photoshop CC (Mac or Windows platform).<br />
1 CREDIT<br />
PCDD 0503 $349<br />
Join us for the Parsons Continuing<br />
Education summer information session,<br />
given by our program director, Melinda<br />
Wax. Faculty will be on hand to discuss<br />
the latest courses and noncredit certificate<br />
options in all areas of study, including<br />
digital and graphic design, fashion design<br />
and fashion business, fine arts, interior<br />
design and decorative arts, and more!<br />
RSVP at newschool.edu/parsonsinfo.<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
Digital Graphics<br />
with Illustrator I<br />
Ivan Rivera<br />
X1 | 9 weeks | June 6–Aug. 5<br />
This course is for the design student who needs<br />
a comprehensive and intensive introduction to<br />
Illustrator. Learn to draw, delineate, and design<br />
electronically with this standard vector-based<br />
illustration and graphic design program. Create<br />
curves, lines, and shapes to make objects that<br />
can be colored, manipulated, moved, duplicated,<br />
scaled, and rotated, generating smooth-lined,<br />
clean, scalable graphics or artwork for both<br />
print and the Web. Use this course to make<br />
Illustrator an important part of your digital<br />
graphics tool kit. Prerequisite: Mac Basics,<br />
Illustrator Basics, or equivalent. Online students<br />
must have Illustrator CC (Mac or Windows<br />
platform). 2 CREDITS<br />
PCDD 1404 $699<br />
Digital Layout with<br />
Adobe InDesign<br />
Anne Finkelstein<br />
X1 | 9 weeks | June 6–Aug. 5<br />
In this class, students explore the fundamentals<br />
of InDesign, including all aspects of the page<br />
layout process. Importing, creating type, and<br />
working with imagery are covered extensively.<br />
Production shortcuts for print, PDF, and the<br />
Web are discussed. Prerequisite: Mac Basics<br />
or equivalent. Online students must have<br />
InDesign CC (Mac or Windows platform).<br />
2 CREDITS<br />
PCDD 1450 $699<br />
Graphic Design<br />
Today’s graphic designers must stay attuned to the rapidly changing<br />
image market. The following courses enable students to gain the tools<br />
and skills they need to be great designers. Learn how to apply design skills<br />
digitally through our courses in digital design.<br />
Graphic and Digital<br />
Design Certificate<br />
Can be completed online, on campus, or through<br />
a combination of online and on-campus study<br />
MAJOR CODE: GRDS<br />
Required Courses:<br />
◊ Color Theory, Graphic Design I,<br />
and Digital Graphics w/Illustrator I<br />
OR Graphic/Digital Basic Core<br />
plus<br />
◊ Digital Imaging w/Photoshop I<br />
◊ Graphic Design History<br />
plus<br />
◊ Typography I, Digital Layout with<br />
InDesign, and one (1) digital or graphic design<br />
elective course OR three (3) digital and/or<br />
graphic design elective courses<br />
Learn more and get started at<br />
newschool.edu/parsons-certificates.<br />
Find all course listings and register at<br />
newschool.edu/ce/classes or by calling<br />
212.229.5620.<br />
Graphic Design I<br />
Emily Singer<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
Anette Millington<br />
X1 | 9 weeks | June 6–Aug. 5<br />
Learn design fundamentals and concept development<br />
as they relate to typography,<br />
composition, and color. Discover what makes<br />
the difference between ordinary images and<br />
powerful, effective graphics. Strengthen your<br />
design communication skills, and develop your<br />
style and vision as you transform your concepts<br />
into finished designs. Online section requires<br />
access to a scanner. 2 CREDITS<br />
PCGA 1005 $699<br />
Typography I<br />
Etta Siegel<br />
A | 12 sessions | beg. June 7 | T, Th 7–9:30 pm<br />
Carmile Zaino<br />
X1 | 9 weeks | June 6–Aug. 5<br />
An in-depth understanding of typographic<br />
concepts and methods is essential for effective<br />
visual communication. Students examine the<br />
evolution of the alphabet and the history and<br />
basics of typographic style (with an emphasis<br />
on 20th-century type design and application).<br />
Projects help students understand the difference<br />
between legibility and readability and develop a<br />
discerning eye and the ability to create effective<br />
and expressive type designs. The impact of<br />
technology on type design and the work of<br />
typographic innovators are discussed. Online<br />
section requires access to a scanner. 2 CREDITS<br />
PCGA 1001 $699<br />
Graphic Design History<br />
Anna Daley<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
James Reeves<br />
X1 | 9 weeks | June 6–Aug. 5<br />
This course covers the history of graphic design<br />
from the mid-19th century through the digital<br />
revolution. Influential movements are examined,<br />
including arts and crafts, art nouveau, Dada,<br />
Bauhaus, Neue Grafik, and DIY punk. Students<br />
explore the evolution of the discipline from<br />
typesetting to lithography to digital design and<br />
investigate the relationship of graphic design to<br />
propaganda, advertising, corporate branding,<br />
and social networking. 2 CREDITS<br />
PCGA 1900 $699<br />
Business Basics:<br />
Intellectual<br />
Property and<br />
Licensing<br />
Linda Saint Marc<br />
X1 | 5 weeks | June 6-July 8 | TBA<br />
Protect your ideas, designs, and creative works.<br />
Gain an understanding of intellectual property<br />
law and learn to identify and protect copyright,<br />
trademark, patent, and domain rights. Learn<br />
how to use licensing to turn intellectual property<br />
into money. Explore key topics using a<br />
variety of realistic case studies and your own<br />
concepts. Examine the roles of creator, licensor,<br />
agent, and licensee. Develop your own multicategory<br />
licensing program. Sessions focus on<br />
licensing agreements, partner selection, deal<br />
negotiations, brand licensing sales tools, and<br />
royalty revenue calculations. No business<br />
experience is required. 1 CREDIT<br />
7<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
PCGA 2020 $349<br />
ONLINE CLASSES
Fashion Design and<br />
Fashion Business<br />
Fashion design merges sketching and general visual skills with the power<br />
of the imagination. Courses range from the general, like design sketching,<br />
to the specialized, like costume design. Fashion business courses, which<br />
teach basic business practices in the context of fashion and design,<br />
prepare students to work in a variety of fields in the fashion industry,<br />
including marketing, retailing, and merchandising.<br />
Find more courses on Management, Leadership, and Entrepreneurship on page 36.<br />
Design Sketching I<br />
Anna Kiper<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
In the fashion world, new clothing designs are<br />
presented in the form of hand-drawn sketches<br />
before being chosen to go into production.<br />
Designers start with a croquis, a quick sketch of<br />
the traditional fashion figure that serves as the<br />
base for the design of clothing and accessories,<br />
then add color and details to the garments. This<br />
is a basic course in making a designer’s sketch,<br />
working from live models to learn drawing skills,<br />
fundamental anatomy, and the dynamics of<br />
8<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
movement in preparation for producing fashion<br />
illustrations. Attention is given to both the<br />
PUBLIC<br />
ENGAGEMENT<br />
fashion figure and human proportions.<br />
Fashion Design<br />
Certificate<br />
Fashion Business<br />
Certificate<br />
2 CREDITS<br />
PCFD 1001 $699<br />
MAJOR CODE: FASH<br />
Required Courses:<br />
◊ Color Theory, Design Sketching I,<br />
Construction Techniques I,<br />
OR Fashion Design Basic Core<br />
plus<br />
◊ Construction Techniques II<br />
◊ Fashion Flats<br />
◊ Fashion History elective<br />
plus<br />
◊ Two (2) elective courses<br />
Learn more and get started at<br />
newschool.edu/parsons-certificates.<br />
Can be completed online, on campus, or through<br />
a combination of online and on-campus study<br />
MAJOR CODE: FSHB<br />
Required Courses:<br />
◊ Consumer Behavior, Fashion Merchandising,<br />
The Medium of Fashion: Textiles, Worth<br />
to Westwood: Fashion from the 19th to<br />
the 21st Century, Retail Buying, and Fashion<br />
Marketing in a Global Environment<br />
plus<br />
◊ Two (2) fashion elective courses<br />
Learn more and get started at<br />
newschool.edu/parsons-certificates.<br />
Fashion Flats<br />
John Jay Cabuay<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
X1 | 9 weeks | June 6–Aug. 5<br />
Flat sketching is an essential part of garment<br />
production. It communicates details in the<br />
design and construction of a garment, from<br />
concept to marketing. This course introduces the<br />
professional techniques used to create fashion<br />
flats, ranging from traditional hand sketching to<br />
the use of Adobe Illustrator to produce sketches<br />
digitally in a vector format. Prerequisite: Mac<br />
Basics or equivalent; experience with Adobe<br />
Illustrator or Photoshop is a plus. 2 CREDITS<br />
MANNES<br />
PCFD 2903 $699<br />
REGISTRATION<br />
INFO<br />
Construction<br />
Techniques I<br />
Phyllis De Verteuil<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
eNewsletter Sign Up at<br />
newschool.edu/thenew<strong>CE</strong>Info<br />
Learn basic sewing, patternmaking, and draping<br />
techniques, along with basic principles of design.<br />
Topics covered include machine and hand sewing;<br />
ONLINE CLASSES
cutting and zipper application; and slopers, skirts,<br />
bodices, collars, sleeves, and three-dimensional<br />
muslin interpretation. 2 CREDITS<br />
PCFD 1300 $719<br />
Construction<br />
Techniques II<br />
Tsetsilia Tsypina<br />
A | 12 sessions | beg. June 7 | T, Th 7–9:30 pm<br />
Building on the basic draping and patternmaking<br />
skills learned in Construction Techniques I,<br />
explore intricate draping exercises to design<br />
more tailored apparel and study advanced<br />
patternmaking applications. Make muslin tests<br />
of several garments and develop patterns for<br />
stretch fabrics. Use fabric to create a finished<br />
garment. Prerequisite: Basic Core or Construction<br />
Techniques I. 2 CREDITS<br />
PCFD 1301 $719<br />
Sewing<br />
Phyllis De Verteuil<br />
A | 10 sessions | beg. June 7 | T, Th 7–9:50 pm<br />
Learn to sew simple garments using industrial<br />
equipment. Acquire the basic skills of cutting,<br />
construction, and finishing using a commercial<br />
pattern. Learn about fabric selection and<br />
practice hand sewing techniques. You will need<br />
a home sewing machine to complete homework<br />
assignments. Bring to the first class a half<br />
yard of muslin, cotton thread, a tape measure,<br />
scissors, a needle, and a ruler. 2 CREDITS<br />
PCFD 1201 $719<br />
Find all course listings and register at<br />
newschool.edu/ce/classes or by calling<br />
212.229.5620.<br />
Fabric Selection and<br />
Design Style<br />
Salvatore Cesarani<br />
A | 6 sessions | beg. June 7 | T 7–9:30 pm<br />
Explore fabric research and color theory before<br />
drawing your own design. Develop color swatch<br />
boards like those used by designers to present<br />
their season collections. Discuss inspiration and<br />
personal style while selecting fabric swatches.<br />
As a final step, create an original finished<br />
design, sure to be a colorful addition to your<br />
portfolio. Three sessions of this course meet<br />
during daytime hours at fiber shows and mills;<br />
attendance is required. 1 CREDIT<br />
PCFD 1261 $349<br />
faculty profile:<br />
John Jay Cabuay<br />
John Jay Cabuay is a graduate of FIT/SUNY<br />
with a BFA in Fashion Illustration. Upon<br />
graduation, he sought to broaden his<br />
opportunities by building a portfolio that<br />
would launch him into new markets while<br />
allowing him to maintain a foothold in the<br />
fashion industry. His work has graced the<br />
covers of the Washington Post, the New<br />
York Observer, and the New Yorker. His<br />
illustrations have appeared on book jackets<br />
worldwide, and he counts Simon & Schuster<br />
and Louis Vuitton USA among his clients.<br />
He is featured in the book 100 Illustrators<br />
(Taschen). An adjunct professor at Parsons<br />
since 2006, John Jay continues to provide<br />
students with inspiration and guidance<br />
through his teaching of Fashion Illustration,<br />
Design Sketching I and II, Illustrator Basics,<br />
Fashion Flats, and Visual Communication.<br />
Medium of Fashion:<br />
Textiles, Structure,<br />
and Surface<br />
Tiffany Webber<br />
X1 | 9 weeks | June 6–Aug. 5<br />
A practical exploration of the materials, elements,<br />
and techniques used in the modern<br />
apparel and fashion industry. Topics include<br />
natural and man-made fibers, yarns, textile<br />
structures such as knits and woven fabrics,<br />
garment structure, practical as well as decorative<br />
trims, and surface design (printing, dyeing,<br />
and embellishment). Geared to students of<br />
fashion design and design professionals interested<br />
in understanding the “how” as well as the<br />
“why” of textiles, this course covers the components<br />
involved in the design and manufacture<br />
of apparel and accessories. 2 CREDITS<br />
PCFD 1270 $699<br />
Worth to Westwood:<br />
Fashion from the 19th<br />
to the 21st Century<br />
Tiffany Weber<br />
X1 | 9 weeks | June 6–Aug. 5<br />
Students are introduced to Western fashion<br />
dating from the middle of the 19th century to<br />
the present day. Broad thematic considerations<br />
include the nature of fashion (what it is and<br />
what it does), its relationship to modernity,<br />
production and consumption, art, globalization<br />
and customization, and identity and the body.<br />
The class discusses the relationship of key<br />
designers, events, and movements to these<br />
broad themes, covering the work of Worth and<br />
Westwood, the department store and dress<br />
reform, postmodernism, and anti-fashion.<br />
2 CREDITS<br />
PCFD 1802 $699<br />
Fashion<br />
Merchandising<br />
Marie Johnson<br />
A | 12 sessions | beg. June 7 | T, Th 7–9:30 pm<br />
Joan Duncan<br />
X1 | 9 weeks | June 6–Aug. 5<br />
Study the fundamentals of merchandising:<br />
market research, planning and control, product<br />
development, promotion, and presentation.<br />
Analyze case studies outlining strategies used<br />
by manufacturers and retailers. Study the<br />
impact of consumer behavior, its relationship<br />
to forecasting, and the importance of global<br />
merchandising. 2 CREDITS<br />
PCFD 1860 $699<br />
Retail Buying<br />
Phyllis Shapiro<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
Lori Bae<br />
X1 | 9 weeks | June 6–Aug. 5<br />
Learn to work with a retail buyer or become one<br />
yourself. This course is essential for managers,<br />
retail business owners, and all manufacturer’s<br />
account representatives. Topics include open to<br />
buys, cumulative markups, shortages, vendor<br />
analysis, and stock sales. Students learn to buy<br />
or communicate with buyers on their level and<br />
complete practical and realistic assignments.<br />
2 CREDITS<br />
PCFD 1871 $699<br />
#THENEW<strong>CE</strong><br />
#LEARNGROWREPEAT<br />
9<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
Fashion Trends<br />
Patrick Hughes<br />
X1 | 9 weeks | June 6–Aug. 5<br />
What is the fashion news? This course examines<br />
significant cultural phenomena that shape the<br />
new sensibilities in fashion. Historically based<br />
slide lectures cover the themes of revolution,<br />
music, cosmopolitanism, film, the influence of<br />
couture, memory, and the ensuing acquisition<br />
of the look. This class incorporates roundtable<br />
discussions and viewings of current collection<br />
showings from the world’s fashion capitals.<br />
2 CREDITS<br />
PCFD 1820 $699<br />
Consumer Behavior<br />
Marie Johnson<br />
X1 | 9 weeks | June 6–Aug. 5<br />
Today’s competitive marketing climate has<br />
led many companies to explore theories of<br />
consumer behavior. This course focuses on the<br />
profile of the consumer—psychographics and<br />
demographics—and consumer interests,<br />
with an emphasis on generational marketing.<br />
Segmented and niche markets and their development<br />
are also discussed. 2 CREDITS<br />
PCFD 1855 $699<br />
Fashion<br />
Entrepreneurship<br />
Donna Berger<br />
X1 | 9 weeks | June 6–Aug. 5<br />
Students aspiring to become entrepreneurs in<br />
the fashion industry examine the skills needed<br />
to conceive, finance, open, and operate a<br />
successful fashion business. Through collaborative<br />
research and hands-on practice, students<br />
learn what’s involved in opening a business and<br />
navigating the complexities of working with a<br />
team. Students learn to create business models<br />
and structure legal business organizations, and<br />
they explore the details of financing and insurance.<br />
2 CREDITS<br />
PCFD 1840 $699<br />
Online Retailing<br />
Joshua Williams<br />
X1 | 9 weeks | June 6–Aug. 5<br />
This course introduces students to the online<br />
retailing environment and examines a variety of<br />
retail models, from the multichannel strategies<br />
of large retailers to small niche concepts.<br />
Students learn the retail terminology of the<br />
online fashion marketplace and compare Web<br />
and traditional brick-and-mortar or catalog<br />
retail formats. Special attention is paid to online<br />
Exhibitions at<br />
the Sheila c. Johnson<br />
design center<br />
Exhibitions at the Sheila C. Johnson Design<br />
Center galleries are at the forefront of<br />
political and social engagement through art<br />
and design. This past fall and spring, our<br />
galleries featured a number of innovative<br />
and thoughtful exhibitions, such as Mass<br />
Observation 2.0, which was part exhibition,<br />
part archive, and part platform for<br />
workshops, events, and talks investigating<br />
forms of communication and relatedness<br />
under the influence of new technologies; a<br />
showcase of the diverse work of Parsons<br />
alumni; the work of Abounaddara, the<br />
anonymous Syrian collective and winner of<br />
the Vera List Center Prize for Art and Politics,<br />
proposing the right to the image; and an<br />
experimental traveling exhibition focusing<br />
on the complex historical relationships of<br />
Cambodia, the United States, and France,<br />
in which student curators explored<br />
“futurographies”—propositions that were,<br />
never were, will never be, or could be. For<br />
more details, visit newschool.edu/sjdc.<br />
10<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
consumers’ unique shopping habits, preferences,<br />
and responses to incentives. The course<br />
also examines methods of retail promotion in<br />
an interactive online environment and the<br />
importance of social media and user-generated<br />
MANNES<br />
content. Students develop a theoretical and<br />
practical understanding of online retail store<br />
REGISTRATION<br />
INFO<br />
design and ways to build profitable customer<br />
relationships. 2 CREDITS<br />
PCFD 1875 $699<br />
More questions about a class? Get in touch!<br />
ce@newschool.edu<br />
ONLINE CLASSES
FINE ARTS,<br />
FOUNDATION, AND<br />
PHOTOGRAPHY<br />
Beginning and advanced students draw using<br />
their own approach while remaining aware of<br />
the solutions reached by successful artists<br />
throughout history. Critiques and discussion<br />
help students develop analytic and evaluative<br />
skills. Instruction will be one-on-one and geared<br />
to the needs of each student. Drawing sites<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
Fine arts and foundation courses provide a basis for all the art and design<br />
disciplines. Beginning artists and illustrators are introduced to essential<br />
tools and ideas, while those with more experience develop their skills and<br />
creativity in more advanced courses.<br />
may include the High Line, The Met, the Central<br />
Park Zoo, and the Central Park Conservatory<br />
Garden. 1 CREDIT<br />
PCFA 0140 $349<br />
11<br />
Find courses on Arts and Social Engagement on page 21.<br />
Painting I<br />
Dik Liu<br />
PUBLIC<br />
ENGAGEMENT<br />
Fine Arts Certificate<br />
MAJOR CODE: FINE<br />
Required Courses:<br />
◊ Color Theory, Drawing I, Painting I<br />
plus<br />
◊ Life Drawing<br />
◊ Painting II<br />
plus<br />
◊ Three (3) elective courses<br />
Learn more and get started at<br />
newschool.edu/parsons-certificates.<br />
Color Theory<br />
Richard Beenen<br />
A | 12 sessions | beg. June 7 | T, Th 7–9:30 pm<br />
Daniel McDonald<br />
X1 | 9 weeks | June 6–Aug. 5<br />
Nuno Campos<br />
X2 | 9 weeks | June 6–Aug. 5<br />
Discover color and its implications for designers<br />
and artists. Study ideas of space and the use of<br />
color to solve spatial problems. Look at color<br />
harmony and the way colors interact, as well<br />
as color qualities and combinations. Online<br />
students must have access to a scanner.<br />
2 CREDITS<br />
PCFA 1100 $699<br />
Drawing I<br />
Ellen Evjen<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
For those who have never picked up a pencil and<br />
beginners who prefer sticking to the basics. The<br />
class discusses form, drawing materials, line, and<br />
shading. Students learn about perspective, foreshortening,<br />
gesture, drapery, and portraiture. The<br />
class includes some life drawing from the model.<br />
Bring to the first class vine charcoal, a pencil, an<br />
eraser, and an 18" × 24" newsprint pad. 2 CREDITS<br />
PCFA 0501 $699<br />
Drawing in<br />
New York City<br />
Michelle Greene<br />
A | 6 sessions | beg. June 8 | W 12:10–2:40 pm<br />
This course gets you out into the city drawing<br />
at indoor and outdoor locations. You’ll learn<br />
how to depict a landscape or interior in an<br />
expressive and cohesive composition that<br />
A | 12 sessions | beg. June 7 | T, Th 7–9:30 pm<br />
This basic painting studio begins with an<br />
examination of the use of color, composition,<br />
spatial structure, and transition. Students work<br />
with a variety of observed sources, including the<br />
figure model, while receiving guidance on issues<br />
they are struggling with. Art history and contemporary<br />
art are incorporated. Bring to the<br />
first class a small tube of ivory black oil paint, a<br />
small tube of titanium white oil paint, a small<br />
can of Turpenoid or odorless turpentine, a paper<br />
palette pad, a small jar, several oil painting<br />
brushes (#6, #8, #10, flat, bright, round), and<br />
one canvas or prepared board (10" × 12").<br />
2 CREDITS<br />
PCFA 1401 $699<br />
“Art is not for the few, for the talented,<br />
for the genius, for the rich, nor the<br />
church. Industry is the nation’s<br />
life, art is the quality of beauty in<br />
expression, and industrial art is the<br />
cornerstone of our national art.”<br />
FRANK ALVAH PARSONS, Former<br />
Director, Parsons School of Design<br />
Watercolor<br />
Beverly Brodsky<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
Beginning and advanced students explore all<br />
facets of watercolor painting and develop their<br />
technical ability and creativity. A variety of<br />
styles and approaches are demonstrated,<br />
including wet-on-wet, glaze, and washes.<br />
Subjects covered include landscapes, flowers,<br />
and buildings, with an emphasis on design and<br />
color. The development of students’ personal<br />
vision is encouraged. 2 CREDITS<br />
PCFA 1414 $699<br />
Find all course listings and register at<br />
newschool.edu/ce/classes or by calling<br />
212.229.5620.<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
captures value, space, form, and movement.<br />
ONLINE CLASSES
INTERIOR DESIGN, DECORATIVE<br />
ARTS, AND ARCHITECTURE STUDIES<br />
Interior design and architecture studies courses give students an<br />
Residential Interior<br />
Design<br />
Ferruccio Babarcich<br />
A | 12 sessions | beg. June 7 | T, Th 7–9:30 pm<br />
Explore the possibilities of architectural design<br />
of interior space for the private home and<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
awareness of spatial organization. Decorative arts courses introduce<br />
students to antiques and furnishings and the history of interiors.<br />
Interior Design<br />
Certificate<br />
MAJOR CODE: INTD<br />
Required Courses:<br />
◊ Color Theory, Basic Drafting, and Basic<br />
Interior Space Planning OR Interior Design<br />
Basic Core<br />
plus<br />
◊ Interior Rendering, Perspective Drawing<br />
for Interiors, and Interior Design (or<br />
Residential Interior Design) OR History of<br />
Interiors, 1400 to 1800; History of Interiors,<br />
1800 to 2000; and Antiques Connoisseurship<br />
plus<br />
◊ Two (2) elective courses<br />
Learn more and get started at<br />
newschool.edu/parsons-certificates.<br />
Basic Interior<br />
Space Planning<br />
Catharine Pyenson<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
Nishan Kazazian<br />
B | 12 sessions | beg. June 7 | T, Th 3:50–6:20 pm<br />
This is an introduction to planning interior<br />
spaces for students without drafting skills. Learn<br />
what it means to be an interior designer and<br />
apply conceptual approaches to interior design<br />
problems. Through sessions on color, scale and<br />
proportion, lighting, furniture arrangement, floor<br />
and wall treatments, and client psychology,<br />
learn to conceptualize and plan creative solutions<br />
for interior spaces. Master freehand drawing of<br />
floor plans. Complete one interior design project,<br />
from beginning concept through finished<br />
visual and verbal presentation. Learn about the<br />
use of equipment, tools, and scale drawings.<br />
No experience in interior design is necessary.<br />
2 CREDITS<br />
PCID 1001 $699<br />
Basic Drafting<br />
Marlisa Wise<br />
A | 12 sessions | beg. June 7 | T, Th 7–9:30 pm<br />
An introduction to the preparation of drawings<br />
for architectural purposes. Topics covered include<br />
identification and use of drafting equipment,<br />
drafting in scale, basic lettering, line weights, and<br />
standard notation conventions. The emphasis is<br />
on orthographic projections related to floor plans,<br />
elevations, and ceiling plans. Trade information<br />
related to the practice of architectural and<br />
interior design is integrated throughout the<br />
course. Drafting tools are required. Materials<br />
cost approximately $100. 2 CREDITS<br />
PCID 1002 $699<br />
Find all course listings and register at<br />
newschool.edu/ce/classes or by calling<br />
212.229.5620.<br />
Interior Rendering<br />
Constance Johannsen<br />
A | 12 sessions | beg. June 7 | T, Th 3:50–6:20 pm<br />
Learn about rendering materials, methods, and<br />
techniques. Use watercolor, marker, pencil, ink,<br />
and mixed media to learn color mixing and<br />
color theory, as well as shade and shadow.<br />
Apply rendering techniques to room drawings,<br />
plans, and elevations. Make media comparisons<br />
to determine the best use for each finish on the<br />
basis of your abilities. Use what you’ve learned<br />
to create presentations using color and materials<br />
boards. 2 CREDITS<br />
PCID 1003 $699<br />
“All the gossip and craziness becomes<br />
a kind of sustained narrative which, in<br />
turn, can become history. It’s scary.”<br />
BARBARA KRUGER, Parsons School of<br />
Design alumna<br />
Perspective Drawing<br />
for Interiors<br />
Pedro Cuni<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
Learn the mechanical skills needed to visually<br />
communicate spatial concepts. Develop the<br />
ability to translate floor plans into threedimensional<br />
interiors by exploring the principles<br />
of one- and two-point perspective drawing.<br />
Learn about isometric views, plan and section<br />
perspective, introductory pencil rendering, and<br />
concepts of light and shadow. 2 CREDITS<br />
PCID 1005 $699<br />
apartment. Participate in exercises geared<br />
to finding viable and interesting solutions to<br />
design problems such as window, ceiling,<br />
doorway, floor, and wall treatments. Review<br />
drafting techniques that allow you to present<br />
projects in a professional manner. Concentrate<br />
on space planning, furniture, color, and lighting.<br />
Explore materials, methods, and professional<br />
practices. Prerequisite: Basic Drafting, Basic<br />
Interior Space Planning, Perspective Drawing<br />
for Interiors, or the equivalent. 2 CREDITS<br />
PCID 1205 $699<br />
Showrooms: A Design<br />
Resource<br />
Yael Tadir<br />
A | 12 sessions | beg. June 6 | M, W 12:10-2:40 pm<br />
Explore some of the industry’s finest showrooms<br />
through instructor-guided tours and<br />
lectures. Bring your design and resource<br />
knowledge up-to-date. View fabrics, lighting,<br />
and furniture, as well as window, wall, and<br />
floor coverings. The first class meets at the<br />
Greenwich Village campus; subsequent classes<br />
meet off campus at a variety of Manhattan<br />
locations. 2 CREDITS<br />
PCID 1730 $699<br />
Furniture Design<br />
Jesse Resnick<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
Students investigate all aspects of furniture<br />
design, including materials, fabrication techniques,<br />
form, style, drawing, and production.<br />
Emphasis is placed on scale, human factors,<br />
12<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
and industrial application. This course also<br />
covers the relationship of interior space, structure,<br />
and product purpose to object design.<br />
This is not a studio fabrication course, although<br />
scaled prototypes may be produced. 2 CREDITS<br />
PCID 1010 $699<br />
Architecture of<br />
New York<br />
John Kriskiewicz<br />
A | 12 sessions | beg. June 6 | M, W 7–9:30 pm<br />
New York has a compelling architectural heritage,<br />
from the Federal-style rowhouse to the<br />
modern skyscraper. Acquaint yourself with the<br />
“A building does not have to be an<br />
important work of architecture<br />
to become a first-rate landmark.<br />
Landmarks are not created by<br />
architects. They are fashioned by<br />
those who encounter them after<br />
they are built. The essential feature<br />
of a landmark is not its design, but<br />
the place it holds in a city’s memory.<br />
Compared to the place it occupies in<br />
social history, a landmark’s artistic<br />
qualities are incidental.”<br />
HERBERT MUSCHAMP, Parsons School<br />
of Design alumnus<br />
13<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
philosophy and forces that have shaped our<br />
city. Using the city as a classroom, physically<br />
experience New York City architecture and its<br />
urban environments. Learn to identify architectural<br />
styles and understand them in the context of<br />
social, economic, and technological currents. The<br />
first class meets at Parsons’ Greenwich Village<br />
campus; subsequent classes meet off campus<br />
at various Manhattan locations. 2 CREDITS<br />
PCID 1700 $699<br />
Antiques<br />
Connoisseurship<br />
Louise Devenish<br />
A | 12 sessions | beg. June 7 | T, Th 12:10–2:40 pm<br />
Is it an antique or a reproduction? Learn the<br />
essential criteria for collecting and evaluating<br />
antique furniture. Study quality, craftsmanship,<br />
condition, and design in historical context. Learn<br />
Parsons Continuing Education<br />
<strong>Summer</strong> Info Session<br />
Sheila C. Johnson Design Center<br />
Kellen Auditorium<br />
how to judge articles in terms of excellence and<br />
success as works of art. Develop an eye for good<br />
design, proportion, and authenticity. Study<br />
English, French, and American pieces. The class<br />
takes field trips to The Metropolitan Museum of<br />
Thursday, May 12, <strong>2016</strong>, 6:30–8:00 pm<br />
Art, fine furniture galleries, and conservation<br />
studios. A guest speaker from Sotheby’s speaks<br />
Join us for the Parsons Continuing<br />
on validity and criteria for collecting. 2 CREDITS<br />
MANNES<br />
Education summer information session<br />
given by our program director, Melinda<br />
Wax. Faculty will be on hand to discuss<br />
PCID 1900 $699<br />
REGISTRATION<br />
INFO<br />
the latest courses and noncredit certificate<br />
options in all areas of study, including<br />
digital design, fashion business, fashion<br />
design, interior and architectural design,<br />
and more!<br />
RSVP at newschool.edu/parsonsinfo.<br />
ONLINE CLASSES
SOFTWARE BASICS<br />
Software Basics classes such as Photoshop Basics<br />
and Illustrator Basics are recommended for<br />
beginners. These classes focus on the fundamentals<br />
of program operation. Prerequisite:<br />
Macintosh Basics (or equivalent experience).<br />
CLASS SKILL LEVELS<br />
Our standard-level classes go beyond the<br />
basics of program operation; it is assumed that<br />
students are comfortable with the computer<br />
and software. The courses are recommended for<br />
users who are familiar with computers and<br />
want to tackle design issues. Macintosh Basics<br />
(or equivalent experience) is a prerequisite.<br />
Advanced courses teach complex techniques<br />
and challenge students to solve more difficult<br />
creative problems.<br />
Digital design courses are held at 55 West 13th<br />
Street; the University Center, 63 Fifth Avenue;<br />
and 6 East 16th Street. The UCC is primarily<br />
Macintosh based, with some dedicated Windows<br />
NT labs and other specialized machines.<br />
SPA<strong>CE</strong><br />
(<strong>Summer</strong>, Pre-College Academy, and<br />
Continuing Education)<br />
Parsons SPA<strong>CE</strong> offers open-enrollment programs<br />
with classes in art and design for adults with<br />
varied interests and backgrounds. A continuing<br />
education, nondegree option, these classes<br />
provide students with the training they need<br />
to launch or advance careers in art and design.<br />
Certificate programs are available in several<br />
design disciplines for students seeking a structured<br />
course of study and a Parsons credential.<br />
PREVIOUS EXPERIEN<strong>CE</strong><br />
Many classes are open to beginners. For courses<br />
with prerequisites (listed in the description),<br />
equivalent experience may be sufficient,<br />
as determined by an advisor in the Parsons<br />
SPA<strong>CE</strong> office.<br />
CLASSROOM LOCATIONS<br />
All classes meet at the Parsons campus in<br />
Greenwich Village unless otherwise noted.<br />
Room assignments are available online via<br />
Class Finder at my.newschool.edu. Room<br />
assignments are also available on the first day<br />
of class in the lobby of the Sheila C. Johnson<br />
Design Center, 66 Fifth Avenue and<br />
2 West 13th Street, and the University Center,<br />
63 Fifth Avenue.<br />
DEGREE PROGRAMS AT PARSONS<br />
Students can take continuing education<br />
courses for credit and apply them later toward<br />
a Parsons degree with approval from Parsons<br />
Admission. For information about the degree<br />
programs at Parsons School of Design, visit<br />
newschool.edu/parsons or contact the<br />
Parsons Office of Admission, 212.229.5150.<br />
14<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
DIGITAL PREREQUISITES<br />
Prerequisites are listed at the end of each course<br />
description. Macintosh Basics (or equivalent<br />
experience) is necessary for most digital classes.<br />
We advise students to assess their computing<br />
skills realistically before selecting courses.<br />
OPEN LAB AC<strong>CE</strong>SS<br />
Students enrolled in any digital design class have<br />
limited access to the eighth and ninth floor labs<br />
of the UCC, 55 West 13th Street. Stations in<br />
these classrooms are accessible primarily<br />
Monday through Thursday, 9:00–11:30 p.m.,<br />
and weekends.<br />
MANNES<br />
<strong>CE</strong> students registered for a digital design<br />
course can use classroom stations when classes<br />
are not in session.<br />
REGISTRATION<br />
INFO<br />
High-end or commercially unavailable software<br />
may have special access restrictions. Note: For<br />
students beyond the basic level, we strongly<br />
recommend the purchase of a home computer.<br />
Open lab time is generally insufficient for more<br />
complex design projects.
SUMMER<br />
PROGRAMS<br />
Immerse yourself in creativity this summer at<br />
The New School. Our courses and programs let<br />
you explore a range of fields including art and<br />
design, writing, drama, media and film, and<br />
international affairs.<br />
Develop a portfolio, earn university credit, or<br />
acquire new career skills. We offer summer<br />
courses on campus in NYC, at Parsons Paris,<br />
and with partners in London, Barcelona, and<br />
Berlin, so you can draw inspiration from and<br />
learn in global creative capitals.<br />
JOIN US—WE MAKE THE LONGEST DAYS OF THE YEAR<br />
FEEL LIKE THE SHORTEST.<br />
FOR INFORMATION ON ALL SUMMER PROGRAMS OFFERED<br />
AT THE NEW SCHOOL, VISIT NEWSCHOOL.EDU/SUMMER.
edia,<br />
ilm, and<br />
echnology<br />
COURSE OFFERINGS
MEDIA, FILM,<br />
AND TECHNOLOGY<br />
Step behind the camera to claim your space as a cineaste, complementing<br />
your skills with scholarship on the art of filmmaking. Become an expert on<br />
current digital technologies for the silver screen and beyond, mastering<br />
modern communication strategies to develop your personal voice and<br />
vision through traditional narrative and radically experimental media forms.<br />
Find courses on Digital Design on page 6.<br />
Certificate in<br />
Film Production<br />
The New School awards a certificate attesting<br />
to successful completion of a sequence of courses<br />
in which students master the art and craft of<br />
filmmaking. For more information, see Film and<br />
Media Production in the following pages or go<br />
online to newschool.edu/ce/filmproductioncert.<br />
Certificate in<br />
Screenwriting<br />
The New School awards a certificate attesting<br />
to successful completion of a sequence of courses<br />
in which students master the art and craft of<br />
writing for the cinema. This curriculum can be<br />
completed entirely online, on campus, or through<br />
a combination of online and on-campus courses.<br />
For more information about the certificate<br />
program, see Screenwriting in the following pages<br />
or at newschool.edu/ce/screenwritingcert.<br />
#THENEW<strong>CE</strong><br />
#LEARNGROWREPEAT<br />
FILM STUDIES<br />
Topics in Film: Sci-Fi<br />
John Freitas<br />
A | 9 weeks | June 6–Aug. 5<br />
Since the beginning of the Industrial Revolution,<br />
people have celebrated, questioned, and struggled<br />
with the machine. The genesis of industrial<br />
technology was soon followed by the birth of its<br />
artistic and analytic child, the genre of science<br />
fiction: first in literary form, then in its true<br />
symbiotic counterpart in the arts, film.<br />
Filmmaking in general, and science fiction film<br />
in particular, has always been obsessed with<br />
the Janus question of utopia and dystopia,<br />
asking which of these worlds we inhabit. Other<br />
themes and questions that have emerged<br />
include the mechanization of humans; technology’s<br />
effects on culture, communication, and<br />
politics; and the impact of technology on our<br />
definition of ourselves and existence. In a<br />
comprehensive comparative analysis, the class<br />
identifies, defines, and discusses a variety of<br />
cautionary science fiction films by both wellknown<br />
and lesser-known masters, including<br />
Donald Cammell, David Cronenberg, Alfonso<br />
Cuaron, Karl Freund, Stanley Kubrick, Fritz Lang,<br />
Joseph Losey, Joseph Sargent, Ridley Scott, and<br />
François Truffaut. 3 CREDITS<br />
NFLM 3155 $650<br />
The Art of Film<br />
Jennifer Heuson<br />
A | 15 sessions | beg. May 31 | T, Th 6–7:50 pm<br />
This course lays the foundation for understanding<br />
the practical techniques, specialized<br />
language, and unique aesthetics of motion<br />
pictures. The class considers the expressive<br />
range of cinematic language and the ways in<br />
which complex emotions and ideas are communicated<br />
to the viewer. Students analyze the<br />
basic elements of cinematic form as seen<br />
through essential properties of the medium,<br />
including editing, cinematography, production<br />
design, and sound design and gain an appreciation<br />
of film history and the impact of culture<br />
and technology on the development of the<br />
cinema. The filmmaking process and the impact<br />
of the industry on this collaborative art are also<br />
studied. Discussion of films by directors including<br />
Jean-Luc Godard, Agnes Varda, Jane Campion,<br />
Werner Herzog, Alfred Hitchcock, Orson Welles,<br />
Wong Kar-Wai, Yasujirõ Ozu, Ingmar Bergman,<br />
Pedro Almodóvar, Michelangelo Antonioni, and<br />
many others is supplemented by readings.<br />
Students acquire a general familiarity with the<br />
range of cinematic expression and become<br />
better prepared to form sure and sound judgments<br />
about their own film experiences and to<br />
speak and write about those judgments with<br />
clarity and skill. 3 CREDITS<br />
NFLM 3411 $650<br />
To Die For: The<br />
American Horror Film<br />
from 1968 to 1978<br />
John Freitas<br />
A | 9 weeks | June 6–Aug. 5<br />
The American horror film is conceived in gothic<br />
romance, informed by German expressionism,<br />
and nurtured by blood, capitalism, and Freud.<br />
At its best, it mirrors and explores the age-old<br />
struggle of the individual with morality, religion,<br />
and society to define the self and one’s societal<br />
role. In the United States, horror films from the<br />
beginning reflected the American subconscious,<br />
with its deep roots in Puritanism. The development<br />
of the genre reached its tumultuous peak<br />
in the late sixties, as the cinema began to<br />
express the social, sexual, and political upheavals<br />
of the period. In this course, we study films<br />
made in the sixties by such diverse masters of<br />
horror as Peter Bogdanovich, John Carpenter,<br />
Wes Craven, Bob Clark, Brian DePalma, William<br />
Friedkin, Tobe Hooper, Roman Polanski, and<br />
George Romero. We focus on the roles of men,<br />
women, and children as the films violently<br />
create, reflect, defend, question, and subvert the<br />
notions of family, hearth, and home in our<br />
collective psyche. Through a comprehensive and<br />
comparative analysis, the course explores from<br />
both conservative and progressive perspectives<br />
the complex themes of moral and societal<br />
upheaval that each film brings forward in a<br />
catharsis of bloody chaos. 3 CREDITS<br />
NFLM 3465 $650<br />
Continuing Education<br />
Online Info Session<br />
Writing, Liberal Arts, Languages,<br />
Media, and Management Programs<br />
Wednesday, May 11, 12:30-1:30 pm EST<br />
Looking to explore your passion for media<br />
and film, languages, writing, or liberal arts?<br />
Or maybe you’re looking to take your career<br />
to the next level through professional<br />
development with cutting-edge management<br />
courses. Join us to get a program overview<br />
and pitch your questions to our team of<br />
dedicated advisors!<br />
RSVP at newschool.edu/thenewceonline.<br />
17<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
Films of Alfred<br />
Hitchcock<br />
Rebecca Qidwai<br />
A | 9 weeks | June 6–Aug. 5<br />
Alfred Hitchcock was both a masterful technician<br />
and a uniquely gifted storyteller. His films<br />
are remembered equally for their riveting<br />
narratives and for their cinematic innovations.<br />
Most of his films are psychological thrillers, but<br />
all are marked by his wry humor and distinctive<br />
reflections on contemporary sociopolitical<br />
conditions. Hitchcock’s bold style revolutionized<br />
film technique, particularly shot composition<br />
and editing. His films of the 1950s and 1960s,<br />
touching upon themes of suspicion, espionage,<br />
and voyeurism, could serve as a visual documentary<br />
history of the Cold War. This class<br />
studies four of Hitchcock’s greatest films:<br />
Vertigo (1958), Psycho (1960), Rear Window<br />
(1954), and North by Northwest (1959).<br />
Students watch one film weekly outside of class<br />
and read related texts assigned by the instructor,<br />
approaching the films from the standpoints<br />
of history and feminist, formalist, and structuralist<br />
film theory. We discuss and deconstruct<br />
narrative elements and the social context of the<br />
films and examine filmic elements: lighting,<br />
framing, shot composition, editing, and sound<br />
design. This is one of three five-week courses on<br />
world cinema auteurs that complement one<br />
another when taken sequentially. 3 CREDITS<br />
NFLM 3006 $650<br />
FILM AND MEDIA<br />
PRODUCTION<br />
In these courses, students learn the craft of film<br />
and digital media production, creating sophisticated<br />
portfolio-ready projects. Find courses on<br />
Digital Design on page 6.<br />
The Aesthetics<br />
of Directing<br />
Gregory Takoudes<br />
A | 15 sessions | beg. May 30 | M, W 7–9:45 pm<br />
Your challenge as a director is to realize your<br />
vision on the screen. Designed for students who<br />
are making or planning to make their own films,<br />
this course covers the art and craft of directing.<br />
We analyze the work of classic and contemporary<br />
directors, observing how they use the<br />
language of cinema. Topics discussed include<br />
framing and composition, camera angles,<br />
camera movement, blocking actors, visualizing<br />
action, creating a sequence, script breakdown,<br />
and techniques for establishing character,<br />
mood, and conflict. We explore different directing<br />
styles, such as the subjective approach of<br />
expressionism, the pursuit of authenticity in<br />
realism, and the narrative conventions of<br />
Hollywood. Students do a script breakdown and<br />
storyboard for a scene they then videotape.<br />
Short scenes produced on video in class demonstrate<br />
principles in practice. Noncredit students<br />
must bring their own camcorders; New School<br />
cameras are available only for credit students.<br />
3 CREDITS<br />
NFLM 3510 $760<br />
While learning techniques of studio and location<br />
lighting, students also study historical and<br />
contemporary trends and styles. Theoretical and<br />
technical topics discussed include the operation<br />
and characteristics of cameras, lenses, accessory<br />
camera equipment, lighting, composition,<br />
digital compression, and exposure (in-camera<br />
tools like histograms as well as light meters),<br />
along with traditional film emulsion and laboratory<br />
processing. Professional techniques for<br />
altering the look of a film are demonstrated and<br />
discussed. Practical tests and scenes are shot<br />
with an eye to solving practical problems and<br />
achieving a visual strategy. 3 CREDITS<br />
NFLM 3515 $1,360<br />
Filmmaking Studio 1<br />
Joel Schlemowitz<br />
A | 15 sessions | beg. May 30 | M, W 7–9:45 pm<br />
This course is an opportunity for the serious<br />
beginner to learn the fundamentals of 16mm<br />
filmmaking, a discipline that clarifies the fundamental<br />
concepts and terminology of all digital<br />
formats. Students engage in a series of exercises<br />
in basic cinematography, lighting,<br />
scriptwriting, directing, and editing. Discussions<br />
emphasize the theoretical and practical framework<br />
of film language, and student work is<br />
critiqued by both the instructor and classmates.<br />
Students are expected to crew on one another’s<br />
projects to develop production skills and gain<br />
on-set experience. A substantial commitment of<br />
time outside of class is required. Cameras and<br />
digital editing equipment are provided, but<br />
level of production courses. Familiarity with<br />
the Macintosh platform is assumed. 3 CREDITS<br />
NFLM 3660 $1,440<br />
Film 5: Advanced<br />
Post-Production<br />
Workshop<br />
John Didato<br />
A | 15 sessions | beg. May 30 | M, W 7–9:45 pm<br />
This course is an overview of the entire<br />
post-production and finishing process for<br />
students who have finished shooting a short<br />
film project. Class time is devoted to editing<br />
exercises, lectures, group discussions, screenings,<br />
and presentations by guest film professionals.<br />
Topics discussed and demonstrated include<br />
creating rhythm; dramatic arc and character<br />
emphasis in scenes; cutting on, after, and before<br />
movement; match cutting; symbolic and<br />
thematic editing; and A&B cutting for documentaries.<br />
The class also explores sound editing and<br />
design, color correction, screening formats for<br />
festivals, standard industry mastering options,<br />
and distribution. Prerequisite: Film 4 (NFLM<br />
3680) or permission of the instructor. Students<br />
must bring their own hard drive with complete<br />
film dailies to the first session ready to edit. This<br />
course fulfills one of two capstone requirements<br />
for Media Studies majors with a declared<br />
concentration in Film Production. 3 CREDITS<br />
NFLM 3690 $1,075<br />
18<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
Find all course listings and register at<br />
newschool.edu/ce/classes or by calling<br />
212.229.5620.<br />
More questions about a class?<br />
Get in touch! ce@newschool.edu<br />
Cinematography and<br />
Lighting<br />
Instructor to be announced<br />
A | 15 sessions | beg. May 31 | T, Th 7–9:45 pm<br />
Students explore theoretical and practical<br />
elements of cinematography, with an emphasis<br />
on lighting and cinematographic language.<br />
students will incur additional modest costs for<br />
film stock, developing, and supplies. By the end<br />
of the course, students will have experienced<br />
all aspects of MOS (nonsync) filmmaking,<br />
from pre-production to production and<br />
post-production, and will be ready for more<br />
ambitious personal film projects at the next<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
SCREENWRITING<br />
Upon completing the core sequence of<br />
screenwriting courses, students will have a<br />
comprehensive grounding in story, character,<br />
theme, action, visuals, and dialogue, as they<br />
will have been carefully guided through the<br />
entire screenplay writing process.<br />
Script Analysis<br />
William Pace<br />
A | 15 sessions | beg. May 31 | T, Th 8–9:50 pm<br />
Instructor to be announced<br />
B | 9 weeks | June 6–Aug. 5<br />
Whether you are a writer, a director, or a producer,<br />
an understanding of story structure and<br />
dramatic principles is essential. In-depth analysis<br />
of a screenplay’s storyline, characters,<br />
dialogue, images, and theme reveals a wide<br />
range of narrative techniques and storytelling<br />
idea into outline form. Assignments illustrate<br />
basic three-act structure, economical use of<br />
dialogue, visual storytelling elements, development<br />
of complex characters, revelation of<br />
background information, and effective use of<br />
dramatic tension. Students become familiar<br />
with screenwriting terminology as scenes from<br />
well-known films are analyzed on video to<br />
reveal structural elements in the writing. By the<br />
end of the course, each student will have<br />
developed an original idea into a detailed step<br />
outline for a feature-length screenplay and<br />
written the opening scene. Prerequisite: Script<br />
Analysis or permission to register concurrently<br />
with Script Analysis. 3 CREDITS<br />
NSRW 3810 $760<br />
Sitcom Writing 1<br />
Instructor to be announced<br />
Film, Art, Change:<br />
Making Movies to<br />
Make a Difference<br />
Amir Husak<br />
A | 19 sessions | beg. July 5 | M–F 9–3:50 pm<br />
Combining 16mm filmmaking craft with high<br />
definition (HD) digital techniques and tools, this<br />
course immerses students in the history and<br />
practice of making movies. Students learn how<br />
to communicate through the unique language<br />
of cinema and how to use its power to question,<br />
provoke, educate, delight, amaze, and effect<br />
change. Students work collaboratively to create<br />
meaningful and artful short film projects that<br />
will be showcased publicly by the end of the<br />
course. Prerequisite: must be a rising high school<br />
junior or senior to register for this course.<br />
6 CREDITS<br />
NSPC 0101 $6,728<br />
19<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
styles, from Hollywood to independent and<br />
A | 9 weeks | June 6–Aug. 5<br />
everything in between. Students view successful<br />
The sitcom is no joke. It is a specialized, highly<br />
films and analyze their scripts, learning how<br />
competitive form of screenwriting that has its<br />
essential information is conveyed, how story<br />
own set of rules, expectations, and required<br />
elements are communicated through visual<br />
skills. This course investigates the half-hour<br />
means, how dramatic momentum is built with<br />
episodic TV comedy form and gives students<br />
cause and effect, and what makes a character<br />
the fundamental tools necessary to conceive<br />
credible and complex. Students end the term<br />
and execute a sitcom teleplay. Over the course<br />
with the ability to analyze any film script and<br />
of the semester, students research a popular<br />
apply that knowledge to their own screenwriting.<br />
sitcom, learn its secrets, and master techniques<br />
This class is required for all students interested<br />
for developing premises, generating stories,<br />
in pursuing the screenwriting sequence and<br />
outlining, structuring, scene writing, and editing—<br />
may be taken before or concurrently with<br />
all in collaboration with other student writers.<br />
Screenwriting 1. 3 CREDITS<br />
NSRW 2800 $760<br />
Screenwriting 1:<br />
Fundamentals<br />
Loren-Paul Caplin<br />
A | 15 sessions | beg. May 30 | M, W 8–9:50 pm<br />
This course for the beginning screenwriter<br />
introduces the tools, vocabulary, and techniques<br />
used to tell a screen story and put an original<br />
Students write in the voice, tone, and style of an<br />
established show, completing a beat sheet,<br />
episode diagrams, and drafts of several scenes.<br />
They also learn the business of the sitcom.<br />
Students wishing to complete their spec script<br />
can continue their work in Sitcom Writing 2.<br />
3 CREDITS<br />
NSRW 3842 $760<br />
eNewsletter Sign Up at<br />
newschool.edu/thenew<strong>CE</strong>Info<br />
online learning<br />
Each semester, The New School brings you<br />
classes that fit your life as well as they fit<br />
your screen—be it mobile, desktop, tablet,<br />
or watch. Look for the computer icon to find<br />
all of our online classes.<br />
Learn more about online learning at<br />
The New School at newschool.edu/online.<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
liberal arts<br />
COURSE<br />
OFFERINGS
LIBERAL ARTS<br />
Liberal arts classes offer bold ways to better the world through critical<br />
inquiry, engagement, and expression. Here all students can study liberal<br />
arts with both scholarly rigor and intellectual freedom, exploring topics<br />
such as Arts and Social Engagement; Environmental Studies; Ethics,<br />
Power, and Justice; Food Studies; Gender and Sexuality; Global Studies;<br />
Literature, Culture, and Democracy; Psychology; and Race and Ethnicity.<br />
ETHICS, POWER,<br />
AND JUSTI<strong>CE</strong><br />
This area of study explores the question of<br />
whether just societies are possible and, if<br />
so, how we might work toward them. These<br />
courses prepare students for a diverse range of<br />
careers in human rights, political activism, law,<br />
and government as well as graduate study in<br />
anthropology, sociology, philosophy, politics,<br />
human rights, international affairs, and law.<br />
International Crimes:<br />
From Nuremberg to<br />
Guantánamo Bay<br />
Glynn Torres-Spelliscy<br />
A | 9 weeks | June 6–Aug. 5<br />
From the Nazi concentration camps to the killing<br />
fields of Pol Pot’s Cambodia to the deserts of<br />
Darfur, human beings have displayed a seemingly<br />
unlimited capacity for cruelty. International<br />
legal prohibitions on war crimes, crimes against<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
humanity, and genocide are designed to deter<br />
ARTS AND SOCIAL<br />
ENGAGEMENT<br />
Explore the breadth of expression and modes of<br />
engagement that make the arts social. Courses<br />
examine questions like: Who defines the arts?<br />
For what purposes? If imagination fuels the arts,<br />
this pathway of courses connects imagination<br />
and creativity to societal insight and action. Find<br />
courses on Fine Arts, Foundation, and Photography on<br />
page 11.<br />
Studio History of Art<br />
Jennifer Samet<br />
A | 15 sessions | beg. June 6 | T, Th 4–5:50 pm<br />
This course explores modern and contemporary<br />
art history, with a focus on the artist’s studio.<br />
Too often we ignore the artist’s life, words, and<br />
studio practice as we look at canonical works of<br />
art. In this course, we read artists’ journals and<br />
correspondence and look at art as an expression<br />
of each unique individual, as well as part<br />
of his or her sociopolitical context. We visit the<br />
studios of contemporary artists and make<br />
gallery and museum trips accompanied by<br />
artists. We also look at representations of the<br />
artist’s studio in drawing and painting. This<br />
course is a unique opportunity to consider art<br />
history by examining the artist’s world as<br />
rooted in the practice, space, and habits of the<br />
studio. At least half of the sessions take place<br />
outside of the classroom. 3 CREDITS<br />
NARH 3486 $650<br />
Music and Culture<br />
of the 1970s<br />
Sonya Mason<br />
A | 9 weeks | June 6–Aug. 5<br />
Although the 1970s are often remembered as<br />
years of decadence and self-indulgence, numerous<br />
important and enduring musical styles<br />
emerged in this period. This class traces the<br />
musical and cultural milieu of the 1970s across<br />
genres. We consider Miles Davis’ jazz-rock<br />
fusion movement, which drew accusations of<br />
selling out by jazz purists; disco fever (ABBA,<br />
Bee Gees); the roots of hip-hop (DJ Grandmaster<br />
Flash) in block parties in the Bronx; and the<br />
anti-authoritarian appeal of British punk rock<br />
(The Clash, Sex Pistols). Other forms, artists, and<br />
controversies of the 1970s are discussed along<br />
the way: German electronica (Kraftwerk), New<br />
Age (Brian Eno and Jean-Michel Jarre), World<br />
Music, rock opera (The Who and Broadway’s<br />
Webber and Rice), the off-the-charts success of<br />
country (John Denver, Lynyrd Skynyrd), heavy<br />
metal (AC/DC), New York City art and music’s<br />
uptown/downtown divide (Philip Glass), glam<br />
rock (David Bowie), and singer-songwriters<br />
(Joni Mitchell, Billy Joel). The ability to read<br />
music is not required. 3 CREDITS<br />
NMUS 3760 $650<br />
Contemporary Crime<br />
and Punishment<br />
Yunus Tuncel<br />
A | 9 weeks | June 6–Aug. 5<br />
In this interdisciplinary course, we read<br />
Dostoyevsky, Nietzsche, Freud, and Foucault.<br />
Dostoyevsky’s novel Crime and Punishment<br />
raises many questions about crime in all its<br />
complexities, the personality of the criminal, his<br />
or her state of mind after committing a crime,<br />
punishment, and the relation of crime and<br />
punishment to redemption and love. In On the<br />
Genealogy of Morals, Nietzsche looks at crime<br />
from the standpoint of culture, values, and<br />
civilization; he dissects modern culture and<br />
locates the origins of sin/crime and punishment<br />
within the broader context of our value system.<br />
Freud, in Civilization and Its Discontents, examines<br />
crime as it relates to the unconscious and<br />
the topography of the psyche: What is the<br />
psychic condition of someone who commits<br />
a crime or punishes another for a crime? Our<br />
last author, Foucault, in Discipline and Punish,<br />
investigates the topic from the perspective of<br />
institutions in a historical context and in relation<br />
to the interplay of power, knowledge,<br />
and truth. We assess the ways in which all four<br />
thinkers agree and disagree while reflecting on<br />
the contemporary relevance of their perceptions.<br />
3 CREDITS<br />
NHUM 3160 $650<br />
and punish such crimes. Although treaties<br />
regulating the wartime conduct of soldiers and<br />
states predated the formation of the International<br />
Military Tribunal at Nuremberg, the tribunal<br />
was the first international body ever established<br />
to try state leaders, not only for wartime conduct<br />
but also for their domestic policies. We examine<br />
the complex legal issues associated with the<br />
prosecution of these crimes by tracking the<br />
development of international institutions from<br />
Nuremberg to the International Criminal Court.<br />
3 CREDITS<br />
NPOL 3281 $650<br />
Your want your degree.<br />
You’re busy. We get it.<br />
Bachelor’s Program for Adults<br />
and Transfer Students<br />
Let us help you finish your bachelor’s<br />
degree—in New York City or online—with<br />
our flexible program, designed specifically<br />
for adults and transfer students. Our<br />
program gives you the freedom to create<br />
your own area of study with the help<br />
of expert faculty advisors.<br />
Learn more at newschool.edu/<br />
bachelorsprogram.<br />
21<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
Women and the Law<br />
Jennifer Francone<br />
A | 15 sessions | beg. June 7 | T, Th 4–5:50 pm<br />
Feminist legal history is driven by a commitment<br />
to understanding women’s legal agency<br />
and the ways women have used the law for<br />
individual and societal benefit. In this course,<br />
we examine how the legal system has shaped<br />
the evolution of women’s rights through case<br />
law, statutes, and policies. We look at landmark<br />
cases establishing women’s legal rights:<br />
accounts of the litigants involved, the historical<br />
context that shaped them, the strategies used,<br />
and theoretical implications. We also study<br />
issues of broad concern to women—reproductive<br />
freedom, the workplace, the family, domestic<br />
violence, rape—through the lens of history and<br />
constitutional law. 3 CREDITS<br />
NPOL 3232 $650<br />
LITERATURE, CULTURE,<br />
AND DEMOCRACY<br />
Find courses on Writing and Literature on page 30.<br />
Contemporary Fiction:<br />
Short Novels for<br />
a Long, Hot <strong>Summer</strong><br />
Margaret Birns<br />
A | 15 sessions | beg. June 6 | M, W 4–5:50 pm<br />
We discuss recent important short novels and<br />
novellas by emerging novelists as well as<br />
established authors considered central to<br />
contemporary literature’s cultural conversation.<br />
With settings that range from New Guinea to<br />
New Jersey, from Brooklyn to Casablanca, and<br />
from World War II to that country of the mind<br />
known as the future, these novels have been<br />
chosen for their diverse and inventive narrative<br />
strategies, psychological acuity, and insights<br />
into both contemporary life and the human<br />
condition. Readings: Kent Haruf, Our Souls at<br />
Night; Lily King, Euphoria; Jim Crace, Harvest;<br />
Amy Bloom, Lucky Us; Patrick Modiano, Dora<br />
Bruder; Alice McDermott, Someone; Jenny Offill,<br />
Dept. of Speculation; Michel Houllebecq,<br />
Submission; Mohsid Hamid, How To Get Filthy<br />
Rich in Rising Asia; Akhil Sharma, Family Life;<br />
Marilynne Robinson, Lila; Vendela Vida,<br />
The Diver’s Clothes Lie Empty; Ian McEwan,<br />
The Children Act. 3 CREDITS<br />
NLIT 2520 $650<br />
Walt Whitman<br />
Andrew Rubenfeld<br />
A | 5 sessions | beg. June 8 | W 6–7:50 pm<br />
Walt Whitman described himself in Leaves<br />
of Grass (1855) as “an American, one of the<br />
roughs, a kosmos.” Throughout his writing,<br />
Whitman reveals his curiosity about the details<br />
of the local and national scene but always<br />
balances the particular with an awareness of<br />
the universal role of the poet. We begin with the<br />
seminal “Song of Myself” and the passionate<br />
appeal of the “Children of Adam” and “Calamus”<br />
poems. We also study the New York scenes in<br />
“Crossing Brooklyn Ferry” and “A Broadway<br />
Pageant,” the Civil War poems and Lincoln<br />
elegies, and mystical and visionary works<br />
Continuing Education<br />
Online Info Session<br />
Writing, Liberal Arts, Languages,<br />
Media and Management Programs<br />
Wednesday, May 11, 12:30-1:30 pm EST<br />
Looking to explore your passion for media<br />
and film, languages, writing, or liberal arts?<br />
Or maybe you’re looking to take your career<br />
to the next level through professional<br />
development with cutting-edge management<br />
courses. Join us to get a program overview<br />
and pitch your questions to our team of<br />
dedicated advisors!<br />
RSVP at newschool.edu/thenewceonline.<br />
such as “Out of the Cradle Endlessly Rocking,”<br />
“The Sleepers,” and “Passage to India.”<br />
Whitman’s prose autobiography, Specimen<br />
Days, offers additional views of the writer and<br />
his world, whether he is nursing the wounded<br />
in Washington or recovering from a stroke in<br />
Camden. We conclude with Whitman’s vision<br />
of America: from the optimistic boasting of<br />
the preface to the first edition of his collected<br />
poems to the sober moral admonishments<br />
of Democratic Vistas. 1 CREDIT<br />
NLIT 3326 $220<br />
The Scarlet Thread:<br />
Mystery Masterworks<br />
Margaret Birns<br />
A | 9 weeks | June 6–Aug. 5<br />
Introducing, as Sherlock Holmes puts it, a<br />
“scarlet thread into the colorless skein of life,”<br />
the mystery novel has triumphed as a genre<br />
of great creative invention and psychological<br />
richness. This course considers a selection of<br />
major British, French, and American mystery<br />
novels that have entered the mainstream of<br />
20th- and 21st-century literature, including<br />
chronicles of a variety of great detectives,<br />
whodunit masterpieces, hardboiled classics,<br />
and outstanding postwar noir and “Euronoir”<br />
fiction. Readings include Arthur Conan Doyle,<br />
The Hound of the Baskervilles; Agatha Christie,<br />
The Murder of Roger Ackroyd; Dorothy Sayers,<br />
Strong Poison; Dashiell Hammett, The Maltese<br />
Falcon; Raymond Chandler, The Big Sleep; James<br />
M. Cain, Double Indemnity; Patricia Highsmith,<br />
Strangers on a Train; Jean-Patrick Manchette,<br />
Fatale; and P. D. James, A Mind To Murder.<br />
3 CREDITS<br />
NLIT 3834 $650<br />
Find all course listings and register at<br />
newschool.edu/ce/classes or by calling<br />
212.229.5620.<br />
GENDER AND SEXUALITY<br />
STUDIES<br />
This area of study presents a wide-ranging<br />
array of debates and research methodologies<br />
for understanding how bodies come to be<br />
defined as male or female. Scientific language<br />
often serves to naturalize connections between<br />
genetic makeup and roles within the social<br />
world. The study of gender and sexuality in our<br />
program—with its attention to the larger history<br />
of feminism, gay and queer political movements,<br />
postcolonial studies, and trans theory—challenges<br />
commonly held beliefs about the essential<br />
nature of men and women and moves beyond<br />
a binary, male/female approach to a broader<br />
understanding of the social world. For further<br />
information, contact gsx@newschool.edu.<br />
AIDS: The History<br />
of a Generation<br />
Erik Zimmerman<br />
A | 9 weeks | June 6–Aug. 5<br />
The AIDS crisis, which emerged in the 1980s<br />
and became a significant political issue in the<br />
1990s, came to define the lives of a generation<br />
of young people—primarily queer but also<br />
heterosexual. As the biological realities of the<br />
disease merged with a homophobic backlash to<br />
gay liberation and gay civil rights, LGBT people<br />
mobilized around what had become a political<br />
and public health crisis extending beyond their<br />
community. In this course, we trace the AIDS<br />
crisis from its beginnings, when AIDS was an<br />
unknown syndrome that seemed to affect only<br />
gay men, to later years, when AIDS became<br />
an emblem of political oppression and sexual<br />
stigma. As activists mobilized to resist AIDS,<br />
they reactivated feminist, racial, and class<br />
critiques, demanding that the U.S. government<br />
act to help its most vulnerable citizens. AIDS<br />
was, and still is, implicated in cycles of political<br />
oppression and resistance. But it was also an<br />
opportunity for the LGBT community to redefine<br />
its own aspirations, critically examine its values,<br />
22<br />
CONTENTS<br />
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PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
and turn political resistance into politics that<br />
could challenge the rampant homophobia<br />
and racism that lay at the roots of society’s<br />
response to the AIDS crisis. AIDS, in its social<br />
and political forms, came to define a generation<br />
of queer people and people of color who, in turn,<br />
actively fought social stigma. 3 CREDITS<br />
NHIS 3320 $650<br />
Harm Reduction<br />
<br />
Psychotherapy<br />
Certificate<br />
This professional certificate program offers<br />
licensed and license-eligible mental health and<br />
substance abuse students and practitioners<br />
specialized training in the theory and application<br />
of harm reduction psychotherapy. Certificate<br />
participants will gain knowledge and practical<br />
skills to enhance their credentials and further their<br />
careers in this field.<br />
Offered in the Department of Psychology at<br />
The New School for Social Research, this program<br />
is recognized by the New York State Education<br />
Department’s State Board for Social Work as an<br />
approved provider of continuing education for<br />
licensed social workers #0199. Participants can<br />
receive up to 48 continuing education hours.<br />
Learn more and get started at<br />
newschool.edu/harmreduction.<br />
RA<strong>CE</strong> AND ETHNICITY<br />
STUDIES<br />
Students who pursue this area of study not<br />
only examine the representations and histories<br />
of human difference but also think through the<br />
ways in which identity establishes itself as a<br />
logical framework for understanding the self<br />
and others.<br />
Black Nationalism:<br />
Rhetoric and Reality<br />
Glenn Reynolds<br />
A | 9 weeks | June 6–Aug. 5<br />
Black nationalism has proved to be a powerful<br />
organizing concept uniting much of the global<br />
Black diaspora. This course examines the<br />
multiple rhetorical strands of Black nationalism,<br />
from religious, cultural, and political organizing<br />
themes to more tangible manifestations, such<br />
as experiments in Black resettlement and other<br />
forms of social activism. Key topics include the<br />
Black Atlantic, the “Back to Africa” movements<br />
of the 19th-century Caribbean and the United<br />
States, and the intersection of Black nationalism<br />
and Black Power. Key figures discussed include<br />
Olaudah Equiano, Paul Cuffe, John Russwurm,<br />
Martin Delany, Henry McNeal Turner,<br />
W.E.B. Du Bois, Alexander Crummell, Marcus<br />
Garvey, Wallace Fard Muhammad, Kwame<br />
Nkrumah, and Malcolm X. 3 CREDITS<br />
NHUM 3682 $650<br />
PSYCHOLOGY<br />
Unlock the mysteries of the mind. Whether<br />
exploring cutting-edge work in neuropsychology<br />
and cognitive science, examining intensive<br />
studies in psychoanalytic thought, or pursuing<br />
your own Freudian analysis of individuals in<br />
society, you will come away with radical new<br />
perspectives on the inner workings—and<br />
incredible power—of mind and emotions and<br />
of humankind’s understanding of the two.<br />
Theories of<br />
Personality<br />
Or Dagan<br />
A | 15 sessions | beg. June 7 | T, Th 6–7:50 pm<br />
In this course, we discuss a variety of theoretical<br />
perspectives from which personality can be<br />
understood, including psychoanalytic, traitbased,<br />
biological, behavioral, cognitive, and<br />
humanistic approaches. We also examine<br />
personality assessment through a variety of<br />
approaches and explore personality disorders,<br />
their diagnosis, and their treatment. The course<br />
emphasizes not only primary-source material<br />
but also the research supporting each perspective.<br />
3 CREDITS<br />
NPSY 2401 $650<br />
Media Psychology<br />
Emily Breitkopf<br />
A | 9 weeks | June 6–Aug. 5<br />
In this course, we investigate the way psychologists<br />
have theorized media over the past several<br />
decades to construct the field of media psychology.<br />
We explore the relationship between<br />
psychology, media, and technologies through<br />
a critical framework, taking into account intersecting<br />
issues of race, ethnicity, class, gender,<br />
sexuality, and dis/ability. Our readings examine<br />
debates about the psychological impacts of<br />
media engagement across the lifespan and<br />
the uses of media in psychological inquiry.<br />
Readings from related fields such as feminist<br />
psychology and media studies inform critical<br />
dialogue throughout the semester. A few of<br />
the topics covered are the hypersexualization<br />
of girls and women, media representations<br />
of trans* people, the impact of youth media<br />
making, and grieving on Facebook. This course<br />
counts toward the Gender Studies minor.<br />
3 CREDITS<br />
NPSY 3820 $650<br />
FOOD STUDIES<br />
Food is about much more than what lands<br />
on your plate at dinnertime, existing at the<br />
intersection of taste, culture, history, and<br />
sustainability. Our faculty of scholars, policy<br />
activists, entrepreneurs, and scientists provide<br />
the theoretical and practical tools you need to<br />
engage in what has become a global conversation<br />
about food production, distribution, quality,<br />
and safety and to understand your role in an<br />
ever-evolving food chain.<br />
Professional<br />
Food Writing<br />
Andrew Smith<br />
A | 9 weeks | June 6–Aug. 5<br />
The special challenges of professional food<br />
writing are explored as students learn how to<br />
write and submit inquiry letters, newspaper<br />
articles, magazine stories, restaurant reviews,<br />
recipes, and op-ed pieces, as well as book<br />
and cookbook proposals. The course covers<br />
research, interviewing, and networking techniques<br />
that will help students succeed in the<br />
field. Guest speakers include newspaper and<br />
magazine editors, acquisitions editors, and<br />
professional food writers. Good writing skills<br />
are a prerequisite. 3 CREDITS<br />
NFDS 3601 $650<br />
HAVE A STORY OR ESSAY ABOUT<br />
FOOD THAT YOU WANT TO SHARE<br />
WITH THE WORLD?<br />
Look no further than The New School’s<br />
very own, very intellectual food blog:<br />
The Inquisitive Eater. Whether you write<br />
think pieces on food politics or poetry<br />
about pasta, visit inquisitiveeater.com<br />
for information on submissions and<br />
publishing.<br />
23<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
anguages<br />
COURSE<br />
OFFERINGS
LANGUAGES<br />
The New School’s comprehenisve and robust language programming<br />
includes Foreign Languages, English as a Second Language, and<br />
professional-caliber training for teachers of ESL. Understand and get<br />
ahead in our increasingly global society, travel abroad, conduct business<br />
in other countries or with NYC’s multicultural communities, and appreciate<br />
great literature or films in the original languages by learning a foreign<br />
language. Meet the worldwide demand for native or near-native English<br />
speakers trained to teach the language.<br />
FOREIGN LANGUAGE<br />
COURSES<br />
ARABIC<br />
Introductory<br />
Intensive 1<br />
Iman Maiki<br />
A | 13 sessions | beg. June 6 | M–Th 10 am–1:45 pm<br />
This accelerated first course integrates Modern<br />
Standard Arabic (Fus-ha) and Levantine Arabic,<br />
introducing the Arabic alphabet and sound<br />
system along with basic conversational skills<br />
in Levantine. Students learn to engage in simple<br />
conversations and write short compositions<br />
about themselves, their families, and other<br />
familiar topics. This course is for beginners<br />
who would like to progress rapidly. 4 CREDITS<br />
NARB 1003 $1,000<br />
FRENCH<br />
Level 2<br />
Fatiha Bali<br />
A | 13 sessions | beg. June 6 | M, W 6–7:50 pm<br />
Daisy Bow<br />
B | 6 weeks | June 6–July 18<br />
This is the second course of a three-term<br />
sequence that introduces students to the<br />
fundamentals of speaking, listening, reading,<br />
and writing in French. They continue to study<br />
elementary grammar (irregular present tenses,<br />
past tense, pronouns) and practice by conversing<br />
and writing about leisure, celebrations,<br />
holidays, and travel. They continue to learn<br />
about French and Francophone cultures.<br />
Prerequisite: French Level 1, the equivalent,<br />
or permission of the instructor. 2 CREDITS<br />
NFRN 1002 $590<br />
Level 3<br />
Stephane Zaborowski<br />
A | 13 sessions | beg. June 7 | T, Th 6–7:50 pm<br />
This is the last part of a three-course elementary<br />
sequence that introduces the fundamentals<br />
of speaking, listening, reading, and writing in<br />
French. Students conclude their study of<br />
elementary grammar (the conditional mood,<br />
reflexive verbs, and relative pronouns) and<br />
practice by communicating about shopping,<br />
food, daily life, health, technology, and ecology.<br />
They continue to learn about France and the<br />
Francophone world while building their communicative<br />
skills. Prerequisite: French Level 2 or<br />
the equivalent. 2 CREDITS<br />
NFRN 2001 $590<br />
Introductory<br />
Intensive 1<br />
Noelle Carruggi<br />
A | 13 sessions | beg. June 6 | M–Th 10 am–1:45 pm<br />
This is an accelerated course for beginners with<br />
little or no knowledge of French. Students learn<br />
the fundamentals of speaking, listening, reading,<br />
and writing in French. They acquire elementary<br />
grammar skills (present and past tenses, pronouns),<br />
learn how to express negation and ask<br />
questions, and practice by conversing and<br />
writing about university life, friends and family,<br />
hobbies and leisure, celebrations, holidays,<br />
and travel. They learn about France and the<br />
Francophone world while building their<br />
communicative skills. 4 CREDITS<br />
NFRN 1003 $1,000<br />
GERMAN<br />
Level 3<br />
Adelheid Ziegler<br />
A | 13 sessions | beg. June 6 | M, W 6–7:50 pm<br />
This course assumes familiarity with the basic<br />
grammatical structures of the German language.<br />
It begins with a review and moves on to<br />
cover more complex grammatical forms. The<br />
emphasis is on improving students’ ability to<br />
understand spoken German and converse on<br />
topics pertaining to different times and places.<br />
Prerequisite: German Level 2, the equivalent,<br />
or permission of the instructor. 2 CREDITS<br />
NGRM 2001 $590<br />
ITALIAN<br />
Level 2<br />
Giuseppe Manca<br />
A | 13 sessions | beg. June 6 | M, W 6–7:50 pm<br />
This is the second course of a three-term<br />
sequence that introduces students to the<br />
fundamentals of speaking, listening, reading,<br />
and writing in Italian. Students acquire elementary<br />
grammar (present and past tense<br />
of regular and irregular verbs) and practice by<br />
conversing and writing about themselves,<br />
friends, family, hobbies, and university and<br />
professional life. They learn about Italian culture<br />
while building their communicative skills.<br />
2 CREDITS<br />
NITL 1002 $590<br />
SPANISH<br />
Level 3<br />
Sonia Granillo-Ogikubo<br />
A | 13 sessions | beg. June 7 | T, Th 6–7:50 pm<br />
This is the third course in a four-term sequence<br />
that introduces the fundamentals of speaking,<br />
listening, reading, and writing in Spanish. Students<br />
build on the basic grammar learned in previous<br />
courses and go on to master the different uses<br />
of past tenses, combinations of pronouns, and<br />
the various forms of commands while learning<br />
to construct complex sentences. They practice<br />
by conversing and writing about topics such as<br />
celebrations, health, technology, and personal<br />
relationships. As in previous courses, they<br />
continue learning about Spanish and Latin<br />
American cultures. Prerequisite: Spanish Level 2,<br />
the equivalent, or permission of the instructor.<br />
2 CREDITS<br />
NSPN 2001 $590<br />
Find all course listings and register at<br />
newschool.edu/ce/classes or by calling<br />
212.229.5620.<br />
25<br />
CONTENTS<br />
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PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
Introductory<br />
Intensive 1<br />
Luiz Guzman<br />
A | 13 sessions | beg. June 6 | M–Th 10 am–1:45 pm<br />
This is an accelerated course for beginners with<br />
little or no knowledge of Spanish. Students learn<br />
the fundamentals of speaking, listening, reading,<br />
and writing in Spanish. They acquire a wide<br />
range of elementary communicative competencies<br />
such as using the present, past, and future<br />
tenses; expressing likes and dislikes; describing<br />
things; and asking questions. They practice<br />
conversing and writing about themselves and<br />
others, school and leisure activities, time,<br />
weather, and shopping. They learn about<br />
Spanish and Latin American culture while<br />
building their communicative skills. 4 CREDITS<br />
NSPN 1003 $1,000<br />
ENGLISH AS A SECOND<br />
LANGUAGE<br />
The New School offers English language instruction from the lowintermediate<br />
to the advanced level for speakers of other languages.<br />
The courses are designed for students preparing for studies in the United<br />
States, professionals working in English-speaking environments, and<br />
anyone who needs to speak and write better English for personal or career<br />
purposes. Students can take individual courses or enroll in a full-time<br />
intensive certificate program, depending on their purposes. The New<br />
School awards a Certificate in English as a Second Language to students<br />
who successfully complete a minimum of 100 hours of ESL classes.<br />
All students who complete the certificate program can expect to emerge<br />
with improved fluency and independent learning skills.<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
Continuing Education<br />
Online Info Session<br />
Writing, Liberal Arts, Languages,<br />
Media and Management Programs<br />
faculty profile:<br />
Raúl Rubio<br />
Raúl Rubio is an associate professor of<br />
Hispanic studies and chair of Foreign<br />
Languages at The New School. Trained as<br />
a Hispanist and cultural studies scholar,<br />
Rubio is widely known for his research on<br />
Cuban visual and material cultures. He<br />
has published a wide range of studies on<br />
comparative literature, film, and graphic<br />
and decorative arts. Rubio’s research is<br />
ESL COURSES<br />
GRAMMAR<br />
20 sessions | beg. June 1<br />
Students learn more than just rules of grammar;<br />
they learn how to use grammar in speaking and<br />
writing. Grammar classes are lively and active, with<br />
reading, discussion, videos, songs, presentations,<br />
games, and writing as well as more traditional<br />
exercises and quizzes. Levels 3–6 offered.<br />
$1,190<br />
ACADEMIC WRITING<br />
20 sessions | beg. June 2<br />
ESL writing courses take students through the<br />
process of writing, from prewriting to organizing,<br />
drafting, and revising everything from<br />
paragraphs to full-length essays. At each level,<br />
students learn the sentence structure, vocabulary,<br />
and writing techniques that will help them<br />
express themselves clearly in academic English.<br />
Levels 3–6 offered.<br />
$1,190<br />
26<br />
Wednesday, May 11, 12:30-1:30 pm EST<br />
Looking to explore your passion for media<br />
and film, languages, writing, or liberal arts?<br />
Or maybe you’re looking to take your career<br />
to the next level through professional<br />
development with cutting-edge management<br />
courses. Join us to get a program overview<br />
and pitch your questions to our team of<br />
dedicated advisors!<br />
RSVP at newschool.edu/thenewceonline.<br />
grounded in the emerging interdisciplinary<br />
field of material culture, which examines<br />
a variety of artifacts, from cultural<br />
commodities to museum archives. Rubio<br />
earned a doctorate in Latin American<br />
literature and cultural studies at Tulane<br />
University in New Orleans. He is a<br />
graduate of Middlebury College’s school<br />
in Madrid, where he completed a master’s<br />
degree in Spanish. He teaches advanced<br />
Spanish and professional Spanish.<br />
LISTENING/SPEAKING<br />
20 sessions | beg. June 1<br />
In these classes, students practice speaking and<br />
listening in a variety of informal and formal<br />
situations. They learn idioms and phrasal verbs,<br />
practice difficult pronunciation patterns and<br />
sounds, and develop presentation skills.<br />
Listening practice involves movies, YouTube<br />
videos, and lectures. Levels 3–6 offered.<br />
$820<br />
READING<br />
20 sessions | beg. June 2<br />
Enrollment limited. Permission required.<br />
Students read a variety of longer and shorter<br />
texts, which they are expected to discuss and<br />
write about in detail in class, in homework<br />
assignments, and on quizzes. In-class activities<br />
and homework assignments help students<br />
increase their reading speed, comprehension,<br />
confidence, and enjoyment. Levels 3–6 offered.<br />
$820<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
ESL SCHEDULING<br />
Below is the class schedule for the ESL courses in<br />
grammar, listening/speaking, writing, and reading.<br />
TIME M, W T, Th<br />
9 am–12 noon Grammar Writing<br />
1:40–3:40 pm Listening/Speaking Reading<br />
ESL+ <strong>CE</strong>RTIFICATES<br />
The New School’s ESL+ certificates are innovative<br />
language preparation programs that provide<br />
a high-quality English language foundation and<br />
pathway for students to continue their academic<br />
and professional careers at The New School<br />
and beyond.<br />
ESL + DESIGN<br />
The ESL + Design program of study is the<br />
structured set of intensive English language<br />
(ESL) courses detailed above plus a design<br />
studio, short supplemental workshops, and an<br />
orientation to life in the United States. Those<br />
who successfully complete the program can<br />
obtain a certificate of completion confirming<br />
they have attained a specified level of proficiency<br />
in English speaking, reading, and writing<br />
and foundational skills in art and design. The<br />
program also includes short practical workshops<br />
on topics such as preparing your application to<br />
Parsons, the vocabulary of fashion and design,<br />
and how to succeed at Parsons.<br />
newschool.edu/public-engagement/<br />
esl-design-certificate<br />
ESL + FOOD<br />
The ESL + Food Certificate was designed by<br />
The New School in New York City in collaboration<br />
with the International Culinary Center (ICC).<br />
The certificate program provides a high-quality<br />
English language education for students who<br />
want to attend culinary school at the ICC,<br />
obtain a degree in Food Studies at The New<br />
School, or choose another career path within<br />
the food industry. Program features include<br />
access to New York City’s culinary scene,<br />
including culinary events and food industry<br />
guest speakers. Students are also exposed to<br />
influential chefs and restaurants and take field<br />
trips to the ICC for demonstrations by master<br />
chefs and to the Union Square Greenmarket.<br />
Our signature course, The Language of the<br />
Kitchen, reinforces key vocabulary of food,<br />
cooking, and preparation techniques in a<br />
supportive and interactive classroom setting.<br />
newschool.edu/public-engagement/<br />
esl-food-certificate<br />
TEACHING ENGLISH<br />
TO SPEAKERS OF<br />
OTHER LANGUAGES<br />
English has become the language of international communication;<br />
command of spoken and written English is important in business, the arts,<br />
and other professions all over the world. Locally, learning English can<br />
empower and assist underserved communities of immigrants and refugees.<br />
The demand for trained ESL teachers and ESL courses continues to grow.<br />
MASTER OF ARTS IN<br />
TEACHING ENGLISH<br />
TO SPEAKERS OF<br />
OTHER LANGUAGES<br />
The New School offers the Master of Arts<br />
in Teaching English to Speakers of Other<br />
Languages (TESOL), with concentrations<br />
in teaching and curriculum development.<br />
For more information, visit the website<br />
at newschool.edu/matesol.<br />
<strong>CE</strong>RTIFICATE IN TEACHING<br />
ENGLISH<br />
The New School offers a certificate for aspiring<br />
and working ESL teachers for whom a master’s<br />
degree is inappropriate or impractical. The<br />
find work in nonprofit immigrant support<br />
institutions, schools abroad, and private practice.<br />
Note, however, that The New School’s<br />
Certificate in Teaching English does not certify<br />
the holder to teach ESL in public or registered<br />
proprietary schools in New York State.<br />
The Certificate in Teaching English is awarded<br />
for successful completion of the program of<br />
study outlined below. This program can be<br />
completed in two academic terms, depending<br />
on the availability of classes. Courses need not<br />
be taken in the order listed unless a prerequisite<br />
in indicated in the course description. The<br />
courses can be taken for undergraduate credit<br />
or on a noncredit basis, but if you are not<br />
enrolling for undergraduate credit, you must<br />
register as a certificate student.<br />
• Methods and Techniques of Teaching ESL/EFL<br />
• English Grammar for ESL Teachers<br />
• Teaching the Sound System of English<br />
27<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
#THENEW<strong>CE</strong><br />
#LEARNGROWREPEAT<br />
certificate attests to successful completion of a<br />
five-course training program in teaching English<br />
to speakers of other languages.<br />
The certificate curriculum has a practical<br />
orientation based on theory and techniques of<br />
communicative, student-centered learning.<br />
Students learn a variety of skills readily applicable<br />
to classroom teaching and tutoring.<br />
Students who complete the program usually<br />
• Using Authentic Materials to Teach ESL<br />
• ESL Teaching Practicum<br />
Prospective students must apply online to the<br />
Department of English Language Studies. The<br />
application includes a writing sample and<br />
English grammar test. Applicants will be contacted<br />
for an in-person interview soon after their<br />
complete applications have been received.<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
Note: Non-native speakers of English must have<br />
a TOEFL score of at least 100 (IBT) or 7 (IELTS).<br />
For the application and complete program<br />
information, visit newschool.edu/ce/<br />
teachingenglish.<br />
Check the website for upcoming Certificate in<br />
TESOL information sessions.<br />
English Grammar<br />
for ESL Teaching<br />
Delis Pitt<br />
A | 15 sessions | beg. June 2 | T, Th 6–8:40 pm<br />
Enrollment limited. Permission required; call<br />
212.229.5372. This course is designed to<br />
improve formal understanding of English<br />
grammar while providing hands-on, practical<br />
training for future language teachers. By the end<br />
of this course, students will have interiorized a<br />
pedagogical method that enables them to<br />
research any grammar structure assigned to<br />
them and to build interesting and constructive<br />
lessons around it. 3 CREDITS<br />
Using Authentic<br />
Materials to Teach ESL<br />
Theresa Breland<br />
A | 7 sessions | beg. June 8 | W 6–7:50 pm<br />
Enrollment limited. Permission required; call<br />
212.229.5372. This course presents techniques<br />
for choosing and using appropriate media and<br />
materials such as video, newspapers, Internetbased<br />
audio, and articles as well as realia in ESL<br />
instruction. Participants learn how to prepare<br />
teaching exercises that incorporate these kinds<br />
of materials, and as time permits, the class<br />
experiments with them. 1 CREDIT<br />
NELT 3432 $405<br />
ESL Teaching<br />
Practicum in<br />
Wroclaw, Poland<br />
A | 3 weeks | July 29–Aug. 19<br />
Enrollment limited. Permission required; call<br />
212.229.5372. Following a two-day orientation,<br />
PROFESSIONAL<br />
DEVELOPMENT:<br />
ONE-DAY WORKSHOPS<br />
Professional development workshops are<br />
offered regularly for working ESL teachers.<br />
Enrollment in the certificate program is not<br />
required. Register online at newschool.edu/esl.<br />
X-Word Grammar<br />
and Noun Boxes<br />
Tamara Kirson<br />
A | 2 sessions | beg. June 13 | M, W 6–8:50 pm<br />
For English language learners, subject-verb<br />
agreement and the use of determiners to signal<br />
a noun are often sources of confusion and error.<br />
X-word grammar addresses these relationships<br />
with a methodology that minimizes rules and<br />
emphasizes inductive learning. The workshop is<br />
interactive, with participants exploring teaching<br />
approaches to use in their classrooms.<br />
NELT 0542 $125<br />
Find all course listings and register at<br />
newschool.edu/ce/classes or by calling<br />
212.229.5620.<br />
More questions about a class?<br />
Get in touch! ce@newschool.edu<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
NELT 3412 $1,035<br />
students teach or team-teach an English class<br />
three hours daily for three weeks and partici-<br />
Teaching the Sound<br />
System of English<br />
Linda Pelc<br />
pate in a seminar twice a week. Prerequisites:<br />
Methods and Techniques of Teaching ESL/EFL,<br />
English Grammar for ESL Teachers, and Using<br />
Authentic Materials to Teach ESL.<br />
28<br />
A | 7 sessions | beg. June 9 | Th 4–5:50 pm<br />
Enrollment limited. Permission required; call<br />
212.229.5372. The class studies the sound<br />
system of English, with special attention to<br />
Accommodations and airfare not included<br />
in fee. 3 CREDITS<br />
NELT 3416 $630<br />
features that learners of English as a foreign<br />
language often find difficult. Participants learn<br />
MANNES<br />
to develop contextualized pronunciation exercises<br />
and incorporate them into an ESL syllabus.<br />
1 CREDIT<br />
REGISTRATION<br />
INFO<br />
NELT 3414 $405<br />
ONLINE CLASSES
creative<br />
writing<br />
COURSE<br />
OFFERINGS
CREATIVE WRITING<br />
SUMMER WRITERS COLONY<br />
Discover the writer’s life in New York City. This intensive three-week<br />
program provides a supportive yet challenging atmosphere in which to<br />
develop as a writer, whether you are embarking on a new writing project<br />
or developing a work-in-progress. You and your peers share and critique<br />
one another’s ongoing projects in a daily writing workshop moderated by<br />
a member of The New School’s distinguished writing faculty. Instructors<br />
also provide detailed written feedback on all work submitted. In the<br />
evenings, our literary salons bring notable writers into conversation with<br />
the students and faculty of the colony. In supplemental sessions, you can<br />
try your hand at specialized writing activities such as experimental fiction,<br />
children’s writing, or writing a walking poem during a literary tour of<br />
Greenwich Village. The entire <strong>Summer</strong> Writers Colony community gathers<br />
for celebratory readings of student and faculty work. To join the colony,<br />
please register for a workshop. Find more courses on Literature on page 22.<br />
LITERARY SALONS<br />
Literary salons are an essential<br />
component of the <strong>Summer</strong> Writers<br />
Colony but may also be taken<br />
individually as continuing education<br />
courses. A faculty member leads<br />
the group in a salon-style<br />
discussion of each featured book<br />
during the first two days of the<br />
salon. On the third day, the author<br />
visits to read from his or her work<br />
and to join the conversation.<br />
<strong>Summer</strong> Writers Colony students<br />
select one salon each week. All<br />
participants should read the<br />
featured book before the start<br />
of each salon.<br />
find and lose ourselves amid the places we call<br />
home.” Please read Ordinary Light before the<br />
first day of the salon.<br />
NWRW 0551 $230<br />
<strong>Summer</strong> Literary<br />
Salon: patrick rosal<br />
Kathleen Ossip<br />
A | 3 sessions | June 6, 7 & 9 | M, T, Th 6–7:50 pm<br />
From the publisher: “Patrick Rosal’s brilliant<br />
fourth collection of poems is ignited by the<br />
frictions of our American moment. In the face<br />
of relentless violence and deepening racial<br />
division, Rosal responds with his own brand of<br />
bare-knuckled beauty. Rosal finds trouble he<br />
isn’t asking for in his unforgettable new poems,<br />
whether in New York City, Austin, Texas, or the<br />
colonized Philippines of his ancestors. But<br />
trouble is everywhere, and Rosal, acclaimed<br />
author of My American Kundiman, responds in<br />
kind, pulling no punches in his most visceral,<br />
physical collection to date. ‘My hand’s quick trip<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
from my hip to your chin, across / your face, is<br />
<strong>Summer</strong> Writers<br />
Colony: Poetry<br />
Jenny Zhang<br />
A | 12 sessions | beg. June 6 | M–Th 2:30–5 pm<br />
<strong>Summer</strong> Writers<br />
Colony: Nonfiction<br />
Madge McKeithen<br />
B | 12 sessions | beg. June 6 | M–Th 2:30-5 pm<br />
<strong>Summer</strong> Writers<br />
Colony: Fiction<br />
Sharon Mesmer<br />
C | 12 sessions | beg. June 6 | M–Th 2:30–5 pm<br />
Workshop classes are limited to 12 students.<br />
The writing workshop is the core of this intensive<br />
curriculum. An experienced writer-teacher<br />
focuses on students’ manuscripts, guiding<br />
students in the creative acts of revision and<br />
self-editing through class exercises and private<br />
conferences. To register for the <strong>Summer</strong> Writers<br />
Colony, select the workshop you would like to<br />
attend. Note: After you have registered, choose<br />
one literary salon per week and email your list<br />
to summerwriters@newschool.edu. 6 CREDITS<br />
NWRW 3590 $4,340<br />
<strong>Summer</strong> Literary<br />
Salon: Tracy K. Smith<br />
Laura Cronk<br />
A | 3 sessions | June 6–8 | M–W 6–7:50 pm<br />
From the publisher: “From the dazzlingly original<br />
Pulitzer Prize-winning poet hailed for her<br />
‘extraordinary range and ambition’ (The New<br />
York Times Book Review): a quietly potent<br />
memoir that explores coming-of-age and the<br />
meaning of home against a complex backdrop<br />
of race, faith, and the unbreakable bond<br />
between a mother and daughter. Shot through<br />
with exquisite lyricism, wry humor, and an<br />
acute awareness of the beauty of everyday life,<br />
not the first free lesson I’ve given,’ Rosal writes,<br />
and it’s true—this new book is full of lessons,<br />
hard-earned, from a poet who nonetheless finds<br />
beauty in the face of violence.” Please read<br />
Brooklyn Antediluvian before the first day of<br />
the salon.<br />
NWRW 0552 $230<br />
<strong>Summer</strong> Literary<br />
Salon: Robyn Schiff<br />
Sharon Mesmer<br />
A | 3 sessions | June 13–15 | M–W 6-7:50 pm<br />
From the publisher: “Located in a menacing,<br />
gothic landscape, the poems that comprise<br />
30<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
Ordinary Light is a gorgeous kaleidoscope of<br />
A Woman of Property draw formal and imagi-<br />
self and family, one that skillfully combines a<br />
native boundaries against boundless mortal<br />
Find all course listings and register at<br />
newschool.edu/ce/classes or by calling<br />
212.229.5620.<br />
child’s and teenager’s perceptions with adult<br />
retrospection. Here is a universal story of being<br />
and becoming, a classic portrait of the ways we<br />
threat, but as all borders are vulnerable, this<br />
ominous collection ultimately stages an urgent<br />
and deeply imperiled boundary dispute where<br />
ONLINE CLASSES
haunting, illusion, the presence of the past,<br />
and disembodied voices only further unsettle<br />
questions of material and spiritual possession.<br />
This is a theatrical book of dilapidated houses<br />
and overgrown gardens, of passageways and<br />
thresholds, edges, prosceniums, unearthings,<br />
and root systems. The unstable property lines<br />
here rove from heaven to hell, troubling proportion<br />
and upsetting propriety in the name of<br />
unfathomable propagation. Are all the gates<br />
in this book folly? Are the walls too easily<br />
scaled to hold anything back or impose<br />
self-confinement? What won’t a poem do<br />
to get to the other side?” Please read<br />
A Woman of Property before the first day<br />
of the salon.<br />
NWRW 0553 $230<br />
MASTER OF FINE ARTS<br />
IN CREATIVE WRITING<br />
Live the writer’s life in New York City. Join a<br />
community of diverse voices, plug into New<br />
York’s publishing world, and build a network<br />
that will support you through graduation<br />
and beyond. The New School offers a Master<br />
of Fine Arts degree in creative writing.<br />
Concentrations in this two-year full-time<br />
graduate program include Fiction, Nonfiction,<br />
Poetry, and Writing for Children. Students<br />
develop their craft in workshops and literary<br />
seminars led by internationally recognized<br />
faculty with close ties to New York publishing<br />
and the city’s literary scene.<br />
For more information, visit the Creative<br />
Writing program’s website, newschool.edu/<br />
public-engagement/mfa-creative-writing.<br />
To discuss continuing education course<br />
offerings in writing, call 212.229.5611.<br />
<strong>Summer</strong> Literary<br />
Salon: Marlon James<br />
Mira Jacob<br />
A | 3 sessions | June 13, 14 & 16 | M, T, Th 6–7:50 PM<br />
From the publisher: “In A Brief History of Seven<br />
Killings, Marlon James combines masterful<br />
storytelling with his unrivaled skill at characterization<br />
and his meticulous eye for detail to forge<br />
a novel of dazzling ambition and scope. On<br />
December 3, 1976, just before the Jamaican<br />
general election and two days before Bob<br />
Marley was to play the Smile Jamaica Concert<br />
to ease political tensions in Kingston, seven<br />
unnamed gunmen stormed the singer’s house,<br />
machine guns blazing. The attack wounded<br />
Marley, his wife, and his manager, and injured<br />
several others. Little was officially released<br />
about the gunmen, but rumors abounded<br />
regarding the assassins’ fates. A Brief History of<br />
Seven Killings is James’s fictional exploration of<br />
that dangerous and unstable time in Jamaica’s<br />
history and beyond. Deftly spanning decades<br />
and continents and peopled with a wide range<br />
of characters—assassins, drug dealers, journalists,<br />
and even ghosts—James brings to life the<br />
people who walked the streets of 1970s<br />
Kingston, who dominated the crack houses of<br />
1980s New York, and who reemerged into a<br />
radically altered Jamaica of the 1990s.” Please<br />
read A Brief History of Seven Killings before the<br />
first day of the salon.<br />
NWRW 0554 $230<br />
<strong>Summer</strong> Literary<br />
Salon: Jenny Offill<br />
Madge McKeithen<br />
A | 3 sessions | June 20–22 | M–W 6-7:50 pm<br />
From the publisher: “Dept. of Speculation is<br />
a portrait of a marriage. It is also a beguiling<br />
More questions about a class?<br />
Get in touch! ce@newschool.edu<br />
rumination on the mysteries of intimacy, trust,<br />
faith, knowledge, and the condition of universal<br />
shipwreck that unites us all. Jenny Offill’s<br />
heroine, referred to in these pages as simply<br />
‘the wife,’ once exchanged love letters with her<br />
husband postmarked Dept. of Speculation, their<br />
code name for all the uncertainty that inheres in<br />
life and in the strangely fluid confines of a long<br />
relationship. As they confront an array of<br />
common catastrophes—a colicky baby, a<br />
faltering marriage, stalled ambitions—the wife<br />
analyzes her predicament, invoking everything<br />
from Keats and Kafka to the thought experiments<br />
of the Stoics to the lessons of doomed<br />
Russian cosmonauts. She muses on the consuming,<br />
capacious experience of maternal love<br />
and the near-total destruction of the self that<br />
ensues from it as she confronts the friction<br />
between domestic life and the seductions and<br />
demands of art.” Please read Dept. of Speculation<br />
before the first day of the salon.<br />
NWRW 0555 $230<br />
<strong>Summer</strong> Literary<br />
Salon: Gary<br />
Shteyngart<br />
Andrew Zornoza<br />
A | 3 sessions | June 20, 21 & 23 | M, T, Th 6-7:50 pm<br />
From the publisher: “Little Failure is the all too<br />
true story of an immigrant family betting its<br />
future on America, as told by a lifelong misfit<br />
who finally finds a place for himself in the world<br />
through books and words. In 1979, a little boy<br />
dragging a ginormous fur hat and an overcoat<br />
made from the skin of some Soviet woodland<br />
creature steps off the plane at New York’s JFK<br />
International Airport and into his new American<br />
life. His troubles are just beginning. For the<br />
former Igor Shteyngart, coming to the United<br />
States from the Soviet Union is like stumbling<br />
off a monochromatic cliff and landing in a pool<br />
of Technicolor. Careening between his Soviet<br />
home life and his American aspirations, he finds<br />
himself living in two contradictory worlds,<br />
wishing for a real home in one. He becomes so<br />
strange to his parents that his mother stops<br />
bickering with his father long enough to coin<br />
the phrase failurchka—“little failure”—which she<br />
applies to her once-promising son. With affection.<br />
Mostly. From the terrors of Hebrew school<br />
to a crash course in first love to a return visit to<br />
the homeland that is no longer home, Gary<br />
Shteyngart has crafted a ruthlessly brave and<br />
funny memoir of searching for every kind of love<br />
— family, romantic, and of the self.” Please read<br />
Little Failure before the first day of the salon.<br />
NWRW 0556 $230<br />
INTENSIVES AND<br />
SPECIAL TOPICS<br />
NEW One-Day<br />
Workshop: Personal<br />
Nonfiction<br />
Nancy Kelton<br />
A | 1 session | June 17 | F 10 am–3 pm<br />
Whether the impulse to write comes from a<br />
longtime yearning, a recent itch, or a desire to<br />
record your experiences for yourself and your<br />
loved ones, this workshop will help you capture<br />
your memories, dreams, childhood incidents,<br />
and truths in your own voice. You will learn to<br />
get rid of your internal critic, express yourself<br />
authentically, establish disciplined work habits,<br />
avoid procrastination, and open up. In-class<br />
writing exercises, home assignments, suggestions<br />
for outside readings and marketing advice<br />
are given.<br />
NWRW 0222 $250<br />
31<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
school of writing<br />
Want to see for yourself what the writer’s<br />
life is like? The School of Writing hosts an<br />
exciting series of public writing events<br />
throughout the year, including author<br />
appearances and readings, forums, and<br />
publishing panels.<br />
For more information, visit the full calendar<br />
of events at newschool.edu/publicengagement/mfa-creative-writing-events.<br />
On Location:<br />
Writing at the Met<br />
Star Black<br />
original writing produced during the course is<br />
due from each student on the last day of class.<br />
3 CREDITS<br />
NWRW 3445 $730<br />
NEW Writing and<br />
Activism<br />
Lisa Freedman<br />
A | 9 weeks | June 6–Aug. 5<br />
“Stories are compasses and architecture; we<br />
navigate by them, we build our sanctuaries and<br />
our prisons out of them” (Rebecca Solnit). In this<br />
workshop, each writer will identify and develop<br />
a few stories the world needs to hear. We live at<br />
a time when huge corporations assert control<br />
over the stories that get told. It’s hard to express<br />
our own truths, which are often complicated<br />
and even subversive. The resistance comes from<br />
easy to maintain a consistent writing practice.<br />
This course offers a supportive push intended to<br />
instill and cement that habit in both fiction and<br />
nonfiction writers, at any stage of a project—<br />
from facing a blank page to completing a draft<br />
of a story. We use exercises, writing prompts,<br />
and a constructive critiquing process to improve<br />
our writing practices as well as our work. While<br />
the focus is on loosening up and kick-starting<br />
our creativity, the exercises in this course<br />
connect to and explore important features of<br />
both fiction and nonfiction writing—including<br />
description, voice, character, plot, and revision—<br />
as well as ways to apply them to current and<br />
future projects. We also read pieces by acclaimed<br />
writers about process. By the end of the course,<br />
each student will have a good start on a new<br />
piece or a clear direction in which to take a<br />
piece he or she has already begun—and have a<br />
FUNDAMENTALS<br />
Academic Writing:<br />
Short Course<br />
Justin Sherwood<br />
A | 6 weeks | June 6–July 15<br />
Writing well is the key to success in college.<br />
This course teaches students the foundations<br />
of academic writing: the nature of research; the<br />
skills of criticism, analysis, and argumentation;<br />
the process of revision; and the basics of correct<br />
grammar and American English usage. Note:<br />
Students for whom English is a foreign language<br />
should take ESL Academic Writing instead of<br />
this course. 2 CREDITS<br />
NWRW 1126 $500<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
A | 8 sessions | beg. June 6 | M–Th 11–4 pm<br />
New York City has a long tradition of artistic<br />
exchange and collaboration between writers<br />
and painters and of exchange between writing<br />
and the visual arts. Kenneth Koch and Larry<br />
Rivers, John Ashbery and Jane Freilicher, and<br />
James Schuyler and Fairfield Porter were close<br />
friends and collaborators. Derek Walcott and<br />
e. e. cummings both painted and wrote, and<br />
photographers like Rudy Burckhardt documented<br />
friends creating art in their studios.<br />
The class splits its time between The New<br />
School, where we share our writing, and The<br />
Metropolitan Museum of Art. Students meet at<br />
The New School from 11:00 a.m. to 12:00 noon,<br />
break for lunch, and reconvene in front of MoMA<br />
or on the steps of The Metropolitan Museum of<br />
Art at 1:00 p.m. We spend time exploring the<br />
collections and current exhibitions and writing<br />
flash fiction, “ekphrastic” poems, and other<br />
creative pieces responding to the art. We visit<br />
The Met’s European Paintings Galleries, sculpture<br />
courts, medieval art and armor collection,<br />
and Costume Institute, as well as the art galleries<br />
on all the floors of MoMA. A final paper of<br />
internal censors, while external gatekeepers<br />
decide what’s acceptable and what will sell. To<br />
help overcome these forces, we will meditate<br />
and try out other kinds of self-care; offer one<br />
another concrete, supportive feedback; find<br />
inspiration and useful models from storytellers<br />
such as Ta-Nehisi Coates and Joanna Macy;<br />
experiment with different genres, from poems<br />
and personal essays to pamphlets and manifestos;<br />
consider a range of interconnecting issues,<br />
including climate change, xenophobia, inequality,<br />
and more; and brainstorm ways to share<br />
our ideas and stories with audiences within and<br />
beyond the New School and social media<br />
communities. 3 CREDITS<br />
NWRW 2415 $730<br />
Pick Up Your Pens:<br />
Kick-Start Your<br />
Writing Routine<br />
Jessica Sholl<br />
A | 15 sessions | beg. June 7 | T, Th 6–7:50 pm<br />
Writing is largely a matter of habit (to paraphrase<br />
Flannery O’Connor), but it’s not always<br />
solid foundation for a regular writing practice.<br />
3 CREDITS<br />
NWRW 2625 $730<br />
Playwriting<br />
A | 9 weeks | June 6–Aug. 5<br />
Robert Montgomery<br />
An introduction to the basics of drama, including<br />
story, character, conflict, scene construction,<br />
and overall plotting. Students also consider<br />
issues such as drama as metaphor, the realities<br />
of staging, and production problems. The course<br />
is geared to the theatrical experience of each<br />
student, with readings and writing exercises<br />
suggested when appropriate. Feedback from<br />
classmates approximates an audience experience,<br />
and the instructor provides detailed<br />
responses to all work submitted. Students<br />
should expect to complete at least 20 pages of<br />
script by the end of the course. 3 CREDITS<br />
NWRW 3702 $730<br />
faculty profile:<br />
Luis Jaramillo<br />
Luis Jaramillo is the author of The Doctor’s<br />
Wife, winner of the Dzanc Books Short<br />
Story Collection Contest, an Oprah Book<br />
of the Week, and one of NPR’s Best Books<br />
of 2012. His work has also appeared in<br />
Open City, Gamers (Soft Skull Press),<br />
Tin House Magazine, H.O.W. Journal, and<br />
Red Line Blues. He is the associate chair<br />
of the Creative Writing Program at<br />
The New School, teaches courses in fiction<br />
and nonfiction, and is co-editor of the<br />
online journal The Inquisitive Eater: New<br />
School Food. He received an undergraduate<br />
degree from Stanford and an MFA from<br />
The New School.<br />
32<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
The Mechanics<br />
of Writing<br />
Randi Ross<br />
A | 26 sessions | TBA | M, W 6–7:50 pm<br />
Noelle Kocot-Tomblin<br />
B | 9 weeks | June 6–Aug. 5<br />
The study of effective English prose makes<br />
the sentence its principal focus. In this course,<br />
designed to meet the needs of beginning<br />
writers, we examine the sentence, looking at<br />
syntax, the parts of speech, and other aspects<br />
of grammar. Later we look ahead to considerations<br />
of effectiveness and style. Chapters from<br />
a grammar and style textbook are assigned.<br />
Students workshop short writing assignments<br />
weekly. They look at what is correct versus<br />
what is incorrect and when rules should be<br />
broken, how language changes, how context<br />
determines choices, and how these choices<br />
develop into a style. Note: Students for whom<br />
English is a foreign language should take the<br />
appropriate English as a second language<br />
course instead of this course. 3 CREDITS<br />
NWRW 1011 $730<br />
Writing for Artists<br />
Rebecca Reilly<br />
A | 9 weeks | June 6–Aug. 5<br />
Writing is performance. In this course, visual<br />
artists, designers, musicians, writers, dancers,<br />
filmmakers, actors—artists of every kind come<br />
together in a supportive workshop environment<br />
to develop their writing skills. Students practice<br />
the skills of argumentation, research, and clear<br />
expression that benefit critical pieces as well<br />
as the kinds of writing they will likely have to<br />
produce as professional artists or critics in the<br />
field. In the first half of the course, students<br />
learn the craft of critical writing, from the<br />
ground up—constructing one analytic essay in<br />
increments. The second part of the course is<br />
devoted to putting these skills into professional<br />
practice, as students write artist statements,<br />
reviews of current work, personal essays,<br />
creative pieces, and more. Students read top<br />
critics in their fields as well as writers from the<br />
canon particularly relevant to their own work.<br />
3 CREDITS<br />
NWRW 1030 $730<br />
POETRY<br />
Poetry: The Language<br />
of Music<br />
John Johnson<br />
A | 9 weeks | June 6–Aug. 5<br />
This study of musical poetics focuses on the<br />
buried linguistic and musical structures of<br />
poetry and on the way these structures create<br />
voice and meaning in a poem. We discuss the<br />
way music serves as a muse for the poet and<br />
creates a relationship between form and content.<br />
Some class time is devoted to close<br />
poetry workshop considers how the arts influence<br />
and strengthen one another. How is<br />
writing a poem like composing a song, making<br />
a film, designing a garment, or performing a<br />
monologue? We think about how poems get<br />
made and make them by harnessing various<br />
theories of art. We discuss student work in an<br />
atmosphere open to all forms of creativity.<br />
Student participation includes deciding on<br />
readings together from multiple creative disciplines,<br />
using all art forms as inspiration.<br />
3 CREDITS<br />
NWRW 3845 $730<br />
FICTION<br />
Introduction<br />
to Fiction<br />
Jessica Sholl<br />
A | 9 weeks | June 6–Aug. 5<br />
This course is intended to encourage and guide<br />
students who are starting to explore the many<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
reading of established and younger poets<br />
creative possibilities fiction affords. Through<br />
representing different poetic styles, and to close<br />
reading assignments, writing exercises, and<br />
listening to the voices of poets reading from<br />
discussions, we consider character develop-<br />
their own work. Most class time, however, is<br />
ment, dialogue, point of view, and significant<br />
devoted to examination of student writing, with<br />
detail. Attention is also paid to recognizing<br />
the goal of helping students find their own<br />
good ideas, developing stories, finding the best<br />
music and voice within the poem. This course<br />
structure, and honing one’s unique voice. The<br />
is open to poets at all levels, but beginners are<br />
especially welcome. 3 CREDITS<br />
majority of class time is spent reviewing projects<br />
by students, which are workshopped on a<br />
33<br />
NWRW 3205 $730<br />
weekly basis. Readings include works by Rick<br />
Moody, Jhumpa Lahiri, Tim O’Brien, Lorrie<br />
NEW Poetry and the<br />
Creative Process<br />
Richard Tayson<br />
A | 9 weeks | June 6–Aug. 5<br />
“If you can paint with a brush, you can paint<br />
with words,” a teacher told Joni Mitchell when<br />
Moore, and Michael Cunningham. 3 CREDITS<br />
NWRW 2301 $730<br />
NEW Writing the<br />
Young Adult Novel<br />
Carol Goodman<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
she was in sixth grade. Just as writing can be<br />
A | 15 sessions | beg. June 7 | T, Th 6–7:50 pm<br />
compared to painting, it can also be analogized<br />
Do you remember reading a particularly good<br />
to creating music and other forms of art. Open<br />
book when you were a teenager, one that<br />
to students at all levels of experience, this<br />
stayed with you into adulthood? Young adult or<br />
ONLINE CLASSES
teen literature is one of today’s fastest-growing<br />
book markets. We examine all aspects of<br />
writing for young adults, including suitable<br />
subject matter, plot structure, mood, tone, and<br />
authentic voice. We study a variety of books<br />
written for young adults, including The Catcher<br />
in the Rye by J. D. Salinger and Catalyst by<br />
Laurie Halse Singer, to learn what makes this<br />
genre at its best so powerful, even timeless.<br />
In-class and at-home writing exercises are<br />
assigned to spark creativity and tap previously<br />
undiscovered sources of inspiration. A suggested<br />
reading list is distributed, and one session<br />
is devoted to different approaches to getting<br />
published. Both beginning and experienced<br />
writers are welcome. As Flannery O’Connor said,<br />
“If you survive childhood you have enough<br />
material to write about for the rest of your life.”<br />
3 CREDITS<br />
NWRW 3808 $730<br />
Advanced Fiction<br />
Writing: Revise<br />
and Polish<br />
John Reed<br />
A | 15 sessions | beg. June 7 | T, Th 8–9:50 pm<br />
This workshop is an opportunity for writers to<br />
speed their creative and technical maturation.<br />
It is designed for students who are beyond<br />
introductory courses and are ready to take their<br />
writing to a higher level. Workshop time is<br />
dedicated primarily to student work; assignments<br />
look toward and initiate tasks commonly<br />
encountered by aspiring writers. The intention<br />
of the course is to help writers prepare themselves<br />
and their work for the next phase of their<br />
vocation, be it approaching editors, agents, and<br />
literary journals or applying to graduate<br />
schools. These subjects are addressed realistically<br />
and reasonably, with the quality of the<br />
writing always foremost on the agenda.<br />
3 CREDITS<br />
NWRW 4310 $730<br />
NONFICTION<br />
Introduction to<br />
Creative Nonfiction<br />
Robert Lopez<br />
A | 9 weeks | June 6–Aug. 5<br />
This workshop is for serious beginners as well<br />
as more experienced writers who want to delve<br />
into the still-evolving genre of creative nonfiction,<br />
which includes the personal essay, the memoir,<br />
the documentary, and literary journalism.<br />
Through in-class writing and weekly assignments,<br />
students develop the skills to build a<br />
narrative frame around real-life events and<br />
situations. Student work is read and discussed<br />
in class. Readings from both The Art of the<br />
Personal Essay: An Anthology from the Classical<br />
Era to the Present, edited by Phillip Lopate, and<br />
Vivian Gornick’s The Situation and the Story<br />
guide our considerations of the choices made<br />
by James Baldwin, Joan Didion, Natalia<br />
Ginzburg, Walter Benjamin, and other masters.<br />
3 CREDITS<br />
NWRW 2401 $730<br />
NEW Essay Writing:<br />
Truth and Culture<br />
Ashley Ford<br />
A | 15 sessions | beg. June 7 | T, Th 6–7:50 pm<br />
Essays in their myriad forms are everywhere—<br />
blogs, books of poetry, newspapers, digital<br />
magazines, and emerging publications of every<br />
kind. It could be argued that the essay is our<br />
most contemporary form, combining the<br />
immediacy and intimacy of a personal voice<br />
with the exploration of broader themes. Essays<br />
can push the culture into its most vulnerable<br />
corners, shining the light of reality into dark<br />
places that some would prefer remain hidden.<br />
Still, it is the essayist’s job to reveal the truth—<br />
not necessarily to shock the reader with it. In<br />
this class, we read work from Bad Feminist by<br />
Roxane Gay, Boys of My Youth by Jo Ann Beard,<br />
Between the World and Me by Ta-Nehisi<br />
Coates, and The Best American Essays (2013),<br />
edited by Cheryl Strayed. We discuss the<br />
history, purpose, and evolution of the personal<br />
essay while attempting to write some of our<br />
best work to date. 3 CREDITS<br />
NWRW 1107 $730<br />
Literary Nonfiction:<br />
Art in the Everyday<br />
Christopher Pastore<br />
A | 9 weeks | June 6–Aug. 5<br />
Students explore selected forms of creative<br />
nonfiction: the personal essay, reportage,<br />
biography, travel writing, food writing, profile,<br />
memoir, and linked fragments. The use of<br />
dialogue, setting, characterization, plot, and<br />
narrative voice is emphasized. The discipline of<br />
writing regularly is encouraged and supported<br />
through the assignment of short weekly exercises.<br />
Students are also assigned longer pieces<br />
that are workshopped in class. Discussions<br />
about the forms, techniques, and history of<br />
nonfiction are supplemented by readings from<br />
work by Joan Didion, V.S. Naipaul, Jamaica<br />
Kincaid, W.G. Sebald, Sherman Alexie, and<br />
Abigail Thomas. 3 CREDITS<br />
NWRW 3405 $730<br />
Personal Essay<br />
and Memoir<br />
Candy Schulman<br />
A | 26 sessions | beg. May 23 | M, W 6–7:50 pm<br />
“Fiction is obliged to stick to possibilities. Truth<br />
isn’t,” wrote Mark Twain. His words have even<br />
more resonance today, when so many actual<br />
events are harder to believe than the inventions<br />
of a novelist. Nonfiction offers limitless creative<br />
possibilities for contemporary writers willing to<br />
observe our complex world and translate their<br />
observations and experiences into dynamic<br />
prose full of insight and provocative ideas. This<br />
workshop is for serious beginners and experienced<br />
writers of essays and memoirs. Writing discipline<br />
is emphasized, and students receive<br />
writing prompts and assignments as well as<br />
working on their own projects. In workshop,<br />
they receive supportive critiques from their<br />
peers. Exercises and critiques are designed to<br />
help the writer develop a unique voice and style.<br />
The instructor offers guidance in using examples<br />
and anecdotes and incorporating dialogue<br />
and other techniques more common in fiction<br />
writing. For inspiration, we read and discuss<br />
exemplary work by Joan Didion, David Sedaris,<br />
Maureen Dowd, and E. B. White. Finally, print<br />
and online publishing markets are analyzed,<br />
with tips about submission strategies and<br />
marketing suggestions for publishable work.<br />
3 CREDITS<br />
NWRW 3545 $730<br />
Writing for NYC<br />
Newspapers,<br />
Magazines, and<br />
Webzines<br />
Susan Shapiro<br />
A | 7 sessions | beg. June 6 | M 6–10 pm<br />
The New York Times, the Daily News, Newsday,<br />
the New York Post, and the Wall Street Journal<br />
all use freelance writers for profiles, features,<br />
reviews, news stories, humor, and editorials. So<br />
do New York Magazine, the Village Voice, Time<br />
Out New York, and the New Yorker. Taught by a<br />
writer whose work has appeared in more than<br />
100 publications, this course reveals the secrets<br />
of breaking in. Topics include tailoring pieces to<br />
specific columns, writing a perfect cover and<br />
pitch letter, contacting the right editors, and<br />
submitting the work, following up, and getting<br />
clips. Assignments are read and critiqued in<br />
class. Guest speakers include top Manhattan<br />
editors. 3 CREDITS<br />
NWRW 3601 $730<br />
34<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
management,<br />
leadership, and<br />
entrepreneurship<br />
COURSE<br />
OFFERINGS
MANAGEMENT,<br />
LEADERSHIP, AND<br />
ENTREPRENEURSHIP<br />
Entrepreneurship<br />
Alejandro Crawford<br />
A | 15 sessions | beg. June 7 | T, Th 4–5:50 pm<br />
Start-ups are the drivers of today’s economy.<br />
It takes specific skills and qualities to lead an<br />
organization to success in this vibrant sector.<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
This hands-on, highly interactive course teaches<br />
The world is changing moment to moment—creating unprecedented risks<br />
and opportunities, in the commercial sector more than any other. Make<br />
your contributions count and sharpen the skills you need to successfully<br />
launch your own start-up, navigate a new nonprofit venture, or keep your<br />
business—and your career—ahead of the competition.<br />
Find courses on Fashion Business on page 8.<br />
Introduction<br />
to Management<br />
Richard Walton<br />
A | 9 weeks | June 6–Aug. 5<br />
related skills, such as preparing budgets and<br />
reading basic financial statements. 3 CREDITS<br />
NMGT 2110 $650<br />
students how to assess an idea, find funding,<br />
and bring the product to the market. We review<br />
the concept of entrepreneurship and the practices<br />
associated with the successful development and<br />
launch of a start-up. This is a practical course<br />
that combines the use of real-world case studies,<br />
background notes, and readings from sources<br />
specializing in entrepreneurship, marketing, etc.,<br />
with real-life exercises such as developing an<br />
elevator pitch, devising a business plan, and<br />
delivering an investor presentation. 3 CREDITS<br />
NMGT 2140 $650<br />
PUBLIC<br />
ENGAGEMENT<br />
This is a skill-building course for people whose<br />
job responsibilities or career interests require<br />
knowledge of basic management principles. We<br />
study concepts of organization, communication,<br />
decision making, planning, motivating, group<br />
dynamics, leadership, and change. Examples of<br />
common day-to-day management and supervisory<br />
problems provide realistic case studies.<br />
3 CREDITS<br />
NMGT 2100 $650<br />
Basic Accounting<br />
Vivette Ancona<br />
A | 9 weeks | June 6–Aug. 5<br />
This course introduces basic concepts and<br />
practices of accounting and double-entry<br />
bookkeeping. Journals, ledgers, and various<br />
types of accounts are described and discussed.<br />
Real-world business transactions are analyzed,<br />
and their proper entry into financial records is<br />
demonstrated. Students learn how to determine<br />
profit or loss on a cash or accrual basis and<br />
The Big Idea:<br />
Ad Campaigns<br />
Kurt Brokaw<br />
A | 15 sessions | beg. June 6 | M, W 8–9:50 pm<br />
Could you invent a Marlboro cowboy, a milk<br />
mustache, a talking E*TRADE baby, an Aflac<br />
duck? How do copywriters and art directors<br />
come up with campaigns for the hottest viral,<br />
stealth, 3-D, and experiential media? Students<br />
work in self-selected teams to brainstorm,<br />
conceptualize, write, test, and pitch campaigns<br />
using new media like the six-second Vine,<br />
as well as traditional television and print.<br />
Assignments include campaigns for packaged<br />
goods, recording artists, and public service<br />
causes. Invited guests include Eric Weisberg,<br />
executive creative director, J. Walter Thompson;<br />
Jennifer McBride, director of digital production,<br />
J. Walter Thompson; Andrea Morin, creative<br />
director, Possible Advertising; Matt Miller, <strong>CE</strong>O,<br />
Association of Independent Commercial<br />
Producers; and Chris Brokaw, singer/songwriter/<br />
guitarist. 3 CREDITS<br />
NMGT 2122 $650<br />
Data Analysis,<br />
Modeling, and<br />
Presentation<br />
Michelle Henderson<br />
A | 15 sessions | beg. June 6 | M, W 6–7:50 pm<br />
This course teaches students how to use<br />
Microsoft Excel 2013 as both a reporting tool<br />
and a modeling tool for solving business problems<br />
for managers and entrepreneurs. It is<br />
appropriate for beginning users of Microsoft<br />
Excel, but it will also be useful for intermediate<br />
and advanced users. 3 CREDITS<br />
NMGT 1100 $650<br />
#THENEW<strong>CE</strong><br />
#LEARNGROWREPEAT<br />
36<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
ONLINE CLASSES
annes<br />
PERFORMAN<strong>CE</strong> ENSEMBLES: FALL PREVIEW
Performance<br />
Ensembles:<br />
Fall Preview<br />
CONTENTS<br />
MAP<br />
PARSONS<br />
Play or sing in one of our large ensembles! You’ll join<br />
a community of diverse musicians, build lasting friendships,<br />
and perform throughout the year.<br />
Community Orchestra<br />
Wednesdays, 7:30–10:00 p.m.<br />
The Mannes Community Orchestra enables<br />
instrumentalists in the New York City area to<br />
engage with their community through music.<br />
Our orchestra is made up of community members,<br />
students, and faculty from Mannes and<br />
The New School. Participants come together<br />
to hone their skills, network with like-minded<br />
musicians, build lasting friendships, and perform<br />
throughout the year. Orchestral instrumentalists<br />
with various backgrounds are welcome.<br />
Repertoire is drawn from a range of musical<br />
periods and styles. Rotating conductors provide<br />
expertise and the opportunity to experience<br />
a different rehearsal and conducting style for<br />
each concert. If interested, please email<br />
communityorchestra@newschool.edu with<br />
your name and instrument. For complete<br />
details, visit newschool.edu/mannes/<br />
performance-ensembles. Registration takes<br />
place prior to the start of each semester online<br />
at newschool.edu/ce. Encore Program participants<br />
register via the Encore registration portal.<br />
The New School<br />
Chorus<br />
Tuesdays, 6:45–8:30 p.m.<br />
The New School Chorus is an exciting ensemble,<br />
open to members from the entire New School<br />
and greater New York City community. The<br />
chorus fosters joyful communal singing and<br />
offers participants a chance to explore a range<br />
of music and singing styles from around the<br />
world—everything from Western choral masterpieces<br />
to eastern European folk singing, classic<br />
American jazz and popular song to traditional<br />
music. In rehearsals, members perform both<br />
written works and music learned by ear using<br />
a fun and educational approach to exploring<br />
the sonic possibilities of the human voice.<br />
Visit newschool.edu/mannes/performanceensembles<br />
for complete details. Registration<br />
takes place prior to the start of each semester<br />
online at newschool.edu/ce. Encore Program<br />
participants register via the Encore registration<br />
portal. 1 CREDIT<br />
XPER 1500A $20<br />
38<br />
PUBLIC<br />
ENGAGEMENT<br />
MANNES<br />
REGISTRATION<br />
INFO<br />
1 CREDIT<br />
XPER 1001A $20<br />
ONLINE CLASSES
egistration<br />
information<br />
& university<br />
policies
egistration info<br />
ONLINE<br />
Visit newschool.edu/ce to get started.<br />
Select your interest area.<br />
Decide whether to register as a noncredit,<br />
credit, or certificate student. Most students<br />
take courses on a noncredit basis (the least<br />
expensive option; no grade or permanent<br />
record is kept). However, please bear in mind<br />
that if you register as a noncredit student, it’s<br />
not possible to apply credits retroactively if<br />
you decide you’d like to use them down the<br />
road. If you think there’s a chance you might<br />
like to transfer credit for a course toward a<br />
degree or credential at a later date, we<br />
strongly urge you to take your course for<br />
credit.<br />
Browse courses and add to your basket.<br />
Pay by MasterCard, Visa, American Express,<br />
or Discover. Immediately after registering<br />
for your course, you will receive an email<br />
confirming your registration.<br />
Check out.<br />
OVER THE PHONE<br />
Before Registering<br />
Select a course.<br />
Note the course number and section<br />
(for example, NLIT 1000 section A).<br />
Prepare payment. Full payment is due<br />
at the time of registration.<br />
Call 212.229.5690 (noncredit only).<br />
Hours: Monday–Thursday, 8:00 am–6:00 pm,<br />
Friday, 9:00 am–6:00 pm. Pay by MasterCard,<br />
Visa, American Express, or Discover.<br />
ADDITIONAL PAYMENT AND<br />
REGISTRATION OPTIONS<br />
By fax to 212.229.5648. Use the detachable<br />
registration forms in the back of this bulletin.<br />
Pay by MasterCard, Visa, American Express,<br />
or Discover.<br />
By mail to The New School, Registrar’s Office,<br />
79 Fifth Avenue, New York, NY 10003. Use<br />
the detachable registration forms in the back<br />
of this bulletin. Pay by MasterCard, Visa,<br />
American Express, or Discover, or by personal<br />
check/money order payable to The New School.<br />
In person at 72 Fifth Avenue, 2nd floor<br />
Regular hours:<br />
Monday–Thursday, 10:00 am–5:45 pm,<br />
Friday, 10:00 am–4:45 pm<br />
(closed May 30 and July 4)<br />
Extended hours: May 25–29:<br />
Tuesday–Thursday, 9:00 am–5:45 pm,<br />
Friday, 9:00 am–4:45 pm<br />
(closed Monday, May 25)<br />
June 1–5:<br />
Monday–Thursday, 9:00 am–6:00 pm,<br />
Friday, 9:00 am–4:45 pm<br />
Pay by MasterCard, Visa, American Express,<br />
or Discover; by personal check or money<br />
order payable to The New School; or with cash.<br />
For questions regarding registration, email<br />
reghelp@newschool.edu.<br />
More questions about a class? Email<br />
ce@newschool.edu.<br />
TUITION AND FEES<br />
NONCREDIT<br />
Tuition: Noncredit tuition reflected throughout<br />
the catalog, plus $7 registration fee<br />
Materials fee: Stated in course description<br />
if applicable<br />
Registration fee: $7 per term<br />
CREDIT<br />
Tuition: NSPE: $1,210 (per credit); Parsons:<br />
$1,390 (per credit)<br />
Fees listed in the catalog are for noncredit<br />
registration. If you elect to take a course for<br />
credit, tuition of $1,210 and $1,390 for the<br />
Schools of Public Engagement and Parsons<br />
courses, respectively, will be assessed in addition<br />
to these fees.<br />
Materials fee: Stated in course description<br />
if applicable<br />
Registration fee: $7 per term<br />
<strong>CE</strong>RTIFICATE<br />
Tuition: The noncredit tuition<br />
Materials fee: Stated in course description<br />
if applicable<br />
Registration fee: $80 per term<br />
Tuition and fees are payable in full at the time<br />
of registration. Payment can be made by bank<br />
debit card or cash (in person only for both),<br />
personal check, credit card (MasterCard, Visa,<br />
Discover, American Express), or wire transfer.<br />
Please make checks payable to The New School<br />
and include the student’s name and (if assigned)<br />
New School ID number in the memo section.<br />
Registration is not complete until payment or<br />
payment arrangements, such as verification of<br />
employer reimbursement, have been made.<br />
Confirmation is the statement/schedule<br />
received at the cashier (mailed to students who<br />
register online or by fax, mail, or telephone).<br />
Verify the accuracy of your class schedule: You<br />
are not registered for and will not earn credit for<br />
any course that does not appear on your class<br />
schedule. You are responsible for all courses and<br />
charges that appear on the statement/schedule.<br />
Register early. The class you want might fill or<br />
be canceled because of insufficient registration.<br />
Deadlines: Online, telephone, and fax registrations<br />
must be submitted three business days<br />
before the class starts. Mailed registrations for<br />
all courses must be posted two weeks before<br />
the class starts. If you miss these deadlines, you<br />
can still register in person.<br />
Note for Public Engagement students: Credit<br />
registration for nine or more credits requires<br />
prior approval and must be completed in<br />
person. Schedule an advising appointment with<br />
Academic Services: 212.229.5615; academicservices@newschool.edu.<br />
STUDENT ID NUMBER<br />
AND ID CARDS<br />
ID number (the letter N plus 8 digits): appears<br />
on your Statement/Schedule. Use this number<br />
for future registrations and correspondence<br />
with The New School.<br />
ID cards: Upon receipt of payment, noncredit<br />
students are mailed an ID card (without<br />
photo), valid only for the term in which they<br />
are enrolled. If you do not receive your ID card<br />
within two weeks of registration, contact<br />
Student Financial Services at<br />
sfs@newschool.edu or 212.229.8930.<br />
All certificate and credit students can obtain<br />
a photo ID at Campus Card Services,<br />
72 Fifth Avenue, lower level. The hours are<br />
Monday, Tuesday, and Thursday, 9:00 am–5:30 pm;<br />
and Wednesday, 9:00 am–6:00 pm. (Card<br />
Services is closed May 30 and July 4.) There is<br />
a fee to replace a lost or stolen card.<br />
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If you withdraw from your courses, The New<br />
School may terminate your student privileges,<br />
including access to university buildings and<br />
resources.<br />
FIND YOUR CLASS LOCATION<br />
Online at newschool.edu/registrar: Click on<br />
Class Meeting Locations at the lower right<br />
corner of the page. Room assignments can<br />
change, so check as close to your class start<br />
time as possible.<br />
In person on the day the class starts: Room<br />
assignments are posted on the lobby screens<br />
in all classroom buildings.<br />
Some courses meet at off-site locations, as<br />
indicated in the course description.<br />
If your course is online, instructions for logging in<br />
to your virtual classroom will be mailed to you.<br />
WITHDRAWAL/REFUND POLICY<br />
To cancel your registration in a course, you<br />
must formally withdraw with the Registrar’s<br />
Office (online, by fax, by mail, or in person).<br />
Nonattendance does not constitute<br />
withdrawal.<br />
The registration/University Services fee is<br />
not refundable unless you are withdrawing<br />
because of changes in the course schedule<br />
or instructor.<br />
Refund processing takes approximately<br />
four weeks.<br />
for more information on refund policy, visit<br />
newschool.edu/registrar/registration-policies.<br />
ABOUT THE NEW SCHOOL<br />
The New School prepares students to understand,<br />
contribute to, and succeed in a rapidly<br />
changing society and thus make the world a<br />
better and more just place. We will ensure that<br />
our students develop both the skills a sound<br />
liberal arts education provides and the competencies<br />
essential for success and leadership in<br />
the emerging creative economy. We will also<br />
lead in generating practical and theoretical<br />
knowledge that enables people to better understand<br />
our world and improve conditions for<br />
local and global communities.<br />
For more information, visit newschool.edu/<br />
mission-vision.<br />
ADMINISTRATION<br />
David E. Van Zandt, President<br />
Tim Marshall, Provost and<br />
Chief Academic Officer<br />
Anne Adriance, Chief Marketing Officer<br />
Andy Atzert, Vice President<br />
for Distributed and Global Education<br />
Stephanie Browner, Dean, Eugene Lang<br />
College of Liberal Arts<br />
Carol S. Cantrell, Senior Vice President for<br />
Human Resources and Labor Relations<br />
Lia Gartner, FAIA, LEED AP, Vice President<br />
for Design, Construction, and Facilities<br />
Management<br />
Richard Kessler, Executive Dean, College of<br />
Performing Arts; Dean, Mannes School of Music<br />
Mark Gibbel, Chief Development Officer<br />
William Milberg, Dean, The New School<br />
for Social Research<br />
Roy P. Moskowitz, Chief Legal Officer<br />
and Secretary of the Corporation<br />
Martin Mueller, Executive Director,<br />
School of Jazz<br />
Anand Padmanabhan, Senior Vice President<br />
and Chief Information Officer<br />
Pippin Parker, Director, School of Drama<br />
Michelle Relyea, Vice President<br />
for Student Success<br />
Donald Resnick, Chief Enrollment<br />
and Success Officer<br />
Bryna Sanger, Deputy Provost and Senior<br />
Vice President for Academic Affairs<br />
Tokumbo Shobowale, Chief Operating Officer<br />
Steve Stabile, Vice President for Finance<br />
and Business and Treasurer<br />
Joel Towers, Executive Dean, Parsons<br />
School of Design<br />
Mary R. Watson, Executive Dean,<br />
Schools of Public Engagement<br />
THE NEW SCHOOL IN BRIEF<br />
In 1919, a few great minds imagined a school<br />
that would never settle for the status quo, one<br />
that would rethink the purpose of higher learning.<br />
The New School was the result. Today it is a<br />
progressive university housing five extraordinary<br />
schools and colleges. It is a place where<br />
scholars, artists, and designers find the support<br />
they need to unleash their intellect and creativity<br />
so that they can courageously challenge<br />
convention. We dissolve walls between disciplines<br />
to create a community in which<br />
journalists collaborate with designers, architects<br />
with social researchers, artists with<br />
activists. Our academic centers in New York<br />
City, Paris, Shanghai, and Mumbai offer over<br />
10,000 students more than 135 undergraduate<br />
and graduate degree programs uniquely<br />
designed to prepare them to make a more just,<br />
more beautiful, and better-designed world.<br />
COLLEGE OF PERFORMING ARTS<br />
newschool.edu/mannes<br />
55 West 13th Street, New York, NY 10011<br />
212.580.0210<br />
newschool.edu/jazz<br />
55 West 13th Street, New York, NY 10011<br />
212.229.5896<br />
newschool.edu/drama<br />
151 Bank Street, New York, NY 10014<br />
212.229.5150<br />
The College of Performing Arts is a progressive<br />
arts center housed within The New School, in<br />
the heart of New York City. Artists receive<br />
individualized training, becoming fearless risk<br />
takers who value real-world relevance, pursue<br />
excellence, and embrace collaboration.<br />
Celebrated faculty mentors guide students to<br />
take their place as artistic leaders who can<br />
make a positive difference in the world today.<br />
We offer undergraduate and graduate degree<br />
programs for musicians, composers, actors,<br />
directors, writers, and performers of all kinds<br />
through three renowned schools: Mannes School<br />
of Music, the School of Jazz, and the School of<br />
Drama. Unlike small stand-alone conservatories,<br />
our performing art schools offer students the<br />
valuable opportunity to pursue interdisciplinary<br />
studies within a comprehensive university.<br />
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Mannes School of Music<br />
Since 1916, Mannes has been rigorously training<br />
artists to engage with the world around<br />
them through music. By practicing—day in and<br />
day out—with some of the most revolutionary<br />
musicians anywhere, Mannes students have<br />
become world-renowned masters of their craft<br />
and the canon. Today Mannes has transformed<br />
traditional conservatory education by integrating<br />
our rigorous classical training with new<br />
music, improvisation, real-world experiences,<br />
and cross-disciplinary projects. Mannes also<br />
offers a program for adult learners and a preparatory<br />
program for young people.<br />
EUGENE LANG COLLEGE<br />
OF LIBERAL ARTS<br />
newschool.edu/lang<br />
65 West 11th Street, New York NY 10011<br />
212.229.5665<br />
Eugene Lang College of Liberal Arts, part of<br />
The New School in NYC, is where scholarly rigor<br />
meets intellectual freedom. This small progressive<br />
liberal arts college is designed for fiercely<br />
independent scholars. Students map out their<br />
own curriculum. They immerse themselves in<br />
primary texts rather than textbooks, attend small<br />
seminars rather than large lectures, work closely<br />
with faculty, and become part of a community<br />
committed to social justice. Lang students ask<br />
the big questions, challenge assumptions, and<br />
develop their potential by studying disciplines<br />
across our entire university.<br />
PARSONS SCHOOL OF DESIGN<br />
newschool.edu/parsons<br />
2 West 13th Street, New York, NY 10011<br />
212.229.8950<br />
Parsons School of Design is the only major<br />
design school within a comprehensive university,<br />
The New School. Ranked by Quacquarelli<br />
Symonds 2015 World University Rankings as<br />
one of the country’s top art and design schools,<br />
Parsons is at the vanguard of design education,<br />
providing artists, designers, and scholars with<br />
the skills to devise design-led approaches to<br />
complex contemporary challenges—from<br />
sustainability to social and economic inequalities<br />
to globalization in creative industries. A<br />
proven design education methodology produces<br />
graduates with a passionate commitment to<br />
technical mastery and reflective practice<br />
through inquiry, radical ideas, iterative experimentation,<br />
and creative collaboration. In addition<br />
to its bachelor’s, master’s, and associate’s degree<br />
programs, Parsons offers general art and design<br />
courses and certificate programs for students of<br />
all ages.<br />
Parsons offers undergraduate and graduate<br />
degrees at its five schools:<br />
• School of Art and Design History<br />
and Theory (ADHT)<br />
• School of Art, Media, and Technology (AMT)<br />
• School of Constructed Environments (S<strong>CE</strong>)<br />
• School of Design Strategies (SDS)<br />
• School of Fashion (SOF)<br />
Students pursue degrees at Parsons’ home<br />
campus in New York City and at Parsons Paris.<br />
They also gain international experience taking<br />
courses online, with partner universities worldwide,<br />
or at The New School’s global academic<br />
centers in Mumbai and Shanghai.<br />
SCHOOLS OF PUBLIC ENGAGEMENT<br />
newschool.edu/publicengagement<br />
66 West 12th Street, New York, NY 10011<br />
212.229.5615<br />
These schools and programs are designed for<br />
the intellectually curious and creative, at all<br />
stages of life and career, who are passionate<br />
about social justice around the world. Here<br />
students are asked to challenge what others<br />
take for granted. We offer innovative graduate<br />
and undergraduate programs in media, creative<br />
writing, languages/TESOL, international affairs,<br />
policy, and management that integrate realworld<br />
practice with cutting-edge theory.<br />
Bachelor’s Program<br />
for Adults and Transfer Students<br />
Designed specifically for adults and transfer<br />
students seeking an alternative to the traditional<br />
four-year college experience, the<br />
bachelor’s program offers flexible study options<br />
(including part-time and full-time study), a<br />
curriculum tailored to individual goals, and<br />
credit for workplace experience.<br />
Milano School of International Affairs,<br />
Management, and Urban Policy<br />
The Milano School offers graduate programs<br />
designed for students dedicated to addressing<br />
social, economic, environmental, and political<br />
issues. Students gain a truly global and multidisciplinary<br />
perspective on real-world problems<br />
through intellectually rigorous study as well as<br />
hands-on experiences. This renowned school<br />
takes advantage of the extensive resources<br />
available throughout New York City, its celebrated<br />
faculty, and its extraordinary partnerships<br />
in the private and public sectors.<br />
Creative Writing Program<br />
Concentrations in Fiction, Nonfiction, Poetry,<br />
Writing for Children. In less than 20 years, The<br />
New School’s Master of Fine Arts in Creative<br />
Writing has become one of the world’s bestrespected<br />
graduate writing programs, attracting<br />
promising writers from all corners of the globe<br />
who shape the contemporary literary landscape<br />
and related industries and have the opportunity<br />
to live the writer’s life in New York City.<br />
School of Media Studies<br />
The media studies programs are based on the<br />
belief that media can be a tool for social good.<br />
Students learn to think critically about the<br />
history of media and its evolving forms, with<br />
the aim of designing solutions to real problems.<br />
They are prepared for careers as media makers,<br />
critics, managers, and entrepreneurs able to<br />
interpret and improve our highly mediated<br />
world through critical reflection.<br />
School of Languages<br />
The ability to communicate in different languages<br />
and across cultures is an essential skill<br />
in a global economy. The School of Languages<br />
offers degree and certificate programs in English<br />
language instruction and for-credit, open<br />
enrollment, and weekend immersion courses<br />
in more than a dozen foreign languages.<br />
THE NEW SCHOOL<br />
FOR SOCIAL RESEARCH<br />
newschool.edu/socialresearch<br />
16 East 16th Street, New York, NY 10003 |<br />
212.229.5700<br />
In 1933, The New School gave a home to the<br />
University in Exile, a refuge for scholars fleeing<br />
persecution by the Nazis. Today The New School<br />
for Social Research (NSSR) is an internationally<br />
renowned graduate school where scholars,<br />
practitioners, and innovators guide students to<br />
understand the world around them in intellectually<br />
intense, heterodox ways. Our interdisciplinary<br />
master’s and doctoral degree programs in the<br />
social sciences break with traditional modes of<br />
thinking. Students build new knowledge through<br />
research, become critical and creative scholars,<br />
and learn to grapple with the tensions of<br />
contemporary society.<br />
ACCREDITATION<br />
The New School has been regionally accredited<br />
by the Middle States Commission on Higher<br />
Education, a federally recognized body (MSCHE,<br />
3624 Market Street, 2nd Floor West,<br />
Philadelphia, PA 19104; 216.284.5000), since<br />
1960. All degree programs at the New York City<br />
campus of The New School are registered by<br />
the New York State Department of Education<br />
(NYSED, 89 Washington Avenue, Albany, New<br />
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York 12234; 518.474.1551). Both NYSED and<br />
MSCHE provide assurance to students, parents,<br />
and all stakeholders that The New School<br />
meets clear quality standards for educational<br />
and financial performance.<br />
Parsons Paris is a registered branch campus of<br />
The New School and is accredited by MSCHE<br />
and the National Association of Schools of Art<br />
and Design (NASAD, 11250 Roger Bacon Drive,<br />
Suite 21, Reston, VA 20190-5248; 703.437.0700).<br />
In addition, Parsons Paris has the authorization<br />
of the French Ministry of Education to operate<br />
in France.<br />
For more details, visit newschool.edu/provost/<br />
accreditation.<br />
HIGHER EDUCATION<br />
OPPORTUNITY ACT AND<br />
DISTAN<strong>CE</strong> LEARNING<br />
The New School monitors developments in<br />
state laws in every state. If authorization or<br />
licensure is necessary or becomes necessary,<br />
The New School will obtain the required additional<br />
approvals. The New School is currently<br />
authorized, licensed, exempt, or not subject<br />
to approval in Alaska, Arizona, Arkansas,<br />
California, Colorado, Connecticut, Delaware,<br />
Florida, Georgia, Hawaii, Idaho, Illinois, Indiana,<br />
Kansas, Maine, Massachusetts, Michigan,<br />
Mississippi, Missouri, Montana, Nebraska,<br />
New Hampshire, New Jersey, New Mexico,<br />
New York, Ohio, Oklahoma, Rhode Island,<br />
South Carolina, South Dakota, Tennessee, Utah,<br />
Vermont, Virginia, West Virginia, and Wyoming.<br />
Exemptions and authorizations for states not<br />
listed are currently in progress. For information<br />
on states that have their own information for<br />
students enrolling in a New School online program,<br />
see newschool.edu/provost/accreditation.<br />
ACADEMIC CALENDAR<br />
The university’s academic calendar can<br />
be found at newschool.edu/registrar/<br />
academic-calendar.<br />
ACADEMIC TRANSCRIPTS<br />
For information, visit newschool.edu/registrar/<br />
transcripts.<br />
UNIVERSITY POLICIES<br />
The New School Board of Trustees has adopted<br />
a number of policies addressing student rights<br />
and responsibilities, some of which are summarized<br />
below. Other policies address sexual and<br />
discriminatory harassment, use of alcohol and<br />
illegal drugs, and disciplinary procedures. Texts<br />
of these policies are published on the university<br />
website at newschool.edu/policies and newschool.edu/student-rights-and-responsibilities<br />
and are available in the Office of Student Rights<br />
and Responsibilities.<br />
ACADEMIC HONESTY AND INTEGRITY<br />
Statement of Purpose: Academic Honesty<br />
and Integrity<br />
The New School views “academic honesty and<br />
integrity” as the duty of every member of an<br />
academic community to claim authorship for<br />
his or her own work and only for that work, and<br />
to recognize the contributions of others<br />
accurately and completely. This obligation is<br />
fundamental to the integrity of intellectual<br />
debate, and creative and academic pursuits.<br />
Academic honesty and integrity includes<br />
accurate use of quotations, as well as<br />
appropriate and explicit citation of sources in<br />
instances of paraphrasing and describing ideas,<br />
or reporting on research findings or any aspect<br />
of the work of others (including that of faculty<br />
members and other students). Academic<br />
dishonesty results from infractions of this<br />
“accurate use.” The standards of academic<br />
honesty and integrity, and citation of sources,<br />
apply to all forms of academic work, including<br />
submissions of drafts of final papers or projects.<br />
All members of the University community are<br />
expected to conduct themselves in accord with<br />
the standards of academic honesty and<br />
integrity.<br />
Students are responsible for understanding the<br />
University’s policy on academic honesty and<br />
integrity and must make use of proper citations<br />
of sources for writing papers, creating, presenting,<br />
and performing their work, taking<br />
examinations, and doing research. Through<br />
syllabi, or in assignments, faculty members are<br />
responsible for informing students of policies<br />
with respect to the limits within which they<br />
may collaborate with, or seek help from, others.<br />
Individual divisions/programs may require their<br />
students to sign an Academic Integrity<br />
Statement declaring that they understand and<br />
agree to comply with this policy.<br />
The New School recognizes that the different<br />
nature of work across the schools of the<br />
University may require different procedures for<br />
citing sources and referring to the work of<br />
others. Particular academic procedures, however,<br />
are based in universal principles valid in all<br />
schools of The New School and institutions of<br />
higher education in general. This policy is not<br />
intended to interfere with the exercise of academic<br />
freedom and artistic expression.<br />
Definitions and Examples of Academic<br />
Dishonesty<br />
Academic dishonesty includes, but is not limited to:<br />
• cheating on examinations, either by copying<br />
another student’s work or by utilizing<br />
unauthorized materials<br />
• using work of others as one’s own original<br />
work and submitting such work to the university<br />
or to scholarly journals, magazines, or<br />
similar publications<br />
• submission of another student’s work<br />
obtained by theft or purchase as one’s own<br />
original work<br />
• submission of work downloaded from paid or<br />
unpaid sources on the internet as one’s own<br />
original work, or including the information in<br />
a submitted work without proper citation<br />
• submitting the same work for more than one<br />
course without the knowledge and explicit<br />
approval of all of the faculty members involved<br />
• destruction or defacement of the work of others<br />
• aiding or abetting any act of academic<br />
dishonesty<br />
• any attempt to gain academic advantage by<br />
presenting misleading information, making<br />
deceptive statements or falsifying documents,<br />
including documents related to internships<br />
• engaging in other forms of academic misconduct<br />
that violate principles of integrity.<br />
Adjudication Procedures<br />
An administrator or faculty member at each of<br />
the divisions/programs of the University is the<br />
Dean’s designee with responsibility for administering<br />
the University’s Academic Honesty and<br />
Integrity Policy (hereinafter “school designee”).<br />
The name of each School Designee is listed on<br />
the Provost’s Office website.<br />
The steps below are to be followed in order. If<br />
the two parties come to agreement at any of<br />
the steps, they do not need to proceed further.<br />
Throughout this policy where correspondence is<br />
indicated, but the method is not specified, New<br />
School e-mail accounts and/or hard copy, sent<br />
through regular mail or hand delivery, may be<br />
used and is considered a good faith effort of<br />
notification on the part of the University. Each<br />
school will follow internal procedures for tracking<br />
correspondences with students related to<br />
this policy.<br />
All time frames indicated by days refer to<br />
business days that do not include when the<br />
University’s administrative offices are closed,<br />
including weekends and holidays.<br />
Grades awarded under the University’s<br />
Academic Integrity and Honesty Policy are not<br />
subject to review under this Grade Appeal Policy.<br />
Step 1: Notification to Student<br />
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A faculty member who suspects that a student<br />
has engaged in academic dishonesty will meet<br />
with the student. It is expected that the faculty<br />
member will contact the student within ten (10)<br />
days after the last day of classes for that<br />
semester in which the alleged incident occurs.<br />
If academic dishonesty is alleged on an examination,<br />
paper, or creative work due within the<br />
last two weeks of classes, the faculty member<br />
should submit an incomplete grade until the<br />
student can be properly notified and the matter<br />
resolved. If grading a major culminating work<br />
(for example, a Senior Exhibit, final course paper,<br />
Master’s Thesis, or Doctoral Dissertation) which<br />
may take longer to evaluate, faculty may<br />
request an exception to this deadline through<br />
the Dean’s office.<br />
The student must contact the faculty member<br />
within ten (10) days of the notification to<br />
schedule a meeting with the faculty member.<br />
The faculty member is responsible for setting<br />
the meeting. This meeting can be in person or<br />
via telephone. A student who fails to respond in<br />
the time required will be deemed to have<br />
waived his/her rights under this policy. If the<br />
student does not respond, and the faculty<br />
member determines that the infraction is an<br />
actionable offense, s/he will inform in writing<br />
the School’s Designee of his/her determination<br />
and include copies of the following: correspondence<br />
with the student, syllabi, and course<br />
assignments.<br />
In cases where the student is taking a course<br />
with a faculty member of a different school, the<br />
faculty member’s school designee will inform<br />
the student’s School Designee who will then<br />
oversee the adjudication process.<br />
Step 2: Faculty Meeting with Student<br />
During the meeting with the student, the faculty<br />
member will review the allegations with the<br />
student and allow the student the opportunity<br />
to respond. The student and/or the faculty<br />
member may, on a voluntary basis, request the<br />
presence of a designated third party from the<br />
student’s school or the University’s student<br />
ombudsman. A Third Party is appointed within<br />
each school for this purpose and can assist in<br />
clarifying questions about this policy and its<br />
processes, and facilitate communication<br />
between the faculty member and the student.<br />
The name of each Third Party is listed on the<br />
Provost’s Office website and the School<br />
Designee can never also serve as a Third Party.<br />
If the faculty member and/or the student elect<br />
to have a third party present, the requestor is<br />
responsible for notifying the other of his/her<br />
decision in advance of the meeting.<br />
During this meeting, the student may either<br />
accept responsibility for the allegations or<br />
dispute them. Regardless, the faculty member<br />
will consult with the School Designee and then<br />
make one or more of the following<br />
determinations:<br />
1. Indicate that the student has not committed<br />
an infraction of this policy.<br />
2. Indicate that the student has committed<br />
an infraction and impose one of the<br />
following sanctions:<br />
a. require the student to resubmit the<br />
assignment; or<br />
b. give the student a failing grade for<br />
that particular assignment; or<br />
c. give the student a failing grade for the course.<br />
3. Indicate that the student has committed an<br />
egregious infraction supporting the recommendation<br />
to the Dean that the student be<br />
suspended or expelled. Examples of egregious<br />
infractions include, but are not limited to:<br />
(1) multiple instances of academic dishonesty<br />
in a single course, (2) repeated instances of<br />
academic dishonesty by a student in different<br />
courses, and (3) academic dishonesty related<br />
to a major culminating work such as a Senior<br />
Exhibit, Master’s Thesis or Doctoral Dissertation.<br />
The faculty member will send correspondence<br />
as well as syllabi and course assignments to the<br />
School Designee with his/her determination.<br />
In the rare and exceptional circumstance where<br />
the Step 2 process cannot occur, the instructor<br />
or the School’s Designee shall notify the student<br />
of the instructor’s concern that the student has<br />
engaged in academic dishonesty and that the<br />
matter has been referred to the Dean for resolution.<br />
In such cases, the student may proceed as<br />
set forth in the Appeals Procedures.<br />
Step 3: Review of Faculty Determination and<br />
Possible Imposition of Sanctions by School<br />
Designee<br />
The school designee will review the faculty<br />
member’s determination and consult, as<br />
needed, with appropriate academic personnel.<br />
Based on the faculty member’s determination,<br />
the nature of the most recent violation as it<br />
relates to past violations, consistency within<br />
the division and across the University, and on<br />
any other relevant information pertaining to the<br />
student’s record at the University, the School<br />
Designee may determine that modified sanctions<br />
should be imposed on the student that<br />
can include, but are not limited to, suspension<br />
or expulsion.<br />
Recognizing the importance of the decision for<br />
the student, the faculty member and the School<br />
Designee will notify the student in writing of the<br />
sanction(s) as soon as possible, but not more<br />
than twenty (20) days after receipt of the<br />
faculty member’s written recommendation. In<br />
addition, the School Designee will notify the<br />
appropriate offices in the school, the faculty<br />
member, the faculty member’s School Designee<br />
(if the course at issue is offered through another<br />
school), as well as the Office of the Assistant<br />
Vice President for Student and Campus Life.<br />
Appeal Procedures<br />
If the student is dissatisfied with the outcome of<br />
the adjudication procedures, s/he has the right<br />
to appeal.<br />
Student’s Right to Appeal<br />
The student may appeal the school designee’s<br />
decision to the Dean/Director of the School or<br />
his/her designee (hereinafter “Dean”). The<br />
appeal must be in writing and sent within ten<br />
(10) days of the decision letter received by the<br />
student. The student may request that the Dean<br />
convene a meeting of the existing committee<br />
that is responsible for academic standards and<br />
standing, or convene such a committee should<br />
one not already exist, to review the appeal. No<br />
member of this committee will have been part<br />
of the appeals process to date. The committee’s<br />
recommendation will be made to the Dean,<br />
whose decision is final except in cases where<br />
the student has been suspended or expelled.<br />
Alternately, the student may waive review by<br />
a committee and request that the appeal be<br />
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eviewed exclusively by the Dean or his/her<br />
designee, who will not be the School’s Designee.<br />
The student’s appeal must be reviewed within<br />
fifteen (15) days of receipt. Note that an appeal<br />
to the Dean may result in a stricter penalty than<br />
that applied by the School Designee. The<br />
student must be notified in writing of the appeal<br />
decision within five (5) days of the decision. A<br />
copy of the decision must be sent to the faculty<br />
member who brought the initial allegations, the<br />
Office of the Assistant Vice President for<br />
Student and Campus Life, and other offices as<br />
appropriate. The Dean’s decision is final, and<br />
not subject to further appeal, except in cases<br />
where the decision is either to suspend or expel.<br />
Appeal to the Provost<br />
A student who has been ordered suspended or<br />
expelled from the University because of a<br />
violation of this policy may appeal to the Provost<br />
or his/her designee (hereinafter “Provost”). The<br />
appeal must be made in writing within five (5)<br />
days of receipt of the Dean’s decision.<br />
If the Provost decides to consider the appeal,<br />
such a review will be limited to: (a) whether the<br />
adjudication procedures outlined in this policy<br />
were properly followed; and (b) whether the<br />
sanction imposed is appropriate given the<br />
nature of the violation, and is consistent with<br />
sanctions imposed across the University in the<br />
past for similar violations. Note that an appeal<br />
to the Provost may result in a stricter penalty<br />
than that applied by the Dean; i.e. an appeal of<br />
a Dean’s decision of suspension could result in<br />
the Provost’s decision of expulsion. The Provost<br />
will, within ten (10) days of receipt of the<br />
request, make a determination. The Provost’s<br />
decision is final.<br />
INTELLECTUAL PROPERTY POLICY<br />
Under The New School’s Intellectual Property<br />
Policy, the university shall have a nonexclusive,<br />
royalty-free, worldwide license to use works<br />
created by its students and faculty for archival,<br />
reference, research, classroom, and other<br />
educational purposes. With regard to tangible<br />
works of fine art or applied art, this license will<br />
attach only to stored images of such work (e.g.,<br />
slides, videos, digitized images) and does not<br />
give the university a right to the tangible works<br />
themselves. With regard to literary, artistic, and<br />
musical works, this license will attach only to<br />
brief excerpts of such works for purposes of<br />
education. When using works pursuant to this<br />
license, the university will make reasonable<br />
efforts to display indicia of the authorship of a<br />
work. This license shall be presumed to arise<br />
automatically, and no additional formality shall<br />
be required. If the university wishes to acquire<br />
rights to use the work or a reproduction or<br />
image of the work for advertising, promotional,<br />
or fundraising purposes, the university will<br />
negotiate directly with the creator in order to<br />
obtain permission.<br />
ACADEMIC FREEDOM:<br />
FREE EXCHANGE OF IDEAS<br />
An abiding commitment to preserving and<br />
enhancing freedom of speech, thought, inquiry,<br />
and artistic expression is deeply rooted in the<br />
history of The New School. The New School was<br />
founded in 1919 by scholars responding to a<br />
threat to academic freedom in this country. The<br />
University in Exile, progenitor of The New<br />
School for Social Research, was established in<br />
1933 in response to threats to academic freedom<br />
abroad. The bylaws of the institution,<br />
adopted when it received its charter from the<br />
State of New York in 1934, state that the<br />
“principles of academic freedom and responsibility<br />
… have ever been the glory of the New<br />
School for Social Research.” Since its beginnings,<br />
The New School has endeavored to be an<br />
educational community in which public as well<br />
as scholarly issues are openly discussed and<br />
debated, regardless of how controversial or<br />
unpopular the views expressed are. From the<br />
first, providing such a forum was seen as an<br />
integral part of a university’s responsibility in a<br />
democratic society.<br />
The New School is committed to academic<br />
freedom in all forms and for all members of its<br />
community. It is equally committed to protecting<br />
the right of free speech of all outside<br />
individuals authorized to use its facilities or<br />
invited to participate in the educational activities<br />
of any of the university’s schools. A<br />
university in any meaningful sense of the term<br />
is compromised without unhindered exchanges<br />
of ideas, however unpopular, and without the<br />
assurance that both the presentation and<br />
confrontation of ideas takes place freely and<br />
without coercion. Because of its educational<br />
role as a forum for public debate, the university<br />
is committed to preserving and securing the<br />
conditions that permit the free exchange of<br />
ideas to flourish. Faculty members, administrators,<br />
staff members, students, and guests are<br />
obligated to reflect in their actions a respect for<br />
the right of all individuals to speak their views<br />
freely and be heard. They must refrain from any<br />
action that would cause that right to be<br />
abridged. At the same time, the university<br />
recognizes that the right of speakers to speak<br />
and be heard does not preclude the right of<br />
others to express differing points of view.<br />
However, this latter right must be exercised in<br />
ways that allow speakers to state their position<br />
and must not involve any form of intimidation<br />
or physical violence.<br />
Beyond the responsibility of individuals for their<br />
own actions, members of the New School<br />
community share in a collective responsibility<br />
for preserving freedom of speech. This collective<br />
responsibility entails mutual cooperation in<br />
minimizing the possibility that speech will be<br />
curtailed, especially when contentious issues<br />
are being discussed, and in ensuring that due<br />
process is accorded to any individual alleged to<br />
have interfered with the free exchange of ideas.<br />
Consistent with these principles, the university<br />
is prepared to take necessary steps to secure<br />
the conditions for free speech. Individuals<br />
whose acts abridge that freedom will be<br />
referred to the appropriate academic school<br />
for disciplinary review.<br />
THE STUDENT RIGHT<br />
TO KNOW ACT<br />
The New School discloses information about<br />
the persistence of undergraduate students<br />
pursuing degrees at this institution. This data is<br />
made available to all students and prospective<br />
students as required by the Student Right to<br />
Know Act. During the 2014–2015 academic<br />
year, the university reports the “persistence<br />
rate” for the year 2013 (i.e., the percentage of all<br />
freshmen studying full time in fall 2013 who<br />
were still studying full time in the same degree<br />
programs in fall 2014). This information can be<br />
found under the common data set information.<br />
Visit the Office of Institutional Research at<br />
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newschool.edu/admin/oir for more<br />
information.<br />
This notification must be renewed annually at<br />
the start of each fall term.<br />
records, except to the extent that FERPA authorizes<br />
disclosure without consent.<br />
training as well as any program that is administered<br />
by an education agency or institution.<br />
For important information regarding your<br />
rights as a student, visit newschool.edu/<br />
your-right-to-know.<br />
CAMPUS CRIME STATISTICAL<br />
REPORT<br />
The Security and Advisory Committee on<br />
Campus Safety will provide upon request all<br />
campus crime statistics as reported to the<br />
United States Department of Education.<br />
Anyone wishing to review the University’s<br />
current crime statistics may access them<br />
through the web site for the Department of<br />
Education: ope.ed.gov/security. A copy of the<br />
statistics may also be obtained by contacting<br />
the Director of Security for The New School<br />
at 212.229.5101.<br />
FAMILY EDUCATIONAL RIGHTS<br />
AND PRIVACY ACT<br />
The Family Educational Rights and Privacy Act<br />
of 1974, with which The New School complies,<br />
was enacted to protect the privacy of education<br />
records, to establish the right of students to<br />
inspect and review their education records, and<br />
to provide guidelines for correction of inaccurate<br />
or misleading statements.<br />
The New School has established the following<br />
student information as public or directory<br />
information, which may be disclosed by the<br />
institution at its discretion: student name; major<br />
field of study; dates of attendance; full- or parttime<br />
enrollment status; year level; degrees and<br />
awards received, including dean’s list; the most<br />
recent previous educational institution attended,<br />
addresses, phone numbers, photographs, email<br />
addresses; and date and place of birth.<br />
Students may request that The New School<br />
withhold release of their directory information<br />
by notifying the Registrar’s Office in writing.<br />
The Family Educational Rights and Privacy Act<br />
(FERPA) affords students certain rights with respect<br />
to their education records. These rights include:<br />
The right to inspect and review the student’s<br />
education records within 45 days of the day the<br />
university receives a request for access.<br />
A student should submit to the registrar, dean,<br />
head of the academic department, or other<br />
appropriate official, a written request that<br />
identifies the record(s) the student wishes to<br />
inspect. The university official will make<br />
arrangements for access and notify the student<br />
of the time and place where the records may be<br />
inspected. If the records are not maintained by<br />
the university official to whom the request was<br />
submitted, that official shall advise the student<br />
of the correct official to whom the request<br />
should be addressed.<br />
The right to request the amendment of the<br />
student’s education records that the student<br />
believes are inaccurate, misleading, or otherwise<br />
in violation of the student’s privacy rights<br />
under FERPA.<br />
A student who wishes to ask the university to<br />
amend a record should write to the university<br />
official responsible for the record, clearly identify<br />
the part of the record the student wants<br />
changed, and specify why, in the student’s<br />
opinion, it should be changed.<br />
If the university decides not to amend the record<br />
as requested, the university will notify the student<br />
in writing of the decision and the student’s right<br />
to a hearing regarding the request for amendment.<br />
Additional information regarding the<br />
hearing procedures will be provided to the<br />
student when notified of the right to a hearing.<br />
The right to provide written consent before the<br />
university discloses personally identifiable<br />
information from the student’s education<br />
The university discloses education records<br />
without a student’s prior written consent under<br />
the FERPA exception for disclosure to school<br />
officials with legitimate educational interests.<br />
A school official is a person employed by the<br />
university in an administrative, supervisory,<br />
academic or research, or support staff position<br />
(including law enforcement unit personnel and<br />
health services staff); a person or company with<br />
whom the university has contracted as its<br />
agent to provide a service instead of university<br />
employees or officials (such as an attorney,<br />
auditor, or collection agent); a person serving on<br />
the New School Board of Trustees; or a student<br />
serving on an official committee, such as a<br />
disciplinary or grievance committee, or assisting<br />
another school official in performing his or<br />
her tasks.<br />
A school official has a legitimate educational<br />
interest if the official needs to review an education<br />
record in order to fulfill his or her professional<br />
responsibilities for the university.<br />
Addendum to FERPA Regulations<br />
As of January 3, 2012, U.S. Department of<br />
Education FERPA regulations expand the circumstances<br />
under which education records and<br />
personally identifiable information (PII) contained<br />
in such records—including Social Security Number,<br />
grades, and other private information—may be<br />
shared without a student’s consent.<br />
First, the U.S. Comptroller General, the U.S.<br />
Attorney General, the U.S. Secretary of Education,<br />
or state or local education authorities (“Federal<br />
and State Authorities”) may allow access to a<br />
student’s records and PII without the student’s<br />
consent to any third party designated by a<br />
Federal or State Authority to evaluate a federalor<br />
state-supported education program. The<br />
evaluation may relate to any program that is<br />
“principally engaged in the provision of education,”<br />
such as early childhood education and job<br />
Second, Federal and State Authorities may<br />
allow access to education records and PII<br />
without the student’s consent to researchers<br />
performing certain types of studies, in certain<br />
cases even when the educational institution did<br />
not request or objects to such research. Federal<br />
and State Authorities must obtain certain<br />
use-restriction and data security promises from<br />
the entities that they authorize to receive a<br />
student’s PII, but the Authorities need not<br />
maintain direct control over such entities.<br />
In addition, in connection with Statewide<br />
Longitudinal Data Systems, State Authorities<br />
may collect, compile, permanently retain, and<br />
share without a student’s consent PII from the<br />
student’s education records and may track a<br />
student’s participation in education and other<br />
programs by linking such PII to other personal<br />
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information about the student that they obtain<br />
from other federal or state data sources, including<br />
workforce development, unemployment<br />
insurance, child welfare, juvenile justice, military<br />
service, and migrant student records systems.<br />
The right to file a complaint with the U.S.<br />
Department of Education concerning alleged<br />
failures by the university to comply with the<br />
requirements of FERPA.<br />
The name and address of the office that<br />
administers FERPA:<br />
Family Policy Compliance Office<br />
U.S. Department of Education<br />
400 Maryland Avenue, SW<br />
Washington, DC 20202-5901<br />
EQUAL EMPLOYMENT AND<br />
EDUCATIONAL OPPORTUNITY<br />
Pursuant to federal, state and local laws, The<br />
New School does not discriminate on the basis<br />
of age, race, color, creed, sex or gender (including<br />
gender identity and expression), pregnancy,<br />
sexual orientation, religion, religious practices,<br />
mental or physical disability, national or ethnic<br />
origin, citizenship status, veteran status, marital<br />
or partnership status, or any other legally<br />
protected status.<br />
In addition, The New School is committed to<br />
complying with Title IX of the Education<br />
Amendments of 1972 by providing a safe<br />
learning and working environment for all<br />
students and employees regardless of sex or<br />
gender-identity. Title IX states that no individual<br />
“shall, on the basis of sex, be excluded from<br />
participation in, be denied the benefits of, or be<br />
subjected to discrimination under any education<br />
program or activity receiving federal<br />
financial assistance.” Title IX also prohibits<br />
retaliation against individuals who report<br />
sex-based or gender-based discrimination. The<br />
New School has adopted policies and procedures<br />
to prevent and respond to sex or<br />
gender-based discrimination in the form of<br />
sexual harassment, sexual assault, or other<br />
types of sexual misconduct. These policies and<br />
procedures apply to all members of the university<br />
community, including students, staff, and<br />
faculty. The New School has designated a Title<br />
IX Coordinator to ensure the University’s<br />
compliance with and response to inquiries<br />
concerning Title IX and to provide resources for<br />
victims and community members who have<br />
experienced sex or gender-based discrimination.<br />
Inquiries concerning the application of the laws<br />
and regulations concerning equal employment<br />
and educational opportunity at The New School<br />
(including Title VI—equal opportunity regardless<br />
of race, color or national origin; Section 504—<br />
equal opportunity for the disabled; and Title IX—<br />
equal opportunity without regard to gender) may<br />
be referred to the following university officials:<br />
Jennifer Francone<br />
AVP for Student and Campus Life<br />
Title IX Coordinator<br />
72 Fifth Avenue, 4th floor<br />
New York, NY 10011<br />
212.229.5900 x3656<br />
titleixcoordinator@newschool.edu<br />
Carol S. Cantrell<br />
SVP for Human Resources and Labor Relations<br />
79 Fifth Avenue, 18th floor<br />
New York, NY 10003<br />
212.229.5671 x4900<br />
cantrelc@newschool.edu<br />
Inquiries regarding the university’s obligations<br />
under applicable laws may also be referred to<br />
The Office of Federal Contract Compliance<br />
Programs, U.S. Department of Labor, 23 Federal<br />
Plaza, New York, NY 10278; U.S. Department of<br />
Education, Office of Civil Rights, 32 Old Slip,<br />
26th Floor, New York, NY 10005; or the U.S.<br />
Equal Employment Opportunity Commission<br />
(EEOC), New York District Office, 33 Whitehall<br />
Street, 5th Floor, New York, NY 10004. For<br />
individuals with hearing impairments, EEOC’s<br />
TDD number is 212.741.3080. Persons who<br />
want to file a complaint regarding an alleged<br />
violation of Title IX should visit the website of<br />
the Office of Civil Rights at the U.S. Department<br />
of Education or call 1.800.421.3481.<br />
USE OF PHOTOGRAPHS BY<br />
THE UNIVERSITY<br />
The New School reserves the right to take or<br />
cause to be taken, without remuneration,<br />
photographs, film or videos, and other graphic<br />
depictions of students, faculty, staff, and visitors<br />
for promotional, educational, and/or noncommercial<br />
purposes, as well as approve such use<br />
by third parties with whom the university may<br />
engage in joint marketing. Such purposes may<br />
include print and electronic publications. This<br />
paragraph serves as public notice of the intent<br />
of the university to do so and as a release to the<br />
university giving permission to use those images<br />
for such purposes.<br />
STUDENT LIFE<br />
Changes of Address and Telephone Number<br />
Students are responsible for keeping their<br />
addresses and telephone numbers current with<br />
the university. They can update their contact<br />
information whenever necessary through<br />
MyNewSchool. University correspondence is<br />
mailed to the address designated as “official”<br />
or emailed to the student’s New School email<br />
address.<br />
UNIVERSITY RESOUR<strong>CE</strong>S<br />
AND FACILITIES<br />
The New School is located in New York City’s<br />
Greenwich Village. For a campus map and a list<br />
of building hours, visit newschool.edu/about.<br />
LIBRARIES AND ARCHIVES<br />
The New School Libraries and Archives offer a<br />
full array of resources and instructional services<br />
for students and faculty. Individual research<br />
appointments for both students and faculty are<br />
available upon request. For information about<br />
the New School libraries and the Research<br />
Library Consortium of South Manhattan, visit<br />
library.newschool.edu.<br />
New School Libraries<br />
University Center Library<br />
List Center Library<br />
Performing Arts Library<br />
Archives and Special Collections<br />
Research Library Consortium Members<br />
New York University<br />
Avery Fisher Center for Music and Media<br />
Elmer Holmes Bobst Library<br />
Library of the Courant Institute of Math Sciences<br />
Cardozo Law Library of Yeshiva University<br />
The Cooper Union Library<br />
New York Academy of Art<br />
The New-York Historical Society<br />
CANVAS<br />
Canvas is the virtual “classroom” used for online<br />
and many on-campus courses. Log in by visiting<br />
my.newschool.edu and selecting Canvas.<br />
COMPUTING FACILITIES<br />
Students have access to the latest technology<br />
in the labs and work spaces. For services,<br />
locations of facilities and hours of operation,<br />
visit newschool.edu/information-technology.<br />
For information on resources available to<br />
Continuing Education students, please<br />
see page 4.<br />
WIRELESS<br />
The New School provides free wireless Internet<br />
access throughout the campus. For information,<br />
visit newschool.edu/information-technology/<br />
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IT <strong>CE</strong>NTRAL<br />
IT Central is the point of contact for students,<br />
faculty, and staff requiring assistance or information<br />
on all university computing issues. Visit<br />
newschool.edu/information-technology/help<br />
for hours of operation and to create a support<br />
or service request ticket.<br />
Location: 72 Fifth Avenue, lower level<br />
Telephone: 212.229.5300 x4357 (xHELP)<br />
Email: itcentral@newschool.edu<br />
Published 2015 by The New School<br />
Important Notice: The information published<br />
herein represents the plans of The New School<br />
at the time of publication. The university<br />
reserves the right to change without notice any<br />
matter contained in this publication, including<br />
but not limited to tuition, fees, policies, degree<br />
programs, names of programs, course offerings,<br />
academic activities, academic requirements,<br />
facilities, faculty, and administrators. Payment<br />
of tuition for or attendance in any classes shall<br />
constitute a student’s acceptance of the administration’s<br />
rights as set forth in this notice.<br />
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