Fall 2014 First Year Course Descriptions



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*BEST BET* indicates that a class has 2 or more available seats

   

Course Key:
First Year Advising Course
First Year Writing Course
First Year Elective
 
  
 
SUBJ CRSE
TITLE
COURSE DESCRIPTION
JMUH 1803 Credits: 3
History of Jazz *BEST BET*
A one-semester overview of jazz development, beginning with its roots in African, European, and American music and continuing to the bands of New Orleans and other American and world influences. The work and stylistic contributions of the great jazz originals, from Buddy Bolden to John Coltrane and beyond, are examined in their cultural and musical context.
JMUH 2810 Credits: 3
Classical Music History *BEST BET*
A one-semester survey of the great tradition of Western classical music before 1900. Students study the formal and aesthetic qualities of selected works and consider them in relation to their historical and social context. Special attention is given to developing an understanding of the relevance of this musical tradition to contemporary improvising musicians.
LANT 2031 Credits: 4
Urbanizing Asia *BEST BET*
The course explores the emergence and processes of urbanization in Asia through ethnographies. The course will examine urban development of specific Asian cities by focusing on urban problems and challenges including poverty, housing, sustainability and civil society as well as the ways in which city-dwellers, developers and organizations are working to address them. World-class cities like Shanghai, Hong Kong, Tokyo, Singapore and Seoul are hubs of global economy that emerging cities around the world are trying to emulate. There are also cities like South Korea's Paju Book city and the Song Do Ubiquitous city, as well as China's Huang Baiyu Eco-city each organized and built from scratch based on a single idea. Lastly, recent events like the 3.11 Tohoku Earthquake and Typhoon Hai Yan have destroyed entire cities raising further questions about how we inhabit and build the urban environment. This course will examine the histories and trajectories of this wide range of cities taking into account the growing importance being placed on urbanization, design, and urban life. This course satisfies requirements in Doing.
LCST 2120 Credits: 3
Introduction to Cultural Studies *BEST BET*
*Intro to Cultural Studies* [Tracks C & M] This course examines the pivotal role of culture in the modern world, including the ideas, values, artifacts, and practices of people in their collective lives. Cultural Studies focuses on the importance of studying the material processes through which culture is constructed. It highlights process over product and rupture over continuity. In particular, it presents culture as a dynamic arena of social struggle and utopian possibility. Students read key thinkers and examine critical frameworks from a historical and a theoretical approach, such as Raymond Williams, Stuart Hall and the Birmingham School; the work on popular culture, identity politics, and postmodernism in America; and the emergence of a 'global cultural studies' in which transnational cultural flows are examined and assessed. Class sessions are set up as dialogic encounters between cultural theory and concrete analysis. [Tracks C & M]
LCST 2122 Credits: 3
Introduction to Screen Studies *BEST BET*
*Introduction to Screen Studies* [Track S] The goal of this course is to deepen your appreciation of the history of cinema and to explore possible ways of thinking about films. By analyzing influential films from the cinematic canon, as well as theoretical approaches that have been brought to bear on that canon, we will explore the complex relationship between the moving image and critical thought. The course will survey/include the main historical periods and movements from film history ? silent cinema, the classical Hollywood film, Italian Neo-realism, the French New Wave, and American Independent Cinema. The course will also cover some of the major film genres, key films from various national cinemas, and select auteurs from the history of cinema. [Track S]
LCST 2450 Credits: 3
Introduction to Media Studies
*Introduction to Media Studies* [Track M] This course introduces the student to basic concepts and approaches in the critical analysis of communications media. Drawing on contemporary critiques and historical studies, it seeks to build an understanding of different forms of media, such as photography and cinema, television and video, the internet and hypermedia, in order to assess their role and impact in society. Since media are at once technology, art and entertainment, and business enterprises, they need to be studied from a variety of disciplinary perspectives. The readings for the course reflect this multi-pronged approach and draw attention to the work of key thinkers and theorists in the field. Moreover, the readings build awareness of the international dimensions of media activity, range, and power. [Track M]
LCST 2901 Credits: 3
Contemporary Independent Cinema *BEST BET*
*Contemporary Independent Cinema* [Track S] This course explores contemporary independent cinema through the viewing and analysis of recent films with, in each instance, the director in attendance to answer questions about the film. Each screening will be introduced by the course instructor who will also moderate the Q & A session with the director afterwards. Students are required to write weekly papers on each film screened, including the Q & A itself. [Track S]
LDAN 2004 Credits: 1
Introduction to Contemporary Dance Practices
This course, open to all students, introduces basic practices and principles of contemporary dance practices. Classes begin with a slow warm-up focused on anatomical landmarks and alignment principles, but then progress to vigorous, rhythmic movement patterns. A primary focus is to help each student find a connection to the floor from which she or he can stretch and move out into space. The course, which utilizes movement practices that are being utilized by some of the field's most progressive choreographers, will give students experience learning choreographed sequences, while also fostering students' ability to self-direct as movers. Prerequisites: None.
LDAN 2017 Credits: 1
West African Dance Practices
This course, open to all students, consists of an intensive study of the traditional dances of West Africa with an emphasis on rhythm, kinesthetic form, and gestural expression. The course focuses on traditional West African dance and music forms and their role in everyday life, as well as the evolution and interpretation of these traditions by contemporary African artists. Selected readings, videos, and discussion will complement the physical exploration of the dance forms. Prerequisites: None
LDAN 2027 Credits: 1 TO 2
Moving with Somatics
This is a movement practice course that is grounded in the perspective of a specific somatic technique -- such as Alexander Technique, Klein Technique, Body-Mind Centering, Feldenkrais Technique, or Laban/Bartenieff Movement Studies -- employing concrete anatomical information as a springboard for fully realized, full-blown dancing. A primary focus is to help each student find a connection to the floor from which she or he can stretch and move out into space. Attention is given to educating the body to move with specificity; to sharpening each student's rhythmic, spatial and energetic acuities; and to augmenting each student's range of qualitative possibilities. The course, which presents movement practices that are being utilized by some of the field's most progressive choreographers, will give students experience learning choreographed sequences, while also fostering students' ability to self-direct as dancers. Prerequisite: a previous Moving with Somatics course or Permission of instructor or dance program coordinator is required. Space is limited and priority is given to dance concentrators.
LDAN 2300 Credits: 1
Introduction to Ballet Practices
This studio practice course is designed for the student with little to no prior experience with ballet practices, or someone returning to ballet after a hiatus. The course introduces principles of movement, shape, and alignment as grounded in the perspectives of classical ballet practices. Students work at the ballet barre, as well as explore center work that includes adagio, pirouettes, petite allegro and grand allegro. Pre-requisites: None.
LDAN 2502 Credits: 4
Experiential Anatomy
How is it possible for humans to move in the multitude of ways that we do? This studio/seminar course asks the mover to consider and embody anatomical information as a springboard for dancing. Students explore how the body functions through actions and interactions of its structures, while utilizing a possibilities-in-the-field approach to study and embody some of the varied interpretations that can arise from the same set of anatomical facts. Class time will be divided between study of anatomy and kinesthetic information and concepts, and engaging with the material experientially through movement and touch. Required reading and additional research assignments will explore topics related to kinesthetic anatomy and somatic movement approaches. Prerequisites: None.
LDAN 2920 Credits: 4
IHAD Dance Seminar *BEST BET*
The 'DANCE IN EDUCATION: I HAVE A DREAM SEMINAR AND PRACTICUM' will allow Lang students to participate in running an After School Dance Program at the Harlem based 'I Have a Dream' Program at PS 7. In this course students will explore the connection between engaged dance and elementary school literacy, mathematics and social studies. Along with field work at the IHAD program at PS 7 in Harlem, Lang students will participate in a Tuesday seminar where collectively they will engage in an in depth exploration of the field of Dance in Elementary Education. The Tuesday seminar will serve as a tool for reflection about the activities and interactions which take place at the 'I Have a Dream' Program, and allow for planning and shared curriculum development of the After School Dance Program. At the end of the semester, Lang students will help facilitate a performance and/or individual project by the Dreamers for their families and the 'I Have a Dream' community. Lang students will also create a syllabus for use in their own future teaching endeavors, based on an area of interest identified over the course of the semester.
LDAN 3201 Credits: 2
Watching Ballet/Watching Balanchine *BEST BET*
Learn the language and methods of the Western proscenium art of classical ballet through this writing intensive course. Partnering with the George Balanchine Trust and New York City Ballet (NYCB), students will gain an understanding of the history, traditions, and systems of training involved in the form. In addition, the class will attend performances and engage directly with NYCB choreographers in seminar, developing a hands-on approach to thinking and writing about ballet, exploring how a great choreographer like Balanchine used the vocabulary of ballet to express timeless emotion as well as contemporary kinetics. 2 Student Fellows with a background in dance will be selected to administer ballet classes for the non-dancing students in the course and lead discussions therein.
LFYW 1000 Credits: 4
Writing the Essay I
LFYW 1000 Credits: 4
Writing the Essay I
Friedrich Nietzsche describes the route by which mankind came to "reason" and moral consciousness: "stoning, breaking on the wheel, piercing with stakes, tearing apart or trampling by horses, boiling of the criminal in oil or wine, flaying alive, and also the practice of smearing the wrongdoer with honey and leaving him in the blazing sun for flies." In this writing-intensive course, we will examine the relationship between pain, suffering, and affliction, and cultural and linguistic meaning-making. Students will read philosophical texts, critical essays, religious documents, and cultural theory, not only as instances of this topic, but also as displaying a variety of modes of argumentation and rhetoric. Readings will be by Simone Weil, Judith Butler, Friedrich Nietzsche, Ludwig Wittgenstein, Elaine Scarry, Sigmund Freud, Susan Sontag, and Michel Foucault, as well as the Book of Job and its commentaries.
LFYW 1000 Credits: 4
Writing the Essay I: Forbidden Books and Literary Censorship
On what basis are books banned? What assumptions about literature, reading and readers are presupposed by acts of literary censorship? And what is the afterlife of banned books? Why do some slip into oblivion while others develop a cult following? In this writing-intensive course, students explore the history and current practice of literary censorship with an emphasis on modern American literature. In addition to reading banned books by writers such as Walt Whitman, Allen Ginsberg, James Joyce and Kathy Acker, students will read critical articles on the historical, political and legal implications of literary censorship and have an opportunity to develop arguments that engage with questions such as freedom of speech, censorship, silence and the common good.
LFYW 1000 Credits: 4
Writing the Essay I: Giving an Account of Oneself: Identity and Responsibility
In this writing-intensive course, students examine philosophical and literary works that investigate the difficulties inherent in "giving an account of oneself." The first half of the course examines several classic texts that defined the genre of autobiography and will include brief selections from Augustine's Confessions, Descartes' "Discourse on Method," Rousseau's Confessions, Kant's "What is Enlightenment" and Emerson's "Self-Reliance." In the second half of the course, we will consider a number of texts that have called the value of the autonomous subject into question, including Montaigne's "Of Experience," Emerson's "Experience," excerpts and aphorisms by Nietzsche and essays and selections by Freud, Foucault, Levinas, Derrida, Arendt and Butler. Throughout the course, we will pay particular attention to the genres and rhetorical strategies employed by the authors under consideration, emphasizing how their literary choices both inform and are informed by their understandings of the self, identity, and responsibility.
LFYW 1000 Credits: 4
Writing the Essay I: Issues in Contemporary Culture
This Writing I course offers a broad survey of social, political and cultural topics, ranging from issues of race, gender and violence to esthetics and urbanization—and sometimes the overlap among these. As the semester moves forward, students will have greater choice in pursuing topics of personal (and/or local) interest. The readings vary from personal narratives—by such writers as Brent Staples, Barbara Ehrenreich, and Katha Pollitt—to journalistic pieces to art or film.
LFYW 1000 Credits: 4
Writing the Essay I: Media and the Public Sphere
This writing-intensive course examines the relationship between the media and the public sphere. Students investigate how various forms of media from newspapers to social media, including blogs, vlogs, YouTube, and WikiLeaks, participate in the formation of publics and counter-publics. Specific attention is paid to the role of Twitter and Facebook in both the formation and undoing of contemporary social movements.
LFYW 1000 Credits: 4
Writing the Essay I: Pain and Meaning
Friedrich Nietzsche describes the route by which mankind came to "reason" and moral consciousness: "stoning, breaking on the wheel, piercing with stakes, tearing apart or trampling by horses, boiling of the criminal in oil or wine, flaying alive, and also the practice of smearing the wrongdoer with honey and leaving him in the blazing sun for flies." In this writing-intensive course, we will be examining this relationship between pain, suffering, and affliction, and cultural and linguistic meaning-making. Students will read philosophical texts, critical essays, religious documents, and cultural theory, not only as instances of this topic, but also as displaying a variety of modes of argumentation and rhetoric. Readings will be by Simone Weil, Judith Butler, Friedrich Nietzsche, Ludwig Wittgenstein, Elaine Scarry, Sigmund Freud, Susan Sontag, and Michel Foucault, as well as the Book of Job and its commentaries.
LFYW 1000 Credits: 4
Writing the Essay I: Reading and Writing the City: Urban Ethnography
Ethnographies are written descriptions of cultural phenomena based on immersive experience. In this writing-intensive course, students explore approaches to observing and writing about the city. Two questions guide this seminar: (1) What distinguishes the ways that cities are imagined and lived from other forms of social organization? and (2) What forms of writing are adequate to the task of critically reflecting on and representing the timing, spacing, and movement of urban life? Students will read and discuss examples of ethnographic writing by sociologists and anthropologists, which may include Claude Lévi-Strauss, Mitchell Duneier, Teresa Caldeira, Philippe Bourgois, Clifford Geertz, Sherry Ortner, Eva Illouz, Setha Low, and João Biehl. We will also consider journalism, cultural criticism, fiction, and film as resources for thinking both about the city and about ethnographic sensibilities. Students' major writing assignments will be based on observations carried out in the city, and the seminar will conclude with a significant research paper that combines empirical research, critical reflection and reasoned analysis.
LFYW 1000 Credits: 4
Writing the Essay I: Rhyming and Stealing
Rhyme and repetition are embedded in the structure of language and serve aesthetic, rhetorical, performative and political functions. Students will respond creatively and critically to a variety of poetical and rhetorical works from ranging from medieval lyric, Shakespeare, Gertrude Stein, Desiderius Erasmus, Harryette Mullen, Jay Z, MC Lyte, various rappers, singers and excerpts from political speeches and advertisements. The course will examine why the repetition of like sounds is a powerful and convincing device capable of selling cars, seducing lovers and rallying support for causes.
LFYW 1000 Credits: 4
Writing the Essay I: The Age of Memoir
In a recent history of autobiography, critic Ben Yagoda claims that 'memoir has become the central form of our culture.' This course considers both the truth and the consequences of this claim, and aims to sharpen students' analytic writing skills by asking them to think and write critically about the role of memoir in American print culture. Students read excerpted memoirs ranging from Olaudah Equiano's eighteenth-century slave narrative to Alison Bechdel's contemporary graphic novel Fun Home, as well as critical essays on memory and memoir by Sigmund Freud, H.G. Wells, Paul Ricoeur, Jean Starobinski, Henry Louis Gates Jr., and Lisa Lowe. Specific attention is paid to debates concerning fabricated memoirs, so-called 'misery memoirs,' and the relationship between memoir and identity formation.
LFYW 1000 Credits: 4
Writing the Essay I: The Future of Feminist Theory
This writing intensive course will look at how several innovative scholars are envisioning the future of feminist theory. Rather than presume to know what feminist theory entails, we will develop a working definition of the field from our engagement with course texts. As a result, no prior knowledge of feminist theory is required, but students will be expected to demonstrate a willingness to listen to challenging texts and new ideas. Class discussions will explore strategies for transforming current inequities into a more just future, and consider how feminist theory can contribute to this kind of radical social change in the world. Students will have an opportunity to use the ideas, concepts, and practices introduced in course to think through a contemporary topic of their choosing.
LFYW 1000 Credits: 4
Writing the Essay I: The Literary Essay
The role of the literary essay in American intellectual life ranges from academic criticism to cultural broadside and makes up one of the most vibrant nonfiction forms in our culture. This workshop-based seminar course will read several short literary works and, for each one, draw on literary essays and criticism from both academic sources and intellectual journals (The New York Review of Books, The Nation, Harper's) to arrive at an in-depth examination of how the literary essay enriches our understanding of literary art. Students will practice literary criticism in three assignments, in the final one of which they will analyze a work of fiction of their choice. The topic of the long essay will also form the basis for an in-class presentation.
LFYW 1000 Credits: 4
Writing the Essay I: The Modern Fairytale
This writing intensive course explores the necessity of storytelling and story making through its most basic and natural histories: the fairytale. What is necessary about the invention of a story and why do we repeat it? How does the story change as it passes across cultures and over time? Most importantly, what does it say about us? In addition to reading fairytales and literary criticism on tales and their circulation, students will investigate the prevalence of fairytales in contemporary literature and popular culture. Texts may include Italio Calvino, Bruno Bettelheim, Washington Irving, Christopher Vogler, Ludmilla Petrushevaskaya, Kelly Link and among others.
LFYW 1000 Credits: 4
Writing the Essay I: The Politics of Emotion
Over the past decade, scholars in fields as diverse as literature, philosophy, psychology, sociology and gender studies have turned their attention to affects or feelings. "Affect theory" does not just seek to describe our feelings but also to investigate how we are affected by the world around us. This class will serve as an introduction to theorists working in affect theory. Key questions include: How do feelings structure contemporary politics? To what extent do feelings of rage, joy or hopelessness both propel and impede social change? And what is the place of feelings in scholarly writing, which often claims to be void of feelings? Is it possible to write without feelings? Among other theorists, this course will include selected readings by Spinoza, Sedgwick, Massumi, Ahmed, and Cvetkovich. We will also explore how creative non-fiction (memoir, personal essay, auto-biographical poetry, etc.) translates into academic work. Ultimately, as we come to write better through both reading and writing, we will also be producing scholarly work that can elicit its own affectual resonances, shaping us in the in-between spaces of text, reader, and classroom.
LFYW 1000 Credits: 4
Writing the Essay I: Too Cool For School
This writing course encourages students to consider the ways they are taught and the unspoken assumptions about their education. To do this effectively, students hone skills for reading, analyzing, and thinking critically about structures of thought implicit in formal education. They think through complicated issues, write to examine that thinking, share their ideas, and make arguments based on their perspectives and understandings. Authors include Paulo Freire, Adrienne Rich, Mary Louise Pratt, and Susan Griffin.
LFYW 1000 Credits: 4
Writing the Essay I: U.S. Politics, Culture and Ideology
This writing intensive course explores the histories, practices, and ideologies of American politics by focusing on U.S. imperialism and colonialism in a global context. With the American Revolution the U.S. became the first "postcolonial empire," simultaneously rejecting imperial oversight and embracing colonial expansion. Yet what does it mean to call the U.S. "imperial," historically or today? How have ideals of liberty and democracy existed in tension with practices of expropriation and race-making ? We will interrogate ideas of freedom, national identity, sovereignty, and property as we trace changing ideas about colonialism and imperialism from 1776 to the present, attending to the ways ideologies of imperialism continue to affect our national discourse. Readings will include classic and contemporary texts from political philosophy, anthropology, sociology, cultural studies, history, and current debates about America's status and role in the world. In addition to active participation in discussions, students will complete a series of short written assignments and a final research paper.
LFYW 1000 Credits: 4
Writing the Essay I: Writing about Values
In this course, students are encouraged to explore the fundamental issues of their lives in order to develop key analytic and argumentative skills. By discussing texts about values, students will consider what is worth striving for and what makes a good or meaningful life. Topics include questions of priorities, definitions of good and evil, questions of cultural and moral relativity, the nature of love, the challenges of suffering and death, and the nature of self-realization. Students will likewise write about social and political issues, including imperialism, minority rights, feminism, food production, and the effect of human "progress" on the environment. Texts may include short works and excerpts by Dr. Martin Luther King Jr., Plato, Aristotle, Dante, Montaigne, Conrad, Orwell, Achebe, Said, Al Gore, and Michael Pollan, as well as Eastern and Western religious texts and topical newspaper articles.
LHIS 2063 Credits: 4
The American Revolution in the Global Imagination *BEST BET*
This course focuses on global reactions to the origins, development, and consequences of the American Revolution, c. 1763û1802. Each week, we will center our discussion on how aspects of the American Revolution affected various nations and peoples from across the Atlantic world. We will not only examine reactions in England, Ireland, Scotland, Canada, Haiti, Venezuela, the Caribbean, and France, but will also consider how the American Revolution affected African Americans, Loyalists, Native Americans, and women as well as individuals,. The course begins with an examination of Britain's relationship to its American colonies at the end of the French and Indian War (1756û1763) and then moves on to examine particular events, individuals, areas, and peoples to examine how the course of the American Revolution was understood and perceived throughout the world during the mid- to late eighteenth and early nineteenth century. Themes considered in this course include, but are not restricted to, national identity, liberty, democracy, citizenship, and allegiance. Each week, students will center their discussion around a series of contemporary documents of their choosing. After a brief how-to guide in Week 1, by working in groups, students will be expected to locate their own source materials for each class.
LHIS 2066 Credits: 4
The Fall of the Ancient World and the Emergence of the Medieval
The fall of the Roman Empire has often been considered the most important event in Western history, setting in motion centuries of decline and decayù the so-called "dark ages." More recently, however, historians have come to see the Middle Ages as the birth of modernity, with new ideas of the individual, a scientific Renaissance, and a universal language (Latin). Furthermore, the fall of Rome and the birth of the middle ages has a resonance with parallel events in China and Central Asia, notably the birth of Islam. We will explore these questions in our class.
LHIS 2221 Credits: 4
Power and Biology: The Global South and the History of Science
This seminar approaches the history of science from the perspective of the global margins. We will study the contextual connections between biological research, imperialism and postcolonial societies. We will analyze case studies from the history of Eugenics and racism, military research, sexually transmitted diseases and the social and environmental impact of science in the Global South. The course places special emphasis on historical case studies from Latin America and Africa.
LINA 2071 Credits: 4
Music in the Museum: Multi-Sensory Art Experiences *BEST BET*
This course explores representations of music and dance in works at The Metropolitan Museum of Art and other local museums. It also considers the role of sound in visually-dominated exhibition spaces. Is a musical instrument in a glass case a musical sculpture? How does musical iconography give us insight into musical traditions for which there are no recordings or notations? How can analysis of ragamala paintings and sculptures of dancing deities inform our understanding of aesthetics in ancient India? Students will conduct two research projects. In one, they will choose a work of art from the museum and research what it can tell us about performing arts. They will choose a second artwork (not an instrument) or gallery within The Metropolitan and propose a way in which the museum could incorporate sound to bring visitors' experiences to life. This course will require frequent trips to museums around the city, with some classes re-scheduled to accommodate these excursions.
LLSJ 2001 Credits: 4
News, Narrative & Design I
This is the first course in a 3-course sequence that focuses on research, reporting and expressing the news. All practice is framed in the historical context of journalism as a crucial part of the Democratic checks-and-balances system. Students gain a grounding in the basic history of the free press and the idea that there are core principles of journalism no matter what the medium or delivery. Students should finish the class knowing what those principles are and able to ask themselves (and answer) with every story: Am I doing journalism?
LLSJ 2237 Credits: 2
News Automata *BEST BET*
The recent proliferation of cheap cloud computing and developments in artificial intelligence mean that automation technology is everywhere. What is the role of this technology in news? How can programs assist in the reporting process? This hands-on, making workshop explores different algorithms and approaches being applied to the practice and consumption of journalism, ranging from automatic summarization and fact-checking to crowdsourced reporting systems to articles written entirely by robots. Discussion will include the ethical and practical implications of these technologies, and students will be exposed to current attempts to automate parts of the news process, as well as learn basic computational thinking through small projects week to week. Students will learn from Journalism + Design's developer-in-residence Francis Tseng, a developer and interaction designer at IDEO and recipient of the Knight Foundation's 2014 prototype grant.
LLSJ 2238 Credits: 1 TO 2
Make, Map, Blink: Creating Data-Driven Projects for the Internet and the Physical World
Learn how to build data-driven maps, charts, bots, detectors and blinkies. John Keefe, from WNYC's Data News Team, will demonstrate one project each evening, most of which have direct journalistic applications. Like a cooking show, he'll walk through how to whip up each one. In some cases, you can make them simultaneously. In all cases, he'll provide the recipes for doing it yourself. Each session is open to all students. To take it as a 1 credit class, you must attend at least half of the sessions. To take it as a two-credit class, you need to attend all 12 weeks. For one credit, 10 weeks. No grades; pass-fail only.
LLSL 2036 Credits: 4
Shakespeare
The course will consider the greatness of Shakespeare's achievement. We'll read representative plays including the tragedies Macbeth, Othello, and King Lear; the comedies Much Ado about Nothing and The Taming of the Shrew; the history play Richard III; the problem play Measure for Measure. We'll also take up plays that stretch the limits of genre: The Merchant of Venice; Midsummer's Night Dream; The Tempest. Also the close reading of selected sonnets. Two papers; brief critical statements on each play; acting as "director" for a short scene to be played out in class.
LLSL 2052 Credits: 4
American Literature to 1845
"This course examines a range of texts and genres of ""early American literature,"" reading authors from the period of the European settlement of the New World through the solidification of a U.S. literary tradition in the mid-19th century. It considers historical, social, and intellectual as well as formal projects of literature, including nation-formation and nationalism, religion and spirituality, race and cross-cultural contact, authority and democracy, utopia and apocalypse. Authors to be considered may include Winthrop, Rowlandson, Crevecoeur, Paine, Franklin, Brockden Brown, Irving, Cooper, Poe, Emerson, and Douglass."
LLSL 2331 Credits: 4
Sex and Sensibility: 18th Century British Fiction *BEST BET*
This course surveys British fiction in the eighteenth century, when the novel flourished as a popular form of literature and attracted critical attention as a dangerously potent genre. We read five crucial novels by Daniel Defoe (Roxana), Samuel Richardson (Pamela), Laurence Sterne (Tristram Shandy), Frances Burney (Evelina), and Maria Edgeworth (Castle Rackrent) as well as satirical narratives (Gulliver's Travels, Shamela, and Jane Austen's Northanger Abbey). We consider why eighteenth-century readers embraced the publication of pseudo-autobiographies, fictive letters, alien adventures, and gothic horror stories - and why critics were appalled.
LLSL 2663 Credits: 4
Anglophone Poetry 1 *BEST BET*
This is the exciting and impressive story of anglophone poetry from about 1540 to 1837, covering the establishment of a strong English tradition in the 16th and 17th centuries through the Augustan period (18th century) and the Romantics. 1837 is the date Victoria ascended the throne. Most of the work we read is English or British but we shall also glance at the origins of anglophone Irish and US poetry. Students are welcome whether or not familiar with poetry and poetics. The course seeks to provide facility in reading and analysing poetry.
LMTH 1950 Credits: 3
Quantitative Reasoning *BEST BET*
This course reviews the fundamentals of elementary and intermediate algebra with applications to business and social science. Topics include: using percents, reading and constructing graphs, Venn diagrams, developing quantitative literacy skills, organizing and analyzing data, counting techniques, and elementary probability. Students are also exposed to using technology as graphical and computational aids to solving problems. This course does not satisfy any requirements for the Interdisciplinary Science major.
LMTH 2025 Credits: 4
Statistics for Social Scientists
This course is an introduction to statistics with a focus on applications to the social sciences. Topics include descriptive statistics, basic probability, normal distributions, confidence intervals, hypothesis tests, correlation and linear regression. The course also provides an introduction to software used to analyze and present statistical information. The emphasis throughout will be on understanding concepts and developing statistical literacy. This course satisfies the requirement for the Sociology major.
LMTH 2030 Credits: 4
Statistics with SPSS
This course is an introduction to statistics using the software package SPSS. Emphasis is on exploring quantitative data and applying concepts to a range of situations. Topics include descriptive statistics, basic probability, normal distributions, correlation, linear regression, and hypothesis tests. The course combines lectures, discussions, and computer assignments. During the semester, students meet at a computer lab to learn specific software skills. Students are expected to go to the lab on a regular basis to complete homework assignments and explore the functionality of SPSS. This course fulfills the second math requirement for the IS major, is a requirement for the ES major, and is taught Fall & Spring.
LMTH 2040 Credits: 3
Calculus *BEST BET*
This course is an introduction to the study of differential calculus. Topics include limits, continuity, derivatives of algebraic and exponential functions and applications of the derivative to maximization, and related rate problems. The principles of calculus are applied to business and economic problems.
LMTH 2060 Credits: 4
Ethnomathematics *BEST BET*
Ethnomathematics is a new field that combines ideas from mathematics, anthropology, history and education. In this course, we will explore a series of case studies looking at how different people and cultures use mathematical lenses to think about numbers, time, space, relationships, design, and the way the world works. We will discuss how these ideas can be understood in terms of modern concepts in group theory and graph theory, fundamental areas of mathematics that are easily accessible and widely applicable. And we will see how Ethnomathematics challenges the traditional narrative of the history of Western mathematics.
LMUS 2010 Credits: 4
Fundamentals of Western Music
This course covers the basic concepts and skills of Western music theory and analysis. Topics include acoustics; intervals and ratios; music terminology; melodic, rhythmic, and harmonic structures; standard musical forms; and an introduction to music notation in both treble and bass clefs. The course focuses on common practice tonality, but also explores other possibilities for organizing musical sound. This seminar+ course involves additional activities such as concerts and museum visits outside of regular classtime. This course is one of the two required courses for Contemporary Music majors/minors and a prerequisite for some other music courses such as LMUS 2003: Composition and Analysis.
LMUS 2106 Credits: 4
Underground Dance Music - Electronic Dance Music in NYC *BEST BET*
This course surveys electronic dance music in New York with a focus on genres, venues, and participants.
LMUS 2110 Credits: 2
Creative Placemaking in Harlem
The course explores creative placemaking as an active nexus of music, community, and identity. It focuses on historical and current trends in the social, political, and economic life of Harlem through music, engaging students in site-specific learning opportunities to show how music becomes a means for individuals and institutions to make an impact on their communities. Community partners for this course include Revive Music, the Harlem Arts Festival, and the Employment and Technology Center of Harlem Children's Zone, where Aja Wood leads afterschool workshops focused on identity and community with music from classical through jazz and hip hop.
LMUS 2200 Credits: 4
Global Perspectives on Music
This course explores some of the many ways that people perform, experience, enjoy, and discuss music around the world. Case studies of specific culture areas and significant musicians are tied to local ethnography projects, enabling students to take advantage of the stunning diversity of global music traditions practiced in New York City. The course also covers basic elements of music and terminology, so previous musical experience and familiarity with Western music notation are not required.
LMUS 3031 Credits: 4
Music of Latin America
This course explores the music of Latin America and the Caribbean and the essential role that it plays in the lives of those who make it and listen to it. Topics include Afro-Cuban music, Brazilian samba, Mexican son, the music of the Andes, and transnational popular genres like salsa, cumbia, calypso, and reggae. Through conceptual frameworks like race, gender, nationalism, diaspora, and globalization, this course seeks to investigate how music connects people across time and space throughout the Americas. New York City, a global capital of Latin American and Caribbean music, provides the context for various projects. No previous background in music is required, but a willingness to engage with fundamentals of music is expected.
LNGC 1416 Credits: 4
Spectacular Cities
In the late 1960s Guy Debord began to develop the concept of the 'spectacle' to refer to a new stage in the development of capitalist urbanization: "an image-saturated society where advertising, entertainment, television and mass media increasingly define and shape urban life" while obscuring the alienating effects of capitalist social relations. In recent decades we have witnessed the emergence of dramatically new forms of urban spectacle reflecting the growing significance of symbolic economies û associated with finance, media, tourism, heritage, gentrification and, above all consumerism û in transforming urban landscapes, economies and the lives of urban inhabitants. Taking Debord's work as a departure point, this course will chart the rise of 'spectacular cities' û exploring both cause and consequence through a focus on a variety of sites across the globe.
LNGC 1416 Credits: 4
Spectacular Cities
In the late 1960s Guy Debord began to develop the concept of the 'spectacle' to refer to a new stage in the development of capitalist urbanization: "an image-saturated society where advertising, entertainment, television and mass media increasingly define and shape urban life" while obscuring the alienating effects of capitalist social relations. In recent decades we have witnessed the emergence of dramatically new forms of urban spectacle reflecting the growing significance of symbolic economies û associated with finance, media, tourism, heritage, gentrification and, above all consumerism û in transforming urban landscapes, economies and the lives of urban inhabitants. Taking Debord's work as a departure point, this course will chart the rise of 'spectacular cities' û exploring both cause and consequence through a focus on a variety of sites across the globe.
LNGC 1417 Credits: 4
Politics and the Literature of Social Reflection
In this course we examine a tradition in social research that lies beyond the usual boundaries of the field of politics yet speaks directly to it. This is the tradition of immersion, which we define as close engagement with human communities of interest to the author, and analysis written from a personal point of view. Each of the authors we read shared in, by choice or by force of circumstance, the conditions about which he or she wrote. Today, we might categorize such work as participant-observation research or ethnography. In the course, we read essays, autobiography, poems, and other literature that undertakes to describe and reflect upon the social and political landscape of their authors' day and place. We will read accounts of thinkers like George Orwell, who descended into the close and dust-choked coal pits of northern England and trenches of the Spanish Civil War to report and reflect upon conditions there, and Vaclav Havel, who reflected on the nature of power and dissent while imprisoned in communist Czechoslovakia. We will see the struggles of sharecropping families in Appalachia through the eyes of James Agee, and visit the discursive landscapes and racial power relationships of the American South through the prose of Zora Neal Hurston. Our readings and discussion will draw especially upon literature written in contexts in which explicit political analysis was not possible or permissible.
LNGC 1420 Credits: 4
Mad Love: Seminar on Surrealism
"Beloved imagination, what I most like in you is your unsparing quality": This first year seminar offers an introduction to the key tenets of Surrealism. From Andr? Breton's Manifesto of Surrealism (1924), the class works through the significance of Surrealism as an international avant-garde art movement during inter-war period. Focus will be placed on the influence of psychoanalysis and marxism in the Surrealist insistence on the "absolute" reality of dream and reality: sur-reality. Students will work through a variety of Surrealist techniques and games to claim the irrational and the sensual as a refusal of the rationality of normative culture - for instance, automatism, the drift and the chance encounter, the found object, collage and photomontage, the exquisite corpse. Key figures: the poets Andr? Breton (Nadja, Mad Love), Louis Aragon (Peasant of Paris); the playwright Antonin Artaud (The Theatre and Its Double); the philosopher Georges Bataille (The Accursed Share); the artists Luis Bu±uel, Claude Cahun, Salvador Dal?, Giorgio De Chirico, Marcel Duchamp, Max Ernst, M?ret Oppenheim, Man Ray, among others. Students will address the radicality of the Surrealist call for an unsparing, limitless imagination and how it continues to echo decades later in the political slogan: "Be realistic! Demand the impossible!"
LNGC 1420 Credits: 4
Mad Love: Seminar on Surrealism
"Beloved imagination, what I most like in you is your unsparing quality": This first year seminar offers an introduction to the key tenets of Surrealism. From Andr? Breton's Manifesto of Surrealism (1924), the class works through the significance of Surrealism as an international avant-garde art movement during inter-war period. Focus will be placed on the influence of psychoanalysis and marxism in the Surrealist insistence on the "absolute" reality of dream and reality: sur-reality. Students will work through a variety of Surrealist techniques and games to claim the irrational and the sensual as a refusal of the rationality of normative culture - for instance, automatism, the drift and the chance encounter, the found object, collage and photomontage, the exquisite corpse. Key figures: the poets Andr? Breton (Nadja, Mad Love), Louis Aragon (Peasant of Paris); the playwright Antonin Artaud (The Theatre and Its Double); the philosopher Georges Bataille (The Accursed Share); the artists Luis Bu±uel, Claude Cahun, Salvador Dal?, Giorgio De Chirico, Marcel Duchamp, Max Ernst, M?ret Oppenheim, Man Ray, among others. Students will address the radicality of the Surrealist call for an unsparing, limitless imagination and how it continues to echo decades later in the political slogan: "Be realistic! Demand the impossible!"
LNGC 1426 Credits: 4
Childhood and Culture
Children don't speak, think, or behave like adults. In a parallel fashion, the French don't speak, think or behave like the English; the English don't speak, think or behave like North Americans; and so on. This course takes this parallel seriously, exploring the lives of children, the life-spaces they inhabit, and commonly held ideas about children and parenting from a cultural perspective. We will treat childhood both as a cultural construction and as a distinctly constructed culture. We will pose a number of questions, including: How do children acquire knowledge of the cultures they live in and the knowledge needed to participate in these cultures? How important are parents in shaping the development of their children? What implications do different notions of childhood have for the developmental pathways of children? Special emphasis is given to representations of children and childhood in American culture.
LNGC 1477 Credits: 4
Civil Disob, State & Law
Most of us likely agree that there exists in democratic societies a general obligation to obey the law. Yet we also likely believe that we are not obliged to obey laws which we perceive as grossly unjust. This course explores the tension between these commonly held views by examining the theory and practice of civil disobedience and extra-legal protest in a formal democracy such as the United States. Central questions include: what is the source of the legitimacy of law? How extensive is the obligation to obey the law? How do political dissidents justify acts of extra-legal protest? Does civil disobedience hurt or nourish democracy? How does the state respond to radical dissent, and what happens when the state itself becomes lawless? The course does not seek a comprehensive answer to these questions, but instead aims to develop a sense of how complex, challenging, and urgent they are. We will read and discuss works of political philosophy and legal theory, profile resistance to racism, war, and drug laws, and examine -- in ways both personal and political -- our own relationship to the law and morality.
LNGC 1496 Credits: 4
Biology, Art, & Social Justice
In this course we will explore how artists and scientists are working together to create news ways of knowing and understanding the world we live in. We will explore how science and art are perceptual practices that involve inquiry, creativity, interpretation, and personal expression. We will analyze articles, artist interviews and exhibits, and scientific summaries focused on new biotechnologies and their impact on food, agriculture, and human identity. Discussions will center on discoveries coming out of the Human Genome Project, environmental studies, and cultural studies and ask us to re-examine how we define who we are and how we interact with one another. Our place in the natural and material world is shifting, and artists and scientists are helping us navigate this new terrain and helping us bring awareness around issues of social justice. We will conduct two experiments at the local level: isolating your own DNA and painting with bacteria. At the end of the course we will assess how this course and its approach has affected your perception of learning and the impact it has had on visual literacy.
LNGC 1534 Credits: 4
Improvisation:Embodied
This course analyzes how, if at all, we might understand improvised dance as a politically meaningful practice. Where does its power exist? In addition to viewing a range of performances, students survey recent literature on improvised dance. But we'll also look beyond typical configurations of dance. At various points, the course turns to jazz and jazz studies, where one finds a vast and rigorous analysis of improvisation, and often an exacting look at race, gender, and the politics of performance. Students also read critical theory that illuminates important concepts in improvisation such as instinct, spontaneity, constraint, and freedom. A primary goal will be to consider improvisatory practices in art as well as in everyday life. There will be a studio component to the class (we'll have opportunities to explore ideas through movement), but students need not have prior dance training.
LPHI 2008 Credits: 4
Animals, Ethics and Politics
Relationships between humans, non-human animals and the rest of nature raise difficult questions for moral and political thought. These questions, long sidelined by moral philosophers and political theorists alike, are today increasingly recognized as important and urgent. This course offers a tour of this challenging intellectual terrain. The course has two main emphases. The first is examining the representations of animal life in mainstream animal rights theory, as well as in the work of various dissenters, and using this intellectual corpus as a reference point for asking how humans and animals should enter moral thought. The second is investigating how attention to (or neglect of) non-human animals and to nature more generally is reflected in contemporary political theory. In addressing both ethical and political questions, we will refer to significant real world cases. Our goal in doing so will be to bring our theoretical readings to life, assessing them by bringing them to bear on experience. Course materials will be drawn from literary, philosophical and historical works, blogs, newspapers and works of political theory and documentary films.
LPSY 2038 Credits: 4
Fundamentals in Visual Percept *BEST BET*
This is a survey course of the research and theories associated with human visual perception.
LPSY 2042 Credits: 4
Fundamentals of Cognitive Psychology
This is course is an introduction to the various aspects of human cognition, including the processes assiciated with memory, attention, language processing and perception.
LPSY 2048 Credits: 4
Fundamentals in Cognitive Neuroscience *BEST BET*
This course is an introduction to the basic structural and functional properties of the human nervous system and their relationship to various aspects of human cognition.
LREL 2030 Credits: 4
Religion in South Asia *BEST BET*
This course is a comprehensive introduction to Indian philosophy and religion. It covers all the major philosophical schools, concepts, issues, and debates in a chronological framework. Students read both translations of primary sources as well as materials from secondary sources. This course aims to familiarize students with the kinds of questions asked by Indian thinkers such as: What really exists (metaphysics)? How do we know what we know (epistemology)? And how should we live our lives (ethics)? Students gain exposure to the practice of Indian philosophy and religion through local fieldwork projects.
LREL 2055 Credits: 4
Encountering Rel Pluralism *BEST BET*
"From Rap churches to Sikh policemen, from Buddhist meditation in prisons to Latinos converting to Islam, this course explores contemporary religious pluralism in America, along with the expression of sacred meaning within a context of religious diversity; in particular, what scholars call ""lived religion."" Some of our topics will include: an historical perspective of religious pluralism in America; post-9/11 challenges; religion on the internet; manifestations of, and encounters with, religious diversity and difference; inter/intra religious cooperation and confrontation; and tensions between religious and secular authority. Our modes of inquiry will include fieldwork (e.g., participant/observer study; site visits on your own), critical self-reflection, and a review of current and past news and contemporary scholarly literature."
LREL 2070 Credits: 4
Hebrew Bible as Literature
The Hebrew Bible is an anthology of literatures, a historical digest, ethical law collection, and a record of one people's experience of their deity. Class readings emphasize literary genres: the myths of Genesis, narratives of slavery and liberation, the Joseph novella, the political epic of Samuel and Kings, the Book of Ruth as a short story, and Esther as an attempted genocide tempered by farce. Students explore the Bible's methods of characterization and elliptical storytelling techniques. Biblical concepts ûmonotheism, human failure and redemption, creationû are grounded by scholarship in ancient near eastern history and also examined from contemporary perspectives: the prophet Jeremiah in light of 9/11 and other familiar destructions; and Mother Eve and biblical daughters through feminist and gender analysis. Special consideration is given to the influence of Women's and Gender Studies on biblical scholarship. All texts are in English.
LREL 2105 Credits: 4
Catholic Saints & Their Cults
This course examines the literature and art that grew up around the cult of the saints in the Catholic tradition. Students read accounts of the lives and miracles of the saints (hagiographies), paying close attention to the various literary forms they take (memoir, letter, sermon, romance, etc.) and the ways in which history has informed and changed the understanding of the holy and role of the saint. The course also considers the evolving theological arguments for and against the veneration and depiction of the saints in a variety of historical and political contexts.
LREL 2106 Credits: 4
Intro to Phil of Religion *BEST BET*
Through analysis of classic formulations, students investigate arguments concerning the existence of God, the divine attributes, and religious experience. Topics include the questions raised to religious commitment by the existence of evil, freedom, and science? The course also explores the nature of faith and religious commitment, and the relation of philosophical argument to them.
LREL 2804 Credits: 4
Ritual and the Body *BEST BET*
This course explores one of the central aspects of religion: ritual. We will consider the role of rituals in structuring the lives of individuals and communities, both as a means of expressing beliefs and values and as a means of training the body to develop certain habits and dispositions. We will also see how rituals shape, and are shaped by, local gender roles û how they perform, perpetuate, and transform what it means to be gendered in a variety of communities. Readings include anthropological, sociological, and philosophical accounts of ritual, and will be supplemented by the concrete examples of ritual introduced by site visits and observations, film, and students' own experiences.
LSCI 2040 Credits: 4
Genes, Environment & Behavior
This course uses a critical pedagogy to challenge the normative assumptions made about the dynamic relationship between our genetic make up and our environments and explore the field of epigenetics. Course sessions and assignments will retrace the experiments that led to the discovery of genes and their inheritance patterns, review molecular analyses to understand the functional products of genes, and reveal how the acquisition and accumulation of mutations and sex lead to diverse human behaviors that can be influenced by environmental factors in changing social environments. Course readings include newspaper articles, secondary scientific literature, and a textbook, while videos and CD-ROMS depicting molecular DNA techniques and their automation will clarify the more technical aspects of the course. Prerequisite for all biology intermediate level courses, satisfies the Foundation requirement for the Interdisciplinary Science major, satisfies the elective for Psychology, satisfies the elective for the Gender Studies Minor, and is offered every fall.
LSCI 2300 Credits: 4
Introduction to Urban Environmental Health
In this course, we will look at a broad range of factors affecting public health in urban environments. In 2009, for the first time in human history, more than half of the world's population resides in urban areas. Urban growth has outpaced the ability of governments to build essential infrastructures, and one in three urban dwellers lives in slums or informal settlements. The pace of urbanization results in built and social environments that place stress on human immune systems, increase exposures to industrial toxins, and present sanitation challenges. In addition, the effects of climate change have led to concerns about renewed incidence of infectious diseases that disproportionally affect urban populations. We will study how these factors collectively affect a city's health, as well as how these cities can respond to meet the increased challenges.
LSCI 2700 Credits: 4
Energy & Sustainability
"Why are we a ""fossil-fuel-based"" economy? Why have we been unable to transition to a cleaner energy source? Are there feasible alternate sources of energy? What are the arguments for and against fracking? This interdisciplinary course will investigate these questions through physical, chemical, and biological perspectives. The course discusses what energy is, why we need it, and the consequential impact of energy use, including the nexus of energy, air pollution and climate change. It includes a student-led project that applies the science of energy to debate a current energy-related topic. This course is required for the Interdisciplinary Science major."
LSOC 2152 Credits: 4
Politics of Consumption
The course examines why we consume, what we consume, how we consume, and how we have been "civilized" into consumers. It considers how goods attain symbolic meanings, how patterns of social inequality and cultural identities are created and reproduced through consumption, how practices and institutions of everyday life (family, leisure, urban environments) are increasingly organized in relation to consumption. It also discusses the function of consumption for broader political and economic systems, and surveys social movements that gather the discontents of consumerism (environmentalists, anti-globalization activists and moralists).
LTHR 2008 Credits: 0 TO 4
Fall Prdction Wrkshp-By Audtn *BEST BET*
The Lang fall theater production is directed by a visiting professional director. Auditions will be held in the first two weeks of the semester and students may be involved in the production as actors, dramaturgs, technical crew, assistant stage manager, assistant director, and/or with other aspects of the production. An intensive rehearsal process on weekday evenings and Saturdays culminates in a public performance at the end of the semester.
LTHR 2021 Credits: 4
Contemporary Drama
This course explores dramatic literature of the last 40 years, outlining major trends in theatrical production from the 1970s to the present. Each play and playwright will be discussed in cultural context to provide a basis for understanding dramatic literature as a literary art and as a vehicle for performance. Major authors of the period will be considered, with primary emphasis on trends within English speaking theatrical work. Plays will be analyzed through critical reading, performance practice, and selected video and live performance when available. Students will work to establish critical faculties in discussion and participation in class exercises and through a series of short papers on individual plays. This course fulfills the dramatic literature requirement for Theater majors/minors.
LTHR 2047 Credits: 4
Radio Drama *BEST BET*
This course examines radio works by Samuel Beckett, Harold Pinter, and Tom Stoppard, placing them in an aesthetic and historical context to examine how the medium shaped and sharpened each writer's practice. Each writer used radio's combination of intimacy and lack of physical constraint to test ideas and techniques that came to define their works and world views. Beckett's ontology, Stoppard's manipulation of the time/space continuum, and Pinter's social activism all take acute shape in their works for broadcast. At the same time, each writer expanded the possibilities for the medium, pushing narrative and psychological boundaries. In the first half of the semester students will be engaged in a critical examination of these seminal works from the perspectives of cultural studies, media, and theatre. In the second half, theory will become practice, with the staging of three of the works for performance before a live audience. Pending approval by the writers' representatives, the event will also be tracked and post-produced for airing on the New School's online radio station, WNSR/newschoolradio.org, which is also programmed and managed by students. This Media & Performance course fulfills the dramatic literature requirement for Theater majors/minors.
LTHR 2052 Credits: 2
Freeing the Natural Voice
This course focuses on the progression of vocal exercises developed by Kristin Linklater. It expands the student's expressive range by working on breathing, developing resonance, and freeing specific areas of tension. Students explore the connection between the breath and their emotional and intellectual impulses and learn to connect to any text through freeing their natural voice.
LTHR 2054 Credits: 2
Puppetry in the Digital Age *BEST BET*
This course introduces students to a variety of puppetry styles, emphasizing the history of puppetry, its role in media, and its continuing evolution in the digital age. Students will analyze outstanding archival and contemporary puppet performances for theater, film, and television, including stop motion animations, and they will also create solo and group presentations using an assortment of puppetry styles and digital media; the resulting work will be posted to a class YouTube channel. The course will include the opportunity to look behind the scenes and meet emerging artists at a puppetry event at La MaMa Theater.
LTHR 2056 Credits: 4
History of American Theater
This seminar offers an introduction to the history of theater in the United States, focusing predominantly on the nineteenth and twentieth centuries. Historical context, representative plays, and primary sources and artifacts reveal how theater responded to and also shaped an evolving American identity. This course fulfills the history requirement for Theater majors/minors.
LTHR 2917 Credits: 4
IHD-Harlem Theater & Education
This course will offer Lang students the unique opportunity of engaging in both the practice and history of Theater in Education while working one afternoon a week at the I HAVE A DREAM: HARLEM afterschool drama/literacy program. Students will connect their work with the Second Graders at IHD with seminar classes that will expose them to the field of Theater & Education and delve into the important links between literacy and performance.
LTHR 3201 Credits: 2
From HERE to the Future: Creating a Theater Archive *BEST BET*
Get on the inside track at HERE Arts Center, one of the most prolific, innovative and important downtown NYC theaters. Students in this course will learn the recent history of downtown theater first hand as they create a digital archive of HERE's groundbreaking work over the past quarter century - which includes Eve Ensler's The Vagina Monologues, Basil Twist's Symphonie Fantastique, Young Jean Lee's Songs of the Dragons Flying to Heaven, and Taylor Mac's The Lily's Revenge, along with hundreds of other productions by extraordinary artists. Students will have the opportunity handle historical material that has directly shaped the theater world they now inhabit and reflect upon these works. They will help insure that this work enters the historical record, will have the opportunity to build a relationship with this artist-centered theater, and will earn professional writing credits by documenting their findings for HERE's website.
LVIS 2015 Credits: 4
Photography in Latin America
This course examines the history of Latin American photography, from early photography of the nineteenth century to contemporary conceptual tendencies. We begin with photographic representations of the local landscape and its inhabitants, continue with the establishment of the first photographic studios, and follow with the advent of modernist trends, such as surrealism and abstraction. We approach the strong documentary practice that swings from registering everyday life and autochthonous rituals, to chronicling political upheavalsùas exemplified in the Mexican and Cuban revolutionsù and cataloguing the "disappeared" under the military juntas of Argentina and Chile. We also explore the treatment of labor in 1970's Cuban and Brazilian photo essays, the incorporation of postmodern concepts by Latin American photographers in the 1990s, and photographic representations of narco-culture in Colombia and Mexico. We discuss critical problems such as: realism, indigenism, social commentary, propaganda, nationalism, violence, and ethics.
NARB 1001 Credits: 3
Arabic Level 1 *BEST BET*
This first course in Arabic introduces the Modern Standard Arabic alphabet and sound system (FuS-Ha) along with basic conversation using the Levantine dialect (the language of Syria, Lebanon, Palestine, and Jordan). Students acquire basic reading, writing, and speaking skills while learning about contemporary cultures of the Middle East.
NARB 2001 Credits: 3
Arabic Level 3 *BEST BET*
Students continue to develop basic skills of listening, speaking, reading, and writing primarily in the spoken Levantine dialect. They engage in simple conversations and write short compositions about themselves, their families, and other familiar topics, learning new verb tenses in order to narrate events and describe a variety of places and people in the present and the past. They also learn about contemporary cultures of the Middle East. Prerequisite: Arabic Level 2, the equivalent, or permission of the instructor.
NARB 3707 Credits: 2
Conversational Arabic *BEST BET*
This class will focus on Levantine conversation to help students communicate smoothly. Course material includes songs, films, TV shows, and articles where topics such as family, education, politics, social changes, etc., are explored. Prerequisite: Arabic Level 4 or equivalent.
NARH 2102 Credits: 3
Museum Studies: Intro *BEST BET*
Museums have always been a contested site of representation: who decides what artifacts are collected and displayed, whose story is represented, how is it represented, who has access to the museum. What a society values enough to collect, how these artifacts are interpreted and displayed, and how access to the museum is granted or denied reflects and in turn constructs collective identity and memory. This course will critically discuss the history and role of museums, questions of collecting, representation, architecture, display, issues in museum education and access, and different types of public and private funding.
NARH 2200 Credits: 3
The Arts and Social Engagement
A poem can change the world. Or just one person's life. What explains the connection between an artwork and an individual, a wider public, a world? This course serves as an introduction to a pathway of courses that investigate this question by examining the variety of ways in which the arts make and meet people. We explore different modes of engagement: from the creation of stories that help us imagine and understand the complex lives of others to the research that informs this process; from criticism and curation that deeply analyze artworks to arts in the service of political ends; from the institutions and markets that channel the arts to creative therapies that help heal wounds. Different publics build and need different artworks, so we also look at how networks û cities, institutions, collectives û shape, deter, or support the arts. We think through what arts and engagement mean: who defines these ideas, to what ends, for what purposes, for how long? Case studies ground our broad investigation into how imagination and creativity connect to societal insight and action. The course also introduces students to the variety of theory, practice, and experience in the arts in which New School faculty are engaged.
NARH 2800 Credits: 3
Interpreting Cities and Spaces: Ways of Looking *BEST BET*
To fully experience and understand city life, one must see the richness of urban shapes and spaces. This foundational course examines cities and spaces through the prism of the eye, focusing on the interpretation of visual representations of change and continuity in the context of urban history and urban theories. Through images, graphics, maps, photos, films, and paintings, the layers of shapes, spaces, cultures, functions, and symbols condensed in the contemporary city are explored. Visual examples are found in Barcelona, Mexico City, and New York City. In consultation with the instructor, students, working individually and in groups, select themes and approaches in different cities, applying categories of urban analysis and visual representation to understand the historical origins of contemporary urban challenges and expectations for the future. Students learn to recognize categories of visual representation and analyze landscapes, infrastructures, and architecture.
NCHM 1001 Credits: 2
Chinese Level 1 *BEST BET*
This is the first part of a three-course elementary sequence that introduces the fundamentals of Mandarin Chinese speaking, listening, reading, and writing. The goal of the course is for students to acquire essential vocabulary, an understanding of sentence patterns in a communicative context, and a solid foundation in tone recognition and pronunciation. As the course develops, students acquire the ability to hold simple conversations in Chinese in such contexts as offering greetings, introducing family members, and discussing times and dates. Simplified characters are used to introduce reading and writing. No prior knowledge of Chinese is assumed.
NCHM 1101 Credits: 4
Chinese Intro 1 *BEST BET*
NCHM 2001 Credits: 2
Chinese Level 3 *BEST BET*
This is the third part of a three-course elementary sequence that introduces the fundamentals of Mandarin Chinese speaking, listening, reading, and writing. The goal at Level 3 is to continue building vocabulary and to practice sentence patterns in communicative contexts. Students converse about everyday life, such as shopping, making appointments, and school life. Simplified characters are used for reading and writing instruction. Prerequisite: Chinese Level 2, the equivalent, or permission of the instructor.
NCHM 2101 Credits: 4
Chinese Intermediate 1 *BEST BET*
NCHM 3101 Credits: 4
Adv.1: Chinese Pop Culture in Media: Sitcoms and Films *BEST BET*
This course introduces Chinese contemporary society through the dynamic lens of pop culture and media. While advancing Chinese language proficiency level, students will be fully exposed to various media resources. Music videos, major newspaper articles, episodes and clips of popular sitcoms and films (such as "Dwelling Like a Snail" (Woju), "Golden Marriage" (Jinhun), and "Unknown Pleasures" (Ren xiaoyao)) will be studied and discussed in detail. The class will focus on various themes including Chinese urbanism, gender politics and youth culture. Colloquial speech/vocabulary, slang, grammatical points and structures will be introduced and explained for each of the media productions.
Prerequisite: Chinese Intermediate 2, the equivalent, or permission of the instructor
NCHM 3701 Credits: 2
Chinese for Heritage Speakers *BEST BET*
This course is designed for people who can communicate orally in Mandarin Chinese in daily life but cannot read or write the language. By the end of the course, students should expect to 1) master the Chinese phonetic system (pinyin); 2) be able to present and discuss topics on Chinese culture introduced in class; 3) be able to read simple texts with the help of a character dictionary; 4) be able to write a short essay (about 200 characters). Both traditional and simplified Chinese characters are used in the course.
NCST 2103 Credits: 3
Debates in Race and Ethnicity *BEST BET*
Through an interdisciplinary engagement with contemporary literature and scholarship on race and ethnicity, this course considers the following questions: How do race and ethnicity organize the social world? What are the historical conditions under which the various definitions of racial and ethnic difference emerge? What is at stake in the institutional recognition of race and ethnicity, particularly as these categories come to be defined in relation to other nodes of difference such as gender and class? How do individuals utilize labels of racial and ethnic difference to develop an understanding of the self in relation to the social and political worlds they inhabit? As an introductory course to the curricular area in Race and Ethnicity Studies, the class provides an overview of different areas within this complex field, including Latino Studies, African-American Studies, Asian-American Studies, and Whiteness Studies.
NFDS 2080 Credits: 3
Intro to Food Design: We Eat What We Are
This course is designed as a source of inspiration to get students interested and involved in the rapidly growing field of Food Design. Taken separately, both Food and Design are highly relevant subjects onto themselves; Food is our most basic need, Design is one of today's most valued platforms for innovation and problem solving. Taken together: relevance and passion! Food Design is an emerging trans-discipline concerned with any action that can improve our relationship to food in a variety of ways and instances. These actions can focus on the design of the edible product itself or its context, including food objects, spaces, process and practices. This course is meant to empower students with the impact that design can have on concrete situations they encounter on a daily basis with regards to food. The course is conceived as a design project, with the possibility of hands-on components. The scope is kept close to familiar and immediate issues that students can grasp and identify with. The personal projects each student works on is related to their personal lives and surrounding environment, so as to engage design issues relating to food through a learning experience in which ongoing results are examined by firsthand experience.
NFDS 2101 Credits: 3
American Culinary History: From the Erie Canal to the Food Network *BEST BET*
What does the Erie Canal have to do with Wonder Bread? Which American war gave us condensed soup? Why did American farmers turn away from organic farming in the first place? This course examines the historical, cultural, social, technological, and economic events that have influenced what Americans eat today. It is an action-packed history of home economists and fancy restaurateurs, family farmers and corporate giants, street vendors and captains of industry, mom-and-pop grocers and massive food conglomerates, burger barons and vegetarians, the hungry and the affluent, hard-hitting advertisers and health food advocates. All these players have shaped the contentious American foodscape of the 21st century.
NFRN 1001 Credits: 2
French Level 1
This is the first course of a three-term sequence that introduces the fundamentals of the French language through speaking, listening, reading, and writing. Students acquire elementary grammar (present tense), learn to express negation and ask questions, and practice by conversing and writing about university life, hobbies, friends, and family. They learn about France and the Francophone world while building their communicative skills.
NFRN 1002 Credits: 2
French Level 2 *BEST BET*
This is the second course of a three-term sequence that introduces students to the fundamentals of the French language through speaking, listening, reading, and writing. They continue to study elementary grammar (irregular present tenses, past tense, pronouns) and practice by conversing and writing about leisure, celebrations, holidays, and travel. They continue to learn about French and Francophone cultures.
NFRN 1003 Credits: 4
French Introductory Intensive 1 *BEST BET*
This is an accelerated course for beginners with little or no knowledge of French. Students learn the fundamentals of the French language through speaking, listening, reading, and writing. They acquire elementary grammar skills (present and past tenses, pronouns), learn how to express negation and ask questions, and practice by conversing and writing about university life, friends and family, hobbies and leisure, celebrations, holidays, and travel. They learn about France and the Francophone world while building their communicative skills.
NFRN 1004 Credits: 4
French Introductory Intensive 2 *BEST BET*
This accelerated course is a continuation of Introductory Intensive and concludes the study of the fundamentals of the French language through speaking, listening, reading, and writing. Students continue the study of elementary grammar (present and past tenses, expressing negation, asking questions, and using pronouns). They practice by conversing and writing about shopping, food, daily life, health, technology, and ecology. While enhancing their communicative skills, students continue to learn about France and the Francophone world. Prerequisite:French Introductory Intensive 1 or the equivalent.
NFRN 1101 Credits: 4
French Intro 1
NFRN 2001 Credits: 2
French Level 3 *BEST BET*
This is the last part of a three-course elementary sequence that introduces the fundamentals of the French language through speaking, listening, reading, and writing. Students conclude their study of elementary grammar (the conditional mood, reflexive verbs, and relative pronouns) and practice by communicating about shopping, food, daily life, health, technology, and ecology. While enhancing their communicative skills, students continue to learn about France and the Francophone world. Prerequisite: French Level 2 or the equivalent.
NFRN 2002 Credits: 2
French Level 4 *BEST BET*
Students begin intermediate-level study of French. Review and reinforcement of some of the more complex grammatical structures of the language is combined with cultural readings and viewings of short films and online materials. Students refine their writing and verbal skills through brief compositions, class presentations, and sustained classroom conversation in French. Prerequisite: French Level 3, French Introductory Intensive 2, or the equivalent.
NFRN 2101 Credits: 4
French Intermediate 1 *BEST BET*
NGRM 1001 Credits: 2
German Level 1 *BEST BET*
A first course in German for those with no previous knowledge of the language. Students learn basic speaking, reading, and writing skills while discovering aspects of German culture. Class activities include interactive exercises and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language.
NGRM 1002 Credits: 2
German Level 2 *BEST BET*
Designed for students with elementary knowledge of German, this course reviews simple grammar and introduces more complex grammatical and syntactical elements of the language. Students expand their vocabulary and knowledge of German culture in a context that emphasizes communication skills. Prerequisite: German Level 1, the equivalent, or permission of the instructor.
NGRM 2001 Credits: 2
German Level 3 *BEST BET*
This course assumes familiarity with the basic grammatical structures of the German language. It begins with a review and moves on to cover more complex grammatical forms. The emphasis is on improving students' ability to understand spoken German and converse on topics pertaining to different times and places. Prerequisite: German Level 2 or the equivalent or permission of the instructor.
NGRM 4161 Credits: 2
German Conversation 2 *BEST BET*
This is an intermediate course about the language, culture, and history of German-speaking countries for students with previous experience learning German. You will engage in speaking, listening, viewing, writing, and reading as well as in understanding cultural and historical aspects of the German-speaking world. The class is taught entirely in German and emphasizes the language skills necessary to communicate effectively in a foreign language.
NHUM 2001 Credits: 3
Introduction to Digital Humanities *BEST BET*
How do computers enable us to rethink, reform and reorient every stage of intellectual process? How might collaboration and other forms of digital creativity allow us to understand a book, an archive, a painting, a space, an idea, a film -- or our own minds -- differently? In this course, we use digital tools to help us re-conceptualize what the humanities can be. Educating ourselves about the history, present and future of computerized intellectual work, we address distinctions between digital "work" and digital "play;" virtual humanness; and whether digital worlds alter intellectual categories like "art," "culture," or "society." Digital tools not only allow us to share our ideas and knowledge, but also encourage creative expression that goes beyond any one discipline or mode of communication. In addition to writing, the course focuses on making time, space, ideas, narrative and argumentation visible. Exercises emphasize collaboration, innovation and design rather than the individualism, competition and "knowledge banking," that can be typical of scholarship in the analogue humanities world. Readings include selections from Anne Balsamo, Designing Culture (2011), Anne Burdick et. al., Digital_Humanities (2012), Stephen L. Carter, Civility, (1999) Cathy N. Davidson, Now You See It (2010), Lawrence Lessig, Free Culture (2004), Marshall Poe, A History of Communications (2010), and Siva Vaidhyanathan, The Googlization of Everything (2011). This course prepares students to participate in courses and projects associated with the Humanities Action Lab.
NITL 1001 Credits: 2
Italian Level 1 *BEST BET*
This is the first course of a three-term sequence that introduces students to the fundamentals of the Italian language through speaking, listening, reading, and writing. Students acquire elementary grammar skills (present and past tenses of regular and irregular verbs) and practice by conversing and writing about themselves, friends, family, hobbies, and university and professional life. They learn about Italian culture while building their communicative skills.
NITL 1101 Credits: 4
Italian Intro 1
NITL 2101 Credits: 4
Italian Intermediate 1 *BEST BET*
NJPN 1102 Credits: 4
Japanese Intro 2 *BEST BET*
This course is designed for students who already have a basic knowledge of Japanese vocabulary and sentence patterns, including Hiragana and Katakana. Students develop familiarity with Japanese culture by learning communicative contexts and strategies. Students are required to learn more Kanji (Chinese characters) during the semester.
Prerequisite: Japanese Intro 1, the equivalent, or permission of the instructor.
NJPN 2101 Credits: 4
Japanese Intermediate 1 *BEST BET*
Intended to enhance and increase proficiency beyond the basic level in the four language skills. Students are expected to have a good command of both Hiragana and Katakana. Students develop familiarity with Japanese culture in a Japanese-speaking environment. More Kanji (Chinese characters) are introduced during the semester.
Japanese Intro 2, the equivalent, or permission of the instructor.
NJPN 3101 Credits: 4
Advanced 1: Japanese Pop Culture *BEST BET*
This advanced Japanese language course introduces students to contemporary Japanese society and culture from the high growth period of the 1960s to the bubble economy of the 1980s, and to the recent two decades of stagnation and a "lost generation." The course aims to expand oral and written expression, and broaden socio-cultural knowledge through the use of mass media and popular culture. Each week will explore a specific theme using films, TV dramas, popular music, anime, and Manga. This advanced Japanese language course introduces students to contemporary Japanese society and culture from the high growth period of the 1960s to the bubble economy of the 1980s, and to the recent two decades of stagnation and a "lost generation." The course aims to expand oral and written expression, and broaden socio-cultural knowledge through the use of mass media and popular culture. Each week will explore a specific theme using films, TV dramas, popular music, anime, and Manga.
Japanese Intermediate 2, the equivalent, or permission of the instructor.
NPHI 2610 Credits: 3
Critical Thinking: Informal Logic *BEST BET*
In this course, we study and apply the principles and methods that distinguish good reasoning from poor reasoning. Working with this toolkit of techniques for evaluating arguments, we examine the logic that shapes contemporary debates about politics, media, art, and science. As a complement to the practical nature of this exercise, we also reflect on the psychological structures that make critical thinking an essential aspect of constructive civic engagement and human well-being in general.
NPRT 1001 Credits: 2
Brazilian Portuguese Level 1 *BEST BET*
A first course in Portuguese for those with no previous knowledge of the language. Students acquire basic speaking, reading, and writing skills while learning about Brazilian culture. Class activities include interactive exercises and role-playing. The aim is for students to develop the ability to use the language effectively for practical communication.
NPRT 1700 Credits: 2
Portuguese for Spanish Speakers *BEST BET*
This is a beginner's Portuguese course for students with a strong Spanish language background and little or no knowledge of Portuguese. They learn to use their knowledge of Spanish to gain competency and confidence in speaking Portuguese. They learn to minimize the confusions that can result from the similarities of the languages. The emphasis is on eliminating Spanish phonetics, vocabulary, and sentence structure from their Portuguese speech. After completing this course, students can take Portuguese Level 3. Prerequisite: fluency in Spanish.
NPRT 2001 Credits: 2
Brazilian Portuguese Level 3 *BEST BET*
This course assumes familiarity with the basic grammatical structures of Portuguese. The course begins with a review and moves on to more complex elements, such as the subjunctive, the conditional, and relative pronouns. The emphasis throughout is on developing the ability to understand spoken Portuguese and converse about topics pertaining to different times and places. Prerequisite: Portuguese Level 2 or the equivalent or permission of the instructor.
NRSN 1001 Credits: 2
Russian Level 1 *BEST BET*
A first course in Russian for those with no previous knowledge of the language. Students acquire basic speaking, reading, and writing skills, including the Cyrillic alphabet, while learning about Russian culture. Class activities include interactive exercises and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language.
NSLN 1001 Credits: 2
Introduction to Sign Language *BEST BET*
The totally visual language of deaf people is now the third most commonly used language in the United States. This course introduces the culture and communication methods of the contemporary deaf community, focusing on the experience of navigating social interactions using signs, gestures, and visual cues. Topics explored and practiced include the psychology of deafness, finger spelling, the art of interpreting, and the silent speech of body language. At the end of the course, each student completes a final project dealing with a particular aspect of the language and culture of the deaf and hard of hearing.
NSLN 1011 Credits: 2
American Sign Language: Level 1 *BEST BET*
This is a beginner's course in the system of American Sign Language (ASL), a form of communication used by thousands of deaf Americans and Canadians. ASL is an expressive, versatile, full-fledged language and not a hodgepodge of charades and hand movements. It has its own grammar, poetry, and puns. Students learn the techniques essential to basic ASL conversations, including finger spelling and facial expressions, through demonstrations and class activities, including interactive exercises and role-playing. They become familiar with the history of deaf society in the United States. This course is led by a deaf native signer. There is no prerequisite for this course.
NSLN 1012 Credits: 2
American Sign Language: Level 2 *BEST BET*
A course for people with a basic understanding of American Sign Language (ASL) who wish to acquire more sophisticated communication skills. Guided by a deaf native signer, students develop greater conversational fluency, expand their sign vocabulary, and improve their fingerspelling ability. Practical role-playing exercises and individual presentations of the ASL face, hand, and body language give them the tools to communicate with deaf and hard of hearing people in a variety of social and professional settings. Some assigned projects take students into the deaf community. In class, students are strongly encouraged to communicate using ASL only. Prerequisite: American Sign Language Level 1 or the equivalent or permission of the instructor.
NSPN 1001 Credits: 2
Spanish Level 1 *BEST BET*
This is the first course of a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Students acquire elementary grammar (present and future tenses), learn to ask questions, and practice by conversing and writing about family members, school and leisure activities, likes and dislikes, time, and weather. They learn about Spanish and Latin American culture while building their communicative skills.
NSPN 1002 Credits: 2
Spanish Level 2 *BEST BET*
This is the second course of a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Students continue using the basic grammatical structures learned in Level 1 and learn new ones, such as past tenses, pronouns, reflexive constructions, and demonstratives. They practice by conversing and writing about topics such as food, daily routines, shopping, seasons, and travel. They continue learning about Spanish and Latin American culture while building communicative skills.
NSPN 1003 Credits: 4
Spanish Introductory Intensive 1 *BEST BET*
This is an accelerated course for beginners with little or no knowledge of Spanish. Students learn the fundamentals of the Spanish language through speaking, listening, reading, and writing. They acquire a wide range of elementary communicative competencies such as using the present, past, and future tenses; expressing likes and dislikes; describing things; and asking questions. They practice conversing and writing about themselves and others, school and leisure activities, time, weather, and shopping. They learn about Spanish and Latin American culture while building their communicative skills.
NSPN 1101 Credits: 4
Spanish Intro 1 *BEST BET*
NSPN 2101 Credits: 4
Spanish Intermediate 1 *BEST BET*
NSPN 3101 Credits: 4
Spanish Advanced 1:Cine y cultura hispana *BEST BET*
This course will offer an overview of women's artistic production in Latin America and will consider how their "texts" intersect, reflect, disrupt or resist canonical literary movements in Hispanic tradition. The material to be covered spans from short stories, novel, poetry, painting of the 20th century to film and documentaries which can reinforce students understanding of the different characteristics of women production. Students will familiarize themselves with canonical authors such as Isabel Allende, Laura Esquivel, Rosario Ferr?, Delmira Agustini and also with less well-known author such as Giovanna Pollarolo. Through the analysis and the close reading of these texts students will also sharpen their language skills.
NSPN 3723 Credits: 3
Mexico: Arte y Cultura *BEST BET*
This course, conducted entirely in Spanish, introduces students to Mexican art, covering the period from 1900 to the present, including mural and easel painting, photography, sculpture, folk arts, and architecture. In the process, they obtain a general but dynamic vision of Mexican historical development. Through lectures, discussions, readings, and collaborative work, students practice speaking Spanish. There is a class field trip to view Mexican art on display in New York City.
Spanish Level 5, the equivalent, or permission of the instructor.
PLAH 2011 Credits: 3
Pre-Hispanic Art and Design of South America *BEST BET*
This course covers Pre-Hispanic art and design of the Andes, the Caribbean, and Mesoamerica. It begins with the Olmecs c. 2000 BCE and ends with the Spanish conquest of the Aztecs, 1519-1521. Although this terminates Mesoamerican art proper, the course also explores post-conquest Indo-Hispano art that was neither purely indigenous nor Colonial, but a syncretic hybrid formed and shaped by both New and Old World cultures. Regarding the Andes, the course begins with Chavin de Huantar c.1200 BCE and terminates with the Inca and their conquest by the Spanish in 1534. Also to be studied will be the art and culture of the Taino that inhabited areas of the Caribbean. The type of art and design the course will investigate both formally and in context includes architecture, painting, sculpture, textiles and costume, performance or ritual-based art, ceramics, lapidary arts, manuscripts, and featherwork. Pathways: Art and Design History
Open to: University undergraduat degree students, freshman, and sophomores only. Pre-requisite(s): first-year university writing course and at least one prior history or methods course in art, media, film, or visual culture.
PLAH 2025 Credits: 3
Art and Architecture of Ancient Greece and Rome *BEST BET*
This course presents the history of the architecture, art, and material culture of the ancient Greeks and Romans from the Iron Age to Late Antiquity (11th century B.C.E. û 5th century C.E.). It provides a chronological survey of the cultures from the fall of Mycenae to the fall of Rome, considering the interactions between Greece and Rome during the Hellenistic period and the influences of the Persians, Macedonians, and Etruscans on art production in the Mediterranean. Within the chronological framework the historical, political, and social context of the creation and reception of art in antiquity will be considered. Questions of tradition, stylistic innovation, and function of artwork in the ancient world will be addressed through readings and class discussions. The Greek and Roman Galleries at the Metropolitan Museum of Art will provide students with the opportunity to experience ancient sculpture and painting in a contemporary context and will inspire their own final research projects.
Open to: University undergraduate degree students, freshmen and sophomores only. Pre-requisites: first-year university writing course and at least one prior history or methods course in art, media, film, or visual culture.
PLAH 2030 Credits: 3
Baroque Art *BEST BET*
"""Baroque"" is the designated term for the style of 17th and early 18th century European painting, sculpture, architecture, design, and music. Baroque describes any artwork whose theme or style is extravagant, ornate, or excessive. The class will explore the Baroque era, which produced artists such as Bernini, Caravaggio, Hals, Rembrandt, Rubens, Vermeer, and Velasquez. Baroque artists pushed art to its limits and beyond, in order to attract attention in a culture of increasing excess. Artists emerged as individual entrepreneurs, while their products became important commodities as capitalism developed. There were new subjects, such as landscape and genre painting. In addition, there were new approaches to old subjects, including gods, saints, heroes, and portraiture. The class will also explore the baroque attitude, which is still a major component of art today, by connecting baroque themes and styles to contemporary artworks. Pathway: Art and Design History
Open to: University undergraduate degree students, freshman and sophomores only. Pre-requisites: first-year university writing course and at least one prior history or methods course in art, media, film, or visual culture.
"
PLAH 2050 Credits: 3
African Art *BEST BET*
This course will focus on three aspects of African art and culture, starting with an introduction to traditional religious and philosophical thought. This will be followed by an overview of ancient kingdoms, specifically, the Congo, Benin, Yoruba and Akan kingdoms. The course concludes with an overview of village communities, including the Dogon, Bamana, Dan and Senufo peoples. Pathway: Art and Design History
Open to: University undergraduate degree students, freshman and sophomores only. Pre-requisites: first-year university writing course and at least one prior history or methods course in art, media, film, or visual culture.
PLAH 2150 Credits: 3
Eighteenth Century Art and Design *BEST BET*
This course explores the amazing 18th century, which produced both artistic evolution û from the Baroque to the Rococo û and revolution (Neoclassicism and Romanticism) that was political and industrial as well. It was a great era of handcrafted design, with fashion and interiors playing leading social and economic roles. Class members will gain greater knowledge of 18th century styles and their relationship to society, as well as greater awareness of Enlightenment thought and literature. Course work will be comprised of group and independent research, written papers, and oral presentations. Pathway: Art and Design History
Open to: University undergraduate degree students, freshman and sophomores only. Pre-requisites: first-year university writing course and at least one prior history or methods course in art, media, film, or visual culture.
PLAH 2201 Credits: 0
Modern Art & Postmoderism: Lecture
(Disc. Sec Reqd) *BEST BET*
The 20th century changed everything about art: where it was located, who made it, who it was made for, what it was made of, how it was made, and what was and wasn't considered art. This class will explore these changes in terms of ongoing tensions and connections, including those between object and image, abstraction and figuration, material and spiritual, accumulation and appropriation, nature and culture. There will be readings from artists' writings and critical histories that substantiate these ideas, along with class discussions, written projects, and field trips to appropriate venues. We will discuss individual artists and representative art movements from throughout the century, including (among others) Cubism, Futurism, Constructivism, de Stijl, Expressionism (Early, Abstract, and Neo), Pop, Minimal, Conceptual, Land, Body, and Performance. Pathway: Art and Design History
Open to: University undergraduate degree students, freshman and sophomores only. Pre-requisites: first-year university writing course and at least one prior history or methods course in art, media, film, or visual culture. Co-requisite: PLAH 2202 Recitation.
PLAH 2202 Credits: 3
Modern Art & Postmodernism: Recitation *BEST BET*
Open to: University undergraduate degree students, freshman and sophomores only. Pre-requisites: first-year university writing course and at least one prior history or methods course in art, media, film, or visual culture. Co-requisite: PLAH 2201 Lecture.
PLHT 1000 Credits: 3
Objects as History: Prehistory to Industrialization
This course introduces students to major trends in world history and to the considered study of objects as expressions of a particular place and time. Its structure is roughly chronological, beginning in prehistory and continuing until the dawn of mass industrialization - a development that occurred at different times for different cultures. The focus will be on objects, from ordinary tools of daily life to extraordinary monuments of skill and design, on display in local museum collections. These objects will be explored in terms of how and why they were made, by whom and for whom, how they were used, what they meant to their users, and what social structures are embedded in them.
Open to: University undergraduate degree students, freshman and sophomores only.
PLSD 2001 Credits: 3
Visionary Urbanism from 1750 to the Present *BEST BET*
"This course presents a long history of urbanism from the eighteenth to twentieth centuries with a certain focus on urban visionaries. The first part of the course deals with framing the eighteenth century Enlightenment and explores various approaches, from Laugier!s natural city to Piranesi's montages and Ledoux's urban fictions for the social order. The second part deals with the industrial utopia, the explosion of urbanization, and the aesthetics of urban life with an emphasis on the emergence of ""urban street! and ""urban stroller!. In the third part of the course, we deal with the functional city of the modern age, the early critique of mechanization, and the call for inhabitable environments. The final part deals with the post-""60s milieu, exploring architectural and urban ideas, as architecture opened up to influence from other disciplines and as architectural discourse ceased to be style-exclusive.
Open to: University undergraduate degree students, freshman and sophomores only. Pre-requisite(s): first-year university writing course and at least one prior history or methods course in art, media, film, or visual culture.
"
PLVS 2006 Credits: 3
Bollywood: From Local Industry to Global Brand *BEST BET*
Over the last few decades, Bollywood has undergone a dramatic transformation. It has gone from being the commercial film industry located in Mumbai (formerly Bombay) to becoming an easily recognizable global brand identified with distinctive and increasingly influential aesthetics that go beyond cinema to encompass a transnational industry that includes TV shows, music, fashion, etc. Bollywood contributes decisively to make the Indian film industry the largest in the world in number of spectators and movies made, and second in revenue, trailing only Hollywood. At the same time, the perception of Bollywood has often been confined to a few stereotypical images that fail to grasp its real breath and diversity. In this course we will explore Bollywood's aesthetics, styles and main themes, and evaluate its current situation and trends, focusing on its ongoing metamorphosis into a global brand and its reception and growing impact worldwide. Pathways: Visual Studies
Open to: University undergraduate degree students, freshman and sophomores only. Pre-requisite(s): first-year university writing course and at least one prior history or methods course in art, media, film, or visual culture.
PLVS 2013 Credits: 3
Graphic Design: A History *BEST BET*
Open to: University undergraduate degree students, freshman and sophomores only. Pre-requisite(s): first-year university writing course and at least one prior history or methods course in art, media, film, or visual culture.
UENV 2000 Credits: 4
Environment and Society *BEST BET*
The state of the air, water, and soil climate change, habitat conversion, invasive species, biodiversity decline, deforestation, overfishing, and many other environmental issues are at the core of most of our pressing economic, social, political and human health concerns. This course examines the roots of the modern environmental crisis, reviewing the most current environmental issues and the underlying science for a critical look at how societies have interacted with the natural environment past and present and requirements for a sustainable future. The course consists of small group discussions, readings and case studies.
This course is open to all bachelor level students at the university.
UENV 2400 Credits: 4
Urban Ecology
Students learn the fundamental ecological principles starting with core concepts in evolution then building from species and populations to community dynamics and structure, the study of ecosystems, and finally landscape ecology. The course also introduces the drivers of biodiversity, the importance of genetic diversity, and the impacts of climate change on species and communities. This course is positioned to justify the statement that understanding ecology (how biological organisms interact with each other and their environment) is crucial to understanding how to move toward a more sustainable future.
This course is open to all bachelor level students at the university.
ULEC 2510 Credits: 0
Introduction to Feminist Thought & Action
(Disc. Sec Reqd) *BEST BET*
Feminism is not a single-voiced, coherent body of doctrine but rather a proliferation of thinking and actions in response to what seems to be the near-universal fact of women's subordination, past and present, in societies which arrange gender relations in a wide variety of ways. Feminism's lack of unity as a movement has been a strength and a weakness, and organized resistance to sexism has come and gone. Right now, in both the United States and internationally, we are living in a time of renewed critical self-consciousness about gender. This course is a sampler of key debates and actions to give a sense of the variety of feminisms that have evolved in the last 40 years. It will track both the growth of feminist movements and their confrontations with backlash. We will discuss readings on reproduction, the gendering of work, theoretical takes on "the death of feminism," the variety of feminisms in different parts of the world, the meaning (and strengths and weaknesses) of the "identity politics" of race and gender, recent discussions of "the body," including discussions of queer theory and trans experience. Visiting speakers and films.
Students must register for both the lecture and discussion section of this course.
ULEC 2511 Credits: 3
Intro to Feminist Thought: DSC
This is the required discussion section for ULEC 2160 (the required lecture for Introduction to Feminist Thought & Action). Please refer to the course description for the lecture.
Students must register for both the lecture and discussion section of this course.
ULEC 2640 Credits: 0
The Old Weird America: Music as Democratic Speech from the Commonplace: Song to Bob Dylan
(Disc. Sec Reqd) *BEST BET*
Throughout American history people excluded from or ignored by the traditional narrative of the country have seized on music as a means of both affirming and questioning individual and cultural existence. Music has been used to make ecstatic, despairing, and symbolic statements about the nature of America and about life itself. These are big words for ordinary, anonymous songs like "The Cuckoo Bird" or "John Henry."ùbut it is in songs that seem to have emerged out of nowhere, and in songs that as self-conscious works of art are made to reclaim that nowhere, where much of the country's story bides its time. This course examines "commonplace" or authorless songs as elemental, founding documents of American identity. These authorless songs can be examined as a form of speech that is always in flux, especially in the work of Bob Dylan across the last fifty years. Course material includes film excerpts and recordings from the 1920s to the present, as well as Colson Whitehead's 2001 novel John Henry Days, the 19th century blackface plays of Thomas "Daddy" Rice and Sarah Silverman's 2007 blackface comedy "Face Wars," Luc Sante's essay "The Invention of the Blues" from the collection The Rose & the Briar: Death, Love and Liberty in the American Ballad, Bob Dylan's Chronicles, Volume 1, and much more.
Students must register for both the lecture and discussion section of this course.
ULEC 2641 Credits: 3
Old Weird America: Discussion *BEST BET*
This is the required discussion section for ULEC 2640 (the required lecture for Old Weird America). Please refer to the course description for the lecture.
Students must register for both the lecture and discussion section of this course.
XINS 1001 Credits: 1
Beginning Piano Class
This course is designed for the beginning piano student with a general knowledge of music reading and notation. Students will learn scales, arpeggios, chords and inversions, and explore beginning level repertoire. Individual progress is monitored by the professor, and repertoire and exercises appropriate to each student are assigned. Course meets in a digital piano lab. Note: In order to complete homework assignments, students should have access to a piano or keyboard.
XINS 1003 Credits: 1
Piano for Non-Majors
Geared toward the enthusiastic first-timer, Piano for Non-majors will explore the keyboard layout, basic finger technique, hand coordination, and fundamentals of music notation. In addition, learning basic music theory principles will enable the students to play simple tunes by ear. Enjoy some of your favorite classical, folk, and popular repertoire individually and as part of a piano ensemble! Course meets in a digital piano lab. This course is geared toward students who do not have music reading ability. Students who can read music should enroll in Beginning Piano. Note: In order to complete homework assignments, students should have access to a piano or keyboard.
XINS 1010 Credits: 1
Piano Class 1
A continuation of Beginning Piano Class. Students continue work on scales, arpeggios, chords/inversions, and repertoire appropriate to their playing level. Pre-requisite: XINS1001 or XINS1003, or by placement exam. Placement exams are held prior to the start of each semester. Contact the Extension Office at mannesextension@newschool.edu or 212.580.0210 x4802 for placement exam scheduling. Course meets in a digital piano lab. Note: In order to complete homework assignments, students should have access to a piano or keyboard.
XINS 1015 Credits: 1
Piano Class 2 *BEST BET*
A continuation of Piano Class 1. Students continue work on scales, arpeggios, chords/inversions, and repertoire appropriate to their playing level. Pre-requisite: XINS1010, or by placement exam. Placement exams are held prior to the start of each semester. Contact the Extension Office at mannesextension@newschool.edu or 212.580.0210 x4802 for placement exam scheduling. Course meets in a digital piano lab. Note: In order to complete homework assignments, students should have access to a piano or keyboard.
XINS 1101 Credits: 1
Introduction to Conducting for Non-Majors *BEST BET*
"Conducting is one of the most exciting of all musical activities. It is also paradoxical; learning to conduct provides the deepest possible understanding of music, and yet the conductor is the one musician onstage who makes no sound. It is concrete: we have a huge effect on how the music sounds. It is also ephemeral: we are drawing lines in the air. This course will introduce you to some of the basic concepts of this art which remains mysterious to many. Using the class as an ensemble, you will gain practical experience putting these concepts to use, for the only true way to understand conducting is by doing it. Also, this experience will prepare you for further work in the field if you so desire. This course will introduce basic concepts of conducting, score analysis, manual technique, and rehearsal strategies. Music will be drawn from the core symphonic and operatic repertoire. We will also discuss methods of conducting 20th century contemporary music. This course is a natural companion to ""Intro to Score Reading"" (XINS 1110); however each may be taken separately as a stand-alone course."
XINS 1403 Credits: 1
Recorder Consort *BEST BET*
Students with recorder playing experience are invited to join this early music ensemble. Intermediate to advanced recorder repertoire is selected for rehearsal and coaching.
XPER 1001 Credits: 1
Community Orchestra *BEST BET*
Open to all community members, faculty, staff, and students at Mannes or any division of The New School. The Community Orchestra is a performance based ensemble, and has space for all orchestral instruments. If interested, please email MannesExtension@newschool.edu with your name and instrument. The Orchestra rehearses Wednesdays from 7:30-10:00 p.m. (Fall and Spring Semesters only) in the concert hall on the second floor of Mannes College The New School for Music (150 West 85th Street). At Mannes College, 150 W. 85th St, 212.580.0210 x4802, mannesextension@newschool.edu
XPER 1007 Credits: 1
Guitar Ensemble *BEST BET*
The purpose of this course is to explore the techniques of classical guitar, as well as the practice of good musicianship û rhythmic accuracy, tone production, sight reading, and phrasing û through ensemble performance. During class we will read through pieces of a wide variety of periods, focusing on stylistically appropriate performance practices and stopping, as lead by the demands of the material, to examine relevant technical issues, for example û left hand slurs, barring positions, arpeggio and scale techniques. Students must have a usable guitar (nylon preferred) and have moderate (through 5th position) sight reading facility.
XPER 1009 Credits: 1
Flute Ensemble *BEST BET*
Intermediate through professional level flutists-Undergraduate, Graduate, non-matriculated adults and Extension Diploma students-will explore the extensive piccolo, C flute, alto and bass flute repertoire of all styles and periods in a relaxed, supportive environment. No audition is necessary, just a love of the flute family and the vast array of pieces composed and arranged for this extremely popular combination. Participants are encouraged to suggest pieces they have heard and would like to play with a group. Each class will begin with warm-up selections. The first few weeks will cover possible repertoire for the semester based on the group size, level and musical preferences. Players will learn to use the flute to conduct entrances, phrasing and cut offs. Group tuning will be a focus. Once trios, quartets, etc. and complete group pieces with piano and multi-media possibilities are chosen, semester rehearsals will work toward an end of semester concert for family, friends and the community. Community outreach programs may also be arranged.
XPER 1012 Credits: 1
Introduction to the Alexander Technique
This course is a performance-oriented class for people who must use their bodies effectively: musicians, actors, and dancers. The scope of the course lies beyond the release of tension or the re-education of muscular movement, for it improves people's use of themselves in their daily activities. A more efficient coordination is achieved through a dynamic balance of the head, neck, and back, which becomes integral to sitting, standing, walking, bending, and performing. Proficiency in reading, writing, and speaking English is needed for this small group experiential learning course, which involves movement, performance, observation of self and others, hands on guidance from the instructor, verbal processing and discussion.
XPER 1015 Credits: 1
Road to Rhythm *BEST BET*
Road to Rhythm is a fun and interactive experience open to all levels of musicians and music lovers. Drawing on Arabic and South Indian rhythmic concepts, group vocalizations while walking develop a greater sense of inner time and give one the mastery and confidence needed in solo and ensemble performance. Develop better rhythm and build your inner pulse as you learn how to use the metronome effectively in conjunction with rhythmic vocalizations clapping and walking in time. By using rhythm charts and music from your repertoire, you will learn how to count and execute rhythms with confidence. At Mannes College, 150 W. 85th St, 212.580.0210 x4802, mannesextension@newschool.edu
XPER 1500 Credits: 1
The New School Chorus *BEST BET*
The New School Chorus is an exciting new ensemble, open to members from the entire New School and greater NYC community, to foster both joyful communal singing and a chance to explore a whole range of music and singing styles from the world community at large. With everything from Western choral masterpieces to Eastern European folk singing, classic American jazz and popular song to traditional music from cultures across the globe, the rehearsal experience will be about integrating both written works and music learned-by-ear with a fun and educational approach to exploring the myriad sonic possibilities of the human voice. The chorus will engage with the school and city community as much as possible in performances and opportunities for outreach throughout the year.
XTOM 0010 Credits: 2
Basic Theory *BEST BET*
This course will explore the basic fundamentals of music theory in preparation for more advanced coursework, a kind of "bootcamp" for the rest of the theory sequence. The goal is to achieve an understanding and fluency in the standard music theory terminology and concepts including key signatures, major and minor scales, triads, and seventh chords. "Fundamentals of Music Theory" by L. Poundie Burstein (available in the Extension Office for $15) is required to complete twice - weekly homework assignments. Course requirements/pre-requisites: basic ability to read pitches in treble and bass clefs; students not meeting these requirements should enroll in XTOM0001 or XTOM0002.
XTOM 0103 Credits: 1
Basic Dictation *BEST BET*
A companion course to Basic Ear Training, Basic Dictation is designed to prepare students to write down simple melodies. The course starts with recognizing intervals and short melodic rhythmic and melodic patterns. By the end of the semester, students will be notating short melodies in one key, and will be ready for Dictation 1.
XTOM 0105 Credits: 1
Basic Ear Training *BEST BET*
A course designed to teach beginning skills in sight singing. Students work on singing major and minor scales, intervals, and simple melodies using solfege syllables. Rhythmic patterns are also learned, along with basic conducting skills. This course prepares the student for Ear Training 1A. Pre-requisite: basic ability to read music in treble and bass clefs.
XTOM 1001 Credits: 2
Theory 1 *BEST BET*
This course explores the simple procedures of tonal music in two areas: counterpoint and harmony. Students learn to analyze and write harmonic progressions, set melodies and complete figured bass using triads and seventh chords and their inversions. Rules of of two-part counterpoint writing in first, second, and third species are covered. Pre-requisite: XTOM0010 or by placement exam. Placement exams are held prior to the start of each semester. Contact the Extension Office at mannesextension@newschool.edu or 212.580.0210 x4802 for placement exam scheduling.
XTOM 1101 Credits: 1
Ear Training 1 *BEST BET*
This course is comprised of learning to sight-sing of simple melodies using solfege syllables in treble and bass clefs, as well as basic rhythmic exercises. Pre-requisite: XTOM0105 or by placement exam. Placement exams are held prior to the start of each semester. Contact the Extension Office at mannesextension@newschool.edu or 212.580.0210 x4802 for placement exam scheduling.
XTOM 1201 Credits: 1
Dictation 1 *BEST BET*
This course explores simple melodic dictation in one voice. By the end of the course, students will be able to recognize and transcribe intervals, transcribe common rhythmic patterns in several meters, and transcribe simple melodies. Pre-requisite: XTOM0103 or by placement exam. Placement exams are held prior to the start of each semester. Contact the Extension Office at mannesextension@newschool.edu or 212.580.0210 x4802 for placement exam scheduling.
XVCO 1001 Credits: 1
Beginning Voice Class *BEST BET*
The major objective of this class is the development of the solo voice. Emphasis is on understanding and mastering the fundamentals of effective voice production. Individually assigned solo material, group preparation of songs, warm-ups, and vocalise material is required. Course is appropriate not only for beginning singers, but also for those working with voices such as choral conductors and accompanists.
XVCO 1038 Credits: 1
Theatrical Repertory for the Solo Voice *BEST BET*
This course provides an introduction to learning arias and solos from a wide variety of repertory, including opera, musical theater, Zarzuela, Gilbert & Sullivan, and operetta. Our emphasis is on both the musical and dramatic preparation of songs and arias, and, if possible, ensembles from a wide variety of musical literature. Students are given techniques to understand the composer's musical intentions and will begin basic preparatory study of singing in various styles and languages.
XVCO 1202 Credits: 1
Building Your Music Theater Songbook for the Industry *BEST BET*
This course teaches the student how to research, choose, and prepare audition material from the American Musical Theater genre including a survey of styles ranging from standards, traditional, up to contemporary and pop/rock. Students prepare a minimum of one song per week. Representative composers from each style period will be studied, along with vocal and character typing techniques. Audition techniques will be discussed including how to enter an audition room, how to address a panel, how to talk to an accompanist, and how to exit the audition room.
XVCO 1500 Credits: 1
Opera Performance Lab: Music Preparation *BEST BET*
Students study assigned scenes and repertoire in preparation for an end of semester performance. This course will give students an opportunity to gain valuable experience in an operatic rehearsal setting. Acquire skills to learn assigned scenes and arias quickly while gaining comfort and flexibility on the stage. Focus will be placed on appropriate style and interpretation of music in preparation for performance, and the relationship between individual singer and ensemble. Co-requisite Opera Performance Lab: Stage Movement and Acting (XVCO1501A)
XVCO 1501 Credits: 1
Opera Performance Lab: Stage Movement and Acting *BEST BET*
Students add physical movement and staging to operatic scenes being prepared in Co-requisite Opera Performance Lab: Music Preparation (XVCO1500A). Students will learn how to physically create, research and prepare realistic, dramatic characters.
XVCO 1502 Credits: 1
Opera Performance Lab: Individual Coaching *BEST BET*
Receive individual feedback on arias, including interpretive insights and stylistic commentary based on historical and performance practice. Students will have the opportunity to coach repertoire with notable faculty member working professionally in the opera industry. Faculty coaches work with singers individually and in ensemble to prepare operatic roles, arias, and song. Elements discussed include language, style, expression, harmony, intonation, and rhythm. Singers who enroll in the other two Opera Lab courses are encouraged to also register for this class, in order to receive individual coaching on their scene assignments.


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